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Scan 109
Dictionary of Music, Pronouncing and Defining, 1925
77 lines. Read by computer on 10 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.
3F3. 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 bordone.
9Faces d'un accord (fās d'ūn äk-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. Facility; an easier arrangement or adaptation.
16Facilement (fā-sēl-mānh), Fr. Easily, with facility.
17Facilmente (fā-tshēl-měn'tē), It. facility.
19Fackeltanz (fāk'l-tānts), Ger. Dance with flambeaux.
21Facture (fāk-tūr), Fr. The composition, or workmanship, of a piece of music.
23Fa dièse (fā dī-āz), Fr. The key of F#.
25Fa dièse majeur (fā dī-āz' mā-zhūr'), Fr. The key of F# major.
27Fa dièse mineur (fā dī-āz' mī-nūr'), Fr. The key of F# minor.
29Fa diesis (fā dē-ā'zīs), It. Fa-sharp. F#.
31Fagott (fā-gōtt'), Ger. A bassoon.
33Fagottino (fā-gōt-tē'nō), It. A small bassoon.
35Fagottist (fā-gōt-tīst'), Ger. A performer on the bassoon.
37Fagottista (fā-gōt-tē'stā), It. A bassoon, also an organ-stop.
39Fagotto contro (fā-gōt'tō kōn'trō), It. A large bassoon, an octave, a fifth, or a fourth lower than the common bassoon.
41Fagottone (fā-gōt'tō-nē), It. A large bassoon formerly in use, an octave lower than the fagotto.
43Fahnenmarsch (fā'něn-märsh), Ger. The march or tune that is played when the colors are lodged.
45Faible (fā'bl), Fr. Weak, feeble, thin.
47Faiblement (fā'bl-mānh), Fr. Feebly, weakly.
49Faire (fār), Fr. To do, to execute.
51Faites bien sentir la mélodie (fāt bī-ānh'sānh-tēr' lā mā/lō-dē), Fr. Play the melody very distinctly.
53Fa, 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.
55Falalella (fā-lā-lēl'lā), It. A nonsensical song.
57Fall (fāl), Ger. A cadence.
59Falsa (fāl'sā), It. False, wrong, inharmonic.
60Falsch (fālsh), Ger. False, wrong, inharmonic.
62Falsch singen (fālsh sing'ēn), Ger. To sing out of tune.
64False. 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.
66False accent. When the accent is removed from the first beat of the bar to the second or fourth, it is called false accent.
68False cadence. An imperfect or interrupted cadence.
70False fifth. An old term for an imperfect or diminished fifth; a fifth containing only six semitones, as C, Gb.
72False 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.
74(a) (b)
76False triad. The diminished triad, formerly so called on account of its having a false fifth.
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