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passacaglia

[ pah-suh-kahl-yuh, pas-uh-kal- ]

noun

  1. a slow, dignified dance of Spanish origin.
  2. the music for this dance, based on an ostinato figure.
  3. a musical form based on continuous variations over a ground bass.


passacaglia

/ ˌpæsəˈkɑːljə /

noun

  1. an old Spanish dance in slow triple time
  2. a slow instrumental piece characterized by a series of variations on a particular theme played over a repeated bass part See also chaconne
“Collins English Dictionary — Complete & Unabridged” 2012 Digital Edition © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012
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Word History and Origins

Origin of passacaglia1

1650–60; pseudo-Italian spelling of earlier passacalle < Spanish pasacalle literally, step (i.e., dance) in the street ( pasa 3rd-person singular present of pasar to step, pace 1 + calle street < Latin callem, accusative of callis path)
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Word History and Origins

Origin of passacaglia1

C17: earlier passacalle, from Spanish pasacalle street dance, from paso step + calle street; the ending -alle was changed to -aglia to suggest an Italian origin
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Example Sentences

The first part of “Partita” that I wrote, which was “Passacaglia” — I wanted to hear the sound of a bunch of voices just kind of chatting gutturally, going into vocal fry and then suddenly exploding into a chord that feels like that, feels like one of those Byrd or Tallis, perfectly voiced chords, just the resonance of it.

The first part of “Partita” that I wrote, which was “Passacaglia” — I wanted to hear the sound of a bunch of voices just kind of chatting gutturally, going into vocal fry and then suddenly exploding into a chord that feels like that, feels like one of those Byrd or Tallis, perfectly voiced chords, just the resonance of it.

It opens with a character piece, a murkily colored Nocturne that lives in the Upside Down of Chopin’s genre-defining works for piano, and reaches a climax in a Baroque-derived Passacaglia, at once august and austere, that leads into a fiendish five-minute cadenza for the soloist.

Noseda fitfully ratcheted up the intensity of the Passacaglia with its implacable 17-bar pattern.

And the passacaglia of the third movement progressed with persuasive momentum.

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