Grove's dictionary of music and musicians

630 SPEAKER-KEYS SPECIMENS
Bennett, of A History of the Leeds Musical Festivals
1858-89 (1892). G.; additions by f. k.
SPEAKER- KEYS. On wind instruments
of the reed family, certain keys are fitted to
facilitate the production of harmonics. These
are known as * speaker-keya. ' Two are usually
supplied on the oboe, and one on the clarinet,
giving octaves on the one instrument and
twelfths on the other. These keys open small
holes by which the continuity of the air-column
is broken, and the setting up of a 'loop,' or
point of least variation of pressure, is made
easy. The theory of the action of speaker-keys
is of much interest in acoustics, but would require
more space for exposition than can be
allowed in this work. d, j. b.
SPEAKING -LENGTH. The pitch of the
ordinary open flue-pipe on the organ is chiefly
determined or controlled by the length of the
portion above the mouth of the pipe, which is
called the 'speaking-length.' Instances, however,
occur in which the speaking-length differs
from the true open flue length. See Stopped
Pipe, Harmonic Stops, and Diapasons, t. e.
SPECIFICATION. The working specification
of an organ consists of a detailed description
of the stops, materials, pipes, action movemente,
etc., and the method of procedure requiring to
be followed in building the instrument. It is
usual to submit the specifications of an organbuilder
to an organist or musical expert for
•
his approval.
t. e.
SPECIMENS, Dr. Crotch's. An interesting
collection of musical examples having for its
title: SpemneTisof various styles ofmusic referred
to in a course of lectures read at Oxford and
London and adapted to keyed instruments hy
Williamt Crotch^ 3 vols, folio, London, Robt.
Birchall for the author. The lectures themselves
were published separately in octavo, and were
delivered in 1800-4 and 1820. The first
volume of this music was issued by subscription
shortly before 1807. The second is dated in
the preface 1808, and the third came out a
little later. The first volume is probably of
the greatest general interest. It consists of
354 melodiesof different nations, some published
for the first time, and others gathered together
from scattered sources. There are a number
of Scandinavian, Russian, Chinese, East Indian,
Native American airs, and the like. The Old
English, Welsh, Scotch, and Irish tunes are
mainly from early printed copies. The contents
of the other volumes are given below ;
they are what Crotch states to be 'Scientific
music, by which is to be understood such as
was composed with a view to harmony.' They
are taken from MSS. and scarce printed works,
and comprise much early Church music. In
the work Dr. Crotch was greatly assisted by a
Mr. Malchair, a clever musician and equally
gifted water-colour artist, who then resided at
Oxford. Dr. Crotch was at that time Professor
of Music at the University. The Folk -Song
Society has lately become possessed of a very
interesting MS. volume of airs noted by Malchair.
It was originally one of a series, and
shows how deeply Crotch was indebted to Malchair
for his * Specimens.' Malchair seems to
have been very learned in national music.
The prefaces to the volumes, besides pointing
out from where the specimens were obtained,
are otherwise of interest.
VOLUME L
SymphoDy to Sommi Dei. Handel.
Symphony to Jealousy. HandeL
Fart of OTertura to Ifig&iie.
Olnck.
Mosea and the Children of Israel.
BCandel.
How excellent (opening). Do.
Who is like unto Thea Do.
He rebuked, and He led them.
Do.
Menuet in Berenice. Do.
Sonata for harpsichord (D). D.
Scarlatti.
Sanctus. 0. Gibbons.
AUegretto, F (Symphony).
Haydn.
Jewish Music, 6 examples.
Irish Music, 60 examples.
Scotch Music, 76 examples.
Welsh Music, 4& examples. Music of
Old English Music, 37 examples.
French National Music, 20 examples.
VOLUME IL
Italian National Music, ] example.
Swiss National Music, 2 examples.
Oermaoi National Music, 8 examples.
Spanish National Music, 15 examples.
Polish National Music, 4 examples.
Scandinavian National Music, 5
examples.
Norwegiaii National Music, 21
examples.
Danish National Music, I example.
Bussian Music, 16 examples.
Turkish Music, 10 examples.
Chinese Music, 5 examples.
East Indian Tones, 32 examples.
North America, 6 eacamples:
Vabious Stifles.
Single Chant. T. Purcell.
AmhroBian Chant, A,n. 384 Aria, Opri 11 fato. Anon.
Plain Chant. Guido Do. No non amero. (1022).
Do.
Other Harmonies. Do.
Do. Due vaghe pupille. Do.
Harmony. Franco.
Do. Deltnocor tempru Do.
Chant. Josquin dea Pr^.
Do. Setucredi. Do.
1st Fsalm O. V. Martin Luther. Do. Tanto basti per far. Do.
38th Psalm O. V.
Do. Bella boccadicinabro. Ho.
8l8t Psalm O. V.
Do. Foglio lieve. Do.
111th Psalm O. V. French Tune, Do. Tu fuggisti caro. Do.
r will exalt Thee. Tye.
Do. Crine vezzose. Do.
Lord, for Thy tendermerdes' sake. Do. Dolce Amor mi dice spera.
Faitrant.
Do.
Gloria Fatri. Do.
Do. Lusingami speranza. Do.
Deposuit Fotentes. Palestrina. Do. Begr occhi perdonatemL
We have heard with onr ears. Do.
Do.
Do. Col freddo suo velen. Do.
Gloria Patri. Tallls.
Do. Se il mlo labbro. Do.
* Djssi a I'amatamia.' Marenzio. Do. Gia che amor. Do.
Bow thidb ear. William Byrd. Do. Se versasti da tuol Imnl
Non nobis Domine. Do.
Do.
Double Chant. Morley.
Do. Fantasmi orrlbiU. Do.
Symphony, 3 flutes. Perl. Cantata, Tad cmda. Do.
Fate Festa al Signore. £. del Aria, Begl' occhi d' amore. Do.
Do. Migravit Juda. Do.
Cavalieri.
Hosauna. O. G-lbbons.
Almighty and everlasting. Do.
D