"Da Capo (visual novel) Circus described ""Da Capo"" as a . A sequel set 53 years after the end of ""Da Capo"", ""Da Capo II"", was released on May 26, 2006 and features a new cast of characters living two generations after the original. ""Da Capo"" is set on a fictional island in modern Japan, , where the sakura trees are always in full blossom. Da Capo is an Italian musical term meaning ""from the beginning"", and the game was such named with parts of the storyline going into loop before approaching the true end. There have been numerous adaptations"
"Da capo aria The da capo aria () is a musical form for arias that was prevalent in the Baroque era. It is sung by a soloist with the accompaniment of instruments, often a small orchestra. The da capo aria is very common in the musical genres of opera and oratorio. According to Randel, a number of Baroque composers (he lists Hasse, Handel, Porpora, Leo, and Vinci) composed more than a thousand da capo arias during their careers. A da capo aria is in ternary form, meaning it is composed of three sections. The first section is a complete musical"
"in a performance of the song, or a more abstract compilation of ideas as to what the song is. It may also, though uncommonly, refer to the first section of the melody, or the theme riff in the melody. There is a slightly related musical direction, D.C. or da capo (Italian, ""from head""), which means to go back to the very beginning of the sheet music and play to the end, typically ignoring all repeat signs. The idea a ""head"" represents comprises a combination of elements. No one piece of written music defines what the ""head"" of many jazz tunes"
"Music dictionaries: Examples of musical scores: Tempo In musical terminology, tempo (""time"" in Italian) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a ""metronome mark"" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in bpm. Tempo may be separated from articulation and meter, or these aspects"
"the score does allow the interpreter to make choices on how to perform a historical work. For example, if the tempo is written with an Italian instruction (e.g., Allegro), it is not known exactly how fast the piece should be played. As well, in the Baroque era, many works that were designed for basso continuo accompaniment do not specify which instruments should play the accompaniment or exactly how the chordal instrument (harpsichord, lute, etc.) should play the chords, which are not notated in the part (only a figured bass symbol in the bass part is used to guide the chord-playing"
"beginning. This is a common method of capoing the fifth string of the banjo, since the string begins at the fifth fret. Thus, it needs to be capoed individually since it is not covered by a capo on the other four strings. Capo A capo (short for ""capodastro"", ""capo tasto"" or ""capotasto"" , Italian for ""head of fretboard""; Spanish: "" cejilla"" or ""capodastro""; French: ""capodastre""; German: ""Kapodaster""; Portuguese: ""capodastro"", Serbo-Croatian: ""kapodaster""; Greek: ""kapotasta"") is a device used on the neck of a stringed (typically fretted) instrument to shorten the playable length of the strings, hence raising the pitch. It is"
"but also to go beyond the limitations of the instrument/voice itself. In doing this, the performer is encouraged to employ visual and theatrical possibilities . Because there are only seven ""spiral"" signs altogether, not every section contains one of them . ""Spiral"" is not ordinarily performed complete: the performer may end a version at any of the wavy barlines, and then for the next performance should resume where the previous one left off. On the other hand, the end of the score is marked ""da capo"" so that, should a chosen starting point result in the end being reached too"
"Capriccio (music) A capriccio or caprice (sometimes plural: ""caprices"", ""capri"" or, in Italian, ""capricci""), is a piece of music, usually fairly free in form and of a lively character. The typical capriccio is one that is fast, intense, and often virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in 1561 by Jacquet de Berchem and applied to a set of madrigals. In the late 16th and early 17th centuries, it could"
"Descant A descant, discant, or is any of several different things in music, depending on the period in question; etymologically, the word means a voice (""cantus"") above or removed from others. A descant is a form of medieval music in which one singer sang a fixed melody, and others accompanied with improvisations. The word in this sense comes from the term ' (descant ""above the book""), and is a form of Gregorian chant in which only the melody is notated but an improvised polyphony is understood. The ' had specific rules governing the improvisation of the additional voices. Later on,"
"Dal segno In music notation, Dal segno (, ; ), often abbreviated as D.S., is used as a navigation marker. From Italian for ""from the sign"", D.S. appears in sheet music and instructs a musician to repeat a passage starting from the sign shown at right, sometimes called the ""segno"" in English. Two common variants: Al segno indicates that the player should go to the sign. Da capo al segno (D.C. al Segno), ""From the beginning to the sign (𝄋)."" In operas of the 18th century, dal segno arias were a common alternative to da capo arias which began with"
"of scores, as discussed below. The term ""score"" can also refer to theatre music, orchestral music or songs written for a play, musical, opera or ballet, or to music or songs written for a television programme or film; for the last of these, see Film score. Sheet music from the 20th and 21st century typically indicates the title of the song or composition on a title page or cover, or on the top of the first page, if there is no title page or cover. If the song or piece is from a movie, Broadway musical, or opera, the title"
"of Baroque era and of bel canto (especially operas of Vincenzo Bellini), and is best exemplified by the ""da capo aria"", a form by which famous singers typically perform variations of the thematic matter of the aria in the recapitulation section ('B section' / the 'da capo' part). An example is Beverly Sills' complex, albeit pre-written, variation of ""Da tempeste il legno infranto"" from Händel's ""Giulio Cesare"". Its written transmission, along with the veneration bestowed on certain classical works, has led to the expectation that performers will play a work in a way that realizes in detail the original intentions"
"following table of the movements, the scoring, keys and time signatures are taken from Alfred Dürr, using the symbol for common time (4/4). The instruments are shown separately for winds and strings, while the continuo, playing throughout, is not shown. The opening da capo aria for tenor is based on a paraphrase of ""Render to Caesar"": ""Nur jedem das Seine"". The aria features an unusual ritornello in which the strings assume a motif introduced by the continuo, which is then repeated several times through all parts. The movement is a da capo aria emphasizing dualism and debt. Craig Smith remarks"
"Tempo In musical terminology, tempo (""time"" in Italian) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a ""metronome mark"" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in bpm. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo,"
"of hand-crossing. This ternary pattern—""canon"", ""genre piece"", ""arabesque""—is repeated a total of nine times, until the Quodlibet breaks the cycle. All the variations are in G major, apart from variations 15, 21, and 25, which are in G minor. At the end of the thirty variations, Bach writes ""Aria da Capo e fine"", meaning that the performer is to return to the beginning (""""da capo"""") and play the aria again before concluding. The aria is a sarabande in time, and features a heavily ornamented melody: The French style of ornamentation suggests that the ornaments are supposed to be parts of"
"Capo A capo (short for ""capodastro"", ""capo tasto"" or ""capotasto"" , Italian for ""head of fretboard""; Spanish: "" cejilla"" or ""capodastro""; French: ""capodastre""; German: ""Kapodaster""; Portuguese: ""capodastro"", Serbo-Croatian: ""kapodaster""; Greek: ""kapotasta"") is a device used on the neck of a stringed (typically fretted) instrument to shorten the playable length of the strings, hence raising the pitch. It is a common tool for players of guitars, mandolins, mandolas, banjos, ukuleles and bouzoukis. The word derives from the Italian ""capotasto"" which means the nut of a stringed instrument. The earliest known use of the term ""capotasto"" is by Giovanni Battista Doni who,"
"Concertato Concertato is a term in early Baroque music referring to either a ""genre"" or a ""style"" of music in which groups of instruments or voices share a melody, usually in alternation, and almost always over a basso continuo. The term derives from Italian ""concerto"" which means ""playing together"" —hence ""concertato"" means ""in the style of a concerto."" In contemporary usage, the term is almost always used as an adjective, for example ""three pieces from the set are in ""concertato"" style."" A somewhat oversimplified, but useful distinction between concertato and concerto can be made: the ""concertato"" style involves contrast between"
"to strings in movement 4 and to single instruments in movement 5. """" (literally: sound, you songs) is a festive concerto, marked by Bach. Words and music are possibly based on an earlier lost secular (congratulatory cantata). A printing of Franck's works contains a cantata for New Year's Day, (Sound again, congratulating songs) that may have served as a model. The movement is in ""da capo"" form: the first section is repeated after a contrasting middle section. It is scored for three ""choirs"": one of trumpets, another of strings and bassoon, and a four-part chorus. The number three, symbolizing the"
"Concerto A concerto (; plural ""concertos"", or ""concerti"" from the Italian plural) is a musical composition generally composed of three movements, in which, usually, one solo instrument (for instance, a piano, violin, cello or flute) is accompanied by an orchestra or concert band. It is accepted that its characteristics and definition have changed over time. In the 17th century, sacred works for voices and orchestra were typically called concertos, as reflected by J. S. Bach’s usage of the title ""concerto"" for many of the works that we know as cantatas. The word ""concerto"" comes from Italian; its etymology is uncertain,"
"the term came to mean the treble or soprano singer in any group of voices, or the higher pitched line in a song. Eventually, by the Renaissance, descant referred generally to counterpoint. Nowadays the counterpoint meaning is the most common. Descant can also refer to the highest pitched of a group of instruments, particularly the descant viol or recorder. Similarly, it can also be applied to the soprano clef. Descant can also refer to a high, florid melody sung by a few sopranos as a decoration for a hymn. Hymn tune descants are counter-melodies, generally at a higher pitch than"
"referred to as ""D"" (based on the shape relative to the capo), or E (based on the absolute audible chord produced). Neither method strongly prevails over the other. For this reason, the phrase ""chord-shape"" is commonly used to clarify that the fingering shape and not the audible pitch is being referred to. With this concept in mind, if two players wish to play a chord progression with a more harmonious effect, one can play first position chord-shapes while the second player, placing the capo further up the fretboard, plays first or second inversions of the same chord progression using familiar"
"a free da capo form. The first section is dominated by the chorus, the middle section by the bass. Musicologist Julian Mincham points out that it is ""an unusual and imaginative combination of aria and chorus"" and likens it to the interaction between a pastor and his flock. A second secco recitative leads to a tender aria which was accompanied by an obbligato oboe da caccia in 1726. In a later performance, likely in 1734, this was replaced by a ""violetta"", which can be a viola or a descant viola da gamba, according to Johann Gottfried Walther. The cantata closes"
"the instrument will sound out of tune in the new key. Some types of capo can mar the neck of the guitar if applied incorrectly. Song arrangements often cite capo position just as they cite alternative tunings. When referencing fingerings for a song that uses a capo, the player must determine whether the chart references absolute finger positions, or positions relative to the capo. For example, in tablature, a note played on the fifth fret of an instrument capoed at the second fret can be listed as ""5"" (absolute) or ""3"" (relative to capo). Similarly, a D-shaped chord can be"
"three bars long, instead of the traditional four. The piece is also called a dramatic recitative, or a da capo aria. The structure is a ternary form, or ABA form, with the first and last sections being almost identical. The piece exists in multiple arrangements, including for solo keyboard and violin and keyboard. The text is ""Music for a while Shall all your cares beguile. Wond'ring how your pains were eas'd And disdaining to be pleas'd Till Alecto free the dead From their eternal bands, Till the snakes drop from her head, And the whip from out her hands."" The"
"When an infinite (circular) canon is inscribed in a circle, and the ""circle itself"" is a clue that means ""play me as a round,"" a different type of eye music entails. Another class of eye music is when the score is purposely made difficult for the performer. For example, in Benedetto Marcello's cantata ""Stravaganze d’amore,"" the continuo part is written entirely in enharmonic chords, that is, ""puns"" of chord indications spelled with no regard to the key of the rest of the ensemble, but (in equal temperament) indistinguishable audibly from those spelled in the appropriate way. Here, the perverse spelling"
"between bars of ""5/4"" and ""7/8"". Directions to the player regarding matters such as tempo (e.g., Allegro, Andante, Largo, Vif, Lent, Modérément, Presto, etc.), dynamics (pianississimo, pianissimo, piano, mezzopiano, mezzoforte, forte, fortissimo, fortississimo, etc.) appear above or below the staff. Terms indicating the musical expression or ""feel"" to a song or piece are indicated at the beginning of the piece and at any points where the mood changes (e.g., ""Slow March"", ""Fast Swing"", ""Medium Blues"", ""Fougueux"", ""Feierlich"", ""Gelassen"", ""Piacevole"", ""Con slancio"", ""Majestic"", ""Hostile"" etc.) For vocal music, lyrics are written near the pitches of the melody. For short pauses (breaths),"
"in his ""Annotazioni"" of 1640, uses it to describe the nut of a viola da gamba. The first patented capo was designed by James Ashborn of Wolcottville, Connecticut. Musicians commonly use a capo to raise the pitch of a fretted instrument so they can play in a different key using the same fingerings as playing ""open"" (i.e., without a capo). In effect, a capo uses a fret of an instrument to create a new nut at a higher note than the instrument's actual nut. There are several different capo designs, but most commercial capos consist of a rubber-covered bar that"
"and ""da capo"" arias. In accordance with 18th-century opera convention the plot is mainly carried forward in the recitatives, while the musical interest and exploration of character takes place in the arias—although on occasion Handel breaks this mould by using arias to advance the action. With one exception the recitative sections are ""secco"" (""dry""), where a simple vocal line is accompanied by continuo only. The anomaly is Otho's ""Otton, qual portentoso fulmine"", where he finds himself robbed of the throne and deserted by his beloved Poppaea; here the recitative is accompanied by the orchestra, as a means of highlighting the"
"from the podium, but from the piano while playing the indicated piano part (often seen in musical theatre orchestras). Piano-vocal score A vocal score or piano-vocal score is a music score of an opera, or a vocal or choral composition written for orchestral accompaniment, such as an oratorio or cantata. In a piano-vocal score, the vocal parts are written out in full, but the accompaniment is reduced and adapted for keyboard (usually piano). The music is usually reduced to two staves; however, more staves, a second keyboardist (piano-four-hands), or a second keyboard part can be added, as needed. There are"
"of B Major. This is because with the capo barring the entire second fret, open chords would all sound two semitones (aka one tone) higher in pitch. For example, if a guitarist played an open A Major chord (a very common open chord), it would sound like a B Major chord. All of the other open chords would be similarly modified in pitch. Because of the ease with which they allow guitar players to change keys, they are sometimes referred to with pejorative names, such as ""cheaters"" or the ""hillbilly crutch"". Despite this negative viewpoint, another benefit of the capo"
"name also in English. The use of instruments by composers is shown in examples mostly by Johann Sebastian Bach. The typical orchestra of the Baroque period is based on string instruments (violin, viola) and continuo. A continuous bass is the rule in Baroque music; its absence is worth mentioning and has a reason, such as describing fragility. The specific character of a movement is often defined by wind instruments, such as oboe, oboe da caccia, oboe d'amore, flauto traverso, recorder, trumpet, horn, trombone, and timpani. For Bach, some instruments carry symbolic meaning such as a trumpet, the royal instrument of"
"refer to madrigals, music intended alternatively for voices or instruments, or for strictly instrumental pieces, especially keyboard compositions . Listed by composer: Capriccio (music) A capriccio or caprice (sometimes plural: ""caprices"", ""capri"" or, in Italian, ""capricci""), is a piece of music, usually fairly free in form and of a lively character. The typical capriccio is one that is fast, intense, and often virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in"
"da gamba, a ""Violone Grosso"" (as specified in Handel's autograph) and, as customary practice in the 18th century, a harpsichord. The work is notable for having a virtuoso part for the viola da gamba. The cantata begins with an aria followed by two recitative-aria pairings, after which a final recitative is performed before an instruction to repeat (""Da Capo"") the cantata's opening aria (an unusual feature in Handel cantatas). A typical performance of the work takes about seventeen and a half minutes. The work consists of seven movements (with the final movement being a partial repeat of the first): Tra"