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Scan 48
A Cyclopaedic Dictionary of Music, 1908
45 lines. Read by computer on 12 September 2026. Printed page 32. See the scan on archive.org.
1Arpeggio
3(1) If the chord is so written that all its notes could be struck together, it is usual to strike each note rapidly and evenly in succession from the lowest to the highest, and to sustain each note from its percussion to the end of the whole time allotted to the chord:—
5Written. or Played.
7On the pianoforte the pedal may be used to sustain the notes, either with or instead of the fingers.
9When the Arpeggios are separate for each hand they are written thus:
11(2) In extended positions of chords, or when it is necessary to "bring-out" the melody of an arpeggiated passage, one or more of the lower notes must be quitted immediately, and sustained (when desirable) by means of the pedal only:—
13(3) Arpeggiando effects are often indicated by small notes, which are touched lightly and rapidly before the principal note:—
15MENDELSSOHN "Songs without Words," No. 30.
17(4) Organ arpeggios are now usually written out in full, exactly as they should be played:—
19MENDELSSOHN. Organ Sonata, No. 1.
20R.H.
21L.H.
22Ped.
23(See also Abbreviations and Ornaments.)
24Arpeggio'ne. An instrument like a viol da gamba, or small 'cello, with frets on the fingerboard. Invented by Stauffer, Vienna, 1823. Schubert wrote a sonata for it. Its six strings were tuned as follows:—
26Arpicor'do (I.), or Ar'pichord. The harpsichord.
27Arpo'ne (I.). A kind of harp with the strings horizontal instead of vertical. Invented by Barbieri, Palermo, 18th century.
28ARQUIER, Joseph. French opera composer and conductor; 1763-1816.
29Arraché (F.). "Torn;" strongly pizzicato.
30Arrangement (Eng., G. and F. I., Riduzio'ne). (1) The adaptation of a piece for an instrument or voice (or any combination of instruments and voices), for which it was not originally intended; e.g., Liszt's pf. arrangements of Schubert's songs, and Gounod's arrangement of Bach's prelude as a song (Ave Maria) with violin and piano accompaniment. (2) A pf. (or org.) arrangement of orchestral accompts.
31Arranger (F.), Arrangi(e)'ren (G.). To arrange.
32ARRIA'GA, Jean C. de. B. Bilbao, 1808; d. 1826. Precocious violinist and composer, once highly esteemed.
33ARRIE'TA, Don Juan E. 1823-1894. Director, Madrid Conservatorio. Composed Ildegonde and about 40 other operas, &c.
34ARRIGO'NI, Carlo. Florentine lutenist. Visited London, 1732, and (with others) vainly endeavoured to supersede Handel in popular favour.
35Ars Canen'di (L.). The art of singing.
36Ars Com'ponendi (L.). The art of composing.
37Ar'sis (Gk.). The up-beat; the lifting of the hand. (The opposite of Thesis.)
38ARTCHI'BOUSHEFF, N. V. (See Artschibousheff.)
39Art de l'archet (F.). The art of bowing.
40Ar'te (I.). Art.
41ARTEA'GA, Stefano. Spanish Jesuit; d. Paris, 1799. Friend of Padre Martini. Author of a celebrated "History of the Opera in Italy" (1783 and 1785).
42ARTHUR, Alfred. American tenor singer, and composer of operas, Water-Carrier, Adaline, &c. B. 1844.
43Articola're (I.), Articuler (F.), Artikuli(e)'ren (G.). To articulate distinctly.
44Articola'to (I.). Pronounced distinctly.
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