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قراءة كتاب How to Write Music: Musical Orthography

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How to Write Music: Musical Orthography

How to Write Music: Musical Orthography

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دار النشر: Project Gutenberg
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How to Write Music
Musical Orthography

Clement A. Harris
Associate of the Royal College of Organists

Edited by
Mallinson Randall

New York
The H. W. Gray Co.
Sole Agents for Novello & Co., Ltd.

Copyright, 1917

Made in the United States of America


The numbers refer to the Paragraph, not the Page.

Introductory 1
Choice of Paper 2
Scoring 3
Barring 4
Clefs 5
Signatures 6
Notation of Rhythm 8
Placing of Notes 14
Rests 15
Dots 20
Stems 22
Hooks 29
Leger-Lines 36
Vocal Music 37
Open Score to Short 41
Short Score to Open 47
Extracting a Single Part from Score 50
Accidentals 51
Legibility 52
Facility 54
Copyright 55
Proof Reading 56

INDEX, Page 53.

How to Write Music


1.—It is reasonable to expect that a musician shall be at least an accurate and legible writer as well as a reader of the language of his Art. The immense increase in the amount of music published, and its cheapness, seem rather to have increased than decreased this necessity, for they have vastly multiplied activity in the Art. If they have not intensified the necessity for music-writing, they have increased the number of those by whom the necessity is felt.

Intelligent knowledge of Notation is the more necessary inasmuch as music-writing is in only a comparatively few cases mere copying. Even when writing from a copy, some alteration is frequently necessary, as will be shown in the following pages, requiring independent knowledge of the subject on the part of the copyist. (See e.g., par. 28.)

Yet many musicians, thoroughly competent as performers, cannot write a measure of music without bringing a smile to the lips of the initiated.

Many performers will play or sing a note at sight without hesitation, which, asked to write, they will first falter over and then bungle—at least by writing it at the wrong octave.

The admirable working of theoretical examination papers is sometimes in ridiculous contrast with the puerility of the writing.

Psychologists would probably say that this was because conceptual action is a higher mental function than perceptual: in other words, that recollection is harder than recognition.

The remedy is simple. Recognition must be developed till it becomes recollection: the writing of music must be taught concurrently with the reading of it.

This was once the case: music-writing was a necessary part of a musician's education. One may be the more surprised at its falling into disuse, inasmuch as phonography—in the musical sense—is a distinctly pleasant occupation. Without being either drawing or writing, it partakes of the nature of both.

But many points in the writing of music are not now considered to form part of the Rudiments of Music, and are not included in primers on the subject.

Hence the following pages.

While containing some matter which may