Books › A dictionary of musical terms, 1889 › scan 69
Scan 69
A dictionary of musical terms, 1889
43 lines. Read by computer on 12 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1legato and the following two staccato. The well-known Var. II. of Beethoven's Sonata for Violin, known as the "Kreutzer," is a good illustration of this:
3The effect which results from moving the bow on an unaccented part of the bar is most striking and beautiful, e.g. (from the same Sonata):
5and in the following (Beethoven Symphony, No. 9):
7Groups of three notes are often divided into two legato and one staccato, e.g.:
9less often into one staccato and two legato, e.g.:
11Two notes out of eight are often made legato, e.g.:
13The above few examples may serve to give some idea of the inexhaustible resources of the art of bowing. It will of course be understood that what is here said of the violin applies equally to the viola and violoncello. But, in consequence of the thickness of the strings, the double-bass is not so capable of rapid contrasts of bowing as the rest of its family. In studies and exercises it is usual now to direct a down-bow by the sign ; and an up-bow by . The French terms corresponding to these signs are tiré (draw); poussé (push), sometimes abbreviated by p and t . one of two readings
14The above few examples may serve to give some idea of the inexhaustible resources of the art of bowing. It will of course be understood that what is here said of the violin applies equally to the viola and violoncello. But, in consequence of the thickness of the strings, the double-bass is not so capable of rapid contrasts of bowing as the rest of its family. In studies and exercises it is usual now to direct a down-bow by the sign ; and an up-bow by . The French terms corresponding to these signs are tiré (draw); poussé (push), sometimes abbreviated by p and t . one of two readings
16The quality of tone produced depends not only on the nature and quantity of pressure exercised by the bow upon the strings, but also upon the position of the point of impact. Thus, if played very close to the bridge (sul ponticello), the tone is of peculiar brightness and shrillness; as the bow is used further from the bridge, the tone passes through a stage of great purity and strength, until, at close proximity to the finger-board, it becomes soft and somewhat dull. The practised performer chooses that part of the string capable of producing the tone best suited to the passage he is playing, and he draws it forth with that part of bow most suitable for the purpose. As a general rule, from the heel to about the middle of the bow, is the part naturally used for forte or sforzando passages; and from the middle to the point for those of a more delicate character. But actual experience is the only method of learning the intricacies and beauties of the art of bowing.
18Boyau (Fr.) Cat-gut strings.
20B quadratum (Lat.)
21B quadrum (Lat.)
22B quarre (Fr.)
24B natural. The name of B quadratum or B square was given by reason of its shape, which was originally that of a gothic B. [B cancellatum.]
26Brabançonne. The Belgian patriotic song first sung at the time of the revolution of 1830. The words were written by an actor named Jenneval, at that time engaged at the theatre at Brussels, the music being set by a singer named Campenhout. Upon the death of Jenneval at Berghem his mother was allowed a pension of 2400 fr. Campenhout was appointed director of the Royal Chapel.
28Brace. (1) A mark connecting two or more staves together.
30(2) The leather slides upon the cords of a drum, used for raising or lowering the tone by tightening or loosening the head.
32Bransle (Fr.) [Brawl.]
33Brawl. An old round dance in which the performers joined hands in a circle. A country dance.
35"Then first of all he doth demonstrate plain
36The motions seven that are in nature found,
37Upward and downward, forth, and back again,
38To this side, and to that, and turning round;
39Whereof a thousand brawls he doth compound,
40Which he doth teach unto the multitude,
41And ever with a turn they must conclude."
42SIR JOHN DAVIES. Orchestra, 1607.
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