ASCENDING SCALE. DESCENDING - SCALE.
;1 4,2 0 4, ____ .
Each minor scale is called the relative minor to the major scale on its right hand in the scale of triads, with which it has the same signature: thus the relative minor scale to C major is that of A minor.
C major ACEGB A minor It) F A. 0 E, G 13 Each minor scale is also called the tonic minor to the major scale on the same key-note, from which it differs in flattening the third of its tonic, and in the dscending scale also the third of its subdominant and dominant. The tonic minor scale to C major is 0 minor.
C MAJon. 6 C Moron.
; V IS ,.. .6,. ..., -eso As the descending scale regulates the signature, each tonic minor has three flats more or three sharps less in its signature than its tonic major.
F Tif MOB. 1r Mama.
,,, 0_6._ "" 0 _ A 1LLTon.
--IT.% --.t e-d-------'9;------.i;-A Mmes.
--12 . . _...r.2_0 _ 7 I i_- , , _ 0 MA,ron, 0 MINOR.
_ .
----'9--- _ ---'2-6.--."--[[ In this last example, lii, and Et1 are all considered sharps in contrast with F11, Bb, /Ind Eb of the minor scale.
Rhythm. In musical notation the relative duration of notes is indicated by their form. Notes may he open or close; they may consist of a head only, or of a head and stem. Where there is a stem, it may be turned up or down, according to convenience. The semibreve, the longest note in ordinary music, is open, and consists of a head only (62). The minim is an open note with a stem, half the length of a semibreve 1 P ; the crotchet is a close note with a stem, half the length of a minim r; the quaver is a close note with a stem and hook, half the length of a crotchet t P a quaver is further divided is into two semiquavers with two hooks four demi-semiquavers with three hooks Og andre id eight semi-demi-semiquavers with four hooks In slow religious music, an open square id note, called a breve M , sometimes occurs. The semibreve is equivalent in time to two minims, four crotchets, eight quavers, sixteen semiquavers, thirty-two demi-semiquavers, and sixty-four semi-demi-semiquavers. The notes formed with hooks may be grouped a-. t ! . . In vocal music this is not done except when a group ...........-- is to be sung to one syllable. When a dot is placed after a note r it is lengthened by one-half; when two dots, . . it is lengthened by three-fourths.
Every piece of music is divided into portions equal in time, called measures, which .are separated from each other by vertical lines called bars. The term bar is often loosely used to denote the measure as well as the line. The exact length of the measure is indi cated by a sign at the beginning of the movement. In common time, indicated by the sign TT each measure includes a semibreve, or its equivalent made up in notes of ..., _ - _ lower value: -- All other measures of time have for their __-1 signatures two figures placed as ti, fraction, one over the other. The figures of the -denominator are either 2, 4, 8, or 16, which stand for minims, crotchets, quavers, and respectively (i.e., halves, fourths, etc., of a semibreve); the numerator indi cates the number of these fractional parts of a semibreve contained in each measure. is another form of common time besides that already noticed, which is called half time, has a minim or two crotchets in the measure, and is known by the signature i.e., two crotchets k.a# 4
1 ,__ _____.4 - When there are three minims, crotch- I11 - EOM ets, or quavers in mow .a measure, the piece gm , IN is said to be in ,, or ---- - .triple time, its signathre being *s 0 __2= _ r _ _p- _r_ ____----_=0_,_ ...." ! j LA; 4-r-- 1----V--- _ When two or four measures of triple time are united in one measure, the movement is said to be in compound common time. Its usual forms are indicated by the signa tures and In the first, there are three submeasures of three crotchets; .......4._ in the second, two submeasnres of three quavers t 1, ,- - IT - Compound triple time occurs where there are _se - Lr nine notes in a measure, either crotchets, 9 9 quavers, or semiquavers, grouped in threes. Its signatures are and , _ A variety occasionally occurs in simple or triple time by the tk__... measure note being divided into three, or even five or seven, instead of two parts, which A :are grouped together, sometimes with, the figure 3,, - -- I - "%MEN= _ _ Z, or 7, placed above them. - /- ' -A --- -0 -ice The object of the division of musical passages into measures is to indicate their rhythm, a quality forming an essential element in the pleasure derived from music. Notes of music, like words or syllables, are accented or unaccented. The principal accent is to the first note of a measure. Of the four measure notes in common time. the third has. also a subordinate accent, as has the third measure note in triple time. There are occa sions when a strong accent, or emphasis as it is called, is laid on the part of the measure which is usually unaccented; this the composer indicates by the Italian terms rinforzando, ,eforzato, abbreviated rinf., !1.
When in the course of a movement silence is required for a time, this is indicated by a rest or rests corresponding to that time; the breve, semibreve, minim, etc., have each their respective rests, which are represented as follows: Brava. Semibreve. Maim. Crotchet. Quaver. Semiquaver. Demt-semi- Seml-demh quaver, semiquaver.
, I ' 1 . ' . ".---Th _____,_f____ A rest may, like a note, be dotted to indicate the addition of half to its length.
The double bar ft consists of two strong vertical lines, placed at the end of a.... musical composition, and also at other parts (not necessarily coincident with the end of a measure) where a strain or rhetorical division of a movement terminates. When clot ted on one side, all the measures on the side with the dots are to be repeated from du.- beginning, or from the antecedent double bar.
A tie is an arch placed between two notes on the same degree; to indicate that instead. of the two notes written, one note is to be played of the length of both. When the last note of one measure is thus connected with the first of the next measure, the former, though naturally the unaccented note, acquires the emphasis ...... ....--. When the same arch is drawn over , . is o 0 two or more notes not in the same I #-=,*--- ''' degree, it is called a slur, and merely