Terztone

Third tones: (terts'-ta-ne) Ger. pitch tones whose n. are appearance to an upright piano. Instead of operating hammers which determined by reaching them through strike the strings the keys pre the skips of two and a half degrees above strings against a rosined cylinder of or below the standard tone, C. India rubber, which is kept in motion te iture by means of treadles. Variety in the Literally, the web: the average pitch volume of tone is obtained only by of a composition or of a part of it. regulating the pre ure of the fingers The idea is that this pitch runs upon the keys, through the piece like a web. tetrachords, conjoint testa (tes'-ta) It. n. In Greek music, scale divisions con- Head: the upper register of the sisting of four tones in which the last voice, the tones of which are pronote of one tetrachord, is also the duced in the head. first note of the following tetrachord. tes to (tes'-to) It. n. tetracordo (tet-ra-kor'-do) Text: the text, subject or theme of A scale division of four It. n. succe ive a composition; the libretto of an notes that was used as a unit of opera; the words of a song. When measurement in Greek music and the words of a song are well written it is said to have a good tes to. early plain-song. The tetrachord used in plain-song comprised a perfect testudo (tes-tu'-do) Lat. n. fourth, or an interval of two and a A name which the Romans gave to half tones. In Greek music the ext he lyre, an instrument whose distreme notes are fixed, but the middle covery is based upon a mythological notes are varied according to mode. story. The god Mercury is said to have found upon the sand a tortoise Equivalent to tetrachord and tetras hell acro which the sinews had corde. been stretched taut by the wind and tetrad sun. The word testudo alludes to the A name suggested but not widely tortoise shell. See also Mercurian lyre. adopted, for the chord of the seventh; tete (tet) Fr. n. the chord composed of the first note Head. of a scale plus its third, fifth and 1. The head of a note. seventh, that is, the notes four half 2. The beautiful curve that term in steps, seven half steps and eleven ates the head of the violin. half steps above the key note, tetrachord tetra diapason A scale division of four tones that The interval of four octaves, was used as a unit of measurement tetrameter (te-tram'-e-ter) Eng. adj. and n. from Grk. in Greek music and plain-song. The tetrachord used in plain-song com- A line feet. metrical of poetry consisting of four prised an interval of a perfect fourth, or two and a half tones. In Greek tetra phone music the extreme notes were fixed, An interval embracing three whole tones. but the middle ones were varied according to mode. tetrachordal system tetra phon i a (tet-ra-fo'-ni-a) Lat. n. Very early music written in four The early form of the Tonic Sol-fa system. tetra tone tetracorde (tet-ra-kord) Fr. n. parts. A scale division of four tones that An interval including three whole tones. 541 522 the third inversion the (tha) Grk. n. theoricien (ta-o-res-yan) Fr. n. One of the four words of the Greek A theorist; one versed in the theory theoretical side of music, sol-fa system which corresponds to the lychanos or third sound, of their unit of four sounds, called tetrachords. The science of music: the princi- Theil (til) Ger. n. ples governing sound and its produc- Part; divisions of a measure; a tion, as used in the composition and phrase, strain or component part of production of music. a piece; a composition. thesis (the'-sis) Grk. n. Theilton (til'-ton) Ger. n. A putting down: an ancient name Part tone: the simple sounds or for the down beat of baton or hand, overtones which in composition with which denoted the accented part of a the fundamental sound form tones. measure. Thema (ta'-ma) Ger. n. theurgic hymns thema Greek hymns of supposedly Egyp- Theme.(the'-ma) Grk.theme, See also n. tian origin, and the first of which we thematic composition have any account in Greece. They thetnatic development are songs of incantation, such as those A style of writing counterpoint in ascribed to Orpheus, and were per which one or more themes first apformed in mysteries on the most pear in one voice, perhaps the solemn occasions, soprano, and are then repeated with theyau or without variations, in the alto, See tarau. tenor and ba . The themes are the thin most e ential feature, An adjective used to describe tones theme both vocal and instrumental which Often used in the meaning of the are lacking in richne and fulne general idea of a composition, but and are of poor quality, also harmony strictly, it refers to the extended sub that is meager and scanty. ject which forms the groundwork of thiorbo a composition. The several pa ages An instrument extremely popular in which constitute the theme are ret he Seventeenth Century. It was a peated over and over with variations. large kind of lute, having a double The or be (ta'-6r'-be) Ger. n. neck and two sets of tuning pegs, the or be (ta-6rb) Fr. n. the lower set to hold the strings that theorbo (the-6r'-bo) Eng. n. lay on the fretted finger-board, and An instrument popular during the the other to hold the ba strings so Seventeenth Century. The body was that they did not lie against the finger pear-shaped, and with the extended board but were used as open notes. neck constituted a total length of It was much used to accompany the about four feet. The long neck was voice. The same as theorbo, fitted with two groups of pegs for third fastening the strings. One group was An interval between any tone or a situated near the extreme end of the scale and the next but one above or neck, and the other was nearer the below it; it comprises four half steps. body. The first accommodated longer third, diminished ba strings, thus affording a much Is equal to two half steps and is of deeper tone for the instrument than rare occurrence. It is a half tone le if all the strings had been of one than the minor third. length. The increased volume of third flute sound made it an important member A flute that sounds the notes the of the orchestra. The two groups of next but one tone above that in which pegs gave it the name of double they are written. necked instrument. There were other third, greater # large varieties having two necks, and of a major third or all were nothing but enlarged lutes The interval two whole tones. called into existence by the desire for third inversion more volume of sound. Theoretiker (ta-o-ra'-tT-ker) Ger. n. A term referring only to chords ot A theorist: one versed in the the seventh, which are chords com theoretical side of music. posed of a root, or fundamental tone, together with its third, four half tones 542 threnody 523 third inversion from it, its fifth, seven half tones from ba and denoting the intervals to be it, and its seventh, eleven half tones observed. See chord. The practise from it. In the third inversion the originated in Italy about the Six seventh is in the lowest position, all teenth Century and was called ba o the other members having been in continuo, or continuous ba , hence verted an octave. thoroughba . A perfect knowledge third, major of harmony is e ential to play from The major third is equal to four a score prepared after this fashion. It half steps. was employed for two centuries in third, minor writing organ scores, and even now Is equal to three half steps, some organists prefer to interpret manuscripts so written. In fact, such third position productions may be considered more The left hand moves up toward the bridge, and the forefinger pre es effective than when played from the the same place that was pre ed by more modern scores, where the or the third finger in the first position. ganist is allowed no opportunity of third-shift interpretation according to his own One of the positions of the left taste. At present thoroughba is used only in teaching musical theory. hand on the finger-board of the violin. In the third shift the first finger is on Before acquiring a sufficient knowlthe note B. This is also called the edge of harmony the student must double shift, but the term position is devote much time to analyzing music. now more often used and the third This consists of writing under each shift corresponds with the fourth pochord the figures which would in dis it i on. cate it according to thoroughba . third stave The practise tends to make him familiar with the construction of any chord The name given to the stave upon which he may meet in music. which is written the pedal music that is played by the feet in organ playing. three-eighth time third-tones Having three eighth notes or their Tones an interval of a third, or equivalent, to a measure. three diatonic degrees above other three-four time tones. That kind of time in which a me as third voice ure requires three quarter notes 3 The tenor, or an equivalent; written 4 thirteenth three-one time An interval composed of an octave That kind of time in which a me as and a sixth or nine half steps. It ure requires three whole notes 3 contains thirteen tones. or an equivalent; written lor 3 thirty-second note three-step A note r\ 1JULC having a thirty-second lie of The ordinary Viennese waltz, the value of a whole note; danced with gliding step in threelso called a dem i semi four time. quaver, because it is one three-time half as teenth long note. as a semiquaver or six in which the num- Triple time:to time a measure is divisible thirty-second rest ber of beats A rest equal in time value to a 3 by three. three two time thirty-second note, or demisemi- 7 in which a me as quaver. Also called a demisemi- That kind of time half notes 3 quaver rest, ure requiring three tho or an equivalent; written 2 threefold chord One of the four words used by the ancient Greeks in their sol-fa system. A chord having three tones: a chord It was the same as the nete or fourth its fift compo sed of ah. third and. note plus x its T sound in the tetrachord. thoroughba dia n. (thre-no'-di-a) threnoGrk. Lat. and A kind of musical shorthand in which only the notes of the ba An elegy or funeral song. were written. The other notes were threnody (thren'-o-di) n. indicated by figures placed above the Lamentation: a song of lamentation; an elegy or funeral song. 543 524 thrice-marked tierce