Scan 121
Groves Dictionary Of Music And Musicians,vol.2, 1906
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1works comprise an opera ('Graziosa,' 1841), masses, a symphony, several overtures, 9 quartets, 12 concertos for violoncello and orchestra, sonatas, variations; and exercises for the violoncello. He edited Bach's 6 sonatas for violoncello solo, and left an excellent Method for his instrument.
3DOUBLE (Fr.), (1) the old name for 'variation,' especially in harpsichord music. The doubles consisted of mere embellishments of the original melody, and were never accompanied by any change in the harmonies. Examples are numerous in the works of the older masters. Handel's variations on the so-called 'Harmonious Blacksmith' are called 'doubles' in the old editions. In Couperin's 'Pièces de clavecin,' Book I. No. 2, may be seen a dance, 'Les Canaries,' followed by a variation entitled 'Double des Canaries,' and two instances will also be found in Bach's English Suites, the first of which contains a 'Courante avec deux doubles' and the sixth a sarabande with a double. The term is now entirely obsolete. (2) In combination the word 'double' is used to indicate the octave below; thus the 'double-bass' plays an octave below the ordinary bass, or violoncello; a 'double' stop on the organ is a stop of the pitch known as 16-foot pitch (see ORGAN), an octave below the 'unison' stops. (3) 'The notes below Gam-ut are called double Notes, as Double F, fa, ut, Double E, la, mi, and as being Eights or Diapasons to those above Gam-ut' (Playford's Introd. to the Skill of Musick, p. 3).
5The notes in the bass octave from to are often spoken of by organ-builders as double G, double F, etc. (4) The word is applied to singers who understudy a part in a vocal work, so as to replace the regular performer in case of need; and those who undertake two parts in the same play are said to 'double' one with the other.
7E. P.
9DOUBLÉ, the name of an agrément of the French school. (See ORNAMENTS.) E. B.
11DOUBLE BARS divide a piece or a movement into main sections, and when accompanied by dots indicates that the section on the same side with the dots is to be repeated.
13(1) (2) (3)
15The double bar is a prominent feature in the older examples of the symphony or sonata. In the first movement it occurs at the end of the first section, which is then repeated, and is followed by the working out, or development. In certain symphonies before Beethoven, and in Beethoven's pianoforte sonata No. 6, the second section was repeated as well as the first. It may be pointed out that a double bar may be placed anywhere in the measure, without affecting its value.
17DOUBLE BASS, see VIOLIN FAMILY; VIOL.
18DOUBLE BASSOON, see Bassoon (2).
19DOUBLE BASS VIOL, see VIOL (4).
20DOUBLÉ CADENCE, the name of an agrément of the French school. (See ORNAMENTS.)
21DOUBLE CHANT, a chant equal in length to two single chants, and covering two verses. The form is peculiar to the English Church, and was not introduced till after the Restoration. (See CHANT.)
22DOUBLE CONCERTO, a concerto for two solo instruments and orchestra, as Bach's for two harpsichords, for two violins, Mozart's for violin and viola (Köchel, 364), Brahms's (op. 102) for violin and violoncello, and Delius's for the same instruments.
23DOUBLE COUNTERPOINT is the accompaniment of a subject or melody by another melody, so contrived as to be capable of use either below or above the original subject. (See INVERTIBLE COUNTERPOINT.)
24DOUBLE FLAT (Fr. double bémol; Ger. Doppel-B; Ital. doppio bemolle) lowers a note by two semitones. The sign is bb, and it is corrected by the sign b or occasionally b. The German nomenclature for the notes is Eses, Asas, Deses, etc. (See ACCIDENTALS; INTONATION.)
25S. T. W.
26DOUBLE FUGUE, a common term for a fugue on two subjects, in which the two start together, as in the following for organ by Sebastian Bach (B.-G. xxxviii. p. 19):
28or in D. Scarlatti's harpsichord fugue in D minor; or Handel's organ fugue, quoted under COUNTER-SUBJECT.
30a.
31The term is also sometimes applied to fugues in which subsidiary subjects appearing first as EPISODES (q.v.) achieve prominence by their subsequent development in conjunction with the chief subject. For an example see Das wohltemperirte Clavier, Book I. No. 4.
33c.
34DOUBLES, the name given to changes on 5 bells, from the fact that two pairs of bells interchange at each permutation. (See CHANGE.)
35W. W. S.
36DOUBLE SHARP (Fr. double dièse; Ger. Doppelkreuz; Ital. doppio diesis) raises a note by two semitones, and is denoted by a ×, probably in abbreviation of ##. It is corrected by the sign ##. The Germans call the notes Cisis, Fisis, Gisis, etc. (See ACCIDENTALS; INTONATION.)
37S. T. W.
38DOUBLE STOPPING, the simultaneous sounding of two notes on the violin or other instrument of that tribe. Such notes are termed 'double stops.' (See STOPPING.)
39Strictly speaking, the term 'double stopping'
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