See also:

• FANTASIA (Italian for " fantasy," a causing to be seen, from Greek, 4aivew, to show)

FANTASIA (See also:

• ITALIAN

Italian for " fantasy," a causing to be seen, from See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek, 4aivew, to show)  , a name in See also:

• MUSIC

music sometimes loosely used for a See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition which has little structural See also:

• FORM (Lat. forma)

form, and appears to be an improvization; and also for a See also:

• COMBINATION (Lat. combinare, to combine)

combination or medley of See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar airs connected together with See also:

• ORIGINAL

original passages of more or less brilliance . The word, however, was originally applied to more formal compositions, based on the See also:

• MADRIGAL (Ital. madrigale)

madrigal, for several See also:

• INSTRUMENTS

instruments . Fantasias appear as distinct compositions in See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach's See also:

• WORKS

works, and also joined to a See also:

• FUGUE (Lat. fuga, flight)

fugue, as in the " See also:

• GREAT

Great See also:

• FANTASIA (Italian for " fantasy," a causing to be seen, from Greek, 4aivew, to show)

Fantasia and Fugue " in A See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor, and the " Fantasia cromatica " in D minor . See also:

• BRAHMS, JOHANNES (1833–1897)

Brahms used the name for his shorter piano pieces . It is also applied to orchestral compositions " not See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long enough to be called symphonic poems and not formal enough to be called overtures " (See also:

• SIR

Sir C . See also:

• HUBERT (HUCBERTUS, HUGBERTUS), ST (d. 727)

Hubert See also:

• PARRY (from Fr. parer, to ward off)
• PARRY, SIR CHARLES HUBERT HASTINGS, BART
• PARRY, SIR WILLIAM EDWARD (179o–1855)

Parry, in See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove's See also:

• DICTIONARY

Dictionary of Music, ed . Igoe) . The See also:

• ITALIAN

Italian word is still used in See also:

• TUNIS

Tunis, See also:

• ALGERIA
• ALGERIA (Algerie)

Algeria and See also:

• MOROCCO

Morocco, with the meaning of " showing off," for an acrobatic See also:

• EXHIBITION

exhibition of See also:

• HORSEMANSHIP

horsemanship by the See also:

• ARABS

Arabs . The riders See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire their guns, throw them and their lances into the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air, and catch them again, See also:

• STANDING

standing or kneeling in the See also:

• SADDLE (a word common to Teutonic languages, cf. Ger. Sattel, Dut. zadel, also in Russ. siedlo and Lat. sella, for sedla; it is not derived directly from Lat. sedile, which means a chair, but all the words are to be referred to the root sad-, which gives

saddle, all at a full gallop .