Tongue

1 (noun). Same as Reed; but, in the so-called reed of an organ pipe, the fonguc is the vibratile slip of metal producing the tone—2 (verd), To employ the tongue in producing, modifying, or interrupting the tone of certain wind-instr.s... Tonguing, the production of effects of tone, on wind in str.s, by the aid of the tongue. Single tonguing, the effect obtained by the repeated tongue-thrust to the nearly inaudible consonant ford; Double-tonguing, that obtained by the repetition of tk; Triple-tonguing, by t & t; etc. With reed-instr.s, single-tonguing only is applicable. Ton‘ic, (Ger. 7o’nika; Fr. tonique; It. to’nica.) 1. The key-note of a scale.— 2. In the new system of harmony, the tonic chord (in C-major the major triad on C; in C-minor the minor triad on C) is designated as the tonic. (Comp. Phone... Tonic chord, one having the key-note as root... Tonic pedal. organ point on the key-note... Tonic section, a section or sentence in the key in which a composition began, with a cadence to the tonic of that key... Tonic Sol-fa, a method of teaching vocal music, inv. by Mi Sarah Ann Glover of Norwich, England, about 1812, and perfected by the Rev. John Curwen, who became acquainted with the method in 1841.—Its formal basis is the ‘* movable-Do" system; the 7 usual solmisation-syllables are employed, but Englished as follows doh ray me fah soh lah te; 204 TON ‘each is represented in notation by its initial letter (dr m etc.), to which a vertical dash is added above or below when a higher or lower octave is entered; thus dd! in a soprano far wot be eve eae lent, in G-major, to For teaching the tones and modulation, these tone-names are arranged in a ‘musical chart called a Modulator: di fl t— m —! 1 - fF —s s — DOH! —f TE —m f te le m — LAH r la ae r —SOH —d ‘ba fe t d — FAH t+ —ME —1, mare 4 RAY —5 de s — DOH —, t —m, f m— ho 1 —- 3 dg ts q4—-f — t — m —ih This arrangement shows the exact position of each tone in its relation to the key-tone; in fact, the fundamental principle of the method is key-relationship, and that the character of every GOD SAVE T (Amer: Key A. S Jd: dior] rd: cols: yt hls re fea: God save ourlgra - clous Queen Te. jm: di: £]r terroir Bid: om: fils ces ty (My coun try,!"tis of thee ic. tone is decided by the relation which it holds to its tonic, the name Tonic Solfa signifying “‘solfaing according to the tonic pee The system of tonic sol-fa insists upon the mental effect of each tone in relation to the tonic, i. e. the pupils are taught to recognize the tones of the scale by observing the mental impre ions peculiar to each.—The parallel columns of the Modulator show the relation of key to key, and may be extended through all the sharp and flat keys, the former tying to the right, the latter to the left of the central column. Sharped tones take the sharp vowel ¢, flat tones the broad vowel a (ah). In modulating, so-called bridge-tones are added in the notation in the form of small letters indicating the relation of the modulating tone to the key just left, the large letter showing the relation of the tone to the new tonic; thus *d means, that sof of the old key is doh of the new, as in modulating from C-major to G-major. For a mere chromatic pa ing-note, however, or a transient modulation, the chromatic syllables are employed In the printed notation, equal spaces represent equal times, and fractions of time are shown by fractions of space; the beats (‘ pulses”) are represented by regular intervals of space. A thick bar marks the pe accent (strong pulse); the weak pulse is preceded by acolon; a shorter bar marks the secondary accent; a dot midway in a pulse space marks a half-pulse; and quarter pulses are marked by commas. The continuation of a tone is indicated by a dash, while a rest (silence) is left simply as ablank space.—In lieu of protracted explanations, the hymn “ America” is here appended in the Tonic Sol-fa notation: