New and scientific self-instructing school for the violin

Of the Sharp, Flat, and Natural.

The Sharp, thus #, raises a note half a tone. A Flat, thus, b, lowers a note half a tone. The Natural, thus , takes away the effect of a sharp or flat. The double sharp, thus x, raises a note a whole tone. The double flat, thus, bb, lowers a note a whole tone. The contradiction of a double sharp before a note, is this, x ; and before a double flat, this, bb b. A half tone is also called a semitone, and two semitones or half tones make one whole tone. When sharps or flats are placed after the clef, at the beginning of a piece of music, they are called the essential signature, and affect all the notes of the same name throughout the piece. An Accidental is a sharp, flat, or natural, which occurs in the course of a piece of music, and affects the note before which it is placed, and also those of the same name in that measure. When the last note of a measure is made sharp, flat, or naural, and the last note of the next measure is on the same degree or letter it is likewise affected by the same accidental, though not expressed.

On Time.

To facilitate the reading and performance of music, every piece is divided into equal parts by lines drawn across the staff, called Bars, thus: . And the music between two of those lines is called a measure, (and sometimes a bar,) and each measure contains an equal quantity of notes, according to the signature placed at the beginning of the staff.

There are three kinds of time, viz.: Common, Triple, and Compound. Simple Common time is expressed by any of the following figures: C 4/4; C 2/4. Simple Triple time is repreented by 3/2, 3/4, or 3/8. Compound Common time is expressed by 6/8, 6/4, 12/8, or 12/4. Compound Triple time is expressed by 9/8 or 9/4. Common time is that which contains an equal number of parts in measure, as 2, 4, 6, or 12. Triple and Compound times are those which are divisible into three equal parts, as 3 or 9. When figures are used to represent the time, the lower figure shows how many times the semibreve is divided, and the upper figure how many of those parts it takes to fill the measure. For example, 2/4 signifies that two-fourths of the whole note fill the measure, thus: , or their equivalent, and is called two-four time. Four-crotchet time has four quarters, or their equivalent, in each measure, thus: - and is called Simple Common time. Simple triple time. - The three-minim time has three minims, are their equivalent, in each measure, and is called three-two time; thus: - The three-crochet time has three crotchets, or their equ in each measure, and is called three-four time; thus: - and the three-eight time, which has three quavers in each measure, &c.:. Compound Common time. - The six-eight time has six quavers &c. in a measure; thus: - 12/8, 12/4, and 6/4 are not much used in modern music. Compound triple time - The nine-quaver time has nine quavers, &c. in a measure, illegible called nine-eight time, thus: - The 9/4 time is not used in modern music.

Of the Slur, and various other Characters used in illegible

The Slur is a curved line, thus, , drawn over or under two or more notes, and signifies that they are to be played in a smooth and connected manner. This style of plating notes is termed lagato. The slur is called a tie or bind, when it is drawn over or under two notes of the same letter or degree; thus:- . Notes tied in this manner are played

as one, and with one bow. Dots placed over notes, in this man ner, or , signify that they should be played very short and darting. This style of playing notes is called [s]taccato. There is another called of staccato called slur staccato, thus: , which is performed with one bow, generally with an up bow, from the upper end to the middle. This is done solely with the wrist, making a kind of short rest between each note. This mark, , is called a Pause, and when placed over or under a note, thus, , signifies that it should be held at the pleasure of the performer, to make any embellishment as he pleases; but the pause over a rest, thus, , only lengthens the rest at the pleasure of the performer. The Double Bar, , marks the end of a strain, and is used at the end of every piece of music; and when dotted, thus, , signifies a repetition of the same piece; but when dotted on both sides, thus, , signifies that the preceding and following parts are to be repeated. A pause over a double bar, thus, , signifies the same as the word Fine, (the end.) This mark, , which has the same meaning as D. C., (Da Capo,) or Dal Segno, signifies to begin the strain again and to end at the pause, or word fine, over the double bar. Triplets are three notes joined together, with the figure 3 over them, thus: , and are played in the time of two of the same name. Sextoles are six notes played in the time of four, with the figure 6 over them, thus: . The figures 1 and 2 frequently occur at the end of a strain which is repeated, , and signify that, the first time, the notes under figure 1 are played and those under figure 2 omitted; and the second time, No. 1 is omitted and No. 2 is played. The word Biss is sometimes used, and signifies that the music over which it is placed, between the dotted lines, is to [be] repeated. Example:

On Syncopation.

If two notes are at sundry times successively tied, of which each time the first is unaccented and the second accented, they are called Syncopes; thus.

Abbreviations of Notes.

Written.

Played.

Written.

Played.

Of Intervals.

An Interval is the distance from one note to another; and the number of degrees or notes which it includes, determines its name. Example: Unision. 1 2 3 4 5 6 7 8, &c. But as these notes can be raised or lowered, they cause a variety of intervals distinguished by the terms major, minor, sharp, and diminished. The follow ing intervals are the most commonly used:-

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Firsts Seconds Thirds

Fourths Fifths Sixths

Sevenths Octaves

Ninths Tenths

When the interval extends above the tenth, it is then counted from the octave of the fundamental note, and again called fourth, fifth, &c. The smallest interval in general use, is the semitone. All intervals must be reckoned from the lowest, upwards, unless the contrary be expressed. A semitone may be major or minor. A minor or chromatic semitone is the difference between two notes on the same degree, thus A major or diatonic semitone is the difference between two notes on different degrees, thus. A whole tone consists of a minor and major semitone joined together; as in the following example:

Inversion of Intervals When the lower note of any interval is place an octave higher, or the higher note an octave lower, the change therby produced is called an Inversion. The 2d becomes a 7th, the 3d a 6th, the 4th a 5th, the 5th a 4th, the 6th a 3d, the 7th 2d, and the octave a unison. In the following example, the black notes are direct intervals, and the white notes their inversions; the lowest note, C, being placed an octave higher. 2d 7th 3d 6th 4th 5th 5th 4th 6th 3d 7th 2d 8th Unison.

Of the Scale, or Gamut The seven notes, placed one after the other in regular succession with the octave to the first, form what is termed the Gamut or Scale. The scale may be Diatonic or Chromatic. The diatonic scale consists of five whole tones and two half tones, which, accodring as the scale is major or minor, are differently placed. In all the diatonic major scales, the semitones are between the 3d and 4th, and 7th and 8th of the scale, both ascending and descending. The following is the major scale of C with the semitones marked with a slur: --

The minor scales have the same number of semitones as the major, but differently placed. The semitones in all the minor scales are between the 2d and 3d, and 7th and 8th of the scale ascending, and between the 6th and 5th, and 3d and 2d, descending. The semitones are marked with a slur.

The diatonic major key, or scale of C, which is the natural key, may be transposed eleven times, and then it becomes exhausted; and each of those keys has its relative minor; so called in consequence of the signature being the same, and is always found a minor third below its relative major. The last note in every regular composition determines the key, and is called the tonic or key note; and all scaled should commence and end on the tonic, or key note. The first transposition in

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sharps from the key of C is G, and requires one sharp to be placed on F, thus:--

The second transposition is in D, with two sharps, thus:--

The third is in A, with three sharps:

The fourth is in E, with four sharps:

The fifth is in B, with five sharps

The sixth is in [F(sharp)], with six sharps

The first transposition from the key of C, in flats, is in F, and requires one flat to be placed on B, thus:--

The second is [B(flat)], with two flats:

The third is in [E(flat)], with three flats:

The fourth is in A[flat], with four flats:

The fifth is [D(flat)] with five flats The last example completes the eleven transpositions, which exhausts the key. The key of G flat, which is six flats, is the same as the key of F shart, which six sharts; by lowering the G by a flat, and raising the F by a sharp, they amalgamate on the same notes, and the form one and the same scale. The key of C sharp, which is seven sharps, is the same as the key of D flat, which is five flats; C sharp and D flat being the same. They key of C flat, which is seven flats, is the same as they key of B, with five sharps; as B and C flat are one and the same key. Next following the realtive minor keys. A minor E minor, with one sharp. B minor, with two sharps. F sharp minor, with three sharps. C sharp minor, with four sharps. G sharp minor, with five sharps. D shart minor, with six sharps.

D minor, with one flat. G minor, with two flats, C minor, with three flats. F minor, with four flats. Bb minor, with five flats.

The following are some of the principal Italian terms made use of to regulate the quicker or slower movements of time of a musical piece, and all the scholar is required to understand at present. Adagio, slow; Andante, moderately slow; Allegretto, rather lively; Allegro, cheerful and lively; Presto, quick; Prestissimo, very quick. The following are some of the principal Italian terms used to express the style in which a musical composition should be performed: Piano (abbreviated p) soft; Pianissimo (pp) very soft; Forte, (f) loud; Fortissimo, (ff) very loud; Crescendo (cres.) gradually increasing in strength; Decrescendo, (decres) gradually decreasing in power; Dolce, sweet or soft; Ad libitum, at pleasure; Affettuoso, tender and affecting; Arioso, in a light, airy singing manner; A tempo, in time; Brilliante, brilliant, gay; Cadence, ending strain; Calando, softer and slower; Cantabile, graceful singing style; Coda, an end or finish; Con Fuoco, with ardor; Con Spirito, with spirit; Coro, chorus; Grave, a slow and solemn movement; Gusto, with taste; Lentando, gradually slower and softer; Maestoso, majestic; Pastorale, applied to graceful movements in sextuple time; Pomposo, in a grand and imposing style; Primo, first, Rallentando, or Slentando, slower and softer by degrees; Mezzo middling, medium; Risoluto with resolution; Solo, for a single voice or instrument; Thema, subject or theme; Tutti, the whole, in full chorus. Sopra una corda, on one string. This mark, , is frequently used, and means the same as Crescendo; and this, , Decrescendo or Diminuendo; Sforzando or Sforzato, each signify a stress on one note; they are abbreviated fz or fx. This mark, >, when applied to one note, has the same effect as fz. Octava alta, (8va...) signifies that the music over which it is placed, is to be played an octave above where it is written, as far as the mark of continuation extends. Loco signifies that the music is to be played where it is written, no longer an octave.

Of Graces, Ornaments, or Embellishments. The Appoggiatura is a small note placed before a large one, and takes its time from that note, and is generally half as long as the note before which it stands. Example: When the appoggiatura is placed above the note, the interval may be either a tone or semitone; but when it is below the note, it it invariably a semitone; and always played quick, when marked thus . Example: