Books › A dictionary of musical terms : containing upwards of 9,000 English, French, German, Italian, Latin and Greek words and phrases … with a supplement containing an English-Italian vocabulary for composers, 1904 › scan 99
Scan 99
A dictionary of musical terms : containing upwards of 9,000 English, French, German, Italian, Latin and Greek words and phrases … with a supplement containing an English-Italian vocabulary for composers, 1904
60 lines. Read by computer on 16 September 2026, twice; the two readings disagreed in places. No printed page number was found. 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 \( A—a^1 \) 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:
3\[
4f^1 \sim e^1 — d^1 — c^1 — b — a — g — f
5\]
7consequently, the 2-octave system \( A—a^1 \) 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 \( f^1—f \). For instance,
9\[
10f^1 \sim e^1 — d^1 — c^1 — b — a — g — f
11\]
13being a Lydian octave, the 2-octave system (or transposing scale) \( d—d^2 \) with one flat is called the Lydian transposing scale. It follows, that the octave \( f^1—f \) belongs without \( # \) or \( b \) to the system \( A—a^1 \)
15with 1 \( b \) to the system \( d—d^2 \) (Hypolydian)
16\( G—g^1 \) (Lydian)
17\( c—c^2 \) (Hypophrygian)
18\( F—f^1 \) (Phrygian)
19\( b—b^2b \) (Hypodorian)
20\( e^1—e^2b \) (Dorian)
21\( e^1—e^2b \) (Mixolydian, or Hyperdorian)
23On the other hand, all the sharp scales (of later origin) show new names; the octave \( f^1#—f^2# \) belongs with 1# to the system \( e—e^2 \) (Hyperiastian) (high Mixolydian)
24\( B—b^1 \) (Iastian)
25\( F^1#—f^1# \) (Hypoastian) (high Dorian)
26\( c^1#—c^2# \) (Hypodorian) (high Hypodorian)
27\( G^1#—g^1# \) (Hypoæolian) (high Phrygian)
28\( d^1#—d^2# \) (Hyperdorian) (high Lydian)
30The system \( d^1#—d^2# \), with 6 sharps, is enharmonically identical with \( e^1—e^2b \) 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. one of two readings
31The system \( d^1#—d^2# \), with 6 sharps, is enharmonically identical with \( e^1—e^2b \) 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. one of two readings
33Gregorian 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.)
35Greif’en (Ger.) To stop (on the violin); to take or play (on other instr.s); to finger; to stretch (er kann eine De’zime greifen, he can stretch a tenth).
37Griff (Ger.) Stop (on violin); touch, stroke, stretch (weiter Griff); finger-ing…Griff’brett, fingerboard…Griff’saite, a string stopped by the fingers; a melody-string.
39Grob (Ger., “coarse.”) Used as a suffix, it means “of broad scale” (said of organ-pipes, as Grobgedacht).
41Groove. (Ger. Kanzel’le.) One of the separate divisions of the windchest of an organ, serving to conduct the wind to the pipes.
43Groppet’to (It.) See Gruppetto.
45Grop’po (It.) See Gruppo.
47Gross (Ger.) Great, large, grand; major (as gro’sse Terz, major Third)…Gro’sse Okta’ve, great octave.
49Grosse-caisse (Fr.) See Caisse.
51Gros’so (It.) Large, great; full, heavy.
53Gros-tambour (Fr.) Bass drum.
55Grotte’sco (It.) Grotesque, comic, humorous.
57Ground bass. See Bass.
59Group. 1. A short series of rapid notes; specifically, such a series sung to one
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