Music Notation and Terminology |
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Common terms and phrases
accent accompaniment adopted allegro applied appoggiatura bass beat beginning cadence called cause cello CHAPTER chord clef close combination common composers composition connection consists definite diatonic effect entire especially example expressions fact fifth flat four fourth give given half half-step harmonic higher indicate instruments interval Length letter lower major marks means measure melody minor movement natural notation occurs octave opera orchestra original passage pedal perfect performed period phrase piano pitch placed played position possible present principal produced range rapid referred relation represent rest rhythm sarrusophone scale sharp short signature simple singing slow solo sometimes sonata soprano sounded space staff string student style syllables tempo terminology third tone tonic triad turn usually various vibration violin vocal voice whole step writing written
Popular passages
Page 10 - Sharps, flats, naturals, double-sharps and double-flats, occurring in the course of the composition (ie, after the key-signature) are called accidentals. A note is a character expressing relative duration, which when placed on a staff indicates that a certain tone is to be sounded for a certain relative length of time. The pitch of the tone to be sounded is shown by the position of the note on the staff, while the length of time it is to be prolonged is shown by the shape of the note. Thus, for example,...
Page 116 - Percussion 16 first violins 16 second violins 12 violas 10 cellos 8 double basses harp 3 flutes, 1 piccolo 3 oboes, 1 English horn 3 clarinets, 1 bass clarinet 3 bassoons, 1 contrabassoon 4...
Page 38 - With regard to the writing of the chromatic scale, the most consistent practice is obviously to write such accidentals as can occur in chromatic chords without changing the key in which the passage occurs. Thus taking the key of...
Page 40 - The student of some interesting modern developments will also speedily discover that the adoption of the so-called whole-tone scale as a basis of music is, except upon a keyed instrument tuned to the compromise of equal temperament, unnatural and impossible. No player upon a stringed instrument can play the scale of whole tones and arrive at an octave which is in tune with the starting note, unless he deliberately changes one of the notes on the road, and alters it while playing it.
Page 71 - beginning of the seventeenth to the end of the eighteenth century the history of Aristotelian literature is a perfect blank.
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Page 64 - ... The laws of harmony have been derived by empirical and subjective means. Each era evolves new laws of harmony. Counterpoint is the art of making two parts of a musical selection move together with such independence that each one appears to have a design of its own. It may be said to be the process of adding one or more parts or melodies to a given melody. In the opinion of the author, it is beyond the scope of musical engineering at this time to outline the theory of music as related to the process...
Page 29 - ... conventional minor scale is one in which the interval between the tones two and three and five and six are semitones. The intervals between the other tones are whole tones. The minor scale of equal temperament may begin on any of the 12 frequencies in an octave as follows: A, A# or Bb; B, C, C# or Db; D, D# or Eb; E, F, F# or Gb; G, G# or Ab. The whole-tone and semitone intervals of the minor scale of equal temperament for 15 key signatures as follows: A, B, Cft Dft E, Fft Gft Aft, Bb, C, D,...
Page 18 - This complex subject has been dealt with recently by so many different writers and in so many different ways that it is impossible to...
Bibliographic information
| Title | Music Notation and Terminology |
| Author | Karl Wilson Gehrkens |
| Publisher | A. S. Barnes Company, 1914 |
| Original from | Harvard University |
| Digitized | Mar 13, 2007 |
| Length | 168 pages |
| Export Citation | BiBTeX EndNote RefMan |