Note 29 — Chapter II

In his “Sonate Accademiche,” opera seconda, published in London, 1744, we meet (observes Mr. G. F. Graham), on the page immediately preceding the music, with the first example we have noticed in Sonate of that time, of an explanation of marks of bowing and expression that occur in the course of the work. His marks for crescendo-diminuendo, and for diminuendo, and for crescendo, are of the same form as the modern ones—only black throughout.—His mark for an up-bow consists of a vertical line drawn from the interior of a semi-circle placed beneath it. His mark for a down-bow is the same figure reversed in position;—Mr. for mordente, &c. These are things worth noticing in old music. In pages 67-9, of the same work, Veracini gives the Scottish air of Tweedside, with variations; the first instance we know, of Scottish music being so honored by an old Italian violinist.