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Scan 30
A dictionary of musical terms, 1889
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1ALTERATIO—ALTO VOICE.
3Alteratio (Lat.) In mediæval music, the doubling of the value of a note. "Alteratio est proprii valoris alicujus notæ duplicatio" (Tinctor). This alteratio only took place when a note was in a certain relation to those near it; e.g., if two longs preceded a maxim "in modo majori perfecto" [Modus] the latter of them underwent alteration: and if two breves "in modo minore perfecto" preceded a long, the latter underwent alteration; and so on. A perusal of the eight general, and four particular rules which governed alteration, will cause the reader to be thankful that modern music has been relieved of such complications.
5Alterato (It.) Altered, augmented (with reference to intervals).
6Alteré (Fr.) Altered.
7Alternamente (It.) Changing by turns.
8Alternando (It.) To choose one of
9Alternativo (It.) two ways of performing a passage.
11Altgeige (Ger.) The tenor violin, the viola. [Viola.]
13Altieramente (It.) Proudly, grandly, haughtily.
15Altisono (It.) Sonorous, ringing.
16Altissimo (It.) The highest.
17Altista (It.) A name formerly given to an alto singer.
19Alto-basso (It.) An ancient Venetian stringed instrument, a Hackbret, q.v. It was formed of a square box of pine-wood, supported on legs and strung with cat-gut. The player struck the strings with a sort of bow, which was held in the left hand, the right hand being engaged in holding a sort of flute or flageolet with which a melody was performed. The instrument was only used by the lower class of people, and is now obsolete.
21Alto clef. The C clef, placed upon the third line of the stave, in order that the notes proper to the Alto voice may be conveniently represented:
23E F G A B C D E F G A
25The Alto clef is used for the tenor violin or viola and the alto trombone. [Clef.]
27Alto viola (It.) The tenor instrument of the violin family, called Alto, Tenor, or Viola. (Ger., Bratsche or Altgeige. [Viola.]
29Alto voice. Called also counter-tenor, when used by men, and counter-alto or contralto, when used by women. It is the deepest tone of voice among women and boys, to whom it may be said to be natural, and it is called the highest voice among men for lack of a better term to describe it. Properly speaking, the tenor voice is the highest man's voice, the alto or counter-tenor voice being entirely an artificial production, and simply a development of the falsetto. The register usually written for this voice lies between tenor G and treble C,
31As the best notes of the alto voice are within the octave from B flat, those notes are most generally employed, for the higher notes are harsh and discordant, and the lower of small musical quality, and therefore ineffective. The alto voice in man is mostly formed upon an indifferent bass voice, and there is always a break between the chest and the head voice; this break varies between C and E and the careful union of the chest and head qualities of voice, and the judicious employment of the "mezza voce" are characteristic of every good alto singer. The alto voice is almost peculiar to English singers, not one of the continental nations possessing the capability of producing the quality or of appreciating it when produced; the consequence is, that there is no music written for this voice by any but English composers, and the majority of writers of the present day forming their style upon the foreign model, neglect and ignore the voice, disregarding its claim to usefulness, in places and at times, when and where female voices are unavailable. The value of the voice, its flexibility, sympathetic quality, and harmonious power, when carefully cultivated, are well displayed in cathedral music, and glee singing: a great number of melodious compositions by the most noted English writers, depend upon the alto voice for their proper effect. Many of the songs in Handel's oratorios were assigned to this voice, which are now, in consequence of the heightened pitch at present employed, sung by females: for instance, the part of Solomon in the oratorio of that name; of Barak and Sisera in the oratorio of "Deborah;" and of Daniel in "Belshazzar;" are each given to an alto voice. As this practice is of quite recent growth, it is but reasonable to conclude that Handel intended the music of the wisest king, and that of the two brave warriors to be sung by men altos, rather than by women, for the sake of appearance, if for no more powerful reason. The fact before alluded to, of the non-recognition of the voice by foreigners, has given an advantage to English musical literature not enjoyed by any other people, in the cultivation and sole possession of the Glee and the Anthem.
33As many of the principal effects are obtained in these two species of composition through the medium of the alto voice, if only for the sake of the performance of the many noble
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