Books › The musiclover's handbook, containing (1) a pronouncing dictionary of musical terms and (2) biographical dictionary of musicians, 1911 › scan 91
Scan 91
The musiclover's handbook, containing (1) a pronouncing dictionary of musical terms and (2) biographical dictionary of musicians, 1911
11 lines. Read by computer on 12 September 2026. No printed page number was found. See the scan on archive.org.
1anglais and flute form one stop, marked ① below for cor anglais, ① above for flute.
22 means bourdon, below; clarionet, above.
33 means clarion, below; piccolo, above.
44 means bassoon, below; hautboy, above.
6Harmony [from Gr. harmo, to join]. The art of combining sounds. The study of harmony in its fullest extent is that which treats of the combination of sounds, consonant and dissonant, and their succession. The so-called laws of harmony have all been arrived at empirically, hence have been subject to change, each new composer of sufficient originality and genius modifying them to suit his purposes. Harmonic combinations may be either consonant or dissonant. The consonant combinations consist of the common (perfect) chord and its derivatives. The dissonant combinations all include some dissonant interval, viz., 7th or 2d, augmented 4th, diminished or augmented 5th, augmented 6th or diminished 3d, or 9th. The movement of consonant combinations is perfectly free; that of dissonant combinations is subject to the rules governing the resolution of the dissonant sounds they contain. Two classes of dissonances are recognized: (1) Those that belong to the overtone series, called essential; (2) those that result from the employment of suspensions, retardations, changing and passing notes.
8Harp. A string instrument of very ancient origin, probably first suggested by the bow. The earliest forms of Egyptian harps resemble that weapon, the front bar or support being wanting. The modern harp, by means of contrivances for altering the tension of the strings, controlled by pedals, has the complete chromatic scale. The harp is extensively used in the modern orchestra; its clear, "glassy" tones form a striking and effective contrast to the rest of the orchestra. It is most effective when used to give "arpeggios," or broken chords, particularly in soft passages. Scales are ineffective on the harp, and the chromatic scale is impossible. The compass of the modern harp extends from the second Cb below the bass staff to the second Fb above the treble staff, six and one-half octaves. The natural harmonics, produced by touching the middle of the string lightly with one hand, are extremely effective in very soft passages.
10Harpe (Fr.), Harfe (Ger.). The harp.
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