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In orchestral music unison can mean the simultaneous playing of a note (or a series of notes constituting a melody) by different instruments, either at the same pitch; or in a different octave, for example, cello and double bass (all'unisono). Typically a section string player plays unison with the rest of the section.
In instrumental music, a style of playing that imitates the way the human voice might express the music, with a measured tempo and flexible legato. cantilena a vocal melody or instrumental passage in a smooth, lyrical style canto Chorus; choral; chant cantus mensuratus or cantus figuratus (Lat.) Meaning respectively "measured song" or "figured ...
Literal translation Definition Lacuna: gap: 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
This glossary includes terms for musical instruments, playing or singing techniques, amplifiers, effects units, sound reinforcement equipment, and recording gear and techniques which are widely used in jazz and popular music. Most of the terms are in English, but in some cases, terms from other languages are encountered (e.g. to do an "encore ...
A unison is considered a harmonic interval, just like a fifth or a third, but is unique in that it is two identical notes produced together. The unison, as a component of harmony, is important, especially in orchestration. [21] In pop music, unison singing is usually called doubling, a technique The Beatles used
Tutti is an Italian word literally meaning all or together and is used as a musical term, for the whole orchestra as opposed to the soloist. It is applied similarly to choral music, where the whole section or choir is called to sing. [ 1 ]
Renaming of tunes occurs from time to time, when a tune is chosen to be printed in a hymnal. When chorales were introduced in England during the eighteenth century, these tunes were sometimes given English-style tune names. The Ravenscroft Psalter of 1621 was the first English book which specified, by name, which tune should set each text.
Spem in alium (Latin for "Hope in any other") is a 40-part Renaissance motet by Thomas Tallis, composed in c. 1570 for eight choirs of five voices each.It is considered by some critics to be the greatest piece of English early music.