Double octave

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(Mus.) an interval composed of two octaves, or fifteen notes, in diatonic progression; a fifteenth.
(Mus.) See under Double.

See also: Double, Octave

Webster's Revised Unabridged Dictionary, published 1913 by G. & C. Merriam Co.
References in periodicals archive ?
There were no signs of any technical compromises or diminution of executant ability: trills crisp and clear, no excessive pedal, and the thunderous double octave run down the keyboard in Chopin Ballade No 1 was thrilling.
This can be derived from 2:8:2:3, an alternative reading of stanza 1, which, however, is not mutually exclusive of the above analysis;(5) it lays emphasis on the position of the symmetry created by the repeated couplet which exposes the eight intervening lines (so, 8:2) and also emphasizes that Dryden's universe is complete after twelve lines, leaving three at the end, and therefore illustrating 8:2 and 12:3 (both 4:1), the proportion of the double octave.
Thus the double 'Diapason' (or double octave) of the first stanza, with fifteen lines representing the fifteen notes of two octaves, has twice the length of the single octave of the final stanza (400:200), the eighth stanza reflecting the eight notes of a single octave.
The two are separated by the distance of a double octave. Transported from brassy [C#.sub.4], the medial [C#.sub.5] is prevented from fusing with either C by its movement from the whiny, muted trumpet to a rounder open trumpet to the more pointed clarinet.
The piano has the last word with the ostinato motive in double octaves fff.
What we got, however, was a tame trot, even the double octaves emerging with musical box gentility.
So, while Frith knew exactly when to adopt a subordinate role in the unfolding symphonic argument, he revelled in its virtuoso demands - bravura double octaves, playful featherweight roulades, velvety cantabile ruminations.
Yet despite his a we some technique, demonstrated by figuration of startling clarity and double octaves that nailed you to the seat with their power and accuracy, this wasn't only a display of virtuoso pyrotechnics but an intelligently crafted performance of considerable subtlety.
Time and again we were made aware of the sheer beauty of his playing - in the burnished tenor-like melodies of Liszt's La Vallees d'Obermann, for example, and the subtlety of his weighted, layered accompaniments - while being constantly awed by the glitter and panache of his crystalline passagework and double octaves as devastating in their effect as a machine gun on rapid-Ere.