green growth; verdure.
Greenth, “green growth,” was coined by the English author and politician Horace Walpole, who also coined blueth and gloomth. Greenth, blueth, and gloomth all entered English simultaneously in the mid-18th century.
I found my garden brown and bare, but these rains have recovered the greenth.
Imagine a rambling, patchy house … the mellow darkness of its conical roof surmounted by a weather-cock making an agreeable object either amidst the gleams and greenth of summer or the low-hanging clouds and snowy branches of winter …
verb (used with object)
to confuse (someone); make (someone) muzzy.
It is only fitting that the etymology of the verb muzz “to confuse,” is itself obscure. Most authorities connect muzz with the adjective muzzy “confused, lazy, mentally dull,” but muzzy itself has no reliable etymology. Other authorities connect muzz with the verb muse “to think or meditate in silence.” Muzz entered English in the 18th century.
I must have sufficiently muzzed you with my singular critique upon poor, injured, honest John.
With a very heavy cold on me, which muzzed my head, and a mass of work by day … I have been very far from comfortable.
the tuning of a stringed instrument in other than the usual way to facilitate the playing of certain compositions.
The musical term scordatura comes, as many musical terms do, from Italian. In English and Italian, scordatura is the tuning of a stringed instrument in an unusual way to facilitate the playing of certain compositions. Italian scordatura is a derivative of scordato “out of tune,” past participle of the verb scordare “to be out of tune.” Scordare is a somewhat reduced form of Latin discordāre “to be at variance, quarrel, disagree,” formed from the prefix dis- “apart, asunder” and cord-, the stem of the noun cor “heart.” Scordatura entered English in the second half of the 19th century.
The alternative tuning, known as scordatura, is not some minor technical detail. Each new configuration is a secret key to an invisible door, unlocking a different set of chordal possibilities on the instrument, opening up alternative worlds of resonance and vibration.
Scordatura in some violin concertos provides additional evidence for Vivaldi’s tendency to extend the advantages of playing on open strings to additional keys.
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