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From the double sign to the end (i.e. return to place in the music designated by the double sign (see D.S. alla coda) and continue to the end of the piece) decelerando Slowing down; decelerating; opposite of accelerando (same as ritardando or rallentando )
A musical piece containing works by different composers Ripieno concerto: padding concert: A form of Baroque concerto with no solo parts Serenata: Serenade: A song or composition in someone's honour. Originally, a musical greeting performed for a lover Soggetto cavato: carved subject: A musical cryptogram, using coded syllables as a basis for ...
An outro (sometimes "outtro", also "extro") is the opposite of an intro. Outro is a blend of out and intro.. The term is typically used only in the realm of popular music.It can refer to the concluding track of an album or to an outro-solo, an instrumental solo (usually a guitar solo) played as the song fades out or until it stops.
In Western musical theory, a cadence (from Latin cadentia 'a falling') is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards. [2] A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. [3]
Anarâškielâ; العربية; Aragonés; Azərbaycanca; বাংলা; Башҡортса; Беларуская; Беларуская (тарашкевіца)
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
In music, a caesura denotes a brief, silent pause, during which metrical time is not counted. Similar to a silent fermata, caesurae are located between notes or measures (before or over bar lines), rather than on notes or rests (as with a fermata). A fermata may be placed over a caesura to indicate a longer pause.
Charles Burkhart suggests that the reason codas are common, even necessary, is that, in the climax of the main body of a piece, a "particularly effortful passage", often an expanded phrase, is often created by "working an idea through to its structural conclusions" and that, after all this momentum is created, a coda is required to "look back" on the main body, allow listeners to "take it all ...