PART

III

no
PA
=o
"CM
=^
|o

Ico

1905

MUSI

1 Fisch

"""

BARY

5>00

ft'

rDDMIKDS LTI

-*0-"70

SOUSSM ANN/POP. METH. VDL3

Presented to the

LIBRARY of the
UNIVERSITY OF TORONTO
by

GARY ARMSTRONG

H.

SOUSSMANN
Complete Method
for the

FLUTE
Revised and Adapted by W.
English

and German Text

PART - O503
I

The Elements of Music. Easy Exercises

PART

II

-O504

Easy Duets for the Formation of Tone

and Progressive Studies

PART

III

-O505

Twenty-Four Grand Studies

COMPLETE - O506

Carl Fischer,
62

0505

COOPER SQUARE. NEW YORK

inc.

10003

POPP

94

H. Soussmann's Celebrated Studies.

Die berhmten Etden von H.Soussmann.
Revised by Paul de

Ville.

C major.

C-dur.
Hebung fr das egale Binden von zwei Noten, ohne die
Vorschlag zu nehmen und sie dadurch in ihrem
Werthe zu krzen. Us muss demnach die genaueste Egal-

Exercise for the legato playing of two notes. Great

care must be taken to keep the two notes exactly equal,
and not to make the first one too short.
The Scales which precede each Exercise must be
it)

be practised carefully, slowly at

increasing speed.

first, with

erste als

itt beobachtet werden.

gradually

*")

Die jeder Uebung vorangestellten Tonleitern sind vor-

her sorgfltig zuerst langsam und dann-schnell zu ben.

1.
*)

358
"O"

-<v

~o~

~rr

--

"TT

~
iX

-
^
^

PP<^>H>

st

^ ^ ^

-e-

__

3p

t%

"

-e-

*<=f>l>P

Allegro, m.m. J=i2o.

'i^mmM

KKIfl-J

Copyright

MCATVI by Carl

Fischer, N.Y.

95

^ ^Jj,JJ^Jji^,jjJJyNj^jJJ^ff9^
J

s^

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'

PJTOjtjj j
i

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>^#

1092

rggg

g.r-ff.

96

A minor.

A-moll.

Exercise in Single Tonguing, by articulating the sound

"Tu In this kind of tonguing the tongue must lie quite
loose in the mouth without touching the palate otherwise the articulation is weakened and instead of "Tu'the
sound Du is produced, which in this exercise would
be wrong.
;

-e-^i
359

ZEE

PP<f>M>

092

n o :x*fete

-e-

Uebung fr die einfache Zunge, durch die Artikulation

Bei dieser Art Staccato muss die Zunge stets frei im
Muride gehalten und durchaus nicht an den Gaumen ge bracht werden, da der Stoss dadurch weinh, und die Artu'.'

du" entsteht, welches

finden darf

tikulation
statt

^ :}W^=^

:9t

bei dieser

Uebung nicht

^:xl

P-^frho o

tl

zss:

97

mmmmrn

r*f

^ Tfr^

S&
^"'"'ifcggg
P=5=

10092

St

Trig rrr bJffi rf'rmfff

jgw^ Trf
r

gj

Trf ri

G-dur.

major.
Hebung fr

Exercise for rapid chromatic passages and arpeggios.

The small notes must be played very

that the principal notes

ue than

is

absolutely

may

(forte)

order

not lose more of their val-

necessary. The divisions

repeated from the Double Bars

should be played

rapidly, in

(II)

at

may be

pleasure;

they

the first time, jp(piano) the

second, in order to acquire clearness and certainty

in

Accorde.

sam herangeschnellt werden, damit

ihrem

Werthe

kann man
(II

Lufer und gebrochene,

schnelle chromatische

Die kleinen Noten mssen an

verliert.

bei einer

Bei

die Hauptnote gleich-

dieselbe nicht zuviel von

Wiederholung

willkrlicher

jeden Abtheilung der beiden

Striche

einmal forte, das andere Mal piano blasen,

beiden

um

in

Fllen die gehrige Deutlichkeit und Sicherheit

zu erlangen.

both styles.

3.
3--

O "

360.

-- ti

*>

o 31 -O
^=^

^^^---^^^
w'
^

_.

^Z=

^^

33=

33=

=V

PP^f>W

33=

Andante, m.m. A 88

^nfr

mi
"if

10092

if
i

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fVUtz

99

10092

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M.

if

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-;

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=Il

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100

E minor.

E-moll.

This Exercise must be played with great feeling and

Muss ausdrucksvoll und mit

attention to detail.

4.
361

gr'sste

Genauigkeit vorge-

tragen iverden.

.Ol^-O..

ii

^
i.PP^f^PP

p "

jM?r

n*

.Its*

\'

X^v^

tefc -e- Q_
=s^ "i^t "

=^

V "?,"
V

Scttcr^jgi
Adagio. m.m.^=88.

er esc.

.flfjftf?
/

flgijfl f |tff flrr

I00M

qgLa Lr^dr'^
l

101

jtlt^tnit:

10093

EE^'j;

major.

D-dur.
Das Staccato

The staccato in this Exercise is quite different from

N? 2. Hold the tip of the tongue between the
teeth, letting it touch the lips; then draw the tongue
quickly back, still keeping it pointed. By this means

gnzlich ab.

that in

Uebung weipht von dem in X?2.

Zunge spitz zwischen
den

halte die

Zhnen an den Lippen, und ziehe sie schnell, aber

wieder zurck so wird dadurch ein

spitz gehalten,

pronounced staccato will be obtained.

a very

in dieser

Man

stets

sehr

Staccato entstehen.

scharfes

.:
^Al..
t>ixa^^z-VF ^ii^ Ai=$Z=
->-

362

4
''

^ ^

-<rV JCE

-e~

V* rt

--

\s'

-n

" " oa
\y

jfl^J

Alleg

rc .M.5

L
JPtua

9-

f=

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v--^

-Psem pre

//"

ff

# kj^

'

st acc art 1.

***

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ss

f e

gl ft

- f

1*

ad
Lfflj

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-

f-

*f

1*
-

#e^%

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gs s

mwiuI
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-

P* B SfWlfl/l^LLfl'cLd^
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HP

d^gifl

b.

p #
'

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iOO'.t

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t-

11

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m
^=1'^

staccato.

vmiL

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f f f f

^JfifJJ
-p

$-I

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10092

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104

minor.

H-moll.

The notes marked thus A must be very strongly acMelody into proruin ence; by this means an Effect is produced as if two
instruments were playing together. An example of this
centuated, in order to bring the

wi^l be found in

N?

363.

jj

Noten die mit A bezeichnet sind, mssen

" xr -o

oR

; =

um

dadurch den Gesang her

Dasselbe ist der Fall z.B.

voci.)

4.

^
^ <*
= U

^h

--

"

y*

o
1

PP<f>PP

,^^m

Allegro vivace. M.M. J

4
1009J

vorzuheben; es entsteht dadurch getoissermassen ein zwei-

stimmiges Spiel (a due

im Adagio N?

4.

6.
-&-

Diejenigen

sehr scharf betont werden,

144

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g ~^
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4

r#-A
a-:>a
rA
r* r-y-^

r*->

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105

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10092

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A
.

f"r A f"~* f"

~A

106

A
Exercise in

Double

major.

A-dur.

Tonguing by articulating

the

Hebung fr

"Du-ke." Each of these two syllables must be

given very evenly and clearly, in order that this me-

di-cke." Beide

sounds

thod of Tonguing

may resemble

as far as

possible

the ordinary staccato.

364.

Doppelzunge durch die Artikulation

(am
Gaumen) mssen sehr gleichmassig und scharf artikuliert
werden, damit diese Doppelzunge dem einfachen Staccato
gnzlich gleich komme.

o
3r o "

u. 331

die

Silben, soivohl die erste als' die zweite

<\

<e-

43-

SL .

f^Su: ^

^^-e- _ -o-

v^:-

pp^f=~pp

Allegro. M.M.J =

i2o.

"

Vr

stmpre staccato.

du-ke,du-ke
di-ckedi-cke

C&frjr

intl'.ri

-- il

ri freEf

ii

107

mW ftm&

frtm ^m'

100 92

108

Fis -moll.

F# minor.
Exercise

in the

Shake on

all

notes of the Chroma-

Eine kurze

tic Scale.

Uebung der ganzen Chromatischen

Tonleiter

8.

365,

Triller-

"tt

fefe^^:

<&*
-o^-

fcs

Ai.^.

^.

^ D tl J^ "
O
!e

4*-e^ rn

PP<.f>VP

Allegro. m.m.J ;iie

tt

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mf

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Lag

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it

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109

um

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i.

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110
.

E major.

For acquiring clearness

in the

E-dur.

execution of rapid Chro-

matic Passages.

-o-

a=S^

PP<f>VP

loo

in

chromatischen - Tonleitern

= = ^^a^
^v
^^=
^-^~
~
^^-Q...

9.

366

Bezweckt die Deutlichkeit

bei geschwinden Passagen.

o "

*>
*

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g-n -o-

" o

--

ill

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10092

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112

CH minor.
For acquiring certainty

in

Cis-moll.

passages of <V4 time.

Eine Uebung

um

in de?n

Fnfvierteltakt Sicherheit zu

erlangen.

10.

367.

9
o U.^to"
v

^ ^;

TT oj

MK^=^f^^o^"""Pn
v

"q q -e=n

jg V " o o
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-

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[^rTOMHicMr^MEf
w

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i*r c rffff

^rrf ffrf ir-rrr rf if rig g

^P^ifrr, rffW ff|%

ill in

^ u
m

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i

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10083

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,

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114

B
Exercise

in

major.

various kinds of legato phrasing, in quick

H-dur.
Uebung der verschiedenen Bindungen im schnellen Tempo.

time.

0^m
Uiti'.r-i

115

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^ffi Jflg

'

rrr'rriEdfl-

10092

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116
Gl

minor.

Gis-moll.

Special Exercise in the kind of Tonguing which canonbe executed by the articulation of the sounds "ta-ra'.'

Ist eine ganz eigene Uebung fr die Zunge welche nur

durch die Artikulation"ta-ra" ausgefhrt werden kann,
und von grossem Fortheil ist, indem die gewhnliche, ein fache Zunge bei etwas langen Passagen in dieser Art der
Figuren zu leicht ermdet.

ly

or "tu-du

This method will be found of great advanTonguing becomes too

Passages of length.

tage, since the ordinary Single

fatiguing in

#s x i='fells

Pointed Tongueing.

Allegretto, m.m.

ta-ra

J--02.

ta

ra

tu-du tu

du

ta-ra
tu-du

ta-ra
tu-du

ta-ra
tu-du

ta

ra

tu

du

pm
intgr

rffttfr

%trfh

$i% tf

#Mj
j
10092

hn r r

j pd

117

cresc.

10092

118
Fis-dur.

F$ major.

Hebung im Neunachteltakt. Eier muss man ganz

Exercise in 9/8 time. Special care must be taken not to

make

besonders

den Achteln keine Triolen gemacht werdarauf

Eilen
und die Folge davon ist Undeutein
sonst
entsteht
den,
Passagen.
den
lich keit in
sehen, dass aus

Triplets out of the eighth-notes; otherwise,the piece

and the Passages fail in clearness.

will be hurried

13.

Allegretto. m.mJtss

^VwIJflfff Tff
i

mf
f
'
-

10092

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fW

iWP

im

ff

ni

'

.^.ifljff fT'f ?
l

^^f^ m

Jf

'

% jj^gtei
i

119

.^.ggigte

^vfl jjflto

^l

i^f

y^

^
fW

w^\ M
te*
\\

ffrp n jrr

cresc.

10092

rr

dim.

tefe*te

130
Dis-moll.

D# minor.
Exercise for the use of all-the Keys:

played with Double Tonguing.

it

can also be

Hebung fr

alle

Klappen, auch kann man dieselbe ab-

wechselnd mit der Doppelzunge blasen.

^aggllfggsfe^

10092

131

An

J^^ ^ii^J^ ^^ J^^Jg ^

i

jffjsiffift
x#V*-

< '"V

10092

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122
D!>

Des-dur.

major.

Exercise in the appoggiatura or Grace -Note; these must

be made very short, in order to give particular prominence
to the principal notes. The appoggiatura is merely an accessory note,

which must, however, be

Ist eine

an

die

Uebung fr Vorschlge. Diese mssen sehr kurz

Hauptnote herangeschliffen werden, damit solche ganz

besonders hervorsticht,

denn die Vorschlge

selbst

bezwecken

nur eine Art begleitende Stimme, welche jedoch immer sehr

deutlich zu hren sein muss.

quite plainly

heard.

Allegro, m.m. ^=100.

ipw f

r
yfe^.t.*.*

iL- -itititt^^P-ff-T

10092

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"-

r 'r T. *-f

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*-T *-f
i

*f

*-

J
r -f

V- P^t-

123

^m

^= ^ ^jfj'f

|^

kchr

c^

J>

*f *

,.r

^^^^

Jif

#-

Tf

-r

f *r ^rJJT *-f >f

>

,.
!,

f
>

r ".f >f

TffJj r

^fep^ifl^QjIg
^>i
m=
t^
SI

m^

nfiftfjf

rJ lr
^r p~ -

jr

t *f i^DJNfibr tr
J

p Jlt JLr ftfrrf

if
,j
r f f jffijp^

^ A 4L
r^EvizJ

^yTTT^r ^-r^ 4sw

pl ;sgg

*=l

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i-

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f V+f >
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jffi^feftfr f

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^trr-Mfon

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. .f

^ft r 'L f

fcei
JTJTfll>

r> ,
j^fjyfcfg-

i r ^fJT

^T^Pj^r^f,
^

^ ^^fTntf^F^
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124
Bl

B-moll.

minor.

Exercise in sustained notes;

strict attention to

diminuendo streng zu beobachten

16.
373.

#
fih

Uebung in langgehaltenen Tnen wobei das crescendo und

be paid to

crescendo and diminuendo.

P ii
V^o 3E
PP^f>PP

ist.

7-^H?n

" ^-*
-.<
iininj^-^-

-- rr:

PIT,fe

-<3S

Largo, m.m.

#*f

r>ttl

J. = 4*.

r_r

r IIUJ

n^f f-^
i

u.jn-^

ff

1-

ftfff
i

i^rir

fij

nftfff

l|fc

J.

Fffffiffffrflff

f P

YfiWrrfri-

i.'^fffTf
BE'.'

dimin.

dim in.
*r.

SF-^F?
\\ rrf[fjrr

1009

f Tflfc-j'fl

^g|

^gj

//>

2T

M=C
er esc.

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d J

fa

'

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JT

r==+

^pff^

125

te

p^

#rmrff

;L
I^W'

/"^-

r-

h J.

^irrruJ.i^jTi

ts^-

cresc.

i'iT

rjrri^fif
JU
S
^^^Jl^vLi
-

J.

ff

je

>^

"r

f^

f~fJT

p dolce.

dimin.

cresc.

'iTt rir-r|t-frrii

P dolce.

cresc.

^^?U^^
u.^
Ui i,rVi

rtf|

ll

'

^J

^Mggi^n^ '^wii^^fe^s-ifl^-^i^ &t jif

crescendo.

&S

!=ilsite

-ffffff

^f Ttfffti^f ftgoiift r?v

^

l|

r^n]T

l|

rrr'^F=3?

crescendo.

crescendo

mfc

t p.l

-rn Muii ^r'^rv^frf

2
'

lT">-

^TT"

0m

ypp' i

p^

-p-

j v.TTTjjLLa
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i
i

ai

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<3
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crese.

2-

r> f hp^.
T r
F-

'

dimin

dimin.

10092

P dimin.

PP smorz.

126
major.

A|>

As-dur.

Exercise in Triple Tonguing,by the articulation of the

sounds keh-tu-keh, tu-keh-tu. In this exercise care must
be taken to preserve the most perfect evenness in the ar-

N?

ticulation of each syllable, just as in

ferent Staccato tonguings,

Uebung fr

Trippel- Zunge durch die Artikulation

di-ke-di ke-di-ke." Bei dieser

strengste Gleich?nssigkeit

7. All these dif-

Double Tonguing "du-keh','

Pointed Tonguing "ta-ra" and Triple Tonguing "keh-tukeh "tu-keh-tu will be found of immense advantage, especially for those players who are not naturally
gifted
with a flexible tongue. By means of these
staccato
Tonguings a good lasting-power is acquired, with a
little practice, and the longest pieces can
be played
without fatigue.
J'

die

Uebung muss ebenfalls die

im Ausdrucke der Silben beobachtet werden, so wie es der Fall war bei N9 7. Alle diese ZungenStaccato's, als z.B. die, Doppel- Zunge di-cke die PunktierteZunge ta-ra und diese Trippel-Zunge di-ke-di ke-di-ke enthalten unendliche Vortheile, und namentlich fr diejenigen
die von Xatur aus mit keiner leichtert' Zunge zum Staccato
begabt sind; denn vermge dieser Zungen Staccato's kann

e. g.

J'

man (hat man nur erst einige Uebung darin,) eine grosse
Ausdauer erlangen und die lngsten Piecen damit blasen
ohne,

zu ermden.

SS^Sfig
Pi Allegro, m.m. J:ss.

* ^
P

| ^^ccr

keh - tu - keh
ke - di - ke

keh - tu
di - ke - di

tu

w m

fei*

-3-

3-

-3

ccrCEr'i^c^ ig|irffl^itocff

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ipncrm
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s
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188

F-moll.

minor.

Exercise in legato octaves;

it

Debung in gebundenen Octaven. Auch kann dieselbe Stacnur mit der einfachen Zunge wie

can also be played staccato,

but only with the ordinary Single Tonguing, as in

N?3.

cato geblasen werden; jedoch

bei

N 2.

18.

375.

^^

L.

o H^ p

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1

= ioo.

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47

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ISO
El>

major.

Es-dur.

Exercise in Arpeggios, or Broken Chords, giving the

The greatest clearness, evenness and
accuracy must be observed, in order to avoid treating

Uebung in gebrochenen Accorden, gleichsam dreistimmig,wo

effect of three parts.

any one of the notes as an appoggiatura

in N?8.)

*9

was

o
feHi o "
., n

41

'

-fcV

the case

--

_Q_

und

Gleichmassigkeit statt

um

auch nicht eine einzige Note als Vorschlag

(wie z.B. der Fall bei N? 3 war) zu betrachten.

finden muss,

^mt^^ltsi

376-

(as

die hchste Deutlichkeit, Accuratesse

o o

o " o
"

&xf>PP

Allegro. m.m.J =

ii2.

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182
C-moll.

C minor.
Exercise in the Turn and the Mordent (passing Shake.)
The Tonguing for the middle part of this Exercise is got by
the articulation of the sounds "dee-deh'.'

20.

377

iS

r,

ott ol"

fr-i

'"f

o-

-t*

IE

Uebung fr Doppelscklge und Pralltriller.

wird mit der di-de" Zunge geblasen.

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IQ. *>

ET gTf

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Mittel-

M Q TT
*

"

Der

satz

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184
Bl

major.

B-dur.

Exercise in the Shake on long- notes in slow time.

81.
378.

" o
O 3t oV^

fi.^:^:

f*

Eine Triller-Uebuvg fr lange Noten im langsamen Tempo.

^=u*

ix

fi- -o-

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S_

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>

pp^f>&>

Poco Andante. m.m.J = 88.

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135

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136

G minor.

G-tnoll.

Exercise in the Staccato tonguing explained in

N?

Uebung fr den nmlichen Zungenstoss

5.

als in

N? 5

22.
379,

\^-

n^

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ix

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lr

rail.

Moderato.

Allegro, m.m. J=

io4

if

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AA

loosa

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bf9

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.

187

A.

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188

Moderate

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mmii^
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con bravura

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F
In the style of 9

140

major.

F-dur.

Concert Piece

Uebung in der Art eines

Concert- Satzes.

23.

Allegro brillant, m.m.

.-

10062

sunore

rf.

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f .^f BJpJBJ J
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142

D
Exercise

in

minor.

3EI

Hebung in auf und absteigenden Figures

ascending and descending Figures.

24.
381.

D-moll.

iPP<f>PP

-o- Tl~

*;. ?

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^^

>

>^

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t;*il>.

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143
Presto, m.m.

3^

J.-

138

wM&hm^ft^gm

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Words used

List of the Principal

With

to, In or at; a tempo, In time

Gradually increasing the speed
Emphasis on certain parte of the measure
Slowly leisurely
Adagio
Ad libitum Cad libJ At .pleasure: not in strict time
To Be played by both instruments
A due (a 2).
Agitato
Restless, with agitation
In the style of
AI or Alia
Alia Marcim .... In the style of a March
Diminutive of allegro; moderately fast, lively;
Allegretto
faster than andante; slower thin allegro
Lively; brisk, rapid.
Allegro
Allegro assai .... Very rapidly

Accelerando
Accent

(accel.).

Amoroto
Andante
Andantino

At pleasure equivalent to ad libitum

.Impassioned
A Broken chord
Very; Allegro assai, very rapidly

piacere.

Appassionato.
Arpeggio
Assai

Attaeea '.'.'.'.'. .Attack or Begin what To Howe without pausing

Barcarolle
A Venetian boatman song
Twice, repeat the passage
Bit
bold; spirited
Bravura
Brilliant;
iant
Brillante
Showy, sparkling, brliai
Brio, con
With much spirif
Coden*
An elaborate, florid passage introduced
as an embellishment
Cantabile
In a singing style
Cantons tt
short song or air
Capriccio a ... .At pleasure, ad libitum,
Catalina
An air, shorter and simpler than the aria
and in one division, without Da Capo
Chord
The harmony of three or more tones of
different pitch produced simultaneously
Coda
A supplemental the end of a composition
With
Col or eon
Crescendo (erete.)
Swelling; increasing In loudness
From
Da or dal
Da Capo (D. C.) .From the beginning
Dal Segno (D.S.). .From the sign
DecrescendofdecrescJBeeTeaing in strength
Diminuendo (dim.). Gradually softer
Divisi
Divided, each part to be played by a separate Instrument
Dolce (dot.)
.Softly; sweetly
Doleissimo
Very sweetly and softly
Dominant. .... The fifth tone in the major or minor scale
Duet or Duo .... A composition for two performers
.

^^

And

Elegante
Energie o

Elegant, graceful
rously
.Alike in pitcu, _ different in notation
With expression

With energy

Enharmonic

Etpretsivo

The conoludinjr movement

The end
Loud

vtnale
fine
Forte Cf)
forte -piano (fp)

Accent strongly, diminishing instantly to

piano
.Very loud
.Indicates that a note or chord is to be
strongly accented
Force of tone

fortissimo (ff).
forsando(ff=~)

.
.

forta

fuoeo,eon

With

fire; with spirit

Joyously-, playfully
Exact; in strict time

Giocto
Oiutto
Orandioso
Grave
Oranioso

Harmony

Key

note

Largamente
Larghetto

Largo
.

Grand; pompous; majestio

Very slow and solemn
Gracefully
In general, a combination of tones, or
chords, producing music
The first degree of the scale, the tonio
.Very broad in style
Slow, but not so slow as Largo; nearly
like Andantino
Broad and slow; the slowest tempo-mark
Smoothly, the nvene of staccato
A small added line above or below the

Legato.
Ledger-line
.

staff

Lento
Eistesso tempo.

Loco

Ma

%
Maggiore

1
U 0h
:fe^e /t'ic%?aig nifTe d
Major Key

Marked

Marcato

Messo

Slow, between Andante and Largo

In the same time, (or tempo)
Ln place. Play as written, no longer, an
octave higher or lower

But

a n
tr0pp0
ae sX.o

Meno
Meno mosto

LeSB
.

.Less quickly
Half; moderately

Metzo-piano (mp)

"

Moderately. Allegro moderato, moderately fast

Mnch; very

Molta

Sy^S
W.
Equivalent to

Mbrendo
Mosto
Mbto

rapid. Piu mos so, quicker.

Motion. Con moto, with animation

No

Not
The art of representing musical sounds
by means of written characters

Notation
Obbligata

An

Opus (Op.)

work.
Or; or else. Generally indicating an

indispensable part

easier

method

.To be played an octave higher

Pause
(/T\) .... The sign indicating a pause or rest
Perdendoti
Py"> ^7 gradually
At pleasure
Piacere, a
.Very softly
Pianissimo (jap)
Qttava (*a).

...

Piano
Pi

(p)

.Softly

More

Pi Allegro

.More quickly
Quicker

Pi tosto
Poeo orunpoeo. .A^tttle
.Gradually, by degrees;
Poco a pc
poco.
faster
le fas'
A little
Poeo piu
)iu mosto
.

Poco meno
Poeo piu
Poi

A
A

little

by

little

little slower
little faster

Then; afterwards
Pompous; grand

Pomposo

Prestissimo .... As quickly as possible

Presto ........ Very quioi: faster than Allegro
The first
?rimo JlW).
A piece of music for four performers.
luariet
Aa ff in the style of
U.
for five perA piece of music fo
tintet.
formers
Rallentando (rail .) Gradually slower
Repetition. Sen%a replica, without
Replica
repeats
.

.With special emphasi*.

Rinformando,
Ritardando (rit.) Gradually slower and slower
.

Ritoluto
Ritenuto
Sehernando.
Seeondo (249)
.

Resolutely; bold; energetic

In slower time
.Playfully; sportively
.The second singer, instrumentalist or

on in similar style
Simply; unaffectedly
Without. Senta sordino without mute
.Forcibly; with sudden emphasis
Follow
low

Segue.

Sempliee

Sfortando

(/).

Simile or St mili. .In like manner

Smarsando (smon) Diminishing in sound. Equivalent to

Morendo

For one performer only. Soli; for all

Con sordino, with the mute
Sustained; prolonged.
Below; under. Sotto voce, in a subdued

Solo

A mute.

Sordino
Sostenuto
Sotto

tone
Spirit, eon Spirito with spirit
Spirito
Staccato
Detached; separate
Stentando
Dragging or retarding the tempo
Stretto or stretta. .An increase of speed. Piu ttretto faster
Subdominant
.The fourth tone in the diatonic scale
Syncopation .... Change of accent from a strong
stroi beat
to a wea.k o;
Taeet
/is
"Is silent" Signified
signified that an instrument
Sr vocal part, so marked, is omitted
uring the movement or number In question.
Tempo
Movement; rate of speed.
Tempo primo
.Return to the original tempo.
*
Tenuto (tend
' the full value.
.Sld
Thema or Theme . .The subject or melody.
Tonic
The key-note of any soale.
Tranquillo
Quietly.
Tremolando, Tremolo A tremulous fluotation of tone.
Trio
A piece of music for three performers.
Triplet
A group of three notes to be performed
In the time of two of equal value In the
regular rhythm.
Troppo
Too; too much Allegro ma non troppo,
.

<

tti

an
n.
,

Una eorda
Variations
Veloee
Vibrato

not too quickly.

All) all the Instruments.
A, one, an.
On one string.
The transformation of a melody by means
of uurmonio. rhythmic and melodfo changes
and gmbe lliahmen ts
ulo _,, rap*. _.
wavering tone-effeot, which should be
imnrintr'
sparingly used.
.With vivacity; bright; spirited
.Lively;, spirited.
Turn over quickly.

Fivaee
Vivo
Volti Subito F.S.
.

Moderately soft

Minor Key

Minore
Moderato

Ossia

Affectionately

In moderately slow time

Diminutive o fandantes strictly slower than an(Luae but often used
the reverse sense
With animation
,

Anima, con
Animato

Modern Music

in

their Abbreviations and Explanations

^^2
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ISBN 0-8258-01 95-8