| T | after Ernst Tanzberger the cataloguer of music by Jean Sibelius (1865-1957) |
| indicating the Georg Phillip Telemann (1681-1767) catalogues prepared by Kassel, Werner Menke or Martin Ruhnke |
| T | abbreviation of 'tenor' (voice) |
| t | abbreviation of 'tenor' (instrument) |
| T., t. | abbreviation for 'tenor', Tenor (German), ténor (French), as, for example, in Soprano, Alto, Tenor, Bass, the four voices in a choir |
| abbreviation for tasto, tempo, Takt, 'toe' (in organ music), tenore (Italian: tenor), tutti (Italian: all) and tre |
| taa | a French 'time-name' |
| Taal | (or tal) just as the 'note' is the basis of the melodic component of music, the bol (meaning 'speech' or 'syllables') is the foundation for taal (meaning 'palm of the hand') a fixed time cycle or metre in Indian music, built from uneven groupings of beats. Vocal and instrumental bols sound very similar. The most common tabla bols are dha, dhi/dhin, ti/tin, ra, ki, ta, na, tin and te. Different schools of percussion may pronounce the same bol differently. Several bols structured in a specific manner and arranged in sub-divisions are called thekas |
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| Taalam | from southern India, a pair of small cymbals |
- Talam from which this extract has been taken
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| Taamaa | see tama |
| Taan | in the Hindustani classical music tradition, referring to musical notes rendered with speed weaving different patterns |
| Taan pradhan | music that features taans |
| Taan samrat | a title awarded to musicians who excel in the rendering of taans |
| Taarab | a musical genre popular in Tanzania and Kenya that uses instruments from all the cultures with a historical presence in East Africa, including East Asia, sub-Saharan Africa, North Africa and the Middle East and Europe and rose to prominence in 1928 |
- Taarab from which this extract has been taken
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| Taarija | North African tambourine |
| TAB | (English, German f.) TAB or tablature is a method of writing down music played on guitar or bass. Instead of using symbols like in standard musical notation, it uses ordinary ASCII characters and numbers, making it ideal for places like the internet where anybody with any computer can link up, copy a TAB file, and read it |
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| Tab' (s.), Tubu' (pl.) | (Arabic) as defined by Louis Soret, the tab' is "the melodic mode, which influences the melodies, developments, therapeutic properties, character, and expression of the nawba (turn), as well as the occasions and hours of the day when it is to be performed" |
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| Tabac | (French m.) tobacco, tabacconist;s shop |
| tabac | (French) buff |
| Tabac à priser | (French m.) snuff |
| Tabaccaio (m.), Tabacca (f.) | (Italian) tobacconist |
| Tabaccheria | (Italian f.) tobacconist's (shop) |
| Tabacco | (Italian m.) tobacco |
| Tabachaniotiko (s.), Tabachaniotika (pl) | songs which are part of the Cretan musical tradition, which includes rebétika and the music of the Café-aman. All three merge Greek and Turkish elements, an outcome of the Greek-Turkish cultural syncretism in Crete during the period of Ottoman domination. According to Chaniá musicians, the tabachaniotika probably arose in Crete in the towns of Chaniá and Rethymnon around the middle of 19th-century. It was then the typical musical repertory of the so-called turkokritikoí, Muslim Cretans. It developed mainly after the immigration of Smyrna's refugees in 1922, as did the more widespread rebétika |
| Tabak | (German m.) tabacco |
| Tabala | large Mauritanian camel-skin drum |
| Taballo | synonymous with timballo |
| Tabanka | (Santiago, Cape Verde) a repetitive musical style, with horns, drums, and cornets, played by women who use plastic sheets, bags, and bottles, beating their thighs, their legs, to provide percussion lines based on African rhythms |
| tabasser | (French) to beat up (familiar) |
| Tabatière à musique | (French f.) musical box |
| Tabel | (Danish, Dutch) table, chart, graph |
| Tabel(blad) | (Swedish) table |
| Tabella | (Italian f.) table, list |
| tabellarisch darstellen | (German) to tabulate |
| Tabelle | (German f., Norwegian) table, chart, graph, (sport) league table |
| Tabernacolo | (Italian m.) tabernacle |
| Tabl | (Arabic) drum |
| Tabla | (English, German f.) or tablaa, Indian drums, generally used in pairs, the smaller, wooden, higher-pitched one is called the tabla, sidda, dayan or dahina while the other, the larger, earthenware or copper bass drum, is called bayan (meaning 'left side') or dagga. The smaller drum is played with the fingers and palm of the right hand, the larger with the fingers, palm and wrist of the left. Both have a head made from two layers of goat skin and rest on cloth covered plant fibre bundles called chutta |
| hourglass-shaped Egyptian and Middle Eastern drum, also called darbuka or dumbak |
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| Tabla | (Spanish f.) table, belly of a stringed instrument |
| Tablah | alternative name for the darbukkah, a vase-shaped hand-drum |
| Tablao, Tablaos | (Spanish) a flamenco bar |
| Tabla tarang | it consists of a number of tabla dayans tuned to different notes of the scale. Complete melodies are played by striking the appropriate dayans |
| Tablatur | (German f.) the rules and regulations for the poetry and song of the Meistersingers |
| see 'tablature' |
| Tablatura | (Spanish, Portuguese) tablature |
| Tablatur-Buch (1650) | prepared by the German composer Samuel Scheidt (1587-1654), the Tabulatur-Buch hundert geistlicher Lieder und Psalmen contains harmonized accompaniments for 100 sacred songs and psalms, pointing to the growing practice of congregational singing in Lutheran churches |
| Tablature | the signs and characters used for musical notation generally |
| (English, French) a notational system that uses letters, figures and other symbols to indicate how a piece might be performed, for instance by showing the position of a player's fingers on a representation of the strings of a cittern, guitar, viol or lute, or by showing the fingerings on a flageolet, as in Thomas Greeting's Pleasant Companion or new lessons and instructions for the flageolet (London, 1672?) or on a musette de cour, as published in Harmonie Universelle by Mersenne and employed by Borjon thirty-six years later. Claude Gervaise (fl. c.1540-1560), a French composer who was associated with the renowned printer Pierre Attaingnant, is known to have produced, in an instruction manual for the viol (1548, now lost), the first viol tablature in France. There were also tablature-based notation systems for keyboard instruments. Elias Ammerbach (c.1530-1597) developed a keyboard tablature, which was specifically adapted for organ. His method became known as the 'new German organ tablature' and involved letter notation for the pitches with rhythmic symbols placed above. Tablature notation survives today in the TAB notation used by guitarists and in the drum tablature in use for drums |
| vihuela tabulature is different in principle from keyboard or harp tablatures. The Spanish composer Alonzo Mudarra proposed a form of tabulature that could be used by all three and an example of Mudarra's system may be found a single piece appendiced to his book for the vihuela entitled Tres Libros de Musica en Cifras |
| French and Italian lute tablatures, the latter generally used in Italy, Spain, southern France and southern Germany, consist of a system of lines that represent the courses of the lute. German tablature was devised in such a way that every available note was allocated a different letter or symbol and thus did not require placement on a system of lines. Each line or course in French and Italian tablature represents a pitch and, although the precise frequency of pitch intended is not fixed, it is the intervals between the courses that yield a particular pattern of pitches recognised as certain lute tunings. Virtually all music written for the lute before c.1620 was intended for a lute tuned in vieil Ton or Renaissance-G tuning (from the lowest to the highest the interval sequence of perfect 4th-perfect 4th-major 3rd-perfect 4th-perfect 4th). The frets along the fingerboard, which are spaced a semitone (half step) apart, are represented in the notation by a consecutive sequence of letters or numbers depending on the type of tablature. The rhythm of the notes indicated is given by placing flags or mensural notes in the spaces above the stave |
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| Tablature, Italian | figured bass was formerly known as 'Italian Tablature' |
| Tablatuur | (Dutch) tablature |
| Tabl baladi | a large double-sided bass drum, used at weddings and similarly festive events, mostly for the accompaniment of dance |
| Table | (French f.) table, index |
| (English) or table d'harmonie (French f.), Decke (German f.), table (French f.), tavola armonica (Italian), the table, belly or top of a stringed instrument |
| Tableau (s.), Tableaux (pl.) | (French m.) a picture, a painting, a board, a chart, a list |
| (French m.) an effect caused by freezing the action on stage often at the climax of a dramatic scene or a dénoument. In late 18th- and early 19th-century France these were called tableau général although the effect features in German theatre of the same period |
| Tableau d'affichage | (French m.) notice-board |
| Tableau de bord | (French m.) dashboard (of a car) |
| Tableau de distribution | (French m.) switchboard |
| Tableau d'ensemble | (French m.) a general picture, a general survey (of a subject, etc.) |
| Tableau (noir) | (French m.) a blackboard |
| Tableau vivant | (French m.) a representation of a scene or incident, or of a well-known painting or statue, by a group of silent and motionless persons |
| Table bell | table bells of silver have been made since the sixteenth century, varying in style with the taste of the times |
| Table-book | music printed in such a way that the performers could sit around a table and read their own various parts, popular in the Renaissance Parts set out this way lie along each of the four edges of the page |
| Table de nuit | (French f.) bedside table |
| Table de matières | (French f.) table of contents |
| Table d'harmonie | (French f.) sound-board, table or belly of a string instrument, tavola armonica (Italian f.), Decke (German f.) |
| (French f.) a table, or diagram, of chords, intervals, etc. |
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| Table d'hôte | (French f.) a fixed meal served at a standard price (as opposed to à la carte) |
| Table d'instrument | (French f.) sound-board, table or belly of a string instrument |
| Table format | a primarily English format used for music printed to be read by performers sitting around a table |
| Table music | see Tafelmusik |
| Table roulante | (French f.) (tea-)trolley |
| tabler sur | (French) to count on |
| Table tomb | a tomb set above ground level in a box-like structure; also known as a tomb chest |
| Tablett | (German n.) tray |
| Tablette | (German f.) tablet |
| Tablette | (French f.) shelf |
| Tablette de chocolat | (French f.) bar of chocolate |
| Tablier | (French m.) an apron, a platform, a shutter (on a shop) |
| Tabloïd | (French m.) tabloid (a small-format newspaper) |
| tabloïd (m.), tabloïde (f.) | (French) tabloid |
| Tabmag | tabloid-style TV magazine show (colloquial) |
| TAB notation | see 'TAB' |
| Taboo | (Polynesia-Tonga) forbidden, prohibited to certain people, the imposition of arbitrary restrictions, arbitrary restrictions |
| Tabor | (English, German f.) a small rope-tensioned drum played in conjunction with a three-holed pipe of the recorder family by one player |
| the "English Country" tabor, is the most common size of the English tabor, about 4-5" high and 10" diameter. This is the shape shown in Praetorius' Syntagma Musicum (1617: although the precise measurements cannot be determined) which he describes as being used "by the English". Historically, tabors of many different dimensions were used by the English - although none as large as the tambourin - and that is still true today |
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| Taboret | a small tabor |
| Taborine | a small, shallow drum like a tabor |
| Tabor pipe | a three-holed pipe usually played with one hand while the other beats a small drum called a tabor |
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| Tabou | (French m.) taboo |
| tabou | (French) taboo |
| Tabouret | (French m.) small drum, tabor |
| (French m.) a low stool without back or arms |
| Tabouret de piano | (French m.) piano stool |
| Tabourine | (French) a small, shallow drum like a tabor |
| Tabret | bedon or bedon de basque, a small tabor (drum) with cymbals placed round the hoop (and struck with the fingers) |
| Tabs | the curtains separating the stage from the audience |
| Tab seams | tabs or small notches may be cut into one side of the bell during its construction to strengthen the seam at the flare. These tabs are alternately bent upwards and downwards and linked to the opposite straight side of the bell's edge. The tab pattern often remains visible after the bell is soldered and polished; however, plating usually makes the tabs invisible |
| Tabu | (German n.) taboo |
| Tabù | (Italian m.) taboo |
| tabu | (German) taboo |
| tabù | (Italian) taboo |
| Tabula | (Latin) a display document made by attaching a parchment sheet, or several sewn together, to a wooden board or frame |
| Tabula rasa | (Latin, 'a clean slate') a mind wholly ignorant of a specific subject and ready to absorb information about it |
| Tabulateur | (French m.) tabulator |
| Tabulatur | (German f.) tablatur |
| Tabulatura | (Italian f., Spanish f.) tablature |
| TabWiki | a wiki site devoted to the collection of sheet music for guitar, bass guitar and drums. All posts and edits are original contributions from its members. The "Tab" in the title refers to the use of tablature for the purpose of displaying musical notes for stringed instruments, such as the guitar and bass |
- TabWiki from which this extract has been taken
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| tace | (Italian) to be silent |
| tacere | (Italian) is silent |
| Tacet (s.), Tacent (pl.) | (Latin, literally 'it is silent') in common usage it is written in a player's part to indicate a movement in which he or she does not play |
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| Tacet al fine | (Latin) (remaining) silent to the end |
| Tacaor | also tocaor, the Iberian term for a flamenco guitarist |
| Tacca | (Italian f.) a notich, quality (figurative) |
| taccagno | (Italian) stingy (familiar) |
| Taccheggio | (Italian m.) shoplifting |
| Tacchino | (Italian m.) a turkey (bird) |
| Taccia | (Italian f.) a bad reputation |
| tacciono | (Italian) are silent |
| Tacco | (Italian m.) a heel |
| Taccuino | (Italian m.) a notebook |
| tacere | (Italian) to be silent, to say nothing, to say nothing about |
| Tacet | (Latin, literally 'it is silent') in music, a direction that a voice or instrument is to remain silent for a time |
| Tache | (French f.) a mark, a spot, a stain |
| Tâche | (French f.) a task, a job |
| Tache de rousseur | (French f.) freckle |
| tacher | (French) to stain |
| tâcher de faire | (French) to try to do |
| tacheté | (French) spotted |
| Tachimetro | (Italian m.) speedometer |
| Tachisme | (French) or art autre, action painting, the production of a work of art by spilling, pouring or smearing the pigment on to the picture-surface |
| Tachometer | (German n. or m.) speedometer |
| Tachtarismata | (Greek) melodies of simple words sung by a mother while bouncing her child on her knees in time to the music |
| tachtig | (Dutch) eighty |
| taci | (Italian) be silent! |
| taciasi | (Italian) be silent! |
| tacite | (French) tacit |
| tacito | (Italian) silent, tacit (approval) |
| taciturne | (French) taciturn (of a person who is reserved or quiet) |
| taciturno | (Italian) taciturn (of a person who is reserved or quiet) |
| Tacón | (Spanish m.) a flamenco term, the heel of a shoe |
| Taconeo | (Spanish) a stomping dance often performed to flamenco accompaniment |
| Tact | (German m.) synonymous with Takt |
| Tactart | (German) or Taktart, time-species, meter (i.e. duple, triple, etc.) |
| Tactfest | (German) or Taktfest, steadiness in keeping time |
| Tactique | (French f.) tactics |
| tactique | (French) tactical |
| Tactlinie | (German) or Taktlinie, a bar-line |
| tactmässig | (German) or taktmässig, in time, tempo commodo |
| Tactschläger | (German) or Taktschläger, a time-beater |
| Tactstock | (German) or Taktstock, a bâton, for beating time |
| Tactstrich | (German) or Taktstrich, a bar-line |
| Tactus | (English, German m.) a metrical unit comprising both a downbeat and an upbeat |
| a Renaissance term for a beat (usually the semibrevis), a division of a bar (or measure). At the end of the 15th-century, the Italian musical theorist Franchinus Gaffurius (1451-1522) commented that the tactus is equal to the pulse of a man who is breathing quietly - presumably about 72 beats per minute |
| a Renaissance term for a fret on the lute or clavichord |
| an improvisational organ composition |
| Fraisse (1982) proposed that listeners have a preference to hear a tactus in the range of between 500 and 700 ms. This represents the preferred range for tapping in time to music. When the tempo is slowed, listeners tend to tap to a subdivision of the former beat; conversely, when the tempo is increased, listeners tend to omit beats so the tactus remains within this preferred range |
| Tactzeichen | (German) or Taktzeichen, time signature |
| Tadel | (German m.) reprimand, censure, black mark (in school) |
| tadellos | (German) impeccable, impeccably |
| tadeln | (German) to reprimand, to censure |
| tabelnswert | (German) reprehensible |
| Tadgud | jaggery prepared from the juice of palmyra fruit |
| Taegum | (Korean) also called by its proper noun chottae, a large transverse bamboo flute, A thin membrane of bamboo or reed covers the hole between the mouthhole and the fingerholes, and vibrates when the instrument is blown |
- Taegum from which this information has been taken
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| Taejaeng | a Korean string instrument with fifteen strings. To play it, the left-hand presses a string while the right-hand plucks it |
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| T'aep'yeongso | (Korean) also called taepyongso, saenap, hojok, nallari or hoga, a conical-shaped, high-pitched loud wind instrument usually made of citron or yellow mulberry wood |
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| T'aep'yongso | (Korean) see taepyeongso |
| Tafano | (Italian m.) a horsefly |
| Tafel | (German f.) table, plate (picture), slab, board, plaque, slate, blackboard, bar (of chocolate) |
| Tafelklavier | (German n.) virginals, spinet, square piano |
| Tafelmusik | (German f.) table-music, the performance of which might accompany or follow a meal (for example, catches, glees, etc.), musical entertainment |
| tafeln | (German) to feast |
| Tafelschwamm | (German m.) chalkboard eraser |
| Täfelung | (German f.) panelling |
| Tafferuglio | (Italian m.) a scuffle |
| Tag | in jazz, a term for a coda, or for a short concluding section (which might be repeated indefinitely) |
| (German m.) day |
| Taganing | (Sumatra, Indonesia) a set of fine tuned drums from Toba |
| tagaus, tagein | (German) dayin, day out |
| Tagebuch | (German n.) diary |
| tagelang | (German) for days |
| Tagelied | (German n.) see Minnelied |
| tagen | (German) to meet, to sit |
| Tagesanbruch | (German m.) daybreak |
| Tagesausflug | (German m.) day trip |
| Tagesdecke | (German f.) bedspread |
| Tageskarte | (German f.) day ticket, menu of the day |
| Tageslicht | (German n.) day light |
| Tagesmutter | (German f.) child-minder |
| Tagesordnung | (German f.) agenda |
| Tagesrückfahrkarte | (German f.) a day return ticket |
| Tagestemperatur | (German f.) daytime temperature |
| Tageszeit | (German f.) time of day |
| Tageszeitung | (German f.) daily newspaper |
| Tag für Tag | (German) day by day |
| Taglia | (Italian f.) ransom, reward, height, size |
| Tagliacarte | (Italian m.) a paperknife |
| Tagli addizionali | (Italian m. pl.) ledger line, leger line |
| Tagliando | (Italian m.) a coupon |
| tagliare | (Italian) to cut, to cut across, to cut off (interrupt), to cut out, to carve (meat), to mow (grass) |
| täglich | (German) daily |
| tagliente | (Italian) sharp (blade, knife, etc.) |
| Taglio | (Italian m.) omitted section, a cut, a cutting (from a plant), a length (of cloth, etc.), an edge (of a blade) |
| Tagliola | (Italian f.) a trap |
| taglio radiale | (Italian) débité sur maille(French), nach dem Spiegel geschnitten (German), quarter-cut, wood cut in a radial direction to form a wedge, rather like cutting a slice of cake |
| tagliuzzare | (Italian) to cut into small pieces |
| Tagou m'bar | (Senegal) a traditional Wolof warm-up rhythm |
| tags | (German) by day |
| tags darauf | (German) the day after |
| tagsüber | (German) during the day |
| tags zuvor | (German) the day before |
| tagtäglich | (German) daily, every single day |
| Tagtraum | (German m.) day-dream |
| Tag um Tag | (German) day after day |
| Tagundnachtgleiche | (German f.) equinox |
| Tagung | (German f.) meeting, conference |
| Tahdin heikko isku | (Finnish) weak beat |
| Tahdin vahva isku | (Finnish) strong beat |
| Tahi | (Finnish) measure, bar |
| Tahidust | (Berbers, Morocco) group dance for men from the Middle Atlas region of Morocco |
| Tahini | a strong flavoured sesame seed paste |
| Tahitahi | tiny Malagasy flutes made of wood, gourd or bamboo |
| Tahtiosoitus | (Finnish) time signature |
| Tahtiviiva | (Finnish) bar line |
| Taie d'oreiller | (French f.) a pillowcase |
| Taiga | (Russian) a Siberian pine-forest |
| Taiko | (Japanese, literally 'great drum') general term for drums |
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| Tail | see 'note' |
| Tailgate | in jazz, a style of trombone playing that combines counterpoint and bass roles, common in traditional jazz |
| Tailgut | Hängelsaite (German f.), Anhängesaite (German f.), attache cordier (French f.), reggi-cordiera (Italian m.) |
| there are two ways to tie tail gut, depending on the type of tailpiece you are using. The first, like a modern tailpiece, has the tailgut which exits the end of the tailpiece and curves over the saddle and around the end pin. The second method uses two holes which pass through the and the gut passes from the top of the tailpiece, through to the bottom, and then over the saddle and around the end pin. Tailgut is usually sold by a diameter thickness. Violins and violas use gut that is from 1.90mm to 2.20mm thick. Cellos use a gut around 3mm thick and a violone / double bass should use a gut about 5mm thick. The thickness that you choose depends on the qualities you are looking for. A thicker gut will be more stable and stretch less than a thinner gut, but it may not allow as much vibration in the tailpiece as the instrument needs to sound its best. One of the advantages to the use of real gut over synthetic gut is that the flexibility of the tailgut can be changed simply by changing the diameter of the gut and this can have a radical effect on the tone and response of the instrument. |
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| taillader | (French) to gash, to slash |
| Taille | (French f.) waist, height, size |
| (French f.) cutting, pruning, cut |
| (French f.) used to describe a tenor range lying between basse and haute-contre and featuring in the operas of Lully and Rameau. The range is subdivided into haute-taille, also called première, and basse-taille, also called concordant, this latter being equivalent to a baritone |
| (French f.) viola |
| (German f.) waist |
| Taille-crayon | (French m.) pencil-sharpener |
| Taille de hautbois | (French f.) tenor oboe |
| (French) before 1660, tenor shawm |
| Taille d'epargne | (French f.) in art, champlevé enamel work, enamel work in which the metal ground is engraved or hollowed out (the hollows being filled with opaque enamel) |
| Taille de violon | (French f.) viola |
| Taille douce | (French f.) in art, engraving on a metal plate (for example, copper-plate engraving), a work of art produced by this process |
| tailler | (French) to cut, to prune (a tree), to sharpen (a pencil), to cut out (a pattern, etc.) |
| tailler une bavette | (French) have a chat |
| Taille-Trombone | (French) tenor trombone |
| Tailleur | (French m.) tailor, lady's suit (that is, a woman's tailor-made costume) |
| tailliert | (German) fitted |
| Taillis | (French m.) a corpse |
| Tailpiece | Saitenhalter (German m.), cordier (French m.), cordiera (Italian f.), cordal (Spanish m.), a piece of metal or wood at the lower end of a stringed instrument to which the strings are attached |
| on guitars without bridge pins, the strings are commonly anchored to a tailpiece. This normally mounts to the end block and pulls the strings down towards the top after passing across the bridge |
| T'ai p'ing hsiao | (China) or t'ai p'ing xiao, duct flute |
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| T'ai p'ing xiao | see t'ai p'ing hsiao |
| taire | (French) to say nothing |
| taisez-vois! | (French) keep quiet! |
| Taiwanese hip hop | a form of 'hip hop' music that emerged from the "underground" scene in Taiwan to become more mainstream during the 1990s and 2000s |
| Tajwid | (Arabic) the rhythmic chanting of the Koran, is not considered music by Muslims, though to a non-Muslim ear it sounds musical. There is no direct prohibition of, or endorsement of, music in the Koran |
| Tak | (Indonesia) Javanese high-pitched drum |
| Takai | a royal dance of the Dagbamba chiefs and princes. It is performed on festive occasions such as the annual Damba festival, political rallies, and durbar of chiefs. Danced only by men, takai movements involve pivot turns, torso swings, and stamping to the rhythm of the lunna and gungon, the only drums that are used in this dance |
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| Takare | (Mozambique) one string fiddle |
| Take a little Peak | one of the two-couple figures danced in a circle of four people traditionally associated with square dancing |
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| Takebue | Japanese bamboo transverse flute |
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| Take it out | in jazz, a signal from the band leader to play the out chorus (out head) |
| Takht | (Arabic) a traditional Arab ensemble typically made up of one player of each of the primary instruments (qanun, 'ud, nay, kaman, and riqq) |
| Taksim | (Asia Minor) instrumental improvisations, a musical genre from the Ottoman empire |
| see gazel |
| Takt | (German m.) tact |
| (German m., Swedish, Danish) bar (measure), time, beat, rhythm |
| in German, when describing the time signature of a piece, one might write 3/4-Takt, 6/8-Takt, etc. meaning '3/4 time', '6/8 time', etc. |
| Taktaccent | (German m.) bar accent |
| Taktakzent | (German m.) bar accent |
| Taktangabe | (German f.) time signature |
| Taktangivelse | (Danish) time signature |
| Taktart | (German f., Swedish, Danish) time-species, meter (i.e. duple, triple, etc.) |
| Taktartssignatur | (Swedish) time signature |
| Takte pro Minute | (German) beats per minute (as with a metronome mark) |
| taktfest | (German) in steady time |
| Taktfestigkeit | (German f.) steadiness in keeping time
[corrected by Esther Dubielzig] |
| Taktgefühl | (German n.) tact |
| Taktglied | (German n.) member of a bar |
| takthalten | (German) to hold or beat time, to keep time |
| taktieren | (German) to beat time |
| Taktik | (German f.) tactics |
| taktiren | (German, older spelling) to beat time |
| taktisch | (German) tactical, tactically |
| Taktlinie | (German f.) barline |
| taktlos | (German) tactless, tactlessly |
| Taktlosigkeit | (German f.) tactlessness |
| taktmässig | (German) in time, tempo commodo |
| Taktmesser | (German n.) a metronome |
| Taktnote | (German f., literally 'bar-note') semibreve |
| Taktnumerierung | (German f.) bar-numbering |
| Taktpause | (German f., literally 'bar-rest') a whole bar rest |
| Taktschlag | (German m., Swedish, Danish) beat |
| taktschlagen | (German) to beat time |
| Taktstock (s.), Taktstöcke (pl.) | (German m.) conductor's bâton |
| Taktstreck | (Swedish) bar line |
| Taktstreg | (Danish) bar line |
| Taktstrich | (German m.) bar line, bar (as in the sense 'barring' in music) |
| Taktsystem | (German n.) metrical scheme or system |
| Taktteil | (German m.) part of a bar, particularly guter Taktteil, the accented part of a bar, and schlechter Taktteil, the unaccented part of a bar |
| Takttheil | (German m.) part of a bar, particularly guter Takttheil, the accented part of a bar, and schlechter Takttheil, the unaccented part of a bar |
| Taktwechsel | (German m.) time change |
| taktvoll | (German) tactful, tactfully |
| Taktvorzeichnung | (German f.) time signature |
| Taktzeichen | (German n.) time signature |
| Ta-ku | large Chinese barrel drum played with one or two sticks |
| Tal | (German n.) valley |
| Tal | (Swedish) speech |
| Tal | see taal |
| Tala | see taal |
| Indian bells |
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| Talabalacco | (Italian) a species of Moorish drum |
| Talabarder | (French m.) also soner or bombarder, a player of the bombarde |
| Talam | see taalam |
| Talar | (German m.) robe, a gown (University) |
| Talc | (French m.) talcum powder |
| Talco | (Italian m., Spanish m.) talcum powder |
| Talcum powder | or talc, magnesium silicate formed as soft flat plates, used as a lubricator |
| Tale | (Danish, Norwegian) speech |
| tale | (Italian) such, such a |
| il tale giorno (Italian: on such and such a day) |
| un tale (Italian: someone) |
| Talea | a rhythmic pattern, longer than a motive, that is unvaryingly repeated in an isorhythmic tenor, although so long as the rhythmic proportions remain unaltered, the talea may be augmented (notes replaced by notes of longer time value) or diminished (notes replaced by notes of shorter time value) |
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| Talempong | a small kettle gong which gives its name to a Minangkabau ensemble comprising four or five talempong, other gongs and drums |
| Talent | (French m., German n.) talent |
| talentiert | (German) talented |
| Talento | (Italian m., Spanish m.) talent |
| talentoso | (Spanish) talented |
| talentueux (m.), talentueuse (f.) | (French) talented |
| tale padre tale figlio | (Italian) like father like son |
| tele quale | (Italian) just like |
| Talg | (German m.) tallow, suet (cooking) |
| Talismano | (Italian m.) a talisman |
| Taljanka | (Russian) the 1-row box accordion |
| Talking blues | originally a style of rhythmic speech or near-speech where the melody is free but the rhythm is strict, it is also a music genre or technique developed in the blues in the early 20th-century from influences including African music, British folk song, and the music-hall stage. It consisted of a repetitive guitar, utilizing the same three chord pattern as blues, as well as a large portion of folk music and even punk, ska, "pop", and "rock", sometimes accompanied by a melodic line with rhythmic, rhyming speaking over it |
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| Talking drum | (English, German f.) or 'squeeze drum', part of a family of hourglass shaped pressure drums; in the Yoruba language of west Africa, these include gan gan (the smallest member of this drum family) or dun dun (the largest of the talking drums.) The drum heads at either end of the drum's wooden body are made from hide, fish-skin or other membranes which are wrapped around a wooden hoop. Leather cords or thongs run the length of the drum's body and are wrapped around both hoops; when these cords are squeezed under the player's arm, the drum heads tighten, changing the instrument's pitch |
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| Tallava | music of the Albanian Roma that is greatly influenced by the sounds of the Middle East. Drums and the daf are essential to its performance. In addition to its correct name (tallava), some refer to it by the names given to the Albanian Roma people themselves, such as hashkali, magjup, cigan, jevg, harrixhi, and so on |
| Tall chords | see 'extended tertian sonorities' |
| Tallo | (Spanish m.) stem (part of a note) |
| Talloncino | (Italian m.) a coupon |
| Tallone | (Italian m.) a heel |
| (Italian m.) the nut (heel or frog) of a violin bow, talone (French m.), hausse (French f.), Frosch (German m.), talón (Spanish m.) |
| talmente | (Italian) so |
| Talmud | compilation of Jewish oral teachings, assembled in written form in the early centuries of the Christian era |
| Ta-lo | large Chinese brass gong |
| Taloche | (French f.) a slap (familiar) |
| Talon | (French m.) heel, (cheque) stub |
| (French m.) the nut (heel or frog) of a violin, viola, etc. bow, tallone (Italian m.), Frosch (German m.), hausse (French f.), tálon (Spanish m.) |
| (French m.) Zäpfchen (German n.) Plättchen (German n.), bouton (French m.), nocetta (Italian f.), on a violin, etc., the small semicircular extension (called the button) of the back that provides extra gluing surface for the crucial neck joint, and is neglected when measuring the length of the back. Occasionally a half-circle of ebony surrounds the button, either to restore material lost in resetting the neck of an old instrument, or to imitate that effect |
| Talón | (Spanish m.) heel |
| (Spanish m.) the nut (heel or frog) of a violin, viola, etc. bow, talone (French m.), Frosch (German m.), tallone (Italian m.), hausse (French f.) |
| heel as in 'the heel of a shoe' is tacón (Spanish m.) |
| talonant | (French) pressing on |
| talonner | (French) to follow hard on the heels of |
| Talpa | (Italian f.) a mole |
| Talsperre | (German f.) a dam |
| Talus | (French m.) an embankment, a sloping mound of fallen debris at the foot of a cliff or precipice |
| talvolta | (Italian) sometimes |
| Tam | (Vietnam) a guitar-like instrument with 3 silk strings |
| Tama | (Nepal) or taamaa, bells attached to the collars of dogs herding yak |
- Tama from which this information has been taken
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| Tama | West African talking drum |
| (West Africa) the name of a male erotic dance |
| Tamale | frame drum from Ghana |
| Tamani | West African talking drum |
| Tamasha | (Hindi, from Arabic) an entertainment, a public function |
| (more generally) fuss and bother, a commotion |
| Tamb. | abbreviation of 'tambourine' |
| Tambal | (Romanian) cymbalum |
| (Dominica) a frame drum used in jing ping |
| Tambal mare | (Romanian, literally 'great cymbalum') in the 1870s, a concert cymbalum, comparable in pitch range (and weight) to a small piano - but still played in the normal way with beaters - was first developed in Hungary by József Schunda. It stands on four legs, has many more strings, and the later models had a damping pedal. Prior to this, the player damped the strings by using his coat sleeves. This instrument eventually found its way to other parts of the Austro-Hungarian empire including Romania |
| Tambin | or serdu, a three-hole, side blown flute of the Fulani people of the Futa Djalon region of Guinea, West Africa |
| Tamboer | (Dutch) a term used generally for a string drum, for example, tambourin à corde |
| Tamboerijn | (Dutch) timbrel, tambourin with jingles |
| Tamboo bamboo | (tamboo comes from the French tambour meaning 'drum') bamboo drumming sticks which could be tuned and upon which traditional and distinctive rhythms, formerly performed on steel pans, was able to continue at a time when the use of steel pans was forbidden by the colonial authorities. At the beginning of the twentieth-century, drums and tamboo bamboos were again allowed, with restrictions, during Carnival time. During the 1930s biscuit tins were included as rhythm instruments in the tamboo bamboo bands. In 1938 tamboo bamboo were finally replaced with steel bands |
| Tambor | (Spanish m.) drum |
| (Spanish m.) drummer |
| in flamenco guitar technique, a drum-like effect achieved by pulling the sixth string of a guitar downward so that it rests against the fifth string on the treble side. The resultant sound is similar to that of a snare drum when playing a rasgueado |
| in classical guitar technique, the technique where many or all of the strings are played at once by hitting them (usually near the bridge) with the side of the (outstretched) thumb |
| (Uruguay) the candombe drum |
| (Basque) also called atabal or atabalero. Uniquely to the Basque tradition, pipes and tabors can be performed in ensembles as well as by soloists. Two txistularis can play duets. A four-member ensemble consists of two txistularis and two specialists: one plays a type of bass pipe (no tabor), while the other plays with two sticks on a type of small field drum (approx. 6" x 12.5") called variously a tambor, atabal or atabalero |
| (Spanish m.) cylinder, barrel, brake drum (tambor del freno), embroidery frame |
| (Spanish m.) eardrum |
| (Spanish m.) large tub, giant size pack, capstan |
- Tambor from which this information has been taken
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| Tambora | Dominican drum used in the merengue style played with a stick that strikes one head and the wooden sheel of the drum while the hand plays the opposite head |
| large Colombian two-headed bass drum |
| see 'Venezuelan drums' |
| Tambor árabe | (Spanish m.) darabukka |
| Tamborazo | a large drum, popular during the Mexican revolution, that is the heartbeat of Duranguense music |
| Tambor chico | see candombé |
| Tambor de acero | (Spanish m.) steel drum |
| Tambor de Basilea | (Spanish m.) Basler drum |
| Tambor de madera | (Spanish m.) log drum, split drum |
| Tambores | (Portuguese m. pl., Spanish m. pl.) drums |
| the three drums of candombé , which together are called cuerda, are the tambor piano (large, melody), tambor chico (small, marks the tempo) and tambor repique (medium, improvisation) |
| an even larger drum, called bajo or bombo (very large, accents the fourth beat), once common, is now rarely used |
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| Tambores arará | a set of four or five drums used in African religious rites from tribal groups in the region of today's countries of Togo and Ghana |
| Tambores abacuá | four corner-shaped drums associated with a religious sect in Central Africa |
| Tambores con charchillos | Peruvian drums with vibrating cactus spines underneath |
| Tambores del freno | (Spanish m.) brake drums |
| Tambores yuka | drums of Congolese origin |
| Tambor grande | see 'Venezuelan drums' |
| Tambor grave | (Portuguese) bass drum |
| Tamboril | (Spanish m.) double-headed rope tension drum, with a fine cord, called a bordón, in contact with the lower skin which is free to vibrate as the drum is struck. It is played with a single porra (stick) and often accompanies a three-hole pipe |
| (Catalan) also called tun-tun or arratza, this tabor measures 10"x10". The pipe is called a txistu and the player is called a txistulari (in Navarre, a chunchunerua). In the Basque Country, as in Provençe, the txistulari is the most frequently-encountered folk musician |
| (Catalonian) also tambor or tambori, the smallest of all the tabors, measuring only 3" x 3". The shell can be made of wood or metal, and the stick is short. The pipe-and-tabor player in Catalonia is part of a unique cobla dance band, consisting of 10-11 players, which plays chiefly the Sardana, a local round dance. He plays an introduction on the pipe (called variously a flabiol, flaviol or flubiol), then hits the drum and proceeds to provide the beat for the dance, which can last anywhere from 5 to 45 minutes. While the dancing proceeds, he will occasionally double the melody or even play solos on the pipe. There is little subtlety involved in tamboril playing (the beat is a constant crotchet-quaver-quaver (quarter-eighth-eighth) though it must of course be steady, since it keeps the beat for the band. It is held by a strap that goes through two hoops mounted on the shell. The strap is then placed around the neck and stretched by the forearm, which pushes against the drum, pulling the strap taut |
- Tamboril from which this information has been taken
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| tamborilear | (Spanish) (to) drum. to play the drum, to drum with one's fingers |
| Tamborileo | (Spanish m.) drumming |
| Tamborilero (m.), Timborilera (f.) | (Spanish) drummer |
| Tamborim (s.), Tamborins (pl.) | essentially a small hand held frame drum struck with a small stick or mallet, they are played in samba bateria where, being quite high in pitch, the tamborims, playing similar rhythms to the agogo bells, give punch and shape to the samba, while the surdos and the caixas provide a continuous rhythm. Two different pitches are achieved on the tamborim by pressing the fingers of the hand which is holding the drum, into the skin from the inside. This raises the tension and therefore the pitch for the higher note. The stick can be single-ended, or branch into multiple ends, each stick type producing a different sound. The tamborim section usually has its own director |
| (Portuguese m.) tambourine |
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| Tamborin de Béarn | a string drum |
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| Tamborito | a popular Panamanian folk dance danced by men and women in costume. The tamborito is led by a cantalante, a female lead singer, who is backed by a clapping chorus (the estribillo) that sings four-line stanzas of copla (a lyrical form related to Spanish poetry), as well as three drums |
| Tambor mayor | (Spanish m.) drum major |
| Tambor militar | (Spanish m.) military snare drum, field drum |
| Tamboro | a drum from Mozambique |
| Tambor piano | (Spanish m.) see candombé |
| Tambor repique | (Spanish m.) see candombé |
| Tambor tenor | (Spanish m.) caisse roulante |
| Tambour | (French m., German m.) a drum, a drummer, a revolving door, an embroidery-frame consisting of one hoop fitting inside another |
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| Tamboura | see tambura |
| Tambour à cordes | (French m.) also called Löwenebrull in German, rugghio di leone in Italian and 'string drum' in English, a cylindrical friction drum through which a cord is drawn to produce a 'roaring' sound |
| Tambour à friction | (French m.) friction drum |
| Tambour arabe | see darabukka |
| Tambour basque | (French m.) tambourine |
| Tambour bongo | (French m.) bongo |
| Tambour d'acier | (French m.) steel drum |
| Tambour de basque | (French m.) or tambourin basque, tambourine |
| Tambour de bois | (French m.) log drum, slit drum |
| Tambour de cadre | (French m.) frame drum |
| Tambour d'empire | (French m.) Basler drum |
| Tambour de provence | (French m.) tabor |
| Tambour en bois | (French m.) wood drum |
| Tambouret | (French) tambourine |
| Tambourin | (French m.) a tabor |
| a two-headed drum with a long body, with one of the heads having a snare |
a dance piece played over a rhythmic open 5th drone bass such as would be produced when playing to a string drum, for example, the tambourin de Béarn
[entry corrected by Peter Walker] |
| a Provençal dance |
| (German, French m.) a tambourine |
| Tambourin à cordes | (French m.) a string drum |
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| Tambourinaire | (French) the player who performs at the same time on both pipe (which is called a galoubet) and tabor. There is an extensive folk literature as well as many compositions written for the tambourinaire. Henri Tomasi's Tombeau de Mireille..., is often performed on piccolo and snare drum, but was actually written for a 13-year-old tambourinaire. The 18th-century Paris Opera orchestra had a permanent position for a tambourinaire, due to the large number of pastoral scenes which were included in the operas (also for entertainment at intermission, when possible). This tradition followed well into the 19th-century |
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| Tambourin à main | (French m.) frame drum |
| tambourinant | (French) drumming |
| Tambourin basque | (French m.) or tambour de basque, tambourine |
| Tambourin de Béarn | (French m.) also called tanburia, salterio, ttun-ttun, txun-txun, found infrequently along the border of France & Spain. This is a tabor only in the sense that it is struck rhythmically with a stick. The instrument actually resembles a psaltery or lyre, having 3 - 6 strings - tuned to the tonic and dominant - stretched over a resonating box, something like a guitar or ukelele without a fingerboard |
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| Tambourin de Provence | see tambourin provençale |
| Tambourine | tambourin basque (French), tambour de basque (French), baskische Trommel (German), Schellentrommel (German), Tambourin (German), tamburo basco or tamborino (Italian), pandereta (Spanish) |
| a percussion instrument consisting of a shallow wooden hoop (sometime fitted with small cymbals called 'jingles' or 'jangles') with or without a parchment covering which is struck with the heel of the hand, the whole hand or the finger tips or maybe struck against the player's side or in an orchestral setting with any other beater
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| tambouriner (sur) | (French) to drum (on) |
| Tambourineur | (French) a tambourine player |
| Tambourin provençale | (French m.) the largest of all the tabors, standing 24-30" high, and with a diameter of 14-16". The skins are thin calf on the snare side (which is the side that is struck) and goat on the other. The stick, or massetto, can be up to 16" long is made of three different materials glued together. A thin wooden shank ends with a tip made of ivory or bone. The butt end is made of hard wood and is shaped like an egg. The tambourin should ideally be tuned to the dominant of the key of the musical piece being played. Instruction books stress that it should not sound like a military drum. The sound should instead evoke that made by the evening locust (Fr. cigale), the loosely-tensioned snare providing the "buzz" of the locust. The rhythms played can be quite complex, especially considering the fact that the player is playing the pipe - with different rhythms, of course - at the same time |
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| Tambour major | drum major |
| Tambour militaire | (French m., literally 'military drum') frame-drum, side-drum, Rahmentrommel, tamburo militare |
| Tambour petit | (French m.) piccolo snare drum |
| Tambour roulant | (French m.) a drum of greater length but similar diameter to that of the standard side-drum |
| Tambours de frein | (French m. pl.) brake drums |
| Tambour sur cadre | (French m.) tambourine with jingles |
| Tambourstab | (German m.) drum major's baton |
| Tambú | (Curaçao) sometimes called the 'Curaçao blues' or 'Antillean blues', tambú is considered the predecessor of tumba. It was known as barí on Bonaire. Tambú was originally a syncretic form of Afro-Curaçoan religion, similar to Cuban santeria and Brazilian condomblé and traditionally was sung mostly by women |
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| Tambur | (English, German m.) or tanbur. The word tambur comes from the Arabic tunbur, and it is widely believed that this comes from the Sumerian word pantur, a semispherical stringed instrument with a long stem. Another view is that it comes from the words (tabla, tabl, tabil, tabul etc.) for percussion instruments that have been used since the very earliest times. There is mention in the Hittite civilisation of a stringed instrument called a tibula. It is generally agreed that this was in all probability a long-stemmed stringed instrument. Texts from those times reveal that it was used to accaompany the spoken word and dancing. All of this inevitably leads one to the opinion that the roots of the instrument go back to Hittite and Sumerian times. The word tambur was later used in Iran and central Asia for pear-bodied long-stemmed instruments more closely resembling the baglama. Some instruments today played by the Turks of Asia are called tambura, or dombra etc. Today the tambur, described by European travellers (such as Charles Fonton and Toderini) as a visible reflection of the Turkish musical system with its fret links on the stem, is probably the only instrument solely used in Turkey. The instrument was carried to Europe by migrants, and it is known that it was used in the 12th and 13th centuries before being abandoned |
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| Tambura | originally from Iran, where it is called the pandore, the tambura is an accompanying drone instrument from India. it is a large lute played held upright, with 4-6 strings that are stroked rather than plucked |
| five-string Egyptian lyre, also known as tamburah |
| long-necked fretted lute from Bulgaria, Croatia and other European countries. The Bulgarian tambura comes in two styles: eight-string (four pairs) and four-string (two pairs), played with a plectrum. The Croatian tambura, often called by the diminutive tamburica or tamburitza, is of several types, with anything from three to four strings. The basic forms are samica (three double strings), bisernica (two double strings and two single strings; four notes), prim (one double string and three single strings; four notes), bas-prim or brac (two double strings and two single strings; four notes), celovic (two double strings and two single strings; four notes), celo (four strings), bas or berda (four strings), and bugarija or kontra (one double string and three single strings; four notes). The names of the instruments and method of playing them depends on the tuning of the strings |
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| an alternative name for the tampura or drone lute |
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| Tamburaccio | (Italian) a large drum, a tabor |
| Tamburah | see tambura |
| Tamburasi | performers on the tambura |
| Tambur-cümbüs | see cümbüs |
| Tamburello | (Italian m.) frame drum |
| (Italian m.) tambourine with jingles from southern Italy |
| Tamburello basco | (Italian m.) tambourine, timbrel |
| Tamburello provenzale | (Italian m.) tabor |
| Tamburetto | (Italian m.) frame drum |
| (Italian m.) tambourine with jingles from southern Italy |
| Tamburica | see tamburitza |
| Tamburin | (German n.) tambourine |
| Tamburino | (Italian m.) tambourine, a drummer |
| Tamburino basco | (Italian m.) tambourine |
| Tamburin ohne Schellen | (German n.) tambourine without jingles |
| Tamburino senza cibali | (Italian m.) tambourine without jingles |
| Tamburitza |
| (Croatia) also tambura, tamburica or tamburizza, a family of fretted, steel-stringed lutes, the basic forms of which are: |
| samica | three double strings | three notes |
| bisernica | two double strings and two single strings | four notes |
| in an orchestra with three bisernica, the middle bisernica line was sometimes called kontrasica. Musicians from the region of Srijem called the first bisernica, prim or prima, and the second bisernica, tercprim or tercprima |
| prim | one double string and three single strings | four notes |
bas-prim
brac | two double strings and two single strings | four notes |
| like the bisernica, the bracevi (plural of brac, were also used in sections. The musicians from Srijem call the first brac basprim and the second brac tercbasprim or a basprimterc |
| celovic | two double strings and two single strings | four notes |
| celo | four strings | four notes |
| the various celo-instruments, include the celovic, the celo-brac and the celo |
bugarija
kontra | one double string and three single strings | four notes |
| in an orchestra, the bugarija is used for accompaniment. The musicians from Srijem call this instrument kontra |
bas
berda | four strings | four notes |
| the names and method of playing depend on the tuning of the strings, some of which may be tuned unisonically. Thus, a four-string instrument could have two double courses (tuned g-d, except for the celovic and the third bisernica which are tuned to c-g, but treated as transposing instruments) or have two single strings plus a double course (in which course the standard tuning is g-d-a, again with some instruments tuned differently and treated as transposing instruments) |
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| Tamburitza music | tamburitza (tamburica, diminutive of tambura) music is a form of folk music that involves the Croatian lute and related string instruments. It became popular in the 1800s, and small bands began to form, paralleling similar developments in Russia, Italy and the Ukraine. The main themes of tamburitza songs are the common themes of love and happy village life. Tamburitza music is primarily associated with the northern, Pannonian part of the country |
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| Tamburitza orchestra | tamburasi (tambura musicians) began to form themselves into ensembles in the early 19th-century. Although it is believed that Hungarian Roma were the first to play tamburitza instruments in ensembles, modelled on their famous violin ensembles, the first known ensemble is that of Pajo Kolaric, formed in the Slavonian (eastern Croatian) city of Osijek in 1847. Kolaric's ensemble of six urban tradesmen played a repertoire much like that performed today, Croatian folk songs and kolos (circle dances), folk songs and dances from neighbouring peoples, light classical songs and instrumental pieces, and popular music of the day. A tamburitza orchestra can have various formats, from a tercet to a large orchestra. Modern tamburitza orchestras are composed of instruments that are fretted like guitars and arranged in the standard Sremski/Srijemski tuning system: the small lead prima or bisernica, the alto brac or basprim, the tenor celo, the chordal bugarija or kontra, and the large fretted bas or berde. It is not unusual to find other instruments in a tamburitza orchestra; violin and accordion are most common, but some modern groups also include electric instruments and drums |
- Tambura which includes a considerable amount of information about Tamburitza ensembles
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| Tamburo | (Italian m., German m.) (side-)drum |
| Tamburo a corde | (Italian m.) string drum |
| Tamburo a cornice | (Italian m.) frame drum |
| Tamburo africano | (Italian m.) djembe |
| Tamburo a frizione | (Italian m.) friction drum |
| Tamburo alto | (Italian m.) small drum |
| Tamburo a mano | (Italian m.) hand drum |
| Tamburo arabo | (Italian m.) darabukka |
| Tamburo basco | (Italian m.) tambourine |
| Tamburo d'accaio | (Italian m.) steel drum |
| Tamburo di Basilea | (Italian m.) Basler drum |
| Tamburo di ferro | (Italian m.) steel drum |
| Tamburo di freno | (Italian m.) brake drum |
| Tamburo di latta | (Italian m.) steel drum |
| Tamburo di legno | (Italian m.) wood drum |
| Tamburo di legno a fessura | (Italian m.) slit drum |
| Tamburo grande | (Italian m.) or gran tamburo, bass drum |
| Tamburo grosso | (Italian m.) or gran tamburo, bass drum |
| Tamburo militaire | (Italian m.) snare drum, side drum, frame drum, Rahmentrommel, tambour militaire |
| Tamburone | (Italian) a large, bass drum, cassa granda |
| Tamburo piccolo | (Italian m.) piccolo side drum, piccolo snare drum |
| Tamburo proventiale | (Italian m.) tabor |
| Tamburo rullante | (Italian m.) field drum, tenor drum |
| Tambutica | plucked lute from Yugoslavia |
| Tamigi | (Italian m.) the Thames |
| Tamil | a frame drum from Sri Lanka |
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| Tamis | (French m.) a sieve |
| Tamise | (French f.) the river Thames |
| tamisé | (French) subdued (lighting) |
| tamiser | (French) to sieve |
| tamizar | (Spanish) to sieve, to filter (light), to screen (selection) |
| Tammora | see tammorra |
| Tammorra | or tammora, large Italian tambourine with the drum head made of dried sheep or goat skin |
| Tammorriata | southern Italian traditional songs and dances accompanied by the tammorra tambourine |
| Tammurriate | see tammorriata |
| Tampion | a plug for upper end of an organ pipe |
| Tampo | (Portuguese) table, belly (of a stringed instrument) |
| tampoco | (Spanish) nor, neither, either, not ... either |
| Tampon | (French m.) a plug (cork, etc. for a bottle), a wad, a pad, a stamp (postage), a buffer (train) |
| (French m.) a drumstick |
| Tampón | (Spanish m.) an inkpad |
| tamponare | (Italian) to crash into, to plug |
| Tampone | (Italian m.) a plug, a tampon (medical), a buffer (of a train, etc.) |
| tamponner | (French) to crash into, to stamp (a letter), to dab, to plug (a hole in a wall) |
| Tampura | Indian drone lute, also called tambura |
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| Tam-tam | (Italian m., English, German n., French m.) or 'tamtam', the tam-tam is a relatively flat disc and, unlike the gong, has no knob in the centre. Apart from this it has no definite pitch, unlike a gong which does, although the pitch of different sized tam-tams does vary |
- Tam-tam from which the extract above has been taken
- Gong
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| (French m., Spanish m.) tom-tom |
| Tamunangue, El | an Afro-Venezuelan rural music and dance style from the state of Lara in honour of San Antonio de Padua (also called 'black Anthony'), played on drums, cuatros and quintos |
| Tamure | or, more properly, 'ori Tahiti (literally 'Tahitian dance'), a dance from Micronesia |
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| tan | (Spanish) such, such as, as ... as, so ... (that) |
| Tana | (Italian f.) a den |
| Tanac | see hrvatski tanac |
| Tánaiste | (Irish) the title given to the deputy Prime Minister of the Republic of Ireland |
| Tanban | see paiban |
| Tanbou belè | from Martinique, a single headed barrel drum with a goatskin head, laid on the ground and straddled by the drummer, who uses his heel to change the pitch. The ti bwa are a pair of sticks, used by a second percussionist to play patterns on the side of the drum. Both the transverse-heel drumming and the stick accompaniment are of Central African derivation, and are found elsewhere in former French colonial territories |
| Tanbour | a long-neck fretted lute, this venerable instrument dates back thousands of years, though the instrument in its current form is estimated to be approximately two thousand years old. Its consecration, however, dates back to the 11th century. Consecration is the most appropriate word here, since the great charismatic saint Shah Khoshin, who lived in Lorestan, adopted it for the first time to accompany the hymns at prayer gatherings. From that date forward, the tanbour has remained in Kurdistan and Lorestan and in the tradition of the "Devotees of Truth". A sacred instrument, it is played only with the intention of devotion, whether in a ritualized context or not. Nour Ali (Ostad) Elahi played a tanbour with five strings instead of three (actually three rows of strings), the frets of which were arranged differently, no longer in chromatic order as on a European guitar, but in such fashion as to produce the three-quarter tones of eastern scales |
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| Tanbur | also pandura, tanboura, tambora, mandore, pandore, bandora and bandoer, a general term for various long-necked fretted lutes of the Middle East and Central Asia |
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| Tanda | (Spanish f.) batch, lot, series, course, shift (period of work) |
| Tandariola | (Spanish f., Mexico) noise |
| Tändelei | (German) badinage, playfulness |
| Tändelnd | (German) playfully, in a playful manner |
| Tandem | (French m.) a bicycle for two, a duo (figurative) |
| Tándem | (Spanish m.) a team of two |
| tandencial | (Spanish) tangential |
| tandis que | (French) while |
| tañer | (Spanish) to play (music) |
| tañer campanas | (Spanish) to toll bells, to ring bells |
| Tanfo | (Italian m.) stench |
| Tang | (German m.) seaweed |
| Tangage | (French m.) pitching |
| Tangent | (English, from the Latin, tangere, to touch) a part of a clavichord key that touches the string when the key is pressed down |
| Tangente | (Italian f., German f.) a tangent |
| (German f.) bypass |
| tangente | (Italian) tangent |
| Tangente (s.), Tangenten (pl.) | (Italian f., German f., French f., from the Latin, tangere, to touch) tangent, a part of a clavichord key that touches the string when the key is pressed down |
| Tangentenflügel | (German m.) a piano where the sound is produced not by hammers but by metal tangents strike the strings to produce a sound. However, unlike clavichords, where the key and tangent are at opposite ends of a lever, the action of this instrument uses an intermediate lever to launch the tangent into the string while lifting dampers from the strings, a method similar, but much simpler, to ones used for hammer struck pianos. The tangent piano achieved some success in the latter part of the 18th-century, even if its influence was short-lived and was soon replaced by the fortepiano. Some examples include knee-levers, which controls the dampers, and a moveable action, which enables the tangents to strike a single string instead of both |
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| Tangent piano | Tangentenflügel |
| tangere | (Latin) to touch, to strike |
| tangibile | (Italian) tangible |
| Tango | (Spanish m., Italian m., German m.) also called tango Argentino, the Argentinean samba, a passionate musical style, originating in the streets and brothels of Buenos Aires, Argentina and associated particularly with the compadritos, former gauchos now fallen upon hard times after being forced from the Pampa into the poorest suburban areas of the capital, Buenos Aires. The relationship between the compadritos and the African-Argentine population in the Buenos Aires suburbs gave birth to the tango dance, which started as a result of the compadritos' mockery of the black people's dances with an important difference: the blacks danced separated and the compadritos danced embraced. Diverse historians affirm that the word tango derives from the name (in the slang of the black people) of their dancing places, known as tambos and, later, tangos. It is widely accepted that the new choreography was taken to the brothels by the compadritos before tango music as such really existed. Eventually, music was created to fit this dance, and it is not strange that the rural milonga and the habanera, both in fashion at the time, influenced it. Adaptations to the new dance, combining elements of the rural milonga of the gauchos, the habanera of the European immigrants, and the African-Argentine dances in the melting pot that was Buenos Aires, created a mixture called tango. Tango can be vocal or instrumental with the bandoneón and violin playing a leading role, marked by strong syncopation and dotted rhythmic figures, in simple duple (2/4) time |
| between 1920 and 1955/6, a period called guardia nueva, three different types of tango appeared |
| tango milonga, tango de corte milonga, milonga urbana | Sebastián Piana was the pioneer of the tango milonga with his Milonga Sentimental, composed in 1931, to lyrics by Homero Manzi. A lot of tango milongas were performed in fast tempos, heavily marking the accents, giving them a solid rhythmic character. This could explain a popular confusion where the tango milonga is described as being a "tango in a fast tempo" despite the existence of the slow tango milonga |
| tango romanza | Enrique Delfino (1895-1967) pioneered the tango romanza, when together with Juan Carlos Cobián, he composed Sans souci, whose essential features consisted in it being melodic and musically refined and that the lyric should tells a story, with a beginning, a development and an ending, generally dramatic |
| tango canción | In 1920, Enrique Delfino created the musical pattern for tango canción, by reducing the structure of the instrumental tangos from three sections to two sections, and wrote Milonguita (Esthercita) together with the lyricist and playwright Samuel Linnig |
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| Tango Argentino | (Spanish m.) see tango |
| Tango canción | (Spanish m.) see tango |
| Tango criollo | (Spanish m.) an alternative name for the tango |
| Tango de corte milonga | (Spanish m.) see tango |
| Tango flamenco | (Spanish m.) the only non-dramatic variety of the older flamenco genres, festive in style, with a faster rhythm, unrelated to the Argentinean tango |
| Tango milonga | (Spanish m.) see tango |
| Tango music | traditionally played by an orquesta típica, which often includes violin, piano, guitar, flute, and especially bandoneón. Tango has long been a major part of the music of Argentina |
- Tango from which this extract has been taken
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| Tango nuevo | (Spanish m.) a fusion of jazz and tango |
| Tango Rapanui | (Easter Island) a local tango style characterized by a simple guitar accompaniment instead of the frenetic bandoneón |
| Tango romanza | (Spanish m.) see tango |
| Tangos | a flamenco canté closely related in form and feeling to the rumba. It is often performed as a finale to a tientos |
| Tangu | (China) or tanggu, a barrel-shaped double headed drum used in folk instrumental ensembles and in the accompaniment of traditional theatre |
- Tangu from which this extract has been taken
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| tanguer | (French) to pitch |
| Tanguillos | festive and joyful flamenco style derived from tangos, found in Cádiz |
| Tanguista | (Spanish f.) cabaret girl |
| Tañido | (Spanish m.) sound (play an instrument), toll (ring a bell), ringing |
| Tanière | (French f.) a den |
| Tanist | (from the Irish) the successor apparent to a Celtic chief |
| tanken | (German) to fill up (with petrol), to refuel |
| Tanko bushi | Japanese coal miner's dance. The song tells of a miner, working in the mines and thinking of home in the mountains. The movements mimic those of the miner digging coal, carrying the sacks of coal, holding the head light, and pushing the coal carts |
| Tankstelle | (German f.) petrol station |
| Tankwart | (German m.) petrol pump attendant |
| Tanne | (German f.) a fir (tree) |
| tanné | (French) tanned, weather-beaten |
| Tannebaum | (German m.) a fir tree, a Christmas tree |
| Tannenzpfen | (German m.) fire cone |
| tanner | (French) to tan |
| Tannerin | an electronic instrument named after Paul Tanner, who originated its use in the 1950s. Dr. Tanner's instrument was formerly called an 'electro-theremin'. The Tannerin produces a pure sine wave, variable over three or four octaves. It is played by sliding a knob along the length of the instrument, starting and stopping the tone with a contact switch located on the pitch knob and operated by one's forefinger. The Tannerin has fixed reference points on a dummy keyboard so the musician knows exactly where notes can be found. This instrument features on the Beach Boys' Good Vibrations |
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| Tanpura | a drone instrument, it resembles a sitar except it has no frets. It has four strings tuned to the tonic. The word tanpura (tanpoora) is common in the north, but in southern India it is called tambura, thamboora, thambura or tamboora. The tanpura is known for its very rich sound. There are three main performance styles; the miraj style, the tanjore style and the small instrumental version sometimes called tamburi |
| Tanso | (Korea) an end-blown flute held vertically and in which the player directs the breath onto a flue notch cut into the front edge. It is used as a solo instrument, as well as in chamber music styles and for vocal accompaniment |
- Tanso from which this information has been taken
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| tant | (French) as much, so much |
| Tantán | (Spanish m.) tom-tom, tam-tam |
| Tan tan | a cylindrical hand drum from Brazil that is used in small samba and pagode ensembles. It imitates the big surdo which is played by the famous samba baterias (percussion ensembles), but due to its smaller size the tan tan is not as loud as a surdo and so it is played rarely in big samba schools.
The tan tan is played in a sitting or standing position by one hand beating the drum head whilst the other hand taps the metal or wood body of the drum |
| tant bien que mal | (French) more or less well, moderately |
| tant de | (French) so much (quantity), so many (number) |
| Tante | (French f., German f.) aunt |
| tantear | (Spanish) to estimate, to guess, to size up, to feel, to try out (figurative), to put to the test (figurative) |
| Tanteo | (Spanish m.) estimate, guess, reckoning, rough estimate, sizing up, trial, test, sounding |
| Tantiemen | (German pl.) royalties |
| tantino | (Italian) a very little |
| un tantino (Italian: a little, a little bit) |
| tant mieux | (French) fine, all the better, so much the better |
| Tanto | (Spanish m.) point, so much, a certain amount |
| tanto | (Spanish) so much, so many, odd (for example, fifty odd), so long, so often, |
| (Italian) so much, too much, for example, allegro non tanto meaning 'allegro, but not too much' |
| (Italian) so long, so many, as much, as many, a lot, in any case, so |
| tanto l'uno come l'altro | (Italian) both |
| tanto quanto | (Italian) as much as |
| tantôt | (French) sometimes, this afternoon |
| tant pis | (French) too bad (with the implication that it can't be helped), so much the worse |
| tant que | (French) as long as, as much as |
| Tantra | (Sanskrit) one of the class of Buddhist works of a magical or mystical nature |
| Tantum ergo | a hymn of the Roman Catholic Church sung at the Benediction |
| the title is taken from the opening words Tantum ergo sacramentum Veneremur cernui (Latin: Bending low let us revere so great a sacrament) |
| Tan xian pai zi qu | (Chinese) a popular style of narrative music of the Beijing region |
| Tanz (s.), Tänze (pl.) | (German m.) dance |
| Tanzanian hip hop | |
| Tanzboden | (German m.) dancefloor |
| tanzen | (German) to dance |
| Tänzer (m.), Tänzerin (f.) | (German) dancer, ballerina |
| Tanzkastagnetten | (German f. pl.) hand castanets |
| Tanzkapelle | (German f.) a dance band |
| Tanzkunst | (German f.) the art of dancing, Ausdruckstanz |
| Tanzlied | (German n.) dance-song |
| Tanzlokal | (German n.) dance-hall |
| Tanzkomponist | (German m.) composer of dances, for example Strauß, Labitzky and Lanner |
| Tanzmusik | (German f.) dance music |
| Tanzorchester | (German n.) dance orchestra |
| Tanztheater | (German n.) a term applied from the 1970s to describe a form of modern expressive dance with its roots in Ausdruchstanz, which looked to everyday movements to express personal experiences, and which gained popularity in the 1920s. One of the outstanding exponents of Tanztheater is the German choreographer Pina Bausch and her company Tanztheater Wuppertal Pina Bausch |
| Tanzveranstaltung | (German f.) a dance (a social function) |
| Taogu | small hand-held barrel drum with two beaters attached to the drum by cords |
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| Taoiseach | (Irish, literally 'chieftain') the title given to the Prime Minister of the Republic of Ireland |
| Tap | used before the introduction of pedal mechanisms, a T-shaped handle that allowed the player to speedily adjust the pitch of a hand-tuned kettledrum |
| to select or name (colloquial) |
| see 'tap dance' |
| Tapa | (Spanish f.) top, lid, cap, stopper (bottle), cover (book), heelplate (shoe), head (figurative), appetizer (culinary) |
| Tapa armónica | (Spanish f.) sound board |
| Tapabocas | (Spanish m.) scarf, muffler |
| Tapadera | (Spanish f.) cover, lid, cover (person), front (person) |
| tapado | (Spanish) covered, with the lid on, wrapped, wrapped up, obstructed, clogged, concealed, hidden |
| Tapage | (French m.) a din |
| tapageur (m.), tapageuse (f.) | (French) rowdy, flashy |
| Tapan | or tupan, Bulgarian and Macedonian double-headed barrel drum, 50 to 60 cm in diameter, rope strung that is struck with a beater (kiyak) on one side and a thin stick (osier) on the other. A similar drum is called davul in Turkey |
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| tapar | (Spanish) to cover, to put the lid on, put the top on, to wrap up, to obstruct, to block, to hide, to cover up for somebody |
| tapar los oídos | (Spanish) to put one's fingers in one's ears |
| Taparrabos | (Spanish m.) loincloth, bathing trunks (familar) |
| Tapascharya | penance |
| Tap dance | or 'tap', a dance form in which the performer taps out rhythms and patterns with his or her heels and toes while wearing special shoes with small metal plates called 'taps' affixed to the underside of the heel and toe |
| James McIntyre (d. 1937) and Tom Heath (d. 1938) created the tramp clown characterization in 1874. They portrayed African Americans made homeless by the Civil War. They based their characters on blackface minstrel clowns which is the origin of the white mouth used by tramp clowns. They studied African American culture while attempting to accurately portray it. McIntyre is credited with introducing an African American dance called the 'Buck and Wing' to the American stage, which dance later became known as tap dancing |
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| Tape | (French f.) a slap |
| tape-à-l'oeil | (French) flashy, rowdy |
| Tape deck | see 'tape machine' |
| Tape loop | a continuous loop of tape which produces an 'everlasting' sound effect when played, used for when any long sound is needed (for example, rain or wind) without having to repeat continuously a short effect |
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| Tape mark | a special character or coding, an attached piece of reflective material, or other device that indicates the physical end of recording on a magnetic tape, also known as 'destination warning mark' or 'end-of-tape mark' |
| a special character that divides a file of magnetic tape into sections, usually followed by a record with data describing the particular section of the file, also known as 'control mark.' |
| Tape music | a form of music which began soon after tape recording was invented, as people could now create sounds that were for the first time identical with each performance. Users of this new technology began to develop a new musical ethic around the idea of the created artificial sound; as now music no longer had to be related to live performance of instruments, but now, the recording itself is the performance. Musique concrète made extensive use of magnetic tape, so much that the terms "tape music" and "musique concrete" were sometimes used interchangeably, though, strictly speaking, they are not necessarily the same thing |
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| Tape needle | a special, heavy duty needle with a palm-fitting handle, for sewing with tape |
| taper | (French) to bang, to slap (a child), to touch for money (to try to borrow money), to type (on a typewriter), to beat down (the sun) |
| taper à la machine | (French) to type (on a typewriter) |
| taper dans | (French) to dig into |
| Tape recorder | also called 'tape deck', 'cassette deck' or 'tape machine', any device that records a fluctuating signal by moving a strip of magnetic tape across a tape head, which is a strong electromagnet |
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| taper sur | (French) to thump, to knock (to criticize) |
| Tapete | (German f.) wallpaper |
| Tapetenwechsel | (German m.) change of scene (familiar) |
| tapezieren | (German) to paper, to wallpaper |
| tapfer | (German) brave, bravely |
| Tapferkeit | (German f.) bravery |
| Tapiezierer | (German m.) a paperhanger, a decorator |
| tapi | (French) crouching |
| Tapis | (French m.) a carpet, a rug, baize (on a card table) |
| sur le tapis (French: under discussion, the subject of conversation) |
| Tapis-brosse | (French m.) a doormat |
| Tapis de bain | (French m.) a bath mat |
| Tapis du sol | (French m.) a groundsheet |
| Tapis roulant | (French m.) a conveyor belt |
| tapisser | (French) to (wall)paper, to cover |
| tapisser de | (French) to cover with |
| Tapisserie | (French f.) a tapestry, wallpaper |
| Tapissier (m.), Tapissière | (French) an interior decorator, an upholsterer |
| Tap khayal | a blend of khayal and tappa |
| Tapotement | (French m.) percussion, striking with the edge of the hand (for example, as a part of giving a massage) |
| tapoter | (French) to tap, to pat |
| Tappa | (Italian f.) a stop, a stage (of a journey) |
| Tappa | developed from the folk of songs of camel drivers of Punjab, it is now a semi-art music developed in Punjab, created by Shori Mian - and later evolved into an intricate semi-classical style with bol and taan interwoven |
| tappare | (Italian) to plug, to cork (a bottle) |
| tappare la bocca a ... | (Italian) to shut ... up |
| Tapparella | (Italian f.) (roller) blind (familiar) |
| tappato | (Italian) stopped |
| Tapped harmonics | related to 'tapping', where the fret hand acts as a barre, while the harmonic is tapped with the other hand |
this technique, like tapping itself, was popularized by Eddie van Halen. Tapped harmonics are an extension of the tapping technique. The note is fretted as usual, but instead of striking the string, the string is tapped at one of the frets listed in the natural harmonic list. Do not hold the string down with the tapping hand, just bounce the finger lightly on and off the fret. This technique can be extended by fretting a note, then tapping relative to the fretted note
[taken from the Naruto forum Tabs, chords and sheet music] |
| tappen | (German) to walk hesitantly, to grope |
| tappen nach | (German) to grope for |
| Tappeto | (Italian m.) a carpet, a rug |
| tappezzare | (Italian) to paper, to cover |
| Tappezzeria | (Italian f.) tapestry, wallpaper, upholstery |
| Tappezziere | (Italian m.) an upholsterer |
| Tapping | or 'two-hand hammer-on', a playing technique (generally associated with electric guitar playing, though the technique can be performed on any string instrument) executed by using the fingers of the picking hand to tap the strings against the fingerboard, sounding notes. Stanley Jordan is a jazz guitarist with a spectacular technique involving tapping on the fretboard with both hands at once, capable of playing multiple simultaneous lines and sounding more like a pianist than a guitar player. Despite the popularity of the Stick and other paraphernalia designed to facilitate two-handed tapping, Jordan remains the foremost exponent of the technique as the basis for personal musical expression, rather than just a special effect |
- Tapping from which some of this extract has been taken
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| Tapping bells | term applied in medieval England to the playing of cymbala (bells) by striking them with two mallets |
| Tappo | (Italian m.) a plug, a cork, a short person (familiar) |
| Taqâsîm | or taqsim, solo improvisation in Arab music, a non-metric improvisational fergah. Each nuba contains one taqsim played, by tradition, in a maqam, or mode, which differs from the maqam of the rest of the nuba |
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