RHYTHMICS-MEASUREMENT OF TONES. § IX. MEASURES. The length of tones is measured by a division of time. into equal portions, called MEASURES and PARTS OF MEASURES. § X. Measures may be of longer or shorter duration; they have no absolute length. Nors. Measures and Parts of Measures are to music what days, months, and years (also portions of time), are to the daily occupations of life, or to history. § XI. Measures and parts of measures may be indicated to the ear by counting, and to the eye by motions of the hand, called BEATS. Thus we are said to count or to beat the time. § XII. There are four kinds of measures in common use : 1. A measure having two parts, accented on the first, is called DOUBLE COUNTING. One, two, three, four, ave, six. One, two, three, four, five, six. One, etc. MEASURE. It may be indicated by counting one, two; or by a downward BEATING. Down, down, left, right, up, up. Down, down, left, right, up, up. Down, etc. beat and an upward beat. It may be thus represented: NOTE 1. When the pupils are learning to beat the time, it is well for them to count and beat simul taneously; or, while they make the proper motions of the hand, let them also describe those motions by repeating the words downward beat, upicard beat, or, (for a quicker movement,) down, up, etc. NOTE 2 It is also a good practice in beating time to dispense with the common form, (movement of the hand in different directions,) and to substitute a single vibratory motion, being the same for each part of a measure. This is frequently done by the conductor of an orchestra, who is often seen indicating each part of a measure (primitive forms) by a double beat, or vibration, consisting of a quick downward motion and an instantaneous rebounding of the hand or baton to its original position. NOTE 3. Other kinds of measure are sometimes used, but further explanation is unnecessary. § XIII. SYNCOPE. When a tone commences on an unaccented part of a measure, and is continued on an accented part of a measure, the accent is inverted'; such a tone is called a SYNCOPE, or a SYNCOPATED TONE, and the note representing it is called a SYNCOPATED NOTE. NOTE 1. Syncope, from two Greek words, signifying "to cut into," or "to cut off" A syncope cuta into, or breaks up, or contradicts the regular order of accent. NOTE 2. While it is important that rhythmic accent should be observed, its constant mechanical, or drum-like recurrence is stiff, ungraceful, and repulsive to good taste. Such an accent belongs mostly to The march music of an inferior character, or to that which makes its appeal to the mere external sense. and the dance are much dependent upon it, though in the better forms of these classes of music, it is often concealed by higher properties, for a short time or as long as the feet may be trusted without it. Rhetorical accent or emphasis, or that which belongs to emotion, expression, or to poetical thoughts or ideas, on the contrary, is essential to a tasteful or appropriate performance, and should receive much attention. The common rules for accent are therefore liable to many exceptions. XIV. Vertical lines (as in the foregoing examples) are used to mark the boundaries of measures in notation; they are called BARS. § XV. The end of a section or period, or the final close of a piece of music, or the end of a line in poetry, is often indicated (as at the close of the foregoing examples) by a DOUBLE BAR. Nors. Neither the notation of measures by bars, nor the designation of time by figures is necessary fore, (were it not for a multiplicity of bars, the tendency of which is to a mere mechanical accent, often RHYTHMICS-VARIETIES OF MEASURE. § XVI. Parts of measures have thus far been represented by Quarter NOTE. Varieties of measure merely furnish different signs for the same thing. To the ear they are § XVII. There may be as many varieties in all the different kinds of § XVIII. Figures are used to indicate the kinds of measure, and also to distinguish the varieties of measure. When used for both purposes, the two figures are written as in the representation of fractions, the number of parts, on which the kind of measure depends, being indicated by the numerator: and the kind of notes used in each part, on which the variety § XX. THE SCALE. Tones considered with respect to relative pitch, are disposed in a certain series, ascending or descending, called THE SCALE NOTE. The word scale from the Latin scala, signifies a ladder. Thus the scale may be regarded as a NOTE. Diatonic. From two Greek words signifying through the tones, or from tone to tone. § XXI. The scale consists of a regular succession of eight tones. These are named from the names of numbers; ONE, TWO, Three, four, FIVE, SIX, SEVEN, EIGHT. NOTE. Observe that the names are not first, second and third, nor are they No. 1, No. 2, and No. 3, but § XXII. INTERVALS. The difference of pitch between any two tones is larger and smaller, in the regularly progressive scale, called STEPS and § XXIII. STEPS AND HALF STEPS. There are two kinds of intervals, HALF STEPS; thus the intervals between three and four, and seven and eight, are half steps; all the others are steps. NOTE. The terms tone and half-tone have been commonly used to designate these intervals; but as the ladder the word step by which to designate scale-intervals. Illustration of the musical ladder with its larger and smaller steps, or of the scale with its tones and intervals. Read from the bottom upwards. XXIV. SYLLABLES. In elementary instruction, especially as aids to those who are beginning to learn to sing in classes, the following sylla bles are used in connection with the tones of the scale, for the purpose of suggesting relative pitch: Written-Do, RE, MI, FA, SOL, Pronounced-Doe, Ray, Mee, Fah, Sol, LA, SI, Do. CHAPTER VI. MELODICS. XXX. ABSOLUTE PITCH.-That pitch which is independent of scale relationship is ABSOLUTE PITCH. It is designated by letters, and is named from their names, as― A, B, C, D, E, F, G. § XXXI. MODEL SCALE.-The primitive or MODEL SCALE (by which is NOTE. The principle is that of mental association; after a little practice each syllable becomes so strongly associated with the pitch of the tone to which it is applied, as to recall it or bring it up quickly meant the first in the universally received order of classification) is based to the mind, and thus the pupil is enabled to produce the tone with ease and accuracy. This use of the syllables has been peculiar to England and America, though it has been introduced in Germany, where upon the pitch C, or the tone named from the letter C, is taken as one; the one syllable, La, principally prevails. In Italy and in France the same syllables are used for a very and the order of tones is as follows: syllables in singing is called Solfaing, or singing by Solfa, or solmization. Singing to the single syllable § XXV. THE STAFF. The relative pitch of tones is indicated to the eye by a character consisting of five parallel, horizontal lines, together with their intermediate spaces, called THE STAFF. § XXVI. DEGREES. Each line, and each space of the staff, is called a DEGREE; thus the staff contains nine degrees, counted upwards from the lowest, there being five lines and four spaces. NOTE. The word degree, as applied to the staff, is used to mean point, place, or position: thus there are nine degrees, by which pitch may be indicated, or on which notes may be written. The word is also used in connection with the scale; thus the scale is said to proceed by successive degrees, or di grado. 8 XXVII. LINES ABOVE THE STAFF. The compass of the staff may be ex C is One, D is Two, E is Three, F is Four, G is Five, A is Six, B is Seven, and C is Eight. NOTE 1. C is repeated for eight because when the scale is extended, the same tone which in its relation to those which are below it is eight, becomes one in relation to those which are above it. This will become apparent when the scale is extended, or repeated at a higher pitch. scale. NOTE 2 This has been called the natural scale, but the name is inappropriate, since the pitch C is no more natural than any other. It is called by some writers the Normal scale, and by Spinola the Typio § XXXII. CLEFS.-To determine the position and pitch of the scale as represented on the staff, one of the letters indicating absolute pitch is used as a clue or key, and. when thus used is called a CLEF. NOTE. Clef is a French word signifying key; thus the clef-letter is a key to the representation of absolute pitch upon the staff. § XXXIII. CLEF LETTERS.-The letters most commonly used as Clefs are tended by additional lines above or below, called LINES ABOVE, or LINES G, and F, made thus: BELOW, or SPACES ABOVE, or SPACES BELOW. NOTE. Added lines are sometimes called Leger Lines. and 9 § XXXIV. THE G CLEF.-The G Clef is placed upon the second line, and § XXVIII. The melodic succession of tones is indicated by notes writ C scale) must be indicated by the line below. determines the pitch of that line to be G; consequently C, (One of the ten upon the staff. NOTE. The same characters (notes] are primarily used to indicato the length of tones. See 5 IV. § XXIX. The scale may be represented (written), on the staff in various positions; thus either line or space may be taken to indicate the tone One, but when the degree of the staff indicating One is determined, the other tones must follow in regular order. NOTE. It should be fully understood that the scale has not necessarily any fixed position on the staff, and pupils should become practically familiar with it in various positions. But in singing from these different positions, let the same pitch (C), be retained: 1st. Because it is highly desirable that the puzl should become familiar with absolute pitch. 2d. Beenuse it is desirable that he should not be erroneous ly taught that a change of position necessarily implies a change of pitch. 3d. Because it is desirable t› prevent in the mind of the pupil the association of absolute pitch with the staff. § XXXV. THE F CLEF.-The F Clef is placed upon the fourth line, and determines the pitch of that line to be F; consequently C, (One of the scale) must be indicated by the second space. C NOTE. It should be understood that a Clef is merely a letter differing in shape from its ordinary form. § XXXVI. THE C CLEF.-The letter C is also used as a Clef, and when thus used it is applied to different degrees of the staff, especially to the first, third and fourth lines. NOTE 1. The G and F Clefs, in modern music, are always placed upon the lines mentioned above, not boing removable like the C Clof. NOTE 2. Originally all the seven letters were used at once as Clefs, being all placed at the commenge went of the stati ILLUSTRATION.-The model or C Scale represented (written) with its also, often for Tenor; but when used for Tenor it denotes g an octave names, the letters indicating the pitch of its tones, and the syllables used lower than when used for Treble or Alto. Bolfaing. Examples illustrating the two uses of the G clef : S XL. USES OF CLEFS. The f clef is used for Base, and often for GAB c d e f g *This once marked small e, being about the center both of the vocal and also of the great or instru Tenor: the one marked g-thus g clef is used for Treble, Alto, and, mental scale, is called the middle e § XLI. To distinguish between the different tones denoted by the 7th Octave same letters, (octaves,) capital and small letters, together with marks c de f below or above them, are used. Thus, in the above example, the lowest three notes are designated by capital letters; and the tones represented by them are called capital, or great G, great A, and great B. The notes in the next octave beginning with c, (with the exception of the upper one, which is regarded as one of the octave above,) are designated by 1, C. small letters, and the tones are called small c, small d, small e, etc. The 2, C. notes in the next octave, (with the exception of the upper one,) are designated by once-marked small letters, and the tones are called once-marked 3, C. small c, once-marked small d, etc. The notes belonging to the next octave, are designated by twice-marked small letters. 4, c. Nors. The G clef, when used for Treble or Alto, or for instruments, signifies g, but when used for 5, c. male voices it signifies g. Examples of the representation of the same tone e in the use of the different clefs. 6, c. § XLII. The four parts may be written each upon a separate staff, or two parts upon the same staff. The latter, (two parts upon one staff,) is the better method for plain music, since it shows, at a glance, the relation of the parts; it is quite as easily read. CHAPTER VIII. MELODICS. THE ENTIRE SCALE. § XLIII. The great scale of sounds, including the whole compass of tones appreciable by the human ear, consists of about nine octaves, (some say ten,) about one-third of which, from G to g, is within the ordinary range of the human voice. § XLIV. The system of noting or designating the tones of the great scale, is the same as that mentioned at § XLI, or as follows: 1st (lowest) Octave 2d Octave 3d Octave thirty-two feet long. EXPLANATION. This is the lowest sound produced by the largest organs. It requires a pipe Middle c. Written on the line above, f clef, or line below g (Treble) clef. It requires an organ pipe of two feet. This is the c represented on the third space. g (Treble) clef. It requires an organ pipe one foot long. Written on the second line above, Treble clef. half of a foot long. Produced by an organ-pipe one. The lowest tone in the great scale (twice marked C), is indicated in notation by the ninth line below the f clef Staff; and the highest one (six times marked c) by the space above the twelfth line above the g clef (Treble) Staff; so that a Staff by which the whole one hundred and eight sounds could be represented, without the aid of clefs, must consist of thirty-two lines. We here see the use of clefs, by which a Staff of five lines is rendered sufficient. CHAPTER IX. § XLV. INTERVALS. In addition to the regular Scale-intervals (intervals belonging to the Scale in its regular progression) called Steps and Half-Steps, there are also other intervals occasioned by a departure from fore been called Steps and Half-Steps) THIRDS, FOURTHS, FIFTHS, SIXTHS, SEVENTHS and OCTAVES. CDEFG A B C D E F G A B C D E F G A B this regular order, or by skipping; as SECONDS (same as have hereto NOTE. The terms Step and Half step are at first, more convenient than that of Second, since they naturally arise out of the idea of the musical scale or ladder: and they are at all times afterwards convenient for the purpose of defining the magnitude of intervals. See Chapter X. |