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Scan 145
The New Encyclopedia Of Music And Musicians, 1929
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1of discipline is to bring all the registers under easy control, to blend and unify them and to secure perfect enunciation in all.
3Analogous to the above are certain instrumental registers, such as the chalumeau register on the clarinet (the lowest octave) or the flageolet or flautato tones on the violin and its relatives.
5Registration. In organ-playing, the act, process or result of selecting and combining stops and all other devices for securing tonal effects, so as to give due expression to a given piece. The name comes from register in the sense of stop. G.
7Organ-playing is far more intricate than any other form of instrumental performance because the organ, if it be of fair size, offers so many possibilities of treatment. In modern usage it is customary to mark the intended procedure to some extent, but this cannot take account of the great differences between particular instruments. Older music contains very little of such indication.
9Registration properly extends to the choice of manuals, the employment of couplers, the application of the swell, etc.
11Regulate. Specifically, in keyboard-instruments, to adjust all parts of the action so that it shall be prompt, sensitive and noiseless. For this purpose at certain points regulating-screws are provided.
13In the pipe-organ such screws are usually installed to determine the dip of the keys in the manuals. In the piano this regulation is not so important after it has once been made, but in the piano-action lost motion and the like often require regulating at points nearer the hammers.
15Rehearsal. The process or act of preparing concerted music for performance by means of actual trial under a leader or conductor, usually with repetitions, corrections and verbal directions, as for an operatic representation, a concert, a church-service, etc. The object is not simply to secure accuracy in details, but to blend all parts into the solidity and unity that belong to a true ensemble. As applied to a chorus or choir, often called drill. G.
17A full rehearsal is one at which all the performers are present; sometimes called a dress rehearsal. A public rehearsal is a preliminary performance of a concert, either for a limited audience or open to the public like the concert itself.
19Relation, Relationship. In harmony, either the general fact that between tones, chords and keys (tonalities) there exist degrees of kinship or inherent connection, by which their association may be governed, or the particular form of this that is exemplified in any given case. Tone-relation is the foundation of chord-relation and key-relation, and its basis is in acoustical facts and principles that may be objectively examined. But the experience of tone-relation is a part of the mental apprehension of tonal effects and may be entirely disconnected with a knowledge of its physical character. The intricate and elaborate fabric of modern musical art is built up on the basis of this experience in some of its manifold ramifications. In general, relations are described as close or remote. G.
21Tone-relation as between any two tones depends primarily upon the amount of identity between their respective series of partial-tones. Its closeness is expressed through the simplicity of the ratio between their vibration-numbers (see under Acoustics). It may depend, further, in some cases upon a common relation to a third tone and, perhaps, to recondite phenomena of combinational-tones.
23Modern music dates from the time when a perception of tone-relation began to assume control in the theory of chords, scales and keys. This process became apparent in the 16th century, but did not reach a secure position until the 18th. Upon it rests the central place now given to the major scale and the major triad in the entire system of tone-arrangements. To the statement of the matter it may be that considerable additions should be made in accordance with the theory of under-scales and under-triads as well as over-scales and over-triads (as advocated especially by Riemann and his school). These latter seem to explain some facts not well covered by the simpler theory. See Phone, Scale and Triad.
25The sequences of melody are largely determined by the unity or contrast of tone-relations, those of harmony by the unity or contrast of chord-relations and those of modulation by the unity or contrast of key-relations.
27Related, Relative. In harmony, denoting a tone, chord or key (tonality) that has a marked relation or kinship with another tone, chord or key. Either member of such a pair is called a relative (noun) of the other. G.
29The relative minor of any major scale or key is one based upon a tone two degrees below its key-note; the relative major of any minor scale or key is one based upon a tone two degrees above its key-note. In modulation, the most closely related keys are those given under Modulation. For relative pitch, see Acoustics and Pitch.
31Relish. See Embellishments.
33Remote. In harmony, denoting a chord or key that has slight relation with a given chord or key; opposed to close; see Relation. G.
35Rendering. Same as performance. Sometimes called rendition (more or less objectionable).
37Repeat. In notation, a sign that a passage or section is to be performed again. Also the passage or section thus indicated; also called replica and reprise. See Notation. G.
39For repeating-action, see Repetition.
41Repercussion. In Gregorian music, same as dominant (the tone most often repeated). Also, in fugue-writing, the reentrance of the subject and answer after an episode or after the development section. Also any immediate repetition of a tone or chord.
43Repetition. In piano-making, a form of hammer-action that permits the renewal of the stroke without a complete release of the key and without the fall of the damper; also called repeating-action. It was first perfected by the Érards about 1820. G.
45Repetitor. A trainer or coach, especially for an opera-chorus.
47Replicate. A tone one or more octaves above or below a given tone; a repetition at a higher or lower octave.
49Reply. Same as answer or comes.
51Reports. A term sometimes used to describe harmony in which the part-writing is somewhat free or imitative rather than plain; as a psalm-tune in reports. G.
53Reprise. In general, the repetition of a passage or the revival of a work that has been forgotten. Specifically, in a fugue or sonata, the
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