subject, counter

In fugue the subject or principal In composing music in several theme is sung by the first voice, and parts, especially in counterpoint, in then taken up by the second as an stead of using a note which is instruanswer, while the first voice becomes mental in changing a di onant to a occupied with another theme which consonant chord, or in preparing for serves as an accompaniment to the a di onant chord, a note either an answer and is called the counter suboctave higher or lower is used, occurring in some other part than the one ject. where it would naturally be expected. subject, principal See also resolution. See principal subject, submediant substitution (sub-sti-tiis-yon) Fr. n. The under mediant, or third tone In piano or organ playing, the of the scale below the keynote, or the change from one finger to another while holding the key first struck. sixth degree of the scale counting up subtonic ward in the regular manner. The third tone above the keynote is called The note immediately below the the mediant, the third tone below the tonic or keynote; it is the seventh sub or under mediant. It is so called degree of the scale, and is commonly because it lies midway between the termed the leading note, or leading keynote or tonic and the fifth tone tone, because it leads into the key called the dominant. The sixth tone note, the latter being the tone the above the keynote is three tones beear naturally expects after hearing the subtonic. low the octave of the keynote, suboctave-coupler succentor (suk-sen'-tor) Lat. n. A mechanism which connects the 1. A istant cantor. See also subcantor and subchanter. keys the interval of an octave lower in pitch with those which are to be 2. Under singer or singer below: played, so that the corresponding the singer of a lower or ba part. succe ion keys are depre ed simultaneously, and a complex tone is produced. The 1. A progre ion: the order in coupled keys may belong to the same which the notes of a melody succeed keyboard or to some other, each other, or progre . In this sense subordinate chords a regular, or conjunct, succe ion, is Attendant chords; chords neither one in which the notes follow each other in the order of the scale to fundamental nor characteristic; all three-tone chords or triads based on which they in belong; a disjunct succes the second, third, sixth and seventh sion is one which the notes follow intervals larger than a degrees of a scale, and all four-tone second.other at each chords, or chords of the seventh, except the dominant chord, and that on 2. This term is also applied^ to a the fifth degree of the scale, sequence, or repetition of similar subprincipal chords, or of melodic figures. See also sequence. A stop in the organ consisting of succe ion, conjunct pipes open at both ends. Their pitch is very low and the stop connects with A progre ion of tones proceeding the pedals. upward or downward through the consecutive degrees of the scale. 524 505 suo loco succe ion, disjunct succe ion, disjunct pa epied, the loure and the pavane. A progre ion of tones proceeding The form has been extended until the upward or downward through other various movements need not be in the than the consecutive degrees of the same key and other than dance forms scale, may be used. The suite is a favorite sudden modulation for orchestral compositions, A sudden change from one key to suite de pieces (swet du pe-es') Fr. n. another remote from the first one, Literally, a series of pieces, hence without using intermediate chords in the suite. more nearly related keys to perpare suivez (swe-va') Fr. v. the ear for the transition. Also called 1. Follow; attend: a direction to the abrupt modulation and formerly, accompanist of a singer or other solo digre ive modulation. ist to take especial care in subordi- Sufflote (so of-fla-te) Ger. n. nating the accompaniment to the solo Perhaps a contraction of Subflote. Another form of Sifflote. See also 2. Also, continue, or go on in a Sifflote. manner similar to the preceding, part. suffocato (so of-fo-ka'-to) It. adj. sujet (sii-zha') Fr. n. Literally, suffocated: damped, muf- The subject or theme of a compos if led, deadened in tone: in singing, tion; a melody or air. Equivalent of stifled or choked as if overcome with sog get to and sug get to (It), grief or other emotion. sul A (sool) It. sufolamento (soo-fo-la-men'-to) It. n. On the A string: a direction in play- A hi ing sound; a whistle; a muring the violin and other instruments mur, played with a bow.