cipe, or president, in 1725, 29, 45, 47, and 50. In 1729 he came to England and sang, with Bernacchi, his fellow-pupil under Pistocchi, in Handel's 'Tolomeo,' taking the part of Araspe, formerly sung by Boschi. As the latter was a Bass, the part was probably transposed for Fabri for want of a Bass to sing it. In the same year he performed the tenor part in 'Lotario,' as also in 'Partenope' (1730), and in 'Poro' and a reprise of 'Rinaldo' (1731), all by the same master. Having been appointed to the Royal Chapel at Lisbon a few years later, he died there Aug. 12, 1760.
[ J. M. ]
[ J. M. ]
[ G. ]
[ W. H. S. ]
FAIR ROSAMOND. A grand opera in 4 acts; words by C. Z. Barnett, music by John Barnett; produced at Drury Lane Feb. 28, 1837.FA-LA. A piece of vocal music for three or more voices, originally set wholly or in part to these two sol-fa syllables. Fa-las belong essentially to the madrigalian era, most of the composers of which have left specimens of them. They are said to be the invention of Gastoldi di Caravaggio—if the utterance of musical sounds on unmeaning syllables can be called an invention. Many of his 'balletti,' like many of the Ballets of Morley—such as 'Now is the month of Maying'—end with a lengthened Fa-la. A 4-part song known as 'The Waitts,' by an English composer Jeremiah Saville, set wholly on those syllables, is probably the most popular Fa-la in existence.
[ J. H. ]
[ C. A. W. T. ]
FALSE RELATION is the occurrence of chromatic contradiction in different parts or voices, either simultaneously, as at (a), or in chords which are so near together that the effect of one has not passed from the mind before the other comes to contradict it with a new accidental, as at (b).
The disagreeable effect is produced by the contradictory accidentals belonging to different keys, or unequivocally to major or minor of the same key; and it follows that when the contradiction is between notes which can coexist in the same key the effect is not disagreeable. Thus chromatic passing notes and appoggiaturas do not affect the key, and are used without consideration of their apparent contradictions. Schumann uses the sharp and natural of the same note in the same chord in his 'Andante und Variationen' for two pianofortes, op. 46 (a), and Haydn the same in his Quartet in D, op. 71 (b).
Again, notes which are variable in the minor key do not produce any objectionable effect by their juxtaposition, as the minor 7th descending and the major 7th ascending or stationary; thus Mendelssohn in the Overture to 'Ruy Bias' has B♭ and B♮ in alternate chords.
And the treatment of notes which are inter-changeable in chromatic and diatonic chords in the same key is equally free, as between a chromatic note of the chord of the augmented sixth and a succeeding diatonic discord.
The rule is further modified by so many exceptions that it is almost doubtful if the cases in which the effect is objectionable are not fewer than those in which it is not.
[ C. H. H. P. ]