TYPOGRAPHY. 



717 



-8- 



necessarily of various lengths, and produced at varions 

 angles to the staff-lines, in order to connect properly 

 notes or different portions of the musical staff ; in the 

 right-hand section of the case is a similar assortment 

 qt slurs, also adjusted at varying angles to the stuff- 

 lines, for the same reason ; there, too, are the acci- 

 dentals (sharps, flats, etc.), some of them on the stuff- 

 lines and others on the spaces. 



In the lower-case (Fig. 4) are the several notes and 

 rests some on the lines and others on the spaces 

 note-stems, bass and treble-clefs, pauses, the quadrates, 

 and sections of the staff-lines in various lengths. 



In the middle compartment of the side case (Fig. 5) 

 are the characters known to the musician as grace- 

 notes, the diminutive accidentals, etc., and the other 

 sections of the same case contain the numerals, cres- 

 cendo and diminuendo characters, and other symbols 

 which the musician will recognize readily. 



There are in common use five styles of music type, 

 the "bodies" of which are of different sizes. There 

 are also various fonts of the same sized "body," but 

 printing the note-heads larger or smaller. The pre- 

 vailing styles are shown in Fig. 6. The smallest 

 type, beginning at the top of the figure, is known as 

 " Excelsior 2, ' and the others, in the order in which 

 they are shown in the plate, are "Excelsior Music," 

 "Diamond," "Diamond 3," "Diamond 2," "Agate 

 3," and "Nonpareil 3." 



Character Note Systems. Varions typographical 

 devices have been introduced from time to time with 

 the common object of simplifying the reading of musi- 

 cal compositions. None of these has as yet been 

 adopted so extensively as to supersede the common 

 system, though the device known as the Tonic Sol-Fa 

 system is meeting with considerable favor, especially 

 in England. The Tonic Sol-Fa system dispenses en- 



Fig. 4. 



