
a piece of (one's) mind
[Middle English pece, from Old French, from Vulgar Latin *pettia, probably of Celtic origin.]
noun
Idioms beginning with piece:
piece by piece
piece of ass
piece of cake
piece of change
piece of one's mind
piece of the action
piece together
See also all in one piece; conversation piece; go to pieces; museum piece; of a piece; pick apart (to pieces); pick up the pieces; puff piece; say one's piece; think piece; thrill to pieces; to pieces; villain of the piece.
Definition: part
Antonyms: whole
v
Definition: put together
Antonyms: divide, separate
Term for a composition or a self-contained section of one, usually but not necessarily instrumental. The word was first used for the numerous pièces de clavecin and pièces de viole published in France in the 17th and 18th centuries. The Italian (pezzo) and German forms (Stück) are much used, the German often in compound forms.
[pee-YESS] The French name for an oak barrel used in the côte d'or, beaujolais and macon regions of burgundy to age and store wine. A pièce can vary in size from 215 to 228 liters (approximately 56 to 60 U.S. Gallons). It's similar in size to the barrique used in bordeaux.
| pie-wagon, pie-hole, pie-face | |
| pig, pig boat, pig's ear |
A wool-classer's term; when classing fleece wool preparatory to sale, these are the inferior pieces of wool, including skirtings from around the edge and broken wool.

Musical composition can refer to an original piece of music, the structure of a musical piece, or the process of creating a new piece of music. People who practice composition are called composers.
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A piece of music exists in the form of a composition in musical notation or as a single acoustic event (a live performance or recorded track). If composed before being performed, music can be performed from memory, through written musical notation, or through a combination of both. Compositions comprise musical elements, which vary widely from person to person and between cultures. Improvisation is the act of composing during the performance, assembling musical elements spontaneously.
Piece is a, "general, non-technical term [that began to be] applied mainly to instrumental compositions from the 17th century onwards....other than when they are taken individually 'piece' and its equivalents are rarely used of movements in sonatas or symphonies....composers have used all these terms [in their different languages] frequently in compound forms [e.g. Klavierstück]....In vocal music...the term is most frequently used for operatic ensembles..."[1]
In discussing the structure or organization of a musical work, the composition of that work is generally called its musical form. These techniques draw a parallel to art's formal elements. Sometimes, the entire form of a piece is through-composed, meaning that each part is different, with no repetition of sections; other forms include strophic, rondo, verse-chorus, or other parts. Some pieces are composed around a set scale, where the compositional technique might be considered the usage of a particular scale. Others are composed during performance (see improvisation), where a variety of techniques are also sometimes used. Some are used from particular songs which are familiar.
Important in tonal musical composition is the scale for the notes used, including the mode and tonic note. In music using twelve tone techniques, the tone row is even more comprehensive a factor than a scale. Similarly, music of the Middle East employs compositions that are rigidly based on a specific mode (maqam) often within improvisational contexts, as does Indian classical music in both the Hindustani and the Carnatic systems, gamelans of Java and Bali, and much music in Africa.
People who practice composition are called composers. Compositional techniques are the methods used to create music. Useful skills in composition include writing musical notation, music theory, instrumentation, and handling musical ensembles (orchestration). Other skills include extended techniques such as improvisation, musical montage, preparing instruments, using non-traditional instruments, and other methods of sound production.
Methods
One method to compose music is starting with a base series of chords. These chords could be selected arbitrarily or with specific purpose to reflect the tone of the emotion being conveyed. For example, selecting a minor key, but with mostly major chords (i.e. III, VI, VII) might convey a hopeful feeling. Once the series of chords is selected, additional lines are added to embellish, adding depth to the music. Usually this includes at least a lead melody line and often one or more harmony lines. Popular music is often written this way (see: Song structure (popular music)) where a selected series of chords forms the structure of each of a particular section of the song (ex. Verse, Chorus). The melody line is often dependent on the writer's chosen lyrics and can vary in detail from verse to verse.
Another method involves free playing of your desired instrument. For example, a pianist might simply sit and start playing chords, melodies, or random notes that come to mind in order to find some inspiration, then build on the discovered lines to add depth.
As technology progresses, new and inventive methods of music composition come about. One such method involves using computer algorithms to directly translate the phonetics of speech into digital sound.
Structure
Composers may decide to divide their music into sections. In classical music, one common form of songwriting is Sonata form. This form involves an Exposition, Development, and Recapitulation. The end speaks to the beginning, concluding things, while the development allows for deviations from the norm of the exposition. Many contemporary songs are organized into sections as well. These sections are usually alternating verse and chorus, often with a bridge before the last chorus. The differing verses will share chord progressions while the chorus is often exactly the same throughout.
The task of adapting a composition for musical instruments/ensembles, called arranging or orchestrating, may be undertaken by the composer or separately by an arranger based on the composer's core composition. A composition may have multiple arrangements based on such factors as intended audience type and breadth, musical genre or stylistic treatment, recorded or live performance considerations, available musicians and instruments, commercial goals and economic constraints.
Based on such factors, composers or arrangers must decide upon the instrumentation of the original work. Today, the contemporary composer can virtually write for almost any combination of instruments. Some common group settings include music for Full Orchestra (consisting of just about every instrument group), Wind Ensemble (or Concert Band, which consists of larger sections and greater diversity of wind, brass and percussion instruments than are usually found in the orchestra), or a chamber group (a small number of instruments, but at least two). The composer may also choose to write for only one instrument, in which case this is called a solo.
Composers are not limited to writing only for instruments, they may also decide to write for voice (including choral works, operas, and musicals) or percussion instruments or electronic instruments. Alternatively, as is the case with musique concrète, the composer can work with many sounds often not associated with the creation of music, such as typewriters, sirens, and so forth.
In Elizabeth Swados' Listening Out Loud, she explains how a composer must know the full capabilities of each instrument and how they must complement each other, not compete. She gives an example of how in an earlier composition of hers, she had the tuba above the piccolo. This would clearly drown the piccolo out, thus giving it no purpose in the composition. Each instrument chosen to be in a piece must have a reason for being there that adds to what the composer is trying to convey within the work
Arranging is composition which employs prior material so as to comment upon it such as in mash-ups and various contemporary classical works.[2] The process first requires analysis of existing music, and then rewriting (and often transcription) for an instrumentation other than that for which it was originally intended. It often (but not always) involves new supporting material injected by the arranger.
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The examples and perspective in this section may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (December 2010) |
Copyrights afford the owner of a work control over and exclusive rights to the work. Even though the first US copyright laws did not include musical compositions, they were added as part of the Copyright Act of 1831.
In the U.S., the copyright symbol is ©, or the letter c inside a circle. The first year the work was published follows the copyright symbol, and the name of the copyright holder thereafter. A music copyright is often notated as ℗, or a letter P (instead of the letter C) inside a circle. This is because this type of copyright also covers phonorecords, which are physical objects, such as CDs, where the works are contained.
Copyright, Designs and Patents Act 1988 defines a musical work to mean a work consisting of music exclusive of any words or action intended to be sung, spoken or performed with the music.[3]
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Dansk (Danish)
n. - stykke, brik
v. tr. - lappe, sy sammen, stykke samen
idioms:
Nederlands (Dutch)
deel, stuk, muntje, stukje, lap, vuurwapen, lunchpakket, lappen, gebroken draden aanhechten (weven)
Français (French)
n. - morceau, bout, tranche, coup (de chance), fragment, pièce, miette, pièce (de musique, de sculpture, etc), exemple, pièce (de monnaie), pièce (échecs), pion (aux dames), (Mil) fusil, pièce (d'artillerie), flingue, pistolet, beau brin de fille (fam)
v. tr. - raccommoder, rapiécer, compléter, rajouter, rassembler, restructurer
idioms:
Deutsch (German)
n. - Figur, Teil, Scherbe, Stück, Geschütz, Waffe, Mädel
v. - zusammensetzen
idioms:
Ελληνική (Greek)
n. - κομμάτι, τεμάχιο, τμήμα, πράξη, δείγμα, κέρμα, νόμισμα, (στο σκάκι) κομμάτι, (στο τάβλι κ.λπ.) πούλι, (ΗΠΑ) όπλο
v. - συναρμολογώ, ενώνω, συνδέω, συνδυάζω, φτιάχνω κομμάτι-κομμάτι
idioms:
Italiano (Italian)
pezzo, porzione, pezzetto, articolo, arma, arma da fuoco, fetta, pezza, gettone
idioms:
Português (Portuguese)
n. - pedaço (m), peça (f), item (m), parte (f), peça musical (f), mulher (f) (gír.)
v. - unir, juntar, consertar
idioms:
Русский (Russian)
кусок, участок, штука, произведение, часть, фигура, пистолет, соединять
idioms:
Español (Spanish)
n. - parte, porción, trozo, cacho, pedazo, pieza, artículo, pistola, revólver, obra de teatro, boca de fuego, rodaja, paño, trapo, ficha, chapa
v. tr. - partir en trozos, apedazar, remendar, completar con trozos o piezas
idioms:
Svenska (Swedish)
n. - stycke, bit, verk, musikstycke, längd, del, ackord, pjäs, mynt
v. - sy ihop, laga, lappa, foga
中文(简体)(Chinese (Simplified))
块, 篇, 片, 拼凑, 修理, 拼合, 修补
idioms:
中文(繁體)(Chinese (Traditional))
n. - 塊, 篇, 片
v. tr. - 拼湊, 修理, 拼合, 修補
idioms:
한국어 (Korean)
n. - 조각, 한 개, 부분, 동전
v. tr. - 잇다, (실 따위) 연결하다
idioms:
日本語 (Japanese)
n. - 一つ, 部分, 断片, 破片, 区画, 作品, 記事, 部品, こま, 硬貨, 一反, 一片
v. - 継ぎ合わせる, 継ぎ合わせて作る
idioms:
العربيه (Arabic)
(الاسم) قطعه, جزء, كسرة, مدفع (فعل) يشكل, يؤلف, يكون, يرقع, يقترن, يوصل, يربط
עברית (Hebrew)
n. - חתיכה, חלק, קטע, יצירה, כמות, כלי, מטבע, אקדח, אישה (מדוברת), ברנש, דוגמה, אי
v. tr. - חיבר, הרכיב מחתיכות
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