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pantomime

Although a pantomime in Britain has come to indicate a children's Christmas entertainment, making use of traditional and topical elements in a mixture of fairy-story, comic routine and popular song, the word originally indicated a performance entirely in mime, in this sense having a long history. In this second and original sense pantomime is sometimes found as part of a descriptive title of a musical work or part of a work originally so intended.

parallel chords

The movement of specific chords or chord combinations up and down the scale.

parallel intervals

The movement in two or more parts of the same interval in the same direction.

parallel keys

Major and minor keys having the same tonic note.

parallel motion

The movement in two or more parts in the same direction with the same intervallic separation.

partial

Either the fundamental or an overtone in the harmonic series.

partita

A set of variations. A suite.

part song

An unaccompanied homophonic song for three or more voices.

passacaglia

The passacaglia is a baroque dance variation form on a short melodic formula usually occurring in the bass. It is similar in form to the chaconne, in which a recurrent bass pattern forms the basis of the composition, implying a recurrent harmonic progression. The two forms are sometimes confused by composers. Famous examples of the passacaglia include Johann Sebastian Bach's C minor Passacaglia for the organ. Something of the form appears in the last movement of the Fourth Symphony of Brahms, and passacaglias occur in Berg's opera Wozzeck and in Britten's opera Peter Grimes.

passion

The four accounts of the suffering and death of Christ, as given in the first four books of the New Testament, were customarily sung during the Catholic rites of Holy Week to plainchant, with a division of parts where direct speech is involved. It became customary in the 15th century to allow the singing of the parts of the crowd (= Latin: turba) in the biblical narrative in polyphonic settings, with a gradual extension of the polyphonic element in the next century. The best known settings of the Passion are the surviving Lutheran settings by Johann Sebastian Bach of the accounts of the Passion in the Gospels of St. Matthew and of St. John.

pastorale

Pastorale is a musical expression of a genre familiar in European literature from Hellenistic times or earlier, an idealisation of the rural, in literary form, in the lives and loves (often fatal) of shepherds and shepherdesses, and then, by extension, of the country in general. The word may be used as the title of a piece of music suggesting a rural idyll. In Italy it was associated particularly with the dance-form, the Siciliano, used to suggest the scene of shepherds in the fields near Bethlehem at the birth of Christ. Such pastoral movements formed part of the Christmas concertos of Corelli and his contemporaries and imitators. Adjectivally used, the Pastoral Symphony of Beethoven, in true Wordsworthian fashion, offers emotions experienced on a visit to the country, recollected in what passed for tranquillity in his life.

Pavan

The pavan (= French: pavane), a stately duple metre dance of the 16th and early 17th centuries, appears in various English spellings, paven, pavin and other forms. Coupled with the quicker triple metre galliard, it was among the most popular dances of the time. The origin of the word is attributed either to the Italian town of Padua or to the peacock (= Italian: pavone). Well known examples include the English composer John Dowland's Lachrimae, or Seaven Teares Figured in Seaven Passionate Pavans or Ravel's nostalgic Pavane pour une infante dfunte, (Pavan for a Dead Infanta).

pentatonic

The pentatonic or five-note scale is formed by the black notes of the keyboard, or the white notes C, D, E, G and A - two whole tones, a minor third and a whole tone. This form of scale is the basis of folk melodies in many countries, from China to Scotland, and occasionally occurs, in passing at least, in the work of 20th century composers. It is an important element in the educational music of Carl Orff and in the choral method of the Hungarian composer Zoltn Kodly.

percussion

The percussion section of the orchestra includes all instruments that are played by being struck, including the piano and celesta. Originally consisting of a pair of kettledrums or timpani, appearing normally with a pair of trumpets, in the orchestra of the later 18th century, a military importation, the percussion section was significantly enlarged with the allegedly Turkish fashion of the later 18th century, involving the occasional use of bass drum, cymbals and triangle in an imitation of the Janissary band. Liszt shocked audiences by including a triangle in the orchestration of a piano concerto, dubbed a triangle concerto by a hostile critic, and gradually other percussion instruments were added for occasional effects, including even, by Erik Satie, the typewriter.

perfect pitch

The ability to hear and identify a given note without any musical or tonal support.

performance practice

Performance practice or performing practice (= German: Aufführungspraxis) indicates the attempt to perform music in the way envisaged originally by the composer. The second half of the 20th century has brought a significant interest in musicology and the technology and scholarship necessary to the construction of copies of earlier instruments and to the study of methods of performance on these instruments. The study of performing practice extends from the study of music of the earliest periods to that of relatively recent periods of the 19th and early 20th centuries.

period

A musical statement, made up of two or more phrases, and a cadence.

Philharmonic

The adjective Philharmonic and noun Philharmonia are generally used as adopted titles by orchestras or by music-loving societies of one sort or another. The words have no other technical meaning.

phrase

A musical idea; a natural unit of a melodic line.

Phrygian

A medieval mode, starting on the third degree of the diatonic scale, whose half steps fall between the first and second degrees and

fifth and sixth degrees.

piano

Piano (Italian: soft) is generally represented by the letter p in directions to performers. Pianissimo, represented by pp, means very soft. Addition of further letters p indicates greater degrees of softness, as in Tchaikovsky's Sixth Symphony, where an excessive pppppp is used.

pianoforte

The pianoforte, known generally as the piano, was developed during the 18th century. A keyboard instrument, it is distinguished from the harpsichord by its hammer action, with hammers striking the strings when keys are depressed. Dynamic change is possible by applying more or less force to the keys. The instrument underwent a number of technical changes during the century and in the years following became the most popular instrument of domestic entertainment.

piano trio

Piano trio, piano quartet and piano quintet indicate works for the piano with varying numbers of string instruments. The piano trio is scored for piano, violin and cello, the piano quartet for piano, violin, viola and cello, and the piano quintet for piano, two violins, viola and cello.

Piccolo

The piccolo (Italian: small) is the small flute, pitched an octave higher than the ordinary flute. Adjectivally the word may be applied to other instruments or groups, as in coro piccolo, small chorus. The violino piccolo, a smaller violin, is used by Johann Sebastian Bach in the first Brandenburg Concerto, where it is to be tuned a third higher.

pitch

The pitch of a note is the frequency of its vibrations. The exact pitch of notes has varied over the years and nowadays differs to some extent between continent and continent or even between orchestra and orchestra. Earlier pitches were generally lower, but not necessarily standardised. Perfect pitch is the ability to distinguish the pitch of a note, according to generally accepted nomenclature. Relative pitch is the ability to distinguish the pitch of one note with relation to another, given note.

piu

Più (Italian: more) is found in directions to performers, as in più forte, louder, or più lento, slower.

pizzicato

Pizzicato (Italian: plucked) is a direction to performers on string instruments to pluck the strings. A return to the use of the bow is indicated by the word 'arco', bow. Pizzicato notes on the violin, viola and cello are normally plucked with the index finger of the right hand. The great violinist Paganini, however, introduced the technique of left-hand pizzicato for occasional use, notably in one of the variations of his 24th Caprice, where it produces a very special effect.

plainchant, plainsong

A monophonic chant, unmeasured and unaccompanied.

poco

Poco (Italian: little) is found in directions to performers, as in poco allegro, although un poco allegro, a little fast, would be more accurate. Poco, in fact, is commonly used meaning un poco, a little.

polacca

Polacca, Polish, appears often in the phrase Alla polacca, in the Polish manner, as in the last movement of the first Brandenburg Concerto of Johann Sebastian Bach.

polka

The polka, a Bohemian dance, became one of the most popular ball-room dances of the 19th century, its title a possible reference to Poland. It is used by Smetana in his Czech opera The Bartered Bride and elsewhere and in William Walton's jeu d'esprit Faade.

polonaise

A stately Polish dance in moderate triple time, often with a repeated rhythmic pattern.

polychoral

A style in which an ensemble is divided into groups that may perform individually, alternately, or together.

polyphony

Music that combines two or more melodic lines simultaneously.

post horn

The post horn is a relatively simple kind of horn once played by postilions as a signal of the departure, arrival or approach of a coach. Mozart made brief use of the instrument in his Post Horn Serenade, and its sound was imitated by various composers, including Johann Sebastian Bach in his harpsichord Capriccio on the Departure of His Beloved Brother, which includes a Postilion Aria and a fugue on the sound of the post horn.

postlude

A postlude is played at the end of a piece and indicates, in particular, the additional piano phrases that may appear at the end of a song, after the singer has stopped. The word is more widely used to describe the closing section of a work or to indicate a piece of music to be played as the conclusion of some ceremony, the opposite of a prelude.

prelude

“Play before.” An introductory movement or work.

Presto

At a rapid tempo

program music

A piece that conveys a picture or story. In contrast to absolute music.

Proper

The parts of the Mass whose texts change from day to day, as distinct from the Ordinary. The Proper consists of the Introit, Gradual, Alleluia or Tract, Offertory, and Communion.

Psalm

Psalms are the texts included in the biblical Book of Psalms and retaining an important place in the services of the Catholic Divine Office, sung to plainchant. The biblical texts are not metrical and therefore use a relatively simple form of chant that can be expanded by the use of a longer reciting note, the final syllables sung to a short syllabic formula. After the Reformation of the early 16th century metrical versions of the Psalms became current, with texts that could be sung to hymn-tunes. Harmonized settings of the biblical and metrical Psalms have been current in Protestant churches and chapels since the 16th century.