MUSI C. 
392 
paraded for infpe&ion or roll-call. This beat likewife 
warns corps engaged in a£tion, or performing evolutions, 
to retreat. 
The troop is beat before the new guards, Sec. about to 
march oft' from their place of affembly, to relieve others 
then on duty. This, as well as the retreat, is ordinalily 
in triple time of three crotchets or quavers ; not unlike 
the waltz when performed rather (lowly. 
To arms is a beat reforted to on all emergencies, whe¬ 
ther owing to dirturbances, fire, invafion, &c. 
There is a kind of accompaniment performed on the 
drum, when beating to marches, and to other airs played 
by a fife. This is called the drag, and is either double or 
fingle, according as the raulic may admit. The Jingle drag 
is little more than a tap of the drum for each note in the 
air; the taps being given in exaft time with the divifions 
of the mufic. This is what we commonly hear as an ac¬ 
companiment to quick fteps, “ Rule Britannia,” See. The 
double drag is a much fuller accompaniment, in which, 
for the mod part, two or three taps are given for every 
note in each bar; or, eventually, the whole is performed 
in a kind of articulate roll, not to be eafily deferibed, in 
which the accented parts are reinforced with much 
‘ftrength. But to fay the mod of the (ide-drum, its mo¬ 
notony foon tires the ear; its rattling found becomes 
oppreifive, and the little variety of its beats, in general 
not over-well executed, adds to the fatigue of liftening, 
and produces fomething worfe than indifference towards 
its founds. This, however, is a dodtrine by no means 
tolerated among drum-majors, who affedf to produce in¬ 
finite variations from what the vulgar call the parchment 
jiddle. They have a long train of “ fingle reveillez,” See. 
which are intended to be performed without the fife, and 
are confidered as concertantes among the fages in this 
branch of mufic : many pride themfelves on the number 
of thofe folos, which, poftibly, may have charms for their 
ears, though failing to fafeinate ours. 
The BaJ's Brum, or Turhijh Brum, is an inftrument of 
the lame conftrudtion as the (ide-drum above deferibed; 
only it is on a very large (bale, has no fnare, is (lung by 
the middle acrofs the performer’s body, and is beat upon 
at both ends ; the right hand being furniflied with a large 
Hick, having a knob at its end ; the left being provided 
either with a whi(k or flick, whofe knob is covered with 
buff leather, to foften the tone. The right hand beats 
the accented parts of the meafure, the left filling up the 
time according to the performer’s judgment. This in¬ 
ftrument is of great fervice in military bands, giving a 
marked emphafis and a fine effeft to the mufic, and prov¬ 
ing an admirable guide to the corps while marching, fo 
as to make them preferve a corredl and regular pace. 
The Cymbal, as we have noticed at p. 350. was in ufe 
at a very early period ; but whether the ancient cymbals 
were fimilar to ours is at lead: very doubtful. The deri¬ 
vation appears to be from the Greek Kvp.Qo;, cavity. 
The ancient cymbal was ofibrafs, like our kettle-drums; 
and, as 1'ome think, refembling them in their form, but 
fmaller, and applied to a different ufe. Caftiodorus and 
Ifidore call it acetabulum, the name of a cup or cavity of a 
bone wherein another is articulated ; and Xenophon com¬ 
pares it to a horfe’s-hoof; whence it rnuft have been hol¬ 
low ; which appears, too, from the figure of feveral other 
things denominated from it: as a bafin, cauldron, goblet, 
cafque; and even a (hoe, fuch as thofe of Empedocles, 
which were of brafs. In reality, the ancient cymbals 
appear to have been very different from our kettle-drums, 
and their ufe of another kind : to their exterior cavity 
Was fattened a handle ; whence Pliny compares them to 
the upper part of the thigh, coxendicibus; and Rabanus 
to phials. 
The Jews had theircymbals, which theycalled □ ; 
or, atleafl, inftruments which the Greek, Latin, and Eng- 
li(h, trandators render cymbals; for as to their matter, 
form, Sec. the critics are wholly in the dark. Le Clerc 
has taken fome pains to prove, that the tzilzelim, which 
ourverfion, after the Septuagint, renders cymbals, were 
only a couple of hollow demiglobes of brafs, or fome 
other tinkling metal, about fix inches in diameter, which 
they ufed to (hake one againft another, like a pair of caf- 
tanets, becaule we find fome fuch inftruments to have 
been in ufe among the ancients, and becaufe the root tzul- 
zal often fignifies to tinkle. 
The cymbals of Bacchus were two fmall brafs veffels, 
fomewhat in the form of a (hield, which being (truck to¬ 
gether by the hands, gave a found. The well-known 
ftatue of the dancing fawn has one of thefe in each hand. 
An inftrument of this kind is frequently to be feen in the 
Bacchanalian facrifices or proceffions reprefented in an¬ 
cient lculpture. It is (till in general ufe in eaftern coun¬ 
tries; and has lately been introduced among the troops 
of almoft all the princes of Europe, on account of its uti¬ 
lity in marking the fteps of the 1‘oldiers with force and 
precifion during their march. 
The Triangle is a little inftrument of iron or fteel, witii 
fides, but open at one corner; and which ferves as an ac¬ 
companiment to other inftruments in a military band, and 
in the ftreets : the performer lupports it by a ring at the 
top with his left hand, and beats it with a fmall iron rod 
in his right hand. At the lowed angle iron rings are 
placed, which by their vibration augment the found. 
Carillons, or hand-bells, are lometimes found ne- 
ceffary in the accompaniment of certain airs; as “Let 
the merry bells ring round,” in Milton’s Allegro; and in 
the chorus of “ Welcome, welcome, mighty king,” in the 
oratorio of Saul. But an excellent and convenient imi¬ 
tation of hand-bells for this purpofe is now produced by 
a fmall keyed inftrument, played like a piano : the tones 
are produced by wooden hammers, which ftrike iron bars 
of different lengths. The harmonica, or mufical glaffes, 
are likewife now inclofed in a box, and played with keys 
in the fame manner. 
It may not be amifs juft to notice a fpecies of carillon^, 
or chimes, frequent in the Low Countries, particularly at 
Ghent and Antwerp, and played on a number of bells in 
a belfry, forming a complete feries, or fcale, of tones and 
femitones, like thofe on the harpfichord and organ. There 
are pedals communicating with the great bells,upon which 
the carilloneur with his feet plays the bafs to fprightly airs 
performed with the two hands upon the upper lpecies of 
keys. Thefe keys are projefting (ticks, wide enough 
afunder to be (truck with violence and velocity by either 
of the hands edgeways, without the danger of hitting the 
neighbouring key. The player is provided with a thick 
leather covering for the little finger of each hand, to guard 
againft the violence of the ftroke. Thefe carillons are 
heard through a large town. Of bell-ringing in general, 
we have lpoken fufliciently under the word Bell, vol. ii. 
and of mufical chimes, as applied to clocks, with the 
method of pricking the chime-barrel, fee the article Ho¬ 
rology, vol. x. p. 330-332. and Plate X. 
Of MEASURING TIME. 
The following are the words in common ufe, as pre¬ 
fixed to pieces of mufic, to denote the ff;«ethey are to be 
performed in : 
Adagio .The (lowed; time. 
Grave .Very (low. 
Largo .Slow. 
Larghetto .Rather lefs (low than Largo. 
Andante .In a marked and diftindt manner. 
Andantino .In a flowing ftyle. 
MaeJloJ'o .Majeftically. 
Allegro .Quick. 
Allegretto .Not fo quick as Allegro. 
Vivace _...... Lively. 
Prejlo .Very quick. 
Prejlijjlmo .As quick as pofiible. 
There are feveral other terms which often occur at the 
beginning of different movements; fuch as Cantabife, 
Pal'torale, 
2 
