Reitertrompete

Ger. n. (ri - ter - trom - pa'-te) relish An obsolete instrument which is referred to in poetry as a clarion. It An old ornament used in harpsichord music. The single relish was was a trumpet with a straight tube indicated by the heavy acute mark: and was about thirty inches long, » the double relish by two such «» these peculiarities gave it a particu- •.-.- or larly clear voice, or by the dots a #v> - --'--note related marks placed over,Vse °f chords, keys or modes interpolation in the the first *•"•" case of two which have so many tones in common and sixte tied cted notes befor direenth e the print hat the it is easy to modulate from one to cipal note, on Written Played other, related keys the adjoining An arbitrary distinction which has oeen established by musicians. All Keys are related, but the term applies degrees of the staff below. In the second, a trill"Writ teng the time value of half havin i to those most closely related, that is, the marked note combined with half naving several chords which are the value of the following notes: the iZV ran " ♦*"• The k^s based on or fifth tone and sub-the dominant or fourth tone of any the «ril Ch°.rds similar to those of scale m that is, and relat, I V?1? related are most closely Played the scales differing doL \?r?- sharp °r flat sh°w the X«e * '?atl0n- • The min°«- keys of shin %£* are, in the same relation widen* {«« re,ation between keys rrcttrcEMrfr* Reminiscenz (re-ml-nis-tsents') Ger. n. between tlf.0p0rtu10n to th« difference Reminiscence: a musical plagiarism, in each nUmber of flats or sharps the borrowing of strains from another composer, 451 432 remote repeating remote ally used at the beginning and end of A term applied to chords, keys, or a movement, or several bars of a modes which have very few tones in movement, that are to be repeatedj common. Opposite of related, the dots on the right hand side of the remote keys bar indicating where the repetition is Keys whose relationship is very to begin, on the left, the end of the distant; having signatures differing repeat. Where dots are used on both greatly in the number of chromatic signs, such as G, the key of one sharp, sides of the bar, it signifies that the precedl^f and F sharp, the key of six sharps; or, F, key of one flat and G flat, the ing and following measures, both, are to be repeated. Attenkey of six flats. It will be noticed t i o n is sometimes *» «g that in position on the keyboard, called to the repeat r if. " j?— these remote keys may be very close; by heavy lines, or a J' Mi* the distance consisting in the difficulty encountered in modulating or changfew segno. measures When only are to abe — " repeated, "— they ing from one to the other through are sometimes marked bis. Repetiintermediate keys. See also key. tions of one measure or of parts of a remotus (re-m5'-tus) Lat. adj. measure were formerly indicated as I Distant; remote; separate. Harfollows: monia remota, open harmony, a chord in which the notes are far apart. SP rempli age (rafi-plis-sazh) Fr. n. ■V or\ Literally, filling; trash: the filling up of a middle or inner parts of a composition, a term frequently used when „y or i the filled-in parts are unnece ary and perhaps invisibly added for the sake of sonority. Sometimes used contemptously; as referring to the work.Vorffl of a novice who has failed to give all of the individual parts of a compos i- ■V „V or \—\-e1 tion special value, but has merely added parts between the ba and soprano as a sort of padding. rendering i The execution of a composition. and are sometimes still so marked in rentree (ran-tra) Fr. n. manuscript. Re-entrance, reappearance, return of a theme or part. Same as the repeat 8 va first meaning of reprise. Repeat an octave higher, repeating