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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) deciso Firm declamando Solemn, expressive, impassioned decrescendo (decresc.)
"Slowly but steadily." Comes before other terms; e.g. poco a poco crescendo ("increasing little by little") ma non tanto: but not so much: Comes after other terms; e.g. adagio ma non tanto ("not quite at ease") ma non troppo: but not too much: Comes after other terms; e.g. allegro ma non troppo ("not too joyful") Meno: less
In music, the dynamics of a piece are the variation in loudness between notes or phrases.Dynamics are indicated by specific musical notation, often in some detail.However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volume between pieces or even sections of one piece.
Move over, Wordle, Connections and Mini Crossword—there's a new NYT word game in town! The New York Times' recent game, "Strands," is becoming more and more popular as another daily activity ...
In music, an accent is an emphasis, stress, or stronger attack placed on a particular note or set of notes, or chord, either because of its context or specifically indicated by an accent mark. Accents contribute to the articulation and prosody of a performance of a musical phrase.
- Hints, Clues and Answers to the NYT's 'Mini Crossword' Puzzle. Show comments. Advertisement. Advertisement. In Other News. Finance. Finance. GOBankingRates. The 50 best places to buy a home for ...
In music, a glissando (Italian: [ɡlisˈsando]; plural: glissandi, abbreviated gliss.) is a glide from one pitch to another (Play ⓘ). It is an Italianized musical term derived from the French glisser, "to glide". In some contexts, it is equivalent to portamento, which is a continuous, seamless glide between notes. In other contexts, it refers ...
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 ...