4. MUSIC NOTATION AND TERMINOLOGY KARL W: GEHRK£NS CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN I.89I BY HENRY WILLIAMS SAGE m%ic. ML 108.631""' """'""•'' '■'""'y 3 1924 021 632 280 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021632280 MUSIC NOTATION AND TERMINOLOGY By KARL W. GEHRKENS, A.M. ASSOCIATE PROFESSOR OF SCHOOL MUSIC O BERLIN CONSERVATORY OF MUSIC THE A. S. BARNES COMPANY NEW YORK -:- -:- 1914 s COPYEIGHl/igiSrBV THE A. S. BARNES COMPANY PREFACE The study of music notation and terminology by classes in conservatories and in music departments of colleges and normal schools is a comparative innovation, one reason for the non- existence of such courses in the past being the lack of a suitable text-book, in which might be found in related groups clear and accurate definitions of the really essential terms. But with the constantly increasing interest in music study (both private and in the pubhc schools), and with the present persistent demand that music teaching shall become more systematic and therefore more efl&cient in turning out a more intelligent class of pupils, it has become increasingly necessary to estab- lish courses in which the prospective teacher of music (after having had considerable experience with music itself) might acquire a concise and accurate knowledge of a fairly large ntmiber of terms, most of which he has probably already encoimtered as a student, and many of which he knows the general meaning of, but none of which he perhaps knows accurately enough to enable him to impart his knowledge clearly and economically to others. To meet the need of a text-book for this purpose in his own classes the author has been for several years gathering material from all available sources, and it is hoped that the arrange- ment of this material in related groups as here presented will serve to give the student not only some insight into the present meaning of a goodly number of terms, but will also enable him to see more clearly why certain terms have the meaning which at present attaches to them. To this latter end the derivations iv PREFACE of many of the terms are given in connection with their defi- nition. The aim has not been to present an exhaustive Ust, and the selection of terms has of course been influenced largely by the author's own individual experience, hence many teachers wiU probably feel that important terms have been omitted that should have been included. For this state of affairs no apology is offered except that it would probably be impossible to write a book on this subject which would satisfy everyone in either the selection or actual definition of terms. In formulating the definitions themselves an attempt has been made to use such words as note, tone, et cetera with at least a fair degree of accuracy, and while the attitude of the author on this point may be criticized as being puristic and pedantic, it is nevertheless his opinion that the next generation of music students and teachers wiU be profited by a more accurate use of certain terms that have been inaccurately used for so long that the present generation has to a large extent lost sight of the fact that the use is inaccurate. The author is weU aware of the fact that reform is a matter of growth rather than of edict, but he is also of the belief that before reform can actually begin to come, the need of reform must be felt by a fairly large ntunber of actively interested persons. It is precisely because so few musicians realize the need of any change in music termi- nology that the changes recommended by committees who have given the matter careful thought are so slow in being adopted. It is hoped that some few points at which reform in the terminology of music is necessary may be brought to the attention of a few additional musicians thru this volmne, and that the cause may thus be helped in some sHght degree. It is suggested that in using the book for class-room pur- poses the teacher emphasize not only the definition and deriva- tion of all terms studied, but the spelling and pronunciation as PREFACE V well. For this latter purpose a pronouncing index has been appended. It is impossible to give credit to all sources from which ideas have been drawn, but especial mention should be made of the eminently clear and beautifully worded definitions com- piled by Professor Waldo S. Pratt £or the Century Dictionary, and the exceedingly valuable articles on an almost all-inclusive range of topics found in the new edition of Grove's Dictionary. Especial thanks for valuable suggestions as to the arrangement of the material, etc., are also due to Dr. Ra3miond H. Stetson, Professor of Psychology, OberKn College; Arthur E. Heacox, Professor of Theory, Oberlin Conservatory of Music; and Charles I. Rice, Supervisor of Music, Worcester, Mass., as well as to various members of the Music Teachers' National Association who have offered valuable advice along certain specific lines. K. w. G. Oberlin Conservatory op Music, June, 1913 CONTENTS . Chapter I. — Some Principles of Correct Notation i I. Note. — 2, 3. Rules for turning stems. — 4. Use of cross-stroke. — S. Rest. — 6. G Clef. — 7. F Clef and C Clef. — 8. Sharp and double- sharp. — 9. Flat, double-flat and natural. — 10. Tie. — 11. Dot after a note. / Chapter II. — Symbols of Music Defined 5 12. StaflE and Great Staff. — 13. Leger Lines. — 14. Staff degrees. — 15. Clef. — 16. Treble and bass Clefs. — 17. Movable C Clef. — 18. Sharp. — 19. Flat. — 20. Double-sharp and double-flat. Chapter III. — Symbols of Music Defined (continued) 8 21. Natural. — 22, 23. Key-signature; how determine whether a major or minor key. — 24, 25. Accidentals; with tie across bar. — 26. Rules con- cerning altered staff degrees. — 27. Enharmonic. — 28. Notes; pitch and length of tones. — 29 Rests. — 30. Lists of notes and rests. — ^31. English names for. — 32. Less common forms. — 33. Whole rest, peculiar use of. — 34. Bar. — 35. Double-bar. Chapter IV. — Abbreviations, Signs, etc. 13 36-40. Signs for repetition. — 41. Continuation. — 42. Rest. — 43. Pause. — 44. Hold. — • 45-47. Alteration of Pitch. — 48. Octave names. Chapter V. — Abbreviations, Signs, etc. (continued) 17 49-51. Dots after notes. — 52. Dots over or under notes. — 53. Dash over note. — 54. Tie. — 55. Slur. — 56. S\xa or tie with dots. — 57. Dash over note. — 58. Dash and dot over note. — 59. Accent marks. — 60. m.d., m.g., etc. — 61. Arpeggio. — 62. Messa di voce. — 63. Violin bow signs. Chapter VI. — Embellishments 22 64. Definition and kinds. — 65. Trill. — 66-68. Mordent. — 69-72. Tiun. — 73, 74. Appoggiatura. — 75. Acciaccatura. ^ Chapter VH. — Scales 27 76. Definition, and old forms. — 77. Origin. — 78. Key. — 79. Three general classes. — 80. Diatonic, defined. — 81. Major diatonic. — 82. Tetrachords. — 83. The fifteen positions. ^ Chapter VIII. — Scales (continued) 33 84. Minor diatonic. — 85. Original form. — 86. Harmonic minor. — 87. Melodic minor. — 88. Eleven positions. — 89. Relative minor. — 90. Tonic minor. — 91. Diatonic scale names. — 92. Syllable-names. — 93. Chromatic scale. — 94. Nine positions. — 95. Whole-step scale. vii viii CONTENTS Chapter IX. — Auxiliary Words and Endings 42 Chapter X. — Measure 44 97. Definition. — Two essential characteristics. Rhythna vers meas- ure. — 98. Syncopation. — 99. Simple and compound measures. — 100. Commonest varieties. — loi. Other varieties. — 102. Rare varieties. — 103. The signs, C and ^ Chapter XI. — Tempo 48 104. Misuses of the word "time." — 105-107. How to correct these: by substituting "rhythm," "measure," and "tempo." — 108. Three ways of finding the correct tempo. — 109. A convenient grouping of tempo- terms. Chapter XII. — Tempo {continued) $2 iio-iig.Tempo-terms. Chapter XIII. — Dynamics 56 1 20-13 1. Terms relating to dynamics. Chapter XIV. — Terms Relating to Forms and Styles 62 132. Definition of form. — 133. Basis of form. — 134. Difference between "* form and style. — 135. Introductory. — 136. Two styles. — 137. Mono- phonic music. — 138. Polyphonic music. — 139. Counterpoint. — 140. Imita- tion. — 141. Canon. — 142. School round. — 143. Fugue. Chapter XV. — Terms Relating to Forms and Styles {continued) 67 144. Phrase-section. — 145. Period. Antecedent. Consequent. — 146. Primary forms. — 147. Theme. — 148. Thematic development. — 149. Ron- do. — 150. Suite. — 151. Dances in suite. — 152. Scherzo. — 153. Sonata. — 154. Trio. Quartet. Chamber Music. — 155. Concerto. — 156. Sym- phony. — 157. Sonata-form. — 158. Sonatina. Grand Sonata. — 159.' Program music. — 160. Symphonic or tone poem. Chapter XVI. — Terms Relating to Vocal Music .' 76] 161. Anthem. — 162. A capella. — 163. Motet. — 164. Choral. — 165.^ Mass. — 166. Cantata. — 167. Oratorio. — 168. Opera. — 169. Libretto. — 170. Recitative. — 171. Aria. — 172. Lied. — 173. Ballad. — 174. Folk- song. — 175. Madrigal. — 176. Glee. — 177. Part-song. Chapter XVII. — Rhythm, Melody, Harmony and Intervals 82 178. The four elements of music. — 179. Rhythm. — 180. Melody. — 181.' Harmony. — 182. Timbre. — 183. Interval — harmonic and melodic. — 184. Nimiber name and specific name. — 185. Prime. — 186. Second. — 187. Third. — 188. Fourth. — 189. Fifth. — 190. Sixth. — 191. Seventh.— 192. Octave. — 193. Ninth. — 194. Major, minor, perfect, diminished and augmented intervals. — 195. Inverted intervals. Chapter XVIH. — Chords, Cadences, etc 87 196. Chord. Triad. Root. — 197. Major, minor, diminished, aug- mented triads. — 198. The Common chords. — 199. Fundamental position. First inversion. Second inversion. — 200. Figured bass. — 201. Seventh- chord. Ninth chord. — 202. Cadence. — 203. Authentic cadence. — 204. Perfect authentic. Imperfect authentic. — 205. Plagal cadence. — 206. Half-cadence. — 207. Deceptive cadence. — 208. Sequence. — 209. Modu- lation, harmonic and melodic: Dominant Seventh. — 210. Suspension. — CONTENTS ix 211. Retardation. — 212. Anticipation. — 213. Pedal point. — 214. Close and open position. — 215. Transposition. Chapter XDC. — Miscellaneous Terms 9S Chapter XX. — Miscellaneous Terms (continued) 98 Appendix A. — The History of Music.Notation loi Appendix B. — Musical Instruments 112 £, Two classes. — 2. Piano. — 3, 4. Organ, reed and pipe. — S- Instru- ments used for ensemble playing. — 6. Band. — 7. Orchestra. — 8. The stringed instruments. — 9. Wood-wind. — 10. Brass. — 11. Percussion. — 12. Proportion of instruments in an orchestra. — 13. Books recommended. — 14. Violin. — 15. Viola. — 16. Violoncello. — 17. Double-bass. — iS. Flute. — 19. Piccolo. — 20. Oboe family. — 21. Clarinet and bass clarinet; saxo- phone. — 22. French horn. — 23. Trumpet. — 24. Comet. — 25. Trombone. — 26. Tuba. — 27. Kettle-drum. — 28. Harp. Appendix C. — Acoustics 131 I. Definition. — 2. Sound, production of. — 3. transmission of. — 4. Rate of travel. — 5. Intensification of. — 6. Classification of. — 7. Tones, properties of. — 8. Pitch. — 9. Intensity. — 10. Quality. — 11. Overtones. — 12. Equal temperament. — 13. Standards of pitch. Appendix D. — Terminology Reform , 139 Apiendix E. — Analysis of Beethoven Sonata, Op. 31, No. 3 149 Pronocnceng Index iS9 CHAPTER I Some Principles of Correct Notation 1. The note (from nota — Latin — a mark or sign) consists of either one, two, or three parts, (^ J /) these being referred to respectively as head, stem, and hook. The hook is often called tail or cross-stroke. The stem appears on the right side of the head when turned up, but on the left side when turned down.i J f The hook is always on the right side.^ J^ f In writing music with pen the head and hook are best made with a heavy pressure on the pen point, but in writing at the board they are most easily made by using a piece of chalk about an inch long, turned on its side. 2. When only one part (or voice) is written on the staflf, the following rules for turning stems apply: (i) If the note- head is below the third line, the stem must turn up. (2) If the note-head is above the third line the stem must turn down. (3) If the note -head is on the third line the stem is turned either up or down with due regard to the symmetrical appear- ance of the measure in which the note occurs. The following examples wiU illustrate these points. Fig. 1. i fe^ p.f^-^^ff=f^=H-^-r^tf ' It should be noted at the outset that this statement regarding the down-turned stem on the left side of the note-head, and also a number of similar principles here dted, refer more specifically to music as it appears on the printed page. In the case of hand-copied music the down-turned stem appears on the right side of the note, thus \ This is done because of greater facility in writing, and for the same reason other slight modifications of the notation here recommended may sometimes be encountered. In dealing with children it is best usually to follow as closely as possible the principles according to which printed music is notated, in order to avoid those non-satisfying and often embarassing explanations of differences which will otherwise be unavoidable. 2 An exception to this rule occurs in the case of notes of unequal value stroked together, when the hook appears on the left side, thus fj . MUSIC NOTATION AND TERMINOLOGY 3. When two parts are written on the same staff, the stems of the upper part aU tiirn up, and those of the lower part turn down, in order that the parts may be clearly distinguished^ (Fig. 2.) But in music for piano and other instruments on which complete chords can be sounded by one performer and also in simple, four-part vocal music in which all voices have approximately the same rh3d;hm, several notes often have one stem in common as in Fig. 3. Fig. 3. Fig. 2. fai^ m ^m 4. Notes of small denomination (eighths and smaller) are often written in groups of two or more, all stems in the group being then connected by one cross-stroke. In such a case all the stems must of course be turned the same way, the direction being determined by the position of the majority of note- heads in the group. Notes thus stroked may be of the same or of different denomination. See Fig. 4. Fig- 4- ... - &^^ E£ In vocal music notes are never thus stroked when a syllable is given to each note. (See p. 19, Sec. 55, C.) 5. Rests, like notes, are best made with a heavy pen stroke or by using a piece of chalk on its side. (See note under Sec. i.) The double-whole rest, whole rest, and half rest occupy the third space imless for the sake of clearness in writing two parts on the same staff they are written higher or lower. The rests of smaller denomination may be placed at any point on the staff, the hooks being always placed on the spaces. The hook SOME PRINCIPLES OF CORRECT NOTATION 3 of the eighth rest is usually placed on the third space. Rests are sometimes dotted, but are never tied. 6. The G clef should be begun at the second line rather than below the staff. Experiments have shown clearly that be- ginners learn to make it most easily in this way, and the pro- cess may be further simplified by dividing it into two parts, thus, J . The descending stroke crosses the ascending curve at or near the fourth line. The circular part of the curve occupies approximately the first and second spaces. 7. The F clef is made either thus, §!^, or thus, ^, the dots being placed one on either side of the fourth line of the staff, which is the particular point that the clef marks. The C clef has also two forms, Itj! and W . 8. The sharp is made with two Ught vertical strokes, and two heavy slanting ones, the slant of the latter being upward from left to right, #. The sharp should never be made thus, ^, The double sharp is made either thus x or x, the first form being at present the more common. 9. The flat is best made by a down stroke retraced part way up, the curve being made without lifting pen from paper. The double flat consists of two flats, ^ t>b. The natural or cancel is made in two strokes, down-right and right-down, thus lib,. ^ 10. The tie usually connects the heads of notes, thus ,0*. 11. The dot after a note always appears on a space, whether the note-head is on a line or space. (See Fig. 5.) In the case of a dot after a note on a line, the dot usually appears on the space above that line if the next note is higher in position and on the space below it if the following note is lower. 1 It is to be hoped that the figure for the double-flat suggested by Mattheson (who also suggested the St. Andrew's cross (X) for the double-sharp) may some time be readopted. This figure was the Greek letter B,_made thus, /S, and its use would make our notation one degree more uniform than it is at present. MUSIC NOTATION AND TERMINOLOGY Fig. 5 Note. — Correct notation must be made a habit rather than a theory, and in order to form the habit of writing correctly, drill is necessary. This may perhaps be best secured by asking students to write (at the board or on ruled paper) from verbal dicta- tion, thus: Teacher says, "Key of BI7, three-quarter measure: First measure, DO a, quarter note, RE a quarter, and Mi a quarter. Second measure, SOL a quarter, LA a quarter, and SOL a quarter. Third measure, LA, TI, DO, RE, MI, eighths, stroked in pairs. Fourth measure, high DO a dotted half." Pupils respond by writing the exercise dictated, after which mistakes in the turning of stems, etc., are corrected. The pitch names may be dictated instead of the syllables if desired, and still further practice may be provided by asking that the exercise be transposed to other keys. CHAPTER II Symbols of Music Defined 12. A sta^ is a collection of parallel lines, together with the spaces belonging to them. The modern staff has five lines and six spaces, these being ordinarily referred to as first hne, second line, third line, fourth line, and fifth line (beginning with the lowest) ; and space below {i.e., space below the first line), first space, second space, third spaeej fourth space, and space above. The definition and discussion above refer more specifically to one of the portions of the "great staff," the latter term being often appUed to the combination of treble and bass staffs (with one leger line between) so commonly used in piano music, etc. 13. The extent of the staff may be increased either above or below by the addition of short lines called leger lines, '^ and notes may be written on either these lines or on the spaces above and below them. 14. The hnes and spaces constituting the staff (including leger hnes if any) are often referred to as staff degrees, i.e., each separate Kne and space is considered to be "a degree of the staff." The tones of a scale are also sometimes referred to as "degrees of the scale." 15. A clep is a sign placed on the staff to designate what pitches are to be represented by its lines and spaces. Thus, e.g., the G clef shows us not only that the second Hne of the staff represents G, but that the first line represents E, the first space F, etc. The F clef similarly shows us that the fifth line 1 The word leger is derived from the French word LEGER, meaning light, and this use of the word refers to the fact that the leger lines, being added by hand, are lighter — i.e., less solid in color — than the printed lines of the staff itself. 2 The word clef is derived from CLAVIS — a key — the reference being to the fact that the clef unlocks or makes clear the meaning of the staS, as a key to a puzzle enables us to solve the puzzle. 6 MUSIC NOTATION AND TERMINOLOGY of the bass staff represents the first A below middle C, the fourth hne the first F below middle C, etc. The student should note that these clefs are merely modi- fied forms of the letters G and F, which (among others) were used to designate the pitches represented by certain Unes when staff notation was first inaugurated. For a fuller discussion of this matter see Appendix I, p.ioi. i6. When the G clef is used the staff is usually referred to as the treble staff, and when the F clef is used, as the hass staff. Such expressions as "singing from the treble clef," or "singing in the treble clef," and "singing in the bass clef" are still fre- quently heard, but are preferably replaced by "singing from the treble staff," and "singing from the bass staff." Fig. 6 shows the permanent names of lines and spaces when the G and F clefs are used.' Fig. 6. ^^- 8 — 1 — "b — ^ I^^'-^ 4 >-,-<=— — --f— -A a -c — u- B T ». A B -"- 1 Q k r— -^B-X- -0— E^ 17. The movable C clef^ or p, formerly in very common use, is now utilized for only two purposes, viz., (i) in music written for certain orchestral instruments (cello, viola, etc.) of extended range, in order to avoid having to use too many leger lines; and (2) for indicating the tenor part in vocal music. This latter usage seems also to be disappearing however, and the tenor part is commonly written on the treble staff, it being vmderstood that the tones are to be sung an octave lower than the notes would indicate. ^ The Germans use the same pitch designations as we do with two exceptions, viz., our B is called by them H, and our B|> is called B. The scale of C therefore reads: C, D, E, F, G, A, H, C; the scale of F reads F, G, A, B, C, D, E, F. The signatures are in all cases written exactly as we write them. In France and Italy where the "fixed DO" system is in vogue, pitches are usually referred to by the syllable names; e.g., C is referred to as DO (or UT), D as RE, etc. SYMBOLS OF MUSIC DEFINED 7 The C clef as used in its various positions is shown in Figs. 7, 8, and 9. It will be noted that in each case the line on which the clef is placed represents "middle C." Fig. 7. Soprano clef. C w Fig. 8. Alto clef. T- Fig. 9. Tenor clef, ir- 1- —V 10 I in B 1^ iii 18. A sharp is a character which causes the degree of the staff with which it is associated to represent a pitch one half- step higher than it otherwise would. Thus in Fig. lo (o) the fifth line and first space represent the pitch F, but in Fig. 10 (6) these same stafiE degrees represent an entirely different tone — F#. The student should note that the sharp does not then raise anything ; it merely causes a staff degree to represent a higher tone than it otherwise would. There is just as much difference between F and F# as between B and C, and yet one would never think of referring to C as "B raised"! Fig. 10. i iE 19. A flat is a character that causes the degree of the staff" ■with which it is associated to represent a tone one half-step- lower than it otherwise would. (See note under Sec. 18 and. apply the same discussion here.) 20. A double-sharp causes the staff degree on which it is- placed to represent a pitch one whole-step higher than it would without any sharp. Similarly, a double-flat causes the staff degree on which it is placed to represent a pitch one whole-step, lower than it would without any flat. Double-sharps and "double-flats are generally used on staff degrees that have^ already been sharped or flatted, therefore their practical effect is to cause staff degrees to represent pitches respectively a half-step higher and a half-step lower than would be represented by those same degrees in their diatonic condition. Thus in Fig. 10 (b) the first space in its diatonic condition ' represents F-sharp, and the double- sharp on this degree would cause it to represent a pitch one-half step higher than F- sharp, i.e., F-double-sharp. 1 The expression "diatonic condition'' as here used refers to the staff after the signature has been placed upon it, in other words after the staff has been prepared to. represent the pitches of the diatonic- scale. (^z fi-^icc eQ Whole-note. An open note-head without stem. gj \ Half-note. An open note-head with stem. J 1 Quarter-note. A closed note-head with stem. J^ y Eighth-note. A closed note-head with stem and one hook. 1^ K Sixteenth-note. A closed note-head with stem and two hooks. f^ B Thirty-second-note. A closed note-head with stem and three hooks. "•~" Whole-rest. — ^ Half-rest. S j( T Quarter-rest. 1 Ei^th-rest. ^ Sixteenth-rest. 3 Thirty-second-rest. 31. The English names for these notes are: Whole-note — semi-breve. HaU-note — minim. Quarter-note — crotchet. Eighth-note — quaver. Sixteenth-note — semi-quaver. Thirty-second-note — demi-semi-quaver. The corresponding rests are referred to by the same system of nomenclature: e.g., semi-breve rest, etc. 32. .Sixty-fourth and one-hundred-and-twenty-eighth-notes are occasionally found, but are not in common use. The double-whole-note (breve), made \\^\\ or H , is still used, especially in English music, which frequently employs the half- note as the beat-unit. Thus in four-half measure the breve would be necessary to indicate a tone having four beats. 33. The whole-^est has a peculiarity of usage not common to any of the other duration s3Tnbols, viz., that it is often employed as a measure-rest, filling an entire measure of beats, no matter what the measure-signature may be. Thus, not only in four-quarter-measure, but in two-quarter, three- quarter, six-eighth, and other varieties, the whole-rest fills the ii2 MUSIC NOTATION AND TERMINOLOGY entire measure, having a value sometimes greater, sometimes less than the corresponding whole-note. Because of this pecuUarity of usage the whole-rest is termed Takt-pausa (measure-rest) by the Germans. 34. A bar is a vertical Kne across the staff, dividing it into measures. The word bar is often used synonymously with measure by orchestral conductors and others; thus, "begin at the fourteenth bar after J." This use of the word, although popular, is incorrect. 35. A double-bar consists of two vertical lines across the staff, at least one of the two being a heavy line. The double bar marks the end of a division, movement, or entire composition. CHAPTER IV Abbreviations, Signs, Etc. 36. A double bar (or single heavy bar) with either two or four dots indicates that a section is to be repeated. If the repeat marks occur at only one point the entire pre- ceding part is to be repeated, but if the marks occur twice (the first time at the right of the bar but the second time at the left), only the section thus enclosed by the marks is to be repeated. ^ 37. Sometimes a different cadence (or ending) is to be used for the repetition, and this is indicated as in Fig. 24. Fig. 24, 38. The Itahan word bis is occasionally used to indicate that a certain passage or section is to be repeated. This use is becoming obsolete. 39. The words da capo] {B.C.) mean UteraUy "from the head," i.e., repeat from the beginning. The words dal segno ip.S.) indicate a repetition from the sign ( # or jf? ) instead of from the beginning. In the case of both D.C. and D.S. the word fine (meaning KteraUy the end) is ordinarily used to designate the point at which the repeated section is to terminate. The f ermata ( ^ ) was formerly in common use for this same purpose, but is seldom so employed at present. 13 14 MUSIC NOTATION AND TERMINOLOGY D.C. («V) aljme means — repeat from the beginning to the word "fine." D.C. al ''^ means — repeat to the fermata (or hold). D.C. senza repetitione, or D.C. ma senza repetitione, both mean — repeat from the beginning, but without observing other repeat marks during the repetition. UiCe poi la coda means — repeat the first section only to the mark •0-, then skip to the codk. (See p. 74, Sec. 157, for discussion of coda). 40. In certain cases where the repetition of charactenstic figures C9,n be indicated without causing confusion, it is the practice of composers (especially in orchestral music) to make use of certain signs of repetition. Some of the commonest of these abbreviations are shown in the following examples. Fig. 25. Written In Fig. 28 the repetition of an entire measure is called for. Fig. 28. m W^-irir^ 41. The word similie (sometimes segue) indicates that a certain effect previously begun is to be continued, as e.g., staccato playing, pedalling, style of bowing in violin music, etc. The word segue is also occasionally used to show that an accompaniment figure (especially in orchestral music) is to be continued. 42. When some part is to rest for two or more measures several methods of notation are possible. A rest of two measures is usually indicated thus —*~ . Three measures thus' 3 4 ' ~ ■ Four measures thus 3E- Rests of more than 1 The word sin is a contraction of the Italian word sino, meaning "as far as" or "until"; in the term given above (Sec. 39) it is really superfluous as the word al in- cludes in itself both preposition and article, meaning "to the." ABBREVIATIONS, SIGNS, ETC. 15 four measures are usually indicated in one of the following 9 Sometimes the number ways* f^:^ I — I of measures is written directly on the staff, thus; 1 ^=8= 43. The letters G.P. (general pause, 01 grosse pause), the words lunga pausa, or simply the word lunga, are sometimes written over a rest to show that there is to be a prolonged pause or rest in all parts. Such expressions are found only in ensemble music, i.e., music in which several performers are engaged at the same time. 44. The fermata or hoM ^ over a note or chord indicates that the tone is to be prolonged, the duration of the prolonga- tion depending upon the character of the music and the taste of the performer or conductor. It has aheady been noted that the hold over a bar was formerly used to designate the end of the composition, as the word fine is employed at pres- ent, but this usage has practically disappeared and the hold over the bar now usually indicates a short rest between two sections of a composition. 45. The sign 8va (an abbreviation of al ottava, literally at the octave) above the staff, indicates that aU tones are to be sounded an octave higher than the notes would indi- cate. When foimd below the staff the same sign serves to indicate that the tones are to be soimded an octave lower. The term 8va bassa has also this latter signification. 46. Sometimes the word loco (in place) is used to show that the part is no longer to be sounded an octave higher (or lower), but this is more often indicated by the termination of the dotted (or wavy) Une. 47. The sign Col 8 {col ottava — with the octave) shows that the tones an octave higher or lower are to be sounded with the tones indicated by the printed notes. | 48. For the sake of definiteness in referring to pitches, a particular name is applied to each octave, and all pitches in i6 MUSIC NOTATION AND TERMINOLOGY the octave are referred to by means of a uniform nomenclature. The following figure will make this system clear: Fig. 29. This note and all below it are saidtobeinthe Contra- Small. Sub-Octave. Octave. Great. i Two- lined. One-lined. S^ Four- Five- Three- lined. lined. lined. Sva Snid ■iS- -9- '■■ -g- si. rz -gi. iz: iz: w = zz: -z5- ■«'- BB C BBB -7S- cc Either ci b> 15 b2 b' 5 b4 Thus e.g., "great G" (written simply G), is the G repre- sented by the first Une of the bass staff. Small A (written a), is represented by the fifth line of the bass staff. Two-lined G, (written g), is represented by the space above the fifth Une, treble staff. Three-lined C, (written c), is represented by the second added line above the treble staff, etc. The one-lined octave may be described as the octave from middle C to the B represented by the third line of the treble staff, and any tone within that octave is referred to as "one-lined." Thus — one-lined D, one-lined G, etc. In sdentific works on acoustics, etc., the pitches in the sub octave (or sub-contra octave as it is often called) are referred to as Ci, Di, Eu, etc.; those in the contra octave as Ci, Di, etc.; in the great octave, as c', d^, etc.; in the small octave as c', d*, etc. CHAPTER V Abbreviations, Signs, Etc., {Continued) 49. A dot after a note shows that the value of the note is to be half again as great as it would be without the dot, i.e.,'' the value is to be three-halves that of the original note. J-=JJ J.^JJ" J'.^O 50. When two dots follow the note the second dot adds half as much as the first dot has added, i.e., the entire value is seven-fourths that of the original note. 51. When three dots follow the note the third dot adds one- half the value added by the second, i.e., the entire value of the triple-dotted note is fifteen-eighths that of the original note. 52. A dot over or under a note is called the staccato mark and indicates that the tone is to be sounded and then instantly released. J p t= In music for organ and for some other instnmaents the staccato note is sometimes interpreted differently, this depending on the character of the instrument. On stringed instruments of the violin family the staccato effect is usually secured by a long, rapid stroke of the bow for each tone; in the case of harp and drum the hand is quickly brought in contact with the vibrating body, thus stopping the tone instantly. On the organ the tone is often prolonged to one-half the value of the printed note before the keys are released. 53. The wedge-shaped dash over the note (staccatissimo) was formerly employed to indicate a tone still more detached 17 i8 MUSIC NOTATION AND TERMINOLOGY than that indicated by the dot, but this sign is really super- fluous, and is seldom used at present. ^ 54. A tie is a curved line connecting the heads of two notes that call for the same tone. It indicates that they are to be soimded as one tone having a duration equal to the combined value of both notes. E.g., a half-note tied to a quarter-note would indicate a tone equal in duration-length to that shown by a dotted half -note; two half -notes tied would indicate a tone equal in duration to that shown by a whole-note. (See ex- amples under Sections 49, 50, and 51). Fig. 30 illustrates the more common variety of tie, while Fig. 31 shows an example of the enharmonic^ tie. Fig. 30. Fig. 31. m i 55. The slur is used in so many different ways that it is impossible to give a general definition. It consists of a curved line, sometimes very short (in which case it looks Uke the tie), but sometimes very long, connecting ten, fifteen, or more notes. Some of the more common uses of the slur are: A. To indicate legato (sustained or connected) tones, as contrasted with staccato (detached) ones. In violin music this implies playing all tones thus slurred in one bow; in music for the voice and for wind instruments it implies singing or playing them in one breath. ^. As a phrase-mark, in the interpretation of which the first tone of the phrase is often accented sUghtly, and the last one shortened in value. This interpretation of the phrase is especially conmion when the phrase is short (as in the two-note phrase) , and when the tones constituting the phrase are of short duration, e.g., the phrase given in Fig. 32 would be played approximately as written in Fig. 33. Fig. 32. Fig. 33. > ^^' I 'y^^ - ^ tftft^?y^ ^ For definition of enharmonic see p. 10, Sec. 27. ABBREVIATIONS, SIGNS, ETC. 19 But if the notes are of greater value, especially in slow tempi, the slur merely indicates legato, i.e., sustained or connected rendition. Fig. 34 illustrates such a case. This is a matter of such diverse usage that it is difficult to generalize regarding it. The tendency seems at present to be in the direction of using the slur (in instrumental nmsic) as a phrase-mark exclusively, it being understood that unless there is some direction to the contrary, the tones are to be performed in a connected manner. C. In vocal music, to show that two or more tones are to be sung to one syllable of text. See Fig. 35. Fig. 35. Mbndei^sohn (.?. Paul) I: i i bers His chil dren. In notes of small denomination (eighths and smaller) this same thing is often in- dicated by stroking the stems together as in Fig. 36. This can only be done in cases where the natural grouping of notes in the measure will not be destroyed. Fig. 36. ^^P^ er and ev er, for ev er and D. To mark special note-groups (triplets, etc.), in which case the slur is accompanied by a figure indicating the number of notes in the group. See Fig. 37 (a). The most common of these irregular note-groups is the triplet, which consists of three notes to be performed in the time ordinarily given to two of the same value. Sometimes the triplet consists of only two notes as in Fig. 37 (6). In such a case the first two of the three notes composing the triplet are considered to be tied. Fig. 37. i i ■ 4 • • f -• • * 1* - m -m ■ •- m (") w (.i) :^=P= ^1^ ^ 20 MUSIC NOTATION AND TERMINOLOGY When the triplet form is perfectly obvious, the Fig. 3 (as well as the slur) may be omitted. Other examples of irregular note-groups, together with the names commonly applied, follow. Sextuplet Septolet or or Quintolet Sextolet Septimole 56. The combination of slur or tie and dots over the notes indicates that the tones are to be somewhat detached, but not sharply so. ^5 w This effect is sometimes erroneously termed portamento (lit. carrying), but this term is more properly reserved for an entirely different effect, viz., when a singer, or player on a stringed instrument, passes from a high tone to a low one (or vice versa) touching lightly on some or all of the diatonic tones between the two melody tones. 57. The horizontal dash over a note P indicates that the tone is to be slightly accented, and sustained. This mark is also sometimes used after a staccato passage to show that the tones are no longer to be performed in detached fashion, but are to be sustained. This latter use is especially common in music for stringed instruments. 58. The combination of dash and dot over a note f indi- cates that the tone is to be sUghtly accented and separated from its neighboring tones. 59. Accent marks are made in a variety of fashions. The most common forms follow. =- ^ sffz. All indicate that a cer- tain tone or chord is to be differentiated from its neighboring tones or chords by receiving a certain relative amount of stress. 60. In music for keyboard instruments it is sometimes necessary to indicate that a certain part is to be played by a certain hand. The abbreviations r.h. (right hand), m.d. (mano destra, It.), and m.d. (main droite, Fr.), designate that a passage or tone is to be played with the right hand, while l.h. (left hand), m.s. (mano sinistra. It.), and m.g. (main gauche, Fr.), show that the left hand is to be employed. ABBREVIATIONS, SIGNS, ETC. 21 6i. The wavy line placed vertically beside a chord indicates that the tones are to be sounded consecutively in- stead of simultaneously, beginning with the lowest tone, all tones being sustained until the duration-value of the chord has expired. This is called arpeggio playing. When the wavy line extends through the entire chord (covering both staffs) as in Fig. 38, all the tones of the chord are to be played one after another, beginning with the lowest: but if there is a separate wavy line for each staff as at Fig. 39 then the lowest tone represented on the upper staff is to be played simultaneously with the lowest tone represented on the bass staff. Fig. 38. Fig. 39. Written as k Played The word arpeggio (plural arpeggi) is a derivation of the Italian word arpa (mean- ing harp), and from this word arpa and its corresponding verb arpeggiare (to play on the harp) are derived also a number of other terms commonly used in instmmental music. Among these are — arpeggiamento, arpeggiando, arpeggiato, etc., all of these terms referring to a harp style of performance, the tones being sounded one after another in rapid succession instead of simultaneously as on the piano. 62. The sign -= =- over a note indicates that the tone is to be begun softly, gradually increased in power, and as gradually decreased again, ending as softly as it began.* In vocal music this effect is called messa di voce. 63. In music for stringed instruments of the vioUn family, the sign a indicates down-bow and the sign v up-bow. In cello music the down-bow sign is sometimes written n . CHAPTER VI Embellishments 64. Embellishments {or graces) {Fr. agrements) are orna- mental tones, either represented in full in the score or indi- cated by certain signs. The following are the embeUishments most commonly found: TriU (or shake), mordent, inverted mordent (or praU triU), turn (gruppetto), inverted turn, appoggiatura and acciaccatura. Usage varies greatly in the interpretation of the signs representing these embeUishments and it is impossible to give examples of all the different forms. The following definitions represent therefore only the most commonly found examples and the most generally accepted interpretations. 65. The trill {or shake) consists of the rapid alternation of two tones to the fuU value of the printed note. The lower of these two tones is represented by the printed note, while the upper one is the next higher tone in the diatonic scale of the key in which the composition is written. The interval between the two tones may therefore be either a half-step or a whole- step. Whether the trill is to begin with the prindpal tone (represented by the printed note) or with the one above is a matter of some dispute among theorists and performers, but it may safely be said that the majority of modern writers on the subject would have it begin on the principal tone rather than on the tone above. Fig. 40. When the principal note is preceded by a small note on the degree above, it is of course imderstood that the trill begins on the tone above. Fig. 41. The trill is indicated by the sign tr^ Fig. 40. Written Played i te i?E^?q IE im^mm;^ EMBELLISHMENTS 23 Fig. 41 Written Played The above examples would be termed perfect trills because they close with a turn. By inference, an imperfect trill is one closing without a turn. 66. The mordent '^ consists of three tones; first the one represented by the priated note; second the one next below it in the diatonic scale; third the one represented by the printed note again. i Fig. 42. Written Played Written S Played m 67. The double {or long) mordent has five tones (some- times seven) instead of three, the first two of the three tones of the regular mordent being repeated once or more. (See Fig. 43-) In the case of both mordent and double-mordent the tones are sounded as quickly as possible, the time taken by the embellishment being subtracted from the value of the principal note as printed. i Fig. 43. Written Played 1-PW 68, The inverted mordent /w (note the absence of the verti- cal line) is like the mordent except that the tone below is replaced by the tone above in each case. This ornameiit is sometimes called a "transient shake" because it is really only a part of the more elaborate grace called "triU." (See Fig. 44.) 24 MUSIC NOTATION AND TERMINOLOGY Fig. 44. Written Played i ^ i^ T The confusion at present attending the interpretation of the last two embellish- ments described, might be largely obviated if the suggestion of a recent writer '■ to call the one the upward mordent, and the other the downward mordent were to be universally adopted. 69. The turn consists of four tones; first, the diatonic scale- tone above the principal tone; second, the principal tone itself; third, the tone below the principal tone; and fourth, the principal tone again. When the sign (~ or axs) occurs over a note of small value in rapid tempo (Fig. 45) the turn consists of four tones of equal value; but if it occurs over a note of greater value, or in a slow tempo, the tones are usually played quickly (like the mordent), and the fourth tone is then held until the time- value of the note has expired. (Fig. 46.) Fig. 45. {a) Allegro Written Played Fig. 46. ( 5 ) ^ dagio Written Played ^^1^^^ ^^^=l^§ 70. When the turn-sign is placed a little to the right of the note the principal tone is sounded first and held to almost its full time-value, then the turn is played just before the next tone of the melody. In this case the four tones are of equal length as in the first example. (See Fig. 47.) Fig. 47. Written Played i ^ -•-# The student should note the difference betweea these two effects; in the case of a turn over the note the turn comes at the beginning, but in the case of the sign after the note the turn comes at the very end. But in both cases the time taken by the embel- 1 Elson — Dictionary of Music, article mordent. EMBELLISHMENTS 25 lishment is taken from the time-value of the principal note. For further details see Grove's Dictionary of Music and Musicians, Vol. V, p. 184. Also Elson, op. dt. p. 274. 71. Sometimes an accidental occurs with the turn, and in this case when written above the sign it refers to the highest tone of the turn, but when written below, to the lowest (Fig. 48). Fig. 48. written n Played i3E*S m tit ^ Et^ 72. In the inverted turn the order of tones is reversed, the lowest one coming first, the principal tone next, the highest tone third, and the principal tone again, last. Fig. 49. Written I Played A llegro Adagio 73. The appoggiatura (lit. leaning note) consists of an ornamental tone introduced before a tone of a melody, thus delaying the melody tone imtil the ornamental tone has been heard. The time taken for this ornamental tone is taken from that of the melody tone. The appoggiatura was formerly classified into long appoggiatura and short appog- giatura, but modem writers seem to consider the term "short appoggiatura" to be synonymous with acciaccatura', and to avoid confusion the word acciaccaiura will be used in this sense, and defined under its own heading. 74. Three rules for the interpretation of the appoggiatura are commonly cited, viz. : (i) When it is possible to divide the principal tone into halves, then the appoggiatura receives one-half the value of the printed note. (Fig. 50.) ^ In organ music the acciaccatura is still taken to mean that the embellishing tone and the melody tone are to be sounded together, the former being then instantly released, while the latter is held to its full time-value. 26 MUSIC NOTATION AND TERMINOLOGY (2) When the principal note is dotted (division into halves being therefore not possible), the appoggiatura receives two-thirds of the value. (Fig. 51.) (3) When the principal note is tied to a note of smaller denomination the appoggiatura receives the value of the first of the two notes. (Fig. 52.) Fig. 50, Written Fig. 5 I . Written Written ^ Played Written Played Fig. 52. Written Played ^ -7=^ 75. The acciaccatura (or short appoggiatura) is written like the appoggiatura except that it has a light stroke across It has no definite duration-value, but its stem. i is sounded as quickly as possible, taking its time from that of the principal tone. The appoggiatura is always accented, but the acciaccatura never is, the stress always falling on the melody tone. (See Grove, op. cit. Vol. I, p. 96.) The use of embellishments is on the wane, and the student of to-day needs the above information only to aid him in the interpretation of music written in previous centuries. In the early days of instrumental music it was necessary to introduce graces of all sorts because the instruments in use were not capable of sustaining tone for any length of time; but with the advent of the modem piano with its comparatively great sustaining power, and also with the advent in vocal music of a new style of sing- ing (German Lieder singing as contrasted with Italian coloratura singing), ornamental tones were used less and less, and when found now are usually written out in full in the score instead of being indicated by signs. CHAPTER VII Scales 76. A scale (from scala, a Latin word meaning ladder; Ger. Ton-letter) is an ascending or descending series of tones, progressing according to some definite system, and all bear- ing (in the case of tonality scales at least) a very intimate relation to the first tone — the key-tone or tonic. (See p. 28, Sec. 78; also note i at bottom of p. 38.) Many different kinds of scales have existed in various musical eras, the point of resemblance among them all being the fact that they have all more or less recognized the octave as the natural limit of the series. The difference among the various scales has been in the selection of intervals between the scale-tones, and, consequently, in the number of tones within the octave. Thus'e.g., in our major scale the intervals between the tones are all whole-steps except two (which are half -steps), and the result is a scale of eight tones (including in this number both the key-tone and its octave) : but in the so-called pentatonic scale of the Chinese and other older civilizations we find larger intervals {e.g., the step-and-a-half), and consequently a smaller number of tones within the octave. Thus in the scale upon which many of the older Scotch folk songs are based the intervals are arranged as follows: 1 whole step whole step step-and- a-half whole -step r step-and- ^ a-half -D— E— The result is a scale of six tones, corresponding approximately with C- G — A — ;C in our modem system. The term pentatonic is thus seen to be a misnomer since the sixth tone is necessary tor the completion of the series, just as the eighth tone is essential in our diatonic scales. The following Chinese tune (called "Jasmine ") is based on the pentatonic scale. i fc :^ ^ n & S^g * f» X p=p= ±M± ■»r# ^^ iti^sfct i s- • # Wi^^^^^W^ 27 28 MUSIC NOTATION AND TERMINOLOGY 77. In studying the theory of the scale the student should bear m mind the fact that a scale is not an arbitrary series of tones which some one has invented, and which others are required to make use of. It is rather the result of accustoming the ear to certain melodic combinations (which were originall y hit upon by accident), and finally analyzing and systematizing these corobmationslnto a certain definite order or arrange- ment. The appUcation of this idea may be verified when it is recalled that most primitive peoples have invented melodies of some sort, but that only in modern times, and particularly since the development of instrumental music, have these melodies been analyzed, and the scale upon which they have been based, discovered, the inventors of the melodies being' themselves whoUy ignorant of the existence of such scales. 78. A key is a number of tones grouping themselves nat- urally (both melodically and harmonically) about a central tone — the key tone. The word tonality is often used synony- mously with key in this sense. The diflEerence between key and scale is therefore this, that while both key and scale employ the same tone material, by key we mecin the material in general, without any particular order or arrangement in mind, while by scale we mean the same tones, but now arranged into a regular ascending or descending series. It should be noted in this connection also that not all scales present an equally good opportunity of having their tones used as a basis for tonality or key-feeling: neither the chromatic nor the whole-step scale possess the necessary characteristics for^ being used as tonal- ity scales in the same sense that our major and minor scales are so used. 79. There are three general classes of scales extant at the present time, viz.: (i) Diatonic; (2) Chromatic; (3) Whole- tone.^ 80. The word diatonic means "through the tones" (i.e.,. through the tones of the key), and is appUed to both major and minor scales of our modern tonality system. In general a diatonic scale may be defined as one which proceeds by haK- steps and whole-steps. There is, however, one exception to * If strictly logical terminology is to be insisted upon the whole-tone scale should be called the "whole-step" scale. SCALES 29 this principle, viz., in the progression six to seven in the har- monic minor scale, which is of course a step-and-a-half . (See p. 33, Sec. 86.) 81. A major diatonic scale is one in which the intervals between the tones are arranged as foUows: ^ whole _ whole „ half . whole j whole - whole „ half „ step ^ step "^ step ^ step step " step ' step In other words, a major diatonic scale is one in which the intervals between three and four, and between seven and eight are half-steps, aU the others being whole-steps. A composi- tion based on this scale is said to be written in the major mode, or in a major key. The major diatonic scale may begin on any one of the twelve pitches C, C# or Dt>, D, D# or El^, E, F, Fjf or G>, G, G# or Ab, A, Ajif or Bb, B, but in each case it is the same scale because the intervals between its tones are the same. We have then one major scale only, but this scale may be written in many different positions, and may be sung or played beginning on any one of a number of different pitches. 82. It is interesting to note that the major scale consists of two identical series of four tones each; i.e., the first four tones of the scale are separated from one another by exactly the same intervals and these intervals appear in exactly the same order as in the case of the last four tones of the scale. Fig. 53 will make this clear. The first four tones of any dia- tonic scale (major or minor) are often referred to as the lower tetrachord^ and the upper four tones as the upper tetrachord. Fig. 53. ^ Lower Tetrachord Upper Tetrachord ^ — "? — t T^oU T. 3 step 1 The word tetrachord means literally "four strings" and refers to the primitive instnmient, the four strings of which were so tuned that the lowest and the highest tones prodviced were a perfect fourth apart. With the Greeks the tetrachord was the unit of analysis as the octave is with us to-day, and all Greek scales are capable of division into two tetrachords, the arrangement of the intervals between the tones in each tetrachord differentiating one scale from another, but the tetrachords themselves always consisting of groups of four tones, the highest being a perfect fourth above the lowest. 30 MUSIC NOTATION AND TERMINOLOGY It is interesting further to note that the upper tetrachord of any sharp scale is always used without change as the lower tetrachord of the next major scale involving sharps, while the lower tetrachord of any flat scale is used as the upper tetra- chord of the next flat scale. See Figs. 54 and 55. Fig. 54. Upper Tetrachord from Scale of C New Tetrachord to complete Scale of G i F!g. 55- Lower Tetrachord from Scale of C New Tetrachord to complete Scale of F i - s> r^ - lE 83. From the standpoint of staff notation the major scale may be written in fifteen different positions, as follows: . i C, No sharps or flats i Signature and Key-note :5==s; w -e 2Z- ■^Jp 1&— i G, One Sharp -S" =2- m -O.- i D, Two Sharps # ^ w ■^ -G> ■=- -2? <^ A, Three sharps i 4^— ft^ i M: - P-iZ- bg g - - g i'^ iE Eb, Three Flats i i =5— =2s: a: Ab, Four Flats i ^- i fe^ S iE Db, Five Flats i ^ -t' rg ^ P b < v l? g — ^-- Gb, Six Flats ^^ \^ \> r r, =^ ^ i^^l IJ^ p Cb, Seven Flats i i ;fc| ^ :g^-H7^^=i ^ It will be observed that in the above series of scales those beginning on F# and Gt' call for the same keys on the piano, i.e., while the notation is different, the actual tones of the scale are the same. The scales of Q.% and Db likewise employ the same tones. When two scales thus employ the same tones 32 MUSIC NOTATION AND TERMINOLOGY but differ in notation they are said to be enharmonic. (cL p. 38, Sec. 93.) Note. — The student is advised to adopt some uniform method of writing scales, preferably the one followed in those given above, the necessary sharps and flats appear- ing before the notes in the scale and then repeated collectively at the end as a signature. He is also advised to repeat these scales and signatures over and over until absolute familiarity is attained. E.g., E— F#— Gfr— A— B— C#— D#— E; signature, four sharps, F, C, G, and D. CHAPTER VIII Scales (Continued) 84. The minor diatonic scale is used in several slightly different forms, but the characteristic interval between the first and third tones (which differentiates it from the major scale) remains the same in every case. This interval between the first and third tones consists of four half-steps in the major scale and of three half-steps in the minor scale and this differ- ence in size has given rise to the designation major for the scale having the larger third, and minor for the scale having the smaller one. 85. The original (or primitive) form of the minor scale has its tones arranged as follows. ^ whole n half o whole a whole r half /- whole rj whole g step step step step step step step As its. name impUes, this is the oldest of the three forms (being derived from the old Greek AeoUan scale), but because of the absence of a "leading tone" it is suitable for the simplest one-part music only, and is therefore little used at present. 86. The harmonic minor scale is like the primitive form except that it substitutes a tone one half -step higher for the seventh tone of the older {i.e., the primitive) fomi. This change was made because the development of writing music in several parts (particularly harmonic part-writing) made necessary a "leading tone," i.e., a tone with a strong tendency to move on up to the key-tone as a closing point. In order 33 34 MUSIC NOTATION AND TERMINOLOGY to secure a tone with such a strongly upward tendency the interval between seven and eight had to be reduced in size to a half-step. It should be noted that this change in the seventh tone of the scale caused an interval of a step-and-a-hah be- tween the sixth and seventh tones of the scale, .. whole ^'^alf o whole ^ whole r half /• step and - half „ step step step step step a half step 87. The melodic minor scale substitutes a tone one haK-step higher than six as well as one a half-step higher than seven, but this change is made in the ascending scale only, the de- scending scale being like the primitive form. The higher sixth (commonly referred to as the "raised sixth") was used to get rid of the unmelodic interval of a step-and-a-half* (augmented second), while the return to the primitive form in descending is made because the ascending form is too much like the tonic major scale. ^ whole „ 1iaif~'" ^ whole ^ whole r whole ^ whole •-, half „ whole step step step step step step step step « whole /- half r whole > whole T''taJf~ ^ whole ^ step step step step step step This form is used only to a very limited extent, and then principally in vocal music, the harmonic form being in almost universal use in spite of the augmented second. 88. The minor scale in its various positions (up to five sharps and five flats) and in aU three forms foUows: a compo- sition based on any one of these forms (or upon a mixture of them, which often occurs) is said to be in the minor mode. It wiU be noted that the first four tones are alike in all three forms; i.e., the lower tetrachbrd in the minor scale is invaria- ble no matter what may happen to the upper tetrachord. The sign + marks the step-and-a-half. ' The step-and-a-half (augmented second) is "unmelodic" because it is the same size as a minor third and the mind finds it difficult to take in as a second (notes repre- senting it being on adjacent staff-degrees) an interval of the same size as a third. SCALES Primitive Form Harmonic Form A Minor Melodic Form 35 Signature [ie=^^^^ — -)r>j o " f 3'?S-< ^^jtgi°'^«iio--:i,.^ g-s^ Ff= 1^ ^ „£'»" '^ -m gf'^ffl" Lpfr^ " " + Iglt'J " ' a^n^; .- g < ^f=:«=J Ivy o Note. — The student is advised to recite the harmonic form of the minor tole as was suggested in the case of the major scale, noting that the "raised seventh" does not affect the key-signature. E.g., — E — ^F# — G — ^A — B — C — D# — ^E; signature, one sharp, F. 36 MUSIC NOTATION AND TERMINOLOGY 89. A minor scale having the same signature as a major scale is said to be its relative minor. E.g., — e is the relative minor of G, c of Et?, d of F, etc., the small letter being used to refer to the minor key or scale, while the capital letter indicates the major key or scale unless accompanied by the word minor. Relative keys are therefore defined as those having the same signature. G and e are relative keys, as are also]A and f#, etc. 90. A minor scale beginning with the same tone as a ma- jor scale is referred to as its tonic minor. Thus, e.g., c with three flats in its signature is the tonic minor of C with all degrees in natural condition; e with one sharp is the tonic minor of E with four sharps, etc. Tonic keys are therefore those having the same key-tone. 91. The eight tones of the diatonic scale (both major and minor) are often referred to by specific names, as follows: 1. Tonic — the tone. (This refers to the fact that the tonic is the principal tone, or generating tone of the key, i.e., it is the tone.) 2. Super tonic — above the tone. 3. Mediant — midway between tonic and dominant. 4. Sub-dominant — the under dominant. (This name does not refer to the position of the tone under the dominant but to the fact that the fifth below the tonic is also a dominant tone — the under dominant — just as the fifth above is the upper dominant). 5. Dominant — the governing tone. (From the Latin word dominus meaning master.) 6. Super-dominant — above the dominant. or Sub-mediant — midway between tonic and sub- dominant. 7. Leading tone — the tone which demands resolution to the tonic (one-half step above it). 8. Octave — the eighth tone. SCALES 37 92. The syllables commonly applied to the various major and minor scales in teaching sight-singing are as follows:^ Major — DO, RE, MI, FA,' SOL, LA, TI, DO. Minor'' — original — LA, TI„DO, RE, MI, FA, SOL, LA. harmonic — LA, TI, DO, RE, MI, FA, SI, LA. melodic — LA, TI, DO, RE, MI, FI, SI, LA, SOL, FA, MI, RE, DO, TI, LA. It is interesting to study tte changes in both spelling and pionundation that have occurred (and are still occurring) in these syllables. The first one (ut) was changed to DO as early as the sixteenth century because o£ the difficulty of producing a good singing tone on at. For the same reason and also in order to avoid having two diatonic syllables with the same initial letter, the tonic-sol-fa system (invented in England about 1812 and systematized about 1850) changed SI to TI and this change has been almost uni- versally adopted by teachers of sight-singing in this country. The more elaborate tonic-sol-fa spelling of the diatonic syllables (DOH, LAH, etc.), has not, however, been favorably received in this country and the tendency seems to be toward still further simplification rather than toward elaboration. It is probable that further changes in both spelling and pronunciation will be made in the near future, one such change that seems especially desirable being some other syllable than RE for the second tone of the major scale, so that the present syllable may be reserved for "flat-two," thus providing a uniform vowel-sound for all intermediate tones of the descending chromatic scale, as is already the case in the ascending form. 1 These syllables are said to have been derived originally from the initial syllables of the " Hymn to Saint John," the music of which was a typical Gregorian chant. The application of these syllables to the scale tones will be made clear by reference to this h3nmn as given below. It will be observed that this hymn provided syllables only for the six tones of the hexachord then recognized; when the octave scale was adopted (early in the sixteenth century) the initial letters of the last line ( s and i) were com- bined into a syllable for the seventh tone. Sane - te Jo-han-nes. ' A considerable number of teachers (particularly those who did not learn to sing by syllable in childhood) object to calling the tonic of the minor scale la, insisting that both major and minor tonic should be called do. According to this plan the syllables used in singing the harmonic minor scale would' be: DO, RE, ME, FA, SOL, LE, 11, DO. There is no particular basis for this theory, for although all scales must of course begin with the key-tone or tonic, this tonic may be referred to by any syllable which wiU serve as a basis tor an association process enabling one to feel the force of iftie tone as a closing point — a home tone. Thus in the Dorian mode the tonic would be RE, in tie Phrygian, MI, etc. 38 MUSIC NOTATION AND TERMINOLOGY 93. The chromatic scale^ is one which proceeds always by half -steps. Its intervals are therefore always equal no matter with what tone it begins. Since, however, we have (from the standpoint of the piano keyboard) five pairs of tones^ which are enharmonically the same, it may readily be seen that the chromatic scale might be notated in aU sorts of fashions, and this is iQ fact the real status of the matter, there being no one method vmiformly agreed upon by composers. Parry (Grove's Dictionary, article chromatic) reconunends writing the scale with such accidentals as can occur in chromatic chords without changing the key in which the passage occurs. Thus ,taking C as a type, " the first accidental will be T>\>, as the upper note of the minor ninth on the tonic; the next will be Eb, the minor third of the key; the next F#, the major third of the supertonic — all of which can occur without causing modulation — and the remaining two will be A\> and Bb, the minor sixth and seventh of the key." According to this plan the chromatic scale beginning with C would be spelled — C, Db, D, Eb, E, F, F#, G, Ab, A, Bb, B, C — the form being the same both ascending and descending. This is of course written exclusively from a harmonic standpoint and the advantage of such a form is its definiteness. 94. For sight-singing purposes the chromatic scale^ is usually written by representing the intermediate tones in ascending by sharps, (in some cases naturals and double- sharps), and the intermediate tones in descending by flats (sometimes naturals and double-flats). The chromatic scale in nine different positions, written from this standpoint, fol- lows, and the syllables most commonly applied in sight-singing have also been added. In the first two scales the student of harmony is asked to note that because of the very common prac- ' The student should differentiate between the so-called "tonality" scales like the major and minor, the tones of which are actually used as a basis for "key-feding" with the familiar experience of coming home to the tonic after a melodic or harmonic excursion, and on the other hand the purely artificial and mechanical construction of the chromatic scale. * Many other enharmonic notations are possible, altho the "five pairs of tones" above referred to are the most common. Thus E# and F are enharmonically the same, as are also Cb and B, C# and Bk, etc. ' The word chromatic means literally colored and was first applied to the inter- mediate tones because by using them the singer could get smoother and more diversely- shaded progressions, i.e., could get more color than by using only the diatonic tones. Composers were not long discovering the peculiar value of these additional tones and soon found that these same tones were exceedingly valuable also in modulating, hence the two uses of intermediate tones at the present time| — first, to embelUsh a melody; second, to modulate to another key. SCALES 39 tice of modulating to the dominant and sub-dominant keys, the intermediate tones #4 and i'y are quite universally used in both ascending and descending melody passages. In other words the scales that f oUow would more nearly represent actual usage if in each case #4 (FI) were substituted for ^5 (SE) in the descending scale; and if ^7 (TE) were substituted for #6 (LI) ia the ascending form. i -g g" g~ iE --!^ -^ -^-i • -P-^^ DO ■ di RE ri MI FA fi SOL si LA li TI DO fe ig b « tJ \>wr - ° o b* a b * TI ^ te LA le SOL se FA J tl me RE ra Do \J . 11 ^ i '^ _ c «• jp' /^ , u. ^-' rs n* •■' , ^ T» li f\ ,— ' •a e^ MM ^ Tl v.) "'I * Tl l)' 1 DO di RE ri Mi FA fi SOL si LA li TI DO i |ig t| » 7? — \tr ^ -«| 9» <^ "jg - b > a> — \fcr- -rS>- i TI te LA le SOL se FA MI me RE ra DO D q^^H^^-^-^*^^"^^^^-°^-^Wii ^ i i^^^^^^^^^^ ^f| » c : » JHg^b. :^K P i E ; z^z; ; ifcrfergj^ ^-^ gfl^-M r*- g|^^ -i gb^-zy s:^^^ 3^^ ^ agygH ^ ,^^-^^^,^^,^4 ; ^ - - '■^" ^-^. .1,. t.^,,^ g 40 MUSIC NOTATION AND TERMINOLOGY [r^^i^Jt^-^Mtf^-'^^"-^ -^^^ d^-,,-:^^ n Eb ^-^ ^!U-^ ^^i-^^-M'-^^^'^^'^-^^-^ :^^ Note. — In writing chromatic scales from this sight-singing standpoint the student is urged to adopt a three-step process; first, writing the major diatonic scale both ascending and descending; second, marking the half -steps; third, inserting accidental notes calling for the intermediate tones. In the above chromatic scales these inter- mediate tones have been represented by black note-heads so as to differentiate them from the notes representing diatonic scale tones. 95. The whole-step scale (the third type mentioned in Sec. 79) is, as its name implies, a scale in which the intervals between the tones consist in every instance of whole-steps. This reduces the number of tones in the scale to seven. Be- ginning with C the scale reads: C, D, E, F# or Gb, Ab, Bb, C. This scale has been used somewhat extensively by the ultra- modern French school of composition represented by Debussy, Ravel, and others, but is not making any progress toward imiversal adoption. The remarks of a recent EngKsh writer ^ on this subject may be interesting to the student who is puzzled by the apparant present-day tendencies of French music. He says: If " The student of some interesting modern developments will also speedily discover that the adoption of the so-called whole-tone scale as a basis of music is, except upon a keyed instrument tuned to the compromise of equal temperament, unnatural and impossible. No player upon a stringed instrument can play the scale of whole-tones and arrive at an octave which is in time with the starting note, unless he deliberately changes one of the notes on the road and alters it while playing it. The obvious result of the application of the whole-tone scale to an orchestra or a string quartet would be to force them to adopt the equal temperament of the pianoforte, and play every interval except the octave out of tune. When this modification had taken hold all music in the pure scale would be distorted and destroyed, unless string players were to face the ' Stanford — Musical Composition (1911) p. 17. SCALES 41 practically impossible drudgery of studying both the equal temperament and the pure scale from the start, and were able to tackle either form at a moment's notice. A thorough knowledge of the natural genesis of the scale of western nations will be the best antidote to fads founded upon ignorance of it. It is a curious commentary upon this question that Wagner, in the opening of the third act of Tristan (bars 6 to 10), experimented with the whole-tone scale and drew his pen through it, as was to be ex- pected from a composer whose every work proves the writer to have had the pure scale inbred in him." There may be some difference of opinion among acousti- cians as to whether Mr. Stanford is correct in his scientific assimiptions regarding the difference between "tempered" and "pure" scales/ but even so, there is a far more potent reason why the whole-step scale wiU probably never become popiilar as the major and minor scales now are, viz., the fact that it offers no possibility of inctdcating tonality feeling, which has always been the basis of even the simplest primitive music. Tonahty scales give rise to a feeling of alternate periods of contraction and relaxation — an active tone (or chord) fol- lowed by a passive one, but no such effect is possible in the whole-step scale, and it seems suitable therefore only for that class of music whose outlines are purposely intended to he vague and indefinite — the impressionistic style of music writing. ^ Recent tests in Germany seem to prove conclusively that the tempered scale is the scale ordinarily employed by both vocalists and players on stringed instruments, and that the ideal of and agitation for a pure (i. e., untempered) scale in vocal and in string music is somewhat of a myth. CHAPTER IX Auxiliary Wobds and Endings 96. Being a list of articles, adverbs, conjunctions, prepo- sitions, and endings, often utilized in compounding terms relating to musical effects. A — preposition — variously translated to, at, for, by, in, with, towards. A cappella — in church style. A capriccio — at the fancy of the performer. A deux mains — for two hands. A mezza wee — with half voice. A la, or alia — in the manner of. Alia marcia — in the style of a march. Assai — very, or very much. Allegro assai — very fast. Ben — well. Ben marcato — well marked. Coi, con, col, colla, colle, collo — with, or with the. Con amore — with tenderness. Colla voce — with the voice. Come — as, like. Come prima — as at first. Contra — against. In compound words means "an octave below." Da — from. Da Capo — from the head. Di — by, with, of, for. Di bravura — with daring. Di molto — exceedingly — very much. Allegro di molto — exceedingly rapid. Doppio — double. Doppio movimento — double movement. E, ed, et — and. Cresc. et accel. — louder and faster. Ensemble — together, the opposite of solo. _ II, La, I', le — the. II basso — the bass. L'istesso tempo — the same speed. II piu — the most. II piu forte possible — as loudly as possible. Issimo — Italian superlative ending. Forte — fortissimo. Ino, etto — Italian diminutive endings. Andante — andanlino. Poco — pochetto. Meno — less. Meno forte — less loud. Mente — the ending which changes a noun or adjective to an adverb. Largo largamente. Mezzo or mezza — half, or medium. Mezzo forte — medium loud. Molto — much, or very much. Molto cresc. — very much louder. Net, nella, etc. — in the, or at the. Nel battere — at the down beat. Non — not. Non tanto — not too much. Ossia — or else. Ossia piu f exile — or else more easily. Per — for. Per il violino — for the violin. Peu — little. Un peu cresc. — a little increase in tone. P»il — more. Pti) forte — more loudly. 42 AUXILIARY WORDS AND ENDINGS 43 Poco — little. Poco a poco — little by little. Poi — then. E poi la coda — and then the coda. Possible — possible. Forte possible — as loudly as possible. Qitasi — in the manner of. Allegro quasi andante — a fairly rapid movement, yet in the style of an andante; almost as slow as an andante. Sans — without. Sans peddles — without pedals. Sempre — always, or continually. Sempre forte — a long passage to be played forte throughout its entirety. Senza — without. Senza accompagnamento — without accompaniment. Sino, sin — as far as. See p. 14, note. Solo — alone. Opposite of ensemble. 5m6 — imder or lower. Subdominant — the under dominant. Tanto — same as troppo, q. v. Tre — three. Tre corde — three strings. Trh — very. Trbs vivement — very lively. Troppo — too much. Non tanto allegro, or rwn troppo allegro — not too fast. Una, un, una — one, or a. Una corda — one string. Un peu — a little. A working knowledge of these auxiliary terms will aid the student greatly in arriving at the meaning of hundreds of terms without stopping to look up each individual one. CHAPTER X Measure 97. From the standpoint of the eye, a measure is that portion of the staff found between two bars, (in certain cases this space may be less than a measure, as e.g., at the beginning and end of a movement) ; but from the standpoint of the ear a single, isolated measure is not possible, and the term must therefore be defined in the plural form. < Measures are similarly accented groups of evenly-spaced beats, each group having at least one accented and one non- accented beat. The strongest accent falls normally on the first beat in the measure. Two essential characteristics are involved in the ordinary musical measure: (i) A group of even beats (or pulses), always felt, though not always actually sounded, one or more of these beats being stronger than the rest; '•^ (2) Certain rhythmic figures (J^, J^, J73, j j J J, etc.) which form the actual musical content of these groups. The student will note the essential difference between [rhythm and measure. Rhythm is the regular recurrence of accent in a series of beats (or pxilses), while meas- ure is the grouping of these beats according to some specified system. In listening to a piece of music, two hearers A and B may feel the rhythm equally strongly, but A may subjectively group the beats into — one, two ] one, two | — etc., while B feels the groups as — one, two, three, four ] one, two, three, four | — etc. Rhythm is thus seen to be a fundamental thing, inherent in the music itself, while measure is to a certain extent at least an arbitrary grouping which musicians have adopted for prac- tical purposes. 98. In syncopation the normal system of accenting is temporarily suspended and the accented tone falls on the regularly imaccented part of the measure. Syncopation may therefore be defined as the temporary interruption of a normal 44 MEASURE 45 series of accents, i.e., accenting a beat that is usually not ac- cented^ Thus e.g., in Fig. 56, measure one has the regular^ system of accents normally found in four-quarter-measure, (strong accent on one, secohdary accent on three) ; but meas- ure three has only one accent, and it falls on the second beat. Fig. 56. !b4 I J 1 i W^ 99. Measures are usually classified as simple and compound. > A simple measure is one which has but a single accent, i.e., the measure cannot be divided into smaller constituent groups. There are two main classes of simple measures, two-beat measure, and three-beat measure. A compound measure is (as its name imphes) one made up by combining two or more simple measures, or by the elaboration of a single measure (in slow tempo) into several constituent groups. The princi- pal compound measures are four-beat and six-beat, both being referred to as compound-duple measures. Five-beat, seven-beat, nine-beat, and twelve-beat measures are also classified as compound measures. An English writer' classifies measures as duple, triple, or quadruple, speci£j?ing that a simple measure is one in which each]beat is represented by a note whose value can be divided into halves vj = «rj^ifil = j J ^^'^- ' ^'°-^ ^^^ ^ compound measure is one in which each beat is represented by a dotted-note, whose value can be divided into three parts, \J.= ^J^^i^,= J J J/- There is thus seen to be considerable diflEerence of opinion as to the meaning of the words simple and compound when applied in this connection, the principal question at issue being whether four- beat measure is an individual variety, or whether it is a variety compounded out of two-beat measures, either by placing two of these in a group or by the elaboration of a single measure into a largpr number of beats, as is often necessary in slow tempi. Per- haps the easiest way out of the difficulty is to admit that both may be true — but in dif- ferent compositions. That is, it is frequently impossible to tell whether a composition that is being listened to is in two-beat, or in four-beat measure; and yet it is some- times possible so to discriminate. Since, however, one cannot in the majority of cases distinguish between two-beat and four-beat measures, it will probably be best to leave the original classification intact and regard four-beat measure as a compoimd variety. ^ Pearse — Rudiments of Musical Knowledge, p. 37. 46 MUSIC NOTATION AND TERMINOLOGY loo. The commonest varieties of measure are: 1. Duple (sometimes called even measure, or even time), in which there are two beats, the first one being accented. Examples of duple measure are I, §> i, two-quarter,^ two-eighth, and two-half measure, re- spectively. 2. Triple, (the old perfect measure), in which there are three beats, the first one being accented, the second and third unaccented. Examples are I, I, I, three- eighth, three-quarter, and three-half measure, re- spectively. 3. Quadruple, in which there are four beats, the first and third being accented (primary accent on one, secondary accent on three), the second and fourth unaccented. (See note above, under Sec. 99.) 4. Sextuple, in which there are six beats, the first and fourth being accented, the others not. In rapid tempi this is always taken as compound duple meas- ure, a dotted quarter note having a beat. It wiU be noted that the two measures i C-LT CJLT i f ' T ' I are identical in effect with I f r T f T T Iff I • loi. Other varieties of measure sometimes found are % and ^8 , but these are practically always taken as three-beat and four-beat measures respectively, being equivalent to these if each group of three tones is thought of as a triplet. I JTj J73 J . is identical in effect with | JJ^ J^ J — 102. Quintuple (five-beat) and septuple (seven-beat) measures are occasionally met with, but these are rare and wiU always be sporadic. The five-beat measure is taken as a combination of three and two, or of two and three (some- times a mixture of both in the same composition), while the ' For explanation of terminology, see p. 48, Sec. 106. MEASURE 47 seven-beat measure is taken in groups of four and three, or of three and four. 103. The sign B is usually understood to mean four^ quarter measure, and the sign <^, two-hah measure, but usage varies somewhat, and the second sign is sometimes used to indicate four-half measure. It may safely be said however that the sign ^ always indicates that a half-note has a beat. $ $ may occasionally be found indicating four-half measure but this is rare. The student will note that the sign B is not a letter C, but an incomplete circle, differentiating two-beat (imperfect) measuie from three-beat (perfect) measure. See Appendix A, p. CHAPTER XI Tempo 104. The word time in musical nomenclature has been greatly abused, having been used to indicate: (i) Rhythm; as "the time was wrong." (2) Variety of measure-signature; as "two-four time." (3) Rate of speed; as "the time was too slow." To obviate the confusion naturally resulting from this three-fold and inexact use of the word, many teachers of music are adopting certain changes in terminology as noted in Sections 105, 106, and 107. Such changes may cause some confusion at first, but seem to be necessary if our musical terminology is to be at all exact. 105. The first of the changes mentioned in the above paragraph is to substitute the word rhythm for the word time when correcting mistakes involving misplaced accent, etc. E.g., "Your rhythm in the third measure of the lower score was wrong," instead of "Your time — was wrong." 106. The second change mentioned would eliminate such bUnd and misleading expressions as "two-four time," "three- four time," "four-four time," "six-eight time," etc., and sub- stitute therefor such seH-explanatory designations as "two- quarter measure," "three-quarter measure," "four-quarter measure," "six-eighth measure," etc. E.g., "The first move- ment of the Beethoven Sonata Op. 2, No. 3, is ia. Jour-quarter measure." 107. The third change referred to above would substitute the word tempo (plural — tempi) for the word time in aU allu- sions to rate of speed. E.g., "The scherzo was played in very rapid tempo." 48 TEMPO 49 The word tempo has been used in this connection so long by professional musicians that there can be no possible objection to it on the ground of its being a foreign word. In fact there is a decided advantage in having a word that is understood in all countries where modem music (i.e., civUized music) is performed, and just here is found the principal reason for the popularity of the Italian language in musical tenninology. Schumaim, MacDowell and other well known composers have tried to break down this , popularity by using their own respective vernaculars in both tempo and dynamic indications, but in spite of these attempts the Italian language is still qiute universally used for this purpose, and deservedly so, for it we are to have a music notation that is universal, so that an American is able to play music written by a Frenchman or a German, or a Russian, then we ought also to have a certain number of expressions referring to tempo, etc., which will be tmderstood by all, i.e., a music terminology that is universal. The Italian language was the first in the field, is the most universally known in this particular at the present time, and is entirely adequate. It should therefore be retained in use as a sort of musical Esperanto. io8. There are several ways of finding the correct tempo of a composition: 1. From the metronomic indication found at the be- ginning of many compositions. Thus e.g., the mark M.M. 92 (Maelzel's Metronome 92) means that if the metronome (either Maelzel's or some other re- liable make) is set with the sUding weight at the figure 92 there will be 92 clicks per minute, and they will serve to indicate to the player or singer the rate at which the beats (or pulses) should follow one another. This is undoubtedly the most accurate means of deter- mining tempi in spite of slight inaccuracies in metro- nomes^ and of the mistakes which composers them- selves often make in giving metronomic indications. 2. Another means of determining the tempo of a com- position is to play it at diflferent tempi and then to choose the one that "feels right" for that particular piece of music. This is perhaps the best means of getting at the correct tempo but is open only to the ' To test the accuracy of a metronome, set the weight at 60 and see if it beats seconds. If it gives more than 62 or 63 or less than 57 or 58 clicks per minute it will not be of much service in giving correct tempi and should be taken to a jeweller to be regulated. 50 MUSIC NOTATION AND TERMINOLOGY musician of long experience, sure judgment, and sound scholarship. 3. A third method of finding tempi is through the inter- pretation of certain words used quite universally by composers to indicate the approximate rate of speed and the general mood of compositions. The diffi- culty with this method is that one can hardly find two composers who employ the same word to indicate the same tempo, so that no absolute rate of speed can be indicated, and in the last analysis the con- ductor or performer must fall back on the second method cited above — i.e., individual judgment. 109. In spite of the inexactness of use in the case of e:^- pressions relating to tempo, these expressions are nevertheless extremely useful in giving at least a hint of what was in the composer's mind as he conceived the music that we are trying to interpret. Since a number of the terms overlap in mean- ing, and since the meaning of no single term is absolute, these expressions relating to tempo are best studied in groups. Perhaps the most convenient grouping is as follows : 1. Grave (lit. weighty, serious), larghissimo, adagissimo, and lentissimo — indicating the very slowest tempo used ,in rendering music. 2. Largo,^ adagio,^ and lento — indicating quite a slow tempo. 3. Lar ghetto {i.e., a little largo) and adagietto {a little adagio) — a slow tempo, but not quite so slow as largo, etc. 4. Andante (going, or walking, as contrasted with run- ning) and andantino — indicating a moderately slow tempo. 1 Largo, larghetto, etc., are derivatives of the Latin word largus, meaning large, broad. ^ Adagio means literally at ease. TEMPO SI Andantino is now qmte universally taken slightly faster than andante, in spite of the fact that if andante means "going,'' and if "ino" is the diminutive ending, then andantino means "going less," i.e., more slowly! 5. Moderato — a moderate tempo. 6. Allegro and allegretto^ — a moderately quick tempo, allegretto being usually interpreted as meaniag a tempo somewhat slower than allegro. The word allegro means literally happy, joyous, and this literal meaning is still sometimes applicable, but in the majority of instances the term refers only to rate of speed. 7. Vivo, vivace, (lit. lively) — a tempo between allegro and presto. 8. Presto, prestissimo, vivacissimo, and prestissimo possi- bile — the most rapid tempo possible. ' There has been some difference of opinion as to which of these two terms indicates the more rapid tempo: an analysis tells us that if allegro means quick, and if etto is the diminutive ending, then allegretto means a little quick — i.e., slower than allegro. These two_ terms are, however, so closely alhed in meaning that a dispute over the matter is a' mere waste of breath. CHAPTER XII Tempo (Continued) no. Innumerable combinations of the words defined in Sec. 109 with one another and with other words occur. Some of these combinations with their approximate meanings fol- low. , The meaning of any such expression not found in the Ust may usually be arrived at by consulting the terms defined in paragraph 109 and recalling the use of certain auxihary terms quoted in Chapter IX. Largo assai — very slow. Largo di molto — very slow. Largo ma non troppo — slow, but not too slow. Largo un poco — slow, but not so slow as largo. {Cf. larghetto.) Lentemente — slowly. Lentando — with increasing slowness. Tris lentement — very slowly. Lentissamente — very slowly. Lentissamamente — very slowly. Lenlo assai — very slowly. Lento a capriccio — slowly but capriciously. Lento di molto — very slowly. Andante affetiwso — moderately slow, and with tenderness and pathos. Andante amabile — moderately slow, and lovingly. Andante cantabile — moderately slow, and in singing style. Andante grazioso — moderately slow, and gracefully. Andante maestoso — moderately slow, and majestically. Andante con moto — slightly faster than andante. Andante (ma) non troppo — not too slowly. Andante pastorale — moderately slow, and in simple and unaffected style; {lit. rural, pastoral). Andante quasi allegro — almost as rapid in tempo as allegro; (lit. an andante in the style of allegro). Andante sostenuto — moderately slow and sustained. Allegrissimo — much faster than allegro. (The superlative degree of allegro.) Allegro agitato — a moderately rapid tempo, and in agitated style. Allegro appassionata — a moderately rapid tempo, and in passionate style. Allegro assai (very allegro) — faster than allegro. Allegro commodo — a conveniently rapid tempo. Allegro con brio — an allegro played in brilliant style. Faster than allegro. 52 TEMPO S3 Allegro con fuoco — an allegro played with fiie, i.e., with extreme animation. Faster than aUegro. Allegro con spirito — an allegro performed with spirit. Allegro con moto — faster than aUegfro. AUegro di bravura — an allegro performed in brilliant style, i.e., demanding great skill in execution. Allegro furioso (furiously) — quicker than allegro; very brilliant. AUegro giusto — an allegro movement, but in exact rhythm. Allegro ma grazioso — an allegro played in graceful style. Allegro (ma) non tanto — an allegro movement, but not too rapid. AUegro {ma) non troppo — an allegro movement, but not too rapid. Allegro {ma) non presto — an allegro movement, but not too rapid. AUegro moderato — slower than allegro. AUegro vivace — faster than aUegro. Presto assai — as rapidly as possible. Presto {ma) non troppo — a presto movement, but not too rapid. III. There are certain terms which indicate a modification of the normal tempo of a movement, these being divided into two classes, (a) those terms which indicate in general a slower tempo, and (b) those which indicate in general a more rapid tempo. The further subdivisions of these two classes are shown below. ifl) Terms indicating a slower tempo. 1. Terms indicating a gradual retard. Ritenente, (rit.), ritenuto (rit.), ritardando (rit.), ral- lentando (rail.), slentando. 2. Terms indicating a tempo which is to become defi- nitely slower at once. Piu lento (Ut. more slowly), meno mosso (Ut. less movement). 3. Terms indicating a slower tempo combined with an increase in power. Largando, allargando. These words are both derived from largo, meaning large, broad. (For terms indicating both slower tempo and softer tone, see page 59, Sec. 127.) The student should note the difference between groups i and 2 as given above: the terms in group i indicate that each measure, and even each pulse in the measure, is a little slower than the preceding one, while such terms as piu lento and meno mosso 54 MUSIC NOTATION AND TERMINOLOGY indicate a rate of speed becoming instantly slower and extending over an entire phrase or passage. Some composers (e.g., Beethoven and Couperin) have evidently had this same distinction in mind between rallentando and ritardando on the one hand, and ritenuto and ritenente on the other, considering the former {rail, and rit.) to indicate a gradually slackening speed, and the latter (ritenuto and ritenente) to indicate a definitely slower rate. The majority of composers do not however differentiate be- tween them in this way, and it will therefore hardly be worth while for the student to try to remember the distinction. (b) Terms indicating a more rapid tempo. 1. Terms indicating a gradual acceleration. Accelerando, affretp,ndo (this term implies some de- gree of excitement also), stringendo, poco a poco animato. 2. Terms indicating a tempo which is to become definitely faster at once. Piu allegro, piu tosto, piu mosso, stretto, un poco animato. 112. After any modification in tempo (either faster or slower) has been suggested it is usual to indicate a return to the normal rate by some such expression as a tempo (Ut. in time), a tempo prima (lit. in the first time), tempo primo, or tempo. 113. Tempo rubato (or a tempo rubato) means Uterally in robbed time, i.e., duration taken from one measure or beat and given to another, but in modern practice the term is quite generally appUed to any irregularity of rhythm or tempo not definitely indicated in the score. The terms ad libitum, {ad lib.), a piacere, and a capriccio, also indicate a modification of the tempo at the will of the performer. Ad libitum means at liberty; a piacere, at pleasure; and a capriccio, at the caprice (of the performer). 114. The term tempo giusto is the opposite of tempo rubato (and of the other terms defined in paragraph 113). It means literally in exact time. {Tempo giusto is sometimes translated quite rapidly,^ but this is very unusual.) 1 Bussler — Elements of Notation and Harmony, p. 76. TEMPO 55 115. L'istesso tempo means — at the same rate of speed. E.g., when a measure signature changes from 4 to I with a change in beat-note from a quarter to a dotted-quarter, but with the same tempo carried through the entire movement. 116. Tenuto (ten.) indicates that a tone or chord is to be held to its full value. This word is sometimes used after a staccato passage to show that the staccato effect is to be dis- continued, but is often used merely as a warning not to slight a melody-tone — i.e., to give it its fuU value. ii'j. Veloce means — swiftly, and is appUed to brilliant passages {e.g., cadenzas) which are to be played as rapidly as possible without much regard for measure rhythm. The words rapidamente, brillante and volante (flying) have the same meaning as veloce. 118. The following expressions referring to tempo are also in common use but cannot easily be classified with any of the groups already defined. Con moto — with motion; i.e., not too slow. Pesante — slowly, heavily. Doppio nummento — twice as rapid as before. Tempo ordinario — in ordinary tempo. Tempo commodo — in convenient tempo. Sempre lento maiinconico assai — always slowly and in a very melancholy style. Animando, animato, con anima — with animation. Agitato — agitated. 119. Tempo di marcia is given by Riemann (Dictionary of Music, p. 783) as equivalent to andante, M.M. 72 — 84. The same writer gives tempi di menuetto as equivalent to allegretto, and tempo di valso as equivalent to allegro moderate (which he regards as indicating a more rapid tempo than allegretto). CHAPTER XIII Dynamics 1 20. The word dynamics (cf. dynamic — the opposite of static) as used in the nomenclature of music has to do with the various degrees of power {i.e., the comparative loudness and softness) of tones. As in the case of words referring to tempo, the expressions referring to dynamics are always relative, never absolute; it is possible to indicate that one measure is to be louder than another, but it is not possible (nor desirable) to indicate exactly how loud either is to be. Thus dynamics, perhaps even more than- tempo, will be seen to depend on the taste of the performer or conductor. The following words referring to dynamics are in com- mon use: Pianisissimo (ppp) — as softly as possible. (It will be noted that this is a sort of hyper-superlative of piano.) Pianissimo {pp) — very softly. (The superlative of piano.) Piano (p) — softly. Mezzo piano {mp) — mediiun softly. Mezzo forte (mf) — medium loudly. Forte (f) — loudly (Ut. strong). Fortissimo (jf) — very loudly. (The superlative of forte.) Fortisissimo {fff) — as loudly as possible. The lack of a one-word comparative degree in the case of both piano and forte seems to necessitate the hyper-superlative degree as given above, but the practice of using four, or even five ^'s or/'s is not desirable. 121. The terms defined in Sec. 1 20 are often combined with others, as e.g.. Pianissimo possibile — as softly as possible. Piano assai — very softly. Fortissimo possibile — as loudly as possible. Forte piano (Jp) — loud, followed at once by soft. S6 DYNAMICS 57 As in the case of terms relating to tempo, the meaning of many other expressions relating to dynamics may easily be arrived at by recalling the Ust of auxiliary terms quoted imder Sec. 96. 122. The terms sforzando, forzando, sforzato and forzato all indicate a strong accent on a single tone or chord. These words are abbreviated as follows: — sf,fz, and sfz, the abbrevi- ation being placed directly above (sometimes below) the note or chord affected. The signs a and =- are also commonly used to indicate such an accent. In inteipreting these accent marks the student must bear in mind again the fact that they have a relative rather than an absolute meaning: the mark sf occurring in the midst of a piano passage will indicate a much milder form of accent than would the same mark occurring in the midst of a forte passage. 123. The words rinforzando and rinforzato {ahh. — rinf. and rfz.) mean literally reinforced, and are used to indicate a sudden increase in power usually extending over an entire phrase or passage instead of appl3Tng only to a single tone or chord as in the case of sforzando, etc. 124. Crescendo (abb. — cresc. or -==) means a gradual' increase in power. It will be noted that this word does not. mean lotid, nor does it mean a sudden increase in power imless. accompanied by some auxiliary term such as subito, or molto.. Broadly speaking there are Pwo varieties of crescendo: (i) that in which the same tone increases in power while: being prolonged; (2) that in which succeeding tones are each sounded more strongly than the preceding one. The first variety is possible only on instruments giving forth a tone, which can be varied after it begins. Thus e.g., the human voice,, the violin, the organ enclosed in a swell box, and certain wind instruments, are all capable of sounding a tone softly at first and gradually increasing the volume until the maximal point of power has been reached. But on the piano, organ not enclosed in a swell-box, kettle drum, etc., the power of the S8 MUSIC NOTATION AND TERMINOLOGY tone cannot be varied after the tone has once been sdunded, and a crescendo effect is therefore possible only in a passage, in rendering which each succeeding tone is struck more forcibly than its immediate predecessor. This second variety of cres- cendo offers a means of dramatic effect which may be employed most strikingly, as e.g., when a long passage begins very softly and increases in power little by little until the utmost re- sources of the instrument or orchestra have been reached. A notable example of such an effect is found in the transition from the third to the fourth movements of the Beethoven Fifth S3maphony. The diflference between sforzando, rinforzando, aiid crescendo should now be noted: ■sforzando indicates that a single tone or chord is to be louder; rinforzando, that an ■entire passage is to be louder, banning with its first tone; but crescendo indicates that there is to be a gradual increase in power, this increase sometimes occurring dur- ing the sounding of a single tone, but more often in a passage. 125. Certain combinations of the word crescendo with other words are so common that they should be especially noted. Among these are: Crescendo al fortissimo — keep on gradually increasing in power until the for- tisamo (or very loud) point has been reached. Crescendo suhito — increase in power suddenly (or rapidly). Crescendo poco a poco — increase in power very, very gradually. Crescendo poi diminuendo — first increase, then diminish the tone. Crescendo e diminuendo — same as cresc. poi dim. Crescendo molto — increase in power very greatly. Crescendo ed animando poco a poco — growing gradually louder in tone and quicker in tempo. Crescendo ed qffretando — gradually louder and faster. Crescendo poco a poco sin al fine — crescendo gradually even up to the very end. 126. Decrescendo {decresc. or ==-) means a gradual diminishing of the tone. It is the opposite of crescendo. The word diminuendo is synonymous with decrescendo. Decrescendo (or diminuendo) al pianissimo means — de- crease gradually in power until the pianissimo (or very soft) point is reached. DYNAMICS 59 127. A number of terms referring to both softer tone and slower tempo are in use. The most common of these are: — mancando, moriente,^ morendo, perdendo (from perdere — to lose), perdendosi, calando, and smorzando? Such expressions are usually translated — "gradually dying away." 128. In piano music the abbreviation Ped. indicates that the damper pedal (the one at the right) is to be depressed, while the sign ♦ shows that it is to be released. In many modem editions this depression and release of the damper pedal are more accurately indicated by the sign I 1 . The term senza sordini is also occasionally found in old editions, indicating that the damper pedal is to be depressed, while con sordini shows that it is to be released. These expressions are taken from a usage in music for stringed instruments, in which the term con sordini means that the mute (a small damp of metal, ivory or hardwood) is to be affixed to the bridge, this causing a modification in both power and quality of the tone. The damper on the piano does not in any way correspond to the mute thus used on stringed instruments, and the terms above explained as sometimes occurring in piano music are not to be reconunended, even though Beethoven used them in this sense in all his earlier sonatas. 129. The words una corda (Ut. — one string) indicate that the "soft pedal" (the one at the left) is to be depressed, while the words tre corde (lit. three strings) or tutte le corde (all the strings) show that the same pedal is to be released. These expressions refer to the fact that on grand pianos the "soft pedal" when depressed moves the hammers to one side so that instead of striking three strings they strike only two (in the older pianos only one, hence una corda), aU three strings {tre corde) being struck again after the release of the pedal. 130. Other terms relating either directly or indirectly to the subject of djmamics are: Con alcuna licenza — with some degree of license. Con amore — with tenderness. Con bravura — with boldness. Con celerita — with rapidity. Con deUcato — with delicacy. Con energico — with energy. Con espressione — with expression. 1 Both moriente and morendo mean literally — dying. ' From smorzare (It.) — to extinguish. 6o MUSIC NOTATION AND TERMINOLOGY Con foTza — with force. Con f'uoco — with fire and passion. Con grand' espressione — with great expression. Con grazia — with grace. Con melinconia — with melancholy. Con passione — with passion. Con spiriio — with spirit. Con tenerezza — with tenderness. DeUcaio — delicately. Dolce — sweetly, gently. Dolcissimo — most sweetly. Dolce e cantabile — gently and with singing tone. oene i plaintively or sorrowfully. Dolorosa > Espressivo — expressively. Grandioso — grandly, pompously. Grazioso — gracefully. Giocoso — himiorously, (cf . jocose). Giojoso — jo5^ully, (cf. joyous). Lacrimando, lacrimoso — sorrowfully. Legato — smoothly. Leggiero — lightly. Leggierissimo — most lightly; almost a staccato. Lusingando — caressingly, coaxingly, tenderly. Maesta, maestoso — majestically. Martdlando, martdlaio — strongly accented, QM. — hammered). Marziale — martial — war-like. Mesto — pensively. Mezzo wee — with half voice. Misterioso — mysteriously. Parlando — well accented or enunciated; applied to melody playing. (The word parlando means literally — speaking.) Pastorale — in simple and unaffected style, (lit. — pastoral, rural). ' Pomposo — pompously. Precipitoso — precipitously. Secitatiiio — well entmdated. (This meaning applies only in instrumental music in which a melody is to stand out above the accompaniment. For def. of recitative in vocal music, see p. 78.) Risoluto — firmly, resolutely. Scherzando, scherzoso, etc. — jokingly. These terms are derived from the word scherzo meaning a musical joke. Semplice — simply. Sempre marcatissimo — always well marked, i.e., strongly accented. Sentimento — with sentiment. Solenne — solemn. Sotto voce — in subdued voice. Spiritoso — with spirit. DYNAMICS 6i Strepiioso — piedpitoudy. Tranquillo — tranquilly. Tnstamente — sadly. 131. Many other terms are encountered which on their face sometimes seem to be quite formidable, but which yield readily to analysis. Thus e.g.,, crescendo poco a poco al forte ed un pochettino accelerando, is seen to mean merely — "in- crease gradually to forte and accelerate a very Uttle bit." A liberal appUcation of common sense will aid greatly in the interpretation of such expressions. CHAPTER XrV Terms Relating to Forms and Styles 132. A form in music is a specific arrangement of the various parts of a composition resulting ia a structure so characteristic that it is easily recognized by the ear. Thus e.g., although every fugue is different from all other fugues in actual material, yet the arrangement of the various parts is so characteristic that no one who knows the fugue form has any doubt as to what kind of a composition he is hearing when- ever a fugue is played. The word/orw is therefore seen to be somewhat synonymous with the word plan as used in arch- itecture; it is the structure or design underl)dng music. Examples of form are the canon, the fugue, the sonata, etc. Speaking broadly we may say that form in any art consists in the placing to- gether of certain parts in such relations of proportion and symmetry as to make a unified whole. In music this implies unity of tonality and of general rhythmic effect, as well as unity in the grouping of the various parts of the work (phrases, periods, movements) so as to weld them into one whole, giving the impression of completeness to the hearer. 133. The primal basis of form is the repetition of some characteristic effect, and the problem of the composer is to bring about these repetitions in such a way that the ear will recognize them as being the same material and wiU neverthe- less not grow weary of them. This is accomplished by vary- ing the material (cf. thematic development), by introducing contrasting material, and by choice of key. 134. The student should note at the outset of this topic the difference in meaning between the terms form and style: 62 TERMS RELATING TO FORMS AND STYLES 63 A form is a plan for biiilding a certain definite kind of compo- sition, but a style is merely a manner of writing. Thus e.g., the fugue is a form — i.e., it is a plan, which although capable of variation in details, is yet carried out fairly definitely in €very case; but counterpoint is merely a style or manner of writing (just as Gothic architecture is a style of building), which may be cast into any one of several forms. 135. The material found in the following sections is an attempt to explain in simple language certain terms relating to forms and styles which are in common use; in many cases the definition is too meagre to give anything but a very general idea, but it is hoped that the student wiU at least be set to thinking and that he will eventually be led to a more detailed and scholarly study of the subject. (The article "Form" and the separate articles under each term here defined, as found in Grove's Dictionary, are especially recommended. For examples of the various forms described, see also Mason and Surette — "The Appreciation of Music," Supplementary Volimie.) 136. In a very general way there may be said to be two styles of musical composition, the monophonic (or homophonic) — the one- voiced — and the poljrphonic — the many voiced. The polyphonic^ style antedates the monophonic historically. 137. In monophonic music there is one voice which has a pronounced melody, the other voices (if present) supporting this melody as a harmonic (and often rhythmic) backgroimd. An example of this is the ordinary hymn-time with its melody in the highest part, and with three other voices forming a "four-part harmony." The sonata, symphony, opera, modem piano piece, etc., are also largely monophonic, though poly- phonic passages by way of contrast are often to be found. ' Polyphonic music flourished from looo A.D. to about 1750 A.D., the culmina- tion of the polyphonic period being reached in the music of Johann Sebastian Bach (1685-1 750). Haydn, Mozart, Beethoven, and the later writers have used the mono- phonic style more than the polyphonic, although a combination of the two is often found, as e.g., in the later works of Beethoven. 64 MUSIC NOTATION AND TERMINOLOGY 138. In polyphonic music each voice is to a certain extent melodically interesting, and the "harmony" is the result of combining several melodies in such a way as to give a pleas- ing effect, instead of treating a melody by adding chords as an accompaniment or support. Counterpoint, canon, round, fugue, etc., are aU polyphonic in style. The word contra- puntal is often used synonymously with polyphonic. (Sections 139 to 143 relate especially to terms describing polyphonic music.) 139. Counterpoint is the art of adding one or more parts or melodies to a given melody, the latter being known as the "cantus firmus," or subject. It may therefore be broadly defined as "the art of combining melodies." The word counterpoint comes from the three words "puncttis contra punctum," meaning "point against point." The word point as here used jefers to the punctus — one of the neumae of the mediaeval system, these neumae being the immediate pred- ecessors of modem notes. Both vocal and instrumental music have been written in contrapuntal style. The familiar two- and three-part "inventions" by Bach are excellent examples of instrumental counterpoint, while such choruses as those in "The Messiah" by Handel illustrate the highest tjrpe of vocal counterpoint. 140. Imitation is the repetition by one part, of a subject , or theme previously introduced by another part. If the imitation is exact, the term strict imitation is applied, but if only approximate, then the tenafree imitation is used in refer- ring to it. The repetition need not have the exact pitches of the subject in order to be strict; on the contrary the imitation is usually at the interval of an octave, or a fifth, or a second, etc. Fig. 57 shows an example of strict imitation in which the third part comes in an octave lower than the first part. 141. A canon is a contrapuntal composition in the style of strict imitation, one part repeating exactly (but at any interval), what another part has played or sung. The term "canonic style" is sometimes applied to music in which the imitation is not exact. An example of three-part canon is given in Fig. 57. TERMS RELAXmO TO FORMS AND STYLES 65 CANON IN THREE VOICES, IN THE UNISON AND OCTAVE Fig. 57. Mozart ^ ±=^=M=i: j-r- r-p ^ ^m i istg ^1 ?=s -^— * -gHi- ^m *=» sp p E^ * F— #• :g=^ ^ t rrr r -w-(i-i-»-H- ;?r "m EiBE ^ ^ i m p -#-* i=p: ■^-P-»- ^i i The word cawow means law, and was applied txj this particular form of composition because the rules relating to its composition were invariable. It is because of this non-flexibility that the canon is 50 little used as a form at the present time:\the modem composer. demands a plan of writing that is capable of being varied to such an extent as to give him room for the exercise of his own particular individualityVf conception, and this the canon does not do. For this same reason too the fugue arid the sonata have successively gone out of fashion and from Schumann down to the present time composers have as it were created their own forms, the difficulty in listening arising from the fact that no one but the composer himself could recognize the form as a form 66 MUSIC NOTATION AND TERMINOLOGY because it had not been adopted to a great enough extent by other composers to make it in any sense universal. The result is that in much present-day music it is very difficult for the hearer to discover any trace of familiar design, and the impression made by such music is in consequence much less definite than that made by music of the classic school. It is probable that a reaction from this state of aflEairs will come in the near future, for in any art it is necessary that there should be at least enough semblance of structure to make the art work capable of standing as a universal thing rather than as the mere temporary expression of some particular composer or of some period of composition. 142. The common school round is an example of canon, each voice repeating exactly what the first voice has sung, while this first voice is going on with its melody. The round is therefore defined as a variety of canon in which the imitation is always in vmison with the subject. 143. The fugue (Latin, fuga = flight) is a form of contra- puntal composition in which the imitation is always in the dominant key, i.e., a fifth above or a fourth below. The imitation (called "the answer") may be an exact repetition of the subject (sometimes called "the question"), but is us- ually not so. The fugue differs from the canon also in that the subject is given in complete form before the answer begins, while in the canon the imitation begins while the subject is still going on. The/«gMe is not nearly so strict in form as the canon and gives the composer much greater opportunity for expressing musical ideas. A canon may be perfect in form and yet be very poor music; this same statement might of course be made about any form, but is especially true in the stricter ones. CHAPTER XV Terms Relating to Forms and Styles (Continued) (Sections 144 to 160 relate particularly to terms used in desciiptions of mono- phonic music^.) 144. A phrase is a short musical thought (at least two measures in length) closing with either a complete or an in- complete cadence. The typical phrase is four measures long. The two-measure phrase is often called section. . The word phrase as used in music terminology corresponds with the same word as used in language study. 145. A period is a Uttle piece of music typically eight measures long, either complete in itself or forming one of the clearly defined divisions of a larger form. The period (when complete in itself) is the smallest monophonic form. The essential characteristic of the regular period is the fact that it usually consists of two balanced phrases (often called antecedent and consequent or thesis and antithesis), the first phrase giving rise to the feeling of incompleteness (by means of a cadence in another key, deceptive cadence, etc.,) the second phrase giving the eflEect of completeness by means of a definite cadence at the close. S The second half of the period is sometimes a literal repetition of the first halt, in all respects except the cadence, but in many cases too it is a repetition of only one of the elements — rhythm, intervals, or general outline. Figs. 58 and S9 show examples of both types. The principle almost invariably holds that the simpler the music (cf. folk-tunes) the more obvious the form of the period, while the more complex the music, the less regular the period. / ' There is a very pronounced disagreement among theorists as to what terms are to be used in referring to certain forms and parts of forms and it seems impossible to make a cxjmpromise that will satisfy even a reasonable number. In order to make the material in this chapter consistent with itself therefore it has been thought best by the author to follow the terminology of some single recognized work on form, and the general plan of monophonic form here given is therefore that of the volume called Musical Form, by Bussler-Comell. 67 68 MUSIC NOTATION AND TERMINOLOGY Fig. 58. Mozart Period ^^ ist Section 2nd Section i # Antecedent or ist Plirase Eb V i 3rd Section 4th Section m Consequent or 2nd Phrase Fig. 59. Schubert ^ -•-r- gBE ^f^ antecedent consequent 146. The primary forms are built up by combining two or more periods. The small two-part primary form (often called song-form or Lied-form) consists of two periods so placed that the sec- ond constitutes a consequent or antithesis to the first. The second half of this second period is often exactly the same as the second half of the first period, thus binding the two periods together into absolute unity. The theme of the choral movement of the Ninth Symphony (Beethoven) quoted' below is a perfect example of this form. Other examples are "Drink to Me Only With Thine Eyes," and "The Last Rose of Summer." .' Beethoven First Period a S jKI3E ±M± ^i~r mt '•d a Thesis Antithesis TERMS RELATING TO FORMS AND STYLES 69 Second Period The small three-part primary form is like the two-part pri- mary form except that it has a section of contrasting material interpolated between the two periods. This middle part is usually an eight-measure phrase. The large two- and three-part primary forms usually have sixteen-measure periods instead of eight-measure ones, but are otherwise similar in construction. These various primary forms are used in constructing many varieties of composi- tions, among them the theme and variations, the polka, the waltz, the march, etc., as well as most of the shorter movements in sonatas, quartets, etc. They are used in vocal music also, but are less apt to be regular here because the form of vocal music is largely dependent upon the structure of the text. 147. A theme is a fragment of melody used as the subject of a fugue, as the basis of the development section in " sonata form," etc. Sometimes it is a complete tune (often in period form), on which variations are made, as e.g., in the famiUar theme and variations. 148. Thematic development consists in taking a short theme (or several short themes) and by means of transposition, inter- val expansion and contraction, rhythmic augmentation and diminution, inversion, tonality changes, etc., building out of it a lengthy composition or section of a composition. Fig. 60 b, c, d, e, and / show how the theme given in Fig. 60 (a) may be varied in a few of these ways. There are hundreds of other fashions in which this same theme might be varied with- out destroying its identity. For other examples of thematic development see the development section of Sonata Op. 31, Sec. 3, as analyzed in Appendix E. Fig. 6O. (^) S Original theme iita g Transposition 70 MUSIC NOTATION AND TERMINOLOGY fe£ # =5i M f Interval expansion n „ (') Rhythmic augmentation fgsrcig ^^ += Rhythmic diminution Inversion For further illustrations of development in the case of this same theme, see — Chris- tiani — The Principles of Expression in Pianoforte playing, p. 144, ff. from which the foregoing themes have been adapted. 149. A rondo is an instrumental composition (in homo- phonic style) in which a certain theme appears several times almost always in the same form (i.e., not thematicaUy varied), the repetitions of this theme being separated by contrasting material. The rondo is the oldest of the larger monophonic forms and has been used in many different ways, but perhaps its most characteristic construction is as foUows: (i) Principal sub- ject;' (2) second subject in dominant key; (3) principal subject; (4) third subject; (5) first subject again; (6 second subject, in tonic key; (7) coda (or ending). The student should note particularly the problem of repe- tition and contrast (mentioned in Sec. 134) as here worked out, as the rondo was the first monophonic form in which this matter was at aJl satisfactorily solved, and its construction is especially interesting because it is readUy seen to be one of the direct predecessors of the highest form of all — the sonata. Examples of rondos may be found in any volume of sonatas or sonatinas. .150. A suite is a set of instrumental dances all in the same or in nearly related keys. The first dance is usually preceded by an introduction or prelude, and the various dances are so grouped as to secure contrast of movement — a quick dance being usually followed by a slower one. TERMS RELATING TO FORMS AND STYLES 71 The suite is interesting to students of the development of music as being the first form in several movements to be generally adopted by composers. It retained its popularity from the beginning of the seventeenth to tie end of the eighteenth cen- turies, being finally displaced by the sonata, whose immediate predecessor it is thus seen to be. The suite was formerly written for solo instrument only (harpsichord, clavichord, piano) but modern composers like Dvorak, Lachner, Moszkowski, and others have written suites for full orchestra also. 151. Among the dances commonly found in suites are the following: AUemande — duple or quadruple measure. Bolero — triple measure. Bour^ — duple or quadruple measure. Chaconne — triple measure. Couranle — a very old dance in triple measure. Csardas — Himgarian dance in duple or quadruple measure. Gavotte — quadruple measure. Gigue (pTJig) — duple measure. Habanera — Spanish dance in triple measure. Minuet — slow dance in triple measure. Mazurka — Polish dance in triple measure. Polonaise — Polish dance in triple measure. Rigaudon — lively dance in duple or triple measure. Sarabande — triple measure. Tarantella — swift Italian dance in sextuple measure. The aUemande is especiallyinteresting to students of music form because of its relation to the sonata, it being the proto- type of the sonata-aUegro {i.e., tjie first movement of the sonata). The sarabande and courante are likewise interesting as the prototypes of the second movement, and the houree^ minuet, etc., for their connection with the third movement. 152. The scherzo (Kt. musical joke) is a fanciful instrumen- tal composition. It was used by Beethoven as the third movement of the sonata instead of the more hmited minuet, but is also often found as an independent piece. 153. A sonata is an instrumental composition of three or more movements (usually four), the first and last of which are 72 MUSIC NOTATION AND TERMINOLOGY "Almost always in rapid tempo. Each of these movements is a piece of music with a unity of its own, but they are aU merged together in a larger whole with a broad underlying unity of larger scope. The composition receives its name from the fact that its first movement is cast in sonata-form. (See Sec. 157 for description of sonata-form.) When the sonata has four movements, these are usually arranged as follows: 1. A quick movement {allegro, presto, etc.), often pre- ceded by a slower introduction. 2. A slow movement {largo, andante, adagio, etc.). 3. A minuet or scherzo, often with a trio added, in which case the part preceding the trio is repeated after the trio is played. 4. A quick movement — the finale, sometimes a rondo, sometimes another sonata-form, sometimes a theme ^ with variations. These movements are all in closely related keys, but in a variety of contrasting rhythms. 154. A trio is a sonata for three instruments (such as piano, violin, and ceUo), whUe a quartet is a sonata for four instruments, the most common quartet combination being as follows: First and second violins, viola, and violoncello. The term chamber music is often applied to instrumental music for trio, quartet, quintet, and other similar combinations which are suitable for a small room rather than for a large concert haU. The words trio and quartet are also applied to vocal works for three and four voices respectively, these having no relation whatsoever to the sonata as described above. The word trio is also applied to the middle section of minuets, scherzas, marches, etc., the term originating in the old usage of writing this part for three in- struments only. 155. A concerto is a sonata for a solo instrument with orchestral accompaniment, the form being usually somewhat modified so as to adapt it to a composition in which there must TERMS RELATING TO FORMS AND STYLES 73 necessarily be opportunity for a good deal of technical display. There are usually but three movements in the concerto. The great majority of concertos are for piano and orchestra, but examples of concertos for violin, cello, flute, oboe, and other solo instruments (all with orchestral accompaniment) have also been written. A few modem composers have applied the term concerto to certain large organ works (with no orchestral accompaniment, the composition being written for just the one instrument), but this use of the word is so contrary to the accepted definition that it is hardly justifiable. When a concerto is played on two pianos (without orchestra), this does not mean that there is no orchestral part, but that there is no orchestra to play it, and so the parts that shovild be played by the orchestral instruments have simply been arranged for a second piano (sometimes organ). 156. A ^yw^Aowy is a sonata for fuU orchestra. In general its construction is the same as that of the sonata, but it is usually of much larger proportions and has in it much greater variety of both tonal and rhythmic materiaU The symphony is generally conceded to be the highest t3^e of instrumental music ever evolved. The symphony was accepted as a standard form in the time of Haydn (1732-1809) and was developed enormously by Haydn himself, Mozart (1756-1791), and Beethoven (1770-1827), reaching perhaps its highest point in the famous "Nine Symphonies" of the last-named composer. Later symphony writers whose works are at present being performed include Schumann, Tschaikowsky, and Dvordk. * The word symphony was formerly used synonymously with ritornelle, both words being applied to instrumental interludes between parts of vocal works; but this usage has now entirely disappeared. 157. Sonata-form (sometimes called sonata-allegro) is a plan for the construction of instrumental music (sonatas, quartets, symphonies, etc.), in which three rather definite divisions always occur, the third division being a more or less literal repetition of the first. These three parts of sonata-form with their usual subdivisions are: I Exposition (i) Principal theme (or first subject). (2) Link-episode (or modulation group). (3) Secondary theme (or song group), always in a nearly related key. (4) Closing group. (5) Coda. 74 MUSIC NOTATION AND TERMINOLOGY II Development Section Treating the themes introduced in the exposition in an almost infinite vari- ety of fashions, according to the principles of thematic development. (See Sec. 148). III. Recapitulation (ok Reprise) Consisting essentially of the same subdivisions found in the exposition, but differing from this first section in one essential point, viz., that instead of stating the secondary theme in a related key, the entire recapitulation is in the principal key. This third section is always followed by a coda (which may either be very short or quite extended), bringing the whole movement to a more definite dose. The second part of sonata-form (the development section) is sometimes the longest and most intricate of the three divisions, and it is at this point that the composer has an opportunity of displaying to the full his originality and inventive skill. It is prin- cipally because of this development section that the sonata is so far superior as a form to its predecessors. For an analyzed example of sonata-form, see Appendix E. The student is advised to take other sonatas and go through the first movements, with a view to finding at least the three main divisions mentioned above. In some cases the form will of course be so irregular that all the parts indicated cannot be discovered, but the general outlines of the scheme will always be present. 158. A sonatina, as its name implies, is a little sonata. It differs from the sonata proper principally in having little or no development, the second section being of slight importance as compared with the corresponding section of a sonata. A grand sonata is like an ordinary sonata in form, but is of unusually large dimensions. 159. Program music is instrumental music which is sup- posed to convey to the listener an image or a succession of images that wUl arouse in him certain emotions which have been previously aroused in the composer's mind by some scene, event, or idea. The clue to the general idea is usually given at the beginning of the music in the form of a fSoem or a short description of the thing in the mind of the composer, but there are many examples in which there is no clue what- soever except the title of the composition. Program music represents a mean between pure music (cf. the piano sonata or the string quartet) on the one hand, and descriptive music (in which actual imitations of bird-calls, whistles, the blowing of the wind, the galloping of horses, the rolling of thunder, etc., occur), on the other. Most program music is written for the orchestra, «xamples being Liszt's "The Preludes," Strauss' "Till Eulenspiegel," etc. TERMS RELATING TO FORMS AND STYLES 75 160. A symphonic poem (or tone poem) is an orchestral composition of large dimensions (resembling the symphony in size), usually embodying the program idea. It has no pre- scribed form and seems indeed to be often characterized by an almost total lack of design, but there are also examples of symphonic poems in which the same theme runs throughout the entire composition, being adapted at the various points at which it occurs to the particular moods expressed by the program at those points. The symphonic poem was invented by Liszt (1811-1886) and has since been used extensively by Strauss, Saint-Saens and others. It came into ejdstence as a part of the general movement which has caused the fugue and the sonata successively to go out of fashion, viz., the tendency to invent forms which would not hamper the com- poser in any way, but would leave him absolutely free to express his ideas in his own individual way. CHAPTER XVI Teems Relating to Vocal Music i6i. An anthem is a sacred choral composition, usually based on Biblical or liturgicaP words. It may or may not have an instrumental accompaniment, and is usually written in four parts, but may have five, six, eight, or more. The word anthem is derived from antifona (or antiphona), meaning a psalm or hymn sung responsively, i.e., antiphonally, by two choirs, or by choir and congregation. A full anthem is one containing no solo parts; a solo anthem is one in which the solo part is predominant over the chorus, while a verse anthem is one in which the chorus parts alternate with passages for concerted solo voices {i.e., trios, quartets, etc.). 162. A capella (sometimes spelled cappella) or alia capella music is part-singing (either sacred or secular) without accom- paniment. This term means literally " in chapel style," and refers to the fact that in the early days of the church all singing was unaccompanied. 163. A motet is a sacred choral composition in contrapun- tal style. It has no solo parts, thus corresponding to the madrigal (q.v.) in secular music. The motet is intended for a capella performance, but is often given with organ accompaniment. 164. A choral is a hymn-tune of the German Protestant Church. It is usually harmonized in four voices. The choral (sometimes spelled chorale) is described as having "a plain melody, a strong harmony, and a stately rhythm." It differs from the ordinary English and American h3mm-tune in being ^ A liturgy is a prescribed form or method of conducting a religious service, and the parts sung in such a service (as e.g., the holy communion, baptism, etc.), are re- ferred to as the musical hturgy. 76 TERMS RELATING TO VOCAL MUSIC 77 usually sung at a much slower tempo, and in having a pause at the end of each line of text. 165. The mass is the liturgy for the celebration of the Lord's Supper in the service of the Roman Catholic Church. As used in the terminology of music the word refers to the six h3rmns which are always included when a composer writes a musical mass, and which form the basis of the celebration of the Communion.^ These six hjTnns are as follows: Kyrie Gloria (including the Gratias agimus, Qui tollis, Quoniam, Cum Sancto Spirito). Credo (including the Et Incarnatus, Crucifixus, and Et Resurrexit). Sanctus (including the Hosanna). Benedictus. Agnus Dei (including the Dona nobis). The requiem mass is the "mass for the dead" and differs considerably from the ordinary mass. Both regular and requiem masses have been written by many of the great composers (Bach, Beethoven, Verdi, Gounod), and in many cases these masses are so complex that they are not practicable for the actual service of the Church, and are therefore performed only by large choral societies, as concert works. 1 66. A cantata is a vocal composition for chorus and soloists, the text being either sacred or secular. The accompaniment may be written for piano, organ, or orchestra. When sacred in character the cantata difEers from the oratorio in being shorter and less dramatic, in not usually having definite characters, and in being written for church use, while the oratorio is intended for concert performance. When secular in subject the cantata dpers from the opera in not usually having definite characters, and in being always rendered without scenery or action. Examples of the sacred cantatq, are: Stainer's "The Crucifixion," Clough-Leigh- ter's, "The Righteous Branch," and Gaul's "The Holy City." Examples of the sec- ular cantata are: Bruch's "Armenius," Coleridge-Taylor's "Hiawatha." 167. An oratorio is a composition on a large scale for chorus, soloists, and orchestra, the text usually dealing with some religious subject. The oratorio, as noted above, is not 1 It should be understood that this statement refers to the service called "the high mass" only, there being no music at all in connection with the so-called "low mass." 78 MUSIC NOTATION AND TERMINOLOGY intended for the church service, but is written for concert performance^ 1 68. An opera is a composition for vocal soloists, chorus, and orchestra, with characters, action, scenery, and dramatic movement. It is a drama set to music. Grand opera is opera with a serious plot, in which everything is sung, there being no spoken dialog at all. Opera comique is a species of opera in which part of the dialog is spoken and part sung. Opera comique is not synonymous with comic opera, for the plot of opera comique is as often serious as not. In fact the entire distinction between the terms grand opera and opera comique is being broken down, the latter term referring merely to operas first given at the Opera Comique in Paris, and the former term to those given at the Grand Opera House in the same city. A comic opera is a humorous opera, the plot providing many amusing situations and the whole ending happily. It corresponds with the comedy in literature. A light opera is one with an exceedingly trivial plot, in which songs, dances, and pretty scenery contribute to the amusement of the audience. The music is lively, but usually as trivial as the plot. The term music drama was used by Wagner in referring to his own operas, and is also sometimes applied to other modem operas in which the dramatic element is supposed to predominate over the musical. 169. A libretto (lit. — Kttle book) is the word-text of an opera, oratorio, cantata, or some other similar work. 170. Recitative is a style of vocal solo common to operas, oratorios, and cantatas, especially those written some time ago. Its main characteristic is that the word-tesk is of para- mount importance, both rhythm and tone-progression being governed by rhetorical rather than by musical considerations. Recitative undoubtedly originated in the intoning of the priest in the ritualistic service of the Church, but when applied to the opera it became an important means of securing dramatic efiEects, especially in situations in which the action of the play moved along rapidly. Recitative is thus seen to be a species of musical declamation. In the early examples of recitative there was scarcely any accompaniment, often only one instrument (like the cello) being employed to play a sort of obbligato melody: when full chords were played they were not written out in the score, but were merely indicated in a more or less general way by certain signs and figures. (See "thorough- bass," p. 8s, Sec. 200.) But about the middle of the seventeenth century a slightly different style of recitative was invented, and in this type the orchestra was employed much more freely in the accompaniment, especially in the parts between the phrases of the text, but to some extent also to support the voice while singing. This new style was called recito- tivo stromento {i.e., accompanied recitative), while the original type was called recitativo secco (i.e., dry recitative). TERMS RELATING TO VOCAL MUSIC 79 During the last centuiy the style of recitative has been still furflier developed by ■Gluck and Wagner, both of whom used the orchestra as an independent entity, with interesting melodies, harmonies and rhythms all its own, while the vocal part is a sort •of obbligato to this accompaniment. But even in this latest phase of recitative, it is the word-text that decides the style of both melody and rhythm in the voice part. Fig. 6i shows an example of dry recitative, taken from "The Messiah." Alto Voics: &3 tcz* ^ Jt ^ ■ S \ d S ■i=*i Be-hold la vir - gin shall con-ceiv'e, and bear a' son, 'hn—^ m =F m ^i= ~ -?p- ACCOMP. / ^ m -s>— 8ves. ^ ^ i^ ^ and shall call his name Em -man - u-el; God with us. m m ^ ^ «!•— -J: I m^ 171. Aria is likewise a style of vocal solo found in operas, etc., but its predominating characteristic is diametri- cally opposed to that of the recitative. In the aria the word- text is usually entirely subordinate to the melody, and the latter is often very ornate, containing trills, runs, etc. The rendition of this ornate style of music is often referred to as "coloratura singing," but it should be noted that not all arias are coloratura in style. The familiar solos from The Messiah — "Rejoice Greatly," and "The trumpet shall soimd" are good examples of the aria style. 8o MUSIC NOTATION AND TERMINOLOGY 172. A lied (Ger. = song) is a vocal solo in which the text, the melody, and the accompaniment contribute more or less equally to the effect of the whole. Strictly speaking the word lied means "a poem to be sung," and this meaning will explain at once the difference between the lied on the one hand, and the Italian recita- tive and aria on the other, for in the lied the text is of great importance, but the music is also interesting, while in the recitative the text was important but the music very shght, and in the aria the text was usually inconsequential while the music held the center of interest. The most pronounced characteristic of the lied is the fact that it usually portrays a single mood, sentiment, or picture, thus differing from the ballad, which is narrative in style. It wUl be noted that this "single mood, or sentiment, or picture" was originally conceived by the poet who wrote the word-text, and that the composer in writing music to this text has first tried to get at the thought of the poet, and has then attempted to compose music which would intensify and make more vivid that thought. This intensification of the poet's thought comes as often through the rhythm, harmony, and dynamics of the accompaniment as through the expressiveness of the voice part. The style of song-writing in which each verse is sung to the same tune is called the "strophe form," while that in which each verse has a different melody is often re- ferred to as the "continuous'' or "through-composed" form (Ger. durch-componiert). 173. A ballad was originally a short, simple song, the words being in narrative style, i.e., the word-tra:t telling a story. In the earlier ballads each verse of the poem was usually sung to the same tune (strophe form), but in the art- ballad as developed by Loewe and others the continuous style of composition is employed, this giving the composer greater opportimities of making vivid through his music the events de- scribed by the poem. These later ballads are in consequence neither "short" nor "simple" but compare in structure with the Ued itself. TERMS RELATING TO VOCAL MUSIC 8i 174. A folk-song is a short song sung by and usually, originating among the common people. Its dominant char- acteristic is usually simplicity, this appl3dng to word-text, melody, and accompaniment (if there is one). The text of the folk-song is usually based on some event connected with ordi- nary life, but there are also many examples in which histori- cal and legendary happenings are dealt with. Auld Lang S)nie, and Comin' thru the Rye, are examples oi folk-songs. There has been some difference of opinion as to whether a song, the composer of which is known, can ever constitute a Teal folk-song: recent writers seem to be taking the sensible view of the matter, viz. : that if a song has the characteristics of a f olk- rather than an art-song, and if it remains popular for some time among the common people, then it is just as much a folk-song whether the composer happens to be known or not. 175. A madrigal is a secular vocal composition having from three to eight parts. It is in contrapimtal style, Uke the motet, and is usually sung a capeUa. 176. A glee is a vocal composition in three or more parts, being usually more simple in style than the madrigal, and sometimes having more than one movement. The glee may be either gay or sad in mood, and seems to be a composition peculiar to the English people. 177. A part-song is a composition for two or more voices, (usually four) to be sung a capeUa. It is written in mono- phonic rather than in polyphonic style, thus differing from the madrigal and glee. Morley's " Now is the Month of May- ing" is an example of the />ar/-so«g, as is also Sullivan's "O Hush Thee, My Baby." The term part-song is often loosely applied to glees, madrigals, etc. CHAPTER XVII Rhythm, Melody, Harmony and Intervals ' 178. The four elements commonly attributed to music (in the order of their development) are: Rhythm, Melody, Harmony, and Timbre (or tone-color). 179. iJA^/^Aw is the regular recurrence of accent. In music it is more specifically the regular recurrence of groups of accented and non-accented beats (or pulses) — according to some specified measure-system. Since rhythm imphes con- tinuity, there must usually be at least two such measure groups in order to make musical rhythm possible. (See p. 44, Sec. 97.) 180. A melody is a succession of single tones of various pitches so arranged that the effect of the whole will be unified, coherent, and pleasing to the ear. The soprano part of hymn-tunes and other simple harmonized compositions is often referred to as "the melody." 181. Harmony is the science of chord construction and combination. The term harmony refers to tones sounding simultaneously, i.e., to chords, as differentiated from tones sounding consecutively, as in melody. The word harmony may therefore be applied to any group of tones of different pitches sounded as a chord, although specifically we usually refer to a succession of such chords when we speak of "harmony." It is possible to use the same combination of tones in either melody or harmony; in fact these two elements as applied to modem music have developed together and the style of present-day melody is directly based upon the development that has recently taken place in harmonic construction. Harmony (as contrasted with counterpoint) first began to be an important factor in music about 1600 A. D., i.e., at the time when opera and oratorio came into exist- ence, when form was established, and when our modern major and minor scales were adopted. Before this practically all music was composed on a contrapuntal basis. 182. Timbre is that peculiar quaUty of sound which enables one to distinguish a tone produced by one instrument (or 82 RHYTHM, MELODY, HARMONY, ETC. 83 voice) from a tone produced by an equal number of vibrations on another instrument. The word timbre is sjmonymous with the tenns quality of tpne, and tone quality (Ger. — Klang-farbe), the excuse for using it being that it expresses adequately in one word an idea that in our language takes at least two: this excuse would disappear (and incidentally a much-mispronounced word would be eliminated) if the single word gtiality were to be adopted as the equivalent of timbre. Thus, e.g., the soprano voice singing c' has a quality different from the contralto voice singing the same tone. (The remainder of this chapter and all of Chapter XVIII deal with terms com- monly encountered in the study of harmony. Courses in this subject usually begin with a study of scales, but since this subject has already been somewhat extensively treated, this chapter will omit it, and will begin with the next topic in harmony study, viz. — the interval.) 183. An interval is the relation of two tones with regard to pitch. K the two tones are sounded simiiltaneously the result is an harmonic interval, but if sounded consecutively the result is a melodic interval. Fig. 62 represents the pitches f and a' as a harmonic interval, while Fig. 63 represents the same pitches arranged as a melodic interval. Figf. 62. Fig. 63. 184. In classifying intervals two facts should be constantly kept in mind: (i) The number name of the interval (third, fifth, sixth, etc.), is derived from the order of letters as found in the diatonic scale. Thus the interval C — ^E is a third because E is the third tone from C (coimting C as one) in the diatonic scale. C — G is a. fifth because G is the fifth tone above C in the diatonic scale. It should be noted however that the same number-^names apply even though one or both letters of the interval are qualified by sharps, flats, etc. Thus e.g., C— G# is still z. fifth, as are also C#— Gb and Cb — G#. (2) In determining tlie specific name of any interval (perfect fifth, major third, etc.), the half -step and whole-step (often referred to respectively as minor 84 MUSIC NOTATION AND TERMINOLOGY second, and major second) are used as units of measure- ment. The half -step is usually defined as "the smallest usable interval between two tones." Thus, C — C# is a half-step, as are also B — C, F — Gb, etc. A whole-step consists of two half-steps. C — ^D is a whole-step, as are also Bl> — C, E-F#, F#— G#, Gb— Ab, etc. The expressions half-step and whole-step are much to be preferred to half-tone and whole-tone, as being more clear and definite. Thus e.g., the sentence "The two tones are a half -step apart" is much better than "The two tones are a half-tone apart." 185. A prime is the relation between two tones whose pitches are properly represented by the same degree of the staff. A perfect prime is one whose tones have the same pitch. Middle C soimded by piano and violin at the same time would offer an example. An augmented prime is one whose second tone is one half-step higher than the first. Ex. C — Cjf. 186. A second is the relation between two tones whose pitches are properly represented by adjacent degrees of the staff. (The first line and first space are adjacent degrees, as are also the third line and fourth space.) A minor second is one comprising one half-step. Ex. B— C. A major second is one comprising two half-steps. Ex. B-Ctf. An augmented second is one comprising three half -steps. Ex. F— G#. 187. A third is an interval comprising two seconds. A diminished third has two minor seconds {i.e., two half-steps). C— Ebb. A minor third has one minor and one major second {i.e., three half-steps). C — Eb. A major third has two major seconds {i.e., four half- steps). C — E, 188. K fourth is an interval comprising three seconds. RHYTHM, MELODY, HARMONY, ETC. 85 A diminished fourth has two minor and one major second. C# — ^F. A perfect fourth has one minor and two major seconds. C— F. An augmented fourth (tritone) has three major seconds. C-Fif. 189. A fifth is an interval comprising four seconds. A diminished fifth has two minor and two major seconds. C— Gb. A perfect fifth has one minor and three major seconds. C— G. An augmented fifth has four major seconds. C: — G|. igo. A sixth is an interval comprising five seconds. A minor sixth has two minor and three major seconds, , C— Ab. A major sixth has one minor and four major seconds. C— A. An augmented sixth has five major seconds. C — ^Ajf. 191. A seventh is an interval comprising six seconds. A diminished seventh has three minor and three major ! seconds. C — ^Bbb. A minor seventh has two minor and four major seconds. C— Bb. A major seventh has one minor and five major seconds. I C— B. 192. An octave is an interval comprising seven seconds. A diminished octave has three minor and four major seconds. C — Cb. A perfect octave has two minor and five major seconds. C— C. An augmented octave has one minor and six major sec- onds. C — C#. 193. A ninth is usually treated as a second, a tenth as a third, etc. The interval of two octaves is often referred to as a, fifteenth. 86 MUSIC NOTATION AND TERMINOLOGY 194, If the major diatonic scale be written and the interval between each tone and the key-tone noted, it wiU be observed that the intervals are all either major or perfect. See Fig. 64. Fig. 64. Perfect Prime Major ad Major 3d Perfect 4th Perfect sth Major 6th Major 7th Perfect Octave i 00 - s^ -&- -&- ' -&- -— Dt>, etc. Fig. 75. 1: ^m w^ ^ ¥--15^ G . . . to 210. A suspension is the temporary substitution of a tone a degree higher than the regular chord-tone, this temporary tone being later replaced by the regular chord-tone. See Fig. 76 (a). Fig. 76. (a) i IE ^ -fa- CHORDS, CADENCES, ETC. 93 211. A retardation is the temporary substitution of a tone a degree lower than the regular tone, this tone (as in the case of the suspension) being later replaced by the regular chord tone. See Fig. 77 (a). Fig. 77. (fl) i f- j ^ I ^ The "regular chord tone" to which both suspension and retardation resolve is called the tone of resolution. 212. The anticipation is a chord-tone introduced just be- fore the rest of the chord to which it belongs is sounded. See Fig. 78 (a). Fig. 78. (a) i ^^ ^ -f A J t^ 213. A pedal point (or organ point) is a tone sustained through a succession of harmonic progressions, to the chords of some of which it usually belongs. The term pedal point originated in organ playing, (where the foot on a pedal can sustain a tone while the hands are plajdng a succession of harmonies), but as now used it may be applied to any kind of music. The dominant and tonic are the tones most often used in this way. See Fig. 79. 94 MUSIC NOTATION AND TERMINOLOGY Fig. 79. Schumann m J^J— J— J^4 :^=d= ^E ^ ^=t i i^ -^J^- fcj-^. 1^1 -^ ^^=^ p r- 214. When the upper three voices of a four- voice com- position are written close together (the soprano and tenor never appearing more than an octave apart), the term close position is appUed. But when the upper voices are not written close together, the term open position is applied. 215. By transposition is meant playing, singing, or writing a piece of music in some other key than the original. Thus e.g., if a song written in the key of G is too high in range for a soloist, the accompanist sometimes transposes it to a lower key (as F or E), thus causing all tones to sound a second or a third lower than they did when the same song was played in the original key. CHAPTER XDC Miscellaneous Terms A battua — with the beat; in strict rhythm. A quatre mains — for four hands. Accompagnamento — the accompaniment. All unisono — in unison. AUa breve — I measure. The term alia breve is also sometimes used as a tempo indication, to show a rate of speed so great that a half-note has a beat, i.e., only two beats in a measure — hence twice as fast as before. Alia capella — ■ usually the same as a capella (see p. 76, Sec. 162) but sometimes used in the same sense as alia breve. Alia marcia — in march style. Alia zingara — in gypsy style. Alt — see in alt. Alto — the lowest female voice. Range approximately g — e." The word alto is derived from the Latin word altus, meaning high, the term being formerly applied to the highest male voice, which originally sang (and still does so in many male choirs) the alto part. Animato come sopra — in animated style as above. Antiphony {antiphonaC) — the responsive singing of two choirs, usually one at, either end of the chmrch, or at either side of the chancel. Arabesque — an instrumental composition in light, somewhat fantastic style. The term arabesque is derived from the word Arabian, and was originally applied to a style of decoration. Arioso — in the style of an air or song, i.e., a flowing, vocal style. Attaca — attack the next division without any pause. Attaca subito — same as attaca. Attaca subito il seguente — attack at once that which follows. Attack — the promptness or firmness with which a phrase is begun. Bagpipe — A Scotch instrument on which the tone is produced by a combination of bellows and reeds. Its characteristic effect is the continuous sounding of a low tone (sometimes several tones) while the melody is being played on the higher reeds. Barcarole (or barcarolle) — a boat song. Also applied to a vocal or instrumental composition in the style of the gondolier's boat song. Baritone (or barytone) — the male voice having a range between that of the tenor and that of the bass. Approximate range G — g'. Bass — the lowest male voice. Approximate range E— e'. Basso — same as bass. Berceuse — a cradle song. Binary form — a form in two parts. Binary measure — a measure having two beats. 9S 96 MUSIC NOTATION AND TERMINOLOGY Bis — twice. Used to indicate a repetition. (Rare.) Brace — the sign used to join several staffs, showing that all tones represented on these staffs are to be performed together. The term is often used also in referring to the music written on staffs so joined; as — "Begin with the upper brace." Broken chord — a chord whose tones are not all sounded simultaneously, as e.g., in an accompaniment group. Broken octave — an octave whose tones are sounded one at a time instead of simultaneously. Cacophony — harsh, discordant, unpleasant, especially incorrect combinations of tones. The opposite of euphony. Cadenza — A brilliant passage, usually in an instrumental composition, intro- duced just before the dose of a movement. The cadenza was formerly improvised by the performer, (thus giving an opportunity of displaying his technical diill), but ance Beethoven, composers have usually written their own cadenzas. Cantabile — in a singing style. Cantando — same as cantabile. Canto — the highest voice part; i.e., the soprano part. Note the derivation of canto, cantabile, etc., from the Latin word cantus, meaning a song. Carol — a hymn of joyful praise, usually sung in connection with Easter or Christ- mas festivities. The word carol meant originally a dance, hence the happy character of songs of this type. Catch — a round set to humorous words. Chromatic (noun) — a term somewhat loosely applied to any tone not belonging to the key as indicated by the signature. Many teachers are replacing the word chromatic in this sense with the term intermediate tone, this term being applicable whether the foreign tone is actually used for ornamental purposes as a chromatic, or to effect a modulation. Thus e.g., "F# is the intermediate tone between F ajid G in the key of C." Clavichord — an instrument with keys, resembling the square piano in appearance. The tone was produced by forcing wedge-shaped pieces of metal against the strings, thus setting them in vibration. The clavichord was one of the immediate predeces- sors of the piano, much of the muac written by Bach being composed for it, although this music is now played on the modem piano. Colla voce — with the voice: i.e,, play the accompaniment according to the soloist's performance rather than strictly according to the rhythm indicated in the score. Colla parte — same as colla voce. Coloratura — florid passages in singing. Also applied to the style of singing employed in rendering such passages. (See p. 76, Sec. 171.) Consonance — A combination of tones agreeable to the ear and requiring no reso- lution to other tone-combinations in order to give the effect of finality. The major triad C — ^E — G is an example of a consonant chord. Contralto — same as alto. Con variazioni — with variations. Direct — a sign (iC) placed at the end of the last staff on a page, to indicate what the first note on the next page is going to be. This agn is now practically obsolete. MISCELLANEOUS TERMS 97 Dirge — a funeral chant. The dirge is named from the first word of a chant used in the "office for the dead," which begins — Dirige Domine, Deus mens, in conspectu tuo viam meant (Direct, O Lord, My God, my way in Thy sight). Discord — an ugly, unharmonious combination of tones. Dissonance — a harmonic combination of tones giving rise to the feeling of in- completeness or unrest, and therefore requiring resolution to some other combination which has an agreeable or final feeling, (cf. consonance.) The diminished triad C-Eb-Gb is an example of a dissonant chord. Divisi — divided. An indication showing that the first violins, or the sopranos, or any other body of performers ordinarily sounding in imison are now to divide into two or more parts. Duet — a composition for two performers. (From the It. word due — two.) Ecole — a school or style of composition or performance. Ettide — a study. Also an instrumental composition in the style of a study, but intended for artistic performance. Euphony — agreeable tone combinations; the opposite of cacophony. (From the Greek word meaning well-sounding.) Facile — easy. Fanfare — a trvunpet call. Fantasia — An instrumental composition not based on any regular form. Fiasco — a complete failure or breakdown. This use of the word fiasco (which means in Italian a flask, or bottle) is said to have reference to the bursting of a bottle, the complete nun of the bottle being com- pared with the complete failure of a performance. Gamut — all the tones of a scale. Glissando — plajdng a scale on the keyboard by drawing the finger along over the keys, thus depressing them in very rapid succession. The word is derived from the French word glisser — to glide. Harpichord — one of the immediate predecessors of the piano. Eumoresque — a capricious, fantastic composition. (Cf. fantasia.) Idyl — a short, romantic piece of music in simple and unaffected style. In alt — pitches in the first octave above the treble staff. Thus e.g., "C in alt" is the C represented by the second added line above the treble staff. In cUtissimo — pitches in the octave above the alt octave. Instrumentation — see orchestration. Interlude — a short movement between two larger movements. Loco — place; i.e., play as written. (See p. 13, Sec. 46.) Lunga trillo — a long trill. CHAPTER XX Miscellaneous Terms (Continued) Lyric — a short, song-like poem of simple character. Also applied to instrumental pieces of like character. Maggiore — major. Marcaio il canto — the melody well marked; i.e., subdue the accompaniment so that the melody may stand out strongly. Melos — melody. This word melos is also applied to the peculiar style of vocal solo found in Wagner's music dramas. See recitative (p. 75, Sec. 170), Mellifluous — pleasing; pleasant sounding. Menuetto, menuet — same as minuet. (See p. 68, Sec. 151.) Mezzo soprano — a woman's voice of soprano quality, but of somewhat lower compass than the soprano voice. Range approximately b to g." Minore — minor. Nocturne (sometimes spelled nocturn, notturna, nokturne, etc.) — a night piece; a quiet, melodious, somewhat sentimental composition, usually for piano solo. Nuance — delicate shading; subtle variations in tempo and dynamics which make the rendition of music more expressive. Obbligato (sometimes injorrectly spelled obligato) — an accessory melody accom- panying harmonized music, (usually vocal music). The word obbligato (It. bound,, or obliged) refers to the fact that this is usually a melody of independent value, so important that it cannot be omitted in a complete performance. Offertory (sometimes spelled offertoire, or ofertorium) — a piece of music played or sung during the taking up of the offering in the church service. The word is often applied by composers to any short, simple piece of music (usually for organ) that is suitable for the above purpose. Opus — work; used by composers to designate the order in which their composi- tions were written, as e.g., Beethoven, Op. 2, No. i. Orchestration — the art of writing for the orchestra, this impl3dng an intimate knowledge of the range, quality, and possibilities of all the orchestral instnmients. Ossia — or else; used most often to call the attention of the performer to a sim- pler passage that may be substituted for the original one by a player whose skill is not equal to the task he is attempting to perform. Overture — (from overt — open) — an instrumental prelude to an opera or ora- torio. The older overtures were independent compositions and bore no particular relation to the work which was to follow, but in modem music (cf. Wagner, Strauss, etc.), the overture introduces the principal themes that are to occur in the work itself, and the introduction thus becomes an integral part of the work as a whole. The word overture is sometimes applied to independent orchestral compositions that have no connection with vocal works, as the Hebrides Overture by Mendelssohn. 98 MISCELLANEOUS TERMS 99 PizidccUo — plucked. A term found in music for stringed instruments, and indi- cating that for the moment the bow is not to be used, the tone being secured by pluck- ing the string. Polacca — a Polish dance in three-quarter measure. Polonaise — same as polacca. Postlude — (lit. after-play) — an organ composition to be played at the close of a church service. Prelude — (ht. before-play) — an instrumental composition to be played at the beginning of a church service, or before some larger work (opera, etc.). The term is also applied to independent piano compositions of somewhat indefinite form. (Cf. preludes by Chopin, Rachmaninoff, etc.) Priere — a prayer; a term often applied (especially by French composers) to a quiet, devotional composition for organ. Quintole, quintuplet — a group of five notes to be performed in the time ordinarily given to four notes of the same value. There is only one accent in the group, this occurring of course on the first of the five tones. Religioso, \reUgiosamente — in a devotional style. Requiem — the mass for the dead in the Roman Catholic service. It is so called from its first word requiem which means rest. (See p. 77, Sec. 165.) Rhapsody — an irregular instrumental composition of the nature of an improvisa- tion. A term first applied by Liszt to a series of piano pieces based on gypsy themes. Ribbatua — a device in instrumental music whereby a two-note phrase is gradually accelerated, even to the extent of becoming a trill. (See Appendix E,' p. 150, for an example.) Ritornello, rirorneUe — a short instrumental prelude, interlude, or postlude, in a vocal composition, as e.g., in an operatic aria or chorus. Schottische — a dance in two-quarter measure, something like the polka. Sec, secco — dry, unomamented: applied to a style of opera recitative (see p. 75, Sec. 170), and also to some particular chord in an instrumental composition vrtiich is to be sounded and almost instantly dropped. Score — a term used in two senses: 1. To designate some particular point to which teacher or conductor wishes to call attention; as e.g., "Begin with the lower score, third measure." The word brace is also frequentiy used in this sense. 2. To refer to all the parts of a composition that are to be performed simulta- neously, when they have been assembled on a single page for use by a chorus or orchestral conductor. The term vocal score usually means all chorus parts together with an accompaniment arranged for piano or organ, while the terms full score and orchestral score refer to a complete assemblage of all parts, each being printed on a separate staff, but all staffs being braced and barred together. Senza replica, senza repetitione — without repetition; a term used in connection with such indications as D.C., D.S., etc., which often call for tiie repetition of some large division of a composition, the term senza replica indicating that the smaller repeats included witiiin the larger division are not to be observed the second time. Serenade, serenata — an evening song. Sextet — a composition for «ix voices or instruments. loo MUSIC NOTATION AND TERMINOLOGY Sextuplet — a group of six notes to be performed in the time ordinarily given to four of the same value. The sextuplet differs from a pair of triplets in having but one accent. Simile, similiter — the same; indicating that the same general effect is to be continued. Solfeggio, solfige — a vocal exercise sung either on simple vowels or on arbitrary syllables containing these simple vowel sounds. Its purpose is to develop tone quality and flexibility. These terms are also often applied to classes in sight-singing which use the sol-fa syllables. Sopra — above. Soprano — the highest female voice. Range approximately b — c.'" Sostenuto — sustained or coimected ; the opposite of staccato. Sotto — under. E.G., sotto voce — under the voice, i.e., with subdued tone. Solmization — sight-singing by syllable. Staccato — detached; the opposite of legato. Stibito — suddenly. Tenor — the highest male voice. Range approximately d — c." Tenuto — (from teneo, to hold) — a direction signifying that the tones are to be prolonged to the full value indicated by the notes. Toccata — a brilliant composition for piano or organ, usually characterized by much rapid staccato playing. Triplet — a group of three tones, to be performed in the time ordinarily given to two of the same value. The first tone of the triplet is always slightly accented. Tutli — (derived from totus, toti, Latin — all) — a direction signif}dng that all performers are to take part. Also used occasionally to refer to a passage where all performers do take part. APPENDIX A The History of Music Notation Many conflicting statements have been made regarding the history and development of music writing, and the student who is seeking Ught on this subject is often at a loss to deter- mine what actually did happen in the rise of our modem system of writing music. We have one writer for example asserting that staflf notation was begun by drawing a single red line across the page, this line representing the pitch / (fourth Une, bass staff), the neumae (the predecessors of our modem notes) standing either for this pitch /, or for a higher or lower pitch, according to their position on the line, or above or helow it. "Another line," continues this writer, "this time of yeUow color, was soon added above the red one, and this line was to represent c' (middle C). Soon the colors of these lines were omitted and the letters F and C were placed at the beguming of each of them. From this arose our F and C clefs, which preceded the G clef by some centuries."^ Another writer^ gives a somewhat different explanation, stating that the staff system with the use of clefs came about through writing a letter (C or F) in the margin of the manu- script and drawing a line from this letter to the neume which was to represent the tone for which this particular letter stood. A third writer^ asserts that because the alphabetical nota- tion was not suitable for recording melodies because of its 1 Elson — Music Dictionary, article, "Notation." ' Goddard — The Rise of Music, p. 177. ' Williams in Grove's Dictionary, article, "Notation." I02 MUSIC NOTATION AND TERMINOLOGY inconvenience in sight-singing "points were placed at definite distances above the words and above and below one another." "In this system everything depended on the accuracy with which the points were interspersed, and the scribes, as a guide to the eye, began to scratch a straight line across the page to indicate the position of one particular scale degree from which aU the others could be shown by the relative dis- tances of their points. But this was not found sufl&ciently definite and the scratched Une was therefore colored red and a second line was added, colored yellow, indicating the interval of a fifth above the first." It will be noted that all three writers agree that a certain thing happened, but as in the case of the four Gospels in the New Testament, not all the writers agree on details and it is difficult to determine which account is most nearly accurate in detail as well as in general statement. Communication was much slower a thousand years ago than now and ideas about new methods of doing things did not spread rapidly, consequently it is entirely possible that various men or groups of men in various places worked out a system of notation differing somewhat in details of origin and development but alike in final result. The point is that the development of musical knowledge (rise of part-writing, increased interest in instrumental music, etc.), demanded a more exact system of notation than had previously existed, just as the development of science in the nineteenth century necessitated a more accu- rate scientific nomenclature, and in both cases the need gave rise to the result as we have it to-day. Out of the chaos of conflicting statements regarding the development of music notation, the student may glean an outline-knowledge of three fairly distinct periods or stages, each of these stages being intimately bound up with the de- velopment of music itself in that period. These three stages are: HISTORY OF NOTATION 105 (i) The Greek system, which used the letters of the alphabet for representing fixed pitches. (2) The period, of the neumae. (3) The period of staff notation. Of the Greek system Uttle is known beyond the fact that the letters of the alphabet were used to represent pitches. This method was probably accurate enough, but it was cumber- some, and did not afford any means of writing "measured music" nor did it give the eye any opportunity of grasping the general outline of the melody in its progression upward and downward, as staff notation does. The Greek system seems to have been abandoned at some time preceding the fifth centiiry. At any rate it was about this time that certain accent marks began to be written above the text of the Latin hymns of the church, these marks serving to indicate in a general way the progress of the melody. E.g., an upward stroke of the pen indicated a rise of the melody, a downward stroke a fall, etc. In the course of two or three centuries these marks were added to and modified quite considerably, and the system of notation which thus grew up was called "neume notation," the word neume (sometimes spelled neuma, or pneuma) being of Greek origin and meaning a nod or sign. This system of neumes was in some ways a retrogression from the Greek letter system, for the neimies indicated neither definite pitches nor definite tone-lengths. But it had this advantage over the Greek system, that the position of the signs on the page indicated graphically to the eye the general direction of the melody, as well as giving at least a hint con- cerning the relative highness or lowness of each individual tone (the so-caUed diastematic system), and this was a great aid to the eye in singing, just as the relative highness and lowness of notes on the modem staff is of great value in reading music at the present time. Thus although the neumae did not enable one to sing a new melody at sight as our I04 MUSIC NOTATION AND TERMINOLOGY modern stafif notation does, yet they served very well to recall to the eye the general outline of a melody previously learned by ear and therefore enabled the singer (the system was used for vocal music only) to differentiate between that par- ticular melody and the dozens of others which he probably knew. Nemne notation was used mostly in connection with the "plain-song melodies" of the Church, and since the words of these chants were simg as they would be pronounced in reading, the deficiency of the neume system in not expressing definite duration values was not felt. But later on with the rise of so-called "measured music" (cf. invention of opera, development of independent instrumental music, etc.), this lack was seen to be one of the chief disadvantages of the system. The elements of nemne-writing as given by Riemaim in his Dictionary of Music are: " (i) The signs for a single note: Virga (Virgula) and Func- tus (Punctum). (2) The sign for a rising interval: Pes (Po- datus). (3) The sign for a falling interval: Clinis (Flexa). (4) Some signs for special manners of performance: Tremula (Bebung), QuUisma (shake), PUca (turn), etc. The others were either synonyms of the above-named or combinations of them . . . ." Since music in the middle ages was always copied by hand, it will readily be understood that these neumae were not uni- form either in shape or size, and that each writer made use of certain peculiarities of writing, which, although perfectly intel- ligible to himseh, could not readily be interpreted by others (cf . writing shorthand). Here then we observe the greatest weakness of the neume system — its lack of uniformity and its consequent inability accurately to express musical ideas for imiversal interpretation. Examples of several neumes are given merely in order to give the beginner a general idea of their appearance. Virga 3 ot / . Functus * or % . Pes ^/ or / . Clinis ^/V ory*^ . HISTORY OF NOTATION 105 As music grew more and more complex, and especially as writing in several parts came into use (cf. rise of organum, descant, and covmterpoint), it became increasingly difficult to express musical ideas on the basis of the old notation, and numerous attempts were made to invent a more accurate and usable system. Among these one of the most interesting was that in which the words of the text were written in the spaces between long, parallel lines, placing the initial letters of the words tone and semi-tone at the beginning of the Kne to indicate the scale interval. An example wiU make this clear. Sweet land try thee r My coun of T *tis This indicated the precise melodic interval but did not give any idea of the rhythm, and the natural accents of the text were the only guide the singer had in this direction, as was the case in neume-notation and in early staflE-notation also. Various other attempts to invent a more definite nota- tion were made, but aU were sporadic, and it was not until the idea of using the lines (later lines and spaces) to represent definite pitches, and writing notes of various shapes (derived from the neumae) to indicate relative duration- values — it was only when this combination of two elements was devised that any one system began to be xmiversaUy used. Just how the transition from neume to staff notation was made no one knows: it was not done in a day nor in a year but was the result of a gradual process of evolution and im- provement. Nor is it probable that any one man deserves the entire credit for the invention of staff notation, although this feat is commonly attributed to an Italian monk named Guido d'Arezzo (approximate dates 995-1050). To this same monk we are indebted, however, for the invention of the io6 MUSIC NOTATION AND TERMINOLOGY syllables (UT, RE, MI, etc.) which (in a somewhat modi- fied form) are so widely used for sight-singing purposes. (For a more detailed account of the transition to staflf notation, see Grove, op. cit. article notation.) It wUl now be readily seen that our modem notation is the result of a combination of two preceding methods (the Greek letters, and the neumes) together with a new element — the staff, emphasizing the idea that higher tones are written higher on the stafif then lower ones. The development of the neumes into notes of various shapes indicating relative time values and the division of the staff into measures with a definite measure signature at the begin- ning are natural developments of the earUer primitive idea. In the system of "musica mensurabiUs" or measured music which was inaugurated a httle" later, the virga (which had meanwhile developed into a square-headed neume) was -adopted as the longa or long note, and the punctus in two of its forms as breve and semibreve (short and half-short). The ionga is now extinct, but the modern form of the breve is still used as the double-whole-note, and the semibreve is our modern whole-note. ' '• Red-colored notes were sometimes used to indicate changes in value and before long outline notes (called empty notes) came into use, these being easier to make than the solid ones. The transition from square- and diamond-shaped notes to roimd and oval ones also came about because of the greater facility with which the latter could be written, and for the same reason notes of small denomination were later "tied together " or stroked. This latter usage began about 1 700 A.D. It is interesting to find that when " measured music " was finally inaugurated there were at first but two measure-sig- natures, viz. — the circle, standing for three-beat measure (the so-caUed perfect measure) and the semi-circle (or broken circle) which indicated two-beat measure. Occasionally three- beat measure was indicated by three vertical strokes at the HISTORY OF NOTATION 107 beginning of the melody, while two-beat measure was shown by two such strokes. Upon the basis of these two varieties of measure, primitive in conception though they may have been, has been built nevertheless the whole system now employed, and in the last analysis all forms of measure now in use win be found to be of either the two-beat or the three-beat variety. The circle has disappeared entirely as a measure- sign, but the broken circle still survives, and from it are de- rived the familiar signs B and $, which are sometimes errone- ously referred to as being the initial letter of our word common (as used in the expression "common time"). The transition from the older style of measure-signature to the present one seems to have occurred during the century following the in- vention of opera, i.e., from about 1600 to about I'joo A.D. The rest came into use very soon after "measured music" began to be composed and we soon find rests corresponding with the various denominations of notes in use, viz. : Large Long Pausa or Breve Semipausa or Semibreve Suspirum aiB — i-i — 1 The terms appUed to these rests vary in different authori- ties, but it will be noted that the pausa, semi-pausa, and sus- pirum correspond respectively to the double-whole-rest, whole- rest, and half-rest in use at present. The bar and double bar may be developments of the maxima rest (as some writers suggest) but are probably also derived from the practice of drawing a line vertically through the various parts of a score to show which notes belonged to- gether, thus facilitating score reading. The bar may occasion- ally be found as early as 1500, but was not employed universally until 1650 or later. The nvunber of hues used in the staff has varied greatly since the time of Guido, there having been all the way from io8 MUSIC NOTATION AND TERMINOLOGY four to fifteen at various times and in various places, {Jour being the standard number for a long time). These Hnes (when there were quite a number in the staff) were often divided into groups of four by red lines, which were not them- selves used for notes. These red hnes were gradually omitted and the staff divided into sections by a space, as in modern usage. The number of lines in each section was changed to five (in some cases six) for the sake of having a larger available range in each section. The clefs at the beginning of the staffs are of course simply altered forms of the letters F, C, and G, which were written at first by Guido and others to make the old neume notation more definite. The staccato sign seems not to have appeared until about the time of Bach, the legato sign being also invented at about the same time. The fermata was first used in imitative part- writing to show where each part was to stop, but with the development of harmonic writing the present practice was inaugurated. Leger lines came into use in the seventeenth century. Sharps and flats were invented because composers found it necessary to use other tones than those that could be repre- sented by the staff degrees in their natural condition. The history of their origin and development is somewhat compU- cated and cannot be given here, but it should be noted once more that it was the need of expressing more than could be expressed by the older S3mibols that called forth the newer and more comprehensive method. The use of sharps and flats in key signatures grew up early in the seventeenth century. In the earlier signatures it was customary to duplicate sharps or flats on staff degrees having the same pitch-name, thus: [-TT ^T" 3^^- (The use of the G clef as here shown did not of course exist at that time.) HISTORY OF NOTATION 109 The double-sharp and double-flat became necessary when "equal temperament" (making possible the use of the complete cycle of keys) was adopted. This was in the time of Bach (1685-1750). Signs of expression (relating to tempo and dynamics) date back at least as far as the year 1000 A.D., but the modem terms used for this pvirpose did not appear until some years after the invention of opera, the date given by C. F. A. Wil- liams in Grove's Dictionary being 1638. These words and signs of expression were at first used only in connection with instrumental music, but were gradually applied to vocal music also. Other systems of notation have been invented from time to time in the course of the last two or three centuries, but in most cases they have died with their inventors, and in no case has any such system been accepted with anything even ap- proaching unanimity. The tonic-sol-fa system^ is used quite ' The tonic-sol-fa system represents an attempt to invent a simpler notation to be used by beginners, (especially in the lower grades of the public schools) and by singers in choral societies who have never learned to interpret staflf notation and who there- fore find some simpler scheme of notation necessary if they are to read music at all. In this system the syllables do, re, mi, etc., (in phonetic spelling) are used, the tone being arrived at in each case, first by means of a firmly established sense of tonality, and second by associating each diatonic tone with some universally felt emotional feeling: thus do is referred to as the strong tone, mi as the calm one, and la as the sad tone, great emphasis being placed upon do as the center of the major tonality, and upon la as the center of the minor. The system is thus seen to have one advantage over staff notation, viz.: that in presenting it the teacher is compelled to begin with a presentation of actual tones, while in many cases the teacher of staff notation begins by presenting facts regarding the staff and other symbols before the pupil knows anything about tone and rhythm as such. The symbol for each diatonic tone is the initial letter of the syllable {i.e., d for do, r for re, etc.), the key being indicated by a letter at the beginning of the composi- tion. The duration-value of tones is indicated by a system of bars, dots, and spaces, the bar being used to indicate the strongest pulse of each measure (as in staff notation) the beats being shown by the mark: a dash indicating the continuation of the same tone through another beat. If a beat has two tones this is indicated by writing the two initial letters representing them with a . between them. A modulation is indicated by giving the new key letter and by printing the syllable-initials from the standpoint of both the old and the new ifo-position. The figure ' above and to the right of the no MUSIC NOTATION AND TERMINOLOGY extensively in England for vocal music, but has gained little ground anywhere else and the chances are that the present system of notation, -with possibly sUght additions and modi- fications, win remain the standard notation for some time to come in spite of the attacks that are periodically made upon it on the groimd of cumbersomeness, difficulty in teaching children, etc. The main characteristics of stafiE notation may be summed up as follows: 1. Pitches represented by lines and spaces of a staflf, the higher the line, the higher the pitch represented, signs called clefs at the beginning of each staflf mak- ing clear the pitch names of the Knes and spaces. 2. Duration values shown by shapes of notes. 3. Accents shown by position of notes on the stafiE with regard to bars, i.e., the strongest accent always falls just after the bar, and the beat relatively least accented is found just before the bar. letter indicates the tone in the octave above, while the same figure below and to the right indicates the octave below. A blank space indicates a rest. The tune of My Country, 'Tis of Thee, as printed in tonic sol-fa notation below will make these points clear. KeyF |d :d :r |t, :-.d:r |m :m :f |m :-.r:d |r :d rt, |d :— :— | |s :s :s |s :-.f:m|f :f :f |f :-.m:r |m :f.m:r.d|m :-.f:s | |l.f:m :r |d :— :— | The advantages of the system are (i) the strong sense of key-feeling aroused and the ease with which modulations are felt; and (2) the fact that it is necessary to learn to sing in but one key, thus making sight-singing a much simpler matter, and trans- position the easiest process imaginable. But these are advantages from the standpoint of the vocalist (producing but one tone at a time) only, and do not apply to instrumen- tal music. The scheme will therefore probably be always restricted to vocal music and will hardly come into very extensive use even in this field, for the teacher of music is finding it perfectly possible to improve methods of presentation to such an extent that learning to sing from the staS becomes a very simple matter even to the young child. And even though this were not true, the tonic-sol-fa will always be hampered by the fact that since all letters are printed in a straight horizontal line the ear does not have the assistance of the eye in appreciating the rise and fall of melody, as is the case in staff notation. HISTORY OF NOTATION iii . Extent and description of beat-groups shown by measure-signs. , Key shown by key signature placed at the beginning of each staflf. , Rate of speed, dynamic changes, etc., shown by certain Italian words {allegro, andante, etc.), whose meaning is as universally understood as staff notation itself. APPENDIX B Musical Instruments 1. Broadly speaking, musical instruments may be divided into two classes, viz. : (i) those that have a keyboard and are therefore capable of sounding several tones simultaneously; (2) those that (as a rule) sound only one tone at a time, as the violin and trumpet. The piano is of course the most familiar example of the first class, and a brief description is therefore given. The piano was invented about two hundred years ago by Cristofori (1651-1731), an Italian. It was an enormous improvement over the types of key-board instrument that were in use at that time (clavichord, harpsichord, spinet, virginal) 'and has resulted in an entirely dififerent style of composition. See note on embeUishments, p. 26. 2. The most characteristic things about the piano as con- trasted with its immediate predecessors are : (i) that on it the loudness and softness of the tone can be regulated by the force with which the keys are struck (hence the name piano- forte meaning literally the soft-loud); (2) the fact that the piano is capable of sustaining tone to a much greater extent than its predecessors. In other words the tone continues sounding for some httle time after the key is struck, whUe on the earHer instruments it stopped almost instantly after beiag sounded. The essentials of the piano mechanism are: I. Felt hammers controlled by keys, each hammer striking two or three strings (which are tuned in unison) and immediately rebounding from these strings, allowing them to vibrate as long as the key MUSICAL INSTRUMENTS 113 is held down. The mechanism that allows the ham- mers to rebomid from the strings and fall into position for another blow is called the escapement. 2. A damper (made of softer felt) pressing against each string and preventing it from vibrating imtU it is wanted. 3. A keyboard action that controls both hammers and dampers, causing the damper to leave the string at the same instant that the hammer strikes it. 4. A pedal (damper pedal) controlling aU of the dam- pers, so that at any moment all the strings may be released so as to be free to vibrate. Other interesting details are: 1. The strings are stretched over a thin sheet of wood called the soimd-board. This aids greatly in inten- sifying the tone. 2. The soft pedal (the one at the left) in an upright piano causes the hammers to move up nearer the strings, and the shorter swing thus afforded causes a less violent blow and consequently a softer tone. In the grand piano this same pedal shifts the mech- anism to one side so that the hammers strike only one or two of the strings, this resulting in a softer tone of somewhat modified quaUty. These details regarding the mechanism of the piano can easily be verified by removing the front of any ordinary up- right piano and observing what takes place when the keys are struck or the pedals depressed. 3. There are two famUiar types of organ in use at the present time, (i) the reed organ, (2) the pipe-organ. The reed organ is very simple in construction, the tone being produced by the vibration of metal reeds (fixed in little cells), through which air is forced (or sucked) from the bel- lows, the latter being usually worked by the feet of the player. 114 MUSIC NOTATION AND TERMINOLOGY More power may be secured either by drawing additional stops, thus throwing on more sets of reeds, or by opening the knee swells which either throw on more reeds (sometimes octave couplers) or else open a swell box in which some of the reeds are enclosed, the tone being louder when the box is open than when closed. More tone may also be secured by pump- ing harder. 4. The essential characteristic of the pipe-organ is a num- ber of sets or registers of pipes called stops, each set being cap- able (usually) of sovmding the entire chromatic scale through a range of five or six octaves. Thus for example when the stop melodia is drawn (by puUing out a stop-knob or tilting a, tablet), one set of pipes only, soimds when the keyboard is played on: but if the stop flute is drawn with melodia, two- pipes speak every time a key is depressed. Thus if an organ has forty speaking stops, aU nmning through the entire key- board, then each time one key is depressed forty pipes wiH speak, and if a chord of five tones is played, two himdred pipes win speak. The object of having so many pipes is not merely to make possible a very powerful tone, but, rather, to give greater variety of tone-color. The pipe-organ usually has a pedal keyboard on which the feet of the performer play a bass part, this part often sounding an octave (or more) lower than the notes indicate. An eight-foot stop on the organ produces tones of the same pitches as the piano when corresponding keys are struck: A four-foot stop soimds tones an octave higher and a two-foot stop tones two octaves higher. A sixteen-foot stop sounds tones an octave lower than the piano, and a thirty-two foot stop, tones two octaves lower, while some organs have also a sixty-four foot stop which soimds three octaves lower. This gives the organ an exceedingly wide range, its compass being greater than that of any other single instrument, and comparable in both range of pitches and variety of color only with the modem orchestra. MUSICAL INSTRUMENTS 115 Modern pipe-organs always have a number of combination pedals or pistons (usually both), by means of which the organist is enabled to throw on a nimaber of stops with one movement. The selection and use of suitable stops, couplers, combinations, etc., is called registration. 5. The instruments mentioned at the beginning of this appendix as belonging to the second class are more familiar in connection with ensemble playing, being conunonly associated with either band or orchestra. 6. A band is a company of musicians all of whom play upon either wind or percussion instruments, the main body of tone being produced by the brass and wood-wind divisions. Sousa's band is usually made up in somewhat the following manner: 4 flutes and piccolos, 12 Bl> clarinets, i E|> clarinet, i alto clarinet, i bass clarinet, 2 oboes, 2 bassoons, 2 sarrusophones, 4 saxophones, 4 comets, 2 trumpets, i soprano saxhorn (fluegelhom), 4 French horns, 4 trombones, 2 contrabass tubas, 4 tubas, i snare drum, 1 bass drum, 2 kettle drums, cymbals, triangle, bells, castanets, xylophone, etc. 7. An orchestra is a company of musicians performing upon stringed instruments as weU as upon wind and percussion. It is differentiated from the band by the fact that the main body of tone is produced by the strings. There are four classes of instruments in the orchestra, viz., strings, wood-wind, brass (wind) and percussion. In addition to these four classes, there is the harp, which although a stringed instrument, does not belong in the same group as the other strings because the manner of producing the tone is altogether different. 8. In the first group (the strings) are found the first and second violins, viola, violoncello (usually spelled cello), and double-bass. The first and second violins are identical in every way (but play different parts), while the other members of the family merely represent larger examples of the same t)7pe of instrument. 9. In the second group (the wood-wind) are found the flute, piccolo, oboe, bassoon, EngUsh horn, double-bassoon, ii6 MUSIC NOTATION AND TERMINOLOGY clarinet, and bass clarinet. The English horn, double-bassoon, bass clarinet, and piccolo are not caUed for in the older compo- sitions, hence are not always present iii the orchestra. 10. In the third group (the brass choir) are found the French horn, (usually referred to as the horn), trumpet (some- times replaced by the cornet) trombone, and tuba. 11. The fourth group {percussion) consists of kettle drums, bass drum, cymbals, snare drum, triangle, bells, etc. 12. In an orchestra of about loo players the proportion of instnunents is as about as foUows, although it varies some- what according to the taste of the conductor, the style of composition to be performed, etc. : i8 first viohns, i6 second violins, 14 yiolas, 12 cellos, 10 basses, i harp, 3 flutes, i piccolo, 3 oboes, i English horn, 3 clarinets, i bass clarinet, 3 bassoons, i contra (or double) bassoon, 4 horns, 2 trumpets, 3 trombones, i tuba, 3 kettle drums, i bass drum, i snare drum, i each of triangle, C3nnbals, beUs, and other instnunents of percussion, several of which are often manipulated by one performer. ■ 13. The cuts and brief descriptions here added will give at least a"rudimentary idea of the appearance and possibilities of the instruments most commonly used in bands and orches- tras. For fuUer descriptions and particulars regarding range, quaKty, etc., the student is referred to Mason's "The Orches- tral Instruments and What They Do," Lavignac's "Music and Musicians," and to the various articles which describe each instrument under its own name in Grove's Dictionary or in any good encyclopaedia. For still fuUer details some work on orchestration will have to be consulted. 14. The violin has four strings, tuned thus ^-Wsr, these making available a range of about three and one-half octaves (g — c""). This range^ may be extended upward somewhat ' The ranges noted in connection with these descriptions of instruments are ordinarily the practical orchestral or hand ranges rather than those which are possible in solo performance. MUSICAL INSTRUMENTS 117 Violin. Length, 23^ inches. Length of bow, 29^ inches. further by means of harmonics, these being produced by lightly touching the string at certain points (while the bow is moving across it) instead of holding it down against the finger-board. The highest string of the violin (viola and cello also) is often called the chan- terelle because it is most often used for playing the melody. The violin ordinarily produces but one tone at a time, but by stopping two strings simultaneously and so drawing the bow as to set both in vibration, two tones may be produced at the same time, while three and four tones can be sounded almost simultaneously. The mute (or sordino) is a small clamp made of metal, wood, or ivory, which when clipped to the top of the bridge causes the vibrations to be trans- mitted less freely to the body of the violin, giving rise to a tone modified in quaUty, and decreased in power. For certain special effects the player is directed to pluck the string {pizzicato), this method of playing giving rise to a dry, detached tone instead of the smooth, flowing one that is so characteristic of the violin as commonly played. Violins in the orchestra are divided into firsts and seconds, the first violins being always seated at the left of the audience and the seconds at the right. 15. The viola has four strings, also = The viola looks exactly like V- distance, and is really only a ■B- having a range a fifth lower. ^ cisive as that of the violin, being VlOiA. Length, 26 in. Length of bow, 28, tuned in fifths, thus the violin at a Uttle larger sized vioUn, Its tone is not so in- i ii8 MUSIC NOTATION AND TERMINOLOGY rather heavier — "more gloomy," as it is often described. The viola is not so useful as the violin as a solo instrument because it is not capable of producing so many varities of color, nevertheless it is invaluable for certain effects. In orches- tral music it is of course one of the most valuable instruments for fillin g in the harmony. The viola players are usually seated behind the second violin players in the orchestra. 1 6. The violoncello or cello (some- times called bass viol) has four strings, tuned thus: S^- Its range is about three and one-half octaves (from C to e" orf"), but in solo work this range is sometimes extended much higher. The cello is much more universally used as a solo instrument than the viola and its •^^L aiin" tone is capable of a much greater degree I of variation. In the orchestra it plays I the bass of the string quartet (reinforced Violoncello. by the double-bass) , but IS also often Length, 3 ft. lo in. , j. ■, ^ ,. . Length of bow, 28 in. uscd lor solo passagcs. ton soramo and pizzicato passages occur as often for the cello as for the violin. 17. The double bass differs from the other members of the string family in that it is tuned in fourths instead of in fifths. Its four strings are tuned as follows [^-— the entire range of the instrument being from EE to a. S In music written for double-bass the notes are always printed an octave higher than the tones are to sound: that is, when the bass- player sees the note \^zss= he plays [9- this being done to avoid leger lines. The tone of the bass is much heavier and MUSICAL INSTRUMENTS 119 the instrument itself is much more clumsy to handle than the other members of the group, hence it is almost never used as a solo instnunent but it is invaluable for reinforcing the bass part in orchestral music. The mute is rarely used on the double-bass, but the pizzicato effect is very common and the bass pizzicato tone is much fuller and richer than that of any other stringed instrument. 18. The flute has a range of three octaves. 8va $ It is used in both solo and orchestral pla3dng as well as in bands. The flute was for- merly always made of ypood, but is at present often made of metal. 19. The piccolo is a flute playing an octave higher than the one described above. The notes are printed as for the flute, but the player understands that the tone is to sound an octave higher. The piccolo is used widely in band music and quite often in orchestral music also, but since the tone is so brilliant and penetrating and is incapable of any great variation, it is not suitable for solo performance. Doubls-Bass. Length, 6 ft. 6 in. Length of bow, jjj in. MUSIC NOTATION AND TERMINOLOGY Contra Bassoon. (Double bassoon.) Length 6 ft. Range about an octave lower than bassoon, but not English Horn. PlCCOLO.1 Length, xj in. (Note that this is approxi- mately half the (Cor. Anglais) all tones in this range Length, 2 ft, l^^Stt* ^^ t^^ are practicable. 11^ in. flute.) Flute. Length, 2&4 in. Bassoon. (fagotto.) Length, 4 ft. 3} in. MUSICAL INSTRUMENTS 121 20. The next fotir instruments to be described (oboe, bassoon, English horn, and contra bassoon) are often referred to as the oboe family since the principle of tone production and general manipulation is the same in all four. The tone in these instruments is produced by the vibration of two very thin pieces of cane, which are called together a double-reed. The oboe is especially valuable in the orchestra as a solo instrument, and its thin, nasal tones are suggestive of rustic, pastoral simpUcity, both oboe and English horn being often used by orchestral composers in passages intended to express the idea of rural out-of-door life. The Eng- lish horn is also often used in pas- sages where the idea of melancholy and suffering is to be conveyed to the audience. In a military band the oboe corresponds to the first violin of the orchestra. The bassoon and contra-bassoon are used mostly to provide a bass part for the harmony of the wood- wind group, but they are also some- times employed (especially the bassoon) to depict comic or gro- tsesque effects. 21. The next two tj^es of in- struments to be described {clarinet and saxophone) are alike in that the tone is produced^by the vibration of a single strip of cane (called sin- gle reed) which is held against the Length^Tin. lower Up of the player. The clarinet and bass clarinet are made of wood and are used in both bands and orchestras, but the saxophone is usually made of metal, and, the tone being more Bass Clarinet. Length, 3 ft. 3 in. Range 122 MUSIC NOTATION AND TERMINOLOGY strident and penetrating, the instrument is ordinarily used only in combination with other wind instruments, i.e., in bands. Since the fingering of the clarinet is excessively difficult the performer can play in only certain keys on the same in- strument, hence to play in different keys clarinets in several keys must be provided, there being usually three in aU. The music is written as though it were to be played in the key of C, but the tones produced are actually in other keys. For this reason the clarinet is called a transposing instrument. The range of the clarinet is the greatest possessed by any of the wind instruments, that of the clarinet in C being from -61- to Soprano. Alto. Length, is| in. Saxophones, Tenor Length, 2 ft. Combined range 7iin. Bass. Length, 3 ft. 9 m -^ ^ MUSICAL INSTRUMENTS 123 The sarrmophone is an instrument with a double-reed. It is made of brass and exists in [several sizes, the only- one ever used in the orchestra being the double-bass sarrusophone, which has approximately the same range as the double-bassoon and is sometimes (but rarely) made use of in the orches- tra instead of the latter instrument. The tone of the sarrusophone is some- thing like that of the bassoon. 22. The French horn (often called valve horn or simply horn) really con- sists of a long tube (about 16 feet) which is bent into circular form for convenience in handling. Its range ^to^ is from In the or- chestra French horns are used in pairs, Sarrusophone. French Horn. Length, 22I in. two of the players taking the higher tones, and two the lower. The tone is intensely mellow but incapable of any extensive 124 MUSIC NOTATION AND TERMINOLOGY variation, but in spite of this lack of variety the tone itself is so wonderfully beautiful that the instrument is one of the most useful in the orchestra both in solo passages and to fiU in the harmony. The horn (as well as the trumpet and trombone) differs from most of the wood-wind instruments in that its mouthpiece contains no reed, the lips of the player constitut- ing the vibrating body as they are stretched across the mouth- piece and air is forced against them. The horn is used in bands as well as in orchestras. 23. The range of the trumpet is i ;, the typical tone being brilliant and ringing. It is used in both band and or- chestra, playing the highest parts assigned to the brass choir. Trumpet. Length, 22J in. The trumpet is often replaced ia both band and orchestra by its less refined cousin the cornet because of the ease with which the latter can be played as compared with the trumpet, and the larger number of players that are available in consequence of this ease of execution. 24. The cornet looks something Hke the trumpet, but is not so slim and graceful in appearance. Its tube is only four and one-haH feet long, as compared with a length of about eight feet in the trumpet, and sixteen feet in the French horn. >-fi2- The range of the cornet in Bl? is from =9^-'^- to ^E The tone is somewhat commonplace as compared with the MUSICAL INSTRUMENTS I2S trumpet, but because of its great agility in the rendition of trills, repeated tones, etc., it is universally used in all sorts of combinations, even (as noted above) taking the place of the trumpet in many small orches- tras. 25. The pitch sounded by the trombone is altered by lengthening or shortening the tube of which the in- strument is construct- ed, this being possible because the Iowct part ' slides into the upper and can be pulled out to increase the total length of the tube through which the air 1 passes. There are us- K^^ ually three trombones in the orchestra, each playing a separate part, and the combi- nation of this trio with the ttiba re-inforcing the bass part) is ma- jestic and thrilling, being powerful enough to dominate the entire orchestra in Fortissimo passages. But the trombones are useful in soft passages also, and their tone when playing pianissimo is rich, serene, and sonorous. The hass tuba is a member of the saxhorn family^ and ^ The sax-horn was invented about 1840 by Adolphe Sax, a Frenchman. The saxophone is the invention of the same man. Slide Tromt;^ BONE. Length, 3 ft. 9 in. Range of tenor trombone (the size ordinarily used) 26. 126 MUSIC NOTATION AND TERMINOLOGY supplies the lowest part of the brass choir, as the double-bass does in the string choir. It is used in both orchestra and band, being often supported in the larger bands by a still lower-toned member of the same family — the contra-bass tuba. The range of the tuba is from )^=to Bass Tuba. Length, 3 ft. 3 in. 27. The kettle-drum is the most im- portant member of the percussion fam- ily and is always used either in pairs or in threes. The size of these instru- ments varies somewhat with the make, but when two drums are used the diam- eter is approximately that given under the illustration. The range of a pair of drums is one octave - ^'- Bass Drum. Diameter about 2J ft. CVMBA1.S. Diameterj 13^ in. and when but two drums are used the larger one takes the tones from F to about C of this range, and the smaller takes those MUSICAL INSTRUMENTS 127 from about Bb to F. The most common usage is to tune one drum to the tonic, and the other to the.dominant of the key in which the composition is written. The pitch of the kettle- drum can be varied by increasing or lessening the tension of the head by means of thumb-screws which act on a metal ring. 128 MUSIC NOTATION AND TERMINOLOGY The other important members of the percussion family are shown on this and the following page, their use being so obvious as to require no detailed explanation. Tambourine. Diameter, lo to 12 in. MUSICAL INSTRUMENTS 129 Side Drum. Diameter, about 15I in. 28. The harp is one of the oldest of instruments (dating back over 6000 years), but it is only in comparatively recent years that iChas been used in the s3anphony orchestra. Its 8va -to — . range is from 9= Sva i The modem double-action harp has forty-six strings, which are tuned in half-steps and whole-steps so as to soimd the scale of Ct> major. It has a series of seven pedals around its base, each pedal having two notches below it, into either of which the pedal may be low- ered and held fast. The first pedal shortens the Fb string so that it now sounds F, (giving the key of G'') ; the second one Hakf. Height, s ft, 8 in. I30 MUSIC NOTATION AND TERMINOLOGY shortens the Cb string so that it sounds C (giving the key of D>) ; the third pedal shortens the Gi^ string so that it sounds. G (giving the key of Ab) ; the fourth changes Dft to D (giving the key of Ei?), and so on until, when all the pedals are fixed in their first notches, the scale of C is sounded instead of CI? as was the case before any of the pedals were depressed. But if the first pedal is now pushed down into the second notch the original F\f string is still further shortened and now soxinds the pitch F# (giving us the key of G), and if all the other pedals are likewise successively lowered to the second notch we get in turn aU the sharp keys — D, A, E, B, F# and C#, the last-named key being obtained as the result of having aU the pedals fixed in their second notches, thus making aU the tones of the original C^^ scale a whole-step higher so that they now sound the CK scale. Chords of not more than four tones for each hand may be played simultaneously on the harp, but arpeggio and scale passages are the rule, and are more successful than simul- taneous chords. The notation of harp music is essentially like that of piano music. APPENDIX C Acoustics Note: — It is usually taken for granted that the student of music is familiar with the significance of such terms as over-tone, equal temperament, etc., and with principles such as that relating to the relation between vibration rates and pitches: the writer has in his own experience found, however, that most students are not at all familiar with such data, and this appendix is therefore added in the hope that a few facts at least regarding the laws of sound may be brought to the attention of some who would otherwise remain in entire ignorance of the subject. 1. Acoustics is the science which deals with sound and the laws of its production and transmission. Since all sound is caused by vibration, acoustics may be defined as the science which treats of the phenomena of sound-producing vibration. 2. AH sound (as stated above) is produced by vibration of some sort: strike a tuning-fork against the top of a table and see the vibrations which cause the tone, or, if the fork is a small one and the vibrations cannot be seen, hold it against the edge of a sheet of paper and hear the blows it strikes; or, watch one of the lowest strings of the piano after striking the key a sharp blow; or, look closely at the heavier strings of the viohn (or better still, the cello) and watch them oscillate rapidly to and fro as the bow moves across them. The vibrating body may be a string, a thin piece of wood, a piece of metal, a membrane (cf. drum), the lips (cf. playing the comet), the vocal cords, etc. Often it is a column of air whose vibrations give rise to the tone, the reed or other medium merely serving to set the air in vibration. 3. Sound is transmitted through the air in somewhat this fashion: the vibrating body (a string for example) strikes the air-particles in its immediate vicinity, and they, being in con- 131 132 MUSIC NOTATION AND TERMINOLOGY tact with other such'air^articles, strike these others, the latter in turn striking yet others; and so on, both a forward and back- ward movement being set up (oscillation). These particles he so close together that no movement at all can be detected, and it is only when the disturbance finally reaches the air- particles that are in contact with the ear-drum that any effect is evident. This phenomenon of sound-transmission may perhaps be made more clear by the old illustration of a series of eight biUiard balls in a row on a table: if the first ball is tapped hghtly, striking gently against ball number 2, the latter (as well as numbers 3, 4, 5, 6, and 7) will not apparently move at all, but ball number 8 at the other end wiU roll away. The air-particles act upon each other in much this same fashion, the difference being that when they are set in motion by a vibrating body a complete vibration backward and forward causes a similar backward and forward movement of the parti- cles (oscillation) instead of simply a forward jerk as in the case of the biUiard balls. Another way of describing the same process is this: the vibration of some body produces waves in the air (cf. waves in the ocean, which carry water forward but do not themselves move on continuously), these waves spread out spherically (i.e. in all directions) and finally reach the ear, where they set the ear-drum in vibration, thus sending certain sound-stimuK to the nerves of hearing in the inner ear, and thus to the brain. An important thing to be noted in connection with sound- transmission is that soimd wiU not travel in a vacuum: some kind of a medium is essential for its transmission. This medium may be air, water, a bar of iron or steel, the earth, etc. 4. The rate at which sound travels through the air is about 1 100 feet per second, the rapidity varying somewhat with fluctuations in temperature and humidity. In water the rate is much higher than in air (about four times as great) ACOUSTICS 133 while the velocity of sound through other mediums (as e.g., steel) is sometimes as much as sixteen times as great as through air. 5. Sound, like Ught, may be intensified by a suitable re- flecting surface directly back of the vibrating body (cf . sound- ing board) ; it may also be reflected by some surface at a dis- tance from its source in such a way that at a certain point (the focus) the sound may be very clearly heard, but at other places, even those nearer the source of sound, it can scarcely be heard at all. If there is such a surface in an auditorium (as often occurs) there will be a certain point where everything can be heard very easily, but in the rest of the room it may be very difficult to understand what is being said or sung. Echoes are caused by sound-reflection, the distance of the reflecting surface from the vibrating body determining the number of syllables that will be echoed. The acoustics of an auditorium (i.e., its hearing properties) depend upon the position and nature of the reflecting surfaces and also upon the length of time a sound persists after the vibrating body has stopped. If it persists longer than Sj or 2f seconds the room wiU not be suitable for musical perform- ances because of the mixture of persisting tones with following ones, this causing a blurred effect somewhat like that obtained by playing a series of imrelated chords on the piano while the damper-pedal is held down. The duration of the reverbera- tion depends upon the size and height of the room, material of floor and walls, furniture, size of audience, etc. 6. Sound may be classified roughly into tones and noises although ^e line of cleavage is not always sharply drawn. If I throw stones at the side of a bam, soimds are produced, but they are caused by irregidar vibrations of an irregularly con- structed surface and are referred to as noise. But if I tap the head of a kettle-drum, a regular series of vibrations is set up and the resulting soxmd is referred to as tone. In general the 134 MUSIC NOTATION AND TERMINOLOGY material of music consists of tones, but for special effects certain noises are also utilized (cf. castanets, etc.). 7. Musical tones have three properties, viz. : 1. Pitch. 2. Intensity. 3. Quality (timbre). By pitch is meant the highness or lowness of tone. It de- pends upon rate of vibration. If a body vibrates only 8 or 10 times per second no tone is heard at all: but if it vibrates regularly at the rate of 16 or 18 per second a tone of very low pitch is heard. If it vibrates at the rate of 24 the pitch is higher, at 30 higher still, at 200 yet higher, and when a rate of about 38,000 per second has been reached the pitch is so high that most ears cannot perceive it at all. The highest tone that can ordinarily be heard is the El? four octaves higher than the highest Et» of the piano. The entire range of sound humanly audible is therefore about eleven octaves (rates 16-38,000), but only about eight of these octaves are utilized for musical purposes. The tones of the piano (with a range of 7I octaves) are produced by vibration rates approximately between 27 and 4224. In the orchestra the range is sHghtly more extended, the rates being from 33 to 4752. Certain interesting facts regarding the relation between vibration-rates and pitches have been worked out: it has been discovered for instance that if the number of vibrations is doubled, the pitch of the resulting tone is an octave higher; i.e., if a string vibrating at the rate of 261 per second gives rise to the pitch c', then a string one-half as long and vibrating twice as rapidly (522) will give rise to the pitch c", i.e.,fja. octave higher than c'. In the same way it has been found that if the rate is multipUed by f the pitch of the tone will be a major third higher; if multiplied by I, a perfect fifth higher, etc. These laws are often stated thus: the ratio of the octave to the funda- mental is as two is to one; that of the major third as five is to ACOUSTICS 135 four; that of the perfect fifth as three is to two, and so on through the entire series of pitches embraced within the oc- tave, the ratio being of course the same for all octaves. 9. The intensity (loudness or softness) of tones depends upon the ampUtude (width) of the vibrations, a louder tone being the result of vibrations of greater amplitude, and vice versa. This may be verified by plucking a long string (on cello or double-bass) and noting that when plucked gently vibrations of small ampKtude are set up, while a vigorous pluck results in much wider vibrations, and, consequently, in a louder tone. It should be noted that the pitch of the tone is not affected by the change in amplitude of vibration. The intensity of tones varies with the medium convejdng them, being usually louder at night because the air is then more elastic. Tone intensity is also affected by sympathetic vibrations set up in other bodies. If two strings of the same length are stretched side by side and one set in vibration so as to produce tone the other wiU soon begin to vibrate also and the combined tone wiU be louder than if only one string produced it. This phenomenon is the basis of what is known as resonance (cf. body of violin, resonance cavities of nose and mouth, sounding board of piano, etc.). 10. Qimlity depends upon the shape (or form) of the vibra- tions which give rise to the tone. A series of simple vibra- tions wiU cause a simple (or colorless) tone, while complex vibrations (giving rise to overtones of various kinds and in a variety of proportions) cause more individualistic pecuHarities of quality. ^uaUty is affected also by the shape and size of the resonance body. (Cf. last part of sec. 9 above.) 11. Practically every musical tone really consists of a combination of several tones sounding simiiltaneously, the combined effect upon the ear giving the impression of a single tone. The most important tone of the series is the funda- mental, which dominates the combination and gives the pitch, 136 MUSIC NOTATION AND TERMINOLOGY but this fundamental is practically always combined with a greater or less number of faint and elusive attending tones called overtones or harmonics. The first of these overtones is the octave above the fundamental; the second is the fifth above this octave; the third, two octaves above the fundamen- tal, and so on through the series as shown in the figure below. The presence of these overtones is accounted for by the fact that the string (or other vibrating body) does not merely vibrate in its entirety but has in addition to the principal oscillation a number of sectional movements also. Thus it is easily proved that a string vibrates in halves, thirds, etc., in addition to the principal vibration of the entire string, and it is the vibration of these halves, thirds, etc., which gives rise to the harmonics, or upper partials as they are often called. The figure shows Great C and its first eight overtones. A similar series might be worked out from any other fundamental. i m --§^ 4 5 6 7 8 9 10 ^i -ts>- 12 3 (Note: — The Bb in this series is approximate only.) It will be recalled that in the section (lo) dealing with quality the statement was made that quality depends upon the shape of the vibrations; it should now be noted that it is the form of these vibrations that determines the nature and pro- portion of the overtones and hence the quaUty. Thus e.g., a tone that has too large a proportion of the fourth upper partial (i.e., the third of the chord) will be reedy and somewhat un- pleasant. This is the case with many voices that are referred to as nasal. Too great a proportion of overtones is what -causes certain pianos to sound "tin-panny." The tone pro- ACOUSTICS 137 duced by a good tuning-fork is almost entirely free from over- tones: it has therefore no distinctive quality and is said to be a simple tone. The characteristic tone of the oboe on the other hand has many overtones and is therefore highly in- diAddualistic: this enables us to recognize the tone of the in- strument even though wcMcannot see the player. Such a tone is said to be complex. 12. The mathematical ratio referred to on page 134, if strictly carried out in tuning a keyboard instrument would cause the half-steps to vary sUghtly in size, and plajdng in certain keys (especially those having a number of sharps or flats in the signature) would therefore soimd out of tune. There would be many other disadvantages in such a system, notably the inability to modulate freely to other keys, and since modulation is one of the predominant and most striking, characteristics of modern music, this would constitute a serious barrier to advances in composition. To obviate these disad- vantages a system of eqiial temperament was invented and has; been in imiversal use since the time of Bach (1685-1750) who was the first prominent composer to use it extensively. Equal temperament means simply dividing the octave into twelve equal parts, thus causing aU scales (as played on keyboard instruments at least) to soimd exactly alike. To show the practicability of equal temperament Bach wrote a series of 48 preludes and fugues, two in each major and two in each minor key. He called the collection "The Well-tempered Clavichord." 13. Various standards of pitch have existed at different times in the last two centuries, and even now there is no abso- lute uniformity although conditions are much better than they were even twenty-five years ago. Scientists use what is. known as the "scientific standard" (sometimes called the "philosophic standard"), viz., 256 double vibrations for "middle C." This pitch is not in actual use for musical pur- poses, but is retained for theoretical purposes because of its- 138 MUSIC NOTATION AND TERMINOLOGY convenience of computation (being a power of 2). In 1885 a conference of musicians at Vienna ratified the pitch giving "middle C 261 vibrations, this having been adopted by the French as their ofiicial pitch some 26 years before. In 1891 a convention of piano manufacturers at Philadelphia adopted this same pitch for the United States, and it has been in prac- tically universal use ever since. This pitch (giving Middle C 261 vibrations) is known as "International Pitch." Concert pitch is slightly higher than International, the dif- ference between the two varying somewhat, but being almost always less than one-half step. This higher pitch is stUl often used by bands and sometimes by orchestras to give greater brilliancy to the wind instruments. References Lavignac — Music and Musicians, pp. 1-66. Broadhouse — The Student's Helmholz. Helmholtz — Sensations of Tone. Hamilton — Sound and its Relation to Music. Note: — For a simple and illuminating treatment of the subject from the stand- point of the music student, the books by Lavignac and Hamilton are especially recom- mended. APPENDIX D Terminology Reform A recent writer^ on vocal terminology makes the following statement as an introduction to certain remarks advocating a more definite use of terms relating to tone production by the hxmian voice: — ".The correct use of words is the most potent factor in the development of the thinker." If this statement has any basis of fact whatsoever to support it then it must be evident to the merest novice in musical work that the popular use of many common terms by musicians is keeping a good many people from clear and logical thought in a field that needs accurate thinkers very badly! However this may be, it must be patent to all that our present terminology is in many respects neither correct nor logical, and the movement inaugurated by the Music Section of the National Education Association some years ago to secure greater uniformity in the use and definition of certain expressions should therefore not only command the respect and commendation, but the active support of aU progressive teachers of music. Let it be noted at the outset that such reforms as are ad- vocated by the committee will never come into general use while the rank and file of teachers throughout the country merely approve the reports so carefully compiled and submitted each year: these reforms wiU become effective only as indi- vidual teachers make up their minds that the end to be at- tained is worth the trouble of being careful to use only correct 1 Floyd S. Muckey — "Vocal Terminology," The Musician, May, 1912, p. 337. 139 I40 MUSIC NOTATION AND TERMINOLOGY terminology every day for a month, or three months, or a year — whatever length of time may be necessary in order to get the new habits fixed in mind and muscle. The Terminology Committee was appointed by the De- partment of Music of the N. E. A. in 1906 and made its first report at Los Angeles in 1907. Since then the indefatigable chairman of the committee (Mr. Chas. I. Rice, of Worcester, Mass.) has contributed generously of both time and strength, and has by his aimual reports to the Department set many of us to thinking along certain new fines, and has caused some of us at any rate to adopt in our own teaching certain changes of terminology which have enabled us to make our work more effective. In his first report Mr. Rice says: "Any one who has observed the teaching of school music in any considerable number of places in this country cannot fail to have remarked the great diversity of statement em- ployed by different teachers regarding the facts which we are engaged in teaching, and the equal diversity of terminology used in teaching the symbols by whidh musicians seek to record these facts. To the teacher of exact sciences our picturesque use of the same term to describe two or more entirely^fferent things never ceases to be a marvel. . . . Thoughtful men and women will become impressed with the untruthfulness, of certain statements and little by Kttle change their practice. Others will follow, influenced by example. The revolutionists wiU deride us for not moving faster while the conservatives wiU be suspicious of any change." At this meeting in Los Angeles a list of thirteen points was recommended by the committee and adopted by the Music Department. These points are given in the N. E. A. Volume of Proceedings for 1907, p. 875. Since 1907 the coitimittee (consisting of Chas. I. Rice, P. C. Hayden, W. B. Kinnear, Leo R. Lewis, and Constance TERMINOLOGY REFORM 141 Barlow-Smith) have each year selected a number of topics for discussion, and have submitted valuable reports recommending the adoption of certain reforms. Some of the points recom- mended have usually been rejected by the Department, but many of them have been adopted and the reports of the com- mittee have set many teachers thinking and have made us all more careful in the use and definition of common terms. A complete Ust of all points adopted by the Department since 1907 has been made by Mr. Rice for School Music, and this list is here reprinted from the January, 1913, number of that magazine. TEEMrNOLOGY ADOPTIONS, 1907-1910 1. Tone: Specific name for a musical sound of definite pitch. Use neither sound, a general term, nor note, a term of notation. 2. Interval: The pitch relation between two tones. Not properly- applicable to a single tone or scale degree. Example: "Sing the fifth tone of the scale." Not "sing the fifth interval of the scale." 3. Key: Tones in relation to a tonic. Example: In the key of G. Not in the scale, of G. Scales, major and minor are composed of a definite selection from the many tones of the key, and all scales extend through at least one octave of pitch. The chromatic scale utilizes all the tones of a key within the octave. 4. Natural: Not a suitable compoimd to use in naming pitches. Pitch names are either simple: B, or compound: B sharp, B double- sharp, B flat or B double-flat, and there is no pitch named "B natural." Example: Pitch B, not "B natural." Note: — L. R. Ev' thinks that B natural should be the name when the notation suggests it. " 5. Step, Half -step: Terms of interval measurement. Avoid tone, semi-tone or half-tone. Major second and minor second are interval names. Example: How large are the following intervals? (i) Major second, (2) minor second, (3) augmented prime. Answer: (i) a step, (2) a half-step, (3) a half-step. 6. Chromatic: A tone of the key which is not a member of its diatonic scale. (N. B.) An accidental (a notation sign) is not a chromatic sign unless it makes a staff-degree represent a chromatic tone. 142 MUSIC NOTATION AND TERMINOLOGY 7. Major; Minor: Major and Minor keys having the same signa- ture should be called relative major and minor. Major and minor keys having the same tonic, but different signatures, should be called tonic major and minor. Not "parallel" major or minor in either case. 8. Staf: Five horizontal lines and their spaces. Staff lines are named (nimibered) upward in order, first to fifth. Spaces: Space be- low, first-second-third-fourth-space, and space abovei. (Six in all.) Additional short lines and their short spaces nvunbered outward both ways from the main staff, viz: line below, second space below. The boundary of the staff is always a space. 9. G Clef, F Clef, C Clef: These clefs when placed upon the staff, give its degrees their first, or primary pitch meaning. Each makes the degree it occupies represent a pitch of its respective name. Example: The G clef makes the second line represent the pitch G. Avoid "fixes G on." The staff with clef in position represents only pitches having simple or one-word names, A, B, C, etc. 10. Sharps, Flats: Given a staff with clef in position as in example above, sharps and flats make staff degrees upon which they are placed represent pitches a half-step higher or lower. These pitches have com- pound or two- word names. Example: The second line stands for the pitch G (simple name). Sharp the second line and it will stand for the pitch G sharp. (Compound name.) The third line stands for the pitch B. (Simple name.) Flat it, and the line will stand for the pitch B flat. (Compound name.) N. B. These signs do not "raise" or "lower" notes, tones, pitches, letters or staff degrees. 11. Double-sharp, Double-flat: Given a staff with three or more degrees sharped in the signature, double-sharps are used (subject to the rules governing composition) to make certain of these degrees, already sharped, represent pitches one half-step higher yet. Similarly, when three or more degrees are flatted in the signature, double-flats are used to make certain degrees already flatted, represent pitches one half-step lower yet. Examples: To represent sharp 2 in the key of B major, double-sharp the C degree, or (equally good) double-sharp the third space (G clef). To represent flat 6 in the key of D flat major, double- flat the B degree, or (equally good) double flat the third line (G clef). Do not say: "Put a double-sharp on 6" or "put a double-sharp on C," or "indicate "a higher or lower pitch "on" a sharped or flatted degree. 12. Signature: Sharps or flats used as signatures affect the staff de- 1 Note: — Not " space below the staff" or '' space above the staff." TERMINOLOGY REFORM 143 grees they occupy and all octaves of the same. Example: With signa- txire of four sharps, the first one affects the fifth line and the first space; the second, the third space; the third, the space above and the second line; the fourth, the fourth line and the space below. Do not say: "F and C are sharped," "ti is sharped," "B is flatted," "fa is flatted." "Sharpened" or "flattened" are undesirable. 13. Brace: The two or more staffs containing parts to be sounded together; also the vertical line or bracket connecting such staffs. Not "line" or "score." "Staff" is better than "line" for a single staff, and "score" is used meaning the book containing an entire work, as "vocal score" "orchestral score," "full score." 14. Notes: Notes are characters designed to represent relative diuration. When placed on staff-degrees they indicate pitch. (Note the difference between "represent" and "indicate.") "Sing what the note calls for" means, sing a tone of the pitch represented by the staff degree occupied by the note-head. The answer to the question: "What is that note?" would be "half-note," "eighth-note" according to the denomination of the 'note in question, whether it was on or off the staff. 15. Measure-sign: 4-4, 2-4, 6-8, are measure-signs. Avoid "time signatures," meter-signatures " " the fraction " " time-marks." Example : What is the measure-sign? (C) Ans. A broken circle. What is its meaning? Ans. Four-quarter measure. (Not four-four time, four-four rhythm, four-four meter.) 16. Note Placing: Place a quarter note on the fourth line. Not "put a quarter note on D." 17. Beat-Pulse: A tone or rest occurs on a certain beat or pulse of a measure. Not on a certain count. 18. Signature Terminology: The right hand sharp in the signature is on the staff degree that represents seven of the major scale. Not "always on 7 or ti." 19. Signature Terminology: The right hand flat in the signature is on the staff degree that represents four of the major scale. Not " always on fa." 20. Rote, Note, Syllable: Singing by rote means that the singer sings something learned by ear without regard to notes. Singing by note means that the singer is guided to the correct pitch by visible notes. Singing by syllable means that the singer sings the tones of a song or part to the sol-fa syllables instead of to words, neutral vowels or the hum. "Sing by note" is not correct if the direction means simply to sing the 144 MUSIC NOTATION AND TERMINOLOGY sol-fa syllables, whether in sight reading, rote singing, or memory work. "Sing by syllable" would be correct in each case. Adoptions of the 191 i Meeting at San Francisco Arabic numerals, either 2, 3, 4, 5, 6, 9, or 12, placed on the staff directly after the signature and above the third line, show the number of beats in a measure. A note, either a quarter or a dotted quarter, placed in parenthesis under the numeral, represents the length of one beat and is called the beat-note. The numeral and the beat-note thus grouped constitute the measure- sign. Illustrative statements covering proper terminology: the tune "America" is written in three-quarter measure. The chorus: "How lovely are the Messengers" is written in two-dotted quarter measure. The above forms of statement were adopted at Denver in 1909, and are recommended for general use when speaking of music written with the conventional measure-signs, etc. In place of: "two-two time, three-eight time, four-four time," say as above: "This piece is written in two-half measure, three-eighth measure, four-quarter measure. Minor Scales Primitive Minor (ascending) The minor scale form having min or sixth and minor seventh above tonic to be called Primitive Minor. Illustrative examples. A minor: a, b, c, d, e, f, g, a; C minor: c, d, e flat, f, g, a flat, ^c. \ Primitive Minor (descending) Same pitches in reverse order. Harmonic Minor (ascending) The minor scale form having minor sixth and major seventh above tonic to be called Harmonic Minor. Illustrative examples. A minor: a b, c, d, e, f, g sharp, a; C minor: c, d, e flat, f, g, a flat, b, c. Harmonic Mtnor (descending) Same pitches in reverse order. TERMINOLOGY REFORM 145 Melodic Minor (ascending) The minor scale form having major sixth and major seventh above tonic to be called Melodic Minor. Illustrative examples. A minor: a, b, c, d, e, f sharp, g sharp, a; C minor: c, d, e flat, f, g, a, b, c. Melodic Minor (descending) Same as the Primitive. Adoptions of the 191 2 Meeting at Chicago Pidse and Beat The Committee finds that the words: Pulse and Beat are in general use as synonymous terms, meaning one of the succession of throbs or impulses of which we are conscious when listening to music. Each of these pulses or beats has an exact point of beginning, a duration, and an exact point of ending, the latter coincident with the beginning of the next pulse or beat. When thus used, both words are terms of ear. Beat One of these words. Beat, is also in imiversal use, meaning one of a series of physical motions by means of which a conductor holds his group of performers to a imiform movement. When thus used it becomes a term of eye. The conductor's baton, if it is to be authoritative, cannot wander about through the whole duration of the pulse but must move quickly to a point of comparative repose, remaining until just before the arrival of the next pulse when it again makes a rapid swing, finishing coincidently with the initial, tone (or silence) of the new pulse. Thus it is practically the end of the conductor's beat that marks the beginning of the pulse. The Committee is of opinion that Beat might preferably be used as indicating the outward sign. Beat-Note This term "beat-note" is already in use in another important con- nection (see Terminology Report, 191 1) and the Committee recommends that those using the above terms shall say: "This note is an on-the-beat note- this one is an after- the-beat note; this one a before-the-beat note." 146 MUSIC NOTATION AND TERMINOLOGY Definitions Matters of Ear Pulse: The vmit of movement in music, one of a series of regularly recurring throbs or impulses. Measure: A group of pulses. Pulse-Group: Two or more tones grouped within the pulse. Matters of Eye Beat: One of a series of conventional movements made by the con- ductor. This might include any unconventional motion which served to mark the movement of the music, whether made by conductor, per- former or auditor. Beat-Note: A note of the denomination indicated by the measure- sign as the unit of note-value in a given measure. Example Given the following measure-signs: 2-4, 2-2, 2-8, quarter, half, or eighth notes, respectively, are beat-notes. Beat-Group: A group of notes or notes and rests, of smaller denomi- nation than the beat-note which represents a full beat from beginning to end and is equal in value to the beat-note. (A beat-group may begin with a rest.) On-the-Beat Note (or rest): Any note (or rest) ranging in value from a full beat down, which calls for musical action (or inaction) syn- chronously with the conductor's beat. After-the-Beat Note: Any note in a beat-group which indicates that a tone is to be sounded after the begianing, and before or at the middle of the pulse. Before-the-Beat Note: Any note in a beat-group which indicates that a tone is to be sounded after the middle of the pulse. To illustrate terminology and to differentiate between Pulse and Beat as terms, respectively of ear and eye, the following is submitted: Whenever a brief tone involves the musical idea of syncopation, it may be regarded as an after-the-pulse tone and the note that calls for it as an after-the-beat note; when it involves the idea of anticipation or preparation it may be regarded as a before-the-pulse tone, and the note that calls for it, as a before-the-beat note. TERMINOLOGY REFORM 147 Measure and Meter "What is the measure-sign?" "What is the meter-signature?" These two words are used synonymously, and one of them is unneces- sary. The Committee recommends that Measure be retained and used. Meter has its use in connection with hymns. ************ The author does not find it possible at present to agree with all the recommendations made in the above report, but the summary is printed in full for the sake of completeness. The Music Teacher's National Association has also in- terested itself mildly in the subject of terminology reform, and at its meeting in Washington, D.C., in 1908, Professor Waldo S. Pratt gave his address as president of the Association on the subject "System and Precision in Musical Speech." This address interested the members of the Association to such an extent that Professor Pratt was asked to act as a committee whose purpose it should be to look into the matter of reforms necessary in music terminology and report at a later session. In 1910 Professor Pratt read a report in which he advocated the idea of making some changes in music nomenclature, but took the ground that the subject is too comprehensive to be mastered in the short time that can be given to it by a com- mittee, and that it is therefore impossible to recommend specific changes. He also took occasion to remark that one difficulty in the whole matter of terminology is that many terms and expressions are used colloquially and that such use although usually not scientific, is often not distinctly harmful and is not of sufficient importance to cause undue excitement on the part of reformers. Quoting from the report at this point: — "A great deal of confusion is more apparent than real between note and tone, between step and degree, between key and tonality. No practical harm is done by speaking of the first note of a piece when really first tone would be more 148 MUSIC NOTATION AND TERMINOLOGY accurate. To say that a piece is written in the key of B]> is more convenient than to say that it is written in the tonality of which B\> is the tonic. The truth is that some of the nice- ties of expression upon which insistence is occasionally laid are merely fussy, not because they havenot some sort of reason, but because they fall to take into account the practical differ- ence between coloquial or off-hand speech and the diction of a scientific treatise. This is said without forgetting that col- loquiahsm always needs watching and that some people form the habit of being careless or positively uncouth as if it were a mark of high artistic genius." Professor Pratt's report is thus seen to be philosophic rather than constructive, and terminology reform wiU undoubtedly make more unmediate progress through the efforts of the N. E. A. Committee with its specific recommendations (even though these are sometimes admittedly fussy) than through the policy of the M. T. N. A. of waiting for some one to get time to take up the subject in a scholarly way. Nevertheless the philosophic view is sometimes badly needed, especially when the spirit of reform becomes too rabid and attaches too great importance to trifles. A judicious intermingling of the two committees in a series of joint meetings would undoubtedly result in mutual helpfulness, and possibly also in a more tan- gible and convincing statement of principles than has yet been formulated by either. ANALYSIS OF SONATA 149 APPENDIX E Sonata Op. 31, No. 3 by Beethoven Analysis by Arthur E. Heacox, Oberlin Conservatory of Music First Subject 17 measures, El? major, as follows: 8 meas. presentation, one meas. link, 8 meas. repetition oct. higher. Rhythmic elements are A, B, C, all pre- sented in first 8 meas. ist Sub. A ornament added. End of ist Sub. ^-i^. ^ A 17 f-[ I i I ■ 1» 19 20 ^^vempping rhythm of bass B in diminution. * The Episode has three divisions, ist div. meas 18-25, 2nd div. 25-32, 3d div. 33-45. ISO MUSIC NOTATION AND TERMINOLOGY mod. B rep. mod. B rep. mod. A interval expansion 43 44 45" 2d Sub. i8 meas. 46 47 48 * A device in instrumental music whereby a phrase of two notes is accelerated, even to the extent of becoming a trill. ANALYSIS OF SONATA 151 \ ite 64 66 152 MUSIC NOTATION AND TERMINOLOGY jG see6r i [g" Codetta 5 meas. G var. . ^8i re^ ^-— -^ ANALYSIS OF SONATA 153 1 54 MUSIC NOTATION AND TERMINOLOGY ANALYSIS OF SONATA A rib. (see meas. 20) 155 .t^^ £ ^r - g^iS iS6 MUSIC NOTATION AND TERMINOLOGY w\ M i ' J I i ^i^,jjrrrnj:m Link expanded from four bars to six adding brilliancy. 190 Var. of meas. S. 191 I Overlapping rhythm. ANALYSIS OF SONATA IS7 158 MUSIC NOTATION AND TERMINOLOGY N^^i^^^^^^-^ ^H F=^ b=5 Bi- rib. dismembered, ^M^- "226 227 228 ^ 224 225 230 231 232 233 234 239:=t d: H: ^^ 240 242 243 244 INDEX eh = a as in face ; ah = a as in far ; ch = ch as in chair ; final eh = e as in met. A (ah), 95 A battuta (flk-baht-too'-tah), 95 A capella {cah-pd'-lah), 76 A capiiccio {cah-pritch'-eo), 54 Accellerando {aht-cheh-leh-rahn'-do), 54 Accented tones, 20 Accent marks, 20 Accent in measures, 44 Acciaccatura (ahi-cheea-cah-too'-ra), 25, 26 Accidentals, 9 Accompagnamento {flhc-com-pahn-yah- men'-to), 95 Acoustics {ah-kov/ -sties), def., 131 of auditoriums, 133 Adagietto (ah-dah-jee-et'-to), 50 Adagio {ahrdah'-jee-o), $0 A deux mains (doo-mahng), 42 Ad libitum, 54 Affrettando (akf-fret-tahn'-do), 54 Agitato (flh-Jee-iah'-to), S5 Agr6ments (flh-grelMnahng), 22 A la or alia {ahl'-lah), 42 Alia breve (f>reh'-veh), 95 Alia marcia (mar'-chee-ah), 95 Allargando {aU-lahr-gahn'-do), 53 Alia zingara (iseen-gah'^ah), 95 _AIlegretto (aM-leh-gret'-to), 51 AUegrissimo, 52 Allegro (ahUeh'-gro), 50 Allegro agitato (ah-jee-tah'-to), 52 Allegro appassionata (-ah'-tah), 52 Allegro assai (ahs-sah'-ee), 52 Allegro commodo (kom-mo'-do), 52 Allegro con brio (jbree'-o), 52 Allegro con fuoco (Joo-o'-ko). 53 Allegro con moto (mo'-to), 53 Allegro con spirito (spee'-ree-to), 53 Allegro di bravura (dee brah-voo'-rah), $3 Allegro di molto (moW-to), 33 Allegro furioso (foo-ree-o'-so), 53 Allegro giusto (jew-sto), $3 Allegro ma grazioso (mah grah-tsi-o'-so), S3 Allegro (ma) non tanto (tahn'-to), 53 Allegro (ma) non troppo (trop'-pd), 53 Allegro moderate (mod-e-rah'-to), $3 Allegro quasi andante (quah-see ahn- dahn'-teh), 53 Allegro vivace (vee-vah'-cheK), 53 Allemande (al^mahni), 71 All unisono (oo-nee-so'-no), 95 Al ottava (ot-tak'-iiah), 1$ Alt (aUt), 95 Alto (ahl-to), 95 A mezza voce (inet'-zah-vo'-cheh), 42 Amore (ah-^o'-reh), 42, 59 Andante (ahn-dahn'-teh), 50 Andante affetuoso (ahf-fet-too-o'-so), 52 Andante amabile (ak-mak'-bee-leh), 52 Andante cantabile (cahn-tah'-bee-leh), 52 Andante con moto (mo'-to), 52 Andante grazioso (grah-tsi-o'-so), 52 Andante maestoso (mah-es-to'-so), 52 Andante (ma) non troppo (mah non trop'-po), 52 Andante pastorale (pahs-to-rah'-leh), 52 Andante quasi allegro (qtiah-see ahl-leh'- gro), 52 1 59 i6o INDEX Andante sostenuto {sos-teh-noo'-to), 52 Animando (ah-nee-mahn'-do), 55 Animato (ah-nee-mah'-io), ss Animato come sopra (co-meh so'-prah), 55 Andantino (ahn-dahn-tee'-no), $0 Antecedent, 67 Anthem, 76 Anticipation, 93 Antiphony (anrtif'-o^y), 95 Antithesis {am-tith'-), 67 A piacere (pee-ah-cheh'-reh), 54 Appoggiatura (ap-pod-Jea-too'^ah), def., 25 A quatre mains {kahtr-mahng), 95 Arabesque, 95 Aria {ah'-iree-ali), 79 Arioso {ah-ree-o'-so), 95 Arpeggiando (ar-ped-jee-ahn'-do), 21 Arpeggiato (-ah' -to), 21 Arpeggiento {-en' -to), 21 Arpeggio (ar-ped'-jee-o), 21 Art-ballad, 80 Assai (flhs-sah'-ee), 42 A tempo,^54 A tempo primo {pree'-mo), 54 A tempo rubato (roo-bah'-to), $4 Attacca (aht-tah'-kah), 95 Attacca subito (soo'-bee-to), 95 Attacca subito il seguente (ed seg-wen'- ieh), 95 Attack, 93 Bagpipe, 95 Ballad, 80 Band, 115 Bar, def. and use, 12 double, 12 Barcarole {ba/-cah-roM), 95 Baritone, 95 Bass, 9S Bass clarinet, 121 Basso (bahs'-so), 93 Bassoon, 121 Bass staff, 6 Bass tuba, 123 Bass viol, 118 Ben (behn), 42 Ben marcato (mahr-kah'-to), 42 Berceuse {behr-soos'), 93 Binary form, 93 Binary measure, 93 Bis (bees), 96 Bolero (bo-leh'-ro), 71 Bourree (boo-reh'), 71 Brace, 96 Brass instruments, 116 Brilliante (breeUyahn'-teh), $$ Broken chord, 96 Broken octave, 96 Cacophony (kak-of'-o-ny), 96 Cadence, 89 Cadenza, 96 Calando (kah-lahn'-do), 39 Cancel, 3, 8 Cantabile (kahn-tah'-bee-leh), 96 Cantando (kahn-tahn'-do), 96 Canto (kahn'-to), 96 Cantus firmus, 64 Canon, 64 Cantata (kahn-tah'-tah), 77 Carol, 96 Catch, 96 C clef 3, 6 Cello (chel'-lo), 118 Chaconne (shah-con'), 71 Chamber music, 72 Chanterelle (shong-tahrd'), 117 Chinese scale, 27 Choral, 76 Chords def. and kinds, 87 inversions of, 88 common, 87 seventh, 89 dominant seventh, 92 Chromatic, 96 Chromatic scale, 38 Clarinet, 121 Classes of instruments in orchestra, iij Clavichord, 96 Clefs, 3, s Close position, 94 Coda, 70 Coi (co'-ee), 42 Col, 42 CoUa, 42 INDEX i6i Colla parte {par'-teh), 96 Colla voce {vo'-cheh), 96 Colle, 42 CoUo, 42 Coloratura singing, 79, 96 Col ottava {ot-tah'-vah), 15 Combination pedals, 115 Come (koh'-meh), 42 Come primo (pree'^mo), 42 Common chords, 87 Compoimd measure, 45 Compound duple measure, 45 Con, 42 Con alcuna licenza (flU-koo'-nah lee- chen'-tsaJi), 59 Con amore {ah-mo'-reh), 42, 59 Con anima {ah'-nee-mah), $$ Con br^pvura (brah-voo'-rah) , $9 Con celerita (che-leh'-ree-tah), 59 Concerto {cothcher'-to), 72 Concert pitch, 138 Con delicate {deh-lee-cah'-to), 59 Con energico {en-er-jee^-ko), S9 Con espressione (es-pres-see-o'-neh), S9 Con forza (Jort'za), 60 Con fuoco (Joo-o'-ho), 60 Con grand' espressione (grahnd' es-pres- see-o'^nek), 60 Con grazia {grahis-yak), 60 Con melinconia (or maUnconia) (-leen- ko'-ne-eh), 60 Con moto, 55 Con passione (pas-se-o'-neh), 60 Consequent, 67 Consonance, 96 Con spirito (spe'-ree-to), 60 Con tenerezza (feh-neh-ret'-za), 60 Continuous form, 80 Contra, 42 Contra bass tuba, 126 Contra octave, 16 Contralto, 96 Con variazione {valM'i-ah-tsi-o'-nek), 96 Cornet, 124 Counterpoint, def., 64, 62, 82 Courante Qioo-rahnt'), 7r Crescendo {kre-shm'-do), S7 Crescendo al fortissimo, 58 Crescendo ed affrettando_(oA/-/reWoAa'- do), s8 Crescendo ed animando poco a poco {ah- ni-mahn'-do), 58 Crescendo e diminuendo {eh de-me-rwo- en'-do), s8 Crescendo molto {moM'-to), 58 Crescendo poco a poco, 58 Crescendo poco a poco sin al fine (seen ahlfee'-neh), 58 Crescendo poi diminuendo (po'-ee dee-mee- noo-en'-do), 58 Crescendo subito (soo'-bee-to), 58 Cross-stroke, i, 2 Csardas {tsar'-dahs), 71 Da {dah), 42 Da capo (kah'-po), 13 Dal segno [sehn'-yo), 13 Dances, 71 Dash over note, 17, 20 Decrescendo {deh-kreh-shen'-do), 58 Decrescendo al pianissimo [aU pee-ahn- is'-si-mo), 58 Degrees of staff, 5 Delicato {deh-lee-kah'-to), 60 Descriptive music, 74 Di {dee), 42 Diatonic condition, 7 Diatonic scale, 28 Di bravura (brah-voo'-rah), 42 Diminuendo (dee-mee-noo-en'-do), 58 Di molto {moU'-to), 42 Direct, 96 Dirge, 97 Discord, 97 Dissonance {dis'), 97 Divisi (,di-ve'-ze), 97 Dolce (dohl'-cheh), 60 Dolce e cantabile (eh kahn-tah'-bee-leh), 60 Dolcissimo {dohl-chis' -see-mo), 60 Dolente {do-len'-teh), 60 Dominant, 36 Dominant Seventh, 92 Doloroso (do-lo-ro'-so), 60 Doppio {dop'-pee-o), 42 l62 INDEX Doppio movimento (mo-vi-men'-to), $5 Dot — where placed, 3 uses of, 17 with slur or tie, 20 with dash, 20 Double bar, 1:2 Double bass, 118 Double bassoon, 121 Double flat, 3, 7 Double mordent, 23 Double sharp, 3, 7 Doublet, 20 Duet, 97 Duple measure, 46 Dynamics, 56 E (eA), 42 Ecole (eh'-kole), 97 ' Ed, 42 Eight-foot stop, 114 Elements of music, 82 Embellishments, 22 English names for notes, 11 English horn, 121 Enharmonic, def., 10 Enharmonic scale, 32 Enharmonic tie, 18 Ensemble {ong-sombl), 42 Equal temperament, 137 E poi la coda (eh-po'-ee), 14 Espressivo {ehs-pres-see'-vo), 60 Et, 42 Etto, 42 Etude, 97 Euphony iyu'-jo-ny), 97 Even measure, 46 Facile (Jah-chee'-leh), 97 Fanfare (Jahn'-fehr), 97 Fantasia (Jahn-tah-ze'-ah), 97 F Clef, 3, 5, 6 Fermata (Jehr-^mah'-ta), 14, 15 Fiasco (Je-ahs'-ko), 97 Figured bass, 89 Fine (Jee'^neh), 13 Five-lined octave, 16 Flat, 3, 7 Flute, 119 Folk-song, 81 Form, def., 62 bmaiy, 95 Forte (Jor'-teh), 56 Forte piano (pee-ah'^no), 56 Forte possibile (pos-see'-bee-leh), 43 Fortissimo, 56 Fortissimo possibile {pos-see-bee-leh), 56 Fortisissimo, 56 Fortzando (Jor-isahn'-do), 57 Fortzato (Jor-tsah'-to), 57 Four-foot stop, ir4 Four-lined octave, 16 Free imitation, 64 French horn, 123 French pitch designations, 6 Fugue, 66 Fundamental, r3S Gamut (gam'^ut), 97 Gavotte {gah-vol'), 71 G Clef, 3, 5, 6 General pause, 15 German pitch designation, 6 Gigue {zkeeg), ji Giocoso (jee-o-ko'-so), 60 Giojoso {jee-o-yo'-so), 60 Glee, 81 Glissando (glis-sahn'-do), 97 Graces, 22 Grandioso (grahn-dee-o'-so), 6o\ Grand sonata, 74 Grave (grah'-veh), 50 Graziogo {grah-tsi-o'-so), 60 Great octave, 16 Great staff, $ Grosse pause {gros-seh pah-oo'-za) or (gros-seh pow-zeh), 15 Gruppetto {groo-pet'-to), 22 Habanera (hah-hah-^neh'-rah), 71 Half-step, 83 Harmonic minor scale, 33- Harmonics, T36 Harmonics on violin, 117 Harmony, 82 INDEX 163 Haip, 129 Harpsichoid, 97 Head of note, i Hold, IS Homophonic style, 63 Hook, I Humoresque (heo-mo-resk'), 97 Hymn to St. John, 37 Idyl, 97 II {eel), 42 II basso {bahs'-so), 42 H piu (pee'-oo), 42 II piu forte possibile {pos-see'-bee-leh), 42 Imitation, 64 Imperfect trill, 23 In alt (in aUt), 97 In altissimo {aU-tis' -si-mo), 97 Ino {ee'-no), 42 Instnunentation, 97 Instruments, classification of, 112 Intensity of tones, 135 Interlude, 97 Intermediate tones, 38; see "Chromatic," p. 96 International pitch, 138 Interval, def., 83 enharmonic, 10 harmonic, 83 melodic, 83 names of, 83 Inversion, in thematic development, 69 Inversions of chords, 88 Inverted mordent, 23 Inverted turn, 23 Issimo, 42 Kettledrmn, 126 Key, def., 28 signature, 8 enharmonic keys, 10 keytone, 27, 28 how different from scale, 28 L, 42 La (/aA), 42 Lacrimando Qahrkri-mahn'-do), 60 Laaimoso (fah-kri-mo'-so), 60 Largamente {lar-gah-men'-teh), 42 Largando (lar-gahn'-do), 53 Larghetto Qar-get'-to), 50 Largo, so Largo assai (ahs-sah'-ee), $2 Laigo di molto {de mohl-to), $2 Largo ma non troppo {mah non trop'-po), S2 Largo un poco (oon po'-cd), 52 Le (/eA), 42 Leading tone, 33, 36 Legato {hh-gah'-to), 18, 60 Leger lines, s Leggierissimo {led-jah-ris'-si-mo), 60 Leggiero (led-jee'-ro) , 60 Lentando (fen-iahn'-do) , $2 Lentemente Qenr-tah-men'-teh), 32 Lentissamamente {-men'-teh), $2 Lentissamente (-men'-teh), 52 Lento, 50 I Lento a capriccio (ah-cak-preet'-chee-o), $2 Lento assai {ahs-sah'-ee), 52 Lento di molto {de moM'-to), 32 Libretto Qee-brel'-io), 78 Lied {feed), 80 L'istesso tempo {Us-tes'-so), 42, S5 Loco, IS, 97 _ Long appoggiatura {ap-pod-jeor-too'-rah), Lower tetrachord, 29 Lunga pausa {loong-ah pow'-zeh) or {loon- gah pah-oo'-za), 15 Lunga trillo, 97 Lusingando (J,oos-in-gahn'-do), 60 Lyric, 98 Madrigal {mad'-ri-gai), 81 Maesta {mah'-es-tah), 60 Maestoso {mah-es-to'-so), 60 Maggiore {mahd-jo'-reh), 98 Main droite {mahng droa), 20 Main gauche {mahng gowsh), 20 Major key, 8 Major scale, def., 29 positions, 30, origin of name, 33 Ma,ncando.{mahn-kahn'-do), 59 Mano destra {mah' -no dehs'-trah), 20 Mano sinistra {si-nees'-trah), 20 164 INDEX MarcatB il canfx> {mar-kah'-to eel kahn'- to), 98 Martellando (mar-tel-lahn'-do), $g Martellato (mar-tel-lah'-to) , 59 Marziale {mart-se-ah'-leh), 59 Mass, 77 Mazurka {mah-zoor'-ka), 71 Measure, def., 44 how differs from "bar'.' 12 how differs from "rhythm," 44 syncopation in, 44 simple and compound, 45 duple or even, 46 triple or perfect, 46 quadruple, 46 sextuple, 46 compoimd duple, 46 signature, 48 binary, 95 Mediant, 36 Mellifluous (md-lif'-loo-us), 98 Melodic minor scales, 34 Melody, 82 Melos {meh'-los), 98 Meno {meh'-no), 42 Meno mosso {mos'-so), S3 Mente (men'-teh), 42 Menuet {meh-noo-eh'), 98 Menuetto {meh^oo-et'-to), 98 Messa di voce (mes'-sa dee vo'-cheh), 21 Mesto {mehs'-to), 60 Metronome, 49 Mezza {med'-zah), 42 Mezzo imed'-zo), 42 Mezzo forte (Jor'-ieh), 42, 56 Mezzo piano {pe-ah'-no), 56 Mezzo soprano {so-prah'^no), 98 Mezzo voce (vo'-cheh), 60 Minor key, 8 Minore {me-no'^eh), 98 Minor scale, def., 33 positions, 34 • Minuet, 71 Misterioso (mis-teh-ri-o'-so), 60 Moderato (mod-e-rah'-td), 51 Modulation, def., 92 enhannonic, 10 Molto (mohl'-to), 42 Molto crescendo {kre-shen'-do), 42 Monophonic style, 63, 67 Mordent, 22, 23 Morendo {mo-ren'-do), 59 Moriente {mo-ri-en'-leh), 59^ Motet (mo-tei'), 76 Movable C Clef, 6 Mute, 117 Natural, 3, 8 Natural condition of staff-degrees, 8 Nel, 42 Nel battera (bakt-teh'-rah), 42 Nella, 42 Neumae {neoo'-mee), 104 Nocturne, 98 Non {non), 42 Non tanto (tahn'-to), 42 Non tanto allegro {ahl-leh'-gro), 53 Non troppo allegro {frop'-po), 53 Notation, history of music, 101 Notes, def., 10 kinds of, 11 English names for, 11 dotted, 17 staccato, 17 irregular note-groups, 19 parts of, I how made, i Nuance (noo-angs), 98 Obbligato (ob-blee-gah'-to), 98 Oboe ip'-bo), 121 Octave, def., 36 Octaves, names of, 16 Offertory, 98 One-lined octave, 16 Open position, 94 Opera, 78 Opus, 98 Oratorio, 77 Orchestra, 115 Orchestration, 98 Organ, reed, 113 pipe, 114 point, 93 INDEX 165 Original minor scale, 33 Origin of scale, 28 Ossia (os'see'ah), 42, 98 Ossia piu facile (pe-00' fah-chee'-leh), 42 Overtones, 136 Overture, 98 Parlando {par-lahn'-do), 60 Part song, 81 Pastorale (pas-to-rah'-leh), 60 Pedal point, 93 Pentatonic scale, 27 Per (pehr), 42 Percussion instruments, 116 Perdendo {pehr-den'-do), 59 Perdendosi (pekr-den-do'-see), S9 Perfect measure, 46 Perfect trill, 23 Per il violino {fid ve-o-W^no), 42 Period, 67 Pesante {peh-sahn'-teh), 55 Peu (peuh), 42 Phrase, 67 Phrase mark, 18 Pianissimo {pee-ahn^s'-sp'mo), 56 Pianissimo possibile {pos-see'bee'lek), 56 Pianisissimo {pee-ahn-is-is'-si-mo), 56 Piano {pee-ah'^o), 56 Piano assai (ahs-sah'-ee), 56 Piano, description of, 112 Piccolo {pik'-ko-lo), 119 Pipe organ, 114 Pitch, def., 134 pitch names, 6 standards of, 137 concert pitch, 138 international pitch, 138 Piu {pe-00'), 42 Piu allegro {flM-leh'-gro), 54 Piu forte (for'-teh), 42 Piu lento, 53 Piu mosso {,mos'-so), S4 Piu tosto {tos'-to), S4 PKzicato (pits-e^kah'-to), 99, 117 Po^etto (po-ket'-to), see ino, 42 Poco, 43 Poco a poco animando {ah-nee-mahn'- do), 54 Poi (po' ee), 42 Polacca ipo-lahk'-kah), 99 Polka, 69 Polonaise {pol-o-nez'), 71, 99 Polyphonic style, 64 • Pomposo (pom-po'-so), 60 Portamento (J>or'-tah-men'-to), 20 Position, open and close, 94 Possibile (pos-see'-bee-leh), 43 Postlude, 99 Prall trill, 22 Precipitoso (preh-che-pi-to'-so),' 60 Prelude, 99 Prestissimo (pres-tis'-see-mo), 51 Prestissimo possibile (pos-see'-bee-kk), 51 Presto, 51 Presto assai {ahs-sah'-ee), 53 Presto (ma) non troppo {piah non trop'- po), S3 Prifire ipre-ehr'), 99 Primary forms, 68 Primitive minor scale, 33 Program music, 74 Pure music, 74 Pure scale, 40 Quadruple measure, 46 Quality, 136 Quartet, 72 Quasi (quah'-see), 43 Quintole {kmn'-to-hh), 99 Quintolet, 20 Quintuplet, 20, 99 Raised sixth, 34 Rallentando {rahl-len-tahn'-do), 53 Rapidamente (xah-pid-a-men'-ieh), 5$ Rate of speed, of soxmd, 132 Recitative {res-i-tah-teeo'), 78 Recitativo (reh-chee-ia-tee'-w), 60 Reed organ, 113 Relative minor, 8, 35 Religioso (reh-lee-jo'-so), 99 Repetition and contrast, 62, 70 Requiem (re'-kwi-em), 99 i66 INDEX Rests, def., lo rules for maJdng, 2 kinds of, 11 peculiar use of, 11 several measures of, 14 Retardation, 93 Rhapsody, 99 Rhythm, def., 82 element of music, 82 how differs from "measure," 44 correct use of word, 48 Rhythmic augmentation, 69 Rhythmic diminution, 69 Rhythmic figures, 44 Ribbatuta (re-baM-ioo'-tah), 99 Rigaudon {ng'-o-don), 71 Rinforzando {rin-for-tsahn'-do), 57 Rinforzato {rinr-for-tsah'-to), 57 Risoluto {ree-so-loo'-to), 60 Ritardando (ree-tar-dahn'-do) , 53 Ritenente (ree-ten^en'-ieh), S3 Ritenuto (ree-ten-oo'-io) , $3 RitornUle [ree-tor-nelV), 99 RitorneUo (ree-tor-nd'-lo), 99 Roijdo, 70, 71 Rules: For writing music, 1, 2 For turning stems, i, 2 For altered staff degrees, 10 For embellishments, 22-26 For repeats, 13, 14 For writing chromatic scale, 38 Sans (sahng), 43 Sans pedales (peh-da-leh), 43 Sarabande {sar-ak-bahn'-deh), 71 Sarrusophone {sar-reoos-o-fohn'), 123 Sax horn, p. 125 (footnote) Saxophone, 121 Scales, def., 27 origin, 28 how different from keys, 28 positions of: major, 30 minor, 34 chromatic, 38 tones of, called, 5, 36, 37 Chinese, 27 Scotch, 27 Scherzando (skehr-tsahn'-do), 60 Scherzo (skehr'-lso), 71, 72 Scherzoso (skehr-tzo'-so), 60 School-round, 66 Schottische (shot'-tish), 99 Score, 99 Scotch scale, 27 Sec {sek), 99 Secco (sek'-ko), 99 Section, 67 Segue (sehg'-weh), 14 Semplice, (sem-plee'-cheh), 60 Sempra (sem'-preh), 43 Sempre forte (Jor'-ieh), 43 Sempre lento malinconico assai {mah- leen-ko'-ni-ko ahs-sah'-ee), 55 Sempre marcatissimo (mar-kah-tis'-si- mo), 60 Sentimento (jsett-tee-men'-to), 60 Senza (seip-tza), 42 Senza accompagnamente {ahc-com-pahn- yah-men'-teh), 42 Senza repetizione {reh-peh-titz-e-o'-neK), 14,99 Senza replica (reh'-ple-kah) , 99 Septimole, 20 Septolet, 20 Sequence, 91 Serenade, 99 Serenata (seh^e-^nah'-iak), 99 Seventh chord, 89 Sextet, 99 Sextolet, 20 Sextuple measure, 46 Sextuplet, 20, 100 Sforzando (sfortz-ahn'-dd) , S7 Sforzato {sforiz-ah'-to), 57 Shake, 22 Sharp, 3, 7 Short appoggiatura {ap-pod-jea-too-raJi), Similie (see'-mee-leh), 14, 100 Similiter {see-mil'-i-ter), 100 Simple measure, 45 Simple tone, 137 INDEX 167 Sin {seen), 43 Sin al fine iflU-feef-neh), 14 Sino (,iee'-Mo), 43 Sixteen-foot stop, 114 Sixty-four-foot stop, 114 Slentando {slen-tahn'-do), 53 Slur, 18 Small octave, 16 Smorzando (smor-tzahn'-do), 59 Solenne {so-len'^ieh), $g Solfgge {std-fezh'), 100 Solfeggio {sol-fed' -jo), 100 Solmization, 100 Solo, 43 . Sonata {so^nah'-tah) , 71 Sonata allegro (ahl-lek'-gro), 73 Sonata form, 73 Sonatina {so^otee'^nah), 74 Song form, 68 Sopra (so'-prah), 100 Soprano {so-prah'-no), 100 Sordino (sor-dee''no), 117 Sostenuto (sos-teh-^oo'-to), 100 Sotto (sot'-to), 100 Sotto voce {vo'-cheh), $g Sound, App. C, 131 Production of, 131 Transmission of, 131 Rate of travel of, 132 Intensification of, 133 Reflection of, 133 Classification of, 133 Spiritoso (spee-tee-to'-so), 60 Staccatissimo {stahk-kah-tis'-sitno), 17 Staccato [stahh-kah'-to), 17, 20, 100 Staff, 5 Staff degrees, s Standards of pitch, 137 Stems, I Step, half and whole, 83 Strepitoso (streh-pee-to'-so), 61 Stretto {sir d' -to), 54 Strict imitation, 64 Stringed instruments, 115 Stringendo {slritirjen'-do), 54 Stroking notes, 2 Strophe form (stro'-fek), 80 Styles, kinds of, 63 how differ from forms, 62 Sub, 43 Sub-dominant, 36 Subject, 64 Subito {soo-bee'-to), 100 Sub-mediant, 36 Sub-octave, 16 Suite {sweet), 70 Super-dominant, 36 Super-tonic, 36 Suspension, 92 Swell-box, 114 Syllables for sight-singing, 37 Symphonic poem, 75 Symphony, def., 73 Syncopation, 44 Tail of note, i Takt pausa [tahht pow'-zeh or pah-00'- za), II Tanto (tahn'-to), 43 Tarantella (tak-rahn^tel'-lah), 71 Tempered scales, 137 Tempo, 48-50 Tempo comodo {ko-mo'-do), 55 Tempo di marcia {de mar'-chee-ah), 55 Tempo di menuetto (meh-noo-et'-to), 55 Tempo di valso (vahl'-so), 55 Tempo giusto {jew-sto), 54 Tempo ordinario {or-dee-nah'-ree-o), 55 Tempo primo (pree'-mo), 54 Tempo rubato {roo-bah'-to), 54 Tenor, 100 Tenuto {ieh-noo'-to), 55, 100 Terminology Reforms, App. D., p. 139 Tetrachords in scales, 29 Thematic development, 69 Theme, 69 Theme and variations, 69 Thesis, 67 Thirty-two-foot stop, 114 Thorough-bass, 89 Three-lined octave, 16 Through-composed form, 80 Tie, 18 Timbre {tambr), 82 i68 INDEX Time, wrong uses of word, 48 Toccata {tok-kah'-tah), 100 Tonality scale, 27, 28, 38 Tone, how represented, 10 ornamental tone, 22 key- tone, 27 of resolution, 93 Tone-poem, 75 Tonic, 36 Tonic minor, 36 Tranquillo {trahn-quil'-lo), 61 Transposition, 94 Tre (treh), 43 Treble staff, 6 Tre corde (kor'-deh), 43, 59 TrSs {treh), 43 Tr& lentement {lahng-te-mahng), 52 Tres vivement {ve'-veh-mahng), 42 Triad, def., 87, 88 Trill, 22 Trio, 72 Triple measure, 46 Triplet, 19, 100 Tristamente (tris-iah-men'-teh) , 61 Trombone, 12s Troppo iprop'-po), 43 Trumpet, 124 Tuba, 1 25 Turn, 24, 25 Tutte le corde (toot'-teh leh kor'-deh), $9 Tutti (toot'-tee), 100 Two-foot stop, 114 Two-lined octave, 16 Un ioon), 43 Una {po'-^naK), 43 Una corda, 43, 59 Uno (oo'-Mo), 43 Un pen {oon peuh), 43 Un peu crescendo (kre-shen'-do), 43 Un poco animate (ah-ni^mah-'to), 54 Untempered scale, 40 Upper partials, 136 Upper tetrachord, 29 Veloce (veh-lo'-cheh), 5$ Viola (vee-o'-lah), 117 Violin, 117 Violoncello iyee-o-lohn-chel'-lo), 118 Vivo (vee'-vo), 51 Vivace (vee-vah'-cheh), 51 Vivacissimo (vee-vah-chis'-see^no) , 51 Vocal music, 76 Volante (vo-lahn'-teh), 55 Waltz, 68 Whole-step, 83 Whole-step scale, 28, 40 Wood- wind instruments, 115