MUSIC. 
sometimes prefixed to dramatic composi- 
tions, without any particular meaning ; the 
term is nearly obsolete with us, though it 
occasionally occurs in novels, &c. 
A saraband is a piece in three-fourth 
time, generally played slow, and in a danc- 
ing stile ; it is nearly the same as our ball 
minuet. 
A fugue is a piece wherein one or more 
subjects always appear to fly in some con- 
spicuous manner, and to be followed by the 
several parts in succession. There are 
single, double, and counter fugues ; the 
latter moving in an opposite direction to the 
others. 
A canon is a fugue which always returns 
to its subject ; so that the several parts per- 
form the same passages in succession : a 
canon may be kept up perpetually. 
A solo is apiece intended for the exercise 
or display of some particular instrument; 
though in its correct sense it is music in one 
part only, yet generally figured basses are 
annexed ; and to a solo concerto, very full 
accompaniments are given; in these we 
usually see the most difficult passages for 
that violin, flute, &c. which leads through- 
out, and which should be supported with 
great delicacy and judgment. 
A duo is a composition intended for two 
voices or instruments ; these are also called 
duets ; when replete with brilliant passages, 
intermixed in the two parts, they are dig- 
nified with the additional term of concu- 
tantes. 
A trio is music composed in three parts, 
either for voices or for instruments ; it is 
also a designation given to a second or al- 
ternate minuet. 
A quatuor, or quartett, is music in four 
parts. 
A quintetto is music in five parts. 
A sutetto is music in six parts. 
An overture is either incidental or periodi- 
cal ; the former relates to those rich pieces, 
for a full orchestra, usually preceding the 
representation of musical entertainments ; 
the latter are intended for the same pur- 
poses, but not for any particular opera, and 
are suitable to grand entertainments, for 
the opening of acts, &c. 
Sinfonia, or symphony, usually relates to 
the few bars of preparation which are played 
as a prelude to songs, &c. to prepare the 
audience, and to give the singer the proper 
pitch for his voice — little symphonies are 
also occasionally interspersed throughout, 
either as graces or as a relief to the singer, 
after exertion especially ; they are,^for the 
same purpose, added after eveiy verse of a 
song. The word sinfonia is synonimous with 
overture when prefixed to a piece of many 
parts. 
A cadenza, or cadence, is that flourish 
made arbitrarily by a vocal performer, or 
by a leading instrument, while the whole of 
the other parts stop, at a pause. The ca- 
dence is quite an ad libitum passage, and 
usually is not written ; the performer being 
left to deviate according to fancy, and 
without restriction as to measure, or to any 
key ; he may modulate to any extent ; but, 
when he closes, must return to that note on 
which the cadence is founded. When ca- 
dences are written, they are never divided 
by bars, like the rest of the measure. 
A march, or marcia, is a military air 
in common time, and in a pompous majestic 
stile. 
A gavot is a moderately lively air in 
common time, commencing with a half bar. 
A caccia, or chase, is usually in six-eighth 
time, in a hunting stile. 
An allemand is a slow dancingair, in com- 
mon time ; in which the parts of the strain 
are always repeated. 
The hornpipe, rigadoon, cotillion, waltz, 
&c. are various kinds of dances, in rather a 
slow time, so as to admit of much grace ; 
while the jig, the reel, the country-dance, 
&c. are more active amusements, and re- 
quire less finish from the dancing master. 
The minuet is a slow dancing air in three- 
fourth time ; but is now out bf use, except 
at court, and formal entertainments. The 
minuets in overtures, &c. arc now generally 
performed quick ; some, indeed, are abso- 
lutely prestos. These have usually trios or 
alternate minuets annexed ; after the per- 
formance of which, the minuet itself is al- 
ways played through without repeats. These 
minuets are not restricted to any number of 
bars ; but the dancing minuet is invariably 
limited to two stanzas or strains of eight bars 
each. 
The rondeau is apiece in which the theme 
is often repeated, and generally forms the 
main burden ; it always ends the piece. 
Recitative is a peculiar mode of reciting 
words set to music in a kind of chant that 
partly allows the sense to be expressed ; 
the accompaniment of a recitative is often 
very rich, though sparingly given, and re- 
quires the greatest judgment to execute 
with propriety. 
Score is the notation of the several vocal 
and instrumental parts of a piece in various 
staves, one under the other, bar for bar ; so 
