Page:A Dictionary of Music and Musicians vol 2.djvu/668

656 all the Plagal forms, the Participant is used as an Absolute Initial; and, by virtue of this privilege, it may be used as the first note of a Plain Chaunt Melody of any kind. In all cases it may begin or end any of the intermediate phrases of a Melody, and may even begin the last; but it can never end the concluding phrase. This rule is not even broken in those Endings of the Gregorian Tones for the Psalms which close upon the Participant—such as the Second Ending of the First Tone: for, in these cases, the real close is found in the Antiphon, which always terminates upon the Final of the Mode. [ W. S. R. ]

PARTIE, PARTITA. The German and Italian forms respectively of a name said to have originated about the beginning of the 17th century, with the Kunst- or Stadt-Pfeifers, or town musicians, and given by them to the collections of dance-tunes which were played consecutively, and which afterwards were taken to form suites. Bach uses the name in two senses; first, as the equivalent of 'Suite' in the Six Partitas for Clavier; and second, for three sets of Variations on Chorales for Organ, viz. those on 'Christ, der du bist der helle Tag' (7 Partitas, including the theme itself), on 'Gott, du frommer Gott' (9 Partitas including the theme), and on 'Sey gegrüsset Jesu gütig' (11 Partitas or variations, exclusive of the theme itself). He also wrote three Partitas (in the Suite-form) for the lute. The name has very seldom been used since Bach; the chief instance of its occurrence is in the original title of Beethoven's Octuor, 'Parthia in Es' (see vol. ii. p. 492a). But in the modern rage for revivals it may possibly reappear. [ J. A. F. M. ]

PARTIMENTI, 'divisions.' Exercises in florid counterpoint, written generally, but not always, on a figured bass, for the purpose of cultivating the art of accompanying or of playing at sight from a figured bass. [ J. A. F. M. ]

PARTITION and PARTITUR, the French and German terms for what in English is termed the ; that is, the collection in one page of the separate parts of a piece of music, arranged in order from top to bottom. When all the parts, instrumental, or instrumental and vocal, are given, it is called 'Partition d'orchestre'—'Full score.' When the voice parts and a PF. arrangement are given, 'Partition de Piano' 'Short score,' or 'Vocal score.' For the various modes of placing the parts see. [ G. ]

PART MUSIC, a collection of vocal music made by Mr. John Hullah for the use of his Singing Classes, and published by John W. Parker, London. It consists of three series—'Class A for S. A. T. B.' (vol i. 1842, vol ii. 1845); 'Class B for the voices of women and children' (1845); 'Class C for the voices of men' (1845). Each series contains sacred and secular pieces. Each was printed both in score and in separate parts, in royal 8vo., and the whole forms a collection unexampled (at least in England), for extent, excellence, and variety, and for the clearness and accuracy of its production.

