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Scan 109
Dictionary Of Music, 1896
81 lines. Read by computer on 12 September 2026. No printed page number was found. See the scan on archive.org.
1F. The name of the fourth note in the natural diatonic scale of C. A perfect fourth above C.
3Fa. A syllable applied in sol-faing to the fourth degree of every scale.
5Fa bémol (fā bā-mōl), Fr. The note Fb.
7Fa-burden. A term applied by the old English musical writers to a certain species of counterpoint, consisting of thirds and sixths added by ear to a cantus firmus. Later it signified any kind of improvised accompaniment. See Falso boruone.
9Faces d’un accord (fās d’ūn āk-kōr), Fr. The various positions of a chord.
11Fach (fākh), Ger. Ranks; thus, fünffach, five ranks.
13Facile (fā-sēl’), Fr. } Light, easy.
14Facile (fā-tshē’lē), It. }
16Facilita (fā-tshē’lī-tā), It. } Facility; an easier
17Facilité (fā-sēl-ī-tā), Fr. } arrangement or adaptation.
19Facilement (fā-sēl-mānh), Fr. } Easily, with
20Facilmente (fā-tshēl-mēn’tē), It. } facility.
22Fackeltanz (fāk’l-tānts), Ger. Dance with flambeaux.
24Facture (fāk-tūr), Fr. The composition, or workmanship, of a piece of music.
26Fa dièse (fā dī-āz), Fr. The key of F#.
28Fa dièse majeur (fā dī-āz’ mā-zhūr’), Fr. The key of F# major.
30Fa dièse mineur (fā dī-āz’ mī-nūr’), Fr. The key of F# minor.
32Fa diesis (fā dē-ā’zīs), It. Fa-sharp. F#.
34Fagott (fā-gōtt’), Ger. A bassoon.
36Fagottino (fā-gōt-tē’nō), It. A small bassoon.
38Fagottist (fā-gōt-tīst’), Ger. } A performer
39Fagottista (fā-gōt-tēs’tā), It. } on the bassoon.
41Fagotto (fā-gōt’tō), It. A bassoon, also an organ-stop.
43Fagotto contro (fā-gōt’tō kōn’trō), It. A large bassoon, an octave, a fifth, or a fourth lower than the common bassoon.
45Fagottone (fā-gōt’tō-nē’), It. A large bassoon formerly in use, an octave lower than the fagotto.
47Fahnenmarsch (fā’nēn-mārsh), Ger. The march or tune that is played when the colors are lodged.
49Faible (fā’bl), Fr. Weak, feeble, thin.
51Faiblement (fā’bl-mānh), Fr. Feebly, weakly.
53Faire (fār), Fr. To do, to execute.
55Faites bien sentir la mélodie (fāt bl-ānh’ sāuh-tēr’ lā mā’lō-dē), Fr. Play the melody very distinctly.
57Fa, la. The burden, chorus, or refrain of many old songs. Fa, la, etc., were much in fashion in the seventeenth century, and are to be found in the works of some eminent composers.
59Falalella (fā-lā-lēl’lā), It. A nonsensical song.
61Fall (fāl), Ger. A cadence.
63Falsa (fāl’sā), It. } False, wrong, inharmonic.
64Falsch (fālsh), Ger. } nious.
66Falsch singen (fālsh sīng’ēn), Ger. To sing out of tune.
68False. Those intonations of the voice that do not truly express the intended intervals are called false, as well as all ill-adjusted combinations. The term false is applied in music to any violation of acknowledged or long-established rules, or to anything imperfect or incorrect.
70False accent. When the accent is removed from the first beat of the bar to the second or fourth, it is called false accent.
72False cadence. An imperfect or interrupted cadence.
74False fifth. An old term for an imperfect or diminished fifth; a fifth containing only six semitones, as C, Gb.
76False relation. The principal and most objectionable kind of false relation arises where a note which has appeared in one part reappears immediately after in another part chromatically altered—i.e., a semitone flattened or sharpened (a). As numerous examples in our best composers show, such progressions have by no means always a bad effect. Another kind of false relation is the occurrence of the tritonus (an augmented fourth or diminished fifth) between the first note of the one and the second note of the other of two progressive parts. Hence the strict prohibition by the old theorists of the progression of two major thirds (b). The practice and teaching of more modern times deals with this matter in a high-handed way.
78(a) (b)
80False triad. The diminished triad, formerly so called on account of its having a false fifth.
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