ing will depend upon the situation and manner in which it is used. In the preceding little air, My Mother chides me, its character is that of tenderness. But as used in choral music, by Beethoven, its effect is rather that of violence; as may be seen in the following passage, which commences a fugue in the chorus of Babylon is fallen.* Fuga. > > >> >> >> @# I will break her gates of brass This effect is produced upon the violin, by striking the note with a firm and strong bow; which is no sooner commenced, than it is lightened, and falls into a soft and continued sound. Its influence upon the wind instruments is similar to that upon the voice. REINFORZANDO rf, Is the opposite effect: it is the sudden increase of sound, from that of softness to loudness, and is expressed by the characters above. TIME. The art of keeping time is indispensable, and is an attainment of much less difficulty than many suppose. If we consult our internal feelings, we Taken from Beethoven's Posthumous Mass, and adapted to English words by the Author. gather at once a correct notion of it from the vibrations of the pulse, or from our manner of walking. If we listen to the sound of our own step, we find it equal and regular; corresponding with what is termed ordinary time in music. The walking pace of a man may be represented by the following measure 12 2 2 2 4 the heel coming to the ground upon the semiquaver, and the toe upon the dotted quaver. Probably the time in which we walk is governed by the action of the heart; and those who step alike, have pulses beating in the same time. To walk faster than this gives us the sensation of hurry; and to walk slower that of loitering.* The mere recurrence of sounds at regular intervals by no means constitutes the properties of musical time; accent is necessary to parcel them out into those portions which rhythm and the ear approve. If we listen to the trotting of a horse, or the tread of our own feet, we cannot but notice that each alternate step is louder than the other— * We are sooner out of breath when we run in a pace that is not in unison with the pulse, or the play of the lungs; as it is evident these motions in some measure coincide. The heart may be regarded as the interior pendulum which regulates these motions; as the pendulum arms regulate the steps. |