Evans, M. G.
Primer of facts about
music
PRIMER OF
FACTS ABOUT MUSIC
•
QUESTIONS
AND
ANSWERS
BY
M. G. EVANS
)09
•SI
PRESSER CO.
CHESTNUT ST.
5ELPHIA, PA.
Presented to the
LIBRARY of the
UNIVERSITY OF TORONTO
by
Erwin E. Kreutzweiser
PRIMER
OF
FACTS ABOUT MUSIC
QUESTIONS AND ANSWERS ON
THE ELEMENTS OF MUSIC
FOR THE USE OF
TEACHERS AND STUDENTS
BY
M. G. EVANS
PHILADELPHIA
THEODORE PRESSER CO
1712 CHESTNUT ST.
COPYRIGHT, 1908, BY M. GARRETTSON EVANS
COPYRIGHT TRANSFERRED, 1909, TO THEO. PRESSER Co.
PREFACE.
In preparing this Primer of Facts about Music the compiler has
had in view the need of the student for a small handy book for ready
reference as well as study. Condensation, conciseness, and a prac-
tical selection and arrangement of useful material have been aimed
at, in order that the little book may serve as a convenient substitute
for extensive dictionaries and text-books of music, designed for more
detailed use. It is desired to call attention to the following points,
which, it is hoped, will prove helpful to the student : The use of
type of contrasting sizes, by means of which the brief statement of
the principal subject-matter in each answer may be distinguished
from the explanatory notes ; the reference list of composers, with
their nationalities and dates, and indications of their places in the
Musical History Charts ; the marginal numbering of paragraphs,
facilitating the use of the Index of English and foreign technical
terms, etc.; and the grouping, in a special section devoted to each,
of matter relating to the piano, the violin, the voice, etc.
The compiler, who throughout the preparation of the work has
had the benefit of helpful criticism from MR, W. EDWARD HEIMEN-
DAHL, hereby makes grateful acknowledgment of- his valuable sug-
gestions and of the permission to use his classification of composers
in arranging the Musical History Charts.
In the compilation of the primer various standard dictionaries,
text-books, etc., by Grove, Baker, Hutcheson, Niecks, Christiani,
Parent, Faelten, Lavignac, etc., have been consulted.
TABLE OF CONTENTS.
Page.
GRADED GROUPING OF SUBJECTS ---..... . . _ 2
CHAPTER I — Elements of Music ----..«....„ 5
CHAPTER II— Notation, Time, etc. ---....««., 7
CHAPTER III— Scales, Keys, Intervals, Chords, etc. • .... 15
CHAPTER IV — Phrasing, Accents, Ornaments, etc. ..... 29
CHAPTER V— Form -.-35
CHAPTER VI— Instruments -- ....41
CHAPTER VII— Foreign Musical Terms - •- - 56
CHAPTER VIII— Musical History - - , . 65
INDEX -••----...«-,, TJ
GRADED GROUPING OF SUBJECTS.
(The numbers in the following groups refer to the Questions and Answers proper—
not to the explanatory notes in small type. The use of these notes, whether for study
or for reference, can best be determined by the teacher. The selection of material in
each of the three groups was made merely to save time and trouble on the part of the
teacher, and is not, of course, intended to be followed literally. Omissions from, or
additions to, each group will often be found advisable, in order to meet the needs of
the individual pupil. In some cases only a small part of the matter comprised in an
answer is adapted to young pupils. Few foreign musical terms are included in the
Elementary group, as it was thought well for pupils to accustom themselves from the
beginning to the use of the Index in looking up terms as they occur in the course of
the lessons. Selection of material from the section on "Instruments" is. of course, to
be made in accordance with the special branch which the pupil is pursuing. The
Charts and Lists of Composers in the chapter on Musical History are intended for
reference rather than for study.
The brief treatment of the subjects being suggestive rather than explanatory, the
study should be illustrated by practical examples in class, and not confined to either
the limits or the exact words of the printed questions and answers. In the case of
young pupils the questions should be asked in the simplest terms possible; and all
pupils should be encouraged to give answers in their own words.)
Elemen-
tary
h
O
1
3
•— >
Interme-
diate
Elemen-
tary
b
O
a
3
|— i
Interme-
diate
f
ELEMENTS OF Music
:::
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
36
37
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42
35
36
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40
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42
43
35
36
37
38
39
40
41
42
...
10
10
SCALES.
. 44
45
44
NOTATION <
12
13
14
10
17
18
19
12
13
14
15
16
17
18
19
12
13
14
15
16
17
18
19
:::
46
47
48
49
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53
46
47
48
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50
51
52
53
20
20
20
—
54
54
21
22
23
24
25
21
22
23
24
25
21
22
23
24
25
INTERVALS ;
57
58
56
57
58
59
56
57
58
59
26
26
26
...
60
60
TIME )
29
30
29
30
29
30
(
63
63
31
31
31
CHORDS ETC /
— -
64
65
64
65
1
(
GRADED GROUPING OF SUBJECTS — Continued
Elemen-
tary
.0
'5
>— i
Interme-
diate
Elemen-
tary
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_O
'£
Interme-
diate
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FORM J
1
i
INSTRUMENTS
76
133
133
78
78
78
Violin
134
134
CHORDS, ETC. — Con..
79
80
79
80
81
79
80
81
Piano
135
136
135
136
82
82
137
137
Wind S
...
86
86
\
88
88
e
90
90
Voice J
...
142
142
1
(
94
95
94
95
PHRASING ,
97
98
99
96
97
98
99
96
97
98
99
149
148
149
118
149
100
101
102
103
105
100
101
102
103
104
105
100
101
102
103
104
105
FOREIGN TERMS ....
152
155
157
15O
151
152
153
154
155
156
157
158
150
151
152
153
154
155
156
157
158
107
159
ACCENT ,
109
109
108
109
161
110
110
...
111
111
112
113
113
164
- —
114
114
1
- - -
177
125
125
125
178
I. — ELEMENTS of Music.
Q. (1) What is MUSIC?
(a) Music is a pleasing succession of tones, single or combined.
(b) Music is the science and the art of combining tones so as
to please the ear and appeal to the imagination. Its elements
are TIME, RHYTHM, MELODY, and HARMONY.
Q. (2) What is a musical TONE?
A sound formed by regular vibrations of the air; as distin-
guished from noise, which is sound formed by irregular vibrations.
/ The word lone is here used in the sense of a musical sound, which must be
distinguished from its use also as meaning: an interval. (See INTERVAL.)
Q. (3) In how many ways may one musical tone differfrom another?
In four: In PITCH; in INTENSITY; in COLOR; and in DURATION.
Q. (4) What is PITCH (or INTONATION)?
The acuteness ("height") or gravity ("depth") of atone: the
more rapid the succession of vibrations, the higher the tone; the
slower the succession of vibrations, the lower the tone.
2 The fixed, definite pitch of a tone, as determined by the rapidity of the vibra-
tions, is called absolute pitch. The height or depth of a tone as compared to
the height or depth of some ether tone is called relative pitch. The extent, as
to pitch, of the tones that a voice or instrument is capable of producing, from
the lowest to the highest, is called the compass, or range. (See INSTRUMENTS.)
Q. (5) What is INTENSITY?
The degree of power — loudness or softness.
Q. (6) What is COLOR in music?
The peculiar quality or character of a tone that, apart from
its pitch, power, or duration, distinguishes it from other tones
capable of being produced by the same voice or instrument, or
from the characteristic quality of the tones of other voices or
instruments.
3 Color in music is a figurative expression used to describe an effect of sound
on the hearing that corresponds to the effect of color on the sight. (See
ACOUSTICS.)
Q. (7) What is meant by the DURATION of a tone?
The portion of time during which the tone lasts; its continu-
ance;— called its time-value or length.
Q,. (8) What is TIME or MEASURE?
(a) The mechanical measurement or design of motion in
music, defined by the regular recurrence of accents.
(b) The orderly grouping of accented and unaccented pulsa-
tions into MEASURES containing fractional parts of equal duration.
Q. (9) What is RHYTHM?
The artistic design or form of motion in music, defined by
symmetrical arrangement of accent.
' Rhythm, like other elements of music, has its origin in nature; as found,
for example, in the regularity of action and re-action in the beating, or pulsa-
ting, of the heart, or in the successive steps in walking, or in breathing, etc.
Bfats, or pulsations, in music are the basis of its rhythm. The terms TIME,
MEASURE, and METRE, are usually applied to the relative measuring and
mechanical design of motion in its narrower sense; the term TEMPO to the
absolute measuring of motion as to the rate of speed: and the term RHYTHM is
usually reserved to describe motion in a broader, less mechanical sense than
measure does, giving its aesthetic design or symmetry. Rhythm, though
affected by measure, is, in a sense, independent of it, and may present a design
or a group of pulsations contained in L'ss than one measure, or comprise groups
of measures, forming more or less broad musical divisions of a composition.
Time in music corresponds to the mechanical measurement and accentuation
of syllables in poetry— poetic metre. Rhythm in music corresponds to the
artistic design of the movement in poetry, as seen in the special rhythmic
patterns; the lines, or verses; the stanzas; etc.
5 [In the following quotation (from W. E. Heimendahl) the distinction
between Time and Rhythm is further defined ;
"Time is a steadily and uninterruptedly progressing series of pulsations sepa-
rated by time-lengths of equal duration. Some of these pulsations are dynam-
ically stronger than others, and recur in regular order, forming a set scheme
or frame. This dynamic scheme may not always be expressed by the music
which fills the frame; but when so hidden, the original and fundamental
arrangement of time-lengths, with theii differences in dynamic value, is
instinctively felt by the listener.
"Time is always Rhythm, but is a very small, if fundamental, part of what
we call Rhythm in its modern and elaborate form. Rhythm, although its
accents may not coincide with those of Time, always includes Time, as an
instinctively-felt metrical order; which is, however, not always indicated by
accents occurring simultaneously with time-beats. Rhythm is the metrical
arrangement of certain musical thoughts, in more or less elaborate form;
without which there would be no music as an art expressing ideas or moods
or passions.
"One may play in good time and yet not play rhythmically. The lattei
refers to accentuation not always synchronous with time."]
Q. (10) What is MELODY?
A pleasing succession of single tones, rhythmically arranged.
(The air, or tune, of a musical composition.)
Q. (11) What is HARMONY?
A combination of several tones of different pitch, producing
CHORDS formed according to laws.
6 ACOUSTICS. — A tone-producing body, vibrating as a whole, gives out a defi-
nite sound, called a. fundamental lone, or generator; vibrating also, as it does,
In its fractional parts or sections at the same time, it gives out a series of other
tones, higher and lighter, called harmonics, or overtones, or upper pariials.
If, for example, a piano-key be forcibly struck and held, the string with which
it connects will give out not only the tone represented by the key and pro-
duced by the vibration of the string as a whole, but a succession of faint
sounds of higher pitch, produced by the vibration of fractional parts of the
string. These attendant tones, generated by the principal tone, merge into
it; thus giving it a composite character, and affecting its "quality" and reso-
nance. A theoretically pure tone— that is, a tone unaccompanied by its over-
tones, if it were possible to produce it— would, be dull and ineffective,
"colorless."
The vibration of one-half of a string (or other tone-producing body) gives
out the octave of the fundamental tone; the vibration of one-third gives out
the fifth above the octave; of one-quarter, the double octave; of one-fifth, the
third above the double octave; and so on. From these naturally-generated
sounds are derived, or deduced, the tones, intervals and chords which formvthe
basic material of musical art. The science which treats of the relations of
sounds is called ACOUSTICS.
(The word harmonic Is used in two senses: (a) as meaning "pertaining to
narmony"; and (6) as meaning an overtone.)
II. — NOTATION, TIME, ETC.
Q. (12) How are TONES represented f
By a system called NOTATION, in which certain characters,
called NOTES, are used, named, as to pitch, after the first seven
letters of the alphabet (or, less frequently, by the syllables do,
re, mi, fa, sol, la, si) , and placed on, or in the spaces between,
five lines called a STAFF (or STAVE; plural, STAFFS or STAVES).
Q. (13) In representing DURATION, how many kinds of notes are
used in modern music ?
Eight: WHOLE, HALF, QUARTER, EIGHTH, SIXTEENTH, THIR-
TY-SECOND, SIXTY-FOURTH, and ONE-HUNDRED-AND-TWENTY-
EIGHTH notes (the last being seldom used) .
9 The notes are sometimes called semibreve, minim, crotchet, quaver, semi-
quaver, demi-semi-quaver, hemi-demi-semi-quaver.
Q. (14) How are the NOTES made ?
The whole note is an open, oval-shaped character; half, an
open note with a stem; quarter, a closed note with a stem; 8th,
closed note with a stem and one hook; 16th, closed note, stem,
two hooks; 32d, closed note, stem, three hooks; 64th, closed
note, stem, four hooks; 128th, closed note, stem, five hooks.
The relative values of the notes are as follows: two half notes, or four
quarter notes, or eight 8th notes, or sixteen 16th notes, or thirty-two 32d notes.
or sixty-four 64th notes, or one hundred and twenty-eight 128th notes make a
whole note.
^ whole
r
r r r r
c_r L_T c__r p F 8th
half
quartet
16th
32d
•'•f The STEM is placed at the right of the note and points upward when the
note is below the middle line of the staff (the third); it is placed at the left
of the note and points downward when the note is above the third line; when
the note is on the third line the stem may point either upward or downward,
its position usually conforming to that of the note or notes next to it. In tin
case of successive notes in a group the usual position of the stems sometimes;
varies to conform with the stems of adjacent notes. When several notes
needing hooks are grouped together, straight strokes connecting them all are
made through the stems instead of the usual hooks on each stem. When
there are two stems on a single note, one pointing upward and the other down-
ward, each stem represents a separate note (with its own time value) belong-
ing to an independent part or "voice"; the single note being used for both
because the two parts, represented on one staff, are at that point in unison:
that is, at the same pitch. When a group of two notes, one above another,
has two stems, the note connected with each stem represents an independent
part. When a single stem connects two or more notes, one above another,
the several notes represent a chord, not each an independent part.
I?, Notes representing melody (tones sounded successively) are placed one after
another on the staff, from left to right, as in the writing of words in a sentence.
Notes representing harmony (tones sounded simultaneously) are written one
above another.
13 FN. B.— The term FIRST, applied to a line or space of the staff, or to the tones
of a scale, interval or chord, means the lowest. Applied to voices or instruments
of the same class, or to a part written for a voice or instrument in concerted
music, or to the strings of violins and kindred instruments, it means the
highest. Applied to the beats or tones of a measure, it means the beat or tone
with which the measure begins; and applied to the tones of a phrase, a passage
a melody, or a composition, it means the tone with which the phrase, or the
melody, etc., begins.
It The terms HIGH, UP, and LOW, DOWN, applied to pitch, refer to greater or
less acuteness of tones, proportioned to the rapidity of the vibrations produc-
ing them. Applied to the keyboard of a piano or organ, up means to the
right, and down means to the left. Applied to the bowing of a violin, uf
means the upward stroke of the arm, and down means the downward stroke
8
Applied to the normal beats of a measure, up means a weak, or unaccented,
beat, and down means the first beat.
The term BASS is applied to the lowest tone of a chord; the lowest part in a
composition: the lowest male voice; the lowest instrument of a class; the lowei
compass of the piano; and the lowest clef (F clef) used on the staff. The
term TREBLE is applied to the highest human voice, soprano; to the highei
compass of the piano; and the highest clef (G clef) used on the staff.]
Q,. (15) How many significations has each note on the staff f
Two: Its position indicating the relative .pitch, and its shape
indicating the relative duration, or value.
Q. (16) How are the tones indicated that extend beyond the
limits of the staff?
(a) By writing the notes on short lines, called LEGER LINES,
placed above or below the staff ; and (b) the sign 8va. (an
abbreviation of the Italian word ottava, an octave) , placed above
or below the notes to show that they are to be played an octave,
or eighth, higher or lower. (See OCTAVES.)
Notes below staff.
Notes on staff.
.Notes above staff.
W^JJ J
u^
1— •
N=i=
-r i i -!—!-=;
Q. (17) What is a REST?
A REST is a sign indicating a silence of measured duration.
Q. (18) How many kinds of rests are there, and how are they made?
There is a rest corresponding in time-value to each note. The
whole rest is a closed block filling only half the space under a
line on the staff, generally the fourth; half, a similar block over
a line, generally the third; quarter, a stem with a hook at each
end, turned in opposite directions, or a stem with a hook turned
to the right; 8th, a stem with a hook turned to the left; 16th,
stem, two hooks to the left; 32d, stem, three hooks to the left;
64th, stem, four hooks to the left; 128th, stem, five hooks to
the left.
Whole Whole
note. rest.
Half Half
note. rest.
Quarter
note. Quarter rests.
r
_.-. .. -» ..._J
r •
r *
JT. ^ =\
8th 8th
note. rest.
16th 16th
note. rest.
32d 32d
note. rest.
64th 64th
note. rest.
1 — £
*—
-JC 1
Q. (19) What do one, two or three DOTS placed after a note or
rest signify?
The note or rest is increased one-half its value by one dot;
three-quarters its value by two dots; and seven-eighths its value
by three dots. Each dot represents a value one-half as great as
the value of the note, dot or rest preceding it. For example: a
dotted 8th represents an 8th and a 16th, or three 16ths; a double-
dotted 8th represents an 8th, a 16th and a 32d, or seven 32ds:
Equivalents
Q. (20) What is a TIE?
A TIE is a curved line connecting two notes representing
tones of the same pitch, to show that the first is held through
the time-value of both, making practically one tone.
The Tie.
Q. (21) What is a CLEF?
A CLEF (from the French word meaning key) is a sign placed
on the staff to show the absolute pitch of the notes following it.
Q,. (22) How many kinds of clefs are there?
Three : The F clef, the G clef, and the C clef ; so named because
they indicate, respectively, the pitch of F (below Middle C), of
G (above Middle C), and of Middle C. The G clef (called also
treble clef because it determines the pitch of the treble, or upper
part of the compass ef musical tones) and the F clef (called also
bass clef because it determines the bass, or lower part of the
compass) are the clefs commonly used.
etc.
i6 The modern characters representing the clefs are corruptions of the letters
F, G, and C, respectively. The character is placed on the staff to indicate the
pitch of the notes on one line, and thus of other notes on the staff. The F of
10
rreble Clef. Bass Clef. C Clefs.
G Middle C
i-' i '=y
F Middle C
a=fi—
Mid
ileC
the F clef is (in modern music) on the 4th line. The G of the G clef is always
on the 2d line. The C clef is called the tenor clef when the sign indicating
Middle C is on the 4th line; the alto clef when it is on the 3d line; and the
soprano clef when it is on the 1st line.
17 MIDDLE C is so called because it is about in the middle of the compass of
musical tones. It is on the 1st leger line below the staff, treble clef, and on the
1st leger line above the staff, bass clef; therefore midway between the two clefs,
and on the middle line of the GREAT STAFF of eleven lines (not now used). It
is the C nearest the middle of the piano keyboard.
Great Staff.
— ' .III
Middle -
1-=)-
— j- J ^ 0 6
18 The seven musical tones, named after seven letters of the alphabet (C, D, E,
F, G, A, B) , and five intermediate tones lying between certain of their num-
ber, represent the practical material of music, varied only by being reproduced
at higher or at lower pitch. The distance between any one of these tones and
its nearest higher or lower reproduction is called an OCTAVE.
19 The octaves are usually designated by the names DOUBLE CONTRA; CONTRA;
GREAT ; SMALL ; ONE-LINED, Or ONCE-ACCENTED ; TWO-LINED, Or TWICE-AC-
CENTED ; THREE-LINED, Or THRICE-ACCENTED; FOUR-LINED, Or FOUR-TIMES-
ACCENTED ; each octave beginning at the tone named C and counted upward.
For convenience they may be designated by the use of capital and of small
letters, and numbers placed near either the top or the bottom of the letter; or
by dashes, or strokes, etc. They are classified as follows :
r n u w r A „ r>0 S DOUBLE CONTRA OCTAVE,
C2 D2 E2 F2 G2 A2 B2 j beginning 4 octaves below Middle C.
T, F>i TT, F, C, Ai R, \ CONTRA OCTAVE,
J * i beginning 3 octaves below Middle C.
r> r» t? T? r A n \ GREAT OCTAVE,
CUh/rtrAB) .. . . »,..«, ^>
' beginning 2 octaves below Middle C.
C d e f £• a b \ SMALL OCTAVE,
< beginning 1 octave below Middle C.
01 ,11 pi fl o-l al V.1 j ONE-LINED OCTAVE,
* beginning at Middle C.
c2 d2 e2 f2 K2 a2 b2 S TWO"LINED OCTAVE>
' beginning 1 octave above Middle C.
7s d3 e3 f3 23 a3 b3 \ THREE-LINED OCTAVE,
< beginning 2 octaves above Middle C.
c4 d4 e4 f4 e4 a4 b4 \ FOUR-LINED OCTAVE,
< beginning 3 octaves above Middle C.
Q. (23) What tones are represented by notes placed in regulat
succession on the alternating lines and spaces and leger lines
and spaces of a staff?
The seven tones of the typical, or natural, scale of C major,
and their octave transpositions; called NATURALS.
20 On the piano keyboard the naturals are represented by the white keys.
I See KEYBOARD.)
11
Q. (24) How are other tones than those thus represented on the
staff indicated?
By signs of alteration of pitch (without change of letter-name)
called SHARPS, FLATS, and NATURALS; placed on the lines or
the spaces of the staff, either at the beginning of a composition
or division of a composition, or immediately bei?ore ilia note to
be altered.
A single SHARP raises a note one semitone. A double sharp raises a note two
semitones. A single FLAT lowers a note one semitone. A double flat lowers a
note two semitones. A NATURAL cancels a preceding sharp or flat, double or
single. The combination of a natural followed by a sharp or a flat indicates
that a preceding alteration is first cancelled and the note then made sharp, or
fiat.
Sharp. Flat. Natural. Double sharp. Double ftat.
* !> \ X t»
Q. (25) When placed on the staff at the beginning of a division
of a composition, what are the sharps and the flats called
and how do they affect the notes?
They are called KEY SIGNATURES, or simply SIGNATURES.
The sharps or the flats of a key signature affect the notes occupy-
ing the same lines and spaces and their transpositions in all
octaves throughout the length of the division, unless revoked or
temporarily cancelled.
Q. (26) What is an ACCIDENTAL?
Any sharp, double sharp, flat, double flat, or natural, set
before a note, and changing, cancelling or restoring the key
signature.
An accidental affects the note before which it stands and the
succeeding ones in the same position on the staff in the measure
in which it occurs, unless revoked meanwhile.
In music written for a stated number of parts or voices (for example, fugues
and the wind parts of orchestral scores), each part or voice requires its own
accidentals throughout.
21 (The term sharp, applied to pitch, indicates either the raising of a note a
chromatic semitone, or a deviation from accurate pitch by being too high.
Applied to quality of tone it indicates shrillness. The term fiat indicates
either the lowering of a note a chromatic semitone, or a deviation from ac-
curate pitch by being too low.)
Q. (27) How is TIME represented?
By the grouping of notes into MEASURES, by means of BARS
vertically crossing the staff. Two or more staffs may be con-
nected by a BRACE ( | \ (See TIME, RHYTHM.)
Double
Bar. bar.
Double bars
with dots.
Bracket.
t**TIME. II Z°TIME 1
ir- :IF
Q. 28 What does a DOUBLE BAR indicate ?
The end of a section, or of the whole, of a composition.
12
Q. (29) What do DOUBLE DOTS placed before a double bar indicate?
A repetition from the beginning, or from the last preceding
double bar followed by dots.
When two measures or groups of measures (one preceding,
the other following, a double bar with dots) are inclosed in a
BRACKET and marked, respectively, Isx TIME and 2o TIME, the
section to be repeated closes with the measure or measures
marked 1st time when it is first played, but with the measure
or measures marked 2d time on the repetition, omitting then the
first ending. (See also DA CAPO, DAL SEGNO.)
22 REPETITION of measures, notes, figures, passages, etc., may be indicated
by various signs or by an abbreviated notation; for example: (a) by heavy
strokes or blocks on the staff for a rest of more than one measure, sometimes
with the addition of a numeral indicating the number of measures of rest ; or
(b) by one or more heavy strokes through the stem of a note, showing that it
is to be repeated, or divided into smaller values indicated by the number of
strokes (see also TREMOLO); or (c) by a slanting stroke, with or without
dots, or by several slanting strokes, showing that a group of notes is to be
repeated, etc.
2
measures
of rest.
3
measures
of rest.
4
measures
of rest.
Any number
of measures
of rest.
-1 ^ fi
_4_i — i — , — e_5_
•"^1 — 1
c- / OP /. OP /// etc.
For example:
Written.
Played.
Q. (30) What is a TRIPLET?
A group of three notes of equal value given the actual value
of only two notes of the same kind, or of one of the next higher
value, as at a; or a group of notes (or notes and rests) that
represent three of equal value, as at b. The triplet sign is the
figure 3 over or under the group of three notes.
The Triplet.
in time-value.
23 A QUADRUPLET is a group of 4 notes of equal value, given the actual value
of 3 or of 6. A QUINTUPLET is a group of 5 with the value of 4. A SEXTU-
PLET is 6 with the value of 4. A SEPTUPLET is 7 with the value of 4 or of 6
An OCTUPLET is 8 with the value of 6 ; and so on.
13
Q. (31) How is the TIME of measures indicated?
By the letter C (or C with a vertical stroke) , or by fractions,
placed on the staff at the beginning of a section or the whole
of a composition, immediately after the key signature; and called
the time signature. (See KEY SIGNATURE.)
The upper figure (numerator) of the fraction indicates the
number of equal fractional parts — called beats, or counts — into
which the measure is divided. The lower figure {denominator)
gives the value of each of these beats.
The letter C stands for * time; and C with a stroke, or all&
breve, stands for \ time with only two beats and in quicker tempo
— practically | time.
Q. (32) How many kinds of time are there ?
Two: SIMPLE and COMPOUND.
24 Simple time has one pulsation to each beat.
25 Compound time is derived from simple time by substituting for each beat of
simple time a measure of simple triple time. Compound time is therefore a
combination of simple triple time, with a group of three pulsations for each
single beat of simple time. Simple time with a triplet for each beat would
have the same effect as the corresponding compound time. (See METRICAL
ACCENTS.)
Q. (33) How many kinds of SIMPLE lime are there 1 Give
some examples of each kind.
Three: DUPLE, such as |5 f, *• TRIPLE, such as *( *9 |j and
QUADRUPLE, SUCh as f} 4, £.
Q. (34) How many kinds of COMPOUND time are there ? Give
examples.
Three: DUPLE, such as *, f, i66; TRIPLE, such as *, |} ^j and
QUADRUPLE, SUCh as '4*, ", Jf .
^6 Besides the above usual kinds of time, there is occasionally used a com-
pounding of double with triple time, such as 5-4, 7-8, etc., partaking, as to
accent, more of the nature of simple time.
Some classifications include only duple and triple time, grouped as follows:
Simple duple— 2-2, 2-4, 2-8, 2-16. Simple triple— 3-2, 3-4, 3-8, 3-16. Compound
duple— 4-2, 4-4, 4-8, 4-16. Compound triple— 6-8, 9-8, 12-8.
27 The following diagram illustrates the different kinds of time and the usual
ways of beating time. The dashes over the notes indicate the relative
strength of the pulsations in a measure — metrical accents : — 3 dashes indicate
the principal or primary accent, on the first beat of each measure ; 2 dashes
indicate a secondary accent ; 1 dash indicates a tertiary accent.
When the movement in compound time is quick, the pulsations in each
group are not separately indicated in beating time, the outline of the beat
being the same as in the corresponding simple time; as if a triplet were sub
•tituted for each beat of simple time.
14
TIME DIAGRAM,
1 2
2 »
SIMPLE
•*
I 2
ff f
UPLK
'HE.
lf\ 'lt!
COMPOUND £_£j» ££J» *\*|'~~%°ei !'
SMPLC If f f
KIPLE
[HE.
COMPOUND
123456^89
10RUPLE
!'ȣ,
r f r
COMPOUND
v
i~2~~3 4~~5~~6. 789 W II IZ
15
III. — SCALES, KEYS, INTERVALS, CHORDS, ETC.
U. (35) What is a SCALE?
A SCALE (from the Italian word scala, a "ladder," or "stair-
case".) is a succession of consecutive tones (sounds).
Q. (36) How many principal kinds of scales are there?
Two : DIATONIC and CHROMATIC.
Q. (37) What is the difference between them?
The diatonic scale progresses in whole tones and semitones;
the chromatic in semitones only.
Q,. (38) Of what does the DIATONIC scale consist?
Of 8 tones (sounds) , including the octave of the 1st, forming 7
steps (or progressions) of whole tones and of semitones, advanc-
ing in direct succession through the DEGREES of the octave;
that is, without skipping or repeating any letter of the seven
used in naming tones, except in reproducing the sounds in
higher or in lower octaves. The specific manner of forming a
scale is called the MODE.
(Dia— "through;" diatonic — "through the tones").
DEGREES. — The sounds of a diatonic scale are called its DEGREES. The dif-
ference, or "distance," between two adjacent degrees is either a whole tone
(called also a whole step} or a semitone ( called also a half -tone or half -step — the
smallest interval, or progression, used in musical notation).
Q. (39) How are the DEGREES of a scale named?
Regarded with reference to their absolute pitch they are named
after the seven alphabetical letters (with necessary sharps or
flats) representing the tones on which they fall in a given scale.
Regarded with reference to their scale position, or relative pitch,
they are either numbered, or given the following names:
1st degree — TONIC, or KEY-NOTE.
2d
3d
4th
5th
6th
7th
SUPER-TONIC.
MEDIANT.
SUB-DOMINANT.
DOMINANT.
SUB-MEDIANT.
LEADING-TONE.
The 8th degree is the octave of the key-note and bears the
same name.
29 The tonic, or key-note, is so called because it gives the fundamental tone with
which the scale begins and from which the key takes its name (tonic meaning
"tone"). For example: if the tonic falls on the tone C, the scale and key are
called the scale and key of C; and so on.
70 The super-tonic Is so called because it is the degree next above the tonic
(super meaning "above").
16
31 The mediant is so called because it is midway between tonic and dominant
(mediant meaning "between").
32 The sub-dominant \s so called because it is the dominant below, or under,
the tonic (sub meaning "under"); it is the 5th below the key-note, while the
dominant is the 5th above.
3S The dominant is so called because of the important part it plays in music
(dominant meaning "dominating," "ruling," "governing"). It is prominent
among the harmonics generated by tone-producing vibrations (see ACOUSTICS) ;
chords having this degree as their root clearly indicate the key by their tend-
ency to progress to the key-note; the degree marks the beginning of the
second hah' of the two divisions of a scale; etc.
34 The sub-mediant is so called because it is midway between the sub-dominant
and the tonic (octave); or between the tonic and the sub-dominant below the
tonic.
35 The leading-tone (a semitone below the octave of the key-note) is so called
because of its tendency to progress or "lead" up to the 8th degree, the key-
note. It is also called the sub-tonic, because it is under the tonic.
Diagram showing the tones of the Key of C, reckoned from the Tonic as a
centre.
Tonic.
ff -*••' 3"--- i ^"=^ 1 ^-^n ?° ~-KJ ° 1
9
Sub-
dominant.
Sub- Mediant. Dominant,
mediant.
Q. (40) How many MODES of the diatonic scale are there?
Two: MAJOR and MINOR.
Q. (41 ) How is the major diatonic scale formed f
(a) Of 2 major TETRACHORDS, each containing 2 whole tones
and 1 semitone, separated by a whole tone of disjunction; or (b)
of 2 whole tones and a semitone, then 3 whole tones and a semi-
tone; or (c) of 7 steps from a given tone to its octave, all of
which are whole tones except the step between the 3d and 4th,
and that between the 7th and 8th, which are semitones.
36 A TETRACHORD— from the Greek tetrachordos, "having four strings" — is a
scale series of 4 tones contained in a perfect 4th (a 4th comprising 5 semitones).
The major tetrachords (each having 2 whole tones and 1 semitone) of major
scales consist of (1) the 1st, 2d, 3d, and 4th degrees, called the tonic tetrachord:
and (2) the 5th, 6th, 7th, and 8th degrees, called the dominant tetrachord. The
whole tone of disjunction is, therefore, between the 4th and 5th degrees. Every
ma;or scale contains, in its two tetrachords, a tetrachord of two other scales:
its tonic tetrachord being the dominant tetrachord of the scale beginning a 5th
17
below; and its dominant tetrachord being the tonic tetrachord of the scale b«-
Sinning a 5th above.
Q. (42) Where, then, do the semitones occur in a major scale?
Between the 3d and 4th degrees, and the 7th and 8th degrees.
Model of the Major Scale. The semitones are indicated by the slur X^^X,
and the whole tone of disjunction by a cross mark X :
ii
^
j&
Tonic tetrachord.
^"o Dominant tetrachord.
p^p £ : 3 1 1 J
*J ^O"
I
<3 ^ —
n IE
^ X
y si
S
^*
vnr
H
N
§
O +•>
1 1
§
•4-> -4-*
S 1
V
§
1
E-i
£ «
1 «
•
e
g
S
I
§
CO
2
0 £
1
Q. (43) //<?w many ways are there of forming a minor scale f
Three: Called the PURE (or ANTIQUE), the HARMONIC, and the
MELODIC.
Q. (44) What is the PURE, or ANTIQUE, MINOR scale?
A scale formed on the sub-mediant — the degree that is a minor
3d below, or a major 6th above, the key-note of the major scale,
to which it is related in having the same signature.
37 The pure is the only minor scale-form that adheres to its signature — that of
its relative major — introducing no accidentals. Its 3d, 6th, and7th are all minor
intervals, reckoning from its key-note. The pure minor is the basic minor scale
from which the commonly used minor scales are developed.
Model of the Pure Minor Scale :
^ <g ^^^V " =
ftp " g.-^' ==<
W i/ ix
Q,. (45) Where do the semitones occur in the PURE minor scale f
Between the 2d and 3d degrees, and the 5th and 6th degrees
Q. (46) How is the HARMONIC minor scale formed f
By raising the 7th of the pure minor, because in modern music
the tendency of harmony requires a leading-tone (that is, dne
18
terming a semitone, instead of a whole tone) in progressing
from the 7th to the 8th degree.
Model of the Harmonic Minor Scale :
Q. (47) /too' tr /A^ MELODIC minor scale formed f
By raising the 6th of the harmonic minor, in order to avoid
the unmelodic step of a tone and a half occurring in the har-
monic minor scale between the 6th and 7th degrees; the normal
melodic scale-succession being in steps not greater than semi-
tones and whole tones.
Q. (48) Is the melodic form used both in ascending and in de-
scending f
No; in the melodic minor scale the pure minor is used com-
monly in descending, since the reasons for deviating from the
signature do not obtain in descending, the 7th degree no longer
leading upward to the 8th degree.
Model of the Melodic Minor Scale :
K X % Y*
Q. (49) What is the difference between RELATIVE and CORRE-
SPONDING (PARALLEL or TONIC) major and minor scales?
RELATIVE major and minor scales have different key-notes
but the same signatures. CORRESPONDING (PARALLEL or TONIC)
major and minor scales have the same key-notes but different
signatures. The signature of a corresponding minor scale is
that of its relative major, a minor 3d above.
JS For example: A major and A minor correspond in key-notes, both beginning
on A; but A major has 3 sharps, and A minor has no signature. A minor and
C major are related, in having no signatures; but they begin on different key-
notes— A and C.
Q. (50) Illustrate the difference between the major scale and the
minor forms.
Lowering the 3d, 6th, and 7th of the major scale gives the
corresponding pure minor. Lowering the 3d and 6th of the
major, gives the harmonic minor. Lowering the 3d of the
major, gives the ascending melodic minor.
?* The terms MAJOR (meaning "greater") and MINOR (meaning "less") are
applied to the diatonic modes because the distance of the 3d degree, the 6th
degree (usually), and the 7th degree (under certain conditions), above the
key -note is in the major mode a semitone greater in each case than with tha
19
same degrees In the minor mode. The tones that the two modes invariably
have in common are the 1st, the 2d, the 4th, the 5th, and, of course, the octave
of the 1st. The tone in which they invariably differ is the 3d. The 6th and
the 7th of the minor vary as already described. The 3d of a scale or of a tonic
chord is, then, the distinctive tone that indicates the mode — being a major 3d
(two whole tones) above the key-note in a major scale, and a minor 3d (one
whole tone and one semitone) above the key-note in a minor scale. (See
INTERVALS.)
All MAJOR scales are constructed on one model, one scale differing from an-
other in absolute pitch, but not in diatonic order. In order to carry out
consistently in other tones the construction of the scale as found in C
major (taken as a type and called the natural scale), it is necessary to include
one or more of the five intermediate tones lying between the naturals (and on
the piano represented by black keys) ; and to introduce signatures of sharps
and of flats. Minor scales also are constructed on one model, but with the
variations in the 6th and the 7th degrees already noted. The chromatic
alterations of the 6th and 7th degrees are marked as accidentals, not included
in the regular signatures.
Q. (51) How many SCALES, or "KEYS," are used?
Thirty: 2 (1 major and 1 minor) with no signature; 14 (7
major and 7 minor) with sharp signatures; and 14 (7 major and
7 minor) with flat signatures.
Q. (52) Give the names and the signatures of the scales.
C major and A minor, no signature.
G major and E minor, 1 sharp.
D major and B minor, 2 sharps.
A major and F sharp minor, 3 sharps.
E major and C sharp minor, 4 sharps.
B major and G sharp minor, 5 sharps.
F sharp major and D sharp minor, 6 sharps.
C sharp major and A sharp minor, 7 sharps.
F major and D minor, 1 flat.
B flat major and G minor, 2 flats.
E flat major and C minor, 3 flats.
A flat major and F minor, 4 flats.
D flat major and B flat minor, 5 flats.
G flat major and E flat minor, 6 flats.
C flat major and A flat minor, 7 flats.
[The key-notes and signatures of the scales should be named, for practice,
In chromatic order also. For example: C major, no signature; C minor, 3 flats;
C sharp major, 7 sharps; C sharp minor, 4 sharps; D flat major, 5 flats;
and so on.]
Q,. (53) In what order are the scales obtained?
By ascending a 5th for each additional sharp scale, and de-
scending a 5th for each additional flat scale, starting from C;
forming a complete "circle of 5ths" by enharmonic transposi-
tion,— as illustrated in the Diagrams: Pages 22-23. (See also
^NHAitMONic CHANGE.)
20
Q. (54) 2n what order are the signatures obtained?
In 5ths: ascending in sharps — P sharp, C sharp, G sharp,
D sharp, A sharp, E sharp, and B sharp; descending in flats;
B flat, E flat A flat, D flat, G flat, C flat, and F flat.
41 The order of sharps reversed will give the order of flats.
Q. (55) Name the degrees of each major scale and each minor
scale (J>uret harmonic, and melodic), ascending in diatonic
order; and those of the melodic minor scale descending also.
fFor example: G sharp minor (harmonic) consists of G sharp, A sharp, B. C
sharp. D sharp, E. F double sharp, and G sharp; and so on.]
Q. (56) What is an INTERVAL?
The difference in pitch (or "distance") between two sounds,
or musical tones; named according to the number of scale de-
grees included.
Q. (57) What are the smallest intervals used in modern music f
The WHOLE TONE and the SEMITONE, or half-tone.
42 There are two kinds of semitones— diatonic and chromatic. A diatonic semi-
tone J .; tlv semitone as found in the diatonic scale between two consecutive
scale-degrees; involving therefore a change of letter-name and of position on
the staff, as well as of pitch. Example: C to D flat. A chromatic semitone is
the semitone between a dc.-^ree andits nearest chromatic alteration, or between
two contiguous chromatic alterations; involving therefore a change in pitch
and a sign of chromatic alteration, but not c change cf letter-name or position
on the staff. Example: C to C sharp or C flat; or G sharp to C double sharp;
or C flat to C double flat. The sum total of a diatonic and a chromatic semi-
tone is a whole tone.
Q. (58) What is the difference between a HALF-TONE and a
HALF-NOTE? Between a TONE and a NOTE?
A half-tone or semitone is an interval, thus having to do with
difference in pitch; and a half-note is a sign denoting the value
(two quarters) of a jiven sound, thus having to do with time.
A tone is a musical sound; and a note is simply a character or
sign used to represent tones in writing music.
This distinction is not always observed, the term note being frequently, but
loosely, used as synonymous with tone.
Q. (59) What are the standard intervals as used in the major
scale, reckoning from the key-note upward?
The PRIME or UNISON (comprising only one degree, and not
properly an interval, as an interval is a difference in pitch).
MAJOR 2D, MAJOR 3D, PERFECT 4TH, PERFECT 5TH, MAJOR 6TH.
MAJOR 7TH, and PERFECT STH, or OCTAVE.
<? The term unison is sometimes applied also to the octaves of tones, as whea
•Cv'eral voices or instruments produce the same melody in different octaves.
21
CIRCLE OF FIFTHS.
e!
[In this diagram the capital letters indicate the key-notes of the 15 Major
Scales; the small letters indicate their enharmonic equivalents. The keys
with signatures of sharps are represented on the outside of the circle; those
with signatures of flats, on the inside; the key without signature, on the line
at the top of the circle.
A Circle of Fifths representing the Minor Scales may be similarly con-
structed.]
22
KEY SIGNATURES.
Natural keys.
C major
and
A minor.
Flat keys.
Sharp keys.
F major.
D minor,
G major.
E minor.
B flat major, i
G minor. !
!D major.
B minor.
E flat major. { [/ k"l
linor. I IMK '
C mi:
fcfe
5 A major.
I F sharp minor.
( E major.
\ C sharp minor.
D flat major.
B flat minor.
I* [>
< B major
} G sharp minor.
G flat ma
E flat mi
jor.* \JI L^t>. I) \f\,'\
nor. I |fl)^> l> I A
J F sharp major.
I D sharp minor
C flat major. 1
A flat minor. '
i C sharp major
! A sharp minoi
23
Q,. (60) How many whole tones and semitones and consecutive
letters are included in each of these standard intervals ?
Major 2d — 1 whole tone (or 2 semitones); and 2 letters.
Major 3d — 2 " tones ("4 " ); " 3 "
Perfect 4th — 2 whole tones and 1 semitone (or 5 semitones) ;
and 4 letters.
Perfect 5th — 3 whole tones and 1 semitone (or 7 semitones);
and 5 letters.
Major 6th — 4 whole tones and 1 semitone (or 9 semitones^-
and 6 letters.
Major 7th — 5 whole tones and 1 semitone (01 11 semitones);
and 7 letters.
Perfect Octave — 5 whole tones and 2 semitones (or 12 semi-
tones); and 8 letters.
Q. (61) How -may these be varied?
Thus : Major intervals raised a chromatic semitone, become
AUGMENTED intervals; lowered a chromatic semitone, they
become MINOR; again lowered a chromatic semitone, they become
DIMINISHED. Perfect intervals raised a chromatic semitone be-
come AUGMENTED, and lowered a chromatic semitone become
DIMINISHED.
44. For example:
C to C sharp is an augmented prime. C to G. perfect 5th;
or chromatic semitone; C to G sharp, augmented 5th;
C to D, major 2d; C to G flat, diminished Sthj
C to D sharp, augmented 2d; C to A. major 6th;
C to D flat, minor 2d. or diatonic C to A sharp, augmented, or "ex-
semitone; treme sharp," 6th;
C to E, major 3d; C to A flat, minor 6th;
C to E sharp, augmented 3d; C to B, major 7th;
C to E flat, minor 3d; C to B flat, minor 7th;
C to F. perfect 4th; C to B double flat, diminished 7th;
C to F sharp, augmented 4th; C to C, perfect octave;
C to F flat, diminished 4th; C to C flat, diminished octave.
45 Larger intervals, such as the 9th, the 10th, etc., are merely octaves with a 2d
or a 3d, etc.. added.
#6 A TRITONE is an interval of 3 whole tones, or an augmented 4th; such as is
found, for example, between the 4th and the 7th of a diatonic scale.
Q. (62) What is meant by the INVERSION of an interval?
An interval is said to be INVERTED when the upper tone is
transposed one or more octaves, so as to become the lower tone,
or vice versa. By inversion, major intervals become minor;
minor become major; augmented become diminished; dimin-
ished become augmented; but perfect remain perfect. By inver-
sion, a 2d becomes a 7th; a 3d becomes a 6th; a 4th becomes a
5th; a 5th becomes a 4th; a 6th becomes a 3d; a 7th becomes a
2d; an octave becomes a prime or remains an octave.
24
Q. (63) How many principal kinds of CHORDS are there?
Three: CHORDS of three tones (the triad, or common chord,
consisting- of a fundamental tone, or ROOT, with its 3J and 5th
above — the numbering or reckoning of scale-degrees, intervals,
and chords being from the given tone upward); chords of four
tones (the chord of the 7th, consisting of a fundamental tone,
3d, 5th, and 7th); and chords of five tones (chord of the 9th,
consisting of a fundamental tone, 3d, 5th, 7th, and 9th).
Q. (64) How many kinds of TRIADS are there?
Four: MAJOR, MINOR, DIMINISHED, and AUGMENTED.
Q. (65) Of what does each consist?
The major triad consists of a fundamental tone with its major
3d and perfect 5th; the minor triad of a fundamental tone,
minor 3d, perfect 5th; the diminished triad of a fundamental
tone, minor 3d, diminished 5th; the augmented triad of a funda-
mental tone, major 3d, augmented 5th.
t7 Example: C. E. and G. major triad; C, E flat, and G. minor triad; C. E flat
and G flat, diminished triad; C. E. and G sharp, augmented triad.
Q. (66) On which degrees of the scale can these chords be formed 7
The major triad can be formed on the tonic, the sub-dominant
and the dominant; the minor triad on the super-tonic, the
mediant, and the sub-mediant; the diminished triad on the
leading-tone; — of the major scale. The augmented triad occurs
on the third degree of the minor scale.
The triads on the tonic, dominant and sub-dominant comprise
all the tones of a diatonic scale.
Q. (67) What is a CONSONANT chord or CONCORD?
One containing no DISSONANT (DISCORDANT) intervals, pleas-
ing in itself and requiring no further progression, or RESOLUTION
Q. (68) What is a DISSONANT chord or DISCORD?
One containing one or more DISSONANT intervals, and requir-
ing further progression, or RESOLUTION.
Q. (69) Which are the CONSONANT, and which the DISSONANT
intervals ?
The perfect 4th, 5th, and octave are perfect CONSONANCES.
Major or minor 3ds and 6ths are imperfect CONSONANCES.
Major or minor 2ds and 7ths, and all augmented or dimin-
ished intervals, are DISSONANCES.
Q. (70) Give some examples of CONSONANT, and of DISSONANT
chords.
CONSONANT — major and minor triads; DISSONANT — chords of
the 7th and the 9th.
25
Q. (71) What is meant by the RESOLUTION of a chord?
The passing from a dissonant chord (or discord) to a conso-
nant chord (or concord). Resolution has been defined as "the
process of relieving dissonance by succeeding consonance."
48 A resolution that is arrested by the holding back, or "suspension," of one or
more tones of a chord while the others progress, is said to be suspended.
Q. (72; Define and give examples of PRINCIPAL CHORDS.
PRINCIPAL CHORDS are the fundamental or basic chords of a
key; called also PRIMARY CHORDS. The CONSONANT principal
chords are the triads on the tonic, the dominant, and the sub-
dominant. Triads on the other degrees are SECONDARY, or SUB-
ORDINATE, triads.
The DISSONANT principal chords are those dissonant chords
which resolve into the tonic triad, and whose fundamental tone
is the dominant of the key. The most important dissonant
principal chord is the chord of the dominant seventh. Chords of
the seventh on other degrees are SECONDARY, or SUBORDINATE,
seventh chords.
49 Summary of chords of the seventh : —
50 DOMINANT ?TH: A major triad with a minor 7th added, formed on the dom-
inant of major' and minor scales.
51 DIMINISHED VTH: A diminished triad with a diminished 7th added, formed on
the leading-tone of minor scales.
52 LEADING-TONE 7TH: A diminished triad with a minor 7th added, formed on
the leading-tone of major scales.
A similar chord is formed on the second degree of the minor scale.
53 Seventh chords formed on the other degrees of major and of minor scales
include those (a) on the 1st and the 4th degree of major and the 6th degree
of minor scales, consisting of a major triad and a major 7th; (6) on the 2d,
the 3d and the6th degree of major and the4th degree of minor scales, consist-
ing of a minor triad and a minor seventh ; (c) on the 1st degree of minor
scales, consisting of a minor triad and a major 7th ; (rf) on the 3d degree of
minor scales, consisting of an augmented triad and a major 7th.
Q. (73) How do the chords of the dominant 7th and the dominant
9th and their inversions resolve f
Into major or minor triads and their INVERSIONS.
Q. (74) From what tone are the intervals of a chord reckoned f
From the fundamental tone upward.
So long as the fundamental tone remains the lowest of the chord, the upper
tones may be distributed in any way without affecting the character of the
chord.
Q. (75) When is a chord said to be INVERTED?
When its fundamental tone is not the lowest.
Q. (76) How many inversions has the triad?
Two: known as the chord of the 6th (in which the funda-
mental tone is a 6th above its lowest tone, formerly its second
tone); and the chord of the 4th and 6th (in which the upper
tones are, respectively, a 4th and a 6th from the lowest tone,
formerly the third tone) .
54 Example: Major triad on C = C, E, and G; 1st inversion, 6th-chord=E, G,
and C ; 2d inversion, 4-6 (or 6-4) chord = G, C, and E.
55 When a chord is in its original state (that is, when the fundamental tone is
the lowest), it is said to be in its 1st position ; the 1st inversion is the Zd posi-
tion; etc.
26
Q. (77) How many inversions has the chord of Ihe 7th f
Three: known as the chord of the 5th and 6th (having a 3d,
5th, and 6th) ; the chord of the 3d, 4th and 6th (having a 3d, 4th,
and 6th); and the chord of the 2d (having a 2d, 4th, and 6th).
56 Example: 7th-chordon G = G, B, D, and F; 1st inversion, 5-6 (or 6-5) chord =
B, D, F. G; 2d inversion, 3-4-6 (.or 6-4-3) chord— D. F, G, B; 3d inversion, 2d
chord = F, G, B. D.
,C7 A system of abbreviated musical notation, in which the chords to be used
on a given bass are indicated by figures representing the principal intervals
of the intended chords, is called FIGURED BASS, or THOROUGH-BASS. (The
latter term is also applied to the science of harmony.)
Q, (78) What are ENHARMONIC tones, scales, intervals, or chords f
Tones, scales, intervals or chords that differ in letter-name,
signature, and staff-position, but are practically the same in pitch.
58 On instruments of fixed intonation, such as the piano and the organ, enhar-
monic tones, scales, etc.. are of absolutely the same pitch. (See EQUAL TEM-
PERAMENT.)
Q* (79) What, then, is meant by ENHARMONIC CHANGE?
A change of name and notation, but not of pitch.
Q. (80) How many names may be given each of the 12 musical
tones within the octave f
Three, with one exception: A flat or G sharp, the only names
for this tone.
Q,o (81) Mention the enharmonic changes on each tonef
C, B sharp, D double flat.
C sharp, D flat, B double sharp.
D, C double sharp, E double flat.
D sharp, E flat, F double flat.
E, F flat, D double sharp.
F, E sharp, G double flat.
F sharp, G flat, E double sharp.
G, F double .sharp, A double flat.
G sharp, A flat.
A, G double sharp, B double flat.
A sharp, B flat, C double flat.
B, C flat, A double sharp.
Q. (82) Mention SCALES that are enharmonic.
B major and C flat major, F sharp major and G flat major, C
sharp major and D flat major, and their relative minors.
59 By subtracting the number of sharps or flats in any scale from 12 (the
greatest number of sharps or flats possible in any scale, there being only
twelve musical sounds within an octave), the number of sharps or flats In its
enharmonic scale will be obtained. Thus, the number of sharps in B major, 5.
subtracted from 12, leaves 7, the number of flats in C flat major.
27
Q. (83) Give examples of ENHARMONIC INTERVALS and of EN-
HARMONIC CHORDS.
C to E flat is a minor third, and C to D sharp is an augmented
second, though each comprises one whole tone and one semitone,
and the two are practically the same in pitch.
F sharp, A sharp, C sharp — major triad on F sharp; G flat,
B flat, D flat — major triad on G flat: the two triads being prac-
tically the same in pitch.
Q. (84) What is meant by KEY?
The tones and signature and mode of a scale, named, like the
scale, after the key-note. In a broader sense, the KEY means
the tones comprised in a given scale, regarded with reference
to the harmonies formed on them and to their relation to the
tonic, rather than with reference to their consecutive succes-
sion, or scale-form.
60 This use of the word key should not be confused with that referring to a
lever on a keyboard— such as a piano key.
Q. (85) What is meant by TONALITY?
(a) The harmonies grouped about and related to a given key
or tonic chord; or (b) the consistent predominance in a compo-
sition of one key over other keys used.
Q. (86) What is MODULATION?
Passing from one key into another.
Q,. (87) What is meant by RELATIONSHIP of keys ?
The connection or affinity that exists between one key and
another, making modulation from one to the other more or lese
readily and satisfactorily accomplished.
61 Relationship, for example, exists by reason of the tones or harmonies thai-
two keys may have in common; or by the important position a tone may
occupy in each key— as, for instance, the dominant of one key may be th«
tonic of another; etc.
Q. (88) What is TRANSPOSITION?
Placing a composition in a different key from the one in which
it was originally written.
62 Transposition is effected by reckoning the relative positions of tones and
chords in the key, and rendering their equivalent in another key or octave;
or by changing the clef, or the signature, or both; etc.
Q. (89) What is a SEQUENCE?
The repetition two or more times in succession of a progression
of chords or a melodic figure, at regular intervals, ascending or
descending.
28
ty. (90) What is a CADENCE?
A succession of tones or chords forming a close to a composi-
tion or division of a composition.
For example : Dom inant to ton ic — authentic cadence. Sub-dominant to ton ic —
plagal or "Amen" cadence. Tonic followed by dominant — half or imperfect
cadence Unexpected progression avoiding the natural close on tonic— inter-
rupted or deceptive cadence.
(fc, (91) How many kinds of MOTION or progression are there f
Two: (a) affecting one part or voice; and (_b) affecting two
parts or voices in their relation to each other.
Q. (92) What kinds of motion affect one part f
CONJUNCT motion, or progression by steps (that is, intervals
not greater than a second); and DISJUNCT motion, 01 progression
by skips (that is, intervals greater than a second).
Q. (93) What kinds of motion affect the relations of two parts f
(a) PARALLEL, SIMILAR, or DIRECT motion, or progression in
the same direction; (b) CONTRARY motion, or progression in
contrary directions; and (<:) OBLIQUE motion, in which one part
is stationary , while the other ascends or descends.
IV, — PHRASING, ACCENTS, ORNAMENTS, ETC.
Q. (94) What is meant by PHRASING in music f
The articulation, accentucMon, and shading of musical phrases;
appropriate expression or style in interpreting musical ideas.
Phrasing is in music what punctuation and marks of emphasis
are in writing, and the inflections of the voice are in speaking.
Q. (95) How is phrasing indicated?
By numerous signs and terms, denoting quality ateusity,
and. duration,
Q. (96) In what does good phrasing chiefly consist?
In giving to each tone its proper quality, intensity, and dura-
tion, with regard to its significance or importance in the
measure, the rhythm, the melody, and the harmony, and to the
composer's intention.
ty. (97) Mention some of the important means employed in
phrasing.
ATTACK; LEGATO; STACCATO; SHADING and ACCENT.
Q. (98) What is meant by ATTACK?
The act or manner of beginning the performance of a phrase
or part of a phrase.
29
Q. (99) What is LEGATO?
Successive tones smoothly connected or bound together, one
tone merging into another in a continuous flow of sound;
indicated usually by a slur over or under the notes to be so
performed.
Q. (100) What is STACCATO?
The reverse of legato: therefore, detached or disconnected
tones ; indicated usually by a dot over or under the note to be
SO performed. L (See also MEZZO STACCATO. MARTELLATO, PORTA-
MENTO, TOUCH, BOWING.
Q. (101) What is a SLUR?
A SLUR is a curved line ^"x connecting two or more
notes representing tones usually of different pitch,
and indicates legato.
63 The slur is sometimes used also to outline FORM.
Q. (102) How is a slur to be distinguished from a TIE?
The tie connects two notes representing tones of the same
pitch ; the slur connects notes representing tones usually of
different pitch.
Q. (103) How is a slur connecting two notes that represent tones
of the same pitch to be distinguished from a TIE?
The slur is (or should be) placed distinctly over or under the
notes; the tie is (or should be) drawn between them, almost
touching both.
Q. (104) What is meant by SHADING?
Gradations of tone-color and power (called also nuances) .
Shading is effected by means of variety and contrast in quality
of tone (tone-color, or timbre); dynamic contrasts and grada-
tions, as, for example, in the use of accents and of crescendo
and diminuendo; and in the proper balance of parts, as, for
example, in subordinating to a melody the harmonies forming an
accompaniment to it, by subduing them in tone-color and power.
(See COLOR. DYNAMICS.)
Q. (105) What is ACCENT?
The emphasis or stress laid on certain tones.
Q,. (106) What are the principal kinds of accents?
Accents are variously grouped as being, for example, either
REGULAR Or IRREGULAR, GRAMMATICAL Or RHETORICAL, RHYTH-
MICAL or EMOTIONAL, CHARACTERISTIC Or AESTHETIC, etc., etc.
Since the classifications are based on the relation of accents to
the elements of music — time (or measure) and rhythm, melody
30
and harmony, they may be conveniently termed
RHYTHMICAL, MELODIC, and HARMONIC. The various forms are
usually closely allied and interdependent in musical composition.
Q. (107) What are METRICAL accents?
METRICAL (or MEASURE) ACCENTS are the regularly recurring
emphases laid on certain beats in each measure. (See SIMPLE
and COMPOUND TIME, BEATING TIME.)
Q. (108) How many principal kinds ofwRT RICAL (or MEASURE)
accents are there ?
Two : PRINCIPAL or PRIMARY, and SUBORDINATE (the latter
having relative degrees of power, and including the SECONDARY
and the TERTIARY).
Q. (109) On which beat does the principal accent occur t
On the 1st beat.
64 The 1st beat is called also the strong beat, or down-beat; and an unaccented
part of a measure is called a weak beat, or vp-beat. Beat, down-beat and up-
beat are terms derived from the downward and the upward movements of the
hand by a director of an orchestra or chorus in beating time. (See BEATING
TIME.)
Q. (110) Where do the accents generally fall in the various
kinds of time ?
In simple duple or triple time, such as * or *, the accent
falls on the 1st beat ; in simple quadruple time, such as \^ the
accents fall on the 1st beat (principal, or primary} and the 3rd
(subordinate}. In compound duple time, such as f, they fall on
the 1st beat and the 4th; in compound triple time, such as
|, on 1st, 4th, and 7th; in compound quadruple time, such as *£,
on 1st, 4th, 7th, and 10th. (See DIAGRAM, page 15.)
Q. (Ill) What is SYNCOPATION?
Holding over a tone from a weak beat to the following strong
beat, thus anticipating the accent of the strong beat.
Q. (112) What are RHYTHMICAL accents?
The term RHYTHMICAL ACCENTS is frequently, though some-
what loosely, used as synonymous with METRICAL ACCENTS;
and also is applied to those accents which bring out the rhythmic
pattern of motives, themes, passages, etc.
Q. (113) What are MELODIC accents? HARMONIC accents?
MELODIC accents are those which lay stress on particular
tones with the aim of bringing out the emotional and the intel-
lectual elements of the melody. Of this order are accents at
the culminating point, or climax ; accents on the highest tone
(consistent with the natural tendency of ascending passages to
increase in power, and of descending passages to decrease in
31
power); accents for contrast or variety in repeated tones or
passages; accents on the longest tone of a melodic group; accents
which emphasize any tone at the composer's pleasure; etc.
HARMONIC accents are those which aim at bringing out the
emotional and the intellectual elements of the harmony. Of this
order are accents on dissonances ; accents on characteristic
chords or tones in modulation; etc.
Q,. (114) Give some terms and signs by which accents are indicated,
fz., sf. andsfz. (FORZANDO, SFORZATO and SFORZANDo),/0rm/.
rfz. (RINFORZANDO, which may be applied also to more than
one tone), reinforced.
fp. (FORTE PIANO) , suddenly loud and 'then instantly diminished.
Also by a wedge-shaped character (> or A).
Q. (115) What is meant by a GRACE or ORNAMENT?
An embellishment not essential to the melody or the harmony
of a composition.
Q. (116) How many principal kinds of graces are there?
Four: the APPOGGIATURA, the TURN, the TRILL, and the
MORDENT.
Q. (117) How many kinds of appoggiaturas are there? Define
each kind.
Two: ACCENTED and UNACCENTED APPOGGIATURAS.
65 The ACCENTED APPOGGIATURA is a small GRACE-NOTE preceding a principal
note, and taking the accent and part of the time-value of the latter. It includes:
66 (a) The long appoggiatura, which occurs chiefly in earlier music, and is, in
fact, a tone which is foreign to the harmony on the principal tone. The small
note is given its expressed time-value, taken from the value of the principal
note. It takes the accent also of the principal note.
Written. Played.
tr
Long Appoggiatura.
67 (b) The acciaccatura (called also grace-note and short appoggiatura') , properly
written as a small 8th note with a stroke through the stem; to be performed
very swiftly, taking the accent of the principal tone and a greater or less por-
tion of its time-value, according to the speed of the movement.
Written. Played.
c
Acclaccatura.
•sr-
33
68 (c) The double appoggiatura. which consists of two or more small grace-
notes before a principal note, to be performed rapidly, with the accent on the
first short tone, and the time-value borrowed from the principal tone.
Written. Played.
Double Appoggiatura.
The UNACCENTED APPOGGIATURA is & rapid single or double grace-note fol-
lowing a principal note, from the time-value of which it must be subtracted,,
and with which it is connected by a slur.
Written
Played.
Unaccented
Appoggiatura.
70 The unaccented appoggiatura is sometimes, if seldom, written before a
principal note with which it is connected by a slur; but its time-value is
borrowed from the note preceding the embellishment. It is then written in
the preceding measure when the note with which it is connected begins a
measure, as in the following example:
Q. (118) What is a TURN?
An ornament consisting of a principal tone and an auxiliary
major or minor second above, and one below it.
Q. (119) How many principal kinds of turns are there t Define
each kind.
Three: DIRECT, INVERTED, and PREPARED.
77 A DIRECT TURN consists of the tone above a principal tone, the principal
tone, the tone below and the principal tone. Thus, a turn on C would consist
of D, C, B and C. It is indicated by a reversed S, placed horizontally over the
note.
Written. Played.
Direct Turn.
72 An INVERTED TURN consists of the same tones as a direct turn, but begins
with the lowest instead of the highest. It is indicated by an S (not reversed)
placed horizontally, or by a reversed S placed vertically, over the note.
Written.
Played.
Inverted Turn.
33
73 A PREPARED TURN is made by sounding the principal tone before the direct
or the inverted turn. The sign is then placed after the note.
Written. Played.
M
1
i u .
Prepared Turn.
Q. (120) What is indicated by an accidental placed over or
under a turn ?
An accidental placed over a turn affects the highest note of
the turn; tinder the turn it affects the lowest note.
Q. (121) What is a TRILL? How is it indicated?
A TRILL (or SHAKE) is a succession of rapid and even alterna-
tions of a principal tone with an auxiliary, a tone or semitone
above it, and occupies the entire time-value of the principal
tone. It is indicated by the abbreviation tr., sometimes followed
by a wavy line, thus: tr^~~~~.
Q. (122) On which tone of a trill does the accent fall f
The trill being an often-repeated appoggiatura, its accent and
time-beat ought to fall on the upper tone; but, in modern music,
it is often played with the accent and time-beat on the lower tone,
thus taking the characteristics of the ribaltuta or batiement, an
ornament which was formerly much used, and preceded the trill
74 A trill usually ends with a turn, which should be written out.
Q. (123) What is a MORDENT?
A MORDENT is an ornament consisting usually of a single
rapid alternation of a principal tone with an auxiliary above or
below it, and a return to the principal tone.
Q. (124) How many principal kinds of mordents are there f
How are they indicated?
Three : the MORDENT, the INVERTED MORDENT, and the LONG
MORDENT.
75 (a) The MORDENT consists of a principal tone and an auxiliary immediately
below it, and the principal tone, indicated by double perpendicular points
with a cross stroke, placed over the note.
Mordent.
Written.
/\lv
Played.
m
^&
(b) The INVERTED MORDENT consists of a principal tone and an auxiliary
above it. and the principal tone, indicated by double perpendicular points,
placed over the note.
34
Played.
77 (c) The LONG (or DOUBLE) MORDENT consists of a double or triple alternation
of the principal tone with an auxiliary above or below it.
Written.
Played.
Long
Mordeni
r r rrr
Q. (125) What is an ARPEGGIO? How is it indicated f
An ARPEGGIO (from arpa, "harp") is a "broken chord"; that
is, a chord whose tones are played successively (in harp-like
style), instead of simultaneously. It Is indicated by a wavy
line placed vertically at the left of the notes of the chord.
7S When the arpeggio is written for the piano, for both hands, an unbroken
wavy line extending from the lowest to the highest note is made at the left of
the chord, if the tones are intended to be sounded successively In the two
parts, beginning at the lowest tone (as in the following example, a).
79 If the tones in the right hand and the left are to start simultaneously, and
continue the successive tones in this way, the sign is not a continuous wavy
line, but a separate one at the left of each chord ( as in the following example.*).
Written.
Played.
V.— FORM.
Q. (126) What is FORM?
Symmetrical arrangement of musical ideas; the structure of a
musical work.
The principal forms are: FUGAL or IMITATIVE forms, such
as CANON and FUGUE; and METRICAL forms, such as SONG- FORM,
RONDO-FORM, and SONATA-FORM.
80 A work written for musical performance is called a COMPOSITION.
Q,. (127) Define CANON and FUGUE.
A CANON is a composition in which one part Is strictly imitated
in turn by one or more other parts.
35
A FUGUE is a composition for two or more parts developed
from a subject which each part takes in turn, according to the
laws of fugue.
81 Canon and fugue are used in both vocal and instrumental music, and belong
to the style of composition called COUNTERPOINT, or CONTRAPUNTAL WRITING.
82 COUNTERPOINT. — A style of composition in which two or more independent
melodious parts are combined into a harmonious whole; called also POLY-
PHONIC writing. It contrasts with HOMOPHONIC (MONODIC, or MONOPHONIC)
writing, in which a principal part, or MELODY, predominates over an ACCOM-
PANIMENT forming a harmonious background or support.
Q. (128) Define SONG-FORM, RONDO- FORM, and SONATA-FORM.
SONG-FORM is the smallest musical form, and consists of two
or three musical periods.
S3 The elements of musical form include: The PERIOD— a musical thought
complete in itself (analogous to a grammatical sentence, with its subject, pre-
dicate, clauses, phrases, etc.). The PHRASE— a musical thought not complete
in itself; apart of a period. The SECTION — a part of a phrase. An example c
the simplest complete musical form is a Period of 8 measures, subdivided int
two Phrases of 4 measures each; each phrase subdivided into two Sections o
2 measures each. A SENTENCE is a compound Period. The leading idea 01
thought on which a composition is based is called the SUBJECT, the THEME, or
the MOTIVE. The term MOTIVE is sometimes used to designate a short, dis-
tinctive group of tones, called also a FIGURE.
RONDO-FORM Is a form containing one or more themes, with
a continual return to the principal theme. (Rondo — "round.")
SONATA- (or FIRST-MOVEMENT-) FORM is a form consisting of
three main divisions: (_!) an EXPOSITION or STATEMENT of a
principal and secondary subjects; (2) their DEVELOPMENT in a
free fantasia, and (3) their RE-STATEMENT, with CODA.
84 The harmonic structure of a movement in sonata-form, in a major key, is
usually as follows: First Subject in the tonic; Second Subject in the dominant;
Development, dominant, through related keys, to tonic; Re-statement, tonic.
When the first subject is in a minor key the second is usually in the relative
major.
Q. (129) Mention and define some other terms relating to musical
COMPOSITION.
85 MOVEMENT. — A principal division of a composition.
86 CADENCE.— The harmonic close of a section, phrase, or period. (See AUTHEN-
TIC CADENCE, PLAGAL CADENCE, etc.)
87 CADENZA. — A brilliant passage or fantasia just preceding the full closing ca-
dence; or a free, florid passage sometimes introduced on a pause of the
accompaniment.
88 CODA.— The part of a composition which is added after the close of the regular
form.
89 FINALE.— The closing movement or section. ("Section" is used, in its nar-
rower sense, to designate a part of a phrase; in its wider sense, as here, a
short division, one or more periods, of a composition.)
90 PASSAGE.— A part of a musical composition; or a repeated figure.
91 RUN. — A scale-passage.
36
92 FIORITURE.— "Florid," ornamental or brilliant figures or passages, such as
trills, turns, runs, etc.
93 LEITMOTIV ("leading motive"). — A characteristic motive or theme used as
representative of a particular person or idea in a music-drama.
94 SCORE. — The musical notation of a composition which gives all parts in their
original form, or condensed.
95 SOLO ("alone"). — For one voice of instrument; or. for one voice or instrument
with accompaniment.
96 DUET, or DUO. — A composition for two voices or instruments.
97 TRIO. — (a) A composition for three voices or instruments. (6) The second
division or section of certain instrumental forms (minuet, scherzo, etc.);
called "trio" because formerly written in three parts, in contrast to the first
division, formerly written in two parts.
98 CONCERTED (or ENSEMBLE) MUSIC.— Music written in parts for two or more
instruments or voices; as DUO, TRIO, QUARTET, QUINTET, SEXTET, SEPTET,
OCTET, NONET — for two, three, four, Jive, six, seven, eight, or nine voices or
instruments, respectively.
9$ TRANSCRIPTION. — An adaptation of a composition for a voice or voices, an
instrument or instruments, other than the one or ones for which it was
originally written; called also, an ARRANGEMENT.
100 PARAPHRASE.— A free rearrangement of, or fantasia on, a theme not original,
but adapted from a vocal or instrumental composition.
101 POT-POURRI. — A medley or succession of tunes arranged to form a single
composition.
102 IMPROVISATION. — An extemporaneous musical performance.
103 OBBLIGATO (obligatory). — An indispensable instrumental part in a concerted
composition.
104 PRELUDE. — A composition or passage introductory to a larger work.
105 INTERLUDE or INTERMEZZO. — A composition or passage played or sung be-
tween the divisions of a larger work.
106 POSTLUDE.— An organ solo at the close of divine service.
707 VOLUNTARY. — An organ solo played (sometimes improvised) at divine service
108 PROGRAMME MUSIC. — Music descriptive of any kind of "programme" (as, for
example, a poem or other literary text, or simply a word or title) which the
composer has selected for illustratiri..
109 CHAMBER MUSIC.— Concerted music for solo instruments, suitable for perform-
ance in a room or sma!l hall; for example, string-quartets, piano-trios, etc.,
In sonata-form.
Q. (130) Mention end define some of the principal INSTRU-
MENTAL forms.
110 SONATA (from sonare, "to play", "to sound"). — An instrumental composition,
usually for one or two instruments and in three or four contrasting move-
ments of different forms, each movement having a unity of its own, yet so
related to the others that a consistent whole is formed. Usually the first
movement only is. strictly speaking, in sonata-form. Sonatina. — A little
sonata.
The following also are in the style of a sonata :
til (a) Symphony. — A grand sonata for orchestra.
112 \6) String-quartet.— A composition for four stringed instruments, usually
1st violin, 2nd violin, viola, and violoncello.
tl3 Instrumental trios, quartets, quintets, sextets, septets, octets, and nonets,
'n the style of a sonata, are classed under the general head of "chamber
music": that is, music suitable for performance in a room or small hall
rather than a large concert hall.
37
114 (c) Concerto. — A composition usually for one solo instrument, accom-
panied by orchestra.
115 RONDO. — A composition in rondo-form. (See RONDO-FORM.)
116 SUITE or PARTITA.— A composition consisting of a series of pieces, usually in
dance-form.
117 OVERTURE. — An orchestral introduction to an opera, oratorio or other large
vocal •work ; often in sonata-form.
118 SYMPHONIC POEM. — An extensive and elaborate composition for orchestra, in
a single movement, without set form; based on some incident or idea set
forth or embodied in a poem or other text. (See PROGRAMME Music.)
119 TOCCATA (from toccare, "to touch")- — A composition in lively, rapid move-
ment, without distinctive form.
120 CAPRICCIO or CAPRICE.— A composition written in a free, unconventional
style,
121 IMPROMPTU. — A composition giving the 'effect of an extemporaneous per-
formance, or improvisation.
122 SERENADE. — (a) A composition in imitation of an evening song "sung by a
lover before his lady's window ;" (£) an instrumental composition of several
movements in chamber-music style.
123 AUBADE. — "Morning music;" contrasted with serenade.
124 NOCTURNE ("Night piece")- — A dreamy, romantic composition.
125 FANTASIA, FANTASIE, or FANTAISIE. — A composition without distinctive form,
and often of a fantastic character.
126 THEME AND VARIATIONS. — A composition consisting of a musical subject or
air, reappearing in various transformations and figures.
127 RHAPSODY.— A medley of themes and movements having no inherent con-
nection.
128 SCHERZO (a "joke"). — A lively, playful form, often occurring as a movement
in compositions in sonata-form.
129 HUMORESQUE or HUMORESKE. — A composition conceived in and intended
to portray a humorous mood or frame of mind.
130 PASTORAL. — A composition descriptive or suggestive of rural life.
131 ROMANCE. — A short piece of a romantic, poetic character.
U2 BARCAROLE. — A composition in imitation of the gondoliers' boat songs; usually
in | time.
133 BERCEUSE. — A composition imitating a cradle song; lullaby.
134 MARCH. — The accompaniment of a procession or a composition suggestive of
such an accompaniment (Military March, Funeral March, Wedding March,
Festival March).
135 F,TUDE ("study"). — A composition in which a certain figure containing a
technical difficulty is made the basis of its melodic structure.
136 DANCE MUSIC.— Rhythmical music characteristically accompanying the move-
ments of the body in the various types of dances. Among the most impor-
tant dance-forms are:
137 GAVOTTE. — A graceful old French dance, alia breve, beginning on the weak
beat. (See ALLA BREVE.)
138 SARABANDE.— A slow, stately dance in f time; probably of Spanish origin.
139 CHACONNE. — A slow dance in | time, on a ground bass.
240 (A GROUND BASS is a bass passage, four or eight measures in length
continually repeated.)
141 GIGUE or GIGA.T-A jig; a lively old dance, of uncertain origin.
142 LOURE. — An old French dance in rather slow tempo.
' 38
143 BOURRE'E.— A rapid dance, probably of French origin, in duple time, and
consisting of two parts of eight measures each.
ALLEMANDE.— A dance with flowing passages, of German origin.
RIGAUDON. — An old, lively French dance in duple time.
GOURANTE (Fr.) (It. CORRENTE).— An old dance in triple time.
PASSEPIED.— An animated old French dance in triple time.
PASSACAGLIA.— An old Italian dance similar to the Chaconne.
PA VANE.— A stately dance of Italian or Spanish origin, in slow tempo and
alia breve time.
ISC MUSETTE.— A composition of a pastoral character on a pedal point.
151 (In a PEDAL POINT, or ORGAN POINT, one part, usually the bass, is
stationary, while the other parts move on independently.)
152 MINUET.— A slow, stately dance in triple time.
153 GALLIARD or ROMANESCA. — A lively old French or Italian dance, usually in
| time; forerunner of the minuet.
154 QUADRILLE. — A square dance consisting of a series of 5 or 6 figures, or
movements; alternating usually between f and f time.
155 WALTZ or VALSE.— A round dance in f time ; of German origin
156 GALOP.— A lively round dance in £ time.
157 POLKA.— A moderately fast dance in f time; of Polish origin.
158 POLONAISE.— A stately Polish processional dance in f time.
159 MAZURKA. — A lively Polish national dance in f time.
160 TARANTELLA. — A rapid Italian dance, usually in f time.
(So called because it was thought to be a remedy for the bite of the
tarantula spider.)
161 SALTARELLO.— A dance of Italian origin, similar to the Tarantella.
162 SICILIANA.— A dance of the peasants of Sicily; in f or */ time, and in
moderately slow tempo.
163 BOLERO. — A lively Spanish national dance in f time, with accompani-
ment of castanets.
164 FANDANGO.— A lively Spanish dance in f time.
165 ZAPATEADO.— A Spanish dance in which the dancers stamp to mark the
rhythm.
166 SEGUIDILLA. — A Spanish dance in triple time; commonly in minor; and
accompanied by guitar and voice.
167 CZARDAS.— An impassioned national Hungarian (Magyar) dance; com-
monly in f or f time, with changing tempo; and consisting usually
of a slow movement called Lassu, and a quick movement called
Fris or Frischka.
Q. (131) Mention and define some oj the principal VOCAL forms.
168 SONG (French, CHANSON; Italian, CANZONE; German, LIED).— A short poem
set to music, generally for one voice, with instrumental accompaniment.
169 Songs may be divided into two classes: Folk-songs (songs of the people),
consisting of a simple melody ; and art-songs, having a more artistic
treatment.
170 CHANSONETTE. CANZONETTA, CAVATINA and CANTILENA.— Short forms of
songs.
171 BALLAD.— A simple narrative poem set to music.
172 ARIA (an "air'').— A more or less extended vocal solo in various forms, with
instrumental accompaniment.
173 ARIETTA or CAVATINA. — A short, simple aria, or song.
39
174 ARIA EI BRAVURA.— An aria containing: many ornamental, florid passages.
(See COLORATURA. FIORITURE, BRAVURA.)
175 ARIA PARLANTE or ARIOSO. — A style of vocal music intermediate between the
Aria and the Recitative.
176 CABALETTA. — A fast movement; generally the closing movement of an Italian
aria.
777 RECITATIVE or RECITATIVO. — Music to be sung in declamatory style. RECI-
TATIVO SECCO (secco — "dry," "plain." "unornamented") has a simple instru-
mental accompaniment of a few plain chords. RECITATIVO ACCOMPAGNATO
(or STROMENTATO, or OBBLiGATo) has a more varied and important accom-
paniment. (The term recitative is applied also to the style of singing a
Recitative. See RECITANDO, PARLANDO, DECLAMANDO.)
178 PART-SONG. — A composition for 3 or more voices in harmony, without accom-
paniment.
77? MOTET. — A sacred composition for several voices, in contrapuntal style,
usually without instrumental accompaniment.
180 MADRIGAL. — A polyphonic composition for three or more voices, without
accompaniment, and often written in the form of a single melody.
181 GLEE. — A composition for three or more unaccompanied voices, peculiar to
England, and usually, as its name indicates, of a merry, joyous character.
182 CHANT. — A short form of sacred melody to which the Psalms and the Canticles
are sung or recited. The principal forms of chant are the Gregorian and
the Anglican.
183 CANTICLE.— The musical setting, for use in divine service, of certain hymns
of the Bible: such as the Magnificat, the Benediclus, the Nunc dimittis. etc.
184 CHORALE. — A form of hymn ; part of the German Protestant Church service.
185 HYMN.— (a) A sacred song, sung at church service by the congregation;
(6) a national song of scately and inspiring character.
186 ANTHEM. — A sacred composition for voices, usually with instrumental
accompaniment.
187 OFFERTORY. — The music sung while the elements of the communion or mass
are being placed on the altar, or while the alms or offerings of the congre-
gation are being collected.
188 MASS (derived from the Latin words, Missa esl— "the congregation is dis-
missed"— addressed in the Roman Catholic Church to the persons not per-
mitted to take part in the communion service). — In its musical sense, it is
the musical setting of the communion service of the Roman Catholic
church. It is composed of the "Kyrie," "Gloria." "Credo," "Sanctus,"
"Benedictus." and "Agnus Dei." REQUIEM.— The musical setting of the
Mass for the Dead, or Requiem Mass.
'89 ORATORIO (named from the oratory, or chapel of prayer, in which the first
oratorio was given). — An extensive composition of the dramatic type,
for solo voices, chorus and orchestra; usually having a Biblical subject,
and intended for church or concert performance, without action, costumes,
or scenery.
190 CANTATA. — A kind of small oratorio, but usually on a secular subject.
191 OPERA.— A musical drama for solo voices, chorus, and orchestra; with
costumes, action, and scenery (sometimes with dancing, called the ballet).
and intended for theatrical presentation.
[Many of the foregoing terms are used both for instrumental and for vocal
forms.]
40
VI. — INSTRUMENTS.
Q. (132) How many kinds of INSTRUMENTS are used in pro-
ducing musical tones?
Four : STRINGED instruments, WIND instruments, instruments
of PERCUSSION, and the natural instrument — the HUMAN VOICE.
192 The producing of tone on an artificially-made instrument is termed "playing
on", or simply "playing", the instrument. The producing of tone on the
natural instrument, the human voice, in interpreting literary text, is termed
"singing". The term musical instrument, applied generally, means any tone-
producing medium; applied specially, it means an artificial instrument only.
193 The term instrumental music applies to music of the artificial instruments
only; music of the voice being termed vocal music. Skill or dexterity in pro-
ducing tone and controlling the mechanical resources of any musical instru-
ment is termed technique. Tho performing of a musical composition from
printed or written notation is called reading music; a term applied also to the
mental scanning of the music without actual performance. The singing or
playing of a composition from notation for the first time by the performer is
called sight-reading.
Qo (133) How many kinds of STRINGED instruments are there?
Three: (a) those in which the tones are produced by friction
of a bow upon the strings, such as the instruments of the VIOLIN
family; (b) those in which the tones are produced by plucking
the strings, such as the HARP, the GUITAR, the ZITHER, the
MANDOLIN, and tho BANJO; (c) the PIANC, in which the tones
are produced by hammers striking' the strings.
194 The pitch of the tones produced on stringed instruments is affected by the
dimensions, weight, and tension of the vibrating strings. The shorter, thinner,
lighter or tighter the string, the cheater the rapidity of the vibrations: there,
fore, the higher the tone; the longer, thicker, heavier or looser the string,
the slower the vibrations: therefore, the deeper the tone.
Q. (134) Which are the most important instruments of the VIOLIN
family?
VIOLIN, VIOLA, VIOLONCELLO, and DOUBLE BASS.
195 These bowed instruments are chiefly melodic instruments: that Is, designed
for the production of a succession of single tones; although two tones can be
produced on them simultaneously, and, in certain chord effects, three or
even four tones may be made to sound almost simultaneously.
196 The VIOLIN (from the Italian violino, "little viola" or ''little viol"), or
FIDDLE (an English name), consists of a wooden resonance-box, or body,
(formed of back, sides or ribs, and belly) pierced with two sound-holes (/-holes).
Four strings of gut (or of gut wrapped with wire), fastened to a tail-piece,
are stretched across a wooden bridge and over a finger-board attached to a
wooden neck, and are "stopped" by a wooden nut. Inside, a wooden bass-bar
strengthens the belly and augments its vibrations, and a wooden soundfost
under the bridge resists the tension of the strings and communicates their
vibration to the back. The strings are tuned by means of wooden pegs in a
head, or peg-box, which terminates in an ornamental scroll. The back and
belly are outlined by an ornamental inlaid border, or purfling. The broad
41
end of the body of the violin is held between the chin and the left shoulder of
the player, and the neck of the violin rests lightly against the thumb of the
player's left hand, thus leaving the four fingers free to regulate the pitch by
19? pressure on the strings — "stopping." The strings are set in vibration by the
friction of a bow hsld between the thumb and the fingers of the right hand.
The bow is an elastic wooden rod, or stick, curved slightly inward, with horse-
hair stretched from the point, or tip, to the nut, cxfros, where it may be made
tighter or looser by means of a screw. The friction on the strings is in-
creased by the application of rosin to the horse-hair. The strings of the violin
are tuned in perfect Sths, on G, below the 2d leger line below the staff, treble
clef, and the D, A, and E above. The A is used as a guide-tone from which
the tuning of the Bother strings is reckoned. The practical compass of the
violin is about 4 octaves, beginning, of course, at G on the lowest string.
Violin music is written in the treble clef.
198 The VIOLA (Italian for viol), called also the TENOR, is of the same form as
the violin, but of slightly larger dimensions. It is tuned in perfect Sths, on C
(one octave below Middle C), G, D, and A. Its practical compass is about 3
octaves. Viola music is written in the alto clef.
199 The VIOLONCELLO or '"CELLO" (diminutive of violone, "great violin," there-
fore "small great violin") is of much larger dimensions than the viola, and is
held in place between or against the knees of the player, who is seated while
playing. It is tuned in perfect 6lhs, an octave lower than the viola. Its prac-
tical compass is about 3% octaves. 'Cello music is written in three clefs : bass,
tenor, and treble.
200 The DOUBLE BASS, CONTRABASS, or VIOLONE ("great viol"), is the largest
- member of the violin family, and is supported on the floor and held by the
player, standing. It has usually 4 strings tuned in perfect 4ths, on E (1st leger
line below the staff, bass clef), A, D, and G, with the actual pitch an octave
lower than as written. Its practical compass is about 2% octaves. Double
bass music is written in the bass clef.
(See ORCHESTRA.)
Q. (135) Mention and define some of the important terms and
signs peculiar to, or having' special meanings when applied
to, instruments of the VIOLIN family.
201 OPEN STRINGS. — The strings in their normal state; that is, stopped with the
nut only, not with the fingers; indicated by the figure °. The first string is
the highest.
202 To STOP. — To vary the pitch by pressure of the fingers of the left hand on the
strings, thus shortening them.
203 DOUBLE STOPS. — Two tones, each on a different string from the other, played
simultaneously.
204 DIVISI ("divided"). — A direction in concerted music for stringed instruments,
indicating that two parts printed together on the staff are not to be played
as double stops, but are to be divided between the two performers playing
from the one staff; the one at the right taking the upper, the one at the left
the lower part.
205 FINGERING. — The choice and application of the fingers of the left hand in
stopping the stnngs; indicated by the numbers, 1 to 4. The forefinger is
numbered 1, the next finger 2, the next 3, the little finger 4. The thumb,
except occasionally on the 'cello, is not used in stopping the strings.
42
206 POSITIONS. — The definite places to which the left hand is adjusted in or3tv
that the fingers may reach the different parts of the fingerboard of f
bowed instrument, and thus control its compass. Of 11 possible positions
7 are commonly used in violin playing: In the 1st position the 1st finger
stops the tone, or the semitone, above the open string, and the 2d, 3d, and 4th
fingers stop the successive degrees above (or their chromatic alterations).
In the 2d position the hand is advanced in order that the 1st finger may
occupy the place held by the 2d finger in, the 1st position. In the 3d position
the hand is further advanced and rests against the body of the violin, and
the 1st finger occupies the place held by the 2d finger in the 2d position. In
the 4lh position the hand is still further advanced and the 1st finger occupies
the place held by the 2d finger in the 3d position ; and so on through the
successive positions, of which the 5th position duplicates (always on the
string next below) the tones and the fingering of the 1st position, the 6th
duplicates in like manner the 2d, and the 7lh duplicates the 3d, with the
omission in each case of the 4 lowest degrees stopped by the fingers in the
lower position, and the addition of 4 higher degrees. A half-position is a
modified 1st position, in which the 2d, 3d, and 4th fingers occupy the places
held by the 1st, 2d, and 3d in the 1st position, in order to facilitate the execu-
tion of certain passages in which the 1st finger is needed to stop the semi-
tone above the open string, etc.
209 EXTENSION. — The stretching of the little finger of the left hand forward, of
of the forefinger backward, in order to reach, without moving the hand from
a position, tones adjacent to, but not included in it.
208 SHIFT.— Change or movement of the hand from one position to another.
209 PORTAMENTO ("carrying").— The smooth gliding from one tone to another,
or from one position to another through all the intermediate sounds with-
out a noticeable break ; produced by sliding the finger along the vibra-
ting string without discontinuing the pressure.
210 GLISSANDO or GLISSE.— («1 The same as portamento; or (6) the execution
of a rapid passage (mostly of a chromatic scale, and often in combination
with staccato bowing) by means of sliding down the string, using one
finger only.
211 CHANTERELLE (French).— The highest string; on the violin, the E string.
212 DUE CORDE ("two strings").— A direction to double the volume of a tone by
playing it in unison on two strings.
213 INTONATION.— The production of tone with regard to accuracy of pitch, regu-
lated by the placing of the fingers of the left hand. Pure, or true, intonation,
for example, means the production of tones that do not deviate from the
desired pitch; that is, are "in tune", "on the key." Tones are said to be
false, or faulty, in intonation when they deviate from the desired pitch; that
is. are "out of tune", " off the key."
214 VIBRATO. — A wavering effect, or undulation, consisting of a slight, intentional
deviation from true pitch, rapidly repeated ; produced by an oscillating
movement of the left hand while the finger is stopping a tone on the finger-
board.
215 HARMONICS.— High, light, flute-like tones produced by touching the vibrating
string lightly with the finger (instead of firmly stopping it) at certain points
representing its fractional divisions. The vibration of the string as a whole,
necessary for the production of its fundamental tone, is thus prevented, and
only the overtone, or harmonic, produced by the vibrating section, is heard.
For example, lightly touching an octave will give an octave; a 5th will give
43
a 12th; a 4th will give a 15th, etc. When the harmonic is produced by touch-
{ng a vibrating open string at a given point, it is called a natural harmonic;
indicated by a small circle over the note. When it is produced by touching
with one finger a vibrating string that is shortened by being closed or stopped,
by another finger, instead of by the nut, it is called an artificial harmonic;
indicated by a diamond-shaped note for the tone to be touched, and an ordi-
nary note for the tone to be stopped. Harmonics are useful as a means of
extending the compass and, by their peculiar quality, of increasing the tonal
resources of the instrument.
e
Natural
Harmonic.
Artificial
Harmonic.
216 SORDINO (plut tl SORDINI), or MUTE. — A small implement of metal or wood
which, when adjusted 011 the bridge of the instrument dampens or muffles
the sound. CON SORDINO — "with the mute." SENZA SORDINO— "without
the mute."
21) ARCO. — The bow. COLL'ARCO — "with the bow." A PUNTA D'ARCO, or COLLA
PUNTA DELL'ARCO — "with the point of the bow."
US BOWING. — (a) The action of the bow on the strings. (6) Directions as to the
manner of drawing the bow.
219 DOWN-BOW, or TIRE ("drawn"). — The downward stroke of the bow; indicated
by the sign U . or l~l .
220 UP-BOW, or POUSSE ("pushed"). — The upward stroke of the bow; indicated by
the sign V , or A .
i22 LEGATO. — A manner of production that smoothly connects successive tones,
usually by playing them in a single bow-stroke, one tone merging Into
another in a continuous flow of sound; indicated by a slur /•"""s.
i22 DETACHE. — Detached ; that is. each tone played with a separate bow-stroke;
indicated by the absence of a slur.
223 STACCATO. — A manner of production that disconnects tones (a) by playing
each with a short, crisp bow-stroke, indicated by a dot over or under the
note; or (6) by giving a separate impulse of the bow to each tone In a
series played in a single bow-stroke; indicated by a slur and dots
224 SPICCATO.— A form of staccato produced by a springing bow, in which the
bow, at about the middle of its length, is allowed to drop lightly and quickly
on the strings, causing it to rebound after each tone ; indicated by a dot. as
in an ordinary staccato.
F
44
225 SALTATO. — A form of staccato similar to spiccato, but generally grouping
several tones in one stroke of the springing bow; Indicated by a slur and
dots, as in the staccato series of tones in one stroke.
226 MARTELLATO or MARTELE ("Iiommered'')- — An emphatic staccato produced
bjr a short, heavy bow-stroke for each tone; indicated by a wedge-shaped
stroke over or under the note. T
227 COL LEGNO ("with the wood").— A harsh, unresonant staccato produced by
using the back of the bow, and thereby letting the wood, instead of the
horse-hair, fall on the strings.
228 PIZZICATO (."pinched"). — A manner of producing tone by plucking or "pick-
Ing" the strings with the fingers of either hand, instead of using the bow,*
when it is desired to produce a guitar-like effect ; indicated usually in left
hand pizzicato by a cross + over or under each note to be played, and in
right hand pizzicato by the abbreviation pizz. The term area, or colFarco,
is used to indicate that the right hand pizzicato is to be discontinued, and
the bow resumed.
229 TREMOLO.— A tremulous effect produced by repeating a tone with great
rapidity in alternating down-bow and up-bow strokes ; indicated by heavy
strokes through the stem of the note, sometimes with the word tremolo
added.
230 SUL PONTICELLO ("on, or near, the bridge"). — A direction to draw the bow
over the strings nearer to the bridge than ordinarily, in order to produce a
peculiarly keen, metallic tone.
231 SULLA TASTIERA or SUL TASTO ("on the fingerboard"). — A direction to draw
the bow over the strings above the fingerboard, in order to produce \ some-
what muffled or hazy tone.
232 STRING-QUARTET. — (a) A company of four musicians performing on two
violins (with separate parts for each, called 1st violin and 2d violin), viola,
and violoncello; (£) the instruments so used; (c) music written *or this
combination of instruments. (See SONATA-FORM.) The musician playing
the 1st violin part in a string-quartet (or orchestra) is called the leader.
(See ORCHESTRA.)
Q. (136) How may the PIANO be accurately classified?
As a keyed stringed instrument, or stringed instrument of
percussion.
233 The PIANO, or PIANOFORTE (from the Italian words — piano, "soft"; and
forte, "loud"; having reference to the dynamic resources of the instru-
ment), is capable of producing harmony and polyphonic music, or music of
many parts. It has a complicated mechanism comprising wire strings
stretched over a bridge that rests on a sound-board, with a metal frame; and
a series of wooden, felt-covered hammers — the whole enclosed in a wooden
case. The hammers connect with a keyboard, consisting of a row of levers
called keys or digitals, operated by the player with the fingers of both hands.
45
When a key Is struck, the hammer connected with it is thrust upward against
the strings, causing them to produce tone; and a damper (a little cushion of
felt) is raised from them, allowing them to vibrate freely. When the finger
is lifted from the key the damper falls again on the strings and checks the
vibrations. The mechanism or movement of the keys and hammers is called
the action. A few of the lowest bass tones have one heavy coiled-wire string
for each tone or key; the bass tones above these have two coiled-wire strings
tuned in unison for each tone; and the tones throughout the rest of the com-
pass have three wire strings tuned in unison for each tone.
234 The piano is provided with two, sometimes three, PEDALS, or foot-levers: —
The damper pedal (at the right); the soft pedal (at the left); the sostenulo,cr
sustaining, pedal (in the middle),
235 The damper pedal, by raising and holding the damper from the strings, allow,
them to vibrate longer and more freely, thus prolonging and enriching the
tone by generating overtones, and awakening sympathetic or harmonious
.vibrations in other strings. This pedal is sometimes taken simultaneously
with the striking of the key; more frequently immediately after the key-
stroke, in what has been termed a syncopated pedal action. The time of re-
leasing the pedal varies similarly, according to the nature of each case. The
damper pedal is often miscalled loud pedal, and used as a means of increasing
the power of tone merely; thus blurring the sound by unduly prolonging
tones that should not be so lengthened, or carrying one tone or harmony over
Into the next in cases where they should not sound simultaneously.
&f The soft pedal shifts the action (of a grand piano) so as to prevent each
hammer from striking all of the three strings tuned for each tone in the larger
part of the compass; thus reducing the volume and modifying the quality of
the sound. (See UNA CORDA, TRE CORDE.)
237 The sostenuto, or sustaining, pedal, by holding up any dampers already
raised from the strings, allows selected tones to continue vibrating without
affecting: any others.
i33 The KEYBOARD of the piano consists of a row of white keys and black keys.
The white keys, or naturals (about 50 or 52 in number) , are tuned in whole
tones and semitones to the natura] scale of C major. The intermediate
sounds, filling out the chromatic and the diatonic semitones within the octave,
are represented by two groups of black keys (two in the first group, and three
in the second), which, for convenience in playing, are made to contrast in
appearance, shape, and position with the white keys— being black, shorter
and narrower in dimensions, and higher in position. The C just below the
middle of the keyboard is called Middle C (1st leger line below the staff, treble
clef, and 1st leger line above the staff, bass clef). Each group of 12 keys (7
white and 5 black) within the octave, is reproduced throughout about 7
239 octaves. Piano music is written in two clefs: treble and bass. The tuning of
the piano is not strictly correct according to the science of acoustics, but was
adopted for the sake of convenience. In modern music the octave is (inaccu-
rately) said to be made up of 12 equal semitones, whether sharps, flats, or
naturals; thus making enharmonic tones, and diatonic and chromatic semi-
tones, differ from each other in name and notation only, not in pitch. All
keyboard instruments— which are instruments of fixed intonation— are "tem-
pered" to accord with this division. In order wholly to avoid a deviation from
true pitch in the various scales and intervals, it would be necessary to have a
multiplicity of keyboards, each with its own series of strings. For example:
C sharp and D flat are now represented by a single key and tone, althougt
46
not actually identical in pitch; D snarp and E flat are represented by a single
key; and so on. A compromise is. therefore, effected by making slight devia-
tions from true pitch and equally distributing these deviations through the
12 tones within the octave; this equal temperament making the discrepancies
hardly perceptible. In this way all the keys are brought within the practical
resources of a single keyboard, although the instrument thus tempered is
rendered incapable of producing the tones in the various keys in the perfect
pitch that is possible with the voice and the violin. (See ACOUSTICS. HAR-
MONICS, ENHARMONIC CHANGE. CHROMATIC and DIATONIC SEMITONES.)
240 There are two principal kinds of pianos in present use : the GRAND PIANO.
which has a harp-shaped case and horizontally-placed strings; and the UP-
RIGHT PIANO, which has vertical or slanting strings, and various ingenious
devices by which the tone and the action of the grand piano are approxi-
mated. The SQUARE PIANO, with horizontal strings, is now little used. The
predecessors of the piano, from which the modern instrument has grown,
were the DULCIMER, the CLAVICEMBALO, the VIRGINALS, the CLAVICHORD, the
HARPSICHORD, and the SPINET.
241 The German name for the piano is klavier. derived from the Latin word
clavis, "a key;" or, for the grand piano. JlugeZ ("wing").
Q. (137) Mention and define some of the important terms and
signs peculiar tot or having special meanings when applied
to, the PIANO.
242 FINGERING.— The choice and application of the fingers in operating the keys
on the keyboard ; indicated by the numbers 1 to 5. All of the fingers are
used, numbered as follows : the thumb is 1 ; the forefinger 2 ; the next fingei
3 ; the next 4 ; the little finger 5. (In another system, little used, the thumb
Is indicated by a cross-mark X, and the fingers, beginning at the forefinger,
are 1, 2, 3, and 4, respectively.) The choice of fingers has for its object the
facilitating of execution, and depends largely on the size and formation of
the hand of the player and the technical and artistic demands of the com-
position.
243 Practical uniformity exists in the fingering adopted for each of the diatonic
scales; from which several convenient rules have been formulated, based
usually on the position occupied by one finger chosen as a guide in deter-
mining the placing of the other fingers; for example, the following :
(fl) THE THUMB AS A GUIDE.
244 The THUMB (in addition to its use in beginning or in ending scales) falls
on the following degrees:
On IV, in the right hand, in all scales that begin on WHITE keys (except F).
On V, in the left hand, in all scales that begin on WHITE keys (except B).
(F and B reverse the foregoing rules.)
On the white key the next degree above a black key, in the right hand,
in scales that begin on BLACK keys.
On the white key the next degree below a black key. in the left hand,
in scales that begin on BLACK keys.
[Exceptions: B flat (A sharp) minor (harmonic) in the right hand.
B flat (A sharp) minor (harmonic and melodic) and E flat
^Dsharp)minor(harmonic and melodic) in the left hand.]
47
(6) THE 4TH FINGER AS A GUIDE.
(Rule taken from Rhythmical Scale Exercises by Carl Faelten.)
245 The 4TH FINGER falls on the following degrees:
On VII in the right hand in all scales that begin on WHITE keys (.except F).
On II in the left hand in all scales that begin on WHITE keys (.except B),
On eithsr II or B flat (A sharp) in the right hand in scales that begin on
BLACK keys (and F).
On either IV or F sharp (G flat) in the left hand in scales that begin on
BLACK keys (and B).
[Exceptions: F sharp minor (melodic) in the right hand.
B flat (A sharp) minor (melodic) in the left hand.]
(For convenience in execution, the 2d finger is often substituted for
the regular finger in beginning or ending some of the scales on black
keys, thus causing a temporary deviation from the rule.)
246 The usual fingering of a CHROMATIC scale is as follows:
3d finger on blai. ': keys.
Thumb on white keys.
[Exceptions: 2d finger on F and C, right hand.
2d finger on E and B. left hand.]
247 TOUCH. — The applying of the fingers to the keys on the keyboard in order to
produce tone ; and the controlling and varying of this tone production by
the manner of using the fingers, the hand, the wrist, the forearm, and the
whole arm.
248 LEGATO. — A manner of tone-production that smoothly connects successive
tones by keeping the damper raised from the strings for each tone (either
by holding the key down with the finger until the next key is struck ; or by
use of the damper pedal, or both), in order to allow the vibrations to con-
tinue and thus merge one tone into another by prolonging the sound of each
until the next is heard. Another important factor in making or marring a
legato is the manner of touch on the keys by means of which the strings
are originally set vibrating— an elastic and weighty touch producing- a rich,
resonant quality of tone that will "sing," or carry, much better and longer
than will an unresonant tone produced by too tense or too light a touch.
Legato is indicated by a slur
249 NON LEGATO. — A touch that separates successive tones by a barely percep-
tible break ; intermediate between legato and staccato,
250 MEZZO LEGATO. — "Half (or medium) legato"; indicated by a dash over each
note in a series connected by a slur.
Z51 LEGGIERO. — A light, rapid touch without pressure, with only sufficient force
to produce the sound.
252 STACCATO. — A manner of touch producing short, disconnected tones, sharply
defined, by quickly striking the keys and releasing them immediately after
striking and thus allowing the dampers to fall quickly on the strings and
check their vibrations. Staccato touch includes FINGER STACCATO and
48
HAND (or WRIST/ STACCATO. Staccato is indicated by a dot over or under
a note. .
P
253 MEZZO STACCATO or SEMI-STACCATO. — A "half-staccato." A manner of touch
producing, by means of a heavy but elastic arm movement, tones that are
disconnected but of greater length and weight than in an ordinary
staccato; indicated in the case of a single note by a horizontal dash over
the staccato dot, and in the case of a group of notes by a slur and staccato
dots. _
254 PORTAMENTO ("carrying"). — Used as synonymous, when applied to the
piano, with MEZZO STACCATO ; but not altogether accurately so, true porta-
mento being impossible except with the voice, bowed instruments, and
instruments of the lute family, such as the zither. (See MEZZO STACCATO.)
255 MARTELLATO or MARTELE ("hammered"). — An emphatic staccato produced
.> by striking the keys with a short, forcible, decided touch ; indicated some-
times by an accent-mark >•. but usually by a wedge-shaped sign over or
under the note.
P
Z56 TREMOLO.— A tremulous effect produced by rapid alternation of tones of a
chord ; indicated by heavy strokes, or connecting hooks, on the stem or
stems of the notes; for example :
Right hand.
Left hand.
the number of strokes or hooks indicating that every tone (or couplet of
tones) in the tremolo has the value of a 32d, and the half-note indicating
that the whole group of alternating tones has the value of a half-note.
257 GLISSANDO or GLISSE.— A rapid run, or scale effect, obtained by sliding one or
two fingers over the white keys.
258 MANO DESTRA, or M. D. (Italian), i
259 MAIN DROITE, or M. D. (French). !
260 MANO SINISTRA, or M. s. (Italian).
261 MAIN GAUCHE, or M. G. (French). ]
262 PED.— An abbreviation of "pedal," indicating the use of the damper pedal;
followed by an asterisk *, indicating the release of the damper pedal.
263 UNA CORDA ("one string"). — A term indicating the use of the soft pedal; so
applied because formerly in a grand piano this pedal could so shift the action
as to cause the hammers to strike, at the player's discretion, either one or
(as in a modern grand piano) two of the three strings tuned for each tone in
the larger part of the compass.
264 TRE CORDE ("three strings"). — Used after UNA CORDA to indicate where the
use of the soft pedal is to cease.
265 SORDINO (plural SORDINI). — A damper. SENZA SORDINI— "without dampers,"
therefore with the damper pedal, which releases the dampers. CON SORDINI
is sometimes erroneously used to indicate the taking, and SENZA SORDINI
the release, of the soft pedal.
49
Q. (138) How many kinds of WIND INSTRUMENTS are there?
Three: WOOD- WIND instruments, BRASS instruments, and the
ORGAN.
Q. (139) How is the tone of WOOD-WIND and of BRASS instru-
ments produced?
The column of air within a wooden or a brass tube is set in
vibration by being blown by the mouth of the player.
Some of the instruments are transposing instruments: that is, the notes
written do not represent the actual sound, but sounds either lower or higher
according to the interval of transposition. Others are non-transposing: instru-
ments : that is, the actual sound is as written.
266 WOOD-WIND INSTRUMENTS, consisting of wooden tubes pierced with holes
(or "ventages") stopped by keys or the fingers of the player, include those
with a mouth-hole—such as the FLUTE and the PICCOLO, or small flute; and
those in which the tones are produced by t*>e vibration of one or two reeds
(thin strips of wood) in the mouth-piece — such as the OBOE, the ENGLISH HORN
and the BASSOON (having two reeds).. and the CLARINET (having one reed) —
called reed instruments.
The FLUTE is mellow and sweet in quality in its lower and middle tones, and
brilliant and penetrating in its upper tones. It is capable of producing sus-
tained tones as well as rapid coloratura passages. Its practical compass is 3
octaves, beginning at about Middle C. It is non-transposing, and is written
for in the treble clef. The PICCOLO has a shrill, piercing tone, and sounds an
octave above the flute.
The OBOE has a peculiar pastoral, "reedy" tone, suggestive of a shepherd's
pipe. From its "A" the orchestra takes its pitch in tuning. Its practical com-
pass is about 2/4 octaves, beginning at about Middle C. It is non-transposing ,
and is written for in the treble clef. The ENGLISH HORN is an "alto oboe."
It is transposing, the actual sound being a 5th lower than as written. It is writ-
ten for in the treble clef.
The CLARINET has a mellow and expressive tone, with great dynamic vari-
ety. Its practical compass extends from E below Middle C to G, 2)4 octaves
above Middle C. Four kinds of clarinets are in general use— the B flat, the A,
the E flat, and the C clarinet. The B flat, the E flat and the A are transpos-
ing. The C clarinet (less frequently used) is non-transposing. Music for the
clarinet is written in the treble clef. The BASS-CLARINET is a large clarinet
with a curving bell-like lower end. Its compass extends an octave below the
ordinary clarinet.
The BASSOON (or FAGOTTO, from its fancied resemblance to two sticks, or
fagots, bound together) is the natural bass of the wood-wind, and has a som-
bre tone that lends itself equally well to solemn and to grotesque effects. Its
compass is ovar 3 octaves, beginning on B flat below the bass clef. It is non-
transposing, and is written for in the bass and the tenor clef.
267 The SAXOPHONE is a metal clarinet, with a single-reed mouth-piece.
268 Among the principal BRASS instruments are the HORN (usually called
FRENCH HORN), the TRUMPET, the CORNET, the TROMBONE, and the TUBA.
The HORN (or FRENCH HORN) has a rich, warm tone that blends, peculiarly
well with the other orchestral instruments. Its practical compass is about 2/4
octaves. Formerly the length of the horn was increased by movable crooks
(pieces of metal tubing), thus altering the pitch; but the horn in F is the one
now most frequently used. The horn is usually provided with three valves,
operated by the fingers of the player; and by means of these a chromatic scale
is obtainable. It is transposing, and is written for principally in the treble clef.
50
The TRUMPET has a brilliant and martial tone. The valve-trumpet is the
one most frequently used. Its practical compass is about 2% octaves, begin-
ning at G below middle C. It is transposing, and is written for in the treble
clef. Owing to the fact that the trumpet is a very difficult instrument to play,
and that good trumpet players are scarce, a frequent, though inadequate,
substitute for it in the orchestra is found in the cornet.
The CORNET (or CORNET X PISTONS) has a rather blatant tone; but, owing
to its flexibility and high range, it is a most serviceable instrument. It is pro-
vided with three valves, or "pistons". The cornets most frequently used are
the ones in B flat and in A, with a compass of about 2% octaves. The cornet
is transposing, and is written for in the treble clef.
The TROMBONE has a noble, majestic tone. Some trombones are provided
with valves; others with a slide mechanism by means of which the player can
lengthen the tube and thus vary the pitch at will. The trombone is non-trans-
posing. Three kinds of trombones are in general use — the alto, the tenor, and
the bass trombone, of which the tenor is the one most frequently used. It
has a practical compass of 2/4 octaves. Music for the trombones is written in
the alto, the tenor, and the bass clef.
The BASS TUBA is a large instrument of the cornet family, with a tone of great
power and solemnity. Its practical compass is 3 octaves, beginning on F, 2%
octaves below Middle C. It is non-transposing, and is •written for in the bass clef.
Summary of principal transposing and non-transposing instruments :
Transposing — English horn, B flat, A and E flat clarinets, horn, trumpet,
cornet.
Non-transposing— flute, oboe, C clarinet, bassoon, trombone, bass tuba.
269 The art of adjusting the lips to the mouth-piece of a wind instrument is termed
the embouchure, lip, or lipping. Wood-wind and brass instruments are melodic
instruments; that is, capable of producing only single tones in succession, not
several tones simultaneously. The pitch is affected by the dimensions of the
tube containing the column of air set in vibration. The longer or larger the
pipe, the slower the vibrations: therefore the deeper the tone; and the shorter
or smaller the pipe, the more rapid the vibrations: therefore the higher the tone.
(See ORCHESTRA.)
Q. (140) How many principal kinds of ORGANS are there?
Two: PIPE ORGANS and REED ORGANS.
270 The organ, like the piano, is an instrument capable of producing harmony
and polyphonic music.
271 The tones of the PIPE ORGAN are produced by means of currents of air
forced by bellows through pipes of wood and of metal, operated on one or
more keyboards: including the manuals, which are similar to the piano key-
board and are played on with the fingers of both hands; and the pedals, a row
of large keys played on with the feet. The sizes and shapes of the pipes, the
materials of which they are made, etc., cause infinite variety in the forms of
the columns of air within the pipes; hence result differences of pitch,
intensity and quality. The pipes are of two principal kinds: flue-pipes and
reed-pipes. The column of air within the tube is set in vibration by a blast
of air forced, in the case of a flue-pipe, through a narrow opening, against a
sharp edge; or, in the case of a reed-pipe, against a metal tongue, called a
reed. Flue-pipes are either open or stopped (closed) ; the stopped pipe pro-
ducing a tone an octave lower than the open pipe. Reed-pipes include those
with full reeds, which move in the opening in which they are placed without
touching its sides; and striking reeds, which, as they vibrate, strike against
272 the walls of the tube. The pipes are controlled by a series of handles placed
near the manuals, ard called stops or registers — terms applied also to the pipes
which they affect. The principal foundation-stops of the organ are the open
diapason and the slopped diapason. Besides the "sounding," or "speaking,"
stops, there are various mechanical contrivances included in the action of an
51
organ: such asfhesiveH-pedai, for producing crescendo and diminuendo; the
tremolo-slop, for producing a tremulous or wavering effect ; and the couplers,
by means of which one keyboard may be connected with another, co that
while one is being used the other also is acted upon. The large organ of the
present day consists, in reality, of several separate organs, each with its own
keyboard, the whole enclossd in one case and brought under the control of a
single performer. The keyboards and the systems of pipes or organs which
they represent are called, respectively. Great, Swell, Choir, Pedal, etc.; and
the designation or grouping of the various pipes or stops is called the specifi-
cation. The stops selected and combined for the performance of a com-
position, or the art of selecting and combining them, is called the registration.
The tuning or regulating of the tone of an organ pipe is called voicing. The
usual compass of a manual keyboard is about 5 octaves, and of a pedal key-
board, about 2% octaves ; but the actual range of tone commanded by the
keyboards is nearly 10 octaves, the extreme limits of a practical musical com-
pass. Organ music is written in two clefs— bass and treble; on 3 staffs— 2 for
the manuals and 1 for the pedals.
'.73 The REED ORGAN or HARMONIUM is a small organ, in which the tones ar~
produced by currents of air passing over metallic reeds.
Q. (141) What term is applied to the tone of the HUMAN VOICE
used as a musical instrument in interpreting text; and how
is the tone produced?
The musical tone of the human voice is called VOCAL TONE,
or the singing voice as distinguished from the speaking voice.
The principal organs used in singing are the lungs, the larynx,
and the muscles of the mouth and face. Vocal tcne is produced
by the passage of air from the lungs through the larynx, where
it is thrown into vibration by the vocal cords, two ligaments
within the larynx.
274 The voice is a melodic instrument, being capable of producing only single
tones in succession, not several tones simultaneously.
Q. (142) Into what principal groups is the HUMAN VOICE
DIVIDED?
Into two: FEMALE VOICES (including the VOICES OF CHIL-
DREN) and MALE VOICES.
Q. (143) How is the FEMALE voice divided?
Into SOPRANO, MEZZO SOPRANO, and CONTRALTO.
275 SOPRANO is the highest human voice. It has a compass of about 2 octaves,
beginning at, or near, Middle C. Music for soprano is written in the treblt
clef. MEZZO SOPRANO ("medium, or middle, soprano") is between soprano and
contralto, and partakes somewhat of the character of each. It has a compass
of about 2 octaves, beginning at, or near, A on the second leger line below
the staff, treble clef. Music for mezzo soprano is written in the treble clef.
CONTRALTO (called also ALTO) is the lowest female voice. It has a compass of
about 2 octaves, beginning at, or near, F on the third line below the staff,
treble glef. Music for contralto is written in the treble clef.
Q. (144) How is the MALE VOICE divided?
Into TENOR, BARITONE, and BASS.
27< TENOR is the highest natural male voice. It has a compass of about 2
octaves— from the octave below to the octave above Middle C. Music for tenor
was formerly -written in the tenor clef, but is now written in the treble, with
the actual pitch an octave lower than as written. BARITONE, or BARYTONE, is
between tenor and bass, and partakes somewhat of the character of each. It
has a compass of about 2 octaves, beginning at, or near, G on the 1st line, bass
clef. Music for baritone is now written in the bass clef. BASS, or BASSO, is
the lowest human voice. It has a compass of about 2 octaves, beginning at,
or near, F on the first space below the staff, bass clef. Music for bass is written
in the bass clef.
277 Soprano drammatico, or dramatic soprano, is a soprano voice with dramatic
power. Soprano leggiero is a "light"', delicate soprano voice. Tenore robusto
is a "robust" tenor; that is, rich and full in quality and power. Tenore leggiero
is a "light" tenor voice. Basso profondo is a very deep, heavy bass voice.
Basso con (ante ("singing bass") is a lighter and more flexible bass than the
basso profondo.
278 The terms soprano, alto, tenor and bass are used to designate not only the
respective voices, but the singers themselves, the parts in compositions
written for them, and instrumental parts corresponding with them in compass.
Q,. (145) Mention and define some of the important terms
peculiar to, or having special meanings when applied to, the
VOICE.
279 REGISTER. — "A certain tone-quality or color produced by certain positions
and adjustments of the vocal mechanism. There are three principal
registers— chest, medium and head; called also, by English writers— the thick,
the thin and the small register. There is a limit to the upward extension
of registers; the upper ones can, however, be extended downward well into
the range of a lower one."
280 FALSETTO. — (a) A quality of voice so named from its forced, unnatural char-
acter; (6) a term also used sometimes as synonymous with head voice.
281 VOICE-PLACING. — "The art of handling the vocal mechanism so that there can
be produced or used at will every tone-color, every register within its limits,
every kind of emotion and every degree of power without forcing the
mechanism out of its natural positions; therefore, without ever producing
an unbeautiful or defective tone as a consequence of using local effort and
stiff and tense muscle action."
282 BREATHING. — (a) The manner of using or controlling the breath in "taking"
vocal tones; the art of respiration: that is, the inhalation, or inspiration, and
the exhalation , or expiration, of the breath in vocal tone-production. (6) The
selection of places in a composition for taking breath in singing, based
mainly on the phrasing and the demands of the words and the voice; indi-
cated by various signs: such as a comma (').oran asterisk (.*), orav-shaped
mark (v).
283 INTONATION. — (a) Production of tone with regard to accuracy of pitch; as, for
example, true intonation — "singing in tune"; or false intonation — "singing
out of tune." (6) A method of chanting.
284 VIBRATO. — A vibratory vocal effect, or pulsation, consisting of alternate dimi-
nution and re-inforcement of a tone; used to portray an intense degree of
emotion.
285 TREMOLO. — An unsteady, trembling vocal tone, the effect of faulty production ,
286 MEZZA VOCE. — "Half (or medium) voice"; that is, with half the power of the
voice.
287 SOTTO VOCE (sotto, "under"). — In an undertone.
2SS MESSA DI VOCE. — A sustained tone beginning pianissimo, swelling gradually
to fortissimo, and diminishing gradually to pianissimo— a. SWELL covering
the extremes of loudness and of softness. <»-=rd — ~ff ^^=-==~f>f>
?89 LEGATO. — A manner of singing a group of notes connected by a slur, so that
there is no interruption in the flow of tones. LEGATO SINGING— "the bind-
ing together of syllables in singing, so that even the mute consonants do
not occupy enough time to interrupt seriously an ever-flowing stream of
tone." Legalo-mark — aslurx*""N.
290 STACCATO. — Short, disconnected tone-production, obtained by giving a slight
quick impulse from the throat to the column of air, for each tone. Staccato-
mark — a dot, or dots with slur. .
291 PORTAMENTO.— A smooth "carrying'' of the sound from one tone to another
by having the voice slide without a break through all the intermediate
sounds.
292 CANTILENA. — (a) Flowing legato production of melody, or cantabile; (6) a
little song.
293 BEL CANTO ("beautiful song"). — The art of singing with smooth, free tone-
production, pure and beautiful vocal quality, and artistic shading.
294 WHITE TONE or WHITE VOICE. — A quality of tone lacking in richness of color;
used when simplicity of sentiment and unemotional effects are desired.
295 VOCALISATION. — The art or act of singing on vowels.
296 VOCALISES. — Vocal exercises or etudes, generally on vowels.
297 ENUNCIATION. — The formation of the vowel sounds of words in singing.
ARTICULATION. — The utterance of the consonant sounds.
298 PRONUNCIATION. — The utterance of words with reference to the proper sounds
and accents of the syllables.
299 DECLAMATION. — Proper emphasis on the words of a sentence, especially in
declamatory and dramatic singing; giving due prominence to words requir-
ing to be emphasized, for the clear and artistic interpretation of the text.
300 RECITANDO ("reciting"). { In deciamatory Btyle.
301 DECLAMANDO ( declaiming"). '
302 PARLANDO or PARLANTE ("speaking"). — A style of tone-production combining
the inflections of the singing voice with those of the speaking voice in
dramatic delivery ; with special attention to clear enunciation of the words
used in a recitative.
303 RECITATIVE. — Musical declamation — "speaking in a singing voice;" declama-
tory song, in which the performer is not restricted as to time or tempo,
except in the recitativo a tempo. (See RECITATIVO SECCO. etc.)
304 ARIOSO or ARIA PARLANTE. — A manner of singing combining the declama-
tory style of the recitative with the melodious style of the aria.
305 MONOTONE. — (a) A single tone, unvaried in pitch. (6) A style of chanting or
reciting on a single tone.
306 COLORATURA. — Trills, runs and other ornamental passages demanding vocal
skill and flexibility.
54
307 SOLMISATION. — The naming of tones by the syllables do (or ut), re, mi, fa, sol,
la, si.
305 FIXED DO. — The application of the seven syllables to the tones represented
by the letters C. D, E, F, G, A, B: do is always C. sol always G, and so on.
309 MOVABLE DO.— The application of the seven syllables to the degrees of every
diatonic scale: do is always the key-note, sol always the dominant, and so on.
310 SOLFEGGIO. — A vocal exercise, usually on the syllables do, re, mi, fa, sol, la, si.
311 LYRIC. — (Pertaining to the lyre, an ancient stringed instrument used in accom-
panying song.) The term is applied to melodious music or poetry appro-
priate to song; or to vocal music expressive of individual, subjective or
introspective moods or sentiments, as distinguished from the active or the
objective. (The term is applied to instrumental as well as to vocal music.)
312 PART-SINGING. — The singing of music written for three or more voices in har-
mony, usually without accompaniment.
313 A CAPPELLA or ALLA CAPPELLA ("In church style." Cappella — "chapel"). —
Choral music without instrumental accompaniment.
314 CHORAL. — Pertaining to a chorus, or choir.
315 CHORUS. — (a) A company of singers; (6) a composition intended to be sung by
a considerable body of voices.
316 CHOIR.— (a) A chorus of singers, especially in a church; (6) the part of a
church occupied by the singers ; (c) a group of instruments of the same
family; (d) an organ manual.
317 CHORISTER. — A choir singer.
318 CANTOR. — A choir leader; a precentor.
319 PRECENTOR.— A choir director or a leader of congregational singing.
320 ANTIPHONAL SINGING. — Alternate or responsive singing between two bodies
of singers.
(See also VOCAL FORMS.)
Q. (146) What are instruments of PERCUSSION?
Those in which the tones are produced by the striking (per-
cussion) of one body or implement against another.
321 Instruments of percussion consist of two principal groups : (l) those capable
of giving tones of definite pitch— such as TIMPANI (KETTLE-DRUMS). BELLS,
and CHIMES; (2) those which are used chiefly for rhythmical effects— such
as BASS DRUM, SIDE DRUM, TRIANGLE, CYMBALS, CASTANETS, GONG, and TAM-
BOURINE. (See ORCHESTRA.)
Q. (147) What is an ORCHESTRA?
(a) A company of musicians performing on the stringed, wind
and percussion instruments used in the concert hall or theatre ;
(b) the instruments so used, taken collectively.
322 The instruments of an orchestra are classified in 4 principal groups: (1)
STRINGED INSTRUMENTS (also called collectively the strings, the string-
quartet, the string-quintet, the string-band, the string-choir), including violins
(divided into 2 parts— 1st violin and 2d violin), violas, violoncellos (or 'cellos^,
and double basses. The leading violinist in the group of 1st violins is called
the leader. (2) WOOD-WIND INSTRUMENTS (called collectively the wood,
the wood-wind band, the wood-wind choir), including flute, piccolo, oboe,
English horn, clarinet, bassoon, etc. (J) BRASS INSTRUMENTS (called col-
lectively the brass, the brass-band, the brass-choir), including, French horn,
55
cornet, trumpet, trombone, tuOa. etc. -^he wood-wind and the brass are
called collectively the wind-band. (4) INSTRUMENTS OF PERCUSSION (called
collectively the percussives. the batterie}, including timpani (kettle-drums),
bass drum, side drum, triangle, cymbals, castanets, gong, tambourine, etc. The
harp is sometimes included in an orchestra, and the piano also, though the
latter is not classed as an orchestral instrument. A full orchestra is one
which contains all of the above groups, though not always all of the wind
and the percussive instruments in each group. A symphony orchestra or
grand orchestra is a full orchestra augmented usually by increasing the
number of instruments of each kind, or by adding other instruments. (See
SYMPHONY.) A string orchestra is one composed of the stringed instru-
?2J ments. The term band is applied not only to each group of orchestral instru-
ments or players, but to an orchestra composed of wind and percussive
instruments — a brass-band or military band. An orchestra is trained and
controlled by a director or conductor, whose marking of the time, rhythm,
tempo, etc., by movements of the hand or of a baton, or stick, held in the hand,
is called beating time, or simply the beat. The downward movement of the
hand, or down-beat, indicates the beginning of a measure (1st beat, strong beat};
and an upward movement, or up-beat, indicates an unaccented part of a meas-
ure (weak beat}. (See TIME, ACCENT, DIAGRAM of TIME-BEATING.) The
tone of A above Middle C (sounded usually by the oboe, or by some other
instrument of fixed intonation, such as the piano or the organ) is given as a
guide in pitch by which the other instruments are tuned for an orchestral
performance. Musical notation giving all the parts of a composition for
orchestra, from which the conductor directs the performance, is called the
score. The scoring (writing or arranging) of music for orchestra is called
orchestration, or instrumentation.
[It is suggested to students, that, when attending orchestral concerts, they
endeavor to note the differences in size, shape, compass, tone-color of, and
manner of playing on, the various instruments.]
VII. — FOREIGN MUSICAL TERMS (mainly Italian).
Q. ( 148) Of how many principal groups do musical terms consist?
(In addition to those relating to COMPOSITION, INSTRUMENTS, etc., defined
elsewhere. )
Six: terms indicating TEMPO, DYNAMICS, MANNER OF PRODUC-
ING TONES, EXPRESSION Or STYLE, QUALIFYING TERMS, and
TERMS AFFECTING NOTATION.
(a) TEMPO.
Q,. (149) What are TEMPO terms?
Those which indicate the speed at which the music is to be
performed.
Q. (150) How many principal kinds of tempo terms are there?
Two: those indicating the general and steady speed of a com-
position or division of a composition, and those affecting par-
ticular measures or passages in which a temporary deviation
from the general tempo is intended.
56
Q. (151) Do general tempo terms give the absolute degree o/
No; they refer more to the general character of a movement
or composition, the absolute rate of speed being usually indi-
cated by metronome marks.
324 A METRONOME is a. mechanism having a pendulum with a movable weight,
capable of swinging more or less rapidly according to its adjustment, and thus
determining by comparison the length of a time-pulsation. With the weight
set at 60 the pendulum makes one beat asecond. The metronome mark consists
of the letters M. M. (for "Maelzel's Metronome." after the reputed inventor.
Maelzel) and the note and number indicating the desired beat; for example.
N.M. J=KX) indicates that each beat of the pendulum marks the duration
of a quarter note, at the rate of one hundred quarter notes a minute.
Q. (152) Mention and define some of the most important tempo
terms indicating a STEADY rate of speed.
325 LARGO. — Very slow, and in "large," broad style.
326 LARGHISSIMO.— Slower than Largo.
327 LARGHETTO. — Less slow than Largo.
328 GRAVE. — Heavy, slow, and serious.
329 LENTO.— Slow.
330 ADAGIO ("at ease"). — Slow, tranquil.
331 ADAGISSIMO. — Extremely slow and tranquil.
332 ANDANTE ("walking," "moving").— Moderately slow.
333 ANDANTINO. — Less slow than Andante. Often incorrectly used in the oppo-
site sense.
334 ALLEGRO.— Lively.
335 ALLEGRETTO.— Not so fast as Allegro.
336 MODERATO.— Moderate ; moderately. "]
337 VELOCE. — With velocity. I Used both as tempo and as de-
338 VIVACE.— Lively. | scriptive terms.
339 VIVACISSIMO.— Extremely quick and lively. J
340 PRESTO.— Very fast.
341 PRESTISSIMO.— As fast as possible.
342 Tempo terms are often followed by expressions of style, such as in Andante
cantabile; or by qualifying expressions, as in Allegro molto; and sometimes
expressions of style alone are used as tempo terms, as Vivace, Agitato, etc.
Q,. (153) How many principal kinds of tempo terms are there
that indicate a TEMPORARY rate of speed?
Seven :
343 (/) Those indicating a more or less gradual ACCELERATION in speed.
344 (2) Those indicating a gradual SLACKENING in speed.
345 (.?) Those indicating a gradual ACCELERATION in speed and INCREASE in
power.
346 (4) Those indicating a gradual SLACKENING in speed and DECREASE in
power.
347 (5) Those indicating sudden tempo changes.
348 (6) Those indicating a "robbing" of time-value from one or more notes and
shifting it to others.
349 (7) Those indicating a pause over a note or a rest, thus prolonging it to more
than its actual time-value.
57
Q. (154) Mention and define some of the terms in each division.
(Certain of the following terms properly indicate tempo changes only ;
others, dynamic changes only. They are, however, frequently used to indi-
cate changes in both speed and power.)
(1) Gradual acceleration :
350 ACCELERANDO (abbreviated accet.). (See also STRINGENDO, STRETTO, AP-
FRETTANDO, INCALZANDO.)
(2) Gradual slackening:
351 RALLENTANDO (abbreviated rail.).
352 RITARDANDO (abbreviated ritard.).
353 RITENUTO (abbreviated ril.). (Sometimes used to indicate a sudden slacken-
ing in speed.)
354 TARDANDO.
355 ALLARGANDO or LARGANDO.— Growing broader. (Often used to signify a
broading of lone also.)
356 STRASCINANDO or STRASCICANDO (rarely used).
357 SLENTANDO.
358 LENTANDO (rarely used).
359 SLARGANDO.
360 TRATTENUTO. — "Held back." (Rarely used.)
361 STENTANDO. — "Dragging." STENTATO — "dragged." (Rarely used.)
(3) Gradual acceleration in speed and increase in power:
362 AFFRETTANDO. ) ,_
T^T^ ( (Properly used to indicate an increase in speed only ; some-
INCALZANDO. > ^ir
NDO. )
•2*5 T^T^
INCALZANDO. > ^irfi^ & sudden acceleration.)
364 STRINGENDO
(4) Gradual slackening in speed and decrease in power :
365 SMORZANDO.
366 CALANDO.
(Properly used to indicate a decrease in power
only.)
367 PERDENDO, PERDENDOSI.
368 DEFICIENDO.
369 SMINUENDO (rarely used).
370 MANCANDO.
371 MORENDO ("dying out").
(5) Sudden tempo changes :
372 DOPPIO MOVIMENTO. — Twice as fast.
373 PIUMOSSO. — More motion.
374 VELOCE.— Quick.
375 MENO MOSSO. — Less motion, slower. (See also RITENUTO.)
Piii (''more") and meno ("less") are used in conjunction with many other
terms to indicate changes in tempo; for example, Piii allegro, etc.
176 STRETTO ("drawn together"). — Faster tempo (sometimes also a gradual accel-
eration); used principally in closing passages. (Stretto is also the part of
the development of a fugue where subj ect and answer are brought into close
proximity.)
(6) "Robbed," "borrowed" or irregular tempo:
377 RUBATO. (In this division may be classed also SENZA TEMPO ("without time;"
that is, not in strict tempo) and RECITATIVO (in declamatory style). See
also A PIACERE. AD LIBITUM.)
(7) A pause;
378 FERMATA.
is t
pause ueiore proceeding 10 me next section, v^aue
379 LUNGA PAUSA.— A long pause ; a prolonged Fermata.
58
(«)
Q. (155) What is meant by DYNAMICS?
The power or intensity (loudness or softness) of musical tones.
Q. (156) How many principal divisions are there of dynamic
terms?
Two : those indicating a definite degree of power, and those
indicating gradual transition from one degree of power to a
greater or a less. •
Q. (157) Mention and define some of the most important terms
in each division.
(1) Definite:
380 PIANO (/»).— Soft.
381 PIANISSIMO (pp). — As soft as possible.
382 MEZZO PIANO (mj>). — Half (or medium) soft.
383 FORTE (/).— Loud.
384 FORTISSIMO (jff").— As loud as possible.
385 MEZZO FORTE (#//). — Half loud.
Under the above division may also be classified all ktefs of accents —
FORZANDO, FORTE PIANO, >, A. etc. (See ACCENTS.)
(2) Gradual:
386 CRESCENDO (abbreviated cres. or cresc.). — A gradual increase in power; indi-
cated by long lines forming a horizontal, wedge-shaped sign, with the point
at the left ^=^_
387 DECRESCENDO (abbreviated decresc.). j A gradual decrease in pover; indicated
388 DIMINUENDO (abbreviated dim.}. ) by a sign like the crescendo mark,
turned in the opposite direction ^"*-T»
389 RADDOLCENDO. — Growing softer, calmer, gentler.
390 A combination of crescendo and descrescendo -=d !!!>• is called a SWELL
(a term sometimes applied also to crescendo).
391 (Among the dynamic terms should be included also MORENDO, SMORZANDO,
CALANDO, PERDENDO, PERDENDOSI, MANCANDO, — "growing Softer." "dying
away.")
(Dynamic terms are not absolute, but relative, depending on the strength
of the performer, the resources of the instrument, the general character of
tie composition, etc.)
(c) MANNER OF PRODUCING TONES.
Q. (158) Mention some terms indicating MANNER of PRODUCING
TONES.
LEGATO, STACCATO, PORTAMENTO, MARTELLATO, GLISSANDO, VIBRATO,
TREMOLO, etc. (E'efined elsewhere — see Index. See also TOUCH, TECHNIQUE,
TIMBRE, FINGERING, BOWING, HARMONICS, BREATHING, INSTRUMENTS.)
59
(<f) EXPRESSION, OR STYLE
Q. (159) Mention and define some of the principal terms indi-
cating- EXPRESSION, or STYLE.
The majority of terms indicating tempo, dynamics, manner of producing
tones, etc., may. in one sense, be grouped under this head; but the following
may be more particularly so used:
392 ABBANDONATAMENTE or CON ABBANDONO.— In impassioned style; with aban-
don; without restraint.
393 AFFABILE.— Sweet gentle.
394 AFFETTUOSO.— Affectionate.
395 AGITATO.— Agitated.
396 ALLEGRAMENTE.— Sprightly. ALLEGREZZA— liveliness, joyfulness. CON
ALLEGREZZA— joyfully.
397 AMABILE.— Sweet, gentle.
398 AMORE.— Love. CON AMORE— lovingly. AMOROSO— loving, tender.
399 ANGOSCIOSO or ANGOSCIUSAMENTK.— Expressive of grief or anguish.
400 ANIMA.— Spirit, life. ANIMATO— lively, with animation.
401 APPASSIONATO (feminine APPASSIONATA). — Impassioned.
402 ARDENTE.— Ardent.
403 BRAVURA. — Brilliancy, boldness. CON BRAVURA — with boldness.
404 BRILLANTE.— Brilliant.
405 BRIO. — Spirit, fire. CON BRIO— with spirit.
406 BURLA.— A joke. BURLANDO— joking. BURLESCO— burlesque, comic,
407 CALMATO. — Calmed, quieted.
408 CALORE.— Warmth. CON CALORE — with warmth.
409 CANTABILE. — In singing style (therefore with well-defined, flowing melody).
(From cantare, "to sing".)
410 CAPRICCIOSO. — Capricious; free; unconventional.
411 CAREZZANDO or CAREZZEVOLE. — Caressingly.
412 DECISO.— Decided.
413 DELIBERATO. — Deliberate. DELIBERATAMENTE— deliberately.
414 DELICATO.— Delicate. DELICATEZZA — delicacy. DELICATAMENTE— delicately.
415 DOLCE.— Sweet.
416 DOLORE. — Sorrow, grief. DOLOROSO— dolorous plaintive, sorrowful.
417 ELEGANTE. — Elegant, graceful.
418 ENERGICO. — Energetic, vigorous.
419 EROICO (feminine EROICA).— Heroic.
420 ESPRESSIONE. — Expression. ESPRESSIVO (abbreviated espr. OJ tsflress.)—
expressive.
421 FORZA. — Force, vigor.
422 FUNEBRE or FUNERALE (Italian); FUKEBRE (French).— Funeral tunereal.
mournful.
423 Fuoco. — Fire, spirit.
424 FURIOSO. — Furious, passionate.
425 GENTILE (Italian); GENTIL, GENTILLE (French). — Graceful debate.
426 GIOCONDO. — Jocund, playful.
427 Giocoso. — Jocose, playful, humorous
428 GRANDIOSO. — Grand, majestic,
429 GRAVE. — Serious, grave. GRAVEMENTE— seriously, gravely.
430 GRAZIA. — Grace. GRAZIOSO— graceful.
431 GUSTO. — Taste. GUSTOSO— tasteful, with taste
432 IMPERIOSO. — Imperious, haughty.
433 IMPETO.— Impetuosity. IMPETUOSO— impetuous.
60
434 INNOCENTE.— Innocent, natural.
435 INQUIETO.— Unquiet, restless.
436 LAMENTOSO or LAMENTABILE. — Sad, lamenting, melancholy stye,.
437 LARGAMENTE.— "Largely"; broadly.
438 LEGGIERO. — Light, delicate. LEGGIERAMENTE— lightly.
439 LUSINGANDO.— Alluring, flattering.
440 MAESTOSO.— Majestic, stately.
441 MALINCONIA.— Melancholy. CON MALINCONIA — with melancholy expression,
442 MARCATO.— Marked, distinct.
443 MARCIA. — A march. ALLA MARCIA — in march style
444 MARZIALE.— Martial, warlike.
445 MESTO.— Sad, plaintive.
446 MOBILE. — Flexible.
447 NOBILE. — Noble.
448 PATETICO (Italian); PATHETIQUE (French).— Pathetic.
449 PERPETUO.— Perpetual.
450 PESANTE. — Heavy, ponderous.
451 PIETOSO.— "Pitiful"; sympathetic.
452 POMPOSO. — Pompous, dignified
453 PRECIPITATO.— Precipitate.
454 QUIETO. — Quiet, calm.
455 RELIGIOSO.— Religious, devout.
456 RISOLUTO. — Resolute, decided.
457 ROBUSTO.— Firm, bold.
458 SCHERZANDO.— In a playful, jocose manner.
459 SECCO. — "Dry"; plain, unornamented.
460 SEMPLICE.— With simplicity.
461 SENTIMENTO. — Expressive.
462 SERIOSO.— In serious, grave style.
463 SOAVE. — Suave, sweet, gentle.
464 SONORO. — Sonorous.
465 SOSPIROSO.— Sighing.
466 SOSTENUTO. — Sustained.
467 SPIANATO 'feminine SPIANATA). — "Levelled"; smooth.
468 SPIRITOSO.— Spirited.
469 STENTATO.— Labored; with troubled expression ; oppressed.
470 STREPITOSO. — Impetuous, noisy, boisterous.
471 TEDESCO (feminine TEDESCA). — German. ALLA TEDESCA — in German style.
472 TEMPESTOSO. — Impetuous, tempestuous, impassioned. TEMPESTOSAMENTE- -
impetuously, passionately.
473 TENERO. — Tender, sweet. CON TENEREZZA — with tenderness and delicacv
474 TIMOROSO.— Timorous, timid.
475 TRANQUILLO.— Tranquil.
476 TUMULTUOSO.— Tumultuous, agitated.
477 TURCO. — Turkish. ALLA TURCA — in Turkish style.
478 VIBRANTE.— Vibrating, agitated.
479 VIGOROSO. — Vigorous.
480 VIOLENTO.— Violent.
481 VIVACE. J Liyel
482 Vivo.
483 VOLANTE ("flying"). — Light, swift.
434 ZELOSO. — Zealous, energetic. CON ZELO — with zeal.
tAS ZINGARO.— Gypsy. ALLA ZINGARA— in Gypsy style.
61
(f) QUALIFYING TERMS.
Q,. (160) What is meant by QUALIFYING TERMS?
Terms that qualify (that is, modify, restrict, or emphasize)
the meanings of other terms.
Terms of expression or style may, in one sense, be grouped under this head;
but the following terms and phrases may be more particularly so used :
486 Piu.— More.
487 Piu TOSTO.— Rather.
488 MENO.— Less.
489 Mosso ("moved"). — Rapid. Piu MOSSO— more rapid. MBNOMOCSO — less rapid.
490 MA NON TANTO. — But not so much so.
491 MA NON TROPPO. — But not too much so.
492 MODERATO. — Moderate; moderately.
493 MOLTO. — Much, very.
494 ASSAI.— Very.
495 Poco.— Little. Poco A POCO— little by little. UN POCO— a little.
496 MOTO. — Motion. CON MOTO — with motion.
497 COMMODO. — At a convenient speed; leisurely. (Example: Allegro commodo.)
498 BEN or BENE.— Well. BEN MARCATO— well marked.
499 MEZZO. — Half, medium, intermediate.
•500 SosTENUTOl abbreviated 505. or sost.). -Sustained. (Example: A ndaniesostenuto.)
•SOI TENUTO (abbreviated ten.}. — Held to its full value; indicated by a dash over
or under the note.
502 GrtJSTo(" just"). —Strict, exact.
603 SOPRA. — On, or above. COME SOPRA, as above.
504 QUASI. — In the style of, almost, like, approaching. (For example, ANDANTE
QUASI ALLEGRETTO— an andante almost as quick as an allegretto.)
505 ALLA.— In the style of.
506 SEMPRE. — Always, throughout.
507 AD LIBITUM (abbreviated ad lib.). \ ..
i At the performer s pleasure.
508 A PIACERE Or A PIACIMENTO.
509 COLLA PARTE ("with the part").— A direction to an accompanist to accom-
modate the accompaniment to the principal part in gradations of speed,
power, etc.
(/) TERMS OF DIRECTION AFFECTING NOTATION.
Q. (161) Mention and define some of the most important foreign
terms and phrases of DIRECTION AFFECTING NOTATION.
510 AL SEGNO.— To the sign. ) Direction to the performer to repeat up to, or
511 DAL SEGNO. — From the sign. > from, the place marked by a sign. §£
512 A TEMPO.— In time. ) Return to the original
513 TEMPO PRIMO (abbreviated Tempo I).— First tempo. ( temP° ?f*er a tem-
; porary interruption.
514 SIMILE. — The same; in like manner.
515 L'ISTESSO TEMPO. — The same tempo or time. A caution in cases of change
of rhythm or of time-signature, indicating that the rate of speed remains
the same as before.
516 ATTACCA.— Attack. i Proceed at once to the following
517 ATTACCA SUBITO. — Attack immediately. \ movement.
518 DA CAPO (abbreviated D. C.) or AB INITIO. — Repeat "from the beginning."
519 FINE.— The end.
62
520 DA CAPO AL FINE.— Repeat "from the beginning to the end."
521 REPLICA. — Repeat.
522 SEGUE.— Follows ; "here follows.*'
523 PRIMA VOLTA.— The first time.
524 SECONDA VOLTA. — The second time.
525 OTTAVA or SVA. — An octave above or below.
526 Loco. — In place ; as written,— after 8va.
527 TUTTI.— All. All the performers or instruments.
528 Bis. — Twice. Written over measures that are to be repeated.
529 VOLTI SUBITO.— Turn (the page) quickly.
MISCELLANEOUS TERMS AND PHRASES.
Q. (162) Mention some miscellaneous terms and phrases.
530 SENZA.— Without.
531 CON. With.
532 ANCORA.— Again, still.
533 OSSIA.— Or.
534 GAMUT. — A scale.
535 OPUS ( abbreviated oA)-— A work. A musical composition. Used with a num
ber indicating the order in which a composition was written: for example.
"Sonata, opus 31" means that the sonata is the 31st work of the composer.
536 ALT, or ALTO.— High.
537 IN ALT. — Refers to the notes from G above the staff, treble clef, to F sharp above.
538 ALTISSIMO. — Highest.
539 IN ALTISSIMO. — Refers to the notes an octave above those "in alt."
540 ENSEMBLE. — The whole. All the parts taken together.
541 PRIMA VISTA. — At first sight.
542 VIRTUOSO (plural, VIRTUOSI).— A singer or player of exceptional skill.
543 -issimo forms superlative degree. (Larghissimo—very slow and broad.)
-ino, -etto— diminutives, "less." (Larghetio—tess slow than Largo.)
-menle= English -ly, adverb ending. (Largamente — broadly.)
-ando, -endo, -ante, -<?«/(?=English -ing, present-participle ending. (Largando—
broadening.) -uto, -a/o=English -d. -ed, past-part, ending. (Marcalo— marked.)
544 The masculine terminations o and e change to » in the plural. The feminine
termination a changes to e in the plural. For example: Virtuoso (masc. sing.);
virtuosi (masc. plural); virtuosa (fern, sing.); virtuose (fern, plural). Una
corda (fern, sing.) — one string; tre corde (fern, plural)— three strings. Allegro
appassionato (masc.); Sonata appassionato (fern.).
545 [Suggestions for the pronunciation of Italian terms:
a is pronounced as in ah.
e, long, is like a as in bay; short, it is like e as in met.
i, long, is like e as in bee; short, it is like i as in it.
o is like o in go; or like aw as in law .
u is like oo as in boot.
c is like ch as in child before e or i; it is like k before a, o or u or consonants.
e is soft before e or i; hard before a, o or u or consonants, except before /,
when it is pronounced like l-y (thus, sugli should be pronounced sool-ye),
and before n, when it is pronounced like n as in canon (kan-yon).
h is mute; c and g followed by h (ch, gh) are hard.
j is like y as \nyou.
r is rolled.
z is like ds or ts.
The pronunciation of the other consonants is similar to the English.]
The accentuation of syllables of the Italian terms is indicated in the Index.
63
Q. (163) Give the names of all the keys in English, French,
Italian, and German.
ENGLISH
FRENCH
ITALIAN
GERMAN
No Sig- j C major
nature ( A minor
Ut (or Do) majeur
La mineur
Do maggiore
La minore
C dur
A moll
1 ( G major
sharp t E minor
Sol majeur
Mi mineur
Sol maggiore
Mi minore
Gdur
E moll
2 ( D major
sharps ( B minor
R6 majeur
Si mineur
Re maggiore
Si minore
D dur
Hmoll
3 | A major
sharps ) F sharp minor
La majeur
Fa diese mineur
La maggiore
Fa diesis minore
A dur
Fis moll
4 ) E major
sharps ( C sharp minor
Mi majeur
Ut diese mineur
Mi maggiore
Do diesis minore
E dur
Cis moll
S < B major
sharps ( G sharp minor
Si majeur
Sol diese mineur
Si maggiore
Sol diesis minore
Hdur
Gis moll
6 | F sharp major
sharps i D sharp minor
Fa diese majeur
Re diese mineur
Fa diesis maggiore
Re diesis minore
Fis dur
Dis moll
7 | C sharp major
sharps ! A sharp minor
Ut diese majeur
La diese mineur
Do diesis maggiore
La diesis minore
Cis dur
AIs moll
7 \ C flat major
flats ) A flat minor
Ut bemol majeur
La bemol mineur
Do bemolle maggiore
La bemolle minore
Ces dur
As moll
6 \ G flat major
flats 1 E flat minor
Sol bemol majeur
Mi bemol mineur
Sol bemolle maggiore
Mi bemolle minore
Ges dur
Es moll
5 J D flat major
flats ( B flat minor
Re bemol majeur
Si bemol mineur
Re bemolle maggiore
Si bemolle minore
Des dui
Bmoll
4 ( A flat major
flats 1 F minor
La bemol majeur
Fa mineur
La bemolle maggiore
Fa minore
As dur
F moll
3 ( E flat major
flats i C minor
Mi b£mol majeur
Ut mineur
Mi bemolle maggiore
Do minore
Es dur
Cmoll
2 ( B flat major
flats ( G minor
Si bemol majeur
Sol mineur
Si bemolle maggiore
Sol minore
B dur
G moll
1 | F major
flat i D -minor
Fa majeur
Re mineur
Fa maggiore
Re minore
F dur
D moll
64
V ill. —SOME DATA RELATING TO MUSICAL HISTORY.
Q. (164) What are the two principal divisions of the HISTORY
OF MUSIC?
Ancient Music, extending from the earliest times to the latter
half of the 16th century; and Modern Music, extending from
that time to the present.
[The term "Modern Music" Is applied also to the music of the last 50 or 100
years, as distinguished from the music of the 15th, 16th, 17th, and 18th centuries.]
Q,. (165) Who invented one of the earliest musical systems of which
there is authentic record f
Pythagoras, a Greek philosopher (about 582-500 B. C.).
Q. (166) What were some of the important features of his system f
The scale consisted of seven tones corresponding to the seven
planets as then known, and also to the seven colors of the rain-
bow. Pythagoras declared the octave and the 5th (and the 4th
regarded as the 5th below) to be perfect consonances.
Q. (167) Who were among the most notable musicians early in
the Christian era and in the Middle Ages?
St. Ambrose, Archbishop of Milan (333-397), who adapted
various chants and scales for the service of the Church and
originated the Ambrosian Chant.
Pope Gregory I. (about 540-604), who added to the system of
church modes (scales) established by St. Ambrose and replaced
the Ambrosian chant by the Gregorian, a form of chant still
used in many churches.
Hucbald, a Benedictine monk of Flanders (840-930 or 932), who
introduced part-singing in the Church.
Guido d'Arezzo (about 995-1050), who also cultivated part-sing-
ing, invented the terms ut, re, mi, fa, sol, la, still in use, and
made several changes in the system of notation.
Franco of Paris, who invented mensural, or measurable, music.
Franco of Cologne, who, in the 12th century, introduced, among
other important advances in music, sharps and flats, and
improved the system of measuring notes and dividing the
measure — mensural music.
Walter Odington, of England (13th century), author of an
important treatise on music.
Maltre Perotin, Le'onin, Jean de Garlande and Jean de Muris,
of France (12th to 14th century).
65
Q. (168) Who were among other notable musicians of the
Middle Ages ?
The Menestrels (minstrels) Trouveres, Troubadours, Minne-
singers and Mastersingers, poet-musicians (llth to 14th
century): —
William of Poitiers, Bertrand de Born, Castellan de Coucy, Thibaut IV. (King
of Navarre), Adam de la Hale, Guillaume de Machault, — Menestrels, Trou-
veres, and Troubadours.
Heinrich von Veldecke, Spervogel, Dietmar, Prince Wizlav, Heinrich von
Morungen, Wolfram von Eschenbach, Gottfried von Strassburg, Hartmann
von der Aue, Walther von der Vogelweide, Reinmar von Zweter, Heinrich
von Meissen (called Frauenlob), — Minnesingers.
Muskatblflt, Rosenpltlt, Puschmann, Hadlaub, Folz. Behaim, Hans Sachs.—
Mastersingers.
Q,. (169) Who were the composers in whom the early contrapuntal
school reached its highest development f
ORLANDO DI LASSO, or "Lassus," of the Netherlands (1532-1594).
Giovanni Pierluigi Palestrina, of Italy (1514 or 1515-1594),
the greatest composer of the 16th century, the "father of
church music."
Q. (170) Who were the greatest composers of the later contra-
puntal school?
Johann Sebastian Bach (German) (1685-1750), composer
of fugues for piano and for organ, the "Passion Music," etc.
G-eorg Friedrich Handel (German) (1685-1759), corrtposer
of oratorios ("The Messiah," "Israel in Egypt," "Samson,"
"Judas Maccabseus," etc.), operas, etc.
Q. (171) What were the chief achievements of Bach and Handel f
Bach devoted his genius to the development of PROTESTANT
CHURCH MUSIC, and Handel brought the ORATORIO to perfection.
Q. (172) Who formulated our modern HARMONIC SYSTEM?
Jean Philippe Rameau (French) (1683-1764) .
Q,. (173) Mention one of the most notable of the early composers
of OPERA, in France.
Christoph Wilibald von Gluck (German) (1714-1787),
composer of the operas, "Orpheus and Eurydice," "Iphigenia
inTauris," "Alceste," etc.
Q. (174) Mention the greatest composers of the period follow-
ing Bach and Handel.
Josef Haydn (German) (1732-1809), called the "father of
the symphony," composer of symphonies, sonatas, chamber
music, oratorios ("The Creation"), etc.
66
"Wolfgang1 Amadeus Mozart (German; (1756-1791), com-
poser of symphonies, sonatas, masses, chamber music, operas
("Don Giovanni," "Marriage of Figaro," "Magic Flute,"), etc.
Ludwig van Beethoven (German) (1770-1827), ^composer
of symphonies, sonatas, chamber music, etc., and "one opera
( 'Fidelio").
[Haydn, Mozart and Beethoven brought the SONATA and the SYMPHONY
to their highest development,]
Q. (175) Mention some other great COMPOSERS of the LATTER
PART OF THE 18TH CENTURY and of the 19TH CENTURY.
Carl Maria von Weber (German) (1786-1826), composer of
operas ("Der Freischiitz," "Euryanthe," "Oberon," etc.),
orchestral works, pianoforte music, etc.
Franz Schubert (German) (1797-1828), composer of songs,
pianoforte music, choral works, chamber music, etc.
GIACOMO MEYERBEER (German) (1791-1864), composer of
operas ("Robert le Diable," "Les Huguenots," "Le Pro-
phete," "Dinorah," "L'Africaine," etc.).
GIOACHINO ROSSINI (Italian) (1792-1868), composer of operas
("The Barber of Seville," "William Tell," "Semiramide,"
etc.).
HECTOR BERLIOZ (French) (1803-1869), composer for orchestra,
"the father of modern orchestration."
Felix Mendelssohn-Bartholdy (German) (1809-1847), com-
poser of oratorios ("Elijah," "St. Paul," "Hymn of Praise,"
etc.), operas, orchestral works, chamber music, pianoforte
music, songs, etc.
Frederic Chopin (Polish) (1810-1849), composer of pianoforte
music.
Robert Schumann (German) (1810-1856), composer of choral
works, orchestral works, chamber music, pianoforte music,
songs, etc.
CHARLES FRANQOIS GOUNOD (French) (1818-1893), composer of
operas ("Faust," "The Queen of Sheba," "Mireille," "Romeo
and Juliet," etc.), oratorios ("The Redemption," etc.),
masses, etc.
Richard "Wagner (German) (1813-1883), composer of operas
("Der fliegende Hollander," "Tannhauser," "Lohengrin,"
"Der Ring des Nibelungen," "Tristan und Isolde," "Die
Meistersinger von Niirnberg, " "Parsifal," etc.), orchestral
works, etc.
Giuseppe Verdi (Italian) (1813-1901), composer of operas
("Ernani," "RigoleUo," "II Trovatore," "La Traviata,"
"Aida," "Otello," "Falstaff," etc.), choral works, etc.
Johannes Brahms (German) (1833-1897), composer of orches-
tral works, choral works, pianoforte music, songs, etc.
67
(176) CHART I.— DEVELOPMENT OF VOCAL MUSIC.
CHORAL MUSIC.
NETHERLANDS
ITALY
GERMANY
ENGLAND
BOHEMIA
DENMARK
AMERICA
•»-• - CO
Binchois
Dunstable
1400
<u .— « — «
Dufay
E- . S
Busnois
Hobrecht
.2 M^ c
Okeghem
>"g o o5,de la Rue
Isaak
1500
•§ 2 M ,c~ Despres
Hofheimer
mt^^j^gu-, Willaert
Senfl
5 wS-S-1 5 Goudimel
„_, u, <" e-j i-IArcadelt
°3 "2^ c& Clemens
A. Gabrieli
Zarlino
o Go"« 'O Lassus
Palestrina
Tallys
"C**-1 "iJ^-fi c
Merulo
Gallus
j? ^ io
Marenzio
Morley
G. Gabrieli Hassler
Byrd
1600
^ • J3 in
JU O Y: (}1
Cavalbri
Dowland
Bull
<^ ~— 53 l^ *j
Allegri
Schutz
Gibbons
^TS1" oJ
U-i "M -2 ~*
Carissimi
Buxtehude
Stradella
J.C.Bach
Purcell
** Svlt a
Lottl
J. M. Bach
S « . >:°°
d'Astorga
v
g 5-2 n ^tjj
Marcello
Fux
Cernohorsky
1700
n1 e o'S 2 °
Leo
"5 ^ e c c £
Caldara
J. S. Bach
Handel
^ S ^ "Si a> cs
Durante
aj ^ O «) o P«
Q M
Porpora
Mattheson
Pergolesi
Arne
S3
K. P. E.Bach
1
Haydn
to
Mozart
<d
a
Beethoven
1800
«i
Schubert
Tomaschek
bf
Spohr
to ?,
V
•. *
Schneider
^ ^
FRANCE
Mendelssohn
«"f
Berlioz
Schumann
^ u
Bennett
. 3
s"«
p: O
Liszt
Macfarren
Gade
00
Gounod
Kiel
Sullivan
1°
Verdi
Stainer
-I
Rheinberger
Mackenzie
*JI
A. G. Thomas
II
Parry
Brahms
Dvorak
Paine
o o
Saint-Saens
Cowen
Massenet
Buck
8
P "N
BELGIUM
Bruch
Stanford
Gilchrist
O. ~
Benolt
Elgar
S3
MacCunn
Chadwick
1900
<U ^
Tinel
Perosi
^.Anglo-
African^
Coleridge-
Taylor
Parker
Whiting
Converse
a * <r d e f g
68
OPERA.
THE MODERN
SONG.
ITALY
FRANCE
GERMANY
ENGLAND
RUSSIA
1400
ft.
Peri
1600
Caccini
Monteverde
Cambert
Cesti
Lully
Purcell
Legrenzi
1700
A. Scarlatti
Keiser
Rameau
Handei
Buononcini
Hasse
Porpora
Pergolesi
Galuppi
Gluck
Jommelli
Sacchini
Philidor
Piccinni
Dittersdorf
GERMANY
RUSSIA
SWEDEN
Casali
Monsigny
Miller
Haydn
Sarti
Gr<§try
Mozart
Mozart
"500
Cimarosa
Martini
Beethoven
Beethoven
Paisiello
Gossec
Weber
Salieri
Mehul
C. Kreutzer
Schubert
Cherubini
Lesueur
Spohr
Paer
Isouard
Marschner
Mendels-
Spontini
Boieldieu
sohn
Rossini
Herold
Lortzing
Schumann
Bellini
Adam
Donizetti
Auber
Nicolai
Wallace
Franz
Mercadante
Meverbeer
Pacini
Haievy
Flotow
Balfe
Glinka
Jensen
Lvoff
Lindblad
Ricci
F. C. David
von Holstein
Lowe
NORWAY
Kjerulf
Petrella
Thomas
J. Strauss
Abt
Rubin-
Pedrotti
Gounod
Kretschmer
Rubinstein
Taubert
stein
Tchai-
Grieg
Verdi
Bizet
Gotz
Tchaikovsky
Lassen
kovsky
ENGLAND
Masse
Nessler
FRANCE
Hatton
Bennett
Ponchielli
Lalo
Cornelius
Cornelius
Gounod
Bizet
Clay
Sullivan
Tosti
BOHEMIA
Faccio
Uelibes
Wagner
Sullivan
Nesvadba
Brahms
Lehmann
Godard
Cowen
Boito
Chabrier
Wolf
Smetana
Wolf
Massenet
M.V.White
Mascagni
Saint-Saens
AMERICA
Goldmark
Fibich
MacDowell
1900
Leoncavallo
Massenet
Bruneau
Humperdinck
Napravnik
Widor
Foote
Chadwick
Nevin
Puccini
Charpentier
Chami-
Beach
Giordano
Debussy
R. Strauss
R. Strauss
nade
Converse
h i j k I m n &
69
(177) CHART II.— DEVELOPMENT OF INSTRUMENTAL MUSIC.
VIRGINALS, HARPSICHORD,
PIANOFORTE.
ORGAN.
1500
1600
1700
GERMANY
ITALY
FRANCE
BOHEMIA
POLAND
ENGLAND
J.S.Bach
Durante
D.Scarlatti
Couperfn
Rameau
Byrd
Bull
Gibbons
Purcell
Handel
Schmidt, Ger.
Sweelinck, Dutch
Praetorius, Ger.
Scheldt,
Scheidemann,
Frescobaldi, //.
Froberger. Ger.
Buxtehude. Dan.
Reinken, Dutch
Pachelbel, Ger.
Walther.
J. S. Bach.
Mattheson.
W. F. Bach
K. P. E.Bach
J. C. Bach
GaluppI
Haydn
Mozart
Beethoven
Clement'
Fleysl
Dussek
1800
Hummel
Weber
Schubert
Field
Kuhlau
Kalkbrenner
Cramer
Diabelli
Czerny
Moscheles
Mendelssohn
Schumann
Chopin
Mendelssohn. Ger.
AMERICA
Thalberg
Bertini
Gottschalk
F. v. Killer
Liszt
Herz
Lemmens, Bel.
Kullak
Litolff
Franck. Bel.
Heller
FLaff
Henselt
Brahms
Ravina
Mason
Rheinberger. Ger.
RUSSIA
Rubinstein
Tchaikovsky
Arensky
Kirchner
Reinecke
Godard
Saint-Saens
Schiitt
SCANDINAVIA
Scharwenka
Thome
Grieg
Guilmant. Fr
Nicode
Sgambati
Schytte
Widor. Fr.
1900
Moszkowski
Chaminade
PaderewskI
MacDowell
d'Albert
70
VIOLIN.
'CELLO,
DOUBLE
BASS.1
CONCERTED MUSIC:
CHAMBER Music, the SYMPHONY, and
ORCHESTRAL Music.
ITALY
ENGLAND
GERMANY
500
seo
-oo
Vital!
-
Corelli
Vivaldi
Biber
GERMANY
ITALY
Veracini
Handel
J. S. Bach
J. S. Bach
Locatelli
FRANCE
Tartini
Leclair
NTardini
Viotti
Gavinies
Haydn
Mozart
Duport. Fr.
Mozart
Boccherini
900
Campagnoli
R.Kreutzer
Beethoven
Rode
Beethoven
Romberg.
Paganini
Baillot
Ger.
tDragonetti,
It.
Schubert
Mazas
Spohr
Bazzini
BELGIUM
Mendels-
sohn
Mendels-
sohn
POLAND
de Beriot
ipms i
v ieux-
temps
MoliQue
ais,
Schumann
FRANCE
Ernst
Lachner
Berlioz
Leonard
tBottesini.//.
HUNGARY
FRANCE
iJftVlQ
BELGIUM
Liszt
Alard
Dont
Goltermann.
Volkmann
Franck
Ger
SCANDINAVIA
Dancla
~~^—^^~~'
Raff
RUSSIA
oro iri
\Vieniawski
Raft
FRANCE
HcirtrncinTi
Lalo
Davidoff,
Bruckner
Lalo
Gade
Rubinstein
Saint-
Saens
Joachim
Rus.
Brahms
Saint-Saens
Grieg
Tchai-
kovsky
Piatti. It.
Goldmark
Faure
Bruch
Hofmann
Faure
Svendsen
Cui
de Swert.Sel.
Bruch
Massenet
Hamerik
Balakirev
BOHEMIA
SPAIN
Sinding
no
Sitt
Sarasate
Popper, Boh.
d'Indy
FINLAND
HUNGARY
R. Strauss
Debussy
Sibelius
Rinisky-
Hubay
Dukas
AMERICA
Korsakoff
Reger
ITALY
MacDowel.
Huss
Glazounow
Sgambati
Hadley
w x y z aa bb cc dd *
71
(178) REFERENCE LIST OP COMPOSERS.
The numbers in light type (1819-1885, etc.) are the dates of birth and death; aud
those in black type (168, etc.) refer to the Questions and Answers in the chapter on
Musical History. The asterisks (*) indicate the composers who are now (1908) living.
The small letters in italics (a to z, and aa to dd) following the dates, refer to the
letters under the columns of the Charts, pages 68 to 71. In some cases the nation-
ality of a composer does not correspond with the country under which his name
appears in the Charts and with which his work is closely identified : as, for example,
with Handel in England, or Gluck in France. In the Charts, Germans and Austrians
are grouped together under Germany.
(ABBREVIATIONS: Amer., American; Aus., Austrian; Zte/.. Belgian; Boh., Bohemian;
Dan., Danish; Eng., English; Fr., French; Ger., German; Hun.. Hungarian; //..Italian;
•Nelh., Netherlandish; Nor.. Norwegian; Pol.. Polish; Rus., Russian, (?) means doubtful.
or about, or probably.)
The Charts and the following list are far from complete, the limited scope of the
work necessitating the omission of many prominent names.
Abt, Franz. Ger. 1819-1885. m.
Adam, Adolphe. Fr. 1803-1856. i.
Adam de la Hale. Fr. 1240(?)-1287. 168.
Alard, Delphin. Fr. 1815-1888. x.
•Albert, Eugen d'. Scotch. 1864—. p.
Allegri, Gregorio. //. 1584-1662. b.
Ambrose, St. //. 333-397. 167,
Arcadeltjacob. Flemish. 1514(?)-1575(?). a.
Arensky, Anton Stepanovitch. Rus. 1862-
1906. J.
Arne. Thomas. Eng. 1710-1778. d.
Astorga, Emanuele d'. //. 1681-1736. b.
Auber, Daniel F. Fr. 1782-1871. ».
Bach, Johann Christian. Ger. 1735-1782. p.
Bach.JohannChristoph. Ger. 1642-1703. c.
Bach, Johann Michael. Ger. 1648-1694. c.
Bach. Johann Sebastian. Ger. 1685-1750.
170. 171. c.t.v.y. aa.
Bach, Karl Philipp Emanuel. Ger. 1714-
1788. c. p.
Bach, Wilhelm Friedemann. Ger. 1710-
1784. p.
Baillot. Pierre. Fr. 1771-1842. x.
*Balakirev, Mily. Rus. 1836—. dd.
Balfe, Michael William. Irish. 1808-1870. k.
Bazzini, Antonio. //. 1818-1897. w.
•Beach, Mrs. H. H. A. Amer. 1867;-. o.
Beethoven, Ludwig van. Ger. 1770-1827.
174. c, j, m, p. y, aa.
Behaim. Ger. 168.
Bellini, Vincenzo. //. 1801-1835. h.
Bennett. William Sterndale. Ens. 1816-
1875. d. o.
Benoit. Pierre -Leonard -Leopold. Bel.
1834-1901. a.
B<5riot, Charles de. Bel. 1802-1870. x.
Berlioz, Hector. Fr. 1803-1869. 175. a, bb.
Bertini, Henri-Jerome. Fr. 1798-1876. r.
Bertrand de Born. Fr. 168.
Biber, Heinrich Johann Franz von. Boh.
1644-1704. y.
Binchois. Neth. 1400(?)-1460. a.
Bizet, Georges. Fr. 1838-1875 i. n.
Boccherini, Luigi. //. 1743-1805. bb.
Boieldieu, Francois A. Fr. 1775-1834. i
•Boito, Arrigo. It. 1842—. k.
Borodin, Alex. Porphyrjevitch. Rus. 1834-
1887. dd.
Bottesini, Giovanni. It. 1823-1889. z
Brahms, Johannes. Ger. 1833-1897. 176. c,
m, p, aa.
•Bruch, Max. Ger. 1838—. c.y.aa.
Briickler. Hugo. Ger. 1845-1871.
Bruckner, Anton. Aus. 1824-1896, aa.
•Bruneau, Alfred. Fr. 1857—. i.
•Buck. Dudley. Amer. 1839—. g.
Bull, John. Eng. 1563-1628. d, u.
•Bungert. August. Ger. 1846—
Buononcini. Giovanni Battista. //. 1660-
1750(?). h.
Busnois. Antoine. Nelh. died 1481. a.
Buxtehude, Dietrich. Dan. 1639-1707. c,v.
Byrd, William. Eng. 1538(?)-1623. d. u.
Caccini.Giulio. ("Romano.") //. 1546(?)-
1615(?). h.
Caldara, Antonio. It. 1678-1763. b.
Cambert, Robert. Fr. 1628(?)-1677. *.
Campagnoli,Bartolommeo.//.1751-1827.zf.
Carissimi, Giacomo. It. 1604(?)-1674. b.
Casali. Giovanni Battista. //. died 1792. h
Cavalieri, Emilio del. //. 1550(?)-1599(?). b.
Cernohorsky, Bohuslav, Boh. died 1740. e.
Cesti, Marc' Antonio. It. 1620-1669. h.
72
Chabrier. Alexis- Emmanuel. Fr. 1842-
1894. ».
*Chadwick, George W. Amer. 1854 — . g, o.
•Chaminade, Cecfle. Fr. 1861—. n, r.
*Charpentier, Gustave. Fr. I860—, i.
Cherubini, Maria Luigi. It. 1760-1842. h.
Chopin, Frederic. Pol. 1810-1849. 175. /.
•Cilea, Francesco. It. 1867—.
Cimarosa, Domenico. //. 1749-1801. h.
Clay. Frederic. Eng. 1840-1889. o.
Clemens non Papa. (Jacob Clemens.)
Nelh. 16th century, a.
Clement:, Muzio. It. 1752-1832. q.
'Coleridge -Taylor, Samuel. Anglo-Afri-
can. 1875—. d.
Concone, Giuseppe. //. 1810(?)-1861.
'Converse, Frederick S. Amer. 1871 — . g,o.
Corelli, Arcangelo. //. 1653-1713. w.
Cornelius. Peter. Ger. 1824-1874. j. m.
Coucy. Regnault (Castellan de).' Fr.
died 1192. 168.
Couperin, Francois. Fr. 1668-1733. r.
*Cowen, Frederic H. Eng. 1852—. d. o.
Cramer, Johann Baptist. Ger. 1771-1858. p.
*Cui. Cesar. Rus. 1835—. dd.
Czerny, Karl. Aus. 1791-1857. p.
Dancla. Charles. Fr. 1818-1907. x.
David. Felicien-Cesar. Fr. 1810-1876. i.
David, Ferdinand. Ger. 1810-1873. y.
Davidoff, Karl. Rus. 1838-1889. z.
* Debussy, Achille-Claude. Fr. 1862—. i.bb.
Delibes, Leo. Fr. 1836-1891. i.
Despres, Josquin. Neth. 1450(?)-1521. a.
Diabelli, Antonio. Aus. 1781-1858. p.
Dietmar. Ger. 168.
Dittersdorf, Karl von. Aus. 1739-1799. /.
Donizetti. Gaetano. It. 1797-1848. h.
Dont, Jakob. Aus. 1815-1888. y.
Dowland, John. Eng. 1562-1626. d.
DragonettI, Domenico. It. 1763-1846. z.
Dufay. Gufflaume. Fr. 1400(?)-1474. a.
•Dukas. Paul. Fr. 1865—. bb,
Dunstable. John. Eng. 1400(?)-1453. d.
Duport, Jean-Louis. Fr. 1749-1819 z.
Durante, Francesco. //. 1684-1755. b, q.
Dussek, Johann L. Boh. 1761-1812. s.
Dvorak, Antonin. Boh. 1841-1904. e.
*Elgar, Edward. Eng. 1857—. d.
Ernst, Heinrich W. Aus. 1814-1865. y.
Faccio, Franco. It. 1841-1891. h.
•Faure. GaDriel-Urbain. Fr. 1845—. x,bb.
Fibich, Zdenko. Boh. 1850-1900. /.
Field, John. Irish. 1782-1837. «.
*Fielitz, Alexander von. Get. 1860 — .
Flotow. Friedrich von. Ger. 1812-1883. /.
Folz. Ger. 168.
*Foote, Arthur. Amer. 1853—. o.
Franck, Cesar. Bel. 1822-1890. v, bb.
Franco of Cologne. 12th century. 167.
Franco of Paris, llth century. 167.
Franz, Robert. Ger. 1815-1892. m.
Frescobaldi, Gir61amo. It. 1583-1644. v.
Froberger, Johann Jakob. Ger. 1605(?)~
1667. v.
Fux, Johann Joseph. Aus. 1660-1741. c.
Gabrieli," Andrea. It. 151 0(?) -1586. b.
Gabrieli. Giovanni. It. 1557-1612 or 1613. b.
Gade. Niels W. Dan. 1817-1890. /, cc.
Gallus, Jacobus. (Jacob Handl.) Aus.
1550(?)-1591. c.
Galuppi. Baldassare. //. 1706-1784. h, Q.
Garlande.Jeande. Fr. 13th century. 167.
Gavinies, Pierre. Fr. 1726-1800. x.
Geminiani, Francesco. It. 1680(?)-1762. w.
'German (Jones), Edward. Eng. 1862—.
Gibbons. Orlando. Eng. 1583-1625. d. u.
'Gilchrist.Wm. Wallace. Amer. 1846—. g.
'Giordano, Umberto. //. 1867—. h.
'Glazounow, Alexander. Rus. 1865 — . dd.
Glinka. Michael Ivanovitah. Rus. 18U4-
1857. /.
Gluck, Christoph Wilibald von. Ger.
1714-1787. 178. j.
Godard, Benjamin. Fr. 1849-1895. n, r.
•Goldmark. Karl. Hun. 1830—. j, aa.
Goltermann, Georg Eduard. Ger. 1824-
1898. z.
Gossec. Frangois. Bel. 1734-1829. i.
Gottfried von Strassburg. Ger. 168.
Gottschalk, Louis Moreau. Amer. 1829-
1869. u.
Gotz. Hermann. Ger. 1840-1876. /.
Goudimel. Claude. Fr. 1505(?)-1572. a.
Gounod, Charles-Francois. Fr. 1818-1893.
175. a, i. n.
Gregory I.. Pope. It. 540 604. 167.
Gretry, Andre-Ernest-M. Bel. 1741-1813. i
Grieg? Edvard. Nor. 1843-1907. o, s, cc.
Guido d'Arezzo. //. 995(?)-1050(?). 167.
'Guilmant. Alexandre. Fr. 1837—. v.
Hadlaub. Ger. 168.
•Hadley, Henry K. Amer. 1871—. cc.
Halevy. Francois-Fromental. Fr. 1799-
1862. i.
•Hamerik, Asger. Dan. 1843—. cc.
Handel, Georg Friedrich. Ger. 1685-1759
170. 171. d. k, u, x.
73
Hartmann, Johan Peder Emilius, Dan.
1805-1900. cc.
Hartmann von der Aue. Ger. 168.
Hasse. Johann Adolph. Ger. 1699-1783. /.
Hassler, Hans Leo von. Ger. 1564-1612. c.
Hatton, John Liptrot. Ens. 1809-1886. o.
•Hausegger, Siegmund von. Aus. 1872 — .
Haydn, Josef. A us. 1732-1809. 174. c, m,
i>, aa.
Heinrich von Meissen. (Called Frauen-
lob.) Ger. died 1318. 168.
Heinrich von Morungen. Ger. 168.
Heinrich von Veldecke. Ger. 12th cen-
tury. 168.
Heller, Stephen. Hun. 1815-1888. p.
•Henschel. Georg. Ger. 1850—.
Henselt, Adolf von. Ger. 1814-1889. p.
HcSrold, Ferdinand. Fr. 1791-1833. i.
Herz, Henri. Aus. 1806-1888. r.
Hiller. Ferdinand von. Ger. 1811-1885. p.
Killer, Johann Adam. Ger. 1728-1804. j.
Hobrecht, Jakob. Nelh. 1430(?)-1506(?). a.
Hofheimer.Paulus von. Aus. 1459-1537. c.
Hofmann, Heinrich. Ger. 1842-1902. aa.
• Holstein, Franz von. Ger. 1826-1878. j.
•Hubay, Jeno. Hun. 1858—. w.
Hucbald. Neth. 840(?)-930 or 932. 167.
Hummel, Johann N. Ger. 1778-1837. p.
•Humperdinck, Engelbert. Ger. 1854 — . /.
•Huss, Henry Holden. Amer. 1862—. cc.
•Indy, Vincent d'. Fr. 1851—. bb.
Isaak, Heinrich. Ger. 1450(?)-1517(?). c.
Isouard, Niccold. Fr. 1775-1818. t.
Jensen, Adolf. Ger. 1837-1879. m.
Joachim, Joseph. Hun. 1831-1907. y.
Jommelli, Nicola. //. 1714-1774. h.
Kalkbrenner.FriedrichWilhelm Michael.
Ger. 1788-1849. p.
Keiser, Reinhard. Ger. 1674-1739. j.
Kiel, Friedrich, Ger. 1821-1885. c.
Kirchner, Theodor. Ger. 1824-1903. p.
Kirnberger, Johann Philipp.6>r. 1721-1783.
Kjerulf, Halfdan. Nor. 1818-1868. o.
Kretschmer, Edmund. Ger. 1830-1908. j.
Kreutzer, Conradin. Ger. 1780-1849. j.
Kreutzer, Rodolphe. Fr. 1766-1831. x.
Kuhlau, Friedrich. Ger. 1786-1832. p.
Kullak, Theodor. Ger. 1818-1882. p.
lachner, Franz. Ger. 1803-1890. aa.
Lachner. Ignaz. Ger. 1807-1895.
Lachner. Vincenz. Ger. 1811-1893.
Lalo, Edouard. Fr. 1823-1892. i, x, bb.
Lassen, Eduard. Dan. 1830-1904. m.
Lasso, Orlando di. (Lassus.) Neth. 1532-
1594. 169. a.
Leclair. Jean-Marie. Fr. 1697-1764. x.
Legrenzi, Giovanni. It. 1625(?)-1690, h.
*Lehmann, Liza. Eng. o.
Lemmens, Jacques-Nicolas. Bel. 1823-
1881. v.
Leo, Leonardo, ft. 1694-1746. b.
Leonard, Hubert. Bel. 1819-1890. x.
'Leoncavallo, Ruggiero. It. 1858—. h.
Leonin. Fr. 167.
Lesueur, Jean-Franc.ois. Fr. 1760-1837. i.
Lindblad. Adolf Fredrik. Swedish. 1801-
1878. o.
Lipinski, Karl Joseph. Pol. 1790-1861. w.
Liszt, Franz. Hun. 1811-1886. c, p, dd.
Litolff. Henry. Eng. 1818-1891. r.
Locatelli, Pietro. It. 1693-1764. w.
Lortzing, Gustav Albert. Ger. 1801-1851 ./.
Lotti, Antonio. //. 1667-1740. b.
Lowe, Carl. Ger. 1796-1869. m.
Lully, Jean-Baptiste de. It. 1633-1687. i.
Lvoff, Alexis von. Rus. 1799-1870. n.
•MacCunn. Hamish. Scotch. 1868—. d.
MacDowell. Edward A. Amer. 1861-1908.
o, u, cc.
Macfarren, George Alexander. Eng. 1813-
1887. d.
Machault. Guillaume de. Fr. 14th cen-
tury. 168.
•Mackenzie, Alexander Campbell. Scotch.
1847—. d.
•Mahler, Gustav. £oh.-1860— .
Marcello, Benedetto. //. 1686-1739. b.
Marenzio, Luca. It. 1550(?)-1599. b.
Marpurg, Friedrich Wilhelm.Ger.1718-1795
Marschner, Heinrich. Ger. 1795-1861. /.
Martini, Jean Paul Egide. Ger. 1741-1816.J.
•Mascagni. Pietro. //. 1863—. h.
Mason, William. Amer. 1829-1908. u.
Masse, Victor. Fr, 1822-1884. *.
•Massenet, Jules. Fr. 1842—. a, i, n, bb.
Mattheson. Johann. Ger. 1681-1764. c, v.
Mazas, Jacques-Fereol. Fr. 1782-1849. x.
Mehul, Etienne-N. Fr. 1763 1817. i.
Mendelssohn-Bartholdy, Felix. Ger. 1809-
1847. 175. c, m, p, v, y, aa.
Mercadante, Francesco Saverio. //. 1795-
1870. h.
Merulo, Claudio. It. 1533-1604. *.
Meyerbeer, Giacomo. Ger. 1791-1864.175. /.
Molique. Wilhelm Bernhard. Ger. 1802-
1869. y.
Monsigny, Pierre-Alexandre. Fr. 1729-
1817. *.
74
Monteverde, Claudio. It. 1567-1643. h.
Morley, Thomas. Ens. 1557(?)-1604. d.
Moscheles, Ignaz. Boh 1794-1870. 5.
*Moszkowski, Moritz. Pol. 1854 — . p.
Mozart, Wolfgang Amadeus. Aus. 1756-
1791. 174. c,j,m,p,y,aa.
Muris, Jean de, Fr. 14th century. 167.
Muskatblut. Ger. 168.
•Napravnik, Eduard. Boh. 1839—. /.
Nardini, Pietro. //. 1722-1793. v> .
Nessler, Victor. Ger. 1841-1890. j.
Nesvadba, Joseph. Boh. 1824-1876. /.
Nevin, Ethelbert. Amer. 1862-1901. o.
•Nicode, Jean-Louis. Pol. 1853—. p.
Nicolai, Otto. Ger. 1810-1849. j.
Odington, Walter. Eng. 13th century. 167.
Okeghem. Joannes. Neth. 1430(?)-died
between 1495 and 1513. a.
Pachelbel, Johann. Ger. 1653-1706. v.
Pacini, Giovanni. It. 1796-1867. h.
*Paderewski, Ignace Jan. Pol. 1859—. /.
Paer, Ferdinando. It. 1771-1839. h.
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Paine, John Knowles. Amer. 1839-1906. g.
Paisiello, Giovanni. It. 1741-1816. h.
Palestrina, Giovanni Pierluigi. It. 1514
or 1515-1594. 169. b.
*Parker, Horatio William. Amer. 1863—. g.
*Parry, Charles Hubert Hastings. Eng.
1848—. d.
Pedrotti, Carlo. //. 1817-1893. h.
Pergolesi, Giovanni. It. 1710-1736. b, h.
Peri, Jacopo. It. 1561-1630(?). h.
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Perotin, Maitre. Fr. 12th century. 167.
Petrella, Errico. It. 1813-1877. h.
Philidor, F.-A.-Danican. Fr. 1726-1795. i.
Piatti, Carlo Alfredo. It. 1822-1901. z.
Piccinni, Nicola. It. 1728-1800. i.
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Ponchielli, Amilcare. It. 1834-1886. h.
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1621. v.
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•Rachmaninoff, Sergei. Rus. 1873 — .
Raff , Joachim. »Ger. 1822-1882. p.y.aa.
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it r.
Ravina, Jean-Henri. Fr. 1818-1906. r.
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Reinken, Johann Adam. Dutch. 1623-
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Reinmar von Zweter. Ger. 168.
Rheinberger, Joseph. Ger. 1839-1901. c, v.
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Willaert, Adrian. Neth. 1480(?)-1562. a.
William of Poitiers. 1087-1127. 168.
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ZtaY» Gioseffo. //. 1517-1590. d.
INDEX
OF SUBJECTS, TECHNICAL AND FOREIGN TERMS, ETC.
[N. B. — The numbers in black type (1, 2, etc.) refer to the Questions similarly num
bered and the Answers and notes following them. The numbers in light italics (1, 2.
etc.) refer to the notes in small type similarly marked with numbers in light italics on
the margins of the pages. Numbers joined by hyphens are inclusive; for example.
"2-10" indicates all numbers from 2 through 10. The stroke (/) indicates the syllable
receiving the principal emphasis in the pronunciation of the Italian words. For the
names of compose-s, consult the Reference List, pages 72 to 76.]
Abbandortatamen/te Ab-
Angoscio'so. Angosciosa-
Batterie. 322.
bando/no. 392.
men'te. 399.
Beats. 81, 109. 110, J27.
Ab ini'tic. 57*.
A'nima. Anima'to. 400.
Bel can'to. 293.
A cappel'la. 313.
Anthem. 186.
Bells. 321.
Accelerando. 350.
Antiphonal singing. J20.
Bemol. Bemol/le. 163.
Accents. 105-114.
A piace're. A piacimen'-
Ben. Be/ne. 498.
Harmonic. 113.
Melodic. 113.
to. 50?.
Appassionato. /07.
Benedictus. 183, 188.
Berceuse. 133.
Metrical. 107-111.
Appoggiatu'ra. 117.
Bis. 52<?.
Rhythmical. 112.
A punxta d'ar'co. 277.
Bole'ro. 163.
Acciaccatu'ra. 67.
Ar'co. 277.
Bourree. 143.
Accidental. 26.
Arden/te. 402.
Bow. 797.
Accompagna/to. 777.
A'ria. 772.
Bowing. 27<?.
Accompaniment. 104, 82.
A'ria di travu'ra. 174.
Brace. 27.
Acoustics. 6.
Axria parlan'te. 175,304.
Bracket. 29.
Ada/gio. 330.
Ariet'ta. 173.
Bravu'ra. 403.
Adagis/simo. 331.
Ario'so. 775, 304.
Breathing. 2*2.
Adli'bitutn. 507. ' ..rpeg'gio. 1Z&.
Brillan'te. 404.
Affa'bile. 393.
Arrangement. 99.
Bn'o. 405.
Affettuo'so. 394.
Articulation. 297.
Broken chord. 125.
Affrettan/do. 3^2.
Assa'i. 494.
Burxla. Burlan'do. Bur-
Agita'to. 395.
A tem/po. 572.
lexsca. 406.
Agnus De'i. 188-
Attac'ca. Attacca su'bito.
Air. 10. 172.
576, 577.
C (f time). 31.
Al'la. 505.
Attack, n.
Cabalet'ta. 776.
Al'la bre've. 31.
Aubade. 72?.
Cadence. 90, 86.
Al'la cappel'la. 31J.
Augmented intervals. 61.
Caden/za. 87.
Allargan/do. 355.
Allegramen/te. 396.
Balance. 104.
Ballad. 777,
Calan'do. 366.
Calma'to. -^07.
Allegretto. 335.
Ballet. 797.
Calc're. 408.
Allegrez/za. 396.
Band. 323.
Cancel, To. 24.
Alle'gro. 334.
Allemande. 144.
Banjo. 133.
r>Q_ »7 ««
Canon. 127.
Canta'bile. 409.
Al se/gno. 570.
Alt. 536.
ijctr. & i , MO.
Barcarole. 7.72.
Canta'ta. 790.
Canticle. 7*7.
Baritone. 144.
Altis/simo. 538, 539.
•Roca JS 97 X
Cantile'na. 770, 292
Al/to. 275, 27.?. 536.
ItilbS. JJ, £/O.
Bass or Basso (voice). 144.
Cantor. 318.
Ama'bile. 397.
Bas'so cantan'te. Basso
Canzo/ne. 168.
Amo're. Amoro'so. 398.
profon/do. 277.
Canzone^ta. 770.
Anco'ra. 532.
Bassoon. 266.
Cappel'la. 313.
Andan'te. 332.
Baton. 323.
Capric'cio. Caprice. 120.
Andanti'no. 333.
Battement. 122.
Capriccio/so. *70.
77
Carezzan'do. Carezze'-
vole. 411.
Castanets. 321.
Cavati'na. 170.
'Cello. 199.
Composers for. 177.
Chaconne. 139.
Chamber music. 109, 113.
Composers of. -177.
Chanson. 168.
Chansonette. 170.
Chant. 182.
Ambrosian. 167.
Gregorian. 167. 182.
Anglican. 182.
Chanterelle. 211.
Charts of Composers. 176.
177.
Chimes. 321.
Choir. 316.
Choral. 314.
Chorale. 184.
Choral music, Composers
of. 176.
Chords, 11, 63-77.
of 3tones(triads; 6th;
4-6) 63-66, 72, 7C.
of 4 tones (7th; 5-6;
3-4-6; 2d), 63, 72, 77.
of 5 tones (9th) . 63.
Principal or primary.
72.
Secondary or subor-
dinate. 62. S3.
Chorister. 317.
Chorus. 315.
Chromatic. 37.
alteration. 42.
semitone. 42.
Church modes. 167.
Church music. 106, 107, 179,
182-189.
Church music. Composers
of. 176.
Circle of Sths. 63.
Clarinet. 266.
Clavicem'balo. 240.
Clavichord. 240.
Clefs. 21, 22.
Climax. 113.
Co/da. 88.
CoVla par'te. 509.
Coll'ar'co. Col'la pun'ta
dell'arco. 217.
Co' le'gno. 227.
i^loi » 104, 6.
Coloratu'ra. 306.
Corn'modo. 497.
Common chord. 63-66, 76.
Compass. 2.
Composers. 167-178.
Composition. 129, £0.
Con. 531.
Concerted music. 98.
Composers of. 177.
Concer'to. 114.
Consonance. 67, 69, 70.
Contrabass. 200.
Contralto. 143.
Contrapuntal. 81,82.
music, Composers of.
176.
Cornet. 268.
Corren/te. 146.
Counterpoint. 81,82.
Counts. 31.
Courante. 146.
Credo. 188.
Crescen/do (cres.orcresc.)
386.
Crotchet. 9.
Cymbals. 321.
Czardas. 167.
Da ca/po. 518.
Da capo al fi'ne. 520.
Dal se'gno. 511.
Dance music. 136.
T>.C.518.
Deci'so. 412.
Declaman/do. 301.
Declamation. 299.
Decrescen'do (decresc.).
387.
Deficien/do. 368.
Degrees. 38, 39.
Deliberate. Deliberata-
men/te. 413.
Delicatamen/te. Delica-
tez/za. Delica/to. 414.
Demi-semi-quaver. 9.
Denominator of fraction
in time-signature. 31.
DiUehe. 222.
Development. 128.
Diapason. 272.
Diatonic. 37, 38.
semitone. 42
Diese, die'sis. 163.
Diminished intervals. 61.
Diminuen/do (dim.). 388.
Disjunction, Whole tons
of. 41.
Dissonance. 67-70.
Divi/si. 204.
Do. Fixed and movable,
308,309.
Dol'ce. 415.
Doio/re. Doloro/so. 416.
Dominant. 39.
Dop/pio movimen/to. 372.
Dot after a note. 19.
Dot over or under a note.
100.
Double bar. Double dots.
"\ 9Q
- " , -•'.
Double bass. 200.
Composers for. 177.
Double stops. 203.
Down. 14.
Down-bow. 219.
Drums. 321.
Du/e cor'de. 212.
Duet. Du/o. 96.
Dulcimer. 240.
Dur. 163.
Duration. 7, 13.
Dynamics. 155-157,104,113.
Eighth or octave. 59,60,/<S.
Sva. 16,525.
Elegance. 417.
Elements of Music. 1.
Embouchure. 269.
Ener'gico. 418.
English horn. 266.
Enharmonic change. 78-83.
Ensemble. 540.
music. 98.
Enunciation. 297.
Equal temperament. 239.
Ero'ico. 419.
Espressio'ne. Espressi'-
vo. 4±0.
Etude. 135.
Exposition. 128.
Expression. 9t-97.
Expression, Terms nt. 159.
Extension. 207.
/(for'te). J&?.
Fagot'to. 266.
Falsetto. 280.
Fandango. 164.
Fantasi'a. 125.
Ferma'ta. 378.
78
ff (fortis/simo). 384.
Fiddle. 196.
Gra've. 328, 429.
Gra'zia. Grazio'so. 430.
Key. 84.
relationship. 87.
Fifth, Interval of a. 59-61.
Ground bass. 140.
signature. 25, 51-64.
Fifths, Circle of. 53.
Guitar. 133.
Keyboard. 238.
Figure. 83.
Gu/sto. Gusto'so. 431.
Key-note. 89.
Figured bass. 57.
Keys. 51, 52, 84. 163.
Finable. 89.
H. 163.
Klavier. 241.
Fi'ne. 519.
Half-position. 206.
Kyrie. 188.
Fingering (piano). 242-246.
(violin) 205.
Harmonic. 6, 8.
system. 172. .
Harmonics. 6.
Uamento'so. Lamenta'
bile. 436.
Fioritu/re. 92.
(violin). 215.
Largamen/te. 437.
First. 13.
First-movement form. 128.
First time. 29.
Harmonium. 273.
Harmony. 11.
Largan/do. 355.
Larghet/to. 327.
Larghis'simo. 326.
First violin. 232,322.
Flat. 24, 21.
Harp. l«o. ^.
Harpsichord. 240.
Hemi-demi semi-quaver .9.
Lar'go. 325.
Lassu. 167.
Fliigel. 241.
High. 14.
Leader. 232, 322.
Flute. 266.
Folk-songs. 169.
Form. 126-181.
History of Music. 164-178.
Hold. 378.
Leading-tone. 39.
Legato. 99. (221, violin).
(248, piano). (289, voice).
For'te.JcW.
Homophonic. 82.
Leger lines. 16.
For'te pia/no. 114.
Fortis'simo. 384.
Horn. 268.
Humoresque. 129.
Leggie'ro. 251, 438.
Leitmotiv. 93.
For'za. 421.
Hymn. 2-5.
Lentan'do. 358.
Forzan'do. 114.
Fourth, Interval of a. 59-61.
fp (f<Vte pia/no). 114.
French horn. 268.
Fris. Frischka. 767.
FUK-.I forms. Fugue. 126,
ffi.
Imitative Forms. 126. 127.
Imperk/so. 432.
Im'peto. 433.
Impromptu. 121.
Improvisation. 102.
In alt. In altis/simo. 537,
539.
Len'to. 329.
Letter-names of tones (C
D, E.F. G, A, B). 12.
Lied. 168.
Lines. 12.
Lip. Lipping. 269,
L'istes'so tena'po. 515.
Fundamental tone. 63,74,<5.
Incalzan'do. 363.
Lo'co. 526.
Fune'bre. Funera/le. 422.
Innocen'te. 434.
Loure. 142
Fuo'co. 423.
Inquie'to. 435.
Low. 14.
Furio/so. 424.
Instrumental forms. 130.
Lun'ga pa/usa. 379.
fz (forzan/do). 114.
Instrumental music. 193.
Lusingan'do. 439-
Galliard. 153.
Instrumentation. 323.
Lyric. 311.
Galop. 156.
Instruments. 132-147.
Madrigal. 180.
Gamut. 534.
Brass. 138, 139.
Maesto'so. 440.
Gavotte. 137.
of percussion. 146.
Maggio^re. 163.
Generator. 6.
Gentile. 425.
Gi'ga. Gigue. 141.
Giocon/do. 426.
—Orchestral. 147.
• Stringed. 133-137.
Wind. 138-145.
Wood-wind. 138, 139.
Magnificat. 183.
Main droite. 259.
Main gauche 261,
Gioco/so. 427.
Intensity. 5.
^lajeur. loo.
Major. 39.
Giu'sto. 502.
Glee. 181.
Glissan/do. Glisse. (210
violin). (257, piano).
Gloria. 188.
Gong. 321.
Interlude. Intermezzo. 105
Intervals. 56-62.
Intonation. 213, 283.
Inversion 62, 75-77.
Italian, Pronunciation of.
545.
Major intervals. 60.
Malinconi'a. 441.
Mancan/do. 370.
Mandolin. 133.
Ma/no de'stra. 258.
Grace-note. 65, 67
Terminations of
Ma non tan'to. 490.
Graces. 115, 116.
•words in. 543,544.
Ma n«n trop-'po. 491,
Grandk/so. 428.
terms. 148-162.
Mano sini/stra, 260.
79
Manuals. 271.
Marca/to. 442.
March. 134.
Mar'cia. 443.
Martella'to. Martele. (226,
violin). (255, piano).
Marzia'le. 444.
Mass. 188.
Mastersingers. 168.
Material of music. 7, 18.
Mazurka. 159.
M. D. 258, 259.
Measurable music. 167.
Measure. 8, 27.
Mediant. 39.
Melodic instruments. 195,
269,274.
Melody. 10, 82.
Menestrels. 168.
Me'no. 488.
Me/no mos/so. 375, 489.
Mensural music. 167.
Mes'sa di vo'ce. 288.
.Me/sto. 445.
Metre. 4.
Metrical forms. 126, 128.
Metronome. 324,
Mez'za vo'ce. 286.
Mez'zo. 499.
Mez'zo for'to. 385.
Mez'zo lega'to. 250.
Mez'zo pia'no. 382.
Mez'zo soprano. 143.
Mez'zo stacca'to. 253.
mf (mez'zo for'te). 385.
M. G. 261.
Middle C. 17.
Mineur. 163.
Minim. 9.
Minnesingers. 168.
Minor. 39.
Mino're. 163.
Minor intervals. 61.
Minuet. 152.
Miscellaneous terms. 162.
Mo'bile. 446.
Mode. 38, 40.
Modera'to. 336, 492.
Modulation. 86.
Moll, 163.
Mol'to. 493.
Monodic. Monophonic. 82.
Monotone. 305.
Mordents. 123, 124.
Moren/do. 371.
Mos'so. 489.
Motet. 179.
Motion. 91-93.
Motive. 83.
Mo' to. 496.
Movement. 85.
mp (mez/zo pia'no). 382.
M.S. 260.
Musette1. ISO.
Music. 1.
Mute. 216
Names of tones. 12, 80,81, 18.
Naturals^.23. 24.
No'bile. 447.
Nocturne. 124.
Nonet. 98.
Non lega'to. 249.
Notation. 12, 23. 24.
Abbreviated. 22, 57.
terms. 161.
Notes. 12.
Whole, K. etc. 13-15.
Nuances. 104.
Numerator of fraction in
time signature. 31.
Nunc dimittis. 183.
Obbliga'to. 103, 177.
Oboe. 266.
Octave. 59.60,75.
Octaves (con'tra, great,
small, one-lined, etc.)./?.
Octet. 98.
Octuplet. 23.
Offertory. 187.
Open strings. 201.
Opera. 191.
Composers of. 176.
Opus (op.). 535.
Orato'rio. 189.
Composers of. 176.
Orchestra. 147.
Composers for. 177.
-Orchestration. 323,
Organ. Organ structure.
140.
Composers for. 177.
point. 151.
Ornaments. 115-124.
Os'sia. 533.
Ottawa (8va.). 16.525.
Overtones. 6.
Overture. 117.
p (pia'no). 380.
Paraphrase. 100.
Parlan'do. Parlance. 302.
Parti'ta. 116.
Part-singing. 312.
Part-song. 178.
Passaca'glia. 148.
Passage. 90.
Passepied. 147.
Pastoral. 130.
Pate'tico. Pathetique. 448.
Pause. 378. 379.
Pavane. 149.
Ped.*. 262.
Pedal point. 151.
Pedals (piano). 234, 23,,
Perden/dosi. ?67.
Perfect intervals. GO.
Period. 83.
Perpe'tuo. 449.
Pesan'te. 456.
Phrase. 83.
Phrasing. 94-97.
Piace're. Piacimen'to. 508.
Pianissimo. 381.
Pia'no. (p). 380.
Piano. Pianoforte. Piano
structure. 136.
Composers for. 177.
terms. 137.
Pic'colo. 266.
Pieto'so. 451.
Pitch. 4, 194, 269.
Absolute and rela-
tive. 2.
Piu. 486.
Piu mos'so. 373, 489.
Piu to'sto. 487.
Pizzica'to. 228.
Playing. 192.
Po'co. 495.
Polka. 157.
Polonaise. 158.
Polyphonic. 82.
Pompo'so. 452.
Portamento. (209, violin).
(254, piano). (291, voice).
Positions. Chord. 55.
Violin. 206.
Postlude. 106.
Pot-pourri. 101.
Pousse. 220.
pp (pianissimo). 381.
Precentor. 319.
80
Precipitate. 453.
Risolu/to. 456.
Prelude. 104.
Ritardan'do (ritard.). 352.
Prestissimo. 341.
Ritenu'to (rit.). 353.
Pres'to. 340.
Robu'sto. 457.
Pri/ma vi'sta.5//.
Romance. 131.
Pri'ma vol'ta. 523.
Romane'sca. 153.
Prime. 59.
Ron'do. 115.
Programme music. 108.
Rondo-form. 128.
Progression. 91-93.
Root. 63. 74.
Pronunciation. 298.
Ruba'to. 377.
Pronunciation of Italian.
Run. 91.
545,
Pulsations. 8, 4.
Saltarel'lo. 161.
Pythagorean system. 165.
166.
Salta'to. 225.
Sanctus. 188.
Quadrille. 154.
Sarabande. 138.
Quadruplet. 23.
Saxophone. 267.
Qualifying terms. 160.
Scale degrees. 39.
Quality. 6. 104, 6.
Scales. 35-55.
Quartet. 98.
Chromatic. 36, 37.
Qua'si. 504.
Corresponding, par-
Quaver. 9.
allel or tonic major
and minor. 49.
Quie/to. 454.
Diatonic. 36-38.
Quintet. 98.
Enharmonic. 82.
Quintuplet. 23.
Fingering of. 243-246.
Raddolcen'do. 389.
Major. 41, 42, 50-52.
Rallentan'do (rail.). 351.
Minor. 43-52.
Range. 2.
" (harmonic). 46, 50.
Reading. 193.
" (melodic). 47, 48,
50.
Recitan/do. 300.
Recitative. Recitati'vo.
" (pure, or antique),
44, 45, 48, 50.
177, 303.
Reeds. 266, 271, 273.
Modes of diatonic. 40.
Reference list of compo-
sers. 178.
Relative major and
,,,;.,,,.- 11 JQ
Registers, Registration
(organ). 272.
minor. **, t*.
Signatures of, 52-54.
Registers (vocal). 279.
Scherzan/do. 458.
Relationship of keys, 87.
Scher/zo. 128.
Religio'so. 455.
Score. 94, 323.
Repetition. 29, 22.
Sec'co. 177, 459.
Re'plica. 521.
Second, Interval of a. 59,60.
Requiem. 188.
Secon/da vol'ta. 524.
Resolution. 71, 73.
Second time. 29.
Re-statement. 128.
Second violin. 232, 322.
Rests (whole, %, %, etc.).
Section. 83, 89.
17, 18.
Se'gue. 522.
Rests, Repetition of. 22.
Seguidilla. 166.
rfz (rinforzan/do). 114.
Semibreve. 9.
Rhapsody. 127.
Semi-quaver. 9.
Rhythm. 9.
Semi-stacca/to(piano).2i?.
Ribattu'ta. 122.
Semitone. 57.
Rigaudon. 145.
Sem/plice. 460.
Rinforzan'do. 114.
Sem'pre. 506.
Sentence. 83.
Sentimen/to. 461.
Sen'za. 530.
Senza tempo. 377.
Septet. 98.
Septuplet. 23.
Sequence. 89.
Serenade. 122.
Serioxso. 462.
Seventh, Interval of a. 59,60.
Sextet. 98.
Sextuplet. 23.
Sforzan'do. Sforza'to. (fz,
sf, sfz.) 114.
Shading. 104.
Sharp. 24, 21,
Shift. 208.
Sicilia/na. 162.
Sight-reading. 193.
Signatures. 25, 51-54.
Si'mile. 514.
Singing. 192,
Sixth. Interval of a. 69,60.
Skips. 92.
Slargan/do. 359,
Slentan/do. 357.
Slur. 101-103.
Sminuen/do. 369.
Smorzan'do. 365.
Soa've. 463.
Solfeggio. 310.
Solmisation. 307.
So'lo. 95.
Sonata. 110.
Sonata-form. 128.
Sonatina. 110.
Song. 168, 169.
Song composers. 176.
Song-form. 128.
Sono/ro. 464.
So/pra. 503.
Sopra/no. 143, 277, 278.
dramma/tico; leg-
gie'ro. 277.
Sordi'no (216, violin).
(265, piano).
Sospiro'so. 465.
Sostenu/to. 466, 500.
Sot^to vo^e. 287.
Sound. 2.
Spaces. 12.
Specification, Organ. 272.
Speed, Rate of. 149-154.
Spiana/to. 467.
Spicca'to. 224.
81
Bpinet. 240.
Spiritc/so. 468.
Staccato. 100. (22?,violin).
(252, piano). (290, voice).
Staff. 12. *
Staff. Great. 17.
Statement, 128.
Stem. 11.
Stentan'do. Stenta/to.
361, 469.
Steps, Whole and half. 28.
Stop (organ). 271. 272.
Stop (violin). 202.
Strascinan/do. Strasci-
can'do. 356.
Strepito'so. 470.
Stret'to. 376.
Stringen/do. 364.
String-quartet. 112, 232.
Stromenta'to. 177
Style. 94-97, 104.
Sub-dominant. 39.
Subject. 83.
' Sub-mediant. 39.
Sub-tonic. 35.
Suite. 116.
Sul'la tastie'ra. Sul ta'-
sto. 231.
Sul ponticel'lo. 230.
Super-tonic. 89.
Suspension. 48.
Swell. 390.
Syllable-names of tones
(do or ut,re, mi, fa, sol,
la, si) 12, 167, .707.
Symphonic poem. 118.
Symphonies, Composers
of. 177.
Symphony. 111.
Syncopation. 111.
Tambourine. 321.
Tarantella. 160.
Tardan/do. 354.
Technique. 193.
Tede/sco. 471.
Temperament. 239.
Tempesto'so. Tempesto-
samen'te. 472.
Tem'po. 149.
pri'mo. Tempo 1. 513.
terms. 149-154.
Te/nero. Tenerez/za. 473.
Tenor. 144.
Teno/releggie/ro. Tenore
robu/sto. 277.
Tenu'to. 501.
Terminations of Italian
Tur'co. 477.
words. 5-13,544.
Turns. 118-120.
Terms, Foreign musical.
Tutti. 527.
148-163.
Tetrachord. 41.
U'na cor-' da. 263.
Theme. 83.
Unison. 59.
Third, Interval of a. 59-60.
Up. 14.
Thorough-bass. 57.
Up-bow. 220.
Tie. 20.
Upper partials. 6.
Timbre. 104.
Valse. 155.
Time. 8,27.
Variations. 126.
Beating. 27, 64, 323.
Velo'ce. 337. 37t.
Duple: Triple; Quad-
ruple ; Simple;
Compound. 32-34,
Vibran/te. 478.
Vibrations. 4, 6.
110.
Vibrato. (214. violin).
signatures. 31.
(284, voice).
values. 7, 13, 14.
Vigoro'so. 479.
Timoro'so. 474.
Viol. 198.
Tim/pani. 321.
Vio'la. 198.
Tire. 219.
Violence. 480.
Toccata. 119.
Violin. Violin structure
Tonality. 85.
196.
Composers for. 17J.
Tone. 2, 8.
terms. 135.
Tone-color. 6,104,<5.
Violi'no. 196.
Tone of disjunction. 41.
Violoncello. 199.
Tone-production. 158, 104.
Composers for. 177.
Tones and notes. Differ-
Viok/ne. 200.
ence between. 58.
Tones (whole; half). 57.
Virginals. 240.
Virtuoso. 542,544.
Tonic. 39.
Touch. 247-257.
Tranquil'lo. 475.
Viva'ce. 338, 481.
Vivacis'simo. 339.
Vi'vo. 482.
Transcription. 99.
Transposition. 88.
Vocal cords. 141.
forms. 181.
Trattenu/to. 360.
music. 193.
Treble. 15.
registers. 279.
Tre cor'de. 264.
terms. 145.
Tre'molo. (229, violin1).
tone. 141.
(25<5,piano). (272, organ).
Vocalises. 296.
(.285, voice).
Vocalisation. 295.
Triad. 63-66.
Voice. 141-145.
Triangle. 321.
placing. 281.
Trill. 121-122.
Voicing. 272.
Tri/o. 97.
Volan'te. 483.
Triplet. 30.
Vol'ti su'bito. 529.
Tritone. 46.
Voluntary. 107.
Trombone. 268.
Troubadours. Trouveres.
168.
Waltz. 155.
White tone. White voice
Trumpet. 268.
Tu'ba. 268.
294.
Whole tone of disjunction
41.
Tumultuo/so. 476.
Tune. 10.
Zapateado. 165.
Tuning (of piano). 239.
Ze'lo. Zelo'so. 484.
(of violin, etc.). 196-
ZKngaro. 485.
200. Zither. 133.
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