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Scan 100
A dictionary of musical terms, 1907
53 lines. Read by computer on 16 September 2026. Printed page 90. See the scan on archive.org.
1with b♭ belongs to a transposed Dorian mode, having not A, but d, for pros-lambanomenos. Greek music was not tied, like the Gregorian, to the diatonic scale A—a1 without chromatics, but employed transpositions of the perfect 2-octave system parallel to our 12 or more sharp and flat keys; finally, these transpositions numbered 15 in all, those first in vogue bearing the same names as the first 7 octave-scales. In the Greek method of alphabetical notation, the natural scale (without chromatics) was the Hypolydian:
3f1—e1—d1—c1—b—a—g—f
5consequently, the 2-octave system A—a1 without chromatics is called the Hypolydian (being the natural scale among the transposing scales, as is C-major among the sharp and flat keys), and the transposing scales are named according to the mode represented by the various chromatic alterations of the octave-scale f1—f. For instance,
7f1—e1—d1—c1—b♭—a—g—f
9being a Lydian octave, the 2-octave system (or transposing scale) d—d2 with one flat is called the Lydian transposing scale. It follows, that the octave f1—f belongs without ♯ or b to the system A—a1 (Hypolydian)
10with 1 b to the system d—d2 (Lydian)
11" 2 b " " " " G—g1 (Hypophrygian)
12" 3 b " " " " c—c2 (Phrygian)
13" 4 b " " " " F—f1 (Hypodorian)
14" 5 b " " " " b♭—b2♭ (Dorian)
15" 6 b " " " " e♭—e2♭ (Mixolydian, or Hyperdorian)
16On the other hand, all the sharp scales (of later origin) show new names; the octave f1♯—f♯ belongs
17with ♯ to the system e—e2 (Hyperiastian) (high Mixolydian)
18" 2♯ " " " " B—b1 (Iastian) (high Dorian)
19" 3♯ " " " " F♯—f1♯ (Hypoiastian) (high Hypodorian)
20" 4♯ " " " " c♯—c2♯ (Æolian) (high Phrygian)
21" 5♯ " " " " G♯—g1♯ (Hypoæolian) (high Hypophrygian)
22" 6♯ " " " " d♯—d2♯ (Hyperdorian) (high Lydian)
24The system d♯—d2♯, with 6 sharps, is enharmonically identical with e♭—e2♭ with 6 flats; both are named Hyperdorian; here closes the circle of fifths.—The names of the sharp scales re-emerge as those of church-modes (the number of which was increased to 12 in the 16th century); namely, the Ionian (= Iastian), and Hypoionian, Æolian, and Hypoæolian.
26Gregorian chant. The forms of mus. worship as revised and established by Pope Gregory I. (the Great, d. 604) for the R. C. Church, and known collectively under the name of Plain Chant. There was probably no essential difference between the Gregorian and Ambrosian styles; St. Gregory's chief work was the careful revision of the ritual music employed at his time, the rejection of redundances and abuses, and the final establishment of the material thus sifted and arranged as the norm for all Western Churches. He was also presumably the arranger, if not the originator, of the 4 Plagal modes parallel to the 4 Authentic modes of St. Ambrose. (See Mode.)
28Greifen (Ger.) To stop (on the violin); to take or play (on other instr.s); to finger; to stretch (er kann eine Dezime greifen, he can stretch a tenth).
30Griff (Ger.) Stop (on violin); touch, stroke, stretch (weiter Griff); fingering…Griff'brett, fingerboard…Griff'saite, a string stopped by the fingers; a melody-string.
32Grob (Ger., "coarse.") Used as a suffix, it means "of broad scale" (said of organ-pipes, as Grobgedackt).
34Groove. (Ger. Kanzel'le.) One of the separate divisions of the windchest of an organ, serving to conduct the wind to the pipes.
36Groppetto (It.) See Gruppetto.
38Gruppo (It.) See Gruppo.
40Gross (Ger.) Great, large, grand; major (as gro'sse Terz, major Third)…Gro'sse Okta've, great octave.
42Grosse-caisse (Fr.) See Caisse.
44Grosso (It.) Large, great; full, heavy.
46Gros-tambour (Fr.) Bass drum.
48Grottesco (It.) Grotesque, comic, humorous.
50Ground bass. See Bass.
52Group. 1. A short series of rapid notes; specifically, such a series sung to one
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