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Relating to music produced by instruments, as opposed to electric or electronic means ad libitum (commonly ad lib; Latin) At liberty (i.e. the speed and manner of execution are left to the performer. It can also mean improvisation.) adagietto Fairly slowly (but faster than adagio) adagio Slowly adagissimo Very, very slowly affannato, affannoso ...
Musical phrasing is the method by which a musician shapes a sequence of notes in a passage of music to allow expression, much like when speaking English a phrase may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as phrases (half of a period).
Eh La Bas is a traditional New Orleans song.Originally it was sung with Cajun lyrics but was later given French lyrics and the common title from the French lyrics. There have been numerous versions, including English lyrics that refer to both the Cajun and French versions, and all employ a call and response.
Ossia (Italian:) is a musical term for an alternative passage which may be played instead of the original passage. The word ossia comes from the Italian for "alternatively" and was originally spelled o sia, meaning "or be it". [1]
Silent, a notation in a part meaning "do not play in this section". By marking "tacet", the arranger does not need to write out the bars of rest, which saves the arranger time and effort. take. In a recording session, a period of playing or singing which is recorded is called a "take". tech
Music from Italy, Germany and England all borrowed this feature of French music, with the difference that the inequality of note values was often notated, since not all performers could be expected to add the notes inégales themselves (though evidence from Georg Muffat and Telemann strongly suggests that German performers would certainly be ...
Musical quotation is the practice of directly quoting another work in a new composition. The quotation may be from the same composer's work (self-referential), or ...
In European art music, the common practice period was the period of about 250 years during which the tonal system was regarded as the only basis for composition. It began when composers' use of the tonal system had clearly superseded earlier systems, and ended when some composers began using significantly modified versions of the tonal system, and began developing other systems as well.