112 



MUSIC. 



ought to be performed in the time of four ; and 9 

 placed over nine notes, shows tliat they ought to be 

 performed in the time of six of the same kind. The 

 hold, marked thus ^, when placed over a note, 

 shows that the performer may or ought to dwell 

 longer on it than the time it would otherwise employ. 

 The same mark is, however, sometimes employed to 

 show the final ending of a piece. A grace is often 

 employed, with excellent effect, called the stoccata, 

 marked I I I I or , placed over or under the notes, 

 and shows that they ought to be performed with spirit, 



and held only half their time, the interval between 

 each tone being filled up by an imaginary rest. This 

 grace is executed on the violin by striking the string 

 with the thumb instead of the bow. The mark tt. 

 placed over or under any note shows that a shake 

 ought to be performed. A simple shake is only the 

 distinct sounding of two notes in equal motion ; but 

 a perfect shake consists of three diatonic notes, the 

 first of which is denominated the preparatory note, 

 and the last two the resolvents. The construction of 

 a shake will be understood from the example below. 



SIMPLE SHAKE ON A . 

 Ptepar. /r Resol. 



PERFECT SHAKE ON D |j. 

 Prepar. // Resol. 



m 



jn 



W 



-G- 



Nearly allied to the shake, is the beat, marked bt,, 

 and differs from the shake in this, that the former is 

 prepared from the note below, while the latter is 

 prepared from the note above. This will be under- 

 stood from the examples below. It only remains 

 farther to be remarked on this subject, that at the 



conclusion of a slow movement, and more particularly 

 in a solo, the beat and shake may be joined together 

 with good effect, both having the same progressive 

 motion, as may be seen in the undermost of the two 

 following lines : 



BEAT ON G 



BEAT ON A . 



m 



n 



INTRODUCTION OF THE BEAT. 





Jdagio. 



EXPLANATION. 



To the same class of graces belongs variation, 

 marked thus ~~ , denoting a tremulous motion 

 similar to the shake, but not characterized by such 

 distinctness, and should, therefore, as it expresses 

 faltering, only be introduced in passages of great 

 pathos. The mark -=r: placed under or above a 

 note or a parcel of notes, shows that the performer is 

 to begin faintly, and gradually increase the strength, 

 but not the pitch, of the tone. The mark ~ in 



like manner denotes a gradual diminution in the 

 strength of tone. These two marks are fre- 

 quently combined, forming what is called the swell 

 =r^r= , denoting first a gradual increase in the 

 strength of tone, and then a gradual decrease towards 

 the conclusion. 



The marks <S ^ are drawn through long notes to 

 show that they ought to be formed by division, 

 thus : 



WRITTEN. 



PLAYED. 



a i 



