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A fast, lively, or increased tempo, or played or done in such a tempo; [17] it is also an umbrella term for a quick-paced electronic music style ut ( Fr. ) First note of the series ut, re, mi, fa, sol, la, si, in fixed-do solmization
In classical music, tempo is typically indicated with an instruction at the start of a piece ... Vivace – lively and fast (156–176 bpm)
A silent pause in a piece of music Ossia: from o ("or") + sia ("that it be") A secondary passage of music which may be played in place of the original Ostinato: stubborn, obstinate: A repeated motif or phrase in a piece of music Pensato: thought out: A composed imaginary note Ritornello: little return: A recurring passage in a piece of Baroque ...
Canary – Fast, lively dance originating from the Canary Islands, known for its quick, jumping steps. Courante – Elegant French dance in triple meter, often included in Baroque suites. Fandango – Rhythmic Spanish dance. Furlana – Fast Venetian folk dance with lively tempo and rhythm. Galliard – Spirited dance in triple meter.
The third strain is referred to as the "trio". The march tempo of 120 beats or steps per minute was adopted by the Napoleonic army [1] in order to move faster [citation needed]. Since Napoleon planned to occupy the territory he conquered, instead of his soldiers carrying all of their provisions with them, they would live off the land and march ...
The Mazurka (Polish: mazurek) is a Polish musical form based on stylised folk dances in triple meter, usually at a lively tempo, with character defined mostly by the prominent mazur's "strong accents unsystematically placed on the second or third beat". [2]
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.
The composer and music theorist Johann Kirnberger (1776) formalized and refined this idea by instructing the performer to consider the following details in combination when determining the best performance tempo of a piece: the tempo giusto of the meter, the tempo term (Allegro, Adagio, etc., if there is one, at the start of the piece), the ...