Music Notation And Terminology - free ebook by Karl Wilson Gehrkens

ASSOCIATE PROFESSOR OF SCHOOL MUSIC OBERLIN CONSERVATORY OF MUSIC

logo THE A. S. BARNES COMPANY NEW YORK 1914 Copyright, 1914, by THE A. S. BARNES COMPANY...

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PREFACE

The study of music notation and terminology by classes in conservatories and in music departments of colleges and normal schools is a comparative innovation, one reason for the non-existence of such courses in the past being the lack of a suitable text-book, in which might be found in related groups clear and accurate definitions of the really essential terms. But with the constantly increasing interest in music study (both private and in the public schools), and with the present persistent dema

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CHAPTER I Some Principles of Correct Notation

1. The note (from nota —Latin—a mark or sign) consists of either one, two, or three parts, ( notes ) these being referred to respectively as head, stem, and hook. The hook is often called tail or cross-stroke. The stem appears on the right side of the head when turned up, but on the left side when turned down. [1] quarter notes The hook is always on the right side. [2] eighth notes In writing music with pen the head and hook are best made with a heavy pressure on the pen point, but in writing at

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CHAPTER II Symbols of Music Defined

12. A staff is a collection of parallel lines, together with the spaces belonging to them. The modern staff has five lines and six spaces, these being ordinarily referred to as first line, second line, third line, fourth line, and fifth line (beginning with the lowest); and space below ( i.e. , space below the first line), first space, second space, third space, fourth space, and space above. The definition and discussion above refer more specifically to one of the portions of the "great staff,"

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CHAPTER III Symbols of Music Defined (Continued)

21. The natural [8] (sometimes called cancel ) annuls the effect of previous sharps, flats, double-sharps, and double-flats, within the measure in which it occurs. After a double-sharp or double-flat the combination of a natural with a sharp, or a natural with a flat is often found: in this case only one sharp or flat is annulled. (Sometimes also the single sharp or flat will be found by itself, cancelling the double-sharp or double-flat). The natural is often used when a composition changes key

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CHAPTER IV Abbreviations, Signs, Etc.

36. A double bar (or single heavy bar) with either two or four dots indicates that a section is to be repeated. If the repeat marks occur at only one point the entire preceding part is to be repeated, but if the marks occur twice (the first time at the right of the bar but the second time at the left), only the section thus enclosed by the marks is to be repeated. double bar 37. Sometimes a different cadence (or ending) is to be used for the repetition, and this is indicated as in Fig. 24. Fig

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CHAPTER V Abbreviations, Signs, Etc., (Continued)

49. A dot after a note shows that the value of the note is to be half again as great as it would be without the dot, i.e. , the value is to be three-halves that of the original note. dotted notes 50. When two dots follow the note the second dot adds half as much as the first dot has added, i.e. , the entire value is seven-fourths that of the original note. double dotted notes 51. When three dots follow the note the third dot adds one-half the value added by the second, i.e. , the entire value

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CHAPTER VI Embellishments

64. Embellishments (or graces) (Fr. agréments ) are ornamental tones, either represented in full in the score or indicated by certain signs. The following are the embellishments most commonly found: Trill (or shake), mordent, inverted mordent (or prall trill), turn (gruppetto), inverted turn, appoggiatura and acciaccatura. Usage varies greatly in the interpretation of the signs representing these embellishments and it is impossible to give examples of all the different forms. The following defin

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CHAPTER VII Scales

76. A scale (from scala , a Latin word meaning ladder ; Ger. Ton-leiter ) is an ascending or descending series of tones, progressing according to some definite system, and all bearing (in the case of tonality scales at least) a very intimate relation to the first tone—the key-tone or tonic . (See p. 28 , Sec. 78 ; also note 1 at bottom of p. 38 .) Many different kinds of scales have existed in various musical eras, the point of resemblance among them all being the fact that they have all more or

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CHAPTER VIII Scales (Continued)

84. The minor diatonic scale is used in several slightly different forms, but the characteristic interval between the first and third tones (which differentiates it from the major scale) remains the same in every case. This interval between the first and third tones consists of four half-steps in the major scale and of three half-steps in the minor scale and this difference in size has given rise to the designation major for the scale having the larger third, and minor for the scale having the s

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CHAPTER IX Auxiliary Words and Endings

96. Being a list of articles, adverbs, conjunctions, prepositions, and endings, often utilized in compounding terms relating to musical effects. Come —as, like. Come primo —as at first. Contra —against. In compound words means "an octave below." Da —from. Da Capo —from the head. Di —by, with, of, for. Di bravura —with daring. Di molto —exceedingly—very much. Allegro di molto —exceedingly rapid. Doppio —double. Doppio movimento —double movement. E, ed, et —and. Cresc. et accel. —louder and faster

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CHAPTER X Measure

97. From the standpoint of the eye, a measure is that portion of the staff found between two bars, (in certain cases this space may be less than a measure, as e.g. , at the beginning and end of a movement); but from the standpoint of the ear a single, isolated measure is not possible, and the term must therefore be defined in the plural form. Measures are similarly accented groups of evenly-spaced beats, each group having at least one accented and one non-accented beat. The strongest accent fall

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CHAPTER XI Tempo

104. The word time in musical nomenclature has been greatly abused, having been used to indicate: (1) Rhythm; as "the time was wrong." (2) Variety of measure-signature; as "two-four time." (3) Rate of speed; as "the time was too slow." To obviate the confusion naturally resulting from this three-fold and inexact use of the word, many teachers of music are adopting certain changes in terminology as noted in Sections 105 , 106 , and 107 . Such changes may cause some confusion at first, but seem to

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CHAPTER XII Tempo (Continued)

110. Innumerable combinations of the words defined in Sec. 109 with one another and with other words occur. Some of these combinations with their approximate meanings follow. The meaning of any such expression not found in the list may usually be arrived at by consulting the terms defined in paragraph 109 and recalling the use of certain auxiliary terms quoted in Chapter IX . Lento a capriccio —slowly but capriciously. Lento di molto —very slowly. Andante amabile —moderately slow, and lovingly.

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CHAPTER XIII Dynamics

120. The word dynamics (cf. dynamic—the opposite of static) as used in the nomenclature of music has to do with the various degrees of power ( i.e. , the comparative loudness and softness) of tones. As in the case of words referring to tempo, the expressions referring to dynamics are always relative, never absolute; it is possible to indicate that one measure is to be louder than another, but it is not possible (nor desirable) to indicate exactly how loud either is to be. Thus dynamics , perhaps

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CHAPTER XIV Terms Relating to Forms and Styles

132. A form in music is a specific arrangement of the various parts of a composition resulting in a structure so characteristic that it is easily recognized by the ear. Thus e.g. , although every fugue is different from all other fugues in actual material, yet the arrangement of the various parts is so characteristic that no one who knows the fugue form has any doubt as to what kind of a composition he is hearing whenever a fugue is played. The word form is therefore seen to be somewhat synonymo

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CHAPTER XV Terms Relating to Forms and Styles (Continued)

(Sections 144 to 160 relate particularly to terms used in descriptions of monophonic music [33] .) 144. A phrase is a short musical thought (at least two measures in length) closing with either a complete or an incomplete cadence. The typical phrase is four measures long. The two-measure phrase is often called section . The word phrase as used in music terminology corresponds with the same word as used in language study. 145. A period is a little piece of music typically eight measures long, eit

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CHAPTER XVI Terms Relating to Vocal Music

161. An anthem is a sacred choral composition, usually based on Biblical or liturgical [34] words. It may or may not have an instrumental accompaniment, and is usually written in four parts, but may have five, six, eight, or more. The word anthem is derived from antifona (or antiphona ), meaning a psalm or hymn sung responsively, i.e. , antiphonally , by two choirs, or by choir and congregation. A full anthem is one containing no solo parts; a solo anthem is one in which the solo part is predomi

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CHAPTER XVII Rhythm, Melody, Harmony and Intervals

178. The four elements commonly attributed to music (in the order of their development) are: Rhythm, Melody, Harmony, and Timbre (or tone-color). 179. Rhythm is the regular recurrence of accent. In music it is more specifically the regular recurrence of groups of accented and non-accented beats (or pulses)—according to some specified measure-system. Since rhythm implies continuity, there must usually be at least two such measure groups in order to make musical rhythm possible. (See p. 44 , Sec.

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CHAPTER XVIII Chords, Cadences, Etc.

196. A chord is a combination of several tones sounding together and bearing an harmonic relation to each other. The simplest chord is the triad , which consists of a fundamental tone called the root , with the third and fifth above it. C—E—G is a triad, as are also D—F—A, F—A—C, and G—B—D. 197. Triads are classified as major , minor , diminished , or augmented . A major triad has a major third and a perfect fifth, i.e. , it is a major third with a minor third on top of it. Ex. C—E—G. A minor tr

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CHAPTER XIX Miscellaneous Terms

À quatre mains —for four hands. Accompagnamento —the accompaniment. All'unisono —in unison. Alla breve —2/2 measure. The term alla breve is also sometimes used as a tempo indication, to show a rate of speed so great that a half-note has a beat, i.e. , only two beats in a measure—hence twice as fast as before. Alla capella —usually the same as a capella (see p. 76 , Sec. 162 ) but sometimes used in the same sense as alla breve . Alla marcia —in march style. Alla zingara —in gypsy style. Alt —see

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CHAPTER XX Miscellaneous Terms (Continued)

Lyric —a short, song-like poem of simple character. Also applied to instrumental pieces of like character. Maggiore —major. Marcato il canto —the melody well marked; i.e. , subdue the accompaniment so that the melody may stand out strongly. Melos —melody. This word melos is also applied to the peculiar style of vocal solo found in Wagner's music dramas. See recitative ( p. 75 , Sec. 170 ). Mellifluous —pleasing; pleasant sounding. Menuetto, menuet —same as minuet . (See p. 68 , Sec. 151 .) Mezzo

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APPENDIX A The History of Music Notation

Many conflicting statements have been made regarding the history and development of music writing, and the student who is seeking light on this subject is often at a loss to determine what actually did happen in the rise of our modern system of writing music. We have one writer for example asserting that staff notation was begun by drawing a single red line across the page, this line representing the pitch f (fourth line, bass staff), the neumae (the predecessors of our modern notes ) standing e

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APPENDIX B Musical Instruments

1. Broadly speaking, musical instruments may be divided into two classes, viz.: (1) those that have a keyboard and are therefore capable of sounding several tones simultaneously; (2) those that (as a rule) sound only one tone at a time, as the violin and trumpet. The piano is of course the most familiar example of the first class, and a brief description is therefore given. The piano was invented about two hundred years ago by Cristofori (1651-1731), an Italian. It was an enormous improvement ov

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APPENDIX C Acoustics

Note :—It is usually taken for granted that the student of music is familiar with the significance of such terms as over-tone , equal temperament , etc., and with principles such as that relating to the relation between vibration rates and pitches: the writer has in his own experience found, however, that most students are not at all familiar with such data, and this appendix is therefore added in the hope that a few facts at least regarding the laws of sound may be brought to the attention of s

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APPENDIX D Terminology Reform

A recent writer [43] on vocal terminology makes the following statement as an introduction to certain remarks advocating a more definite use of terms relating to tone production by the human voice:—"The correct use of words is the most potent factor in the development of the thinker." If this statement has any basis of fact whatsoever to support it then it must be evident to the merest novice in musical work that the popular use of many common terms by musicians is keeping a good many people fro

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APPENDIX E Sonata Op. 31, No. 3 by Beethoven

Analysis by Arthur E. Heacox , Oberlin Conservatory of Music First Subject 17 measures, E ♭ major, as follows: 8 meas. presentation, one meas. link, 8 meas. repetition oct. higher. Rhythmic elements are A, B, C, all presented in first 8 meas. Sonata p. 1 [Enlarge page 1] Sonata p. 2 [Enlarge page 2] Sonata p. 3 [Enlarge page 3] Sonata p. 4 [Enlarge page 4] Sonata p. 5 [Enlarge page 5] Sonata p. 6 [Enlarge page 6] Sonata p. 7 [Enlarge page 7] Sonata p. 8 [Enlarge page 8] Sonata p. 9 [Enlarge pa

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