Requiem—the mass for the dead in the Roman Catholic service. It is so called from its first word requiem which means rest. (See [p. 77], [Sec. 165].)
Rhapsody—an irregular instrumental composition of the nature of an improvisation. A term first applied by Liszt to a series of piano pieces based on gypsy themes.
Ribattuta—a device in instrumental music whereby a two-note phrase is gradually accelerated, even to the extent of becoming a trill. (See [Appendix E], p. 150, for an example.)
Ritornello, ritornelle—a short instrumental prelude, interlude, or postlude, in a vocal composition, as e.g., in an operatic aria or chorus.
Schottische—a dance in two-quarter measure, something like the polka.
Sec, secco—dry, unornamented: applied to a style of opera recitative (see [p. 75], [Sec. 170]), and also to some particular chord in an instrumental composition which is to be sounded and almost instantly dropped.
Score—a term used in two senses:
1. To designate some particular point to which teacher or conductor wishes to call attention; as e.g., "Begin with the lower score, third measure." The word brace is also frequently used in this sense.
2. To refer to all the parts of a composition that are to be performed simultaneously, when they have been assembled on a single page for use by a chorus or orchestral conductor. The term vocal score usually means all chorus parts together with an accompaniment arranged for piano or organ, while the terms full score and orchestral score refer to a complete assemblage of all parts, each being printed on a separate staff, but all staffs being braced and barred together.
Senza replica, senza repetizione—without repetition; a term used in connection with such indications as D.C., D.S., etc., which often call for the repetition of some large division of a composition, the term senza replica indicating that the smaller repeats included within the larger division are not to be observed the second time.