[6] The Germans use the same pitch designations as we do with two exceptions, viz., our B is called by them H, and our B♭ is called B. The scale of C therefore reads: C, D, E, F, G, A, H, C; the scale of F reads F, G, A, B, C, D, E, F. The signatures are in all cases written exactly as we write them.
In France and Italy where the "fixed DO" system is in vogue, pitches are usually referred to by the syllable names; e.g., C is referred to as DO (or UT), D as RE, etc.
[7] The expression "diatonic condition" as here used refers to the staff after the signature has been placed upon it, in other words after the staff has been prepared to represent the pitches of the diatonic scale.
[8] It has already been noted ([p. 6], Note) that in the German scale our b-flat is called b, and our b is called H. From this difference in terminology has grown up the custom of using the H (now made ♮) to show that any staff-degree is in natural condition, i.e., not sharped or flatted.
[9] The word sin is a contraction of the Italian word sino, meaning "as far as" or "until"; in the term given above ([Sec. 39]) it is really superfluous as the word al includes in itself both preposition and article, meaning "to the."
[10] For definition of enharmonic see [p. 10], [Sec. 27].
[11] Elson—Dictionary of Music, article mordent.
[12] In organ music the acciaccatura is still taken to mean that the embellishing tone and the melody tone are to be sounded together, the former being then instantly released, while the latter is held to its full time-value.
[13] If strictly logical terminology is to be insisted upon the whole-tone scale should be called the "whole-step" scale.
[14] The word tetrachord means literally "four strings" and refers to the primitive instrument, the four strings of which were so tuned that the lowest and the highest tones produced were a perfect fourth apart. With the Greeks the tetrachord was the unit of analysis as the octave is with us to-day, and all Greek scales are capable of division into two tetrachords, the arrangement of the intervals between the tones in each tetrachord differentiating one scale from another, but the tetrachords themselves always consisting of groups of four tones, the highest being a perfect fourth above the lowest.