Abbreviation (musical theory)

Just like in other marking systems, the abbreviations of the Solfège make it possible to gain space and time.

All the abbreviations are not attached to the interpretation. Indeed, some of them belong to the field of the rate/rhythm, others, with that of the intonation. The passage which is devoted to them is short, and does not present any difficulty: consequently, for purely practical reasons, the comprehensive study of the abbreviations was joined together in this article.

We already met a certain number of solfegic abbreviations: the bonds of eighth notes, double eighth notes, etc; suppression of initial silences of a piece beginning in Anacrouse; the signs of octaviation; etc The majority of the abbreviations are intended to facilitate the reading of a partition by reducing this one and while avoiding as much as possible the nonessential repetitions. The abbreviations are very much used in the overall instrumental music. As they are frequently assigned to some instruments precise, we will be satisfied to examine most current.

Repetition of measurements of silence

In orchestral music, the instruments not playing always all at the same time, their left separate often has long passages of silence exceeding the duration of a measurement.

We know already that a pause centered in a measurement, and occupying the totality of this one, means that this measurement is virgin - i.e., a measurement of silence - whatever the total of its values.

to indicate several consecutive virgin measurements one can use, either the stick of measurement, or sometimes, the stick of pause , surmounted one like the other, of a number expressing the quantity of virgin measurements to count.

Example, for 12 virgin measurements:

Repetition of notes

Very much used in instrumental music, the battery and the tremor avoid the notation of consecutive identical notes.

Battery

The battery is the repetition with very the height, of a note, a harmonic interval or a agreement, on a short value - lower or equal to the eighth note. The abbreviation of the battery joins together the total of these values in only one figure of note - longer, consequently - on which - or under which - as many appear features - the bonds - which there are hooks on the notes to carry out.

For example, a round accompanied by two features will mean double eighth notes - because of the two features - throughout round - the full value - that is to say 16 double eighth notes to be carried out. As follows:

Tremor

The tremor is the repetition of the beat between two notes, two harmonic intervals, or, two agreements. It is indicated in a way similar to the battery.

Example:

Repetition of various fragments

Repetition of fragments lower than the duration of a measurement

When a fragment, drawing or reason must be repeated, one can replace each one of his repetitions by a double oblique feature.

Example:

Repetition of whole measurements

When the contents of a measurement must be repeated, one can replace these contents from two points placed on both sides oblique feature. This sign of repetition is sometimes replaced by the double surmounted oblique feature of a number expressing the quantity of measurements concerned with this repetition.

Example:

Repetition of whole sentences

The signs of recovery allow the repetition of more or less long fragments - superiors a measurement, and until several whole sentences. One distinguishes the da capo , the reference and the bars of recovery .

Da capo

The Italian phrase da capo - i.e. since the beginning, which one shortens in D.C. - states quite naturally that the piece must be begun again since the beginning.

Example:

The da capo is often accompanied by the Italian term Fine - i.e., the fine of the piece - which indicates the true termination of the piece, when one plays this one for the second time. It should be noted that it is often a Point organ - called more precisely in this case, stagnation point - which indicates the ultimate note of a piece.

Example:

Reference

When the sign of the reference is used, this one must appear twice in the current of the piece: all that lies between the two signs of reference must be repeated.

Example:

Following the example da capo, the reference is often accompanied by the Italian term Fine or, of a stagnation point.

Example:

Repeat marks

Two repeat marks - each repeat mark is in fact a double Bar line preceded or followed by two points - frame a fragment which must be carried out twice - the two points of each bar are located inside the fragment concerned.

Example:

If the first of the two repeat marks corresponds to the beginning of the piece, one does not note it. Example:

When a piece contains at the same time repeat marks and a da capo - or a reference -, it is initially necessary to carry out the repeat marks, then only the da capo - or the reference. In addition, it is of use to be unaware of the repeat marks after the execution of a da capo or a reference.

Example:

Installations in the repetitions of sentences

In the event of recovery, da capo or reference, when the end of the two identical sentences differs, one uses the expressions PRIMA Volta and Seconda Volta - i.e., first time and second time -, generally shortened in 1a and 2a , in order to carefully highlight the two distinct fragments.

Example:

Indication of coded

The coded - in Italian, the tail , the fine - is the ultimate fragment of a piece. The sign indicating the beginning of coded is the combination of a circle and sign + , often followed word coded . When the Compositeur takes the trouble thus to materialize the last fragment of a piece, it is generally in order to avoid with the reader of losing in too many recoveries, too many references, etc

Example:

Other abbreviations

It should be noted that the following abbreviations can also be regarded as ornaments.

Arpeggio

A arpeggio is a agreement whose notes must be attacked one after the other and with speed. A agreement arpeggio is usually indicated by a vertical corrugated line. Unless otherwise specified, the notes of the arpeggio must be attacked bottom upwards.

Example:

Wearing of voice

A wearing of voice is a manner of carrying out a melody interval disjoins - equal to or higher than a third -, while making hear all the height S intermediaries between the two notes extreme notes of the interval in question: the passage between these two successive sounds is made in a panchromatic way , i.e., whether the Fréquence increases or decreases gradually without marking various the degrees distinctly fragment of range concerned.

As its name indicates it, the wearing of voice relates to only the human voice, or with the rigor, the instruments natural such as: rubbed cords, slide trombone, etc It is often noted like a nonjoint appoggiatura, or, using an oblique feature connecting the two notes concerned. The progressive change of frequency is usually done before the attack of the second sound.

Example:

Glissando

The glissando is to some extent the wearing of voice of the instruments with fixed sounds such as: keyboards, Toothing-stone, Xylophone, Vibraphone, etc It is represented by an oblique feature connecting the extreme notes of the melody movement to carry out. According to the instrument concerned, this melody Mouvement can be diatonic or chromatic. Here still, the progressive change of frequency is usually done before the attack of the second sound.

Example:

See too

Internal bonds

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