Music Notation and Terminology Part 4

(main gauche, Fr.), show that the left hand is to be employed.

61. _The wavy line placed vertically beside a chord_ [Ill.u.s.tration]

indicates that the tones are to be sounded consecutively instead of simultaneously, beginning with the lowest tone, all tones being sustained until the duration-value of the chord has expired. This is called _arpeggio playing_. When the wavy line extends through the entire chord (covering both staffs) as in Fig. 38, all the tones of the chord are to be played one after another, beginning with the lowest: but if there is a separate wavy line for each staff as at Fig. 39 then the lowest tone represented on the upper staff is to be played simultaneously with the lowest tone represented on the ba.s.s staff.

[Ill.u.s.tration: Fig. 38.]

[Ill.u.s.tration: Fig. 39.]

The word arpeggio (plural arpeggi) is a derivation of the Italian word _arpa_ (meaning harp), and from this word _arpa_ and its corresponding verb _arpeggiare_ (to play on the harp) are derived also a number of other terms commonly used in instrumental music. Among these are--arpeggiamento, arpeggiando, arpeggiato, etc., all of these terms referring to a _harp style_ of performance, the tones being sounded one after another in rapid succession instead of simultaneously as on the piano.

62. The sign [crescendo-decrescendo symbol] over a note indicates that the tone is to be begun softly, gradually increased in power, and as gradually decreased again, ending as softly as it began. In vocal music this effect is called _messa di voce_.

63. In music for stringed instruments of the violin family, the sign [down-bow symbol] indicates down-bow and the sign [up-bow symbol]

up-bow. In cello music the down-bow sign is sometimes written [cello down-bow symbol].

CHAPTER VI

EMBELLISHMENTS

64. _Embellishments (or graces) (Fr. agrements_) 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 definitions represent therefore only the most commonly found examples and the most generally accepted interpretations.

65. The _trill (or shake_) consists of the rapid alternation of two tones to the full value of the printed note. The lower of these two tones is represented by the printed note, while the upper one is the next higher tone in the diatonic scale of the key in which the composition is written. The interval between the two tones may therefore be either a half-step or a whole-step.

Whether the trill is to begin with the princ.i.p.al tone (represented by the printed note) or with the one above is a matter of some dispute among theorists and performers, but it may safely be said that the majority of modern writers on the subject would have it begin on the princ.i.p.al tone rather than on the tone above. Fig. 40.

When the princ.i.p.al note is preceded by a small note on the degree above, it is of course understood that the trill begins on the tone above. Fig. 41.

The trill is indicated by the sign [trill symbol].

[Ill.u.s.tration: Fig. 40.]

[Ill.u.s.tration: Fig. 41.]

The above examples would be termed _perfect trills_ because they close with a turn. By inference, an _imperfect trill_ is one closing without a turn.

66. The _mordent_ [mordent symbol] consists of three tones; first the one represented by the printed note; second the one next below it in the diatonic scale; third the one represented by the printed note again.

[Ill.u.s.tration: Fig. 42.]

67. The _double (or long) mordent_ has five tones (sometimes seven) instead of three, the first two of the three tones of the regular mordent being repeated once or more. (See Fig. 43.)

In the case of both mordent and double-mordent the tones are sounded as quickly as possible, the time taken by the embellishment being subtracted from the value of the princ.i.p.al note as printed.

[Ill.u.s.tration: Fig. 43.]

68. The _inverted mordent_ [inverted mordent symbol] (note the absence of the vertical line) is like the mordent except that the tone below is replaced by the tone above in each case. This ornament is sometimes called a "transient shake" because it is really only a part of the more elaborate grace called "trill." (See Fig. 44.)

[Ill.u.s.tration: Fig. 44.]

The confusion at present attending the interpretation of the last two embellishments described, might be largely obviated if the suggestion of a recent writer[11] to call the one the _upward mordent_, and the other the _downward mordent_ were to be universally adopted.

[Footnote 11: Elson--Dictionary of Music, article _mordent_.]

69. The _turn_ consists of four tones; first, the diatonic scale-tone above the princ.i.p.al tone; second, the princ.i.p.al tone itself; third, the tone below the princ.i.p.al tone; and fourth, the princ.i.p.al tone again.

When the sign ([turn symbol] or [fancy turn symbol]) occurs over a note of small value in rapid tempo (Fig. 45) the turn consists of four tones of equal value; but if it occurs over a note of greater value, or in a slow tempo, the tones are usually played quickly (like the mordent), and the fourth tone is then held until the time-value of the note has expired. (Fig. 46.)

[Ill.u.s.tration: Fig. 45.]

[Ill.u.s.tration: Fig. 46.]

70. _When the turn-sign is placed a little to the right of the note_ the princ.i.p.al tone is sounded first and held to almost its full time-value, then the turn is played just before the next tone of the melody. In this case the four tones are of equal length as in the first example. (See Fig. 47.)

[Ill.u.s.tration: Fig. 47.]

The student should note the difference between these two effects; in the case of a turn _over_ the note the turn comes at the beginning, but in the case of the sign _after_ the note the turn comes at the very end. But in both cases the time taken by the embellishment is taken from the time-value of the princ.i.p.al note. For further details see Grove's Dictionary of Music and Musicians, Vol. V, p. 184. Also Elson, op. cit.

p. 274.

71. Sometimes an accidental occurs with the turn, and in this case when written above the sign it refers to the highest tone of the turn, but when written below, to the lowest (Fig. 48).

[Ill.u.s.tration: Fig. 48.]

72. In the _inverted turn_ the order of tones is reversed, the lowest one coming first, the princ.i.p.al tone next, the highest tone third, and the princ.i.p.al tone again, last.

[Ill.u.s.tration: Fig. 49.]

73. The _appoggiatura_ (lit. _leaning note_) consists of an ornamental tone introduced before a tone of a melody, thus delaying the melody tone until the ornamental tone has been heard. The time taken for this ornamental tone is taken from that of the melody tone.

The appoggiatura was formerly cla.s.sified into _long appoggiatura_ and _short appoggiatura_, but modern writers seem to consider the term "short appoggiatura" to be synonymous with acciaccatura[12], and to avoid confusion the word _acciaccatura_ will be used in this sense, and defined under its own heading.

[Footnote 12: In organ music the acciaccatura is still taken to mean that the embellis.h.i.+ng tone and the melody tone are to be sounded together, the former being then instantly released, while the latter is held to its full time-value.]

74. Three rules for the interpretation of the appoggiatura are commonly cited, viz.:

(1) When it is possible to divide the princ.i.p.al tone into halves, then the appoggiatura receives one-half the value of the printed note. (Fig. 50.)

(2) When the princ.i.p.al note is dotted (division into halves being therefore not possible), the appoggiatura receives two-thirds of the value. (Fig. 51.)

(3) When the princ.i.p.al note is tied to a note of smaller denomination the appoggiatura receives the value of the first of the two notes. (Fig. 52.)

[Ill.u.s.tration: Fig. 50.]