Dictionary of Music - Birding America

112 doppeldoppel (dô′pəl) German: “double.” Used inmusical terms such as doppel-Be (“double flat”) anddoppelkreuz (“double sharp”).doppelt (dô′pəlt) German: “twice.” Used indirections such as doppelt so schnell (“twice asfast”) and doppelt so langsam (“twice as slow”).doppio (dôp′pyô) Italian: “double.” Used inmusical terms such as doppio bemolle (“doubleflat”), doppio diesis (“double sharp”); or in directionssuch as doppio tempo and doppio movimento(“double speed” or “twice as fast”).Dorian mode The authentic mode beginning onD. See under CHURCH MODES.dot 1 A dot above or below a note indicates that itis to be performed as lightly and quickly as possible,that is, STACCATO. 2 A pair of dots, one above theother, next to a double bar line indicates that the sectionor piece is to be repeated (see also DOUBLEBAR). 3 A pair of dots, one above the other, appearsto follow the sign for the bass clef; however, they areactually part of the sign. 4 A dot after a note indicatesthat the note has half again its normal timevalue, that is, it is to be held half again as long asnormally. A dotted quarter note, therefore, is to beheld as long as one quarter note plus one eighthnote, a dotted half note as long as one half note plusone quarter note, etc. —double dot A second dotplaced after the first means that the note should beheld three-fourths again as long as normally, that is,with three-fourths of its time value added to it. Thus,a double-dotted quarter note should be held as longas one quarter note plus one eighth note plus onesixteenth note, a double-dotted half note as long asone half note plus one quarter note plus one eighthnote, etc.fig. 81 p/u from p. 115dotted rhythm A rhythm in which long notesalternate with one or more short notes, the longnotes usually being dotted (see DOT, def. 4). Fromthe sixteenth through eighteenth centuries, the preciserelationship of the long–short values varied, asdid the performance of the rhythms so notated. Forexample, the long notes were sometimes lengthenedand the short ones delayed for expressive purposesor to exaggerate the effect. In music of the seventeenthto early nineteenth centuries, when a dottedrhythm occurs against a triplet rhythm, the dottedfigure often is modified so as to match the triplet.double (dub′əl). 1 To play a second instrument inaddition to one’s regular instrument. Thus a flutistmay be called upon to play the piccolo (in whichcase one is said to “double on piccolo”). Oboistsnormally double on English horn, and clarinetistsmay double on saxophone. 2 To play in unison withanother instrument. Thus, the bassoons in an orchestramay double the cellos, or all the horns may playin unison, in which case the second and third hornsare said to be doubling the first horn. 3 To play anoctave higher than another instrument. Thus, the piccolooften doubles the flute in an orchestra. 4 Toplay or sing at some other fixed interval (usuallya third or a sixth) from another instrument or singer.5 (doo — ′bl ə ) French. In seventeenth- and eighteenthcenturysuites, a term meaning VARIATION. A doublemay be an elaborated repeat section of a dancemovement, as in the courante of Bach’s EnglishSuite No. 1, or one of a series of variations, as inHandel’s “Air with Doubles,” familiarly known as“The Harmonious Blacksmith.”doublé (doo — blā′). The French word for turn (seeunder ORNAMENTS).double appoggiaturaDOUBLE.See APPOGGIATURA,double bar A pair of parallel vertical lines thatmark the end of a composition or section. A doublebar differs from a single BAR LINE in that it canoccur within a measure. Two lines of the same widthmark the end of a section; a thin line followed by athicker one marks the end of a composition. If thedouble lines are preceded by a pair of dots, oneabove the other (as in the accompanying example),the section immediately before the double bar is tobe repeated. If the lines are followed by dots, thesection immediately following the double bar is to