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Updated: May 22, 2025
He drew forth a huge chart on which all the eighty or so elements were arranged in eight groups or octaves and twelve series. Selecting one, he placed his finger on the letters "Au," Under which was written the number, 197.2. I wondered what the mystic letters and figures meant. "That," he explained, "is the scientific name for the element gold and the figure is its atomic weight.
Tones may be perceived by the human ear ranging from about sixteen vibrations in a second to nearly forty thousand, more than eleven octaves. Only about seven octaves are used in music. The science of acoustics is full of interesting facts of this kind, and is of profound value to any one who would gain an insight into the structure of music. It is unfortunately much neglected.
They represent colors integral colors in the composition of light which we are unable to discern. The human eye is an imperfect instrument; its range is but a few octaves of the real 'chromatic scale. I am not mad; there are colors that we cannot see. "And, God help me! the Damned Thing is of such a color!" From The Boston Evening Transcript Mrs.
One finds almost every technical problem illustrated in these études; octaves, arpeggios, scales in double thirds and sixths, repeated notes, as in number 7, broken chords and passage work. I keep all these études in daily practise, also using some of the Liszt Études Transcendantes, and, of course, Bach.
There should be no such thing as jumping and trusting in Providence to land right, and a curse ought to be laid on those who let their fingers leave the fingerboard. None who develop this fundamental aspect of all good playing lose the perfect control of position. I've never been able to see the virtue of octaves or the logic of double-stops. Like tenths, one plays or does not play them.
The two parts of the second section are a rapturous gaze into the beatific regions of a beyond, a vision of reunion of what for the time is severed. The last movement may be counted among the curiosities of composition a presto in B flat minor of seventy-five bars, an endless series of triplets from beginning to end in octaves. It calls up in one's mind the solitude and dreariness of a desert.
They had just sat through the usual Sunday exhortation. The ladies of the committee ranged themselves so as to make a background of solemn benevolence on the platform, in the middle of which stood a primeval melodion with two octaves and four stops. One stop would have been enough for me, and I needed it later, as you will see. Here I was! What should I sing? I was utterly at a loss.
The mere concord of octaves was a delight to Maggie, and she would often take up a book of studies rather than any melody, that she might taste more keenly by abstraction the more primitive sensation of intervals.
And it is readily conceivable that the accumulated agency of subsequent poet-musicians, inheriting and adding to the products of those who went before them, sufficed, in the course of the ten centuries which we know it took, to develop this four-toned recitative into a vocal music having a range of two octaves.
Indeed, one of Nevin's best songs, "Lehn deine Wang an meine Wang," is actually little more than a vocal accompaniment to a piano solo. His accompaniments are always richly colored and generally individualized with a strong contramelody, a descending chromatic scale in octaves making an especially frequent appearance. Design, though not classical, is always present and distinct.
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