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X. § 114.] ESTABLISHED MUSICAL NOTATION. 211
this criterion is very completely satisfied shall now be briefly described.
114. The old Italian singing-masters denoted the seven notes of the Major scale, reckoned from the key-note upwards, by the syllables
do, re, mi, fa, sol, la, si, pronounced, of course, in the continental fashion. So long as a melody moves only in the Major mode, without 'chromatic' notes or modulation, it clearly admits of being written down, as far as relations of pitch only are concerned, by the use of these syllables. The opening phrase of'Rule Britannia,' for instance, would stand thus:— sol#, do, do, do, re, mi, fa, sol, do, re, re, mi, fa, mi.
In order to abridge the notation, we may indi­cate each syllable by its initial letter. The ambiguity which would thus arise between sol and si is got rid of by altering the latter syllable into ti. In order to distinguish a note from those of the same name in the adjacent Octaves above and below it, an accent is added either above or below the corresponding initial. Thus d' is an Octave above d; d/ an Octave below d.
Where a modulation, i.e. a change ,of tonic, occurs, it is shown in the following manner. A note
* The asterisked sol is to be sung an Octave below that not thus marked.
14—2
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