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One or "a" (indefinite article), as exemplified in the following entries un poco or un peu (Fr.) A little una corda One string (i.e., in piano music, depressing the soft pedal, which alters and reduces the volume of the sound). For most notes in modern pianos, this results in the hammer striking two strings rather than three.
The relative volumes (loudness and softness) in the execution of a piece of music. Music with sudden changes in dynamics can be harder to mix in a live setting. To prevent sudden bursts of high volume, audio engineers can manually "ride the faders" (and rapidly decrease sudden loud parts, or use compression effects. DX-7
Instructs one section to divide into two or more separate sections, each playing a separate part. Often these separate parts are written on the same staff. Oppure: from o ("or") + pure ("also") Informs the player of alternative ways to play a passage. See Ossia. Solo: alone: A piece or performance to be played by a single musician Sole: Group solo
Many classical compositions belong to a numbered series of works of a similar type by the same composer. For example, Beethoven wrote 9 symphonies, 10 violin sonatas, 32 piano sonatas, 5 piano concertos, 16 string quartets, 7 piano trios and other works, all of which are numbered sequentially within their genres and generally referred to by their sequence numbers, keys and opus numbers.
Since the invention of sound recording, a classical piece or popular song may exist as a recording.If music is composed before being performed, music can be performed from memory (the norm for instrumental soloists in concerto performances and singers in opera shows and art song recitals), by reading written musical notation (the norm in large ensembles, such as orchestras, concert bands and ...
Musical improvisation (also known as musical extemporization) is the creative activity of immediate ("in the moment") musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians. [1]
Later in the first movement, the composer specifies that the soloist should play the music that is written out in the score, and not add a cadenza on one's own. Beethoven famously included a cadenza-like solo for oboe in the recapitulation section of the first movement of his Symphony No. 5 .
Since an anacrusis "is an incomplete measure that allows the composition [or section or phrase] to start on a beat other than one," [15] if an anacrusis is present, the first bar after the anacrusis is assigned bar number 1, and Western standards for musical notation often include the recommendation that when a piece of music begins with an ...