Music Notation and Terminology — Themes and Context

A Teacher’s Tool, Not an Encyclopedia

The preface makes clear that this book is designed for students who have already had considerable experience with music itself. Gehrkens aims to help them acquire concise and accurate knowledge of terms they have probably encountered but cannot define precisely enough to teach. He emphasizes that the material is arranged in related groups, so that students see not only current meanings but also why certain terms have those meanings—hence the inclusion of derivations. The author’s candid admission that the list is not exhaustive and reflects his own experience is a notable feature: it positions the book as a practical tool rather than a comprehensive reference. This selective approach means that readers should not expect coverage of every term in music, but rather a focused set chosen for pedagogical utility.

Chord Inversions and Figured Bass in Detail

The excerpts provide a clear, step-by-step explanation of triad positions and figured bass notation. Gehrkens defines fundamental position, first inversion, and second inversion, using the chord C–E–G as an example. He then explains how figures like 6 and 6/4 indicate inversions, and describes figured bass as a system formerly used for accompaniments, noting that much of Handel’s music was originally written this way. The text includes a reference to a figure (Fig. 67) that illustrates a figured bass example, and credits Alex Guzman for its realization. This section demonstrates the book’s practical bent: it not only defines terms but also gives historical context and shows how the notation was applied in performance practice.

Cadences: Authentic, Plagal, and Half

Gehrkens devotes several paragraphs to cadences, defining them as the close of a musical phrase, with the word derived from Latin cadere (to fall). He distinguishes authentic cadences (V–I) from plagal (IV–I) and half-cadences (ending on V). For each type, he further subdivides into perfect and imperfect forms based on whether the soprano of the final chord is the root. The text includes musical examples (Figs. 68–70) that show different voicings. This systematic classification—complete with Latin etymology and explicit rules for perfection—reflects the book’s methodical approach. The half-cadence is noted as useful for variety but not for a final close, a practical observation that ties definition to compositional function.

Readers should approach this book as a period-specific pedagogical work, not a modern encyclopedia. Gehrkens’s choices reflect early 20th-century American conservatory training, and his emphasis on derivations and grouped presentation is designed for classroom use. The excerpts show a clear, example-driven style that prioritizes utility over completeness. Those studying historical music pedagogy or seeking a concise reference for common terms will find it valuable, but should supplement it with more recent sources for broader coverage.

Holding this old textbook, I recall my first harmony lessons—fumbling with figured bass in pencil, erasing smudges. That patient, systematic structure felt like a friend. Reading its chapter on cadences brought back how How to Write Music: Musical Orthography — Story, Setting & Ideas once clarified my own messy manuscript, quietly assuring me that notation is just honest listening made visible.