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Les diagrammes suivants illustrent la m^thode. 1 2 3 1 2 3 4 5 6 MICROCOPY kESOLUTION TEST CHART (AKSI and ISO TEST CHART No. 2) 1.0 I.I 1.25 la 112.8 1150 2.5 m IIP-2 12.2 g |||M 'I'll— Hr ite 2.0 u. •^ 1. b^uu 1.8 1.4 1.6 ^ APPLIED IM/IGE Inc !653 East Main Street Rochester, New York 14609 USA 1716) 482 - 0300 - Phone (716) 288 - 5989 - Fax y^ I — - — ..- . . m^m JOUSSE'S USICAL CATECHISM: WITH A REVIBBD DICTIONARY OF MUSICAf. TERMS. THE TORONTO NEWS CO., TORONTO AND CLIFTON. ;*f^> \> t JOUSSE'S Musical Catechism WITH A BBVIBED DICTIOMRY OF MUSICAL TERMS. TORONTO. THE TORONTO NEWS COMPANY. TOKONTO AWD CmFTON. CATECHISM OF MUSIC. -^-•'^^ •♦"«- SECTION L ON THE NOTES AND CLEFS. Q. Wliat is music ? A. Music has for its object sounds, their succession and various combinations. Q. What is a succession of single sound* denom- inated ? A. Melody, Q. What name is applied to several sounds heard at once. A. Harmony. Q. How are musical ideas expressed in writing ? A. By char.'srs called notes. Q. How many notes are there in music ? A. Seven. 1 5 " A CATECHISM Q. How are they expressed ? B, C,' d5e,^F,g'^* '"''"'' ^^'*'" ""^ ^^^ alphabet: A, Q. How are the notes written ? 4. On five parallel lines and in their spaces stve '""^^''^^'^y *^^^'">' ^^^ termed the ./^, or IJNBS. •PACKS. -4. From the bottom upwards. nU?i; ^""T, ^•''® i^® '^^"^^^ 0^ t^« ^ofcea and their pitch ascertained ? ^, By means of a character called a c^^/ which is placed at the beginmng of the staff. Q. How many clefs are there ? baS cliff P'*''''^'P^^' '''^•' *^^ *^^^^® clef and the ^. On the second line from the bottom. Q. What note or letter does it make ? A, The letter or note G. ^^= TREBLB CLEFb ■iS^ a i • In Italy and France th, notes are expreasod by the followinir";;!i;rwr ao, re, mi, fa, sol, la. gi ~ ' ^' ^' E, p,' o. r B t The Clef ii explained oo pa^e 63. ' "' OF MUSIC. A Wliat are the notes on the five lino« of the troolo clef? A. The first line is E ; the second, G ; the third, B; the fourth, D; and the fifth, F. NOTK3 ON THE UNES. S -#- n a B u F Q. What are the notes in the four spaces ? A. The first space is F ; the second, A ; the third, C ; and the fourth, E. NOTES IN THE SPACFI. i jST F A O E Q. Are the notes always confined within the five liuos and four spaces of the staff? A. No: they frequently extend above or bek v, as best suits the composer's ideas ; then additional small lines, called ledger lines, are added above or balow the staff, and the notes are placed on them, or between them. Q. What are the notes on the additional lines above the treble staff? A. The first additional line is A; the second, C; the third, E ; the fourth, O ; the fifth, B. These notes are termed, i n alt. O -#- -f- +- A. t^ ^ m m il A CATECHISM. A T?-ffi^? *^' ''•^'^ ^° *^« additional spaces ? ^. The firat space is G ; the second B • the tMrd D; the fourth, F; the fifth, A; the sixth/c. ' belt Stxir*"*^" *''^ ^^^^^-^ ^- ^. The first additional line is C ; the second A. beltlt'taff ? *'^ "^'" ^ *^« ^^^^^^-^ «P-ea thifd, a ^ ^"'^ '^^°^ ^'^'''^ '' ^ ' *^" '^^^"^ S> the KAMES or THE NOTES OV THE TEEBLH 8TAW. O T^D !• G A B D a V Q A B 0~ THB BXM irOTM ■XPLAnnTO.* """is^s* - OF MUSia » Q. What note or letter does it make ? A. The note or letter F BASS CLEI'. ^ -^- Q. What are the notes on the five lines of the bass staff? A. The first line is G; the second line, B; the third line, D ; the fourth line, F ; and the fifth line, A. a B D F A ^ Q. What are the notes in the four spaces of tho bass staff ? A. The first space is , the second, C ; the third, E; and the fourth, G iRt Snd Srd 4th r%» ' i * 1. A 1 ^ • 1 M \ E Q. What are the notes on the additional lines above the baas staff ? A. The first line is C ; the second, E ; the third, G. 2 . f f G 10 A CATECHISM Jrel^:iZJX'""'' °" ""« •^^'*''-^ -race. theVrd!F."'''''""'"™'^^' theaecond,D; and belt arLrstfff. '"'-"-*« additional lines r.hiril';^T«5Sr;^^^ thesecond,C; the 1234 ^. What are the notes in the aflrli'fmnoi below the bass staff ? additional spaces f »,/;k^^^ t^^ additional space is F : the second Ti • the third, B ; and the fourth, G. secona, D; 1234 HAHES OF ALL THE NOTBS ON THE BASa STAFF. OF Muaia 11 SECTION II ON THE KEY BOARD. Q. How many white keys axe there on the moderir piano-forte ? A. Fifty. * Q. What are they called ? A. Natural notes. Q. How many black keys are there? A. Thirty-five. Q. What are they called ? A. Sharps and flats. Q. On what key is the bass clef note played, reckoning from the bottom ? A. On F ; two octaves above the lowest F. Q. On what key is the tenor clef note played ? A. On C ; in the middle of the key-board. Q. On what key is the treble clef note played ? A. On G ; a fifth above C, the tenor clef, and a ninth above F, the bass clef Q. How are keys divided ? A. The white keys are at equal distances from one end of the key board to the other ; but the black keys are divided into clusters of three and two alternately. Q. What is the name of the white key at the left of the two black keys ? A. It is cailed U. • We siKXik hire ■ f t > t> -ff.rtf ( 12 A CATECHISM. Q. What is the name of tlie white key at the left of the three black keys ? A. It is called F. Q. Can you, by these two keys, C and F, find the name of any other key ? A. Yes; by naming the keys according to the order of the seven letters, A, B, C, D, E, F, G. Q. What is the use of the black keys ? A. Each black key serves for the sharp of the note below, and for the flat of the note above. The black key above C is ClJ. which black key serves also for DIz. Q. Where are B sharp and E sharp played, as there is no black key above these notes ? A. On the keys of C and F natural Q. Where are C flat and F flat played? ^. On B and E natural. Q. Why is there no black key between B and C, or between E and F ? A. Because these notes are only a semitone distant troni each other ; the other white keys, being at the distance of a tone from each other, are parted by a black key. 11 OF Musia IS r at the left SECTION III. ON THE VABI0U3 KINDS OF NOTES AlfD THEIR PROPORTIONS. Q. How many different species of notes are there ? A. Six. Q. What are they ? A. The whole, (semibreve); half, (minim); quarter, crotchet) ; eighth, (quaver) ; sixteenth, (semiquaver), and thirty-second, (demisemiquaver). Q. Describe their shape ? A. 1. The whole, (semibreve) is similar in shape to the letter O. 2. The half, {minim) is a white note [ with a stem. 3. The quarter, (crotchet) is a black dot with a stem P. 4. The eiffhth, (quaver) is a black dot with a stem and a dash across it p. 5. The sixteenth, (semiquaver) has two dashes to its stem ff. 6. The thirty-second, (demisemiquaver) has three dashes to its stem p. Q. What proportion do these notes bear to each other? A. Each note is equal in duration to one-half ol the preceding, and is double the following. PROPORTION OF THE NOTES. Q. How many hail notes {mijdms) make up a whole ? A. Two. 14 A CATECHISM tu ; i i i 1 Q. Uow many quarters, (crotchets) make up a whole ? A. Four. Q. How many eighths, (quavers) in a whole ? A. Eight. Q. How many sixteenth notes, {semiquavers) make a whole ? ^. Sixteen. Q. How many thirty-second notes {demisemi quavers) make a whole ? A. Thirty-two. 1 2 r r r r r r u u 16 f • r 1 I # • LJ 32 9f09»*\ •00000pf 90P090fp 'rrr 90PPPPPP The stems of the note may be turned up or down, tied or not, without changing the duration of the notes. Q^ How many quarters (crotchets) make a half f A. Two. Q. How many eighths (quavers) in a half? A. Four- Q. How many sixteenths (semiquavers) in a half f A. Eiirht. make a half? A. Sixteen. v". iio-w many thirty-seconds (demisemiquavers) OF Musia 15 Q. How many eighths (quavers) make a quarter ? A. Two. Q. How many sixteenths {semiquavers)^ A. Four. Q. How many thirty-seconds (demisemiquavers) ? A. Eight. Q. How many sixteenths {semiquavers) in an eighth ? ^. Two. Q. How many thirty-seconds (demisemiquavers) in an eighth ? ^. Four. Q. How many thirty-seconds [demisemiquavers) in a sixteenth ? A. Two. The diligent student will not fail to writ© on his music slate exercises on the proportion of the notes : from which he wiU derive great benefit 16 iCATEOHISU SECTION IV. ON THE DOT. Q. What is the effect of a dot after a note t A. It makevS the note half as long again. Q. How many half notes (minims) in a dotted whole ? A. Threa S ~S7. r=f=r Q. How many quarters (crotchets) in a dotted whole ? A. Six • rrrrrr Q. How many eighths (quavers), A. Twelve. Q. How many sixteenths (semiqitavera) f A. Twenty-four. Q. How many quarters (crotchets) in a dotted half! A. Three. Q. How many eighths (quavers) ? A. Six. Q. How many idxteenths (semiquavers) ? ^. Twelva OF MU.SIC. 17 a note f igain. s) in 8k dotted \) in a dotted ?«r«)f 1 a dotted half! ?«•«)? ., naif i ' ■^i^ Q. Is the 8har[) or the Hat m irked to every note of a musical composition ? A. No, the sharps or flats necessary to the key are marked at the signature or after the clef; and they affeot all the notes during the piece, unless contradicted by a natural. Q. What is the effect of a nriturnl ,'5) ? A. The natural contradicts either the sharp or the Hat, and rest"re.^ the note to its ori_t,nnal stale. I. r. shij-p. i > F natural. B II ilurp L'- hstuml. T- '9fi- • V r dt-fiuix'!! I'f 1?'C vff.r > -<»nii? d ao- cordinor to their order ? T-nn-nAFniilB A. The seven sharps are F, C, G, D, A, Jh, an l a. 2 8 4 fc Q Where h the first flat placed ? A. On B. 0. How do you find the second flat thumb. ■'w 22 A CATECHISM flaU ^^ *^^ °'''^® ""^ counting, what is the second fT,n^' ^?® ?/^ ^^^ ^^^"g ^' ^^y counting four from that^note, thus-B. C, l| E, the second Sat wiUfaU Ifltflat Q. What is the third flat ? -4. The third flat is A , 2nd flat. 8rd flat. w -9t5^ dzi^ Q. What is the fourth flat ? ^. The fourth flat is D . Srd flat. 4th flat. :=fe^:zz±^ ?(^- 12 3 4 Q. What is the fifth flat ? ^. The fifth flat is G . Q. What is the order of the seven flats ? A. The seven flats are B, E, A, D, G, C, and F. f ^J^^'^*^^^^r alvvays preserved at the signature ? Ji. Yes; the second flat or sharp is np.vpr ,^Unc^ alter the clet, unless preceded by the first TnSr toe third without the first an.l second OF MUSIC. 23 at is the second nting four from ond Hat will fall rjflat. d flat. !^ I flat. lats ? jr, C, and F. :b — the signature ? never plaeod first; nor the SECTION VII. ON THE DOUBLE SHARP AND DOUBLE FLAT. Q. What is the effect ^»f a double sharp ? .4. The double sharp, by a x, serves to raise a note already sharp another semitone. Q. Where is the note played? ^l. A note with a double sharp is played two keys higher ; therefore F double sharp is played on G. PI aye J on G. _- Q a -r- — ^ , Ya ^- E.^ i7C y- — I — F natu; al. F sharp F duulile sharp. Q. How IS the double sharp contradicted ? ^i. By a natural followed by a sharp, j^J. F sharp. F double nhftrp. F single sharp. Q. What is the effect of a double flat ? A. A double flat ([^) serves to lower a note already ^ade flat another semitone ; B double flat is played . n A, two keys lower. Plaved on A. Bnaural. 15 flat, B double (Lit. Q. How is a double flat contradicted ? ..I. By a natural followed by a flat, thus tt> m .i-i i 24 A CATECHISM i Wi 9^ B flat. B double flat B single flat. Q. Can a double flat be uaed without having been preceded by a flat ? -4. No; a note must have been made flat before it is introduced as a double flat. Q. Are the double sharj) and double flat often used ? A. Very seldom ; and, when introduced, it is gen- erally in the course of the piece, not at the signature, or after the clef The double aharp comes in the same order as the siugle sharp. OF MUSIC. 25 . 1 , 1 ]> t^k u ^i -H \.t, B tingle flat. thout having been made flat before it double flat often reduced, it is gen- •t at the signature, • comes in the same SECTION VIII. ON THE FORMA.TION OF THE SCALE. . What is the meaning of the word scale? A This name is given to a succession of seven notes, ascending or descendmg. How many kinds of scales are there in music ? A. Two ; the diatonic and the chromatic. What does the diatonic scale consist of ? A. It consists of five tones and two semitones. Q. What is a semitone ? „ ^ . , , „^ . • A A semitone is the smallest mterval used in modern music. The natural semitones m the scale Te from E to F, and from B to C. Oa the piano-forte theriTa semiione from any key to the next above or below. 0. What is a tone ? n fA v^ A A tone is a union of two semitones. C, L^, L», form a tone ; D, Eiz, ES, another. 1 * ' - ' ^ WhoW'tone. '^°"*' Q. How are the tones and semitones arranged in '^t^'^or scale proceeds by two successive tones followed by a semitone, then by three succes- t^vTtones and ajemitone; for instance tb^^^ .J,, i-r *i 1 ■^. 111 onu.^ . z. •.•- - - - - „ ^ a tone from E to F a semitone, from I to G a tone, G to A a tone, A to B a tone, B to C a semitone. 20 A CATEUHISAL 8 4 6 6 -f^- 12:. -i&- 22: -&- :^z. -{5*- ^'^tone, boaiitone, toiio, tone, tone, semiloiie. Q. Where are the semitones placed in the fore- going scale ? A. The semitones occur between the third and fourth degrees, and between the seventh and eighth degrees. Q. Is thfc iescending major scale the same as the ascending scale A. Yes. Q. How are the tonc^ and semitones placed in the minor scale ? A. The minor scale descending, proceeds by two successive tones and a semitone, then by two other tones and a semitone ; and ends bv a tone for in- stance, the minor scale of A proceeds thus : from A to G a tone, from G to F a tone, irom F to E a semi- tone, from E to D a tone, from D to C a tone, from C to B a semitone, from B to A a tone. tone, -g^ ^r^ tone, semitone, tone, tone, semitone, tone. ISL -^- '221 -i2- 876 54821 Q. Where are the semitones placed ? xi . Between the second and third degrees, and be- tween the fifth and sixth. Q. Is the same order observed in ascending ? A. JNo; according to the rules of harmony, the seventh degree must be major to form a close on the 7Z. -i5>- 1221 tone, semitone. laced in the fore- en the third and 3venth and eighth e the same as the tones placed in the ;, proceeds by two then by two other bv a tone for in- jeds thus: from A om F to E a semi- » to C a tone, from tone. semitone, tone. 121 -i^- 12L 8 2 1 -ced? rd degrees, and be- in ascending ? 3 of harmony, the form a close on the OF MUSIC. 27 fhe sixth note F to l"^f" I],, '„.,„ ^^cends thus ; A, ^V^'« from B to C a somit.no. from to I, a ton;> t. m b to E a tone, from E to i;« a tone, from 1^ tone, semitone, tone, tone, tone, semitone. ^ tone, semitone, .ou«, . rj,oT«.-The above 18 the "^^ "»^or ^ ^»^^»-^«Xs or -.s-enCin^ i ThKer. or h.jma,uc m.nor .cale m tho b».uo ^ ^ ^^ '^T^L i^ TST^U, ereu^ ne! I \ 7 '.u uu,uu,nto.l tone (couM.Un, of ji^mitonesXaudTtoSasemitone.l OF THE CHROMATIC SCALE. How is the chromMic scale formed ? v- :^"^^ . , -i.,„olvP mipcessive semitones, altei- A. It consists 01 tweHesuccessivt. nately minor and major,* thus : C, Cfi, i^, y^^> ^^> Can the chromaiic scale proceed by flats ? 1 Yes; generally in descendmg, thus : C, B, b,, A, Ab, G, Gb, r. E. Eb, D, Db, C. -Tl^or semitonei« «- i. wluc. t^ -<;^ ;^::^^^o. wmjor semitone is one m which the letter* ai 28 A CATECHISM. SECTION IX. ON TUK KEYS AND MODES. Q. What means the \vo!-il /.ry? A. It is synonymous with scale, and implies a regular succession of .sounds, regulated l>y a principal uote, called a /cy-nole or tonic. Q. How many keys are there in music ? A. There are only two natural keys, viz : C major, and A minor; any other is a transposition from these. Q. How do you know the major key from the minor ? A The major key is knovrn hy its major third, and the minor key by its minor third. Q. Wliat is a major third ? A. Vvlicn from the tonic to the third note above tliere are four semitones (on the pianoforte, five key.s), the tliird is a nuijor, and the key is called a 7H"j T krij. C, E, is a major third. Semitones. Major third. \ 2 3 4 Q. Wli-at is a minor third ? A. When from the tonic to the third note above there are but three semitones (on tlio j)ia]ioforte,four !:ev.s\ tlio third is >;ii/wr, and tiie key a niinor key. Sus.t.oiio*. iiiuw third. ^ :f -i Q ZSL ">T -jsl jor key from the le key is called a thinl note above ho pianoforte, four key a t)ii)ior key. JiJnoi' third. ..«-— 1 ^ J^ OF ML'Sia 29 ,. A.e there aUvays t- Xr^^f iraX on^ » ,T0, three, fovir, or mo.e shaips r^'°%"ota^::f -r tl Sot.K,de, a.d then .t key ot O majoi, u. i of A minor. • i- ..^ofl jm the natural key oi ^^ ■^ t mrus'he rule respecUng the situation of the -^T^tnTh^rp^^-^^^ ^l^^ t StTeytr-e helow the last s^^^^'P- , , .+i-plrpvs with one sharp? n;"tG™it^^oneahoveri(,a„cl E n)inor a tone below F^. o What are the keys ^Hh two sharps ? The keys of D major and B minoi. Jl The kevs oi A m-Ki'^'i 30 A CATECHISM Q. What are the keys with four sharps ? A. The keys oi'E major and C^ iniiior. T- (S- Q. What are tlie keys with five sharps ? A. The keys of B major and G^ minor. Q. What are tlie keys vith six sharps ? A. The keys of Y^ major and D minor. a- OF THE KEYS WITH FLATS AT THE SIGNATURE. Q. How are the keys with flats situated ? A. The tonic of tlie major key is a fifth, and that of the minor key a third above the last flat, or a sixth below. Q. By this rule what are the keys with one flat ? A. The first flat being B[;, the two keys are F major and D minor ; the former a fifth above B};, and the latter a third above. Q. What are the keys w'.th two flats ? A. The second flat being E\y, the two keys areB!? major and G minor ; the fonner a fifth and the latter a third above Eb. ^\ *t 1 \ \ r w m - . t ...» — 1 1 (HL_^_ J 1_ ^ .11 -— ^^-rr"-^ •: SIGNATURE. OF MUSIC. 31 Q What arc the keys with t^^ ^f J ,, ,,e Vt^ major and G niuioi , u. latter a thir.l a\)Ove Aiz. fr^ff^i Tthira alove D*^. t How n^any keys are there, either natural 0. '^"J^Twelve major and twelve minor keys. What are the twelve major keys? V- ^* , , _^ 1 A. three shi A. C, natural kej^ no shav]^ or flat, G, one sharp. P, two shaips. A, three sharps. E, four sharps, B, five sharps, Y, one flat. W\j. two flats. F Biz E,. three flats. \ ^, ^^^ A\,, four flats 1 Ob, six na E^ A2 -'^ F B'l2 , I^!Z , i__?-T— V^-— T-il-^-u'l .! i \% 82 A CATECHISM MINOR KEYS WITH SHARVS. What are minor keys with shaips. ? A. A, natural key, no sharp;, or tiats E, one shaq.. B, two shaip8. A B Fit, three sharps. Ci four shar])S. Gj, five sharps. ' B B Fit a ^* i^ °* MINOU KEYS WITH FLATS. O What are the mino.- keys with tlats '. i D, one tiat. 1 C, M.ree flats, 1 Bj, ii-o flats. g! two tiats. I F, four flats. | Lb, six flats, Q O P , BlZ Bl? B^S -(^ OF MUSIC. SECTION X. 83 Q. What arc l.ars ? ^ ^ ^^ff to divide ^ Ilpritiht liucB drawn across thf mu^c into equal portions. (2. What are those portionB cal ed^^^ ^^^^^^^^^^^ A. The>- are also called bais, ou measures. Q. What is time ? ^^^.^ ^,^3 reference 1 Time IS a ^Y^Hl^vh^cU to th duration of sounds m ^ ^ J^ Two principal, MZ-<'^' ,..,,, .V. ^ cnpoic^ Hubdivided ? 1. By a scinicirclo O- "• ™"' a..o;., -e, also by I ^ ^ ^^^ ^.,^^_ „^,^,i ^). W'liat must ameabuic ^' r ^'quarters (cro.^^^'^. or tl.e length of a whole (3..n?m-.) in other notes^ "^^^^^^ Cpfl^ure of the other species of What does a mewiure 01 ^ cc.mmon time marked . conUm^,,^^ ^ A. It contains ^^f ^^^^^^ ?th of a half (minim), m ei-hths {qmvers), or the icn^v ather notes.^ ^ r^T^^^^^^^'^i^^^^^'* . — — — ^-':::^ftya,«d^cth••••il»»"**• •I oi«ni'«Mt»«»"- » ,'!'lr ^ 84 A CATECHISM Q. What mean the figures J ? 4. The fi classed here from slow to quick: 1. Grave, a very slow ^7/;^^^^-^^ ex,.re..ive. 2. Adagio, one degree f^^^' ^^Jflvie t Tarao slow, and in an extended style. 4 S'eta'degree faster tha^ 5; Andante, «^--;. .\"^ ^^t^r than andante. 6. Andaniino, a littl®.^^*;?^^f. \^ 7. Maestoso, in a majestic style. 8 AUeqretto, not so quick as allgro. i Allegro, a lively movement 10 Vivace, with spirit 11- KS>e quickest movement mat is the meaning of the foUowing words : a,sai. moUo. P'«. P<'<^\''<'".';Sto any of the fore- ,ofng,?er;erer^:"=?yrei7-nin«.«. Adagio, non troppo, not too slow. AVearo assai, very quick. f 000 prcJ^o, a little quick. ■I; I 40 A CATECHISM. Q. How is the character of a piece and its stylo indicated ? A. Generally by some Italian words. Q. What are these words ? A. A fetuoso, with a soft expression. Agitato, with passion and fire. Amoroso, with a tender expression. Qmtabile, in a singing style. Con brio, with bri Jlancy. Chn ffusto, with taste. Farioso, with great spirit Pastorale, in a simple and tender style. Sostenuto, all the notes must be sustained theii* full length. Scherzando, in a light and playful style. Vigoroso, with force. Q. Where are these words placed ? A. After the Italian word denoting the speed of the movement, thus ; Andante affeituoso. Allegro agUato. Allegro con brio. Andantino amoroso. ii : OF MUSIC. 41 SECTION XJll. ON GRACES, OK KMBELLliHiiKNTS. Q. What are the pviucipal graces made use of in musical compositions ? , / ^ j +-i.^ 1 The appoggianira, the turn, the beat, and the shake. Q. How is the oppoggiaiura or leaning note ex ^'T^By a small note placed before the large one which it is intended to ornament. Q. How many kinds of the appoggiatura f A. Two ; the upper and the lower. Explain both. . The upper appoggiatura may be a tone or a semi- tone above the Fincipal note; the lower one i« always a semitone below. Q What is the length of the appoggiatura f A It irenerally borrows half the value of tiie principal note, which consequently must be played shorter.* Written. How is the turn expressed and performed ? ^" mi- . J ;_ «.v,^ ,,«;rwTi ftf f.Vift unner and lowei appoggiatura; is either direct o r inverted. ^ ^ only ft »in*ll p.»riioii of the tha« b^oiijf»«w »" *»• prnH-ii-. ^ 49 A CATECHISM 'i Q. How is the direct turn performed ? A. The direct turn begins with the tone or semi- tone above the principal note; it is marked thus «S9; when a sharp is to be added to the lower note, this must be expressed by a sharp added to the sign Q. How is the turn to a dotted note played ? A. The note is played first, and then the turn. ^ ^r-; I r L^^ Q. How is the inverted turn played ? A. The inverted turn begins with the note below, and ends on the principal note. Written. PUved. The turn, either direct or inverted, must be per- formed with spirit and energy. Q. How is the shake marked and performed ? A. The shake, marked by ( tr), an abbreviation of the Italian word irillo, is a quick and alternate repetition of two notes, the princij-%1 note and the note above. n A. Three ; the passing shake, the plain shake, and the shake with a turn. UF MUSIC. 43 Q How are these shakes performed ? A, The passing shake is very short. tr tr _ The plain shake is longer, but is not ended by a turn. tr Written. Play«d. The shake with a turn, which is generaUy intro- duced at the end of a piece, is played thus. 1^ Written. Flivyed. 44. A CATECHISM SECTION XIV. ON EXPRESSION. Q. Wliat are the ])rincipal means of exjn-ession ? A. A strict attention to tlie accents, emphasis, syncopation, and a close observance of the Ugato, sLaccato, crescendo and dimiiiuendo. 1. — ON ACCENTS. Q. What is meant by accent in music ? A. Tlie stress given to a note in preference to another, according to its place in the bar or measure. Q. Where are the accents placed in common time? A. In common time of four quarters (crotchets) in a measure, the first and third pjrts are ac<:ented, the second and foui-th ports unaccented. i- ^ UQ. 4c. ua. ftC. ao. un. ac. nn. ac Q. Is this order always preserved ? A. No; in slow movements, when the quarters (crotchets) are divided into eighths (quavers), the ac- cents are more frequent ; they fall upon the first, third, filth, and seventh eighths (quavers); the second, fourth, six and eighth are unaccented. Q. How are accents placed in f ? A. The first quarter (crotchet) is accented and the other unaccented. E2^=g^ -^ -a: W' -G— rzr»-jir:,c ao un. ac. un. eference to OF JIIJSIC. 45 Q. How are the accents placed in compound com- andn time, for instance, in s ? A. When two dotted quarters (crotchets)' are in- troduced, the first is accented, and the others unac- cented. ^^^^g un. lie. un. ac. un. MS. Q. How are the iccents placed in triple time ? . A. The first part of the measure is accented, the second and third parts unaccented. m #- ■t -^. -t- itC. -I — un. ac. un. un. ao. un. un. I • "V,. uii. nil, n a slow movement, when each measure consists of six ei^rhths {queers), the first, third, and filth ei^i^^hdu (77.7/7T.V) are accented; the second, fourth, and sixtli are unaccented. Q.^ D.)es every piece of music always begin with the lirst part of the measure ? ^. No; for the sake of keeping the accents in tlieir proj.er places, a j-iece frequently begins with the last part of the measure ; then the last part of the piece or strain must be short of that part See Ex.1, p. 4 1. ,2.~0V EMPHASIS. Q. WTiat is meant by emphasis ? A. Emphasis is a deviation from the rules given concerning the accents ; it takes place when a note irhich should not Iw. nmnntt^A Kaa « c.4^^»oo ^: *_ It; tor instance, in common time, the second an~ under or over the note, alBO by the words, sforzando ,sforzato, or their abbre- viations, sforz., sf. 3. — ON SYNCOPATION. Q. What is the meaning of syncopation ? A. Syncopation takes place when the unaccented part of a measure is joined with the next accented })art ; this happens, 1st. When long notes are placed between two other notes of shorter duration, as a half (mmim) be- tween two quarters, or three quarters {crotchets) be- tween two eighths {quavers). ^- OP feE^^=^ ^ 2d. When two notes are connected by a bind or tie, either in the middle of a measure or from the last note of a measure to the first of the next Q Wlien syncopation takes place, how can th« piano-forte player keep time ? A. The treble and bass seldom syncopate together : one part generally marks the time by equal notcii.. OF MUSIC. 47 ^ 4 — OF TUK LEQATO AJ^D STACCATO Q. What is the meaning of the word legato f A. This Italian word signifies a smooth and vX)n- nectod style of playing, blenaing the sound of one note with that of the next. Q. How 13 this effected ? A. By keeping a finger down until the next finger has struck the following note. Q. How is the kgoio expressed ? A. By a curved line placed over the notes; this curved line is termed a slur. Q. Vhat signify small dashes placed over the notes ? A. The notes aie to be played short and distinct, lifting the finger from the key before the length of the note is expired. Playetl. Written. :*: -f — f- I?-- p W^zgf^^Jh ^ i Q. How is that style of playing denominated ? A. It is called staccato, and produces a fine effect when properly contrasted with the legato style. Q. When round dots are placed over the notes, are they played in the same style ? A. The notes must not be played quite so short; they should have about one half of their usual length. WrittAn, PI lived. ^ r=5_- — i 13 A CVTECIirSM If* -f't m Q. What is the meaninpf of a curved line which soiiietiiTKis is placed over ^he dots ? A. The liiigor Bhoidd be kept down still longer than in the foregoing case. F^-^^ Efe WrIiUin. PUyod. 6 OF TilK MODIFICATIONS OF THE SOUNDS. Q. What is the meaning of the word piano, or its abbrcyi/ihon, pin. or p., placed under some notes ? A. rhi3 Italian word signifies that the notes must be playod in a soft and delicate manner. Q. \yhat is the meaning of mezzo piano, often abbreviated mrz. pia, or 7np ? ^. Tliese words indicate a degree of force in the sounds greater tlian pl-mo and less than /or/— Q. When these two angles are opposite each other, thus, -«=:::=>—, wliat does it imply ? A. That the sounds must be gradually increased from soft to loud, and afterwards gradually dimin- iflhed from loud to soft. «.-0F SOME OTHER MARKS OF EIPRESSION. Q. What is the meaning of the word tremando w^ritten over some chords ? A. The Italian word indicate^ that the chorda must be divided into two parts, and played with rapidity, a>> a shake. Written. Trtmmnit: Pl»y«d, W -■&—■&- -^ ^ ^ Ojd ±d 50 A CATECHISM Q. What is the meaning of the Italian word arpinii'''!- ? A. M signifies tliat the notes of a chord must he played in ra})id succession from the lowest to the liii'liest, instead of striking thcia all at once. Tliis is sometimes expressed by a curved line placed by the side of the chord. f ■ % - r-f-rr -^^-L" ^^: .,^^_|_. -4-V-i*- r —ii- — ^ i-i'-i—a — "-',-9 Written. mavcd. Q. What signifies the Avord fC(lo.l,Qx its abbrevia- tion i^cd., written imder a [jpussage ? A. It shovi^s that the o))en or r'ght hand pedal must be pressed with the loot, to rjdse the dampers and let tne vibration of the strings contimie, the asterisk Jjl showing when the pedal must be dropped. Q. In what passage is the open pedal introduced ? A, Chiefly in passages in which the saiie harmony is continued ; when the chords are changed, the pedal must be dropped. Q. What is the hind or tit f A. The bind or tie is expressed by a curved lina placed over two notes on the same line or space of the staff. Q. What is the effect of the bind ? A. The first note only must be struck, and kept down the whole length of the two. £\ ~f0 f=ti ppr_«_....« - -w- "i3" OF MUSIC. 51 (2. Wliat h the raoanliigof a semicircle vrith h dot in tlic ceuLre, thus, /^ ? , • -n j.i,„4. A This mark is called a pmi^e, and signifies that the note ovei which it is placed munt he suB^uned longer than its nsud length, and somelmiea that a cafcnza should l*c inlrouuced. Q When the pause is over a rest, or over the double bar, what is the signitication ? _ A. When over a rest, the rest becomes longei , when over the double bax, it shows the end ot tiiu strain. 52 A CATECHISM. SECTION XV. OF SOME CHARACTERS IN COMMON UB* Q. What is the use of single lines drawn acroe* the staff? A. These small lines are called bars, and serve to divide a piece of music into equal portions, termed measures. 3P^ lit strain. tod ttnia. Q. What is the use of the double bar ? A. It serves to divide a piece of music into two, three, or more parts, called siraiiis. When dots are placed on both sides of the double bar, both parts are to be repeated ; when the dots are only on one side of the double bar, the part on the same side aa the dots is to be repeated. Q. What is the use of the brace •{ A. It serves in piano-forte music to connect two staves, the upper of which is for the right hand, and the lower for the left hand. Q. What is the meaning of the words Da Capo, or their abbreviation D. C.f A. Thoj signify that the performer must play over again the first part of a piece from the beg inning to the double bar. Q. What is the meaning of the words Dal Segno f A. These words refer to a preceding mark of rc- peaty and indicate that part of the piece must be re- peated from the ^ to the double bar. OF MUSia 53 Q across serve to 1, termed I itnia. nto two, dots are Dth parts Sf on one le side aa meet two land, and I CapOf or play over mning to il Segno t irk of fc- ust bo ro- Q What is the use of the figures 1 and 2 placed over some notes at a double bar j , ^ Thev sijmify that a part of the piece must be plated twL ;^ndVt, in flaying it the se^nd time TheVrformer must omit the bar marked 1, and instead of it play the bar marked 2. Q. What is the meaning of the word 6w ? I This Latin word signifies that the b^o^^^'. sage over which it is written must be played twice, generally dots are placed at the single bar. Q What is the meaning of ottava, generally ab- breviated 8va., followed by dots ? A This li^^i'vn word signifies that the note oyer which it is r .e^;d must be played an octove higher ihan written. What is the meaning of the word io^o f A. It is generally used after the word o/to«a and signifies thSt the music must be played as written. Q. What do the letters R. H. under some notes in the bass signify ?^_ ^^_^ ^^_ ^^^ ^^ ^ ^^^^^ ^i^j, the right hand crossing over the lea 6i A CATECHISM. Q. What do the letters L. H. placed over somo notes on the treble staff signify ? A. Tliat they must be played in the treble with the left hand crossing the right. Q. What is the meaning of a direct av ? A . It is p.r.ced at the end of the staff to apprize the performer of the name of the first note on the foUoAsnng line. [Seldom used.] _ Q. What if? the meaning of the words voUi siihiio placed at the bottom of a page of music ? A. That the performer must turn over r|uickly and play the next page. OF ML'SIO. 55 SECTION XVI. OK ABT3r.F.V.ATI0NS ANT) I.ICKNPES. a whole noto [Sfnuuraf^], ^ ^ » eiglitlis (5Ut "^^^ the same ; >uiiicatioii. B9 A CATECHISM I ( OF SOME LICENSES. Q. What is the meaning of the figure 3 placed ^ver or under three-quarters (crotchets), eighths, {qua- vers) or sixteenths {semiquavers) ? A. It signifies that the three-quarters {crotchets), «ighihs {quavers), or sixteenths {semiquaver s),TQuai be played in the time of two ; of course a little quicker than usual ; each group is termed a triplet Q. What is the meaning of the figure 6 placed over or under six-eighths {quavers), or sixteenthg {semiquavers) f A. It signifies that the six eighths {qwivers\ or Bixteenths {semiquavers) must be played in the time of four of the same species.* n Is the same rule observed with respect to other figures, as 5, < A. Yes ; five-eighths {quavers) are played as four, seven as six, and nine as eight, of the sam e speciea . • Th«~flicui«rs OT $ tut often ..niittwi. th the minor Bcalee with flats fingered nof Jgered .«. the major scales ofj^- 5-^-^^^ the thumb of the left hand is i)laced on:^ and O, m descending and ascendmg. :^ MINOR. 1» 8 XI » ^« I ^ KIKOB. 1 t XI X 1 t±±tr: 4.4=ppx4i>-+-t •^ ^ .1 ^1 f C2 i C VriXMIfSM q. V/hicli is tlio best mode nf fingering the rhro- vuitic scale? -^1. By placing the tluiml-) on the Tvluto keys, and the second linger on the black keys, in asceucling and dosccuding cither in the tioble or basa Rlaihi hanil. 1< fl? X^ X 1 1 X » X i X I ^S^ Left hand. 1X»X»X»1X » 1 X t Dally ex«rci»<« on »U the soalea are ttrongly re«onimend«d U> «tudeuU. m OF MUSIC. C3 SECTION XIX. ON TPANSPOHITION. I t ^thc clef and the key at «>c same tune. Q. Wl,at iHrcces,sary to a student to be convemnt '" r UomusTJe acquai.^c.-. -ith all the cleft and "^Q. U there any othe- Vef bo :ides the two ex- plai,a.;J^at page %"By rtung every note a degree higher, and plajinfthe notA an octavo lower. C D E F G A __^ Q. How do you transpose from the tenor to the ^1' By reading the note, four degrees lower, and nlaving them an octave higher. C D B V E D Played an octane, h^lur. Read. ,. H:::oyout.n.p.e.omoneU^^^^^^^^^^^^^ according to the new tome. Q. How do you transpose trom the key tlmt of D, a note higher _ ^^^ ^^ /I Hav ng placed alter tne ciei i j V f,d C which are necessary for^^ "'^y re^d or pUy every note a degree h.gher. _,TXT^ rr-cV I OOD SAVE THE KINO, IN THEKEYOFC; •*^ 66 A CATKClliSM. TRANSPOSED IN O MAJOR. Q. How do you transpose from the key of C to Miat of Bu, a note lower. « , -r. j '1 Having placed after the clef two flats Bl, and Eb which form the signature of the key ol h\,, i read every note a degree lower. TRANSPOSITION IN Bb MAJOR. ii^ V B The accidental sharps or flats, should a ly occur in the piece, are subject to the same changes as the sharps at the signature. The student who, by constant application ha^ made himself master of the various points exp amed ^his catechism, should not restsatisRed with tnis fisf step but must, by unremitted attention, en- detour^o advance still further in the science Mus'requires much study and practice before a great proticioucy can be attained ; and .. Tboao who think they have done much, Bee but "tUe^to^^j;-;- A DIOTIOIi^ABT m MUSICAL TERMS, liaa A-ItAiiua pr«po«ttlon, tlgnlfylng to, by, at. In, with, etc. Ad-At, to, etc. Acoelerando-Moving faster and faster. Aooent-Stress of voice on a par ticular tone. Accent Is of two kinds: grammatical and descnp tive. or the accent of feeling. AooidontalS-Flats. Sharps, or Nat- urals which occur during the pro- gress of a piece, and not In th. Signature. Aooompanlmont-A separate m- Btrumental part added to a melody, to support the voice, to complete the harmony, or to embellish the piece. Adaglo-Slow. Also, a slow move- ment in music. Adagio Assal-Very slow. ...1 Libitum- At pleasure; or as Olio pleases. AffottUOSO-With feeling, tender. * I 'N struck together. 6S Ml'SK'A-L TERMS. ks-al-Verr. A word used with others as -UUgr* *Mal. v«ry quick. Uttacca-Proceed *t ruce to the following movement. ATempo-In Urte, er hi rtriot time. B-The screnth •>ote of the natural di.U.nic icale. The Germans glre the name B to B»i, and Bfl they call H. Ballad-A rtmple and natural ionR, ^'PiicnUly containing a brief etory. Bar -A ihoTt line acroM the etaff, to divide music into measures. BarcarolUS-Songs sung by Vene- tian gondoliers. Baritone— A man's Toloe, befcreen bi9i and tenor. Bass— The lowest ixvrt in har^iany. BaSBO-The bass, or a baes b«- srer. Ben Marcato-Well mtrk««; dis- tinct. Bowegt-Moving, or s .ae s« eon f/intn. Bis— Twice ; or, repeat. Brlllante-SparWing; b-Zillant. BriO-I.ife, animatior.. O'OttbrJO— With life. C C'of— l^esii?nnt'<'9 midf'ile C. Cadonoe-Thf >l'.led ornament or variation of a cii^eiice. Introduced bv skilful perforwers. Calando— Decreasing ; slower and softer. This word means nearly the game as Detr,'fCfr,d», nUu*ndo, Di- mtnuenth. Mareanio, Mor$ndo, Per- divilns', etc. Canon-A rule. A peri>etnal fugue, or a niciou)', i"^ .....t^- — i which are 8un« at the wme time by (lilTerent voices. Cantablle-A graceful singing stvle. Cantata— A vocal composition, com- prising recitative and melody of air. It should be elegant and Impassioned. Capo— Head, or beginning: hence, n» Capo, or D. C, means from th« beginning; oi', return to the be- ginning. Capricolo— Caprice ; fancy. Carol— A Christmas ballad. Catoh— A vocal piece, so arranged a* to produce a play upon the words. The singers catch up each other'i sentences ; hence the name. Cavatina— A small song, lllta tlie arietta. diant— A simple melody, consisting of little more than cadences, har- monised, to which are sung portions of the Bible. Choir— A band of singers ; also, the part of the church appropriated to the singers. This should not be called an Orchestra. Choral— A slow psalm-tune, of dig- nified and unifonn character. Chord— Two or more tones arranged according to the rules of harmony, as 1, 3, 5. Chorus— A company of singers, or the music i^erformed by such singem. Chromatic— An accidental Flat or Sharp. Also, proceeding by half- steps. Clef- A Key. A character used to point out tlie situation of the letters on a BtaflT. Coda— An addition to a piece, to bring to a full and satiafaetory close. Col, Colla, Con, etc., are different forms of ihe Italian preposition, Con. I They mean with : as eonfuoco, with fire ; col biisso, with the bass. Commodo— "As convenient;" as '■'■olltgr* eommtdo," quick as con venient. Con Affecto -With kind taeling. MCSICAL TKUMS. 09 *^r!n^meu. UUes the .e«l, -- cirDctoate^li With deucaoy. CorDolor.-With .adnc«: I>a- ciudUCtor-A mua^cl leader or con Eleganza-With elegance S « T-nereicO- With energy. C^nWooo-WUh fire or ardor, enerjjy. *»,».« Tiiato— Exactly. ^''"Moto-With motion. It denotes la little faste'r than Andante. ^"rPrecisiono-With precision S**!o«tve- Following in sue- ^"TrSsecutive octaves. «.C, Coi^atorla-Amuslc-Bchool S«I^to-With spirit. StrS^.-.'- Bometin.es. /- c:LSSto^-io^s^^ contrary Motlon-i-arw m opposite directions. , counterpoint -Harmony , ^« -IncreaHing in w.y ;^'»- CrSiet-A name formerly «iv«. u> the Quarter-note. pa.Dal-VanationsofDa.Tne.ning from, nf, etc DaCapo.orD.C.-Promthel>cud. or iieginnin^. Decresoendo-Diminish gradually. D0«ree-A name for two proxmiat. t * .3 ..f the scale, or places on th« DeUcatamente-With delicacy. , Delicato— Delicately. ' SenL^miQuaver-Thlrty-second I note. Diatonic-Through the tones. Diminuendo-Diminish gradually. Dl Molto-Much, or very. Sirect Motlon-ParU moving ta the same direction. Dlrge-A solemn composition for » DrJJd-Twoor more musical tones that do not harmon.ze. as I Dissonant-Disagreeable to hear. Divoto-Devoutly. Dolce-Soft ar J sweet. SoloeconGusto-With taste, or delicately. Doloezza-Tbesameas/^oice. Solente-With an expression of DoSroso-P^infully. Borrowfully Domlnant-Oovermng. The nii "' TJTu a the third added Double A— 19 A. "'"' line below the base 8t*fl. D^uWe C-The lowest C on th. D^rSS^^Sbt. ^an.DH... Kigh. d"* S-An abbreviation of Dal Segno. Duet, Duetto. Duo-A compc«. r' for two voices or instruments. conjunction, meaning ) With eleganoe ; _ f gracefully. U—ltallan and. x;iegante. ^w. ^ ^1... v %vti. Con. ' tt'" " ^ . KlI^-A vocal piece of a mouimal chScter. or a funeral song lUnerglOO-Wiih energy. 1 vigor. 70 MUSICAL TERMS. ExprcsBlvo. yWithexpre.- "iu^ing BUm on the pianclorte or other instruments ; ft study. Falsetto- A little false, also, » tern Hpplied to that high register 0^ * Jn's voice which resembles a r:::rsL-A composition in which ""theco-nposer gives free play to h« taagluaaon. less restricted by the rules ')f art show wliere Iho iVioco .noje^ ! Forte-Loud. Fortissimo-Very 1°"\ Forte Piaao. F. P--St.r.xki..a. continued soft. Forza— Force. ,j„„nB • Forwuido. Fi5-Su.Hon Ic adness , Indicated by < • Fugue-A composition m wh.ch the oaTfollow each other,-each re- 'p^Un in on:., what the other h^ J^riormed. Fugues -^^ /'^P' ; bouble. and Counter. A bunple fugue has one shnple subject or Sme->he Double has two sub- i,v.is; and the Counter fugue m hat 'in which the -Ejects move m a dir..tion contrary to each other^ Some fugues are perpetual, as the Round. Fnoco-Fire, or passion. JSooo.o-Fullof fire; vehemently. Furloso-With great spirit. nnmnt -The scale . SSS-A lively song inthrc* or more Grandloto-Magniflcently. SMlio.o-aracefuUy; with elo- oregorum Chant-A style of ^^iTtrd by Pope Gregory in the sixth century. Gusto-Taste. Can au,U. With taste. Gu8to»o-^'l«»tarte. H-'jn»e German name for B naiorsl rrviei- B is B flat. Hold -A short curved line drawn ^vfrunotetolndlcaUitspro'mg- atioo, thus'^. Sterluda-An lnuru..diate «^- stolpcrformance; as tV.e perform- ance betwr.m the st.nm of . iSal-The distance from ary one tone or -loto to any other. I,^icn.tiou-Oiving the nght pitch 1 I,. oM.sical tones. I averted Tum-An ornament con- 1 „i8tingof three notes, aaB,C.U, .. I Kev-The fundamental tone of the ''scaleinwhichthepiece is written. KrNotrOn. or the first noteof the Scale. I^ghetto-A little slow. iTrgo-The slowest grade of time. ^godlMolto-Veryslow. T^ato-Sraooth and comiected. ^ler-WneS-Addedlinesfornote. above and below the staff. l,eSfioraXiza^ \ Light, nimble. Leggermente, V very light. slower. Lento-Slowly ; gently. I^OO-m place i "' M-An abbreviation of Meoo. 5a-But. ^ndanu, ma non tr«-^, Slow, but not too slow. Ifi.ae8to80~Maje»tioally. I ■sritte". MUSICAL TERMS. 71 Malor-0"ft*' 0' greater. ''"^ , ! »^th a Buddeu stroke. WCeasUre-The space between .^^SdlC-Departmentot melody MeSonome-An Instrument tor ^^i. exact time in -s>c. Mezzo-Middling; half-way. Hoae— -a- l"* -pj^e mode Lf f the'steps and hali-steps n he scale. There arc two modes t^e Lajor and the minor, ^"^J^e dls tlnLlve characteristic o^^c^^^^^ the third ; in one it is major the other it is minor; hence their names. Moderato-Moderately. Modulation-Change from one Key ''to "-ther during the course of a movement. Molto-Very much. Jtf""" Very lively. Motto Sostenuto-Fully or very much Hust ^ined. Morendo-Gradually decreasing, Mosso-Moved; Animated SotO-Motlon. Conp*^mato^V^^l Sovement-isthe B^o^^f^^'J^ Diditvof performance; also a term :;1;;Lto'the separate divisions o » composition, as an .^da^.- ThJ« are five principal degrees of move sound «r-*««».i— IB) A oancoiiiHs "o- „«ilwretaUv«. Amlnor. ObUgato-Indispensable, or on pur- °pTfor the instrument named; necessary to an effect. Octave-A series of eight V)n«9. as OpcTa^A'ramatic musical com- Oratorto-As«=red musical drama. SioSTsW-A^'^"'^"' instrumental ""'pSome^ Also the place occu- pied by such performers. oJiavaAUa-An octave above. Pastorale-A graceful movement in sextuple time. Pause-A hold. feet. perdendo, > rjying away. without a flatisfactory close. Pia^V""*'' It Is'ldvvith other Piu— More. « '» ubov* words. #..tar -». ii«««on— More motion ; lasier. ?S?:r-More.ulc.,orjuicKer. Pooo-Small, little or somewhat. PocoAdaglo-A little slow. Pooo A»imato-A little more anl- pS^mento-In singing, a graceful ^gS^rlrriageof the voice from p::ir!!rr. introductory p^sr^-- - quickest. Prlmo-Thefl"* _ ._.. _„h». Primo Temp«-ia® «==. - — luatlmo. y-' I If 72 MirSICAl. TEllMS. Qnartot— A com;)osition in (our f>.i.rts. tiaaver— Eighth note. Quintet— A pieoo for flvo Toioes or iustrumenU. Rallentaado— Retarding. Rooitatlve— Musical duclaination. Beligioso — Re%ioiuay, devotion- afly . iRestS— Maiks of silence. Rhythm denotes all that pertains to time. Rlgore— Strictness ; exactness. Rinforzando — Strengthening ; stronger and stronger. Risolnto— Resolutely ; bold and de- termined. Ritardando— Slackening the time Scale— A succession of eight tones. Scherzando— Jesting ; playful. Scherzo — Play, sport ; playfully, B]>ortive. Semibreve- A whole nota Sdmltone— A half-step. Semplice— Chaste : simple. Sentlmento, Con — With feeling. To be played in the time of six. S8 tached. Staff— The five lines and four spaces on which music is written. Sublto— Quick ; sudden. Swell— A regular inoreaM and de> crease of a tone. Syncopation is the beginning t tone on a weak and continuing it OB to a scrong pait of a meMure. Taoet— Silent ; or be silent. Tempo— Time. Tempo di Blarcla— In time of » ' march. Tempo Gusto— In exact time. Tempo Prime- The first, or origi* nal time. Tenero— Tender ; delicate. Tenor, ) Hit^hest man's voice or Tenore, ) the part for that voioe. Tonio— On« of the Scale, or Key- Note. Treble— Soprano. The highest to- C J part. Ta«ble Clef— The G Clef. Tromando— Tremblinf?. Trill— A shake, which see. Trio— Three performers ; or a com- position for three performers. Troppo— Not too much. Tutti— All ; a full chorus. Un, Una, Uno— One, a, etc., a« tiii poto, a little. Unison- The same sound. Veloce— Quick ; rapidly. VigoroBO- Vigorously ; bold ; en- ergetic. Vivace— Quick ; lively ; cheerful. Voce— The voice. Volti SubitO— Turn over quickly. IS-.- r • n 7 { V i« .. '