Franklin Taylor

“ This arrangement, which is now used only in upright pianos, where from lack of space or from the oblique direction of the strings the shifting action would not be available, gives a dull, muffled sound, which in small instruments is often so weak as to be practically useless; the shifting pedal, on the contrary, produces a beautiful and delicate quality of tone, arising from the sympathetic vibrations of the unused strings, which is by no means the same thing as the ordinary pianissimo, but is of the greatest service in producing certain special effects. ”

“ In wrist-touch, the fore-arm remains quiescent in a horizontal position, while the keys are struck by a rapid vertical movement of the hand from the wrist joint. The most important application of wrist-touch is in the performance of brilliant octave-passages; and by practice the necessary flexibility of wrist and velocity of movement can be developed to a surprising extent, many of the most celebrated executants, among whom may be specially mentioned Alexander Dreyschock, having been renowned for the rapidity and vigour of their octaves. ”

“ The name given to a large class of musical compositions, of extremely varied scope and design, but always having, as the name implies, the cultivation of the powers of execution for their chief object. Studies have been written for nearly every instrument, but since the principles which govern their construction and employment are in all cases the same, it will be sufficient here to speak of Pianoforte Studies, which form the great majority of all those in existence. ”

“ A charming effect is obtained by Schumann in the slow movement of his Sonata for piano and violin in D minor, op. 121, where he makes the piano play mit Verschiebung, accompanied by the violin am Steg, that is, close to the bridge, thus producing a veiled quality of sound which suits admirably with the refined tone of the pianoforte. ”

“ ROVESCIO, AL. A term used, in instrumental music, to express two different things, (1) An imitation by contrary motion, in which every descending interval in the leading part is imitated by an ascending one, and vice versa ”

“ To the conductor, or to any one desiring to play from orchestral score, it is essential, as the parts for the so-called 'transposing instruments'—horns, trumpets, clarinet, drums—being written in a different key from that in which they are to sound, have to be transposed back into the key of the piece, so as to agree with the strings and other non-transposing instruments. ”

“ This is called mezzo staccato (half-detached) , and the notes are sustained for nearly their full value, and separated by a scarcely appreciable interval. On stringed and wind instruments indeed they are frequently not separated at all, but are attacked with a certain slight emphasis which is instantly weakened again, so as to produce almost the effect of disconnection; on the pianoforte however they must of necessity be separated, though but for an instant, and they are played with a close firm pressure, and with but little percussion. ”

“ The kinds of triple time in general use are marked with the figures 3-8, 3-4, and 3-2, indicating respectively three quavers, crotchets, or minims in a bar. A time of three semiquavers, marked 3-16, is also occasionally met with (Schumann, 'Versteckens,' op. 85) ; and in old music a time of three semibreves, called tripla major, and indicated by a large figure 3. [For an example of this see vol. iii. p. 766.] When three bars of triple time are united in one, as in 9-8, etc., the time is called 'compound triple.' [See Compound Time.] ”

“ The particular occasions on which this effect is required are not indicated by any specific sign, since an experienced performer can always judge from the nature of the passage. As a rule, it may be said that whenever two tied notes are written for which a single longer note might have been substituted repetition is indicated—for the use of the tie proper is to express a note-value which cannot be represented by a single note, e.g. five quavers. Thus Ex. 1, which is an instance in point, might, if no repetition had been required, have been written in quavers, as in Ex. ”