# Chambers's Twentieth Century Dictionary 1908/Signs & Symbols used in Medicine and Music

SIGNS AND SYMBOLS USED IN MEDICINE AND MUSIC.
SYMBOLS USED IN MEDICINE AND PHARMACY.
Scruple; i, one scruple; ij, two scruples; ss, half a scruple; iss, a scruple and a half.
Dram or drachm; i, one dram; ij, two drams; ss, half a dram; iss, a dram and a half.
Ounce; i, one ounce; ij, two ounces; ss, half an ounce; iss, an ounce and a half.
A minim; a drop.
(Gr. ana), of each a like quantity.
(L. recipe), take.
The above symbols are employed almost always in medical prescriptions. A prescription consists of the following parts: (1) The Superscription; (2) The Inscription; (3) The Subscription; (4) The Signature. The Superscription, which consists of the letter , is a relic of the days of astrology. It originally was used to represent the symbol of the planet Jupiter. By common consent it is now regarded as representing the imperative mood of the Latin verb recipere, to take. The Inscription is a statement of the names of the substances to be used, with their quantities. The Subscription is made up of the directions for the guidance of the dispenser. The Signature includes the directions to the patient. This part of the prescription should be written in English; the other parts are in Latin. Sometimes the signature also is in Latin.
The body or prescription contains the following: the Basis, or principal active ingredient; the Adjuvant, or Auxiliary, to assist its action; the Corrective, to correct or diminish some undesirable quality; the Vehicle, or Excipient, to give a suitable form for administration.
PRESCRIPTION.
| | | | Superscription. |
| (Basis) | Pot. Acet. v | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,$ | Inscription. |
| (Adjuvant) | Tinct. Digitalis j | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,$ | Inscription. |
| (Corrective) | Syr. Aurantii j | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,$ | Inscription. |
| (Vehicle) | Dec. Scopar. ad viij | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right\}\,$ | Inscription. |
| Misce, fiat mist. | Misce, fiat mist. | Misce, fiat mist. | Subscription. |
| Cpt. Cochl. mag. ii. 4ta. q.q. hora ex paul. aquæ | Cpt. Cochl. mag. ii. 4ta. q.q. hora ex paul. aquæ | Cpt. Cochl. mag. ii. 4ta. q.q. hora ex paul. aquæ | Signature. |
Without Abbreviations or Contractions.
Recipe. Potassii Acetatis drachmas quinque. Tincturæ Digitalis drachmam unam. Syrupi Aurantii unciam unam. Decoctum Scoparii ad uncias octo. Misce, fiat mistura. Capiat cochlearia duo magna quartâ quâque horâ ex paululo aquæ.
English Translation.
Take thou (the dispenser). Five drachms of acetate of potassium. One drachm of the tincture of digitalis. One ounce of syrup of orange-peel. Decoction of broom up to eight ounces. Mix, let a mixture be made. Let him (the patient) take two large spoonfuls at each fourth hour, out of (in) a little water.
LIST OF LATIN PHRASES COMMONLY USED IN THE WRITING OF PRESCRIPTIONS.
| aa. | Ana | of each. |
| Ad. | Adde | add. |
| Ad lib. | Ad libitum | to the desired amount. |
| Ad us. | Ad usum | according to custom. |
| Æq. | Æquales | equal. |
| Aq. | Aqua | water. |
| Aq. bull. | Aqua bulliens | boiling water. |
| Aq. dest. | Aqua destillata | distilled water. |
| Bib. | Bibe | drink. |
| Bis ind. | Bis indies | twice a day. |
| Bis in 7 d. | Bis in septem diebus | twice a week. |
| C. | Cum | with. |
| Cap. | Capiat | let him take. |
| C. m. | Cras mane | to-morrow morning. |
| C. m. s. | Cras mane sumendus | to be taken to-morrow morning. |
| C. n. | Cras nocte | to-morrow night. |
| Cochl. | Cochleare | spoonful. |
| Cochl. ampl. | Cochleare amplum | a table-spoonful. |
| Cochl. infant. | Cochleare infantis | a tea-spoonful. |
| Cochl. mag. | Cochleare magnum | a table-spoonful. |
| Cochl. mod. | Cochleare modicum | a dessert-spoonful. |
| Cochl. parv. | Cochleare parvum | a tea-spoonful. |
| Contin. | Continuetur | let it be continued. |
| Cpt. | Capiat | let him take. |
| Cuj. | Cujus | of which. |
| C. v. | Cras vespere | to-morrow evening. |
| Cyath. | Cyathus | a glassful. |
| Cyath. vinos. | Cyathus vinosus | a wine-glassful. |
| D. | Dosis | a dose. |
| d. | Da | give. |
| D. d. in d. | De die in diem | from day to day. |
| Det. | Detur | let it be given. |
| Dieb. alt. | Diebus alternis | on alternate days. |
| Dim. | Dimidius | one-half. |
| Div. | Divide | divide. |
| D. in p. æ. | Divide in partes æquales | divide into equal parts. |
| Exhib. | Exhibiatur | let it be given. |
| F. or ft. | Fiat | let it be made. |
| F. h. | Fiat haustus | make a draught. |
| F. m. | Fiat mistura | make a mixture. |
| F. pil. | Fiat pilula | make a pill. |
| Gutt. | Gutta or guttæ | drop or drops. |
| Habt. | Habeat | let him have. |
| Hor. intermed. | Horis intermediis | at intermediate hours. |
| H. s. | Horâ somni | at bedtime. |
| Ind. | Indies | daily. |
| Lat. dol. | Lateri dolenti | to the painful side. |
| Mit. | Mitte | send. |
| Mod. præscript. | Modo præscripto | in the manner directed. |
| O. m. | Omni mane | every morning. |
| Omn. bih. | Omni bihorâ | every two hours. |
| Omn. hor. | Omni horâ | every hour. |
| O. n. | Omni nocte | every night. |
| P. or pt. | Perstetur | continue. |
| Part. æq. | Partes æquales | equal parts. |
| P. r. n. | Pro re natâ | when required. |
| Q. l. | Quantum libet | as much as is requisite. |
| Q. s. | Quantum sufficit | a sufficient quantity. |
| Q. v. | Quantum volueris | at will. |
| | Recipe | take. |
| Rep. | Repetatur | let it be repeated. |
| Sing. | Singulorum | of each. |
| Sum. | Sumat or sumendum | let him take or let it be taken. |
| T. d. | Ter in die | three times a day. |
MUSICAL SIGNS AND ABBREVIATIONS.
Signs denoting time or relative value of sound:
Each of these notes represents twice the duration of sound of that which comes next in order. The sign to the right of each note indicates a rest or silence equal to its sound duration.
In time, the figure above a line drawn thus across the stave denotes the length of the pause in bars.
Accel. Accelerando. Gradually increasing the speed.
Adg$^o$ or Ad$^o$. Adagio. Slow; also name given to a slow movement or piece.
Ad lib. Ad libitum. Passages so marked may be rendered at the will of the performer.
And. Andante. Moderately slow: graceful; sometimes used as the name of a movement or separate piece.
Anim$^o$. Animato. Animated: with soul.
A tem. A tempo. In time.
Bar. A line drawn perpendicularly across the stave, separating the notes into measures of equal length; also the music comprised within two such lines.—Double Bar. The former of the two signs is used to mark the larger divisions of a piece or movement; in psalm tunes, hymns, chants, &c., to mark the end of a verse or sentence. The latter sign denotes the end of a composition.
Bind or Tie. Placed over two or more notes in the same position on the stave, to show they are to be played as one.
Breath-marks. In vocal music, signs used to show where breath should be taken.
Denoting common time; the former indicating four crotchets to the bar, the latter two minims to the bar.
Cal. Calando. Gradually slower, and with decreasing volume of tone.
Clef. The sign placed at the beginning of a stave, determining the absolute pitch of the notes that follow it.
Crescendo. Gradual increase of tone.
 Dash. When placed over or under a note, implies a very detached (staccato) style.
D.C. Da capo. From the beginning; indicating that the performer must return to the beginning of the movement, and conclude at the double bar marked Fine.
Decrescendo. Gradually softer.
Dim. Diminuendo. Gradual decrease of tone.
(·) Dot. When added to a note or rest, lengthens it by one-half. When placed over or under a note, means that its duration should be cut short.
Flat. The sign which lowers the pitch of a note one semitone.
Double Flat. Used before a note already flat, lowering it another semitone. It is corrected by a flat and a natural.
f. Forte. Loudly: strongly.
ff. Fortissimo. Very loud.
fff. Fortississimo. As loud as possible.
f.p. Forte-piano. Loud, then soft.
Leg. Legato. In a smooth and gliding manner.
Lo. Loco. Indicating to return to the proper pitch after having played an octave higher.
mf. or mff. Mezzo-forte. Moderately loud.
mp. Mezzo-piano. Moderately soft.
Manc. Mancando. Dying away, decreasing.
Marc. Marcato. In a marked manner, emphasised.
M.M. Maelzel's metronome.
M.M. =80. Denoting that the beat of a crotchet is equal to the pulse of the pendulum of Maelzel's metronome, with the weight set at 80.
Natural. Restores a note, which has been raised by the sharp or lowered by the flat, to its original pitch.
Ott., O$^{va}$, 8$^{va}$=Ottava. An octave—as 8$^{va}$ alta=ottava alta, (to be played) an octave higher; 8$^{va}$ bas. = ottava bassa, an octave lower.
p. Piano. Softly.
P.F. or pf. Piano-forte. Soft, then loud.
pp. Pianissimo. Very soft.
ppp. Pianississimo. As softly as possible.
Pause or Corona. When placed over a note or rest, indicates that it must be held longer than its natural length. When over a double bar, indicates where the piece is to be concluded after a repeat.
Pizz. Pizzicato. A direction to violinists to twang the string with the finger instead of using the bow.
Quintuplet. A group of five notes played in the time of four.
4$^{tte}$ Quartette.
5$^{tte}$ Quintette.
Raddol. Raddolcendo. Gradually softer and sweeter.
Rall. Rallentando. Becoming gradually slower.
Repeat. When placed at the beginning and end of a passage or movement, indicates that the portion so marked is to be played over again.
Rit. Ritardando. Retarding, holding back the time.
Segno. The sign—as Al Segno, to the sign; Dal Segno, from the sign.
Sem., Semp. Sempre. Always, throughout—as sempre legato, smooth throughout; sempre ritardando, continually slackening the time.
7$^{tte}$ Septet.
6$^{tte}$ Sextet, or Sestet.
Sforzando. Denoting emphasis applied to a particular note or notes. Abbreviated sf., sfz.
Sforzato-piano. A sudden forte followed by a diminuendo or piano. Abbreviated sfp., sfz.p.
Sharp. The sign which raises the pitch of a note one semitone.
Double Sharp. Used before a note already sharp, raising the pitch by a semitone. It is contradicted by a natural and a sharp.
Slur. Showing that the notes over which it is placed must be played in a smooth (legato) manner.
Sos., Sos$^t$. Sostenuto. Sustained; prolonging the tone for the full duration of time indicated.
Spir. Spiritoso. In a spirited or lively manner.
Stave or Staff. The horizontal and parallel lines on which the notes are placed, used to indicate their relative position as regards pitch.
Trem. Tremolando. With trembling or wavering; a note or chord played with great rapidity so as to produce such an effect.
3$^o$ Trio.
Triplet. A group of three notes performed in the time of two.
T.S. Tasto solo. One key alone: a direction to play a part in unison.