— ">?7 uSf< 7 CORNELL UNIVERSITY LIBRARY MUSIC Cornell University Library MT 7.T86 1890 A music primer 'flJ!,,,?,?,!?,?,?!!^ 3 1924 021 801 075 Cornell University Library The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021801075 Clmnkn |ms Mm MUSIC PRIMER TROUTBECK AND DALE HENRY FROWDE Oxford University Press Warehouse Amen Corner, E.C. Clamtbmt ^«ss $nm A MUSIC PRIMER FOR SCHOOLS BY THE REV. JOHN TROUTBECK, D.D. HON. CHAPLAIN TO THE QUEEN AND MINOR CANON OF WESTMINSTER FORMERLY MUSIC MASTER IN WESTMINSTER SCHOOL AND THE REV. REGINALD F. DALE, M.A., B. Mus. RECTOR OF BLETCHINGDON, OXON. FORMERLY ASSISTANT MASTER IN WESTMINSTER SCHOOL #^f0rb AT THE CLARENDON PRESS 1890 [ AU rights rescrved'\ PREFACE. This Primer was written at the suggestion of the Rev. Sir F. A. Gore Ouseley, Bart., Professor of Music in the University of Oxford, and has received his revision and approval. It is intended to be introductory to his Treatises on Harmony and Counterpoint. As its title implies, it has special reference to the re- quirements of Schools. Any remarks which may tend to improve future editions will be thankfully received and fully considered by the authors. Westminster School, July 1873. In the present edition a few corrections have been made, and an Appendix containing exercises has been added. Westminster School, January 1874. CONTENTS. FAQB Introduction i Chapter I. Notation . 8 Chapter II. Pitch . 12 Chapter III. Intervals and the Scale , . .18 Chapter IV. Rhythm and Time ... 36 Chapter V. Signs and Marks of Expression, i- M •c - L L : • cc 'CCC • cccc 16384 8192 4096 2048 1024 256 128 64 3» 16 ear can distinguish sounds extending through eleven octaves, — the upper limit being the sound produced by 32,768 vibrations in a second. INTRODUCTION. 5 11. An octave, as its name implies, is so called because it is the eighth of the series of sounds into which the interval between any sound and its octave is most commonly divided. It so perfectly coincides with the first sound of the series as to appear the same. Hence, excluding the octave, there are in this series seven distinct sounds, constantly recurring in the same order as we ascend in pitch, and forming what is called the Diatonic scale, 12. This series is named after the first seven letters of the alphabet, or after the syllables Do, Re, Mi, Fa, Sol, La, Si: of which Do corresponds to C ; thus— CDEFGABC Do Re Mi Fa Sol La Si Do. Of these. Do was substituted for Ut, for the sake of the better emission of sound ; the seven syllables originally used being the initial syllables of a verse in a hymn to St. John : — Ut queant laxis TJ^sonare fibris Mix2. gestorum i^amuli tuorum, Solve poUuti Zabii reatum ; .Sancte Johannes. These seven letters may be made to denote the absolute pitch of a note by- such a system as that used in the figures to §§ lo and 35, though other systems are found. In Germany B is called H ; and what we call BI' is called B. Experiments show that, Do being the first or lowest sound of the scale, for every 24 vibrations of Do there are 37 of Re „ .. » 3° °f ^^ „ „ .. 32 of Ta .. 36 of Sol „ >• 40 of La 45 of Si .. 48 of Do. Thus, if we take Do to be the note of 256 vibrations, we get the series cdef gibe Do Re Mi Fa Sol La Si Do. 256 288 320 341 384 426 480 512 The ahsolute pitch of a note is fixed by the number of vibrations ; the relative pitch of two notes is found by comparing these : and just as the interval 6 MUSIC PRIMER. between two notes is an octave if the ratio of their vibrations is as tw^ to one, so the interval between any two notes is measured by the ratio of their vibra- tions. So too the sum of any two intervals is found by multiplying the correspond- ing ratios : and the difference by dividing them. Hence the intervals from Do to each of the other notes of the scale in order are as follows : from Do to Re is called a second, and measured by fj = f „ Mi „ major third. „ < M = 4 „ Fa fourth. », » lf = f „ Sol „ Mh. » > M = 5 „ La „ major sixth, i» 14 = 1 „ Si „ major seventh. » > «=¥ „ Do „ eighth or octave. „ 11=2- Besides these, we have the following intervals : from La to Do is called a minor third; measured by |^ = S Mi to Do „ minor sixth ; »» U = 1 Hence the Diatonic major scale will be represented thus — Do Re Mi Fa Sol La Si Do. I I S f S I ¥ 2 Forming the intervals between the successive notes of this scale, by dividing each ratio by the preceding, we get Do Re Mi Fa Sol La Si Do. I V if f ¥ f if Here there are three distinct intervals : f or the major tone ; '^ or the minor tone ; i^ or the major semitone. Besides these, the ioterval between a major and minor third, represented by s ->^=g^, is called a minor semitone ; and that between a major and minor tone, represented by |-i^ ^5° =tJ, is called a comma. Of these, two major semitones are greater than a major tone, since U x -J^ is greater than f ; while two minor semitones are less than a minor tone, since f^xf J is less than ^. A major and a minor semitone are equal to a minor tone, since T|xfJ= ^. In order to obtain perfect harmony the above ratios should be accurately maintained, whatever be the note we start from, or Key-note, as it is called. But a great number of key-notes are employed in music ; and it is practically impossible, at least in fixed-toned instruments, like the piano or organ, to maintain these ratios strictly for all of them. Only one scale in such an in- strument can be absolutely perfect. Compromise of some sort, therefore, becomes necessary; and different systems of compromise are called different INTRODUCTION. 7 modes of temperament. The simplest mode of temperament, and the one most in favour now, is that which is called equal temperament. By this the octave is divided into twelve equal parts, called mean semitones. The difference between a major and minor tone (i.e. the comma) is ignored, and the mean semitone is exactly half of either. By this division of the octave we have the following Table of Intervals. The mean minor second = I mean semitone. „ major second = 2 mean semitones. „ minor third = 3 „ major third = 4 1* „ perfect fourth = '5 „ perfect fifth = 7 „ „ minor sixth = 8 J, „ major sixth = 9 „ „ minor seventh = 10 „ „ major seventh = 1 1 „ The octave =12 „ The difference between the tempered and natural scale of C is shown by the following table, which gives the number of complete vibrations per second for each note of the middle octave of the ordinary piano. Tempered Scale. Natural Scale. I, Do 256 256 d Re 287-3 288 e Mi 322.5 320 f Fa 341.7 341 gSol 383.6 384 i La 430.S 426 b Si 483.3 480 c Do SJ2 512 . of the Paris Conservatoire is about 258.7. »i Concert-pitch 269. „ Italian opera 273. „ Society of Arts 264. M Philharmonic Society 268.5, The c of Handel is said to have been about 249.1. The number of vibrations corresponding to any given note may be counted by an instrument called the Siren, a full description of which is given in 'Sound and Music,' by Sedley Taylor. CHAPTER I. Notation. 13. The alphabet of music chiefly consists of characters called notes, which vary in form according to the relative duration of the sounds which they are used to represent. 14. The number of notes in common use is six : viz. 1. Semibreve a, an open or white note. 2. Minim Semibreve. 2 J Minim. 4 2 J Crotchet. 8 4 2 .^ Quaver. 16 8 4 2 4 .^S 32 16 8 ' i J* Demisemiquaver. NOTATION. 16. Or the comparative value of these notes may be represented in the following way : — I semibreve iS is equal to I r 4 crotchets T i* I* i* of 8 quavers CuCCCCuC ""^ i6 semi- mffppfffpp fTm pTm ^^ iTm quavers ^tftf^^i^^Blgl^^btfl^^^ °'' 32 demisemiquavers ( ji ) . 17. Sometimes, three notes (called a /n)5/i?/) are performed in the time of two notes of the same value. Triplets generally have a curve and figure 3 placed over or under them, thus — fF^ ^ 18. Other similar groups are found, also distinguished by a curve and figure indicating the number of notes to be played. 19. To each note there corresponds a character called a Rest, to represent an equal duration of silence. Semibreve rest — ^ — - below the line. Minim rest — -■■■ — above the line. Crotchet rest I* or J* turned to the right. Quaver rest ^ turned to the left. Semiquaver rest i| turned to the left. Demisemiquaver rest 9 turned to the left. 20. A dot placed after a note or rest makes it half as long again, thus — /-3 ' = /-J = - — p- &c., &c. &c., &c. lO MUSIC PRIMER. 21. If a second dot is added, it lengthens the note or rest by half as much again as the first dot ; i. e. by three-fourths alto- gether, thus — <^ I r -F— - - r - ■ — 1* "1 1 1 &c., &c. &c., &c. 22. When a note or rest is to be lengthened indefinitely, this character its , called a pause, is placed over or under it. 23. The stems of notes may be turned up or down : the stems of rests are always turned down. 24. Hooked notes are frequently grouped or contracted, without alteration of their value, thus — JJCJ = ZIZI =-? S £ £ £ = £:^r ° ^ **=■' *'=• Rests are never grouped. The notes and corresponding rests formerly used were as follows : — I. Maxim (greatest) 1 1 2. Long 1 «— 1 3. Breve (short) ^ 4. Semibreve (half-short) 6. Minim (least) t The maxim and the long are out of use, although their corresponding rests, as well as the breve rest, are still found : the breve (now written thus ^ , or ||o||) is rarely found except in ecclesiastical music; thus the semibreve (origin- ally the shortest note but one) is the longest in modem use. NOTATION. II To these notes was afterwards added the crotchet, originally a hooked minim (French crochet, 'a hook'). When the crotchet took its present form, the hook was transferred to the quaver — a name derived from the Spanish quiebro, and connected with our own quiver, referring to the short duration of the note. m Shorter notes than the demisemiquaver, i. e. the semidemisemiquaver k , and . . r - ^ the demisemidemisemiquaver g, are found in modem instrumental music. In vocal music even the demisemiquaver rarely occurs. The French name the modern notes after their forms : the Germans after their relative durations. FR. Ronde. Round. GER. Ganze note. Whole note. Blanche. White. Halbe note. Half-note. Noire. Black. Viertel. Fourth. Croche. Hook. Achtel. Eighth. Double croche. Double hook. Triple croche. Triple hook. Sechzehntel. Zwei-und-dreiszigstel. Sixteenth. Thirty-second. 25. It would be much easier to learn and understand the series of modern notes, if they were named after their relative durations, according to the German system. It is absurd that what is now our longest note should still be called a semibreve, i. e. half-short, and our longest note but one a minim, i. e. the least note. There is also an absurdity in applying the name crotchet {hooked!) to a note which now has no hook. The table of notes would be as follows : — o Whole Note. 2 c^ Half-Note. 4 ! 2 J Quarter-Note, or Fourth. J* Eighth. ^ Sixteenth. i6 32 16 Thirty-second. CHAPTER 11. Pitch. 28. The relative pitch of musical sounds is represented to the eye by the position of notes on or between certain parallel and horizontal straight lines, drawn across the paper from margin to margin. These lines are called \!a.t Stave. 27. Eleven lines are required to represent in a regular series the ordinary extent of the human voice, male and female. This stave is called the Great Stave of Eleven Lines. rsr '=^^ -^-zzi ^^^ ^^^^ ilSTi — ^Si— = 28. As no one human voice can execute the whole of the twenty-three sounds here represented, the great stave is sub- divided into smaller staves of five lines each, which have been found practically sufficient for the average compass of each distinct species of voice. 29. The stave in ordinary use thus consists of five lines and four spaces, both lines and spaces being reckoned upwards, the lowest being the first. Formerly the whole eleven lines were occasionally used; and sometimes eight, seven, six, four, or three. Sometimes the lines only, and not the spaces, were used. PITCH. 13 30. But as the absolute pitch of a note cannot be determined' by its position on the stave, it is necessary to fix the pitch of one particular note, from which the others may be reckoned ; and to express it by a written character. 31. The sound produced by 256 double vibrations of an elastic body in a second is the one which has been taken as the starting- point; and it is represented by the character K or H , called a, clef (French clef, a key), placed on the middle line of the great stave. 32. The sound fixed by this clef is the ' middle C ' of the pianoforte. 33. We have seen that five lines of the great stave are all that are generally required in writing for separate voices or instru- ments. It is obvious that in selecting the five adjacent lines to be used for the stave, we must be guided by a consideration of the place in the range of musical sounds of the notes we have to write. 34. Thus, if we are writing for voices or instruments of the lowest range, we must select the five hues at the bottom of the great stave. These lines do not include the fixed sound C. It is therefore ne- cessary to fix the pitch of some sound within the limits of this stave. The sound which is five degrees (or a fifth) below the fixed sound C ij the one selected. It is called F, and is represented by the clef O* or ®' > falling on the fourth line of the great stave. 35. So, if we are writing for voices or instruments of the highest range, we must select the five lines at the top of the great stave. These lines do not include either of the fixed sounds C or F. It is therefore necessary to fix the pitch of some sound within the limits of this new stave. The sound which is five degrees (or 2l fifth) dbffve the fixed sound C is the one selected. It is called G, and is represented by the clef /k , placed so that the principal curl of it falls on the eighth line of the great stave, i.e. on the second of the five lines we are now using. 14 MUSIC PRIMER. cdefgabcdefg ^^-^^ Eighth ,.. cd) ~—a^^-' =g Middle lE ^^-?^ '. ^ Fourth TlZ^ g): "''-^■TS-^ ■g-s.- ^ =F 2Z cbaGFEDCB AGGFF 36. If we are writing for voices or instruments of medium range, neither of the above staves will be found convenient, the one being below and the other above the required range. There- fore we must select some other set of five lines, from the middle part of the great stave, suitable to our purpose. 37. Whichever set we select will include always two, and in one instance all three fixed sounds : and as we have already appro- priated the clefs representing the highest and lowest staves respect- ively, and as it is not usual to place more than one clef on the same stave of five lines, it will conduce to clearness if we use the clef of the fixed sound C to distinguish our medium staves. 38. These clefs are called respectively F clef. C clef G clef. O: - © II7 or from the names of the sounds of which they determine the pitch. 39. And here let the student once for all remember that these three clefs never change from their positions on the fourth, sixth (or middle), and eighth lines respectively of the great stave. Any apparent change in their position is due to the selection of any particular set of five lines. 40. The following diagram will serve for an illustration : — PITCH. 15 \t o- > a o U it I n :i^ \ % m L !3 J r-ico;xc-cuwo»*-t l6 MUSIC PRIMER. These seven different staves, of five lines each, are all that can be extracted out of the great stave. Of these staves, the first, third, fourth, and seventh are most commonly used in modern music. 41. Should it be necessary to represent sounds higher or lower than the eleven which can be expressed on any stave of five lines, short lines, called Leger lines (French leger, 'light'), are added above or below the stave. These leger lines are in fact merely portions of the hnes outside the stave in use, cut short for the sake of clearness in writing, to prevent confusion to the eye, thus — rf-g^^ I ^"^" 1 42. In writing for the pianoforte, or instruments of large com- pass, it is customary to use the whole stave of eleven lines, reducing the middle C to a leger line. Thus the great stave is reduced into two staves combined by a brace, thus — .1 IE ^ ^ The forms of the clefs are perhaps corruptions of the old Gothic letters ^ - P IK - IHI or of the old-fashioned F, C, and G, thus — ^ or 9^ or 9^ < - \t - \^ - IHI ^ or ^ PITCH. 17 The (Igure @ has also been supposed to be a corruption of three notes, one placed on the line of F, and two others in the adjoining spaces, thus — The figure [HI has also been supposed to be a corruption of two notes, placed in the spaces above and below the line of C, thus — The figure (m has also been supposed to be a corruption of S (the initial letter of Sol) and G, combined, thus — Of the clefs enumerated in the diagram (§ 40), No. 2, called the Barytone, is found in old vocal music ; but is now practically obsolete. So too is No. 5, the Mezzo-soprano. Anciently No. 6, the Soprano or Canto clef, was used for the highest kind of voices only, the G clef being reserved for instrumental music. The Soprano clef is still regarded as one of the regular clefs for choral counterpoint. In Italy and Germany this clef is used for pianoforte music, the Treble clef being reserved for the violin. CHAPTER III. Intervals and the Scale. 43. The difference in pitch between any two sounds is called the interval between them. 44. Intervals are reckoned upwards, unless the contrary be specified. 45. The interval between any two sounds is named from the number of degrees on the stave from the one to the other, in- cluding both. Thus the interval from any sound to the sound next above or below it is called a second, two degrees of the stave being involved : from any sound to the sound four degrees distant from it is called 2, fifth ; from any sound to the sound seven degrees distant from it is called an eighth or octave, and so on ; there being theoretically no limit to this nomenclature. 46. As was said in the introductory chapter, two sounds at the interval of an octave, heard together, coincide so perfectly as to appear but one sound, and are represented by the same letter. 47. The intermediate sounds may be, and have been, arranged in various series called scales (Latin scala, ' a ladder'). 48. Of the possible scales, only two forms are in modern use : the Diatonic (Greek 8ia, ' through,' and twos, ' a tone,' so called because it principally consists of tones), which divides the octave into eight sounds, or seven intervals; and the Chromatic (Greek XpSM") ' colour,' a word said to refer to the ink of different colour used to express altered notes, or to the different colours of the strings of the lyre), which divides the octave into thirteen sounds, or twelve intervals. INTERVALS AND THE SCALE. 1 9 49. Each of the twelve intervals of the Chromatic Scale is called a semitone, which is the smallest unaltered interval recognised in modern music : and it is convenient to measure and compare all other intervals by the number of semitones they contain. 50. Two semitones make a tone. It must be carefully borne in mind, that tones and semitones are intervals, and not isolated sounds, as their names imply. 51. The seven intervals of the Diatonic Scale are either tones or semitones, and there are twelve semitones in the octave ; hence there must be five tones and two semitones in the Diatonic Scale. For the harmonic derivation of the scale, we refer the student to Ouseley's Treatise on Harmony, Chapters iv to vii. 52. The first or lowest sound of the Diatonic Scale is called the key-note or tonic. Any note may be used as a tonic. The fifth degree, which is next in importance to the tonic, is called the dominant (Latin dominor, 'I rule'), because it exercises the most powerful influence on the harmony. The third degree is called the mediant (Latin medius, ' middle'), because it is half-way between the tonic and the dominant. The fourth degree (i. e. the fifth deloiv the octave), which is of almost equal importance with the dominant, is called the sui- dominant. The sixth degree (i. e. the third below the octave) is called the submediant, lying half-way between the subdominant and the octave. The seventh degree is called the leading note, as it naturally leads up to the octave. The second degree is called the supertonic, because it is next above the tonic. Thus, in ascending order, the degrees of the scale are — • 1. Tonic, 5. Dominant, 2. Supertonic, 6. Submediant, 3. Mediant, 7. Leading-note. 4. Subdominant, 53. The modes of the Diatonic Scale vary according to the posi- tion of the semitones, which are always at least two tones apart. c 2 20 MUSIC PRIMER. 54. The following table represents the thirteen sounds of the Chromatic Scale (equal to twelve semitones), and the relative position of the tones and semitones in the seven possible modes of the Diatonic Scale. 1234567 13 12 • • • • • • • • • • • • • • • • • • • 7 6 6 4 3 2 A B C D E F G La Si Do Re Mi Fa Sol 55. The following table represents the relative positions on the stave of the same seven modes of the Diatonic Scale : — i s 3 ^ -»-*- i ^^^ -y-*- It7t^-- ^ INTERVALS AND THE SCALE. 2,1 1 ^^ iJ '^ IT 7 i These, the old Ecclesiastical Modes, were named as follows, ffom a false assumption of their identity with the ancient Greek Modes. 1st mode, from A, the Aeolian. 3rd „ C, the Ionian. 4th „ D, the Dorian. jth „ E, the Phrygian. 6th „ r, the Lydian. 7th „ G( the Mixolydian. The 2nd mode, from B, has never been used. Of these modes only two are ordinarily used- in modern music, the first and third; the former^ however, withimodifications. 56. The third mode is called the Diatonic Major- Scale, the intervals between the first and third degrees being a major third, containing four semitones, and between the first and sixth degrees a major sixth, containing nine semitones. 57. Upon this model scale of C major are formed all other dia- tonic major scales in use, whatever be their tonic or keynote. 58. It will be observed that this model: scale is divisible into two similar parts, each consisting of two tones and a semitone, and separated from each other by the interval of a tone. 59. Each of these parts is called a tetrachord, because it consists of four notes. 60. If the second or upper tetrachord of this scale of C be - taken to form the first or lower tetrachord of a new scale whose tonic is G, a fifth above C, it will be found, on completing the scale, that the upper tetrachord does not correspond to the lower, as regards the relative position of the semitones. I 122^"-^= ^^^=^ -S?- 22 MUSTC PRIMER. 61. In order to reduce this to the type form, it is necessary, to raise the seventh degree of the new scale by a semitone. To represent this effect to the eye, a character #, called a sAarp, is prefixed to the note, thus — i 32 62. By proceeding in this way, we shall find that in every new scale formed by beginning with the upper tetrachord of the pre- ceding one, it will be necessary to repeat the process of sharpen- ing the seventh degree, the sounds sharpened ascending by fifths. This process can be carried on indefinitely ; but in practice it is usual to stop at the seventh sharp. 63. Similarly, if the first or lower tetrachord of this model scale of C be taken to form the second or upper tetrachord of a new scale, whose tonic is F, a fifth below C, it will be found, on com- pleting the scale, that the lower tetrachord does not correspond to the upper, as regards the relative position of the semitones. O tri 64. In order to reduce this to the type form, it is necessary to lower the fourth degree of the new scale by a semitone. To represent this effect to the eye, a new character |7, called z. flal, is prefixed to the note, thus — i 2=fe ) ' ^i^! i^:2. ■^^f^ — e- 65. By proceeding in this way^ we shall find that in every new scale formed by beginning with the lower tetrachord of the pre- ceding one, it will be necessary to repeat the process of flattening the fourth degree, the sounds flattened descending by fifths. This process can be carried on indefinitely ; but in practice it is usual to stop at the seventh flat : thus — INTERyALS AND THE SCALE. 23 -i • 1 • -<^ 4? 1^ J. ii eq mi 'II • a -^ 1 rt - M l^ '1 1 1 1 '^ < • 1 ■ 1 1 r *■ % 1 U ii ? -' 1 1 1 t^ • • ^- w o 4fk Ik « l' J ^ ii -4^ ¥ 1 » ^ _p\ ;i ¥ J— ^ jT t u 'l' - V. J 1 \ 1 \ _G. % < !■ ' -te .i\ U -i «. u .1 ki 1 s 1 1 pq ;i i I — 4. h * 1 1 JFbT 4- 1 r— T 1 n Minor keys, with flats. Minor natural key A T flat D m 2 flats G 3 flats . 4 flats . {Jl m 5 flats Db 5 flats . b; ^fl ^. fl 6 flats G? 6 flats E> i ^S^ 7 flats C> 7 flats . At> I: if INTERVALS AND THE SCALE. 39 82. The term relative is applied equally, whether the normal (§ 71) or the natural (§ 77) form of the minor scale be taken. 83. The relationship of keys depends partly upon the number, partly upon the importance (§ 52), of the sounds they have in common. 84. There are three classes of relationship ; viz. — 1. Between major keys and major keys. 2. Between minor keys and minor keys. 3. Between major keys and minor keys. 85. A major key is said to be related in the first degree to the major keys on its most important sounds, its dominant and its subdominant. These differ from it by only one sound. 86. A minor key is said to be related in the first degree to the minor keys on its most important sounds, its dominant and its subdominant. These differ from it by one or by three sounds, according as we take the normal or the natural form of the minor scale. 87. A major or a minor key is said to be related in the first degree to its relative minor or major key (§ 78). These differ by no sounds or by one, according as we take the normal or the natural form of the minor scale. 88. By applying these rules (§§ 78-87), the keys related in the second degree to any key may be found ; and so on. The degree of relationship between any two keys may be determined from the table on p. 28. 89. The following table shows the keys related in the first and second degrees to the key of C major : — G G major A minor F major ist degree. I ' 1 I ' 1 I ' — -— 1 D major E minor D minor B 17 major 2nd degree. 30 MUSIC PRIMER. 90. The following table shows the keys related in the first and second degrees to the key of A minor : — A minor r + n E minor C major D minor ist degree. I 1 I 1 I I B minor G major F major G minor 2nd degree. 91. The Chromatic Scale has already been said to divide the octave into twelve semitones. It is usually written with sharps in ascending and flats in de- scending, with two exceptions, as shown in the following figure : — i ^^SlS3Ei*i tr^s^i ( \ « Here, in the Chromatic scale of C, Bb is preferred to Afi in ascending, and FJ to Gl? in descending, as being less remote from the key-note (§ 70). 92. It has already been said (§ 49) that intervals are most conve- niently measured by the number of semitones which they contain. 93. Intervals are divided into consonant and dissonant intervals ; or, as they are sometimes called, concords and discords ; according as they leave upon the ear a sense of completeness or incom- pleteness. 94. Consonant intervals are of two kinds, perfect and imperfect; the perfection of an interval depending upon the simplicity of its ratio (§ 12). 95. Imperfect consonant intervals are again subdivided into major and minor; the major containing one more semitone than the minor. Perfect consonances cannot be so subdivided. 96. Dissonant intervals also, like the imperfect consonances, are either major or minor. INTERVALS AND THE SCALE. 31 97. An interval is said to be augmented when it is increased by a semitone, whether by the elevation of the upper note or the depression of the lower. 98. An interval is said to be diminished when it is decreased by a semitone, whether by the depression of the upper note or the elevation of the lower. 99. All intervals can be augmented or diminished, except that major intervals cannot be diminished, and that minor intervals cannot be augmented. 100. Perfect consonances alone can be both augmented and diminished. 101. All augmented or diminished intervals are called Chromatic Dissonances, and belong to the Chromatic Scale, except the two which occur in the Diatonic Scale, i. e. the augmented fourth or tritone (three tones) between the fourth and seventh degree, and the diminished fifth between the seventh degree and the fourth degree of the next octave. 102. The dissonant intervals are the second and seventh. The imperfect consonant intervals are the third and sixth. The perfect consonant intervals are the fourth, fifth, and octave. Dissonaut mmor CJ d s B p p n n> p. 0. Intervals major 3, 3 1 Consonant I Imperfect major d 3 1 Perfect 3. s c 3 103. We here annex a table of the intervals in the Diatonic Scale in numerical order. 32 MUSIC PRIMER A minor second . . . . < :ontains I semitone. A major second .... » 2 semitones A minor third .... » .3 7J A major third .... j» 4 n A perfect fourth .... » 5 »» An augmented fourth {"™'Ti,?s"JieT"'} )j 6 » A diminished fifth {'"""S"'|tf/ca'i=r'''} • t) 6 " A perfect fifth .... J) 7 J» A minor sixth .... )) 8 >> A major sixth .... » 9 »» A minor seventh .... tt 10 J» A major seventh .... )) II )J A perfect octave .... i> 12 >? 104. In the Diatonic major scale there are, if we include the next octave, till the intervals repeat themselves, — Two minor seconds, - Five major seconds, Four minor thirds, - Three major thirds, Six perfect fourths, L One augmented fourth. i 9 isz i 5 ^r- rss: i ■S3" 221 i s :s2: / rj / iTJ 1? \ rj rzi ^5:|y ,-3 t> ^- iSi ■'fe= ^ INTERVALS AND THE SCALE. Three minor sixths. 33 r One diminished fifth _^ f S ■ m i- Six perfect fifths, ^v S^ i 27" S2I Four major sixths, ^ v^ :22: Five minor sevenths, ' m "S?" Z2I - Two major sevenths, ^Sy - 105. All intervals that are not augmented or diminished are called Diatonic intervals, because they are found in the Diatonic Scale: but the augmented fourth on the fourth degree, and the diminished fifth on the seventh degree of the Diatonic Scale, are reckoned among the Diatonic intervals. 106. Hence it will be seen that there are two kinds of semitone, Diatonic and Chromatic ; the Diatonic involving two degrees of the stave, and therefore notes of different names ; the Chromatic only one degree. Chromatic. Diatonic. ifr^^^^-^ii^ 107. A full table of intervals is annexed ; in which, for the sake of symmetry, is included the unison (the simultaneous production of the same sound by different instruments or voices), though not strictly speaking an interval. D 34 MUSIC PRIMER. perfect diminished augmented major augmented major minor diminished augmented perfect diminished augmented perfect , diminished augmented major diminished augmented major ■ augmented CO < o « o H O U H was to be halved. RHYTHM AND TIME. 39 I time, containing one breve in the measure, was called Alia Bretie (measured by the breve), a term now often applied to I time ; while | is often called doudle common. 129. In ancient music, besides the above-mentioned time-signa- tures, the following are found : — Simple Compound Duple. Triple. Quadruple. \o a -^ o a 4 -yO a o G 6 2 a- a' a' Occasionally anomalous kinds of time are found, which divide the measure into five or seven notes of equal value. Thfe most usual of these is 5 o m » m m m 4 11(1' 130. If a measure contains not more than the value of a semi- breve, the semibreve rest is always used to denote silence during the measure, thus — m - 2 ' - ^ '^W=^ a But if the measure contains more than the value of a semibreve, a breve rest is used : — i 3= i S a 40 MUSIC PRIMER. 131. A rest of several measures is written thus : — I. If the measure contain not more than the value of a semibreve — Po .1 I Pp. ° -\ tf 2. If the measure contain more than the value of a semibreve, will denote a rest of five measures. 4 132. The time-signatures in general use are plainly unsatis- factory, especially in the signatures of the so-called compound time, which express merely the number of the notes in each measure, but not their rhythmical grouping. Thus "^ strictly states that there are twelve crotchets in a measure, but gives no idea how they are grouped. A very simple alteration of the time-signatures would remove this defect ; if, just as each note is dotted in any compound time, so a dot were placed after the denominator in the corresponding simple time. Thus, while | denotes ,• ,• p ,* let*. denote I I r I The table of time-signatures will, on this principle, be reduced to the following simple form : — RHYTHM AND TIME. 41 u p. C i Duple. Triple. Quadruple. 1 J-J- 1 J J J 1 ^.V 1 <=) J J <=> 1 J J J J 1 i*/^^ I. ^-^- i. J- J- J- t J. J.J.J. 133. The regular recurrence of accent, however, is not the only element of rhythm. 134. Just as the combination of beats forms the foot, so the combination of feet forms the phrase, a higher group than the foot, presenting a certain degree of deiiniteness in itself. 135. Every phrase has as many accented parts as it has feet : but, m addition to these, it often has a special stress introduced upon a note or notes which by the rhythm may or may not be accented. 136. This special stress is called emphasis, and is indicated by a mark of this form < or A , or the letters sf ox sfz {sforzato, ' forced'), placed over or under the emphatic note or notes. 137. A phrase cannot consist of less than one foot, and rarely consists of more than four, except by the accidental prolongation of an emphatic note ; and it may commence, and therefore end, on either the strong or the weak part of the measure. 4« MUSIC PRIMER. 138. Again, the combination of phrases forms a s/rai'n or period, which may be defined as the expression of a complete musical idea. 139. As an illustration of these terms, let us take the National Anthem, ' God save the Queen.' It consists of two periods or strains ; the first consisting of three phrases, the second of four phrases. Each phrase consists of two measures, and each measure of three beats. Strain Phrase Phrase Phrase Foot Foot Foot Foot Foot Foot Beats 123 1 2 3 123 1 2 3 12312 God save our gra-cious Queen, Long live our no • ble Queen, God save the Queen. The student should divide the second strain similarly. CHAPTER V. 140. In music, beside notes, several characters and words 4re used as signs and abbreviations, or to mark expression, pace, intensity, and style, of which a complete list will be found in West's or Hamilton's Dictionaries. 141. The following are some of the most important. Signs and Abbreviations. -&- G clef (§ 35) : probably a corruption of a capital G. ^ •u |U| C clef (§ 31) : originally an old-fashioned jJ ipi Irl °'" Inl square C. ^ '^ Q. F clef (§ 34) : probably distorted from an old- «• ^ fashioned F. '^ # A sharp ; used to raise any sound by a semitone. b kflat; used to lower any sound by a semitone. B A natural; used after a # or [7 to restore a sound to its original position. X or Jftf A double sharp; used to raise any sound by two semi- tones. \)\) A double flat; used to lower any sound by two semitones. Cfi A double natural; used after a X or fb, to restore any sound to its original position. 44 MUSIC PRIMER. tl# A character used after a double sharp, to reduce it to a single sharp. Iqb A character used after a double flat, to reduce it to a single flat. Sharps and flats not contained in the key-signature are called accidentals; and an accidental in any measure is in theory supposed to affect the first note of the next measure, if it is the same. In Germany the syllables is and es aiExed to a letter show that the note is sharpened or flattened: thus Fis de- notes FJ, and DesJ)^. ^ A dash placed over a note shows that the note so marked I is to be played shortly and crisply, or staccato (cut off). ^ A dot placed over a note shows that it is to be played I somewhat less shortly, or mezzo-staccato. "^ ' The slur placed over or under two or more notes of different pitch shows that the passage is to be played smoothly, or legato (bound together), or to be sung to one syllable. ^ The tie or bind, placed over or under two notes of the same pitch, shows that the sound of the first note is to be sustained during the time of both ; in other words, it binds two notes into one. The first is generally an unaccented note, and often the last note of a measure. The resulting disturbance of the accent is called synco- pation (cutting) from the old method of dividing the note by a bar. !f i fl> ^ f f I r r in old music written i _2 f2 czn^ S ±: i ^ -=!-p- SIGNS AND ABBREVIATIONS. 45 /7\ A pattse over or under a note or rest, shows that it may be prolonged ad libitum. vn The direct is generally used at the end of a line at the bottom of a page, to show what note is coming. SF ^ When a passage is to be repeated, it is enclosed at ZEi between dots, and sometimes also double bars ; or or Ms. sometimes the word his (twice) is placed over it. A double bar strictly denotes the end of a strain (as in ' God save the Queen,' § 139). ^-cij-j-^^^a ^'^B ^ I bis g or § The sign is another mode of showing the beginning of a passage to be repeated, and it is referred to at the end by the words Dal Segno, or D.S. (from the sign). When the repetition is to be made from the beginning of a movement, the words Da Capo, or D.C. (from the beginning) are used. This grouping of the stems of minims like those of quavers, or notes of smaller value, is an abbreviation for the following — ^g 3 This sign denotes that the last group of notes is to be repeated. This sign denotes that the whole preceding measure is to be repeated. The word simili is sometimes added. 46 MUSIC PRIMER. . I When on repetition any measures are e. ) to be left out, the words l""" volta are V" volta. First time. 1^" volta. Second time. placed over them, and- 1^ volta over those to be played in their place. 8^" This sign, placed over treble notes, shows that they are to be played an octave higher, till the word loco (place) occurs. 8"'' sotto This sign, placed under bass notes, shows that they are to be played an octave lower, till the word loco occurs. 8"'. ... or «» 8 ... . This sign, placed over or under notes, shows that they are to be played with the octave above or below them respectively. 142. Graces. The chief graces are as follows : — The appoggiatura CItalian appoggiare, ' to lean upon') is a small note placed on the accented part of a measure, before another of greater, usually of double, value j from which it borrows the accent and the value which it represents. Written. ^^ g 3 •<^=PZ f^ I ^ / begins with the note above. The inverted turn X begins with the note below. A Jf or b above or below the turn shows that the note above or below the principal note is to be sharpened or flattened. The mode of performance of the turn varies according to its position over a note, or between two notes : thus — Written. I T tf ^ /J V 122= Played. fl^C^P^^ ^ ZSIZL Written. i^^ ^^=^ S 3z: Played. 4« MUSIC PRIMER. The sAaie, denoted by m (a contraction for Italian iri'Ho, ' a shake'), is a rapid alternation of the note over which it is placed, and the next note above, the accent being always placed on the upper note, thus — Wrt'i/en. i p^ 1 Played^ The shake, unless it be a very short one, ought to end with a turn. The trill, denoted by m placed over a note, is a very short shake. Written. Played. te^ ^fe The arpeggio (Italian arpa, ' a harp'), denoted by ( or I placed before a chord, shows that the notes of the chord are to be played consecutively, beginning with the lowest, instead of siriiultaneously. 143. Words relating to Face, Intensity, and Style. As it is impossible to give a complete list of these here, a few only of the most important are mentioned. 144. I. Pace. I Grave, grave and solemn. Lento, slow. Largo, broad and majestic. Larghetto, not so slow as Largo. Adagio, leisurely. Andante, going at a moderate pace.. Andantino, not so slow as Andante. WORDS RELATING TO PACE. 49 Allegretto, not so fast as Allegro. Allegro, merry and lively. Presto, quick. Prestissimo, very quick, N.B. Andantino being the diminutive of Andante, its relative meaning depends on the sense given to Andante. The words above are subject to modification by the addition of other terms, of which the following is a list : — Accelerando (acceP), accelerating the pace. Rallentando (rall°), slackening. Siringendo {strin°), pressing onwards. Pih mosso, more moved. Ritardando {ritar°), retarding. Ritenuto (riten°), holding back. A tempo, in time (after an accel° or rail'). In istesso tempo, in the same time (i. e. the beats to be the same, whatever the forms of the notes). Alia Breve, by the breve (i. e. the breve being regarded as the unit, each beat being a minim). Tempo Ordinario, in ordinary time ) neither too fast Tempo Commodo, in convenient time ) nor too slow. An exact measure of the time of notes is afforded by an instru- ment called Maelzel's Metronome. This consists of a pendulum, with a sliding regulator attached, swinging in front of an index graduated usually from 50 to 160. By placing the regulator against any number on the index, the pendulum can be made to oscillate that number of times in a minute. A composer, then, need only indicate at the beginning of each movement how many of the note which represents a beat are to go to the minute. Thus M.M. J = 60 denotes that there are to be sixty crotchet beats to the minute, i. e. one to the second. E 5° MUSIC PRIMER. 145. 3. Intensity. Piano, pia., p, soft. Mezzo-piano, mp, rather soft. Pianissimo, pp, very soft. Forte, for.,/, loud. Mezzo-forte, mf, rather loud. Fortissimo, ff, very loud. Crescendo, cres., or -=:;::^ , increasing (in loudness). Decrescendo, decres., or 21111^^^=", decreasing (in loudness). To the above may be added — Forte piano, fp, loud and instantly soft. S/orzato, sf, forced (of single notes). Rinforzando, rf, forcing (of passages). Calando, descending Perdendosi, losing itself Diminuendo, diminishing Smorzando, extinguishing Dolce, soft. decreasing in speed, and generally also in intensity. 146. 3. Style. Agitato, agitated. Animato, animated. A poco a poco, by degrees. Assai, sufficiently. Ben, well. Brillante, brilliant. Con, with. Con Brio, with mirth. Con Espressione, with expression. Con Fuoco, with fire. Con Moto, with motion. Con Tenerezza, with tenderness. Espressivo, expressive. Giusto, exact. Grazioso, graceful. WORDS RELATING TO STYLE. 51 Legato, bound together. Ma, but ; e. g. ma non troppo, but not too mucli. Maestoso, majestic. Marcato, marked. Molto, much, very. Meno, less ; e. g. meno presto. Mezzo, half. Moderato, moderate. Non, not. Pitt, more ; e. g. pih animato. Poco, little. Quasi, as though. Segue, it follows. Sempre, always ; e. g. sempreff. Sostenuto, sustained. Staccato, cut off. Tenuto, held, sustained. Vivace, lively. Fb/A', turn. K 2 APPENDIX. QUESTIONS FOR EXAMINATION. [Many of the Questions here given can be varied at discretion. The numbers in all cases refer to the Sections.] INTRODUCTION. 1. What is the cause of sound ? 2. Distinguish between musical and unmusical sounds, 3. In what ways do musical sounds differ from each other? 4. What is meant by the intensity of a sound.' Upon what does intensity depend ? 5. What is meant by the character of a sound ? Upon what does character depend ? 6. Give the names of the different kinds of, human voices, male and female. 7. How may musical instruments be classified ? Give the names of some instruments in each class. 8. What is meant by the pitch of a sound ? Upon what does pitch depend ? 0. What is the lowest limit of musical sound ? 10, 11. What is the octave of any given sound ? Why is it so called ? 12. By what letters are the sounds of the Diatonic scale denoted ? Name the corresponding syllables that are used, and give their origin. CHAPTER I. 13. Why do notes vary in form ? 14. Give the number and names of the notes in common use. 15, 16. Give a table of the relative durations of notes. 17. What is a triplet ? How is it expressed ? 54 APPENDIX. 18. Give examples of other similar groups. 19. What is meant by a rest ? Give a table of rests. 20. What is the effect of a dot placed after a note, a rest, or another dot? 20, 21. Express in other ways the value of ^* . , and Sf . J5 . . , 22. What is a pause ? What effect has it upon a rest ? 24. Group the following notes : — three quavers, three demisemi- quavers. 25. What are the objections to the existing method of naming the series of notes .' Give a .table of notes arranged after the German system. CHAPTER II. 26. What is a stave ? What is its use ? 27. Why are there eleven lines in the great stave ? 28. How many lines are there in the staves in ordinary use ? Give your reason. 29. In what order are the lines and spaces reckoned .' How many sounds can be represented on staves of four, six, or eight lines ? 30. 31, 32. What Is the use of clefs ? Whence is their name derived .' What sound is represented by the note on the middle hne of the great stave ? What clef is used to denote it ? 33. On what principle are the staves in use selected from the great stave ? 34, 35. Why are the F and G clefs introduced ? Where are they respectively placed ? Se, 37. Which of the three clefs is used on staves which are selected from the middle of the great stave ? Give your reason. 38. Form the three clefs. How do they get their names ? 39. Why do clefs sometimes appear to change their position on staves of five lines ? 40. How many different staves of five lines can be extracted from the great stave ? Which of these are most commonly used ? Draw the stave, with its clef, which you would use in writing for a soprano voice, for a countertenor, or for a barytone. 41. What is the use of leger lines ? What does their name mean .' 42. In pianoforte music, what modification of the great stave is used? APPENDIX. 55 CHAPTER III. 43. Define an interval. 44. In which direction are intervals reckoned ? 45. On what principle are intervals named ? Give instances. 47. What is a scale ? 48. What is the diatonic scale ? What is the chromatic scale ? How may their names be derived ? Into how many intervals do they re- spectively divide the octave ? 49. Define a semitone. 50. Distinguish between a tone and a note. 51. What is the necessary proportion of tones and semitones in the diatonic scale ? 52. Give the names, with their meanings, of the sounds of the dia- tonic scale in ascending order. 53. How is the relative position of the semitones limited in the diatonic scale ? 54. How does this limitation affect the number of possible modes of the diatonic scale ? 55. Which of these are ordinarily used in modern music without alteration ? 56-59. What are the special characteristics of the diatonic major scale? Define a tetrachord. 60-66. Show how the succession of scales leads to the introduction of sharps and flats. From the scale of D deduce those of A and G, from the scale of C# those of G# and F#, and from the scale of C? those of Fb and Gt*. 67. What is meant by the key-signature ? Give the key-signatures of C,G#,Ct», Bands!?. 68. How may a major key be recognised from its signature ? 71. What are the special characteristics of the diatonic minor scale ? 72. What variations are found in the upper tetrachord .? 73-76. Why are the sixth and seventh degrees of the minor scale sharpened in ascending ? 77. What are the advantages of the so-called natural form of the minor scale ? 78-81. What is meant by the relative minor of any major key? What are the relative positions of their tonics ? What are the tonics of 56 APPENDIX. the minor keys whose signatures are three sharps, one flat, and four flats ? Name their relative majors. 83. On what does the relationship of keys depend ? 84. What are the classes of relationship of keys ? 85-87. To what keys is any major or minor key related in the first degree ? 88. To what keys is any key related in the second degree ? 89, 90. Make a table of the keys related in the first and second degrees to A major and C minor. 91- On what principle is the chromatic scale usually written ? Write it ascending and descending in the key of A. 92. How are intervals usually measured ? 93. Distinguish between consonant and dissonant intervals. 94. 95. How are consonant intervals divided ? 96. How are dissonant intervals divided ? 97, 98. Explain the terms ' augmented ' and ' diminished ' as applied to intervals. 99, 100. What restrictions are there upon the augmentation and diminution of intervals ? 101. Explain the term ' chromatic dissonances,' and give the reason for the name. Is the tritone a chromatic dissonance ? 102. Give a table of intervals, consonant and dissonant. 103. What intervals contain respectively three, six, and nine semi- tones ? 104. Including the next octave, how many minor thirds, augmented fourths, perfect fifths, and major sixths, are there in the diatonic scale ? 105. Distinguish between chromatic and diatonic intervals. Which of the diminished intervals belongs to the latter ? 106. Write down two diatonic and two chromatic semitones, com- mencing with F. 107. Commencing with G, write a diminished second, an augmented third, a perfect fourth, and a major seventh, both ascending and descending. 108. What is meant by the inversion of intervals ? 109, 110. What are the inversions of the augmented fourth, the perfect fifth, the major sixth, the minor third, and the diminished seventh ? CHAPTER IV. 111. What is a melody ? On what do its meaning and effect chiefly depend ? APPENDIX. 57 112. What is the primary element of rhythm ? 113. What is a foot in music ? 114. How many kinds of feet are found in music ? Name them. What is syncopation ? 115. What is a bar ? What is its usual position with reference to the accent ? 116. What is the meaning of a double bar ? 117. Distinguish between a bar and a measure. 119. How may time in music be defined ? 120, 121. What are the principal kinds of time ? How many beats are there in a measure of each ? 122. Distinguish between simple and compound time. 123. When may there be more than one accent in a measure ? 124. What is the meaning of the time-signature ? 125. Explain the principle upon which the time-signatures are con- structed ? 126. Group six quavers in a single measure of different kinds of time, giving their proper signatures. Distinguish between o and . time, 4 and g . 127. What is the meaning of the usual signature of what is called common time ? 128. Distinguish between C time and $ time. Why is alia breve time so called ? 129, 130. What rest would you use to denote silence during a whole 3 5 9 measure of ^ , ^ , and ^ time ? 6 9 131. How would you denote a rest of six measures in g and g time ? 132. Suggest a simpler method of denoting compound time than that in common use. What time-signature would denote a measure containing two dotted crotchets ? 134. What is a phrase in music ? 135. What is the difference between accent and emphasis ? 136. How is emphasis denoted ? 137. What are the usual limits to the number of feet in a phrase ? Are these ever exceeded ? 138. What is the name given to a combination of phrases ? 139. Divide the second strain of ' God save the Queen ' into phrases and feet. 58 APPENDIX. CHAPTER V. 141. Give the forms, and probable origin, of the three clefs. Explain the following signs : — #, t», tl, X, I*', |», p", W. %■ What are the different marks for repetition of passages ? Distinguish between a slur and a tie. Distinguish between 8^* and S^i. 142, Distinguish between the appoggiatura, the acciaccatura, the beat, and the twitch. Give the signs for a turn, direct and inverted. How would the following passage be played ? I i IS2I E Write it out at length. 143. Distinguish between Andante and Andantino, Largo and Lar- ghetto. Allegro and Allegretto. Explain the use of the terms a tempo, in iitesso tempo. Which is the fastest of these three times — M.M. ^ = 6o, M.M. I* = loo, M.M. ,• • = 70 ? Explain accurately the meaning of these expressions. 145. Explain the meaning of ^^,^, j/^ r/; -=:rdIZ !!^^^— ---^^ 146. Explain the terms legato, staccato, assai, giusto, molto, meno, segue, -volti. MISCELLANEOUS QUESTIONS. [The numbers here used do not refer to the sections.] 1. Why is F sharpened in the scale of G? and why is B flattened in the scale of F ? 2. Write middle C with each clef. 3. How many tones are there in the octave ? 4. In what order are the sharps and the flats added in going the round of the keys ? 6. What are the intervals, counting upwards, between G and E, C and G, F and B, F and B flat, B and F, B and E ? APPENDIX. 59 6. Group twenty-four semiquavers in three different ways, with proper time-signatures. 7. Group sixteen dotted crotchets in two different ways, with proper time-signatures. 8. Write, with the most convenient clef, CC, G, g, d, D, 5, a. 9. Write with the treble clef, e, g, a, f, d, B, A, and also with the alto and tenor clefs. 10. For the semibreve rest write down other three rests equivalent. 11. Express the duration of two crotchets by five notes, and by three notes and a rest. 12. Write the key-signatures of three of the scales with sharps, and of three of those with fiats, with the alto and the bass clefs. 13. Transpose the example at the bottom of p. 44 into the key of G, and write it with three clefs. 14. Write the melody of ' God save the Queen ' in the key of A fiat, using the tenor clef. 15. Write all the minor intervals in the keys of G and E fiat, using accidentals. 16. Name every interval in succession in the following passage, and the key, and insert the time-signature — =t^==;5=F ^^J JJ7I2±^ ± W tr ■ '^ 17. Transpose this passage into a minor key related in first degree to the original key. 18. What is the leading note of the key of C flat? What is its submediant ? 19. Explain the terms , Allegro ma non troppo, Adagio asiai, and the meaning of the signs bb, P}f, Da Capo, D. S. 20. In four-part songs for S. A. T. B., written with their proper clefs, how far do the four staves overlap each other ? INDEX. The numbers in all cases refer to the Sections. Abbreviation, marks of, 141. Accent, 112. Acciaccatura, 142. Accidentals, 141. Adagio, 144. Aeolian Mode, 55. Alia Breve, 128. Allegro, Allegretto, 144. Al Segno, 141. Alto clef, 40. Alto voice, 6. Ancient Modes, 55. Andante, 144. Appoggiatura, 142. Arpeggio, 142. Augmented intervals, 97. Authentic Modes, 55. Bars, 115. Barytone clef, 40, 42. Barytone voice, 6. Bass clef, 6, 42, 141. Bass voice, 34, 40. Beat, 142. Beats, 114. Bind' ~-, 141. Bis, or ^ , 141. Breve, t=( or Jrj, 24. Character, 5. Chromatic dissonances, loi. Chromatic Scale, 48, 91. Chromatic semitone, 106. Circle of Fifths, 70. Clefs. Ijljl, @, ^, 31-40. Comma, 12. Common time, 127. Compound time, 122. Concords, or Consonances, 93, 102. Contralto clef, 40. Contralto voice, 6. Countertenor, 6. Crescendo, ^:d! . 145- Crotchet, ^, 14. Da Capo, D.C., 141. Dal Segno, or g , 141. Decrescendo, ^:==» , 145- Demisemiquaver, B . I4- Diatonic Scale, 48 Diatonic Semitone, 106. Diminished intervals, 98. Diminuendo, 145. Discords, or Dissonances, 93, 102. Dominant, 52. Dorian Mode, 55. Dots after notes, f, 20. 63 INDEX. Dots over notes, i", 141. Double bars, 116. Double flat, bb, 66, 141. Double sharp, X or ff , 66, 141. Duple time, 120. Embellishments, 142. Emphasis, 135, 136. Expression, marks of, 143-145. Fifth, diminished, 103. Fifth, perfect, 12, 103. Fine, 141. Flat, i, 64, 141. Foot, 113. Forte, or/,_^, 145. Fourth, 12, 103. Graces, 142, Grave, 144. Great Stave, 27. Grouping of notes, 24. H (modem B), 1 2. Imperfect consonances, 94, 102. Instruments, 7. Intensity, marks of, 145. Intervals, chromatic, loi, 106. Intervals, defined, 43. Intervals, diatonic, 103. Intervals, inversion of, 108-1 10. Inversion of intervals, 108-110. Ionian Mode, 55. Keysj relation of, 78-go. Key-note, 52. Key-signature, 67, 8t. Largo, Larghetto, 144. Leading note, £2. Leading note in Minor scale, 73-77. Legato, 141, 146. Leger lines, 41. Lento, 144. Loco, 141. Lydian Mode, 55. Major Mode, 56. Measures, 117. Mediant, 52. Melody, in. Metronome, 144. Mezzo-soprano clef, 40, 42. Mezzo-soprano voice, 6. Mezzo-staccato, 141. Minim, ^, 14, 24. Minor Mode, 71. Mixo-Lydian Mode, 55. Modes, 53-56. Musical sounds, 1-5. National Anthem, rhythm of, 139. Natural, Q, 66, 141. Notes, names, forms, and value of, 14, 34. 25- Octave, 10, 12, 46. Pace, marks of, 144. Pause, '^, 22, 141. Percussion, Instruments of, 7. Perfect consonances, 94, 102. Period, 138. Phrase, 134. Phrygian Mode, £5. Piano, p or pp, 145. INDEX. 63 Pitch, 3,8-12. Presto, Prestissimo, 144. Quadruple time, 120. Quality of sounds, 5. Quaver, J*, 14. Relation of keys, 7 8 -go. Repeats, 141. Rests, 19, 24. Rhythm, 111-139. Rinforzando, or rf, 145. Scale, Chromatic, 91. Scale, Diatonic, 12, 48, 54. Scale, Diatonic major, 56. Scale, Diatonic minor, 71- Second, 103. Semibreve, o, 14, 24. Semidemisemiquaver, R , 24. Semiquaver, P, 14. Semitone, defined, 49. Semitone, Diatonicand Chromatic, 106. Seventh, 103. Sforzato, sf, or A or5>-, 136. Shalce, Ir, 142. Sliarp, $, 61, 141. Signature, key-, 67. Signature, time-, 136, 132. Simili, 141. Simple time, 122. Sixth, 103. Slur, -^ , 141. Soprano clef, 40, 42. Soprano voice, 6. Sound, I. t Staccato, P, 141. Stave, 26, 40. Strain, 138. Stringed instruments, 7. Style, marks of, 146. Subdominant, 52. Submediant, 52. Supertonic, 52. Syncopation, 114, 141. Temperament, 12. Tenor clef, 40. Tenor voice, 6. Tetrachord, 59. Third, 12, 103. Tie, 141. Timbre, 5. Time, 119. Time-signature, 126, 132. Tone, 12, 50. Tonic, 52. Treble clef, 40, 42. Treble voice, 6. Trill, w, 141. Triple time, 1 20. Triplet, 17. Tritone, 101. Turn, lA or S> 142. Twitch, 142. Unison, 107. Ut, 12. Vibrations, 1. Voices, 6. Wind instruments, 7.