Dictionary of Music - Birding America

secondary dominant 371out separately, either on the same page or on facingpages. These books were quite large, and a numberof singers used the same book. In the sixteenth centuryseparate partbooks were published for secularvocal compositions, each containing a single part(soprano, tenor, and so on) for a composition. Thesewere quite small and probably used by just onesinger. About 1600 the modern method of writingscores came into use, along with the use of bar linesto separate measures. The order of instruments usedin present-day scores dates from the Mannheimschool of the mid-eighteenth century.Reading an orchestral score requires considerableskill. It involves, among other things, reading the variousclefs and mentally translating the score for transposinginstruments, whose actual sound is in a differentkey from the written notes. —part score Ascore showing only the music for one instrument (orfamily of instruments, such as all the French horns).—vocal score A score showing all the parts forvoices, with the orchestral parts reduced to a singlepart for piano (on two staves). —piano score Also,piano reduction, short score. A score showing all theparts reduced to a part for piano (on two staves).scorrevole (skô re′ vô le) Italian. A direction toperform in a smooth, flowing manner.Scotch snap The name for a rhythmic pattern oftwo beats, short-long, which is found in Scottishfolk music and elsewhere as well:fig. 207 p/ufrom p. 387scratchingSee under RAP.Scriabin (skryä′bin), Alexander (ä′′leksän′dər), 1872–1915. A Russian composer whois remembered for piano music and orchestralworks in which his novel harmonies foreshadowedthe revolutionary atonality of Schoenberg (seeATONALITY). Although Scriabin’s works created asensation when they were first played, for a timethey were seldom performed. Scriabin was a virtuosopianist, and his earlier works, particularly shortpiano pieces (mazurkas, impromptus, études), arein the tradition of Chopin. Gradually he becamemore experimental, especially in longer works,among them his three symphonies, piano concerto,and two long orchestral compositions, Poem ofEcstasy and Prometheus—The Poem of Fire. In thelast, he based the harmony on a single chord, C-F♯ -B♭-E-A-D, which is characteristic of his later workin that it proceeded by fourths instead of by theconventional thirds (triadic harmony). This chord issometimes called the mystic chord. Scriabin alsoexplored the association of music with color; thescore of Prometheus calls for a color organ to projectonto a screen colors in keeping with the moodof the music. In his emphasis on dissonance andlack of reference to a single tonal center, Scriabinwas proceeding along lines later followed by manytwentieth-century composers.S C T B In vocal music, an abbreviation for soprano,contralto, tenor, and bass. See also SATB.sec (sek) French: “dry.” A direction that a note orpassage is to be performed crisply, the notes beingattacked and released without delay.secco (sek′ô) Italian: “dry.” The Italian term forSEC. —recitative secco See under RECITATIVE.second 1 A term used for another instrument orvoice of the same kind, usually performing a part ata somewhat lower pitch than the first, for example,second horn, second oboe, second violin, secondsoprano, etc. 2 Also, major second. The intervalmade up of the first and second tones (in risingorder of pitches) in any major or minor scale, forexample, C–D in the scale of C major (do and rein solmization syllables). Also see WHOLE TONE.—augmented second The interval one half tonelarger than a major second, such as C♭–D or C–D♭.—minor second The interval one half tone smallerthan a major second, such as C–D♭, or C♭–D♮ . Alsosee HALF TONE.secondary dominantfig. 208 p/u from p. 388See under DOMINANT.