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Habañera -
A Spanish dance rhythm with two beats to the bar. Dah, di-Dah-dah. Probably the best known habañera is 'L'amour est un oiseau rebelle' from Act I of Bizet's Carmen.
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Half-step -
Most easily figured out visually on a keyboard instrument, it is the distance from one key to the very next. C to D-flat, E to F, A-sharp to B, etc. Half-steps are present on all pitched orchestral instruments.
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Half-stick -
Raising the lid of a grand piano only a few inches. The *full stick of most grand pianos has a much smaller stick embedded in it near the hinge. This is used for accompanying, since it cuts back on the amount of sound emitted by the instrument.
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"Hallelujah Chorus" in Messiah -
I remember well one conductor who prefaced a performance of that most famous of all oratorios with a plea to the audience: "Please let us sing 'Hallelujah' alone. We've worked hard on it, so just listen to what we've accomplished!" Amen.
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Händel, Georg Friedrich (1685-1759) -
German-born composer, an exact contemporary of J. S. Bach and Domenico Scarlatti.
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Handel, George Frederick -
The name Händel used when he immigrated to England. Many scholars and publications try to use the version of his name which he would have used in connection with the time and place of an individual piece. Thus in this case the sonatas and harpsichord suite are from his German period and are by Händel, while the arias are from his English period and are by Handel.
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Harmonic block -
One chordal construction (in whatever harmonic language) which remains in place for enough of a time period to seem substantial. Some composers will pit these against each other or move dramatically from one to another 'block'.
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Harmonic minor -
One of two alterations of signature minor. In Harmonic minor the ear's need to hear a half-step from VII to I is satisfied by raising VII a half step.
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Harmonic progressions -
The procession of chords, whether in simple chorales or hymn-tunes or as the underlying basis of complex baroque *counterpoint.
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Harmonic rhythm -
The rhythm with which the harmony changes, as opposed to the rhythm of the actual notes.
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Harmonic series -
A fundamental pitch and the tones which vibrate within it. These latter are also called overtones.They are most precisely described by mathematical ratios, but it is most practical to know the musical distances.
Fundamental to first overtone = octave; from that pitch the next is up a 5th; from there up a 4th (the second octave from the fundamental); a major 3rd; a minor 3rd; a bit less than a minor 3rd; a bit more than a major 2nd (the third octave above the fundamental); a major 2nd, a major 2nd, a minor 2nd (see *Tetrachord). This is pretty much the limit of musical use.
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"Harmonic structure was as dependent on the thematically directed flow of simultaneous melodies vertically passing through each other as on any preconceived progressional plan." -
That mouthful says that in the work in question the harmony, traditionally thought of as vertical, was dependent not on a preconceived series of harmonies, but on the convergence of several melodic lines, traditionally thought of as horizontal, which have as a by-product vertical structures. If that is still too much of a mouthful, give us a call or fax or e-mail and we'll try to explain further.
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Harmonics -
On a stringed instrument harmonics are the vibrations often called overtones. Each string vibrates not only for its full length, but in smaller segments within the larger vibration. These smaller segments produce high pitches. By placing a finger at the right node points a string player can produce these harmonics. Harmonics are high, often higher than the instrument can produce on the fingerboard. They have no vibrato. Their use, other than for pure virtuosic appeal, is to create moods: otherworldliness, bells, whistles, etc.
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Harmonie -
The classical period name for the woodwinds as a group. It was generally considered that the winds provided the harmonie while the strings supplied the melody and busy inner voices. Since the winds were not chromatic at the time, they were less flexible.
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Harmonium -
The old-fashioned pump-organ.
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Harmony -
Chords are built by adding thirds (e.g. A to C). The basic triad (e.g. A-C-E) is often extended to include another (A-C-E-G). But further extensions are clearly possible and can become rather complex to the point of sounding as if two or more *keys are being used.
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Harnoncourt, Nikolaus -
One of the best known exponents of music with instrument built in the manner of whatever the historical period of the music.
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Harp (as less flexible instrument) -
To change from a natural to a flat or sharp requires the movement of a pedal by one of the feet. Thus it is difficult to impossible to suddenly jump from the key of C (no sharps or flats) to the key of E (four sharps) or even A (three sharps).
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Harp (Retention of sound) -
Due to the lack of any mechanism to stop the vibration of the strings, the sound continues until it either dies out of its own accord or until the player touches the vibrating strings with the flat palm of the hands.
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Harpsichord -
A keyboard instrument dating from about 1400 and continuing in popularity through the 18th century. The original title page of Beethoven's "Moonlight" sonata says "For pianoforte (or harpsichord)".It is a mechanical harp (thus the name) in which the pressing of a key causes a plectrum to pluck a string. Loud and soft are not able to be shaded, since they are caused by how far under the string the plectrum is placed, and that is not adjustable while playing.
A harpsichord, since it does not have a cast-iron plate like a modern piano to keep the body rigid, is prey to the expansion and contraction of its wood in heat and particularly in humidity. This, of course, affects the tuning. That is why harpsichordist are often seen tuning during intermissions.
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Haydn, Michael -
the younger brother of Franz Joseph.
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Head voice -
The high part of a singer's voice, which vibrates primarily in the head.
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Heckelphone -
The bass oboe.
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Heidenröslein (Little rose on the heath) -
A song by Schubert on a Goethe text.The words bear a political meaning which was apparently intended by Goethe to be a warning to the more ambitious political powers of Europe: beware of which little German state they pick on. Those big boys wandering over the continental "heath," he suggests, might find themselves stuck when they try to pluck some of the littler principalities.
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Heldentenor -
Literally, 'heroic tenor'. It is a term most often used for Florestan, the Beethoven 9th, which uses the word Held (hero) in the tenor solo, and the Wagnerian tenor roles.
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Hemiola -
Occurs when the music sounds as if it's in two beats, but is really in three, or the other way around. It is common in baroque phrase endings. While the technique is fairly common, Beethoven, Brahms, and Dvorák had particular affinities for it. The term is also used for two beats taking place in the same time period as three beats.
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Heterophony -
A melody is outlined by several players with small notes or rhythmic differences interpolated. It is typical of many folk musics.
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Hob. XV:17 -
Hoboken, the last name of the scholar who cataloged Haydn's music. Since his catalog is not strictly chronological, the Roman and Arabic numbers indicate various forms of music and numbers within each formal group. I, for instance, is symphonies; so I:32 would be the 32nd symphony.
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Hocket -
One voice finishes a phrase another has begun, often supplying only the final note of the other's line.
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Hogarth, William -
18th century British artist who painted scenes from John Gay's The Beggar's Opera as well as other works which he called 'pictured morality.' His series of drawings, The Rake's Progress, became, under the same title, the source for Stravinsky's neo-classic opera. Others of his 'morality' pictures included Marriage a la Mode.
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Homophonic -
A melody with chordal accompaniment.
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Homorhythm -
All play the same rhythm at all times.
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Horizontal -
Notation of music moves horizontally when describing its temporal procession.
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Horn Trio -
Violin, horn, and piano. "The Horn Trio" without further qualification means the one by Brahms, one of the masterworks of the chamber literature.
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House seats -
A theater will often save seats in case VIPs of some sort arrive at the last minute. Sometimes these seats go unclaimed and thus even a well-filled hall with have the odd empty row.
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How it means -
The distinction made by the late New Jersey poet John Ciardi (still has the best translation of Dante) is that there are only so many simply stated meanings one can have. So the real issue in discovering the artistic merit is not what the meaning is but how the meaning is conveyed. In fact, the real meaning is the how, not the what. It is quite possible to enjoy Richard Strauss' Don Quixote without knowing the story. All it really takes is knowing it is a theme and variations. One finds out the 'how' first, then hangs the 'what' on to it.
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Hunting topic -
The use of harmonic series pitches only. This is something which a valveless horn must use, and thus when two instruments use the characteristic horn notes, it now means 'hunting horns', even when played by other instruments.
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Hymn-tune -
There is a distinction between a 'hymn' and its 'hymn-tune'. The 'hymn' is the words only, so obviously the 'hymn-tune' is the melody used to sing the hymn.
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Hypo-ionian -
The pitches from G to G but with the final tone being C.
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Hypo-mixolydian -
The pitches from D to D but with the final tone being G.
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I-V-I-V -
Roman numbers always indicate the number of a pitch within a scale. Thus I-V-I is step one, step five, step one. These two tones are the basis of tonal music, their importance being derived from the overtone series. There we have the fundamental (I), and octave above the fundamental (I) another pitch (which eventually we described as V) and three octaves above the fundamental. This movement from the other pitch (V) up to I evolved into the driving force behind tonal music.
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Idée fixe -
A repeated melody or motive within a programmatic work. At every repetition it is meant to convey a particular meaning which is the same each time. The first composer to use the technique was Hector Berlioz, who coined the term in connection to his Symphonie fantastique. It subsequently became the Leitmotif (leading motive) of Wagner.
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"... if the soloist could hear the orchestra" -
This may seem a strange idea, for the orchestra is usually right in the soloist's ear. But there are some stages where the sound seems to disappear, probably upward, leaving the performer wondering what's going on even very close by.
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Imitation -
When different voices or instruments imitate each other, often overlapping. A simple example of this is a round like 'Row, row, row your boat' where each singer imitates what has come before. But more complex styles involve the imitation of small motives and repetitions of the melodic shape but not the same pitches.
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Impressionism, impressionist -
The musical equivalent of the art genre in which gesture and color are more important than photographic exactness. In music the harmonies of Debussy with their added tones just for color and the often small motives which support larger structures are fine examples of impressionism. The style can be said to run from about 1900 to the 1930s with Respighi's tone pictures.
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Improvisation -
Making up the music on the spot, without writing it out. Some times a known tune or piece is the basis for the new invention. Organists and jazz performers are currently the most usual practitioners.
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Improvisational imperatives of baroque music -
It was understood that many elements of baroque music would be made up on the spot by the players: harmonic filler in the continuo harpsichord or organ, elaborate embellishments of the written melodic line in solo sonatas and concertos, extra material to be inserted at a *fermata, and *cadenzas. It was also considered a measure of musicality to be able to improvise solo music at the drop of a hat.
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In the staff -
Notes in the staff are in mid-range, sounding at neither extreme.
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Incidental music -
Intended to accompany a dramatic production for stage or screen.
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Incomplete Symphony No. 10 (by Mahler) -
The work was fully sketched by Mahler before his death, and has been convincingly completed by Deryck Cooke, among others, but this movement is the only one that Mahler himself fully fleshed out and orchestrated.
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Independently important wind writing of both Haydn and Beethoven -
One of the things which makes the orchestra writing of Haydn and Beethoven (and Mozart as well) stand out is their writing for wind instruments. It is far more interesting and imaginative than that of their lesser contemporaries.
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Inner circle -
Actually the half-circle of first-stand string players sitting in front of the conductor.
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Inner voices -
The music which lies between the bass-line and the top-most melodic material.
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Intermezzo -
1) A light work interpolated between acts or scenes of a more serious dramatic work.
2) A short work, usually for piano solo. Brahms composed many, and while short, they are often not light, but some of his deepest expressions.
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Intervals -
The distances between pitches. They are described by a numbering of pitch letter names. Thus from A to B is a second, A to C a third, and so forth through the seven letters. Further refinements are introduced having to do with what version of each letter is used. Thus A to B-flat is a minor (small) second and A to B natural is a major (large) second. A to C is a minor third and A to C-sharp is a major third. *Open intervals of *unison, fourth, fifth, and *octave cannot be *major or *minor, but only *perfect or *diminished or *augmented.
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Intonation (1) -
Being exactly on pitch or in tune or not.
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Intonation (2) -
A vocal or instrumental introduction for the purpose of giving a pitch to singers. It is an old practice, which has a tradition of being used in Bethlehem, Pa., at the Bach Festival to start the B minor Mass Kyrie and Credo. A choral is played by trombone choir from the tower of the performance site. As they play the final chord, the Bach Choir begins the Kyrie (and after intermission, the Credo). It is a solution rarely used by other organizations.
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Invention -
A piece, usually *contrapuntal, for very few voices or parts, which is entirely constructed (invented) from very limited motives. Most famous are Bach's for two and three voices. Though not very contrapuntal, Debussy's Preludes are considered to have certain elements of the Invention about them because of their extremely limited motives used to create something much larger.
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Invert, inversion -
1) Turn a motive or melody upside down. If the original goes up a third, its inversion will go down a third.
2) In a chord, inverting is to place the *root someplace other than the bottom.
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Ionian mode -
One of the early church modes, characterized by half-steps between steps three and four, and steps seven and one. This can be played on the white keys of a piano by starting and ending on C. It is the same as the majorscale.
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Ivesian -
Refers to Charles Ives, the American composer whose music often uses quotes from a wide variety of sources in close juxtaposition. In fact his music is often like a photographic double-exposure musically describing multiple events simultaneously.