concentus

the Lat.(kon-sen'-tus) Eng. n. from 1. Sounds blending harmoniously concert ate mes'-sa) me a It. (kon - cher - ta' - te together, harmonious music, sym- A concerted ma : a ma for phony. several voices or instruments. 2. A general name for music of concert a to more than one part. and adj.(kon-cher-ta'-to) It. part, concert Music played in an irregular and 1. The earliest meaning was, a impromptu style. Also equivalent to union of various instruments playing concertante. in concert to one tune, then a set of concerted the different instruments of one As used in concerted music: music family playing together. in which several parts are performed 2. The modern meaning is a per at once, in contrast to solo music, form ance by capable musicians of a where only one part is heard at a varied and miscellaneous program. time. concert (kofi-sar) Fr. n. concerted madrigal A concert, also, a concerto, or An accompanied madrigal. elaborate composition for solo concerted music instrument, commonly with orches- Music written in parts _to be pertral accompaniment. formed by two or more instruments concert grand pianoforte or voices, as trios, quartets, sextets. A grand piano of the largest size. concertina concert pitch An improved accordion. A port- The pitch adopted by general conable wind instrument invented by sent for some chosen note from Profe or Wheat stone and patented by which all the other notes are tuned. him in 1829. It is hexagonal in shape This is not really any definite pitch and has bellows of varying number but is the one adopted by various of folds closed at the end by key manufacturers because it is calcuboards. There are treble, tenor, ba lated to show off their instruments, and double ba concertinas varying and is very high. The French nor in size and shape. The treble conmal pitch is now generally adopted certina is double action, that is, it as concert pitch and is 435 double produces the same note both on drawing and pre ing the bellows, vibrations per second, for a', A in and it has a compa of four octaves the second space of the treble staff. 147 128 concertina concerto from G on the third space below the strumental composition for the dis treble staff to G on the fourth line play of one, sometimes of several solo above. It is capable of much variety instruments, almost always accomof tone and can be played with great panied by orchestra. Originally the expre ion and with complete effects term was applied to almost any kind of holding the notes and of playing of concerted music, and in 1602 them shortly and crisply. Music Viadana applied it to motets having written for violin, flute and oboe can organ accompaniment. Torelli is be played on it without alteration, considered the inventor of the instrubut music written especially for it can mental concerto owing to his con be played only on organ or harcerted pieces for two violins and monium. The tenor, ba and double ba o published in 1686. In the time ba instruments are single action, of Bach and Handel it was much that is, produce sounds by pre ing freer in form and much like our the bellows only. They can play suites. The modern form of the contenor, ba and double ba parts certo is probably due to Mozart. His without alteration and have a com concertos usually begin with a paspa as follows: tenor, from B on the sage for the whole orchestra contain second added space below the treble ing the principal subjects and usually staff to C on the third line above; the second subjects and ending in ba , from C on the second line below the original key. This is followed by the ba staff to C on the third line the solo instrument sometimes with above the treble staff; double ba , a brilliant introduction sometimes at from C on the second line below the once with the chief subject. A repeba staff to E on the third space of titi on of the first orchestral pa age that staff. The keys producing the with modifications now follows for sounds on these instruments connect both solo and orchestra. The second with metal reeds in the two ends of subject is now introduced followed the bellows, which are worked by the by a brilliant ending of the first solo. wrists, while the fingers are free to A short pa age for orchestra follows, pre the keys. leading up to the second solo which concertino (kon-cher-te'-no) It. after a number of modulations goes A short concerto. The leading back to the original key. The prininstruments, as violin concertino, the cipal subject is now repeated by the principal violin. The principal part orchestral pa age which brings the in a concerto or other piece for full first movement to a close. In older orchestra. This name is sometimes concertos a pause is made near the given the first violin part in which end of this last orchestral pa age to begin the other independent parts. admit of a cadenza by the soloist. concerti ren (kon-tser-te'-ren) Ger. v. The second movement might be an 1. To concert; to devise. andante, an adagio, larghetto or any 2. To harmonize or agree in sound. slow movement and sometimes it was 3. Movements played by one per the variation form. The solo parts former to each part in which each in this slow movement were usually instrument or voice in turn takes the very florid in character and a cadenza principal part. was sometimes introduced at the end concert ist a (kon-cher-tis'-ta) It. n. of this movement, but if it appeared, A virtuoso, a solo player: one who was much shorter than that in the plays in concerts. first movement. The third movement Concertmeister (kon - tsert'- mis - ter) was usually in rondo form. Some- Ger. n. times in form of variations and occa- Concert-master. In an orchestra, sionally the rondo was subject to com the leader of the first violins, who plete change of tempo. A short sits next to the conductor and makes cadenza finale. was usually introduced in the known his wishes to the others. He is second in importance to the con- In Beethoven's concertos we find duct or, whose lieutenant he is. Upon the orchestra of greater importance, him depend, to a great extent, the the second and third movements were attack, the time and the shades of often connected and the introductory expre ion in the playing. orchestral pa age usually shortened, also the cadenza in the first move concerto (kon-cher'-to) It. n. ment is written out in full instead cf Concert harmony. A form of in- 148 129 conducting concerto form ance in concert. Also written being improvised or composed by the Konzertstuck. performer. In the modern concerto, adj. (kon-chl-ta'-to) It. part, and concitato the lines of Beethoven's concertos are usually followed, the introductory Moved, stirred, excited, agitated, orchestral pa age being short and disturbed. the cadenza near the end of the first movement written out, and sometimes conclusione (kon-kloo-zi-o'-ne) It. n. the tempo quickened. Various other The conclusion, the end: the wind modifications have been made but ing up of a movement or piece, none of them are typical. concord Concertos for two solo instruments A harmonious or pleasing and sat is are known as double concertos, those fying arrangement of sounds. for three, triple, and so on. Occaconcordabiks adv. (kon-kor-da'-bi-lis) Lat. sionally concertos are written with four movements but this is not a usual Easily. Harmoniously. form. Abbr. cto. and adj. (kon-kor'-dant) Eng. n. concordant