Scan 16
A dictionary of music and musicians (A.D. 1450-1880) Volume 1, 1879
16 lines. Read by computer on 11 September 2026. No printed page number was found. See the scan on archive.org.
1to have been the more celebrated of the two, and to have been specially remarkable for his beautiful tone. It is said to have been owing in great measure to the impression produced by his playing that the viola di gamba more and more fell into disuse and the violoncello was more extensively introduced. (Batistin.) [T. P. H.]
3ABBREVIATIONS. The abbreviations employed in music are of two kinds, namely, the abridgment of terms relating to musical expression, and the true musical abbreviations by the help of which certain passages, chords, etc., may be written in a curtailed form, to the greater convenience of both composer and performer.
5Abbreviations of the first kind need receive no special consideration here; they consist for the most part of the initial letter or first syllable of the word employed—as for instance, p. for piano, cresc. for crescendo, ob. for oboe, cello for violoncello, fag. for bassoon (fagotto), timp. for drums (timpani); and their meaning is everywhere sufficiently obvious. Those of musical passages are indicated by signs, as follows.
7The continued repetition of a note or chord is expressed by a stroke or strokes across the stem, or above or below the note if it be a semibreve (Ex. 1), the number of strokes denoting the subdivision of the written note into quavers, semiquavers, etc., unless the word tremolo or tremolando is added, in which case the repetition is as rapid as possible, without regard to the exact number of notes played. On bowed instruments the rapid reiteration of a single note is easy, but in pianoforte music an octave or chord becomes necessary to produce a tremolo, the manner of writing and performing which is shown in Ex. 2.
91. Written.
11Played.
132. Tremolo
15Tremolo
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