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Scan 216
American history and encyclopedia of music, 1910
55 lines. Read by computer on 11 September 2026. Printed page 193. See the scan on archive.org.
1extended compass
2Considered as having extended compass unless they have a range of over seven octaves.
4extended harmony
5Harmony in which the notes forming various chords are separated from each other by wide intervals, or more strictly, arrangements of chords in which the upper parts exceed the compass of an octave.
7extended interval
8Any interval greater than a major; for instance, between E and F sharp is a major interval, between E flat and F sharp an extended interval. See also augmented intervals.
10extended phrase
11A variation of a melody slightly lengthening a phrase, which is a short continuous passage in music usually composed of two measures.
13extended section
14A section lengthened into five to eight bars, a section being a short division of a composition having distinct rhythmic and harmonic boundaries.
16extension
17On the violin, the extension of the little finger or forefinger of the left hand; on the piano, a stretch.
19extension pedal
20The loud pedal on the piano.
22extraneous chromatic signs
23Accidentals; signs altering the pitch of the notes before which they stand, from the pitch required by the signature or regular key, or restoring them to their original pitch after such alteration. These signs are the sharp (♯), double sharp (𝄪), flat (♭), double flat (𝄫), and the natural (♮). The force of such signs is usually limited to a bar.
25extraneous modulation
26A modulation or change, into some unrelated key.
28extraneous sharps and flats
29Outside, without, foreign: sharps and flats not found in the key in which a composition is written; accidentals, sharps and flats used to raise or lower a note by a half tone.
31extravaganza (ěx-trä-vä-gän'-tsä) It. n.
32A piece composed in burlesque style, usually based upon a serious composition.
34extreme
35extrême (ěx-trěm') Fr. n. and adj.
361. The outside parts, as bass and soprano.
372. Relating to augmented intervals.
39extreme flat eighth
40The octave diminished by one semitone at either extreme.
42extreme flat fourth
43A perfect fourth diminished by one semitone at either extreme.
45extreme interval
46The same as augmented interval.
48extreme triad
49A chord of three tones which consists of a root, a major third, four steps and an augmented fifth, eight half steps.
51F
521. The fourth tone of the scale of C major, that is, of the scale which has C for the first degree or keynote and has the interval of a major third, two whole tones, between C and the third degree, namely E. The scale is considered the typical diatonic scale because it necessitates no sharps or flats to bring about the succession of tones and semitones required to make a complete diatonic scale.
532. The name of one of the major keys, that is, of one of the keys having the interval of a major third, two whole tones, between the first and the third degrees, in this instance, F and A. The key of F major necessitates the use of one flat, B flat, to obtain the proper diatonic succession of intervals. These appear in its signature.
543. The name of one of the minor keys, that is, the name of that key which has F for a keynote or first degree and has the interval of a minor third, one whole tone and a half tone between F and A, the first and third degrees. It is called the relative minor
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