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A small form, a beautiful form. imitando che) laIt.voce (Im-i-tan'-do la v5'- 1. A poem of elegant construction, Imitating the voice part: a direction usually dealing with a pastoral or to the instrumental list to imitate the romantic subject. voice. 2. Music set to such a poem. imitation Eng. n. il ba o (el bas'-so) It. imitation 1. The fundamental tone; that on The more(em-e-tas-yon') Fr. n. by or le exact repetition which the chord is built; the lowest note of a chord. one part of a pa age or subject pre- 2. The ba part. viously introduced by another part. This repetition may be pitched at any il color i to (el ko-lo-re'-to) It. interval above or below the original The color: the expre ion used in subject, and at any distance and may dramatic singing to denote the adapt a be performed by any number of voices tion of the performance to the char or instruments. If the imitation exacter represented. actly repeats the subject with regard il ditono con diapente (el de-to'-no kon to intervals the pa age in which it de-a-pen'-te) It. appears is in form a canon. A major seventh: that is, an interval imitation, augmented of eleven half steps. Imitation in which the consequent, «1 Pa o tempo (el pas'-so tem'-po) It. or part that repeats the subject, is # The general term used for a collecwritten in notes twice the length of tion of pieces. light, familiar and entertaining the antecedent or part that introduces the subject. 263 imperfect close implied interval the composition have any other note by the proximity of that note of lower but the keynote of the composition denomination. For instance, when a for the ba it is called an imperfect long, equal to four modern whole close. notes, was followed or preceded by imperfect concords other longs its value was three breves, An imperfect concord is a comb in a each equal to two modern whole tion of two notes, harmonious and notes. When it was preceded or folcomplete in themselves, which can be lowed by a breve its value was only changed from major to minor, that is, two breves. In the same way the value le ened in extent by one-half tone of a breve was reduced by the proximand still remain harmonious and comity of a semi-breve, or modern whole plete, or satisfying to the ear. This note, and that of a semi-breve by term usually applies to intervals of contact with a minim, or modern thirds and sixths and to all concords half note. This reduction in value was or combinations of tones except the called imperfection. intervals of the fourth or the fifth with 2. In a ligature, or connected group the keynote. of notes to be sung to one syllable, in imperfect consonances ancient music, the presence of a breve, A note with its third or its sixth a note equal to two whole notes as is the only combination of two tones the final note of a group. This is ind i which is harmonious and complete in cated by a figura obliqua. itself and the higher note of which, imperfetto (mi-per-fet'-to) It. adj. the third or sixth, can be lowered a Imperfect, in referring to intervals half tone and the combination still and chords le than perfect, or com remain harmonious. plete in themselves. imperfect measure imperiosita (im-pa-n-6-si-ta') It. n. An old term for two-fold measure, Haughtine ; dignity; stateline ; that is, only two beats to a measure. pomposity. The same as binary measure, imperfect period imperioso (im-pa-ri-6'-so) It. adj. A close that is not satisfying to the or Imperious; dignity. It. adj._ haughty; with grandeur ear, more apt to be found at the close of a movement than at the close of a imperturbabile (im-per-to or-ba'-bl-le) piece. Calm, quiet, imperturbability, tran-