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Les diagrammes suivants illustrent la m^thode. rrata o jelure, 1 A 3 32X 1 2 1 3 1 2 3 4 5 6 ^ <^^ i. MANUAL OP YOCAL MUSIC, (TREATED ANALYTICALLY), IIST TW^O I^^RTS. PART I.— ELEMENTARY. PART IL~PRACTICAL -^ BT H. F. SEFTON, MUSIC JIA8TEB OF THE NOBMAL AND MODEL BOHOOLB OF 05TABIO, PUBLISHED BY THE AUTHOR. 1871. i< "V: Entered according to the Act of the Parliament of Canada, in the year one thousand eight hundred and seventy-one, by the Reverend Eoerton Ryebson, LIi.D., Chief Sui)erintendent of Education for Ontario, in the Office of the Minister of Agri- culture. HimTER, RosR & Co., Psamu, BooKBWDKRs, EuciBOTrraRs, jic. Thepr hat the ti e fairly c rinciples o: To the vely devo iws on wh limber of one anotl: Part II art I, to tl ipresented, c, constitu From tl ffer materii Where : tabulated nvenient f ce before t It is in rious circui le his discr course of At page thod, inde] "ta and vil itio master, >ves that it re than he PREFACE •. } The preparation of this elementary work has arisen from the impression hat the time h - arrived wlien a greater amount of consideration may le fairly claimed '"rom the musical student to the absolute elementary [rinciples of music, than has hitherto prevailed. To the promotion of this object, Part I. of the present work is exclu- Ively devoted, consisting, as it does, of a development of those natural ■iws on which the musical system is constructed, and whicli " limits the [uraher of sounds to a certain series, and fixes the ratio which they bear one another, or to one leading term." Part II. consists of the transference of the elements as presented in irt I., to those symbols and their nomenclature by which they are usually [presented, called " notation," which together with the study of intervals, ;., constitute the p? .ctical department. From the peculiar treatment of the Theory, Part I. will be found to Iffer materially from every other Treatise on the same subject. "Where it has been practicable, the various subjects have been reduced tabulated forms. This, in the Author's opinion, will be found to bo very Invenient for the student, as it places the subjects, treated as a whole, at [ce before the eye for comparison. It is impossible to adapt an elementary work on music to all the [rious circumstances of pupils or classes. The Teacher will therefore exer- le his discretion in selecting those portions of the work that are suited to course of instruction. At page 7 will be found directions for applying Part II. in the ordinary [thod, independently of any reference to the numerical calculations of and vibrations, constituting the theory contained in Part I. By the b«i and the tvhere- fores arc all accounted for ; and by means of diagrams and sonorous illustra- tion the whole subject is made apparent to the touch, the eye, and the eai', three indispensable features to an intelligible study of music. By these means it will bo perceived how each succeeding step in the theory is a consequent of an antecodent, until we attain (1.) A fundamental basis ; (2.) A measured series of sounds, whose velocities of vibrations are in the perfect ratio of 2 to 1 ; (3.) A uniform series of sound.s, (irregular in their ratios) which constitute the musical system ; (4.) Series of sounds, irregular in construction, but uniform within themselves. All explanatory matter and observations on the technics of music, the Author has left to be dealt with under the heading of " Remarks," imme- diately pi-eccding the subjects treated of Temperament. — The subject of temperament, or what is called the adjustment of the imperfections of the scale, is a vexed and troublesome subject, and is likely to remain so until one settled temperature shall have been settled by universal consent. The "musical pitch" adopted in this work is what may be called the " theoretical pitch," — that is, the lowest aj»preciable musical sound, produced by sixteen double vibrations in one second. H. F. S. ,)1. ,i r3 A.«T;..-'.. .'4 »•■■ CONTENTS. PART 1. ciiAntn. tMU I. — On tub PniLosopiiTCAL Elements of Sound /n their Reiation TO Music as its Fundamental Principle. - - - 1 II. — An Unlimited Numdeu of Sounds conceivadlb. - - 2 III. — CoNSTUUCTtON OF THE Sc'ALE OF OcTAVES. .... 4 IV. — Chuomatic Scale. Intervals. Halftone. Tone. - - 5 v. — Construction of Diatonic Scales. ... - - 7 PART II. I. — The Properties of Musical Sounds. .... 9 II. — Notation. ........ 9 III. — Rests or Periods of Silence. ----- 13 IV. — The Stave. Ledger Lines. .----- 14 V. — Transference of the Scale op Octaves to Notation. - 15 VI. — Transference of the Chromatic Sr\LK to Notation. Chro- matic AND Diatonic Halftones. - - - .17 VII. — Transference of the Diatonic Scales to Notation. Signatures. 19 VIII. — Essential Sharps and Flats. ..... 20 IX. — The usual arrangement of the Major Diatonic Scales, accokd- INO TO THEIR SIGNATURES. - . - - 21 X.— Registers of the Human voice. Cleffs. ... 23 XI. — Positions of the Four Registers on the Great Stavh. - 24 XII. — Rhythm, or Prosody of Music. Accent. Measures. Baiuj. 25 XIII. — Measures. Bars. Time. Ti.me Signs. - - - - 20 XIV.— Compound Times : their Signatures. .... 28 XV. — Comparative Values of Notes as REPiitsENiED by Beats - 30 XVI. — Unisons and Intervals. ...--- 33 XVII. — Melody and Harmony. - . . ' . - .34 XVIII. — Method to Facilitate tub Learning of the Positions op the Notes on the Stave. .---.- 34 XIX. — Vocal Exercises on the Major Diaionic Scales. - - 36 XX. — Practice on the Harmony of the Common or J Chord. - 40 XXI. — On the Practical Study of Intervals. Rests. - - - 43 XXII. — Practice of Intervals. Unisons. Seconds. - - • 46 X. COXTBXTS. cnurmR. XXIII.- XXIV.- xx^■.- XXVI. XXVII. XXVIII. XXIX. XXX. XXXI. XXXII. XXXIII. XXXIV. XXXV. XXXVI.- XXXVII.- XXXVIII. XXXIX. XL. XLI. XLII. XLIII. XLIV. -Thirds. Repeats. ....... -Paic^i. ;E or Quavers. ..,-.. -Fourths. ........ -Fifths. -.-..--. -Triple | Time.- ..-..-. -Sixths. ----.... -Sevenths. -Octaves. -------- -Recapitulatory Exercises on the Intervals. -Auomented and Diminished Intervals. -The Flat and Sharp as Accidentals. The Natural or Cancei- lino Sion. -------- -Modulation. - - - - - - - ' -Forms and Construction of Minor Diatonic Scales. -Signatures of Minor DiAToyic Scales. Related Minors and Majors. -.--.-. -iNVEPtSIONS. - - - - -~ - - - -Accidentals Indicating Modulation. - - . - -Accidentals not Indicating Modulation. -Transposition. ------- -The Bass Register and Cleff. - - - - . .-. -Interrupted or Mixed Measures. - - . . -Harmonies in Short Score. . - . . . -Legato, Staccato, and IIalf Staccato. ... TABLES. • I. — Ratios of Vibrations to Octave Sounds. - - II. — Chromatic Scale. Division of a String. III. — Diagram illustrative or the Construction of the Chromatic AND THE Sixteen Diatonic Scales, upon the Fourth and Fifth Octave sounds. ...... IV. — Tajilb of Comparattve Values of Notes. - - - V. — Table of the Scale of Octaves, anu the Chromatic and the Diatonic Scales Transferred to Notation. . - - VI. — Bass, Tenor, Contralto, and Treble Registers of the Human Voice, on the Great Stave. .... VII. — Time Table op simple Common and simple Triple Times, and their derived Compounds, Time Signs, and relative Beats. VIII. — The Numerical Names of Intervals. - - - - IX. — Signatures of Minor Scales. - - ... X. — Inversions. ....... TAIW. 60 63 66 68 60 61 66 69 70 72 73 77 81 83 87 88 89 91 -92 93 94 97 6 G 11 18 24 29 46 84 87 Ontl reL 1. ]\ based up 2. J 3. T 4. S upon the ducting i\ T head c gaseou which space, this sti W jected, natura Or other i( Co elastic < creates sound. Fr< upon it, called a phere, ( nerves t point of the audi , 5. All bribed as o single v'l * their ha lusical, an( 6. (2; morous bo 60 63 60 68 60 61 66 69 70 72 73 77 81 83 87 88 89 91 92 93 94 97 PAUT I. 11 HE 18 AN 24 ND ra. 29 46 - 84 87 CHAPTER I. On the philosophical elements of sound in their relation to Music as its fundamental principle. 1. Music is a p^ience, and like all other sciences, 'its study shoidd be based upon its philosophical principles. * — Dr. Grijffln. 2. Music is a science of eound. 3. The term "sound" embraces everything perceptible to the human ear. 4. Sound is the result of the vibratory action of sonorous bodies acting upon the elastic properties of the atmosphere, which latter is also the con- ducting medium. The elementary principles of sound are treated in natural philoa ^phy under the head of acoustics, which teaches that the atmosphere which pervades all space, is a gaseous fluid, susceptible of compression; as also of expansion, to the extension of which there is no known limit. Thus a quantity of air contained within a given space, can, by mechanical force, be compressed into a diminished space ; and when in this state, the air is said to be cotulensed. When the air is released by the removal of the pressure to which it had been sub- jected, it will, by its elasticity or repulsive force, immediately return to its former natural state. On the contrary, when the particles of air are separat , ascertain at what amount of velocity noise or unmusical sounds cease, and musical sounds commence. Experimental philosophy teaches that the lowest musical sound, appreciable by the human ear as such, is the action of a sonorous body giving thirty-two single vibrations in one second of time ; that is to say, — all sounds prodr.ced by between one and thiriy-one vibrations in one second of time, are unapprc .iable to the ear as musical, and are consequently noise ; but, at thirty-two vibratioi s in one second they are sufficiently rapid to produce a recognizable sound decidedly musical. This fact is important, because it enables us to establish upon unerring principles the dividing line between noise and music, or sounds musical and unmusical. It is also important, because, by moans of it, we have an unec^uivocal elemen- tary basis, upon which we may rear the superstructure of musical science, — the root to which all the intricate ramifications of music may be traced theoretically. 8. The simple sound produced by thirty-two single vibrations in one second of time, is the fundamental element or basis of the theory of music. 9. Upon this basis are constructed the scale of Octaves, and the Chro- matic, and the Diatonic scales. ■■■BSi " shown tl time; an by one v conceive( than ano Not extremef voice beij Out I ot which of vibrati REHi significati a scale of of measui scales of n computed These a previous without a octavei wii is formed between tv tones of th It will are: — The I The the adniea tion of its over a sou The ionsists ch Rkhabks : — ^Aa it is possible to oonoeive a sound indefinitely low, so we may con-a^x- .,_i,:-t^ eeive a sound indefinitely mgh ; for as it has been shown that tiie loicest ap]^reciablcB~ '"\'* . nuuioal tound ia produced by thirty-two single vibrationi in one second, so it can b«f u<^h stnn^ CHAPTER II. An unlimited number of sounds conceivable. M their po ingenuity h traordinary capable of ] Physiologis theory, the can be seen music may THE IMPBOYED SONOMETER, OB SOUND MEASURER. 3 the Har- > Trumpet, ic. life, arising ) the naturtd I iae elastic lat is to say, rill be a cor- by reason of them are so sounds, and t as the fore- atory action, character are >f cattle, &c., :iently rapid, lizable pitch, e velocities rations, and I of time. I same media, rations, it be lusical sounds ., appreciable rty-two single t between one )ar as musical, ond they are This fact is the diriding vocal elomen- ice, — the root ically. ,tions in one ry of music. id the Chro- vable. shown that the highest appreciable sound is produced by 16384 vibrations in the same time ; and as two sounds differing in acuteness or gravity from any given sound, even by one vibration, cannot be the same sound, so an unlimited number of sounds may b« conceived to exist between these two extremes, each of which may oe higher or lower than another by an infinitely small difference. No practical use can be made of these small differences, or of the extremely low or the extremely high sounds of the musical range, for vocal purposes, the registers of the human voice being comparatively limited. Out of all these possible soimds, the musical system has boen reduced to thirteen, each of which is arranged and fixed at certain distances, one above the other, by a given number of vibrations in a gii en time, collectively called a cHBOMAno scalk. SCALES. Bemakks : — ^The term " scale " in music is used in the same sense as in its ordinary signification, and indicates gradations of measured fixed musical sounds ; and as we have a scale of inches, — a scale of miles, &c., by admeasurement, so in music we have a scale of measured octave sounds, — a chromatic scale of measured half-tones, — and diatonic scales of measured tones and hi^-tones, each sound thereof being fixed according to the computed velocities of their respective vibrations. These scales depend one on the other ; for we cannot construct a diatonic scale without a previous acquaintance with the chromatic scale ; we canr.ot construct a chromatic scale without a previous knowledge of the scale of octaves, and we cannot construct a scale of octavei without a fundamental basis whereon io form it ; because, — the scale of octaves is formed upon the lowest appreciable musical soimd ; the chromatic scale is formed between two of such octaves, and all diatonic scales comprise a given number of the half- tones of the chromatic scale. It will thus be seen that the indispensable necessities to a theoretical musical system are : — A simple fundamental basis ; A Scale of Octaves ; A Chromatic Scale ; and Diatonic Scales. ON THE FUNCTIONS OF THE VOCAL ORGANS. Bemabkh : — Little is positively known of the mechanism of the vocal organs, as far as their powers of producing inflected vocal sounds are concerned. A great amount of ingenuity has been displayed by writers on this snbject, in order to account for the ex- traordinary range of inflected sounds which that wonderful organ, the human voice, is capable of producing. But as most of those arguments are merely speculative, and as Physiologists have vouchsafed nothing of a positive nature whereon to found a vocal theory, the musician has to deduce from other sonorous bodies, whose vibratory actions can be seen and calculated, data whereon to found a basis for a vocal theory. Vocal music may thus be said to be a system of imitation. u w6 may con st appreciable d, so It can The Improved Sonometer, or Sound Measurer. The forms of apparatus which have been invented at different times for the admeasurement of the ratios of musical sounds for experimental illustra- tion of its theory, have consisted principally of strings submitted to tension over a sounding board. The ordinary one presented in most philosophical works on this subject, consists chiefly of a string of catgut or wire attached to a fixed point, car- ried over a pulley, and stretched by known weights over two bridges, one of which can be moved to any part of the string; and thus the len^hs of 'Q such string can be measured and thoir corresponung vibrations obtained. 4 CONSTRUCTION OF THE SCALE OF OCTAVES. But such an instrument, though correct in principle, does not meet the requirements of the present work. The improved Sonometer consists of a sounding board or hox, with a steel wire string extending over its length, which is fixed at both ends over bridges, in the same manner as a string of a piano forte, and can be tuned by- means of the screw to which one end is fastened, and thus tightened or slackened to any degree of tension. Under the string is a raised dove-tail, upon which a movable bridge slides. Upon the top of the dove-tail, a grad- uated scale is marked, dividing half of the length of string into 500 parts, agreeably to par. 18. The bridge may be moved to any part marked on the graduated scale, and the string can be cut off by an arrangement on the top of the bridge, to any length desired. Near the tuning screw is a piano-forte striking arrangement, consisting of a key adjustment, by which the soimd produced by any length of string may be observed, and ite number of parts and vibrations accurately obtained, and, with the assistance of Savart'a wheel, its correctness may be practically tested. CHAPTER III. Construction of the Scale of Octaves. 10. Musicians illustrate the theory of music by means of a steel wire string, the length of which is derived from a philosophical dsduction. 11. Sound travels at the rate of 1,120 feet per second. Certain conditions of the atmosphere cause the velocity of sound to vary a little. Tlie mean velocity is here adopted. The difference of a few feet, however, is prac- tically of little consequence to the subject of music. It is convenient to adopt this rate, as being most in keeping with that of the majority of the treatises on the sub- ject, leaving uiereby their deductions undisturbed. 12. If the speed at which sound travels be divided by the number of vibrations, thirty-two, t'le quotient will Ih» the length, in feet, of a given steel wire string, giving /hirty-two vibrations in a second of time : — thus, — 1120-^32=35 feet. If a steel wire string, in a perfectly lax state, thirty-five feet long, be gradually tightened by means of a screw adjustment at n and ^adu- an indistinct secon 3S such west appreci- lalved, and brations of of 2 to 1. Taction, an ng, subjected filROTn lit F»T. SisQLS Vibrations. DOUBLII ViBEATIOXS. OCTA^IS. VlBBATIONB IS THK RATIO OF 2 TO 1, 35 1 Y f ■ff ¥ V 128 2iS mr 32 64 128 256 512 1024 2048 4096 8192 16384 16 32 64 128 256 512 1024 2048 4096 8192 Lmcest appreciable musical sound. First Octave. Second Octave. Third Octave. Fourth Octave. Fifth Octave. Sixth Octave. Seventh Octave. Eighth Octave. Nmth Octave,andAi(7A«5f appreciable musi- cal sound. CHAPTER IV. Chromatic Scale. Intervals. Half-tone. Tone. Rkmarks : — The word chromatic is derived from the Greek word chroma, in English, color. This figurative term, as applied to the musical system of half-tones is supposed to have arison anciently from the custom of writing sounds belonging to it in different colored inks ; and in later times by distinguishing the five intermediate half-tones of the so-called natural scale on the piano Forte by bk^k, instead of white keys. Exception is taken by some writers, to the indiscriminate use of the term, as being inapplicable to two .things radically different in themselves, and contrary to the sense of a scale or key,— namely, cmromatic and diatonic half-tones ; but as these arguments are not worth the paper they are printed upon, the musical student is advised to take no further Dotioe of these objections than to note that such silly arguments exist. a CHROMATIC SCALES. INTERVALS. HALF-TONE. TONE. But whatever may be the merits of such arguments, it is certain that custom has made so indiscriminate a use of the term, that it must very properly be retained in the musical nomenclature as embracing both chromatic and diatonic half-tones. 16. An interval is the measured space between any two sounds of dif- ferent denominations. 17. A Chromatic scale, is the space or length of string contained be- tween any two octave sounds inclusive, divided into twelve parts, agreeably to a given arrangement. The interval between every two of such divisions, is called a halftone. There are twelve halftones and thirteen sounds in a chromatic scale, each sound thereof being regulated and fixed according to the number of parts and the corresponding velocity of its vibrations in a second. Collectively they comprise all the sounds admitted into the musical system, to the exclusion of all others. 18. Chromatic scales are constructed by dividing the length of string contained between any two octaves into 500 equal parts, and appropriating a given number of such parts to each halftone of the scale. The particular length used for illustration is that between the fourth (256 vibs.),and fifth (512 vibs.) octaves. .. Of the various theories advanced for the arrangement of the eleven interme- diate halftones in respect to their degrees of gravity or acuteness, the simplest and the most eiuily comprehended is the division of the string into '500 equal parts' — {Dr. Crotch,) — ^by which means what is called the " imperfections of the scale,'' are nearly equally distributed over the fifteen diatonic scales. The thirteen vertical lines which represent strings (Table II), shew the method of fixing the thirteen sounds of the chromatic scale between the fourth and fifth octaves, with their respective parts and corresponding velocities of vibrations, calcu- lated to one second of time. On the left of the string at a are the figures 600, denoting the number of parts into which one half of its length is divided, and on the right the figures 256, its cor- responding vibrations. At b the short intersecting line cuts off and shortens the length by 53 parts, leaving 447 parts as its vibrating length, and thus increasing the velocity of its vibra- tions by 27 as compared with a, namely, from 256 to 283 in a second. The interval between a and b is called a halftone, and is the second sound of the scale. At c the string has again been shortened by 57 additional parts, leaving 390 parts as its vibrating length, which has increased the corresponding velocity of its vibra- tions by 29 as compared with b, and 56 as compared with a. This is the third sound of the scale, and the second half tone. The remaining figures, d, e, f, g, h, i, j, k, I and m complete the scale. At m the octave is represented by 0, and the vibrations by 512, the double of a. The true fractional remainders of the vibrations are omitted, and round numbers given, the slight differences being of no importance to the subject. 19. The word Tone in music is understood to express a measured inte'*- val equal to any two halftones of the chromatic scale. This word as applied in music, implying space or interval, is one of those mis- nomers which from custom become engrafted upon a language. The words tone and sound are S3monymous ; and thus music may be said to be a system of tones or sounds. But the word sound, as applied to the sounds of the musical system, and tone, as meaning an interval between two sounds of different denominations, are terms so generally received, that no isolated attempt to correct the latter would be of .jr.y avail The word tone therefore is retained with its usual signification, namely,, an interval equal to two halftones. I I .A Cm o •a I i ■a J 800— a do I 340— —312 390— —283 447— 290— 447 283 447—, „ -266 600-1—266 600—1—266 600— —338 —312 a —283 —256 « Table II,— Diagram, showing the method ol o vibrating length of string 'to eaijh halftone, " TABLE 11. -DIAGRAM OF CHROMATIC SCALE. 1 -§ I I I ■+■ I I <2 I I § I 90— 47-1 00- —312 —283 266 340— 390— —338 —312 c rei 447 283 600—1—256 d 291— 340— 390— —363 —338 —312 re' 447— —283 500—1—256 « mil 244— 291— 340— 390— 447— 600— —387 -363 —338 —312 —283 —266 20&- 244 291- 340— 390— 447— 500— u< —407 387 -363 —338 -312 283 —256 163— 205- 244— 291— 340— 390— 447- 500— tJt —429 —407 -387 -363 —338 —312 —283 -256 h 124— 163- 206 244— 291- 340- 390— 447 500— —449 —429 -^07 —387 -363 -338 -312 -283 -256 solijf I § i JO I I •43 I e Oh i 86— 124— 163- 205— 244— 291- ;M0— 390— 447- 600- ^469 -44d 420 -407 -387 -J63 ■m —312 283 256 51- 86- 124- 163- 205- 244— 291- 340- 390- 447- 500- -486 J lat -469 -449 -429 -407 -387 -363 -338 -312 -283 —256 k 26- 51— 86— 124^ 163- 205-^ 244— 29I-- 340— 390— 447- JDO- -499 -486 -469 -449 -429 ^07 -387 -363 -338 -312 -283 -266 26— 51- 8r> 124— 16.5- 206- 244— 291 340— 390— 447- 500- -612 —490 -486 -469 -449 -429 -407 -387 —363 -338 —312 283 256 I ail m [vSf iSStSt*^*^ *"' oonatruoting tne thirteen Bounds of the Chromatic Scale of do» ; their parU, oorresponding vibrations, and the relative CONSTRUCTION OF DUTONIC SCALES. 7 CHAPTER V. Construction of Diatonic Scales. BiHABKa : — The term diatomic is given to a icale which, proceeding bv degrees, in- cludes tones and half-tones, in contradistinction to the chromatic scale, which proceeds by half-tones only. 20. Diatonic scales are major and minor. 21. Major Diatonic scales consist of eight sounds, standing in the fol- lowing relation to one another : — from the first to the second must be a tone ; from the second to the third must be a tone ; from the third to the fourth TTiv^t be but a halftone ; from the fourth to the fifth must be a tone ; from the fifth to the sixth miLst be a tone ; from the sixth to the seventh must be a tone ; from the seventh to the eighth must be but a halftt le. Any other arrangement of the soimds of the musical system than this cannot be a major Diatonic scale. 22. A tone is the greatest term, and a halftone is the least term by which the contents of all intervals greater than a tone, are described. 23. A Diatonic scale can be constructed upon any one sound of the Chromatic scale, and the sound so taken is called the tonic, or key-note of that particular scale. 24. The successive sounds of a scale are invariably calculated upwards, from the first or lowest sound, or key-note. It has thus been demonstrated, that from the preceding analysis of the elements of musical sound, we have derived in natural sequence : — (1.) A fundamental elementary basis ; (2.) A scale of octaves : (3.) (4) A chromatic scale ; Diatonic scales. which by inverse reasoning shows that we cannot methodically and clearly com- prehend the latter, without a previous acquaintance with the three former truths. Directions to the Teacher. Lessons on the theory of music become interesting to the pupil in proportion to the ability of the teacher in developing and illustrating his subject. No teacher should be without a SoitoTneter and a large sliding scale-apparatiis ; the former dispenses with the tuning fork or other musical instrument, and the latter is indis- pensable to the teaching of classes. In cases where the teaching of Part I. of this work, may not be expedient or practi- cable, its use may be dispensed with, so far as the philosophical consideration of parts and vibrations of the scales is concerned. Instead thereof, the teacher may adapt to the diagrams and scales any simile his ingenuity may suggest, with which his pupils may be already familiar ; for instaiice, most children and all adults are conversant with ad- measurement by hali-inches and inches. Thus the vertical line at A, Table III., may be 8 DIRECTIONS TO THE TEACHES. transferred totho black board, and intersected by thirteen short and equi-distant lines, and twelve spaces. They may not be literally half-inches, but for all practical purposes they may be considered as such. It may be shown that these half-inches majy be grouped into inches and half-inches, in various different ways ; they may be collected into «ix groups of two half-inche* each — two groups of lix half-inches each, &c., &c. When the pupils have become quite conversant with the idea of grouping, their ftttention may be directed to the more important one of — inch — inch— half-inch, — inch — inch — inch — ^half-inch, — the seven successive intervals of a diatonic scale. Attention may be drawn to the significance and importance of the thirteen lines which mark the half-inches, and the pupils may be informed that these lines represent an equal number of fixed and definite sounds which constitute the musical system, and the dis- tances or spaces between the sounds are called halftones ; and that tiie lines and spaces collectively are called a chromatic scale. When the pupils have become thoroughly acquainted with the idea of a chromatic scale, the first, third, fifth, sixth, eighth, tenth, twelfth and thirteenth short lines of the chro- matic scale may be oxtondod a sufficient distance to the right, so as to form of themselves a distinct series of eight sounds, tone, tone, halftone, tone, tone, tone, halftone, coUeC" tively forming what is called a diatonic scale. It must bo left to the teacher's discretion as to hor^ far he may choose to enter into the analysis of scales as contained in Part I. Tho teacher may now intone the scale with numerals slowly and firmly, dwelling upon the sounds 3 and 4, and 7 and 8, explaining that since those intervals are but half inches apart, so the sounds which they represent are but half the distance apart, as compared with the other five. The syllables may now be added to the chromatic and the diatonic scales, and the pupils well and carefully practised in the diatonic scales with intonation. By drawing a double chromatic scale, as at A, Table III., the whole of the diatonic scales may be studied as on that diagram, with the substitution of inches and half -inches for parts and vibrations. The study of Part II. may be pursued as laid down, with a substitution similar to the one just recommended. The power of appreciating the inward feeling of the difference between two sounds, a whole toite apart, and two sounds, a halftone only, is by no means so easy a matter as is generally represented in the books of instruction. Considerable experience in the practice of the chromatic scale, modulation, and accidentals is necessary before this differ- ence can be easily discerned by the ear, or produced at will by the voice. Majoi 102>1 998 D Si 938 L 858 S( 774 726 F fi24 R 512 D Scale liBtant lines, cal purpoaea half-inchea, iche* each — uping, their en, — inch — I lines which 3nt an equal bnd the dis- and spaces >matic scale, of the chro- ' themselves tone, colleC' I enter into rellin£[ upon i half incnes BUB compared es, and the bhe diatonic half-inches tion similar /WO sounds, matter as is nee in the > this differ- DIAGRAM Major Diatonic Scales, derived from the Descending Chromatic Scale, requiri 26 86 163 244 291 390 500 Scale of Do. 1024 998 Do — Si - 938 La- 858 Sol- 774 726 F:v- Mi- 624 R«- 512 Do- 998... 972... 898... 814... 726... 676... 566... 499.. Dof^ Si b- Latr- Sollr Mi^ Rel^ Dotr— I 26 Scale of Do b 26 51 124 205 291 340 447 ..972 i Si 1^- ..938 j La ..858 i Sol ..774 ..676 ,.624 Fa Mitr- Re ..512 I Do — ..486 I Si Scale of Si t> P 51 86 163 244 340 390 51 ..808 I L*t>— ..858 I Sol — .774 : Fa ..67C ..566 ..512 Mil?— 340 Reb- Do - Si b- 51 La b— I 124 124 163 244 447 ..486 .449 Scale of La 7 ..8L4 ..774 ..676 ..566 ..499 ..486 ..449 ...407 Scale!! , '■.-/'■: ' vV ^:- ' 'M i '■ V , ■ - **• ,:■.; i , ;rH , :i •,> ■ 3' •■^M' ' :<'^. i.,? aiy ■*» .tri ji>>iyt 25. 1 26. '. the compi Tl nomet* ihe vibi the 2on the soil 27. 1 upon the ] diameter < 28. 1 sonorous I Th, that len motion, 29. Ti the musica Tibiations 30. Nc icience prop )y which tl PART 11. i.. ',1" !.■'•> >''■<■ CHAPTER I. The Properties of Musical Sounds. 25. Musical sounds involve the consideration of four properties, namely, — fitch, duration, intensity, and timbre, or quality. 26. The 'pitch (acuteneas, or gravity) of a musical sound, depends upon the comparative velocity of its vibrations. The comparative velocities of sounds may bo clearly illustrated upon the so- nometer, by which it will be seen, — that the shorter the string, the more rapid will be the vibrations, and consequently the higher or more acute the sound ; and inversely, the longer the string, the slower will be the vibrations, and the deeper, lower, or graver the sound. 27. The intensity (loudness or softness) of a musical sound depends upon the force with which the sonorous body is struck, and the consequent diameter of the vibrations. 28. The duration of a musical sound is that length of time which the sonorous body continues to vibrato with the same velocity. The duration or length of a sound may be measured on the sonometer, — and is that length of time which transpires from the instant the sonorous body is put into motion, until it again returns to a state of equilibrium. 29. The Timbre (or quality) of a sound depends on the material of which the musical instrument is constructed, and also upon the forms which the vibratioDS assume. CHAPTER II. Notation. 30. Notation includes all the symbols by which the elements of the Science proper of music are represented to the eye, as well as the nomenclature W which they are described. 10 NOTATION. 31. If we wish to represent a sound of any given value of time, it is evident that the sound must begin at a given time, continue the given time, and cease at the expiration of that tim^i. To accomplish this, some symbol to represent the unit of ad/meaaure- men<,and another iYiQ period of time by which to measure, must be assumed. I SHAPES AND COMPARATIVE VALUES OF THE SYMBOLS CALLED | NOTES. EHYTHM. 32. The comparative values of musical sounds, are represented by sym- bols called notes j and every such character is intended to convey two dis- J tincfc and separate ideas, — pitch and duration. The number of these symbols in common use at present, are six, whose relative | values are in the simple ratio of 2 to 1. The comparative length, time, or valiies of notes may be conveniently compared I to a second of time and its fractional parts, and a semibreve assimied as the greatest | unit of value. 1. A Semibreve 2. A Minim . ' 3. A Crotchet 4. A Quaver 6. A Semiquaver 6. A Demi-semi-quaTer Fio. 1. ^ the unit of admeasurement, equal to a second. r^ half of a semibreve, " I one fourth of a semibreve, " P one eighth of a semibreve, " N one sixteenth of a semibreve, " fc one thirty-second of a semibreve i t 1 <« ( 1 (C 33. The above six notes are described as follows : — Fig. 2. The semibre' e is an open note. minim " " with a item. crotchet " a black note with a stem. quaver " " " " " and a dash. semiquaver " " " " and two dashet. demi-semi-quaver " " and three dathet. Also : — A semibreve is equal to two minims. " minim " two crotchets. " crotchet '* two quavers, quaver " two semi-quavers. li semi-quaver two demi-semi-quavers. •a a o -3 o ► I I satisfifl^ to timl L'.'i'J f time, it is given time, admeaaure- be assumed. :,S CALLED ited by sym- vey two dis whose relative I ently compared I as the greatest I second. 1 " 1 (C 7T hes. NOTES. TABLE OF COMPARATIVE VALUES. 11 34. The following table shows the relative values of notes descending: — TABLE IV. ■)!un eqi jSAvnb -luiasiinaci v jaARnbimss V i^ P tin ^ i ■<5 e__. •a « I I 09 N -3 a* 0) O I 5_ O ?_ 01 o c8 3 « ;: o 00 o "Sin 1^ il ^ fan 00 00 u o ;] «0 t4 o %. %- l_A 00 00 ;3i The teacher should not leave this first lesson in notation, until he feels quite satisfied that'-h" Idea of comparative values as represented by notes in their relations to time, or period, ia quite comprehended. 12 THE DOT. THE TIE OR BIND. COMPARATIVE VALUES OF NOTES CONTINUED. THE DOT. THE TIE OR BIND. 35. A dot (,) after a note prolongs its duration by one half. . Fig. 3. A dotted semibreTe is equal to three minims. a. rrr muum *' crotchet '.A quaver nemi-quaver " three crotchets. *' three quavers. " three semi-quavers. cs. \ three demi-semi-quavcrs A' 37. I he flow o These inte alues of 1 36. Prolonged sounds of any desired value or length may be obtained by iineans of the Tie or Bind, which, extending from note to note of the same denomination, gives to such sound the length of duration equal to the collec- tive value of the notes so tied. Fig. 5 represents sounds varying in value from twelve to five crotchets, the crotchet being the unit of admeasurement. Fig. 4. ' equal to twelve crotchets. Y Y r eleven ten nine eight seven six A Semi A Mini ACrot< A QuaM A Semi A Demi Thedaf Thedaf Thedat 38. R s notes. The doi five fitilljnore minute Talues may be obtained by double dotted notes. THE DOT. r r le obtained by « of the same to the collec 'e crotchets, the RESTS, OR PERIODS OF SILENCE. W CHAPTER III. Rests, or Periods of Silence. 37. In almost every piece of music will be found interruptions by which the flow of the melody or part is broken by occasional cessation of sound. These interruptions are called rests, whose periods of silence are equal to the alues of the notes whose names they bear. Fig. 5. Semlbrere Ucst. Hinim Best. Crotchet Rest. Quaver Rest. S'imiquaTer DemisemlqtuTer Rest. Rest. -t -^ «. A Semibreve rest ia described as a strong dash under a lino. A Minim rest is described as a strong dash over a line. A Crotchet rest is described as a stem with a dash to the right. >• ..- A Quaver rest is described as a stem with a dash to the left. A Semiquaver rest is described as a stem with txoo dashes. A Demi-semi-quaver rest is described as a stem with three dashes. The dash of the crotchet rest must always turn to the right. The dash of the quaver rest must always turn to the fc/<. The dashes of the semiquaver and demi-semiquaver rests may turn either way. 38. Rests may be prolonged by means of the dot just in the same ratia 3 notes. Fig. G. The dotted semibreve rest is equal to three minim rests. "~= — " minim rest is equal to three crotchet rests. "~^ — *•' crotchet rest is equal to three quaver rests. •• quaver rest is equal to three semiquaver rests. " semiquaver rest ia equal to three domi-semi-quaver rests. -P-^ -^ r 14 THE STAVK LEDGEB LINES. CHAPTER IV. The stave. Ledger Lines. Rehakks : — A stave may consist of any number of lines which may be necessary to the illustration of any portion of the theory of music ; for instance : — the scale of octaves, which requires thirty-two lines ; — the chromatic and the diatonic scales require five lines only. The lines of a stave are not necessarily long lines. 39 The ordinary stave for all practical purposes is a series of five par- allel lines, extending from margin to ,nargin of music paper, upon and be- tween which the notes are placed. The lowest line is named the first line, and the space between the first and second lines is called the first space. The lines and spaces are always reckoned upward. The position of a note, whether on a line or in a spa^e is called a degree ; hence, as there are five lines and four spaces, there must bo nine degrees within the stave, upon which the nine notes may be placed. Fig. 7. • Lines. * K Spaces. -T. »- —2- 3 1_ —2 1 40, Notes convey to the mind, " two distinct and separate ideas, pitch and duration " (par. 32). A note irrespective of any position on the stave, is the representative of value only , but when placed on any line or space of the stave, a note becomes the representative of a fixed and definite sound as well as of value. At fig. 8, five notes are placed upon the stave, the second of which is higher than the first ; the third is lower than the second ; the fourth is higher than the second, and the fifth is lower than the first ; moreover the first is as long again as the second ; the second is twice as long as the third ; the third is twice as long as the fourth ; and the fourth is twice as long as the fifth. Fig. 8. . r J f^ 41. The stems of notes may be tunied up or down, the object being to keep them as nearly as possible within the extent of the stave, 42. When notes are required to represent sounds below or above the extent afforded V-"" the stave, additional short added lines, called ledger lines, are used, upon aud between which the notes required are placed, just in the necessary to -the scale of scales require of five par- pon and be- he first line, Q first space. n of a note, lere are five stave, upon 3 ideas, pitch on the stave, le or space of lite sound as (fhich is higher igher than the } long again as 3 as long as the ject being to or above the ledger lines, d, just in the TRANSFERENCE OF THE SCALE OF OCTAVES TO NOTATION. 15 sapie order as on the stave itself, and each note is distinguished as being upon or between the first, second or other ledger line or space, above or below the stave, as the case may be : Fig. 9. On Lodger lines below the stave. On Ledfcer spaces below the stave. HS>- — Tz:^ »-^ 322 — ~ On Ledger lines 3C2 ._, above the stave. 4=2 Oh Ledger spaces above the stave. CHAPTER V. Transference of the Scale of Octaves to Notation. Hemark : — An acquaintance with the stave, notation, rests, &c. , prepares us for trans- ferring to notation in a methodical manner, the scales, which in Part I. of this work were treated exclusively on their elementary principles. THE SCALE OF OCTAVES. 43. In transferring the nine octaves. Table I. p. 5, to their relative posi- tions on the stave, it wul be necessary to have a stave containing as many lines and spaces as there are diatonic sounds within each octave, namely 7 X 9 = 63. 44. Table V. fig. 10, is a large stave of thirty- two ledger or short lines, on which the nine octaves on Table I., par. 15, Paxt I., are transferred to the stave in notation of semibreves. To find the places of the nine octaves on a stave of short ledger lines, place the fundamental sound DO, IG double vibrations, on a line, and call it one, draw three other corresponding lines above, and on each successive space and line thereof place a Bemibreve ; it will bo seen that the eighth note will fall on a space. This is the posi- tion of the octave to the lowest sound, and is equal to 32 double vibrations. By pursu- ing this course, and counting the eighth of the preceding as the first of a succeeding series of eight, the positions of the nine octaves may be described, as shewn at fig. 10, Table Y. It will also be seen that each succeeding octave occupies lines and spacer alternately. Opposite to each octave are placed its numerical position and its relative vibra- tions, corresponding with Table 1., par. 16, in connection with which it should be studied. Beharks : — Hitherto the successive octaves have been considered in their numeri- cal succession only — as the first, second, &c., to the ninth. But something beyond this, — some more concise method is desirable, by which any particular octave, irrespec- tive and independent of its numerical position on the great scale, may be at once mora readily expressed and understood. Itt PLACES OF THE SCALE OF OCTAVES ON THE STAVE. Instead of describing the octaves numerically upwards from the bottom, the third and fourth octavos are taken as central points, from which the other octaves radiate upioard and downxoard. For many reasons, these octaves and the intermediate scale are important. The fourth octave (256 vibs.) is an important point, as from it radiate npxvard the registers of the light and airy sounds of the higher species of instruments ; as also the Treble voices. The third octave (128 vibs.) is also an important point, as from it radiate downward the more ponderous and deep registers of instruments and voices, viz. : the Bass ; and thus the scale lying between them becomes a sort of neutral acalt, as occupying a central position between the high treble, and the low bass. For the purpose of distinguishing readily one octave from another, as also any particular note in its respective scale, the third octavo is described simply as 'small rfo,' and its scale 'small re,' 'small mi,' and so on, to its octave, which is called ' small do, once marked,' and its scale ' small re, once marked,' and so on, — or for sake of brevity, 'small do^,' ' small re^,' &c., «fec. The octaves below small do are named 'large DO,' 'large DO once marked,' 'large DO twice marked ;' or, for shortness, 'largo DO^,' ' large DO",' and soon. Transfi Fig. 11. ;.;< 9 8 6 512 vibs.= 5 ^256 vibs.= 4 Unmarked or 128 vib8.= 3 2 1 . :z2i ZS2Z izz: 1221 do"" do^ I do^ do^ do ?■% 2 1-3 ) do"- > Neutral Scale. ) do 4-2^ L 1 ►^ s a ct Scale of the "Sve-tirSes marked* small do. do*, re*, mi^, fa^, sol^, la^, si^, small do*. Scale of the four-times marked small do. do*, re*, mi*, fa*, sol*, la*, si*, small do'^. Scale of the three-times marked small do. do^, re", mi', fa*, sol*, la', si' small do*. Scale of the twice-marked small do. do", re', mi", fa', sol*, la", si*, smal". do*. Scale of the once-marked small do. do^, re*, mi*, /a*, sol^, la^, si*, small do*. Unmarked or Neutral Scale of ' small do>' to once-marked small do, do, re, mi, fa, sol, la, si, do^. Scale of large DO. DO, BE, MI, FA, SOL, LA, SI, DO. Scale of once-marked large DO. D0\ EE\ MP, FA\ SOL\ LA\ SD, DO*. Scale of twice-marked large DOn. DO*, BE*, MP, FA*, SOL*, LA*, SI*, DOK According to this arrangement, all octaves and their respective scales will be described for the future. bottom, the other octavoB ortant. iiate upward tniments ; aa )m it radiate voices, viz. : neutral scale, s. r, as also any ply as 'small lich is called on, — or for nee marked,' ' and so on. ado. 1 be described TRANSFERENCE OF THE CHROBIATIC SCALE TO NOTATION. 17 CHAPTER VI. Transference of the Chromatic Scale to Notation. Chromatic and Diatonic Halftones. NAMES OF THE SOUNDS OF THE CHROMATIC SCALE. Remarks : — It is usual in all our Music Instruction Books to adapt names in the first instance, to the eight sounds of the so-called ' natural scale,' — namely, do, re, mi, fa, sol, la, si, do, — or — c, d, e, f , g, a, b, c. After the pupil has been thup far drilled, he is instructed that by ' sharpening' this or ' flattening' that sound, other sounds, accidental or intermediate between any of t^e whole tones may be produced which arc liigher than the lower, and lower than the higher of the two sounds which form the interval ; that the eight sounds of the ' natural scale,' together with these five interipediate accidentals form what is called a ' Chromatic Scale,' — that is, an inde- finite something made out of tones and senxitones ! From this most infelicitous mode of construction false impressions arise, which it is difficult afterwards to correct. It is self-evident, that anything to be derived from another thing, must bo pre- ceded by the thing itself, from which it is formed ; and it is evident that the whole of the sounds admitted into the musical system must be methodically developed and imdorstood before an exceptional Diatonic scale can be methodically constructed upon any sound thereof : and that, consequently, a knowledge of the Chromatic scale must prtccde the Diatonic scale. The following tabulated form of the Chromatic Scale, ascending and descending, is given numerically, ali^habetically, and syllabically : — Fig. 12. 1 be P a ending. nding. sending. ding. •o i ■ 8 3 I '3 3 >, 1 >> el ^ ^ .fc' "d >» .1 1 111 ,q rt <0 « rl pfl -t ^ ^ -< X CO ■< do 8 7 7b 8 do u b 81 7 «S la Jt la b . c Gb 5S la solj; a b rC sol solb 6 5b 5 4Jt sol fa Jt b U fa mi f 4 3 4 3 f e fa mi mi t? e b 3b 2« djf rojf MA ^ 2 2b 2 IS d ^"b dojf do c 1 1 c do 18 TRANSFERENCE OP THE CHROMATIC SCALE TO NOTATION. The numerictil arrangement ia used principally for numerical reference ; the alphabetical for instrumental purposes ; and the syllabic for vocal solmization, or sol-faing. It will be seen from this arrangement, that each succeeding sound is named sharp (jf) to the name of the sound below, on the ascending side, as do — do Jjl, re — re Jf, and so on, except 3 and 7, which have no sharps ; and so on the descending side, 8 and 4 have no flats (^). It will also bo seen, that on the descending side, each succeeding sound is named flat (jj) to the sound above, as si — si \}, la — la [>, and so on. It wiU further be observed, that the self -same sounds called sharp in the ascending scale ura called flat in the descending ; consequently x- 7|7 is the same sound as G jj;, (a j( and la j^.) 6]f •« " asSjf, (fjt<^nA>ol%) . , , . 6b " • " asijf, (/Jf and/ajf.) ,: 8|^ " " as 2jf, (d# and rej{.) t^' " " as 1^, (c# and do jf.) The simplicity and convenience of this arrangement will become evident when we arrive at the construction of the Diatonic scales. The student is timely cautioned against heeding any of those groundless argu- ments raised by some against this nomenclature of the Chromatic Scale. They contend that ' do sharpened can no longer be do' ! that ' si flattened can no longer be si,' a fatal objection indeed, if such a paradox were ever contemplated. " But those musicians who are merely practical, — and these are the most numerous, having attached an idea of reality to the signs which represent sounds, and seeing that the signs of do and re are not changed, but that tho signs of raising and lowering are simply added to them ; — that is to say, the sharp (jj), or the flat (|^), — these musicians, I say, have imagined that do is always do, whether there be a sharp added to it or not. Similar errors are frequent in music, and have thrown much obscurity over its theory. " M. Fetis. 'Music Explained.' By a reference to A, Table III, and to the sonometer, it will be seen that tho ' sound produced by do', 500 parts and 256 vibrations, cannot by any mode of reason- ing, be the same sound as that givan by do^ Jf> having 447 parts and 283 vibrations,— » difierence of 53 parts, and an increase in velocity of 27 vibrations as compared with do' ; and so on with the relations of the other sounds, the principle of its nomencla- ture being a mere convenience for avoiding an otherwise objectionable accumulation iijsy.{. s i ■(A i'\n:{f IL: ,-wo proximate fa i ; f>i —si b ; t distinguished the note, and which occupy mes, SA do #- degnea of tin ^^ Table V. — Table of the Scale of Octatsg, and the Che Notation from the Diagrams o Vim. 8192 4096 2048 1024 612 366 128 64 32 16 SCALE OF OCTAVES Fio. 10. = 9th octaTO = do'- = 8th octave = do*- = 7th octave = do* = 6th octave =^ do*- = 5th octave = do*- ■= 4th octave ^ do^- =: 3rd octave = do - = 2nd octave = DO- = let octave = DO^ (. sound. ) ^ ^ ^ ■m) - —im- -C?- -" — - Fio. 17. AsoBimiKo Crroiu 221 22: "i':^ s »: ^ I'S || SOALK OF cIo>. S -ft;^ d DIATOinC SCALES, aaeending, t^ Fio. SoAUi or do>f a .1 itJ i^J feLjiJ 22: ^B r^ a"^ j ?J j^ ^ - i ^^ ^a\ .. iip y^ ^ ^ s^ »•? ^ Kh ::2z: ^ SOAJLB OF /aljf. rl;:! e J- J r/^ - SoALB or •(>{>. 7rr ^^ fc ftg l < t^- 23: 22 r^ ml^h ^ V ^ gg ^ »=- 22: r^rr ^ i b^ SoALB OP re^t^. DIATONIC SCALES, ascending, requiring { SOALE OF mi*|^. ■J t>J I^^J t>^ ^^ dt s M s ^E^ ^ ICZ Wr=^ :£ -b^ ^ ^S 'F=F 32: o P ^ s S0AI.K OF sol^l;. SOATB OF la^\f. i ^^^^^^^ fe^ J bp Y^ f^- -t^ ^ :|t=; 23; ~ty?ry w^^ _■ i,.i bj irrJ ^d-^f- r '•-- II b>.^ ,. ^ J ^-^ V r"T *= w :g, and the Chromatic and the Diatonic Scales transferred to the Diagrams of Scales, Table III. V I CHROMATIC SCALE Fia. 16. ABOBin>iKO Orromatio bt Shaups. DitaoiirDiNa Obromatio bt Flah. rJ t r - Y^ S 221 ZZZ. . - ^ ^f* z-*, 4 b^ ^ JjJ- 4 ih^^r ■j£j^ ■ jtt- . j"pJ»f^Hg "r3~b|^- f^r^ r f^^r^ p^f^ f ^ r^ rr ± C SCALES, aaeending, requiring Sharps in their construction. Fio. 16. « ScAU OP r*>. / ■^-JtJ i t rJ SOALX OF mt>. ^ ^ ■ fej J j '^^ "^ 3n: i 41= :2Z |c qjt: J^- gg^ ~C7~ ^,f^ f^. SOALB OF (a*. SOAIiB OF M>. ^^r : II »«' ,. J iiM p f f ^ Jbl A. ^ itr. a^ r^ ^ ^ T - t ( r-> f r^ ° "f^ r "Ty r f r V ^ s ^E ^4^tf ^ ^-^ 3 H >, ascending, requiring Flats in their construction. SoAXE OF mi'l^. m ^-^J b^ ^ ± SOALX OF /A^ Z2: J J bJ ^J f^ r :^ ^ 221 ^P— F- "F" ■&- ^ r~r •T^ Q P SE ^» i SOALB OF M*|;. (S2_ i ^ ^=. h . t> , l 7 r ^ h ^ SOALB OF do'l^, V^ I , \^ \fr^ ^^ — i ts>- ^ s /rj bg rJ g l '^f'' 22: (O vrs ^K.^^'i- ' i'^^ mi -^ V, I -;'T Tabk SCALE OF 0« Fio. K = 9tb octave = ( = 8th octave = a = 7th octave = d = 6th octave ^ d = 6th octave = d> =: 4th octave = di = 3rd octave = dc = 2nd octave = J> =^ 1st octave = D V Bound. ) • SOALI -C7 S zz Lin: ^ v-fg- Z2 ^;\ M ^ ^ ^^ I ts' I eg^^^ ^ s i ^ n SoAil nV.^ _ h.J bJ Iv TRANSFERENCE OF THE DIATONIO SCALES TO NOTATION. Fio. 14. " '.-■' ■ • 19. 1^ :1?= rr--l % and la J{), cannot ho constructed without the use of double sharps, (ttif or X ), and are therefore never used. 55. There are also four which are seldom used, — namely, the scales of fa % do #, re 1^, and sol V, which are called ' extreme scales.' The number of scales for all practical purposes is thus reduced to eleven. USUAL ARRANGEMENT OF THE MAJOR DUTONIC SCALE& 21 le Diagram, irresponding I Table III, in ir transference \., Table V, is bscending, and q, Table III, of the human L notes, is the if any scale, id placed as one or mora sh note in the or flat thereof lommencement id do* iff in the ) the scale in ve the same halftones of lar ascending Bse, however, ouble sharps, the scales of The number CHAPTER IX. The usual arrangement of the Major Diatonic Scales, according to their Signatures. ON THE TERM " TRANSPOSmON," AS APPLIED TO THE FORMATION OF SCALES. Bemarks : — Of the many inapplicable terms made use of in the nomenclatu'-e of music, that of "transposition," as applied to the construction of scales, is, per- haps, one of the most incorrect. "Changing the order of, by putting each in the place of the other," "putting out of place — removing," are the ordinary meanings conveyed by the word " transposition." In the arrangement of the chromatic scale, as laid down in Part I, pars. 17 and 18 of this work, it will be seen that each one sound thereof entered into tho con- struction of that scale separately and independently of the other, according to a given arrangement. In like manner, each sound of the fifteen Diatonic scales entered into those scales, separately and independently of each other, in the order in which they were derived from the chromatic scale, according to B and C, Table III. There was nothing "changed by putting each in the place of the other, "nothing "put out of place " or " removed," no reference or comparison with other scales, and conse- quently ihere was no " transposition." Transposition, therefore, as a method for the formation of scales, is incorrect in principle, and is expunged from this work. 56, It is usual to arrange the Table of Diatonic Scales in the same order of succession as their essential sharps or flats increase in number. This circum- stance occasions the key notes of scales having essential sharps, to fall in ]}erfect or large fifths above each other : — thus, tho perfect or large fifth above do^ is sol^, which has one essential sharp, — -/a" S; re^ is the perfect or largo ;lfth above sol'^, and has ,, 7— - ^^^ 64 irrange **.us gi^ . Ts ^i 65 out an J line, thi enclose sents t1 uamele ^^ BEUSTERS OF THE HUMAN VOICE. CLEFFS. 2S CHAPTER X. Kegisters of the human Voice. Cleffs. 68. From physical causes over which we have no control, the human voice is described as of two sorts — namely — the voices of women and childrer, and the voices of men, the former of which move in octaves above the latter. 69. By the register of a voice is meant the number of Diatonic soimds, upward and downward, which each voice respectively can produce. 60. The voices of women and children are divided into Treble and Con- tralto, and the voices of men into Tenor and Bass. The Treble is called the top part, the Bass the bottom part; and the tenor and contralto the inner parts, iu harmonies of four voices. 61. Though each species of voice occupies a different register in its degree of acuteness and gravity, yet each register has nearly the same average extent within itself. - 62. Notes alone cannot indicate the register of any voice, nor the absolute pitch of any sound. Some sign is required to express this, — something to shew at once which register the music is written for. 63. The notation for the four registers are distinguished by three charac- ters, lupposed to bo corruptions ot the old forms of the letters C, G, and F, anf* a:'o called Cleffs ; and these are the only symbols in music which abso- It' >;.y \ Djesent sounds, and which act as indexes to all the other sounds of c. .J .. They are called the Do, (or C), Sol, (or G), and Fa, (or F) Clefl&, Fia. 23. Do. C. I Fa. P. ^ 64, Cleffs are signs placed at the beginning of the stave, and are so ■irranged that a particular part of each shall cross a given line thereof, and » 'us give to all notes standing on their respective lines the names which the I Ts •ih^imselves bear. 65. At * fig. 24, a note is placed upon the second line of the stave, with- out any sign to indicate its name. At a the Do Cleff is placed upon the third line, that is, the two strong lines parnllel with the third line, which they enclose. The cleff in this position is called the " Contralto " cleff, and repre- sents the Contralto register, by reason of which the note which at • wm nameless becomes la, as indicated by the black note leading to it ata. 24 POSITIONS OF THE FOUR REGISTERS ON THE GREAT STATE. 66. At b the same clefT is placed upon the fourth line of the stave, in which position it indicates the Tenor Begister, and the note at * becomes fa, sa indicated by the black notes descending to it. 67. At c the Sol cleff is placed across the second line, that is, the lower portion of the character, the curve crosses the second line four times in its formation ; it is this portion of the cleff that represents the sound of sol*^. This Cleff indicates the Treble Register, and its position being on the same line as the note at *, its name becomes Sol, as at c. 68. At d the Fa Cleff is placed to cross the fourth line of the stave ; the line is also enck i bv two dots, and indicates the Bass Register. This CleflF gives to the note ^ ;. name of SI, as indicated by the black notes descend- ing to it, as at d. Fio. 24. a. b. d. do^ t-«H -*- 1 I I I I ' ! L do .^??t -s>- *•= { fa. $ -G'~~ g#=^^ «oIi. 81. CHAPTER XI. Positions of the Four Eegisters on the great Stave. 69. Fxg. 18, Table VI, is the great stave. Upon it i3 shewn the series of sounds extending from the lowest possible sound DO, which can be rarely sung by men, to the highest sound do*, rarely sung by women; the whole embracing four octaves. 70. At J^ig. 19, the sounds on the great stave are divided into Bass, Tenor, Contralto, and Treble, with their respective Cleffs, positions, and extent of each register, namely : — a, the Bass, extending from FA to re*, 13 Diatonic sounds. 6, the Tenor, " " do to so^S 12 c, the Contralto," " /a to si», 11 _— : do' ~ 'as^ ~ do n DO " gT " FlO. 16. ^=^^3 3^ ^-»>- Jr^ r r ££ ^ is .^•te : as • X : => VI > Fia. 26. instead of rrT~T rue. go forth. rise,' 'go forth.' where at a the vertical lines follow the unaccented, and precede the accented syllables, and the contents between the two lines is called a measure. 85. " A row of feet in versification is called a line ; two lines rhyming make a couplet; three lines make a triplet; four or more lines make a verse. ' 86. Two or more measures in m,usic are called a phrase; two, three, four, or more phrases make a period. 87. The chief kinds of metre used in English Poetry are the Dissyllabic, (two part order), and the Trisyllabic, (three part order). Measures of two and three part orders or measures, are the only metres, (or measures) used in English music. to is CHAPTER XIII. Measures. Bars. Time. Time Signs. 88. It has been shown in the foregoing chapter that all music is divided by the bar line into small portions called measures. 89. It is usual in most treatises on music to give the name ' bar ' indis- criminately to the vertical line that divides music into measures, as well aa COMMON AND TRIPLE MEASURES. «• ngina the 1 is placed r, as at a, placed in a symbol tical lines forth.' le accented ire. rhyming a verse." two, three, )issyllabic, ',y metret, to their contenta. In this vrork tho lines are called Bars, and that which is contained between two bars is called a measure. 90. Measures of two part order, as two, or four, or its multiple, are called Common or equal times. Measures of three part order are called triple or unequal times. These are called the ' simple' or 'radical ' times. 91. From these ' simple' times, other times called 'compound ' are derived, namely, — 'compound common' and 'compound triple' times. 92. Hence has arisen the use of time or measure signs, by which to con- vey readily to the sight the particular order, measure, or time of tho notation in which a piece of music is set, or written. 93. With one exception, tho contents of aU measures are represented by fractions, placed immediately after tho Cleff signature : a.s J, ^, », |, 4, J, |, &c., the denominator implying either the wJiole or some fractional part of a semi- hreve, and the numerator the number of such parts. 94. Figs. 27 and 28 are tables of the various simple times and their sig- natures in most common use : — Fio. 27. Common, or equal Measures. - or S, two semibrevcB in » measure, - or ^, two minims in a measure, - or ^, two minims in a measure, 4 2 4 two crotchets in a measure, FlO. 28. Triph, or Uiicqual Mfosurcs. three scmibreyes in a measure, <2 es nrr rr ua Turn. Ti Signi_ Be Two! $ = Two b4 J- Two- fa Twri The? — Thrtc:: be Oompoonded of two meMoret of f time, (Never uied.) Compounded of two mMurareB of ^ time. Compounded of four measures of f , or two measures of compound ^ time. Compounded of two measures of |. time. Compounded of Uiree measures of simple ^ time. (Never used.) Compounded of three-mesaures of simple i time. rpjij ^ — Compounded of three measures of simple i time. Compounded o(' three measures of simple ^^ time. TABLE VII. Time Table of Simple Common and Simple Triple Time Signs, and their re A. — SntPLB Tikes. Time. Bignatures. I E or X Two or four beats. Simple two part Order. Simple or Common Times. ., r. ^ or 7 Two or four beats. ip or 4 Two or four beats. Two beats | r^JrJJrr-W ^ dSt ^ ^ r r r r Time Signatures. C-/ C-JC-T S ' Sz^ 8 V Two beats. I Two beats. 11 Four beats. ■s Two beats. I Si r r f' down. Compounde P ^!^!^ down. 1 s j^-C£ft£ P down. left 1 ] down. Simple throe part Order. Simple or Triple Times. — 0. Compounded Ti m Three beats Thiee or six beats |. # ii „ — r , zai •J" fTJ- Tbne beats. ^2 I I I fc' down. ^J /-J /-J /TJ g ?i ^J IXSt down. Three beats t h^ ^-d^-^ A ^ Three beats. TABLE VII. Simple Triple Times, and their derived Compounds; s, and their relative Beats. B. — CoMPouKS Tikes. Compounded Common. B. i'i. r !' J' r f r down. op. m rrr r r i^ down. up. ts. §^ cif Circus down. left. right. up. 1 h I2 B. m m—M i Compounded of two measures of |. time. (Never used.) Compounded of two meuures of ^ tima. Compounded of four measures of ^, or two measures of compound ^ time. Compounded of two measures of > time. down. up. Compounded Triple Times. — D. m bs. *J down. left. up. P 4. r r r ^ down. rr rrr- left up. Compounded of three measures of simple ^ time. (Never used.) Compounded of thre^'messures of simple £ time. Compounded of three mMSUres of simple { time. Compounded of three measures of simple j*^ time. t-.;-^V-.^;J» .^iJ^rf >JJ«i^ri;:jt ■;i^';^: I - • ;- .J .„.- -r COMPOUND TIMES AND THEIR SIGNATURES. 29 ponding number of beats is necessary, — two only can be made in its compounded form, — namely, dotvn — up. No two groups of three equal notes can be represented by three beats. From the conformitjr of these Compound measures in their beats to the beats of simple common times, arises the name " Compound Common times." 99. So with the compounding of three measures of simple triple time into one measure. A, Fig. 31, is three measures of f time ; by dispensing with the bars which divide them, one measure of three groups of triplets is obtained, as at b, forming a compound triple measure of nine crotchets, described by the fraction |. Fig. 31. 1 J ■ " 8 ^ _ fi*i^jf|*r||(*ri Threo measures of simple triple. * I I I I t I I I I I 1 I , 9 b Z ^rrrrrrrrr three measures of simple triplets compounded into one measure of compound triple time. So alno with the compounding of the simple triple of tion ; from ^ is derived the Compound triple, |. Compounded Triple times require three beats to represent them Triple times cannot be represented by two beats. next lower denomina- Oompounded 100. A third description of compounded time arises from the com ; .ound- ing of four measures of simple | time upon each unit of a -j, or quadruple common time ; or 't is the compounding of four measures of simple -J time, or of two measures of compounded ^ time into one measure, and described by the fraction V- Such a measure contains four groups of triplets, and requires four beats to represent them; Fig. 32: — Fig. 32. fill sis\ sis\ s'ssi four measures of simple triple. 12 ctr ©ST £r four groups of simple triplets compounded into one measure of compound triple time. 101. Table VII, A and B, contains the four simple ' common, and the four simple triple times,' with their 'oompounded times/ ' time signs ' and ' beats.' RxHAAK : — On an analysii of the various common time signs, it is evident that a piece of music can be written aa well in one time as in another, so long as their ratios are aa t • f •• t • t* d 1 or t 4 comparative values of notes. beats. Fig. 33. ::2t oriS 122: 22: 22=^ 2Z=^ 22=^3= P ^^ ^ -a-°^^4 =f ri: «t22z:ifc=^ i ^^ f^^f^ti^f^-K --4-»^l V=| i5? s^ ^iiT i cgi ;'[ :-tip lj_ .4. or 1 *.' « The same rule applies to mvisic with Triple time signs, as J ; j- ;: J ; f- ; example, fig. 29. Ftg. 34. it ^ iQg ^'^j'^J^ J^^^ ^ ■-' -., ...■■....\= »■■ y •" .' f- ' A i^T ((..•■ • !■ -l. •4,. -^ «W.».- 32 METHOD OF BEATING TRIPLE TIMK 111. A minim being half the value of a semi- breve, the number of beats will be also half those of the semibreve; and, consequently, two minims can be beaten in the time of one semibi'eve, Fig. 37, where a minim is placed at each of the points 1 and 8. In practising 37, say " minim" on the first beat, and repeat it on the third, thus giving to each minim two beats ; namely — down — left — to the first, — right — up — to the second. 112. A crotchet being one half the value of a minim, its value is equal to one beat ; and, con- sequently, two crotchets can be beaten in the time of one minim, and four in the time of one semi- breve, Fig. 38, where a crotchet is placed at each of the points, 1, 2, 3, 4, In practising Fig. 38, at each point say 'crotch,' thus giving to each crotchet one beat. 113. These exercises shew that, in respect to value or time, a semibreve is equal to two minims, or four crotchets, and a minim equal to two crotchets. 114. Measures of simple triple, or three part order, are reprepented by three equal-timed beats, which are equally the representatives of semi- breves, minims, crotchets and quavers. Pass the hand rapidly from 3 in the direction of the arrow 1, and say " down ;" to the left to the point 2, and say " left ;" and from 2 upwards to the point 3, saying "up." By omitting the right beat we get three beats instead of four : Fig. 39. Fio. 37. Fxo. 33. Fi3. 39. ,/1 / / > / 1 / 2 Remarks: — It is of the greatest importance that the exercises on beating time should be thoroughly practised, and that the inward feeling of correct equal-timed pulses, or beats, should be fully appreciated before leaving the subject ; nor should the Teacher pass from the lessons until his pupils ara able to beat time steadily together. The simple ratios of the values of semibreves, minims and crotchets, may be made more evident, by dividing the class into three divisions ; the first division beat- ing semibreves, the second minims, and the third crotchets, simultaneously. $ UNISONS AND INTEBVAL8. 33 I C3 J J A CHAPTER XVI. Unisons and Intervals 116. A UNISON is the iteration, or repetition of any sound represented upon the savve degree of the stave, as soP — %ol^, to' — h.^. Fio. 40. P -s»- 3z: :2zr sol\ joli. la}. UK IIG. "An INTERVAL is the measured distance between any two sounds of different denominations," occupying different degrees of the stave, as do^ — rgi-, do^ — mi\ etc. 117. The NUMERICAL NAiiE of an interval is derived from the number of degrees of the stave which any two sounds occupy, inclusive of the sounds themselves. 118. The CONTENTS of an interval are the numher of tones and halftones contained within the two sounds inclusively. 119. "A tone is the greatest term, and a halftone the least term by which the contents of all intervals greater than a tone are described." Fig. 41 describes all the intervals contained witliin a Major Diatonic scale from the least, a second, to the greatest, an octave, from do^ respectively ascending and descending. Fig. 41. ASOENDINO INTERVALS. A be d c. f a $ Second. zcz: 7SZ. I Third. Fourth. Fifth. Sixth. Seventh. DKSCENDINO INTHRVALS. Octave, or Eighth. -^ jssr. -ts- ::z3: 22: - TTf^e^ m TTT :a m ^^^3=^ - ^r-S2-^^rrrp "ST Each of these examples is to be carefully studied, and committed to memory separately, in the following order : — (a) — do' — on the first ledger line below the stave, — or (more concisely) ' first ledger line below.' re* — on the first ledger space beloic the stave, — or (more concisely) ' first ledger space below.' mi^ — on the first line of the stave, — or (more concisely) ' on the first line,' as distinguished from the Jirit line below. {b)—fa^ — on the first space. ,, ' sol^ — on the second line. la^ — on the second space. At c, a and b are joined together, a being written in semibreves, and b in minims, to assist in distinguishing them. {d) — si^ — on the third (dotted) line. do 2 — on the third space, re* — on the fourth line. For present purposes, the third line is described as dotted, as being a centre line, — namely, hco lines below, and two above ; of course, the line ultimately becomes continuous. (e) — rut* — on the fourth space, /a* — on the fifth line. aol'* — on the first ledger space above the stave, — or (more concisely) 'first ledger space above.' la' — on the first ledger line aborethe stave, — or (more concisely) 'first ledger line above.' At /, d and e are joined together. At g, the whole series of examples are joined in one. Thus there are three prominent points for comparison, — namely — (1) the clef sign, sol, which gives its name to evenr note on that line, — (2) the fint ledger lino below the stave, — do^ ; and the third dotted line, $i^. .36 EXERCISES ON THE MAJOR DIATONIC SCALBH. CHAPTER XIX. Vocai Exercises on the Major Diatonic Scales. Remarks : — In the practice of the ExerciseB and of the Scales, and throughout this work, no change in the names of the notes takes place. The syllabic names which the Chromatic scale obtained at its construction, in Part I, Table III, are retained unchanged throughout. The fallacious method of adapting the syllables Do — Be — Mi — Fa — Sol — La- Si — Vo — indiscriminately to eveiy scale in the system, is not used, as the arguments for its adoption are deceptive and unsound. The power of singing a Diatonic Scale independent of any name, and ability to detect and correct any false step therein, are matters purely connected with the tdvxaticm of the ear alone. That power once attained, and in which there is no diffi- culty, it ma^.ters little by what terms they are called ; "Do — Be — Mi — Fa, — A — ^B — C — D, — Fee, Fa, Fo, Fum, — or any other syllables equally short and easy of utter- ance would do just as well." Hullah. 'Musical Grammar.' 12G. Double bars are placed in the tniddle or at the end of a piece of music, to show that a part, or the whole is finished. The following unmeasured scales, and exercises with numerals, are intended to give a first impression of inflected sounds, and their numerical positions. SCALE OF doV Fig. 44. , o > ^ - -tS?- :a;j 2z: ~ g> g^/ ^ - Z^^^Z. do^ re* m,i^ fa^ sol^ la^ «i* do' do' »i* la^ sol^ fa^ mi' re* do^ Exercise on the Scale of do^. May be awig to any Long Metre. n ¥- - . No. 1. 1 i _ "(V ■St — g? gy — ce' — ^ jzj. — / (TD fTS t-' ■ j .^Sh -Gh ^ ^ f^ ^ 11 2 3 2 3 4 5 5 c 7 8 8 8 7 8 V 11 /T '^ — /r> ^. ■■ ■■' I ftS '^ '— •-' rv ^, ^, ■■ II m i:: <:^ — (S' — (Si — -G>- '^ ^ gr— ^ .11 .» EXERCISES ON THE MAJOR DIATONIC SCALIS. S7 1 dfli SCALE OF «». Fig. 45. :4S= o~sg" -4$^=^ s^- =J^z: -«5>- ^ g?~ :S2= -. Fig. 46. I Se « ^ ff^- 3z: j} & ffo ^ - ^ 1 1 "^ tf o j; y =z 122: ^^ z=^ No. 3. mi^/j^S ^oi^jt fo* *i* do*jJ re^^J mi'^ mi^ re^^jf do^Jp «* ia* aoi^J/a^ft mi^ EXBECISE ON THE Sale OP mi >. Jtfay 6e sang to atiy Hhort Metre. I, ZSL ^ C* &■ 17 12 3 3 - i z f — g* — r :i -ffi^ 4 4 3 bfeS ^ id: g; ry ^S* (S* (S* 27 ■+- 3432232111 7T^7 1 SCALE OF tolK Fig. 47. -iS>- :2Si -xz. :::^-j2- -ftg- -/a. -»s^ :^ -g— SL 3a: ioV- la» «» do" re" m\'^ /a^jfaoja- soi^ faSJf mi^ re^ do* «» Ja^ soi^ 38 EXERCISES ON THE MAJOR DIATONIC SCALES. EXERCIHE ON THE ScALE OF Sol^ . May be sung to any four lines, 8, 7, 8, 7. No. 4. P ■G O rJ ^ IZZ ■r:3—r=i Z2: 22: Z2: ts*- 117123 22345G 5 P=^ ^ ra' CJ. -& :jc1 -&■ 2 17 1 SCALE OF iai . FlO. 48. :S=2=^ ■*=- -^- -s>- * ■tt ^ {j <0 ,j g =fi=: :«s: 321 22r No. 5. /ai »»! do'-Jfre2 »ni»/«*}f aci^Jf ^' ^a^ soi2j| /asjt mi- re- do'^%n^ la^ Exercise on the Scale of ?«>. Hay be sung to any Long Metre. CJ. fl :z2. 22 TTT-rr zsc 1 176567123455432 n « tt / *ih' III 1 Jf jt f^ r^ ,^ \ \ \ Irh '^ ^ '^-^ ^ 'J .-J \^ i'^- 7 6 5 6 5 SCALE OF «'. Fig. 49. 7 1 Jsl a :Jt2z ^^=^= -- J^^-M ^il^- -^^«=- -iS>- -j^r »si^«" ^ S^^ "^ Exercise on the Sale of si''-. May be aiing, to any four lines, 8, 8, 8, 8, Trochaic. «J No. 6. r~d — I 2= g?' g^ ^ 22 z±:^ 765654 33' 4565671 ^ -J g* o ■ r . ^ g ) ^^ 3=22 32 21 7 655656 7 1 G> j £«* 7 1 1 EXERCISES ON THE MAJOR DIATONIC SCALES. SCALE OF /ai. FlO. 60. 89 25C G > i V :fe -^ g. g^ ^ gK" ^- 32 3Z ^^ -&■ 22 I 5 5 1 2 ;< 3 2 3 4 3 2-2 -&■ 3Z 3 =?=^ iS (&■ 33 2 3 4 3 SCALE OF *i^}^. Fig. 51. i ^ •^5^-^- ^ ^ is- 221 1^=122::^ ;f — ^^ c^"^ — — 2=- ^ ^^ »i doi rci mi^l^/a^ aoi^ /a* «i^i;> *i*(7 ' ^ — (S>- :?2i ± ?i (S?- 32 g gJ 123443343 17 6 P 32 -S^ 32 ^ [O r - i P r - i P ^ J -gr-^ ^ SE gpl ' ^gg az: ^^ bo b Sr^ < P 2Z=|i^ mil}? /a^ soJl ^a^l^ aii"; do" re^ mx'^)) tnx'^)) re" do^ «i ?ai'(> soJi /a^ mi^ly KHHPiiimujnuw i 4l> PBACTICB ON THBEARMOinr OF THVf(OR GQMMQN CHOBD. "EXEBCISZ ON THB SCALS OF mi^)f. May 6e mng to any four lines, 8, 7, 8, 7. Se. 9. 6555(555543 ^ gj ^ - ^ - ExEE»nSE ON THE FoURTH OF THi. J Ch07»D. Ko. U. ^^-^ ^ ^" ^- ^5^^^^^^^ 1334 1-4 43:il 4-1 4-1 1-4 1-4 4-1 1-4 1-4 Exercise on the Sixth of the J Choup. To be practised in like manner. No. 15. ^^^S rJ rL ^r^d-^^^^ 1 a s ♦ B (> 1 - G 6 6 4 8 8] 6-1 6-1 1 - G - 1 6-1 IW-ii"" 1 uii-t^u^.WRidimrT:— ^ 42 THE PRELUDE. EXEBCISB ON THE FoURTH AND SiXTH, WITH THE OcTAVE. To he practised without the tracing twtes. No. IG. i -iS'- g 22322 ^ ^ 22 S THE PRELUDE. . ' Remarks : — The principal object of the Prelude is, to give to the part-singers, in many part harmoniea, the key note of the scale in which the music is written, to enable them mentally to attune the ear to the scale at large, and to assist each individual voice to prepare the particular sound of the harmony given to it. Pieludes generally consist of the scale and some short variation upon it, together with the common chords of the tonic, dominant, subdominant, «&c. The preludes in this work will consist of the Scale, followed by tlie chord of the 4 or common chord, and the chord of the J , alternated with one another, accord- ing to the following directions and example : The class should be divided into four groups. In ascending 1 — 3 — 5 — 8, the groups move in unison; in desceiuiing each group sustains its respective note as denoted by the tie i^"^), until the whole chord is completed and heard collectively, sustaining the chord as expressed by the pause ('^) at a; practise in the same manner the chord 1 — 4 — 6 — 8, pausing as at b, No. 17. At c the movement of the inner voices, namely, the movement of C to 5, and 4 to 3, — while 1 and 8 stand still, — causes the chord of the S to change to the chord of the j ; and so inversely at d, the inner voices move back again to 6 and 4, thus alternating the two chords, as at c, /, -~ -c'Z^ -^ -s>- -s*- ■".C?" The power of giving at will the corresponding »o\M\ds to intervals cannot be assisted by any representation to the eye. It is a matter purely connected with the education of the ear, and must bo learned by imitation from the human voice, or from Bomo, musical instrument having the fixed sounds of the musical system con- tained witliin it, »8 the organ, the piano forte, the harmonium, &c. ll one,two,/a* soi" so£* one^two, Ta^ A seipbri^TQ r^st is expressed by oner-tmo — (/wee — fvivr. Fig. 59. . 1, 2, 3, 4. 1, 2, 3, 4. 1, 2. 3, 4, I. 2.3, 4 1. 2. 3, 4. I -: H* 1 — "23^ do^ one, two, three, four. re* one, dc' one. '/ti* Rests and Notes. 1,2,3,4. 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. 1, 2, 3, 4. I, 2, 3, 4. 1,2,3,4. J"r J r 7S~g= ^ f::^c ■• » r -<& do* re* one,two, mi* ppUed to two things diametrically opposite. m character to e>ch «ther, namely, a~ ^pralier and » less : the intorval of ikvfourthf coutaiiuDg three whole tones (a greater), a thing of il*rte parts, INTERVALS. 4i> i^=^ is called an imperfect : while the interval of the fifth, eontkining two tonea and two half- tones (a less), a thing of /our jpar<^ THIRDS. Thirds are large and small. Large thirds are equal to iso tones ; called also Major and Greatttr. ■••• * Smaii. thirds are equal to on* toM and one halftone ; called also Minor and Leaser. Fia 61. ,* mX'-^^. zsc O^ ^^' ^=zz jr '^Ls» rj- '^a -^•-e m ■^h FOURTHS. Fourths are large and small. Larok fourth.^ are ecjual to three tones ; called also Imperfect, Superfluous, Tritone, False, and Major. Small i-ourtih arc equal to two t—.:; »ad "w halftone ; called also Perfect, Pure, and Minor, Fig. G2. r IFTHS. Fifths are large and Bina'l. Laroh nrnts arc equal x 1 three tdici and r)ne J^alflone ; called also Perfect, Pure, :\nil Major. Small FiFtiis arc equal to tw> L.^i and two h-xlftones ■ called also Imperfect, False, and Minor. 46 practice of intervals. unisons. seconds. Fig. 63. ■Gh ~jaZ C^ . _'^-, ^ ■^' gy ■JZSL -?g- -""^y - -Gh- rzsc: --& — o' : 3=st: -=1= O ^^^^ .^^^^^ U SIXTHS. Sixths are large and small. liAaoE SIXTHS are equal to f(mr ior^s and ont halftojie ; called also Major. Small sixths are equal to three tones and two halftones ; called also Minor. Fig. 64. -- :^ ^SKC^ tzsz. 'Q ^ - ^^ ^ - ^ tf=^C?- ^ ^^ '^.^ SEVENTHS. Sevenths are large and small. Lakoe sevenths are equal to jive, tm\cs and one half-tone ; called also Major and /SJwrp. Skall sevenths are equal to four tones and two h-u\f-tonci ; called also Jfino)', aad Flat. ,■■-..-■■' Fig. 65. • s. ■ Z^Tl -G»- ZS^=M1 ^-" ^^' ffa sffi: EIGHTHS. Eighths or Octaves are of one denomination only, namely yiw tone* and fwo ftaJ/- *on««, called Perfect. ' '" "~ " Fig. 66 ^ .C2.1^ -^l. JS2. .^ ^ 321 -^?- -C2_ -(&- -7g- e^ '^- ~rz>^ =^ -iS^ 22= ICTI -iS^ :s2 " ■ ^_^». 321 ^ o iV 'C/ '"-gy ^^ CHAPTER XXII. Practice of Intervals. Unisons. Seconds. 129. A unison is the iteration, or repetition of any given sound, etftod- ing on the iarM, degree of the stave. ■T= 1- K.' PRACTICE OF INTERVALS. UNISONS. SECONDS. 4r -*«Br- Each exercise, solfeggio, melody, and harmonized piece in this work is to be solfaed first without intonation, — that is, each note is to bo called by its sylliibic name only ; afterwards it is to be rendered vocally, — that is, each syllable must liave added to it its respective sound. In both cases the pupil must beat time. Two or more voices singing any one simple sound at the same time, are said to sing in xmison. The teacher will sing do — do, re — re, or any other two sounds of the same name. 130. A note that stands next above or below another on the stave, is called the "second" above or below that note; thus the "second" above do^ is re^; the second above re^ is mi*, and so on; so the "second" beknu ai^ is la^; the "second" beloio la''- is sol^, and so on. ' 131. In a diatonic scale there are five " seconds" containing a whole tone, — hence they are called large seconds, — and two " seconds," each con taining a half-tone, and hence called sinall seconds. Seconds occupy dissimilar positions on the stave. Remarks : — It should be understood once for all, that success in teaching Vocal llusic must depend upon a thorough knowledge of the subject, both theoretical and liractical, on the part of the teacher himself, and his aptitude to teach otliers that which lie knows himself. To know just enough of music to teach verbatim from .1 book, is a very poor alter- native. Books, be they ever so minute in treating subjects, can, at the best, give but general outlines of principles ; experience must do the rest. -do" -^1 -sol -fa^ -mi ii -re' -do^ Exercises on the Second. Scale or do^. Fig. 67. .S^ :2i=^ :2=t ^ :^ ? =^~ 5" ^^-^^' Prelude on the Gohuon Chord, and the -J Chord. No. 18. ^ a Tsnr: ^ i-jc^j,^,<^;^sg;^;g;sg -&*- -s?- -&- -&• -&- ^ Every exercise must be preceded by beating one preparatory measure in the time which is intended to bo taken. No. 19. P i»_or_4_or ^5S?3 -)-+- mmmm ^bUit r-f 7 ; P — 1 — rP" —\ — \^ ± J, JT 7=-«-p— - 1 +>— y-"^ -4- — ^^ \- -■ — ■ J ,-d ^ ,rJ W *j -<&--«L cJ m - No. 23. uLU Si^t No. 24. gfe ::^ur:^or.{ y I 3^^i :1^ S:^^ ^ -rr- ■t^iit^ ^ ^ cr-r-t Tr# vF^— if— n — ^^^^n — >- I i ~TF I i ~^ 1 1 MM No. 25. fcg or|;;;Eg = g ^u u M:jj;ii;j4jji5^ cally. 132. A Solfeggio is u piece of music to bo sol-fii-cd — that is, syllabi- SOLFBOGIO OW THE SeOOND. No. 2G. firSori rn ~rn | gij^.u5^i^J | Jjri j^ MSat it it* 5=F4 ^iit^ti^ _^_^ 133. A fiZur extenrling over or under two or more notes of different denominations, shows that such notes are to be sung smoothly to one Hi/llable. When two notes only are slurred, as at the word "see"* in the following melody, the accent falls on the first note, and the second note should be made a little shorter than its strict value. PRACTICE OF INTERVALS. UNISONS. SECONDS. 49 S ^ ^: lai-m^- ' — ^ The first meastire of No. 27 is an incomplete one, haying but one crotchet, on the fourth part. It ia usual to place such a number of parts in a final measure, that, with the first incomplete part, thej may together make a complete measure. Independent of the usual preparatory measure, three additional beats will be required before commencing the melody. muik)DY ON THE INTERVAL OP THE SECOND, AND UNISON. HODBKATO. mf No. 27. -yy i jfz 4- /> ^aor4orl^_J_ , • ■ ^ B —J « J J- ^ « - God made the sky that looks so blue ; He made the grass so God made the pret - ty birds to fly ; How sweet-ly has she P era. deeres. ^ f r r r green ; He made the flowers that smell so sweet, In pre^' - ty co - lours sung ! And though she soars so vo - ry high, She wont for - get her P t i # ^ seen, young. God made the sun that sliines so bright, and glad-dens all I God made the wa - ter for my drink; He made the fish to m P era. deeres. ^ ^^ see;.... It comes to give us heat and light; How thankful should we swim ; He made the tree to bear nice fruit ; Oh, how should I love JEC S 1 be! Him.' -fa* fM-^-^ How thank - ful should we be ! Oh, how should I lore Him 1 BacoiTDS ooNTiiruiD. Scale or fa. FlO. 68. P ::^ -rS- 22: ^ iS- — . _i»rj — ^ rj o :=fc zzz: -G^- zz i PkILCDB OS THB CoMKOV ChOKB, AMB TKB *. OHOBD OB fa. '>' No. 28. Z ^'.ulf'frf^fizTrrrrfflt^IMM --fa- 53 JJo. 29. THIRDS. BBPEAT3. EZIBOISIS OK TBK SbOOWD OOITXINOKD. ? I H'fT I fr"U I ■" jj I j m= No. 30. -^-zjnziiiii: ra^i^ JCZ ^ 3ES zz i y-t^ ^ ce KFS ^ -2Z SOLFBOOIO IN THB SCALB OT fa. 0*; ^^ Tf-t 1~~! n~i 1 III- -+lj-~-5- r-'fF PjJ I •' ^^ g'*'^ — ^■- •U*'' -g^^*w--g-^-j-4- — P^*!J--© — ^^ '»y •/; .»'■ IBiiV 111 CHAPTER XXIII. ^'..■■'J--h Thirds. Repeats. 134. A note standing next hut one above or below another note on the stave, is called the " third " above or below that note, and occupies three degrees of the stave. Thus the third above do^ is mi', th© third oeloio do^ is la, and so on. 135. There are three thirds in a diatonic scale, each containing two tones, and hence they are called large thirds; and four, each containing a tone and a halftone, which are called enmll thirds. Thirds occupy similar positions on the stave ViT Fig. C9. i -9Si^ na^. 22: *^ ^' 1 ^* -J^^^^ ^Vj **^ »g: rirrrn ;s=i=2 ^^ • • ., iSJ ! [)ote on the upies three oelotv do^ aining two Qntaining a py similar THIRDS. (Pkkludi as at No. 19.) tl No. 33. Jor;torfe pgj ^- ^- u ^ s=te ^ P ^^^^^ •P~ T :st: z::£ J t 1 i J' I ^J' I J^ ^0. 34. 3=^ ih^'^Z s^ 3 S ? ^^ =«?= J"^ ' ^.J--^ ^^ 136. Dots placed boforo a bar signify that tho whole or part of the preceding music is to bo repeated. When a i)ortion only is to be repeated, corresponding dots arc placed after a bar at the point at which the repeat takes place, as a, Fig. 70. If tlte whole is to bo repeated, no corresponding dots are necessary, as at &. FlO. 70. i -^ESa^^3B\ sol* Thirds contikctbd. Scaxb of sol. Fia. 71. * -t^>- s>: -r s r. ^ r ^ ^1-^ z5- _ o^^ l ^r j g ' , '.r^^c^rs 7S. - -r«- -rfo» PeKLUDE OW THB CoMMOIT ChOED, AXD the 5 CUOED OF »ol. ;.i -SI No. 35. SE r^r^"^^ /> Ov /> /> EXBECISES OX THE ThIRD. ScALE OF lol. No. 36. '*■> .". ; :i..!A» tfe _^or^orE; ^-f0- n»=*l Eg ^ 52 THIBDS. BEPX1T& No. sr. -~ 4- /» Jr^ l l J_ l i ("W'^ 'H ' jorj or r?^f^ .|Jgg:4 pn -|p:z tW /a, fj^ytraJbH SoLFBOoio OH Tai Thibd, Second, and Unisom, No. 38. 13 boats n tine on t at I Fig. MELODY ON THE INTERVAL OF THE THIRD, WITH THE SECOND AND UNISON. Allkoeetto Modbrato. Ho, 39. Z^or^"^ m g^^ thrco — fo How hap - p7 i& the child who hears in - struc-tion's wam-ing la her right hand she holda to view a length of hap - py P ^=E: iiz::**! Toice ; And who co - les - tial Wis-dom mokes his car - ly on - ly days ; Rich - ea with splen-did hon - ora joined aro what her left dia- Bc J f- J I ^ r ^ \ ~^~T~T~ r=^F ^^r r T \ choice. For she has trea - sures great - er far Than east or west un- plays. She guides the young with in - no-cence, In plea-suro'a path to Foui No. 40. I ^ F^^ ^ fold ; And her re-wards more pre-cious are Than all their atorea of gold. tread ; A crown of glo - ry ahe oe - stowa up - on the hoa - ry head. p^ For farther practice of the third with the «eeotui and uniton, refer to " Littlo by Little," page 30 ; " Evening Hymn," page 77 ; " The Wish," page 73 ; " Wliite Sand and Grey Sand," page 70, in the " Three-part Song Book." No. 41. No. 42. No. 43. ^m ^SE 30ND AND n'a wam-ing [ hap - py 1— g — ^ r on - ly r left dis- west un- ■ path to ■es of gold. - ry head. Per to " Littlo " Wliite Sand PEJLCTICE OF QUAVERU ^9 CHAPTER XXIV. Practice of Quavers. 137. .The practice of quavers requires both beating and counting ; the boats representing crotchets, and the counts, quavers. Make four beats Muaual. Keep the hand steadily on the ^trtt (6'• ^^^ i^ ^ ■^^ No. 42. ^orjl-^d^^ ^ ^ip^^^^n No. 43. :or3:or3 ^ ^ ^. 5i No. 44, No. 45. PRACTICK OF QUAVERS. plit^ CTgj::^j]g r[jr l[7g ■^-st ±:iiB »i.or^orXZ JJ-jl^ 3?? ^ e^ ps^ 138. All common oi ' ^ual times of four or two part order, may Ijo teateix with four or two beats. (See Table VII.. A.) The choice of thase depends upon the character and velocity of tlio nnisic. If the niovuuient conflista principally of minima with rroxehots, tiro beats will 'if a varied )iiig eqiuil to VEIv.'*. ^ ^ ^• ' ^ pkactice of quavers. Fig. 75. i)0 I "'I ZZ2Z ^^ ^ W- f j-m S a°'l ^ ni J S j'^Ff^ ::w=4*- ?S^ ^cr ^ ;3, and two 8 also into 't» of heats thu?< 4 or \ in notes of •les of th» It is evident, therefore, that music written in notes of one denomination may bo equally well expressed in notes of the net, or any succeeding lower denomina- tion ; »nd aa bcati are not abeoluto, it is alio evident that the same musical results would flow from one as from the other. EXBRCISB ¥Ca 7HB PaACTIOB OF CeOTCHBTS AND QxJAVEM IW | TIME, WITH TWO BKATS Xo. 52. No ^~SS^ V za: =f^ ^ 3Z :f b^ 1 ---- ^-F-r-'^-=^'r-7^^^^--^— t-^-- 1 — ^^«^-^=|^--f-^^-^-J - = ^=»it_c^:_^J ?t6» ^ &7 No. 56. ^ 2 I f^ org.^_a!L fi>- ac ?c:^ ^S No. Rfi. ^^—*A 4» f -^-f^r~ 1* a 1 1— t— 1~ f**) 1 -1 g)^or^j_j:g.,___IZ4^_[Z,_^3i^:;g=^_- J*;j:| J E.XBKCT8E8 FOR THK PrACTICB OF QUAVKRS A^iD SkMIQCAVKRS IN | TIME WITH TWO BEATS. No. 57. No. 58. ^ISl^^i^^ g S^^^^f^ 4 ^ '==^^2^ (Prelude as at No. 10.) No. 01. ^^^^ BSEi No. C2. ^^gg^^^g pr- -cs- $^ :32: ^ V zdT: zz ■^^m -d^» FocuTiis coriTnrcED. Ccale or re. Fia. 77. .joJl PRELUUE OX TUB CoMMOS CHOKD, AND THE |^ i:r TUB ScALE Or rc. -/t:j;> No. ca. iCv /TV /c> /:\ /^ -;n'. -rc 1 • ^^ .1 >*_ .ra* 1 1 • . • m FOURTHS. Exercises on the Foueth in the Scale or re. No. C4. ^P«5-^r77 — 1 1 — 1 1 =4 .: r"5» 1 r-m r ^■r *«»'"'A"''' '' *" zidlri -J-r-- ^^- ~*r-rz- — --r-fs^ ^T A ^r ^ r-^" 1^ J =^ -f^f^ P~1 -J ^ 1 — 1 ■ 1 — 1 |— 1 1 1 1 rn /^ fl H-- ^ — T^' >. /»-j •* M N- ^ - lf\ * a 1 1 i_ ^^"^ ^JS "■^ r "*■• Iv } ' 1 tfP ; m (C? ■ tJ . No. C5. -Q-^ — T n r~l — 1 — 1 n«* — ^ gfr^or-J-or-fV-tr-t-i- — fa:^- roh^f- rai:^ — ^^^: gllJL 4. J J-^l ^ ' gK ..I £51 ^ 142. A Syncopation is the accented part of a raoasure thrown on to .1 following unaccented part in tlie same tncasurc ; or, it is a final unac- cented part of a preceding measure added to the succeeding accented part of a following measure, and its collective value made one continuous sound. At a, Fig. 78, the accent, which naturally falls on the first crotchet, is transferred to the second crotchet, which ja joined to the third by a tie, and thus they ;ire made one sound : or as at b, where the unaccented note on the fourth part of the measure is carried on to the note on the first ])art of the following measure, and by tho tie they are made one unaccented sound, and conse- quently the following minim at * becomes the accented or syncopated note. Fig. 7a i f~Fl^ p—p—o- TTritton ^Ei rp ■ G > p EXEBCISES OX Sv>'CO:'ATIO». •*Wl»»#V,.> No. C" -M^,^ . . 1 1 1 1 1 1 1 I f i gs:-^'4"'^' 1 r 1 =fd — rJ^di^- J-^T :^- -^--m-. m A 4'"^' J J 1 LJ-^-«U 1 rJ 1 -L. — A U-L n t^ -ex. -<3 :sL W^ No. 07. . - ^Sfe=y^ y=I^ 58 I'lriHs. MELODY 01^ THE FOURTH, WITH THE THHU), SECOND, AlO) UNISOX. AlLBOBO atODEBATO. No, ^# ^ ^ T=^ "tit V- Come eec liow fast the weu-ther clears, TLu sun is shin-in); Thia love - Jy bi>w Ho stretch-es forth, And Lends from shore t« .f^- ^^^ £±: P :g= ^ ^ now J And on the last dai-k cloud ap - pears, A beau - teona co - lored shore j His own fair to - ken to the earth, He'll bring a Hood no £:£: ii^ ^ -^ N ^ bow. 'Tis God who makes the storm to cease, And sun to shiuo a more. Just such a bow shines bright-ly round The throne of God in JT- P^ P^ -jbH ^s^. M!i gain ; The ram-bow is the sign of peace Bo - tween Him-self and man. heaven, Which shows His mer - cy has no bound. And speaks of sins for given. j^at' For further practice of the fourth wiHx the third. i€co>vr- ^/ i ^ ^ 5 a^^ ^^^=^ i^zrp* ■!=t=f= <> ^ :g — m r I p =f-— p; ^-l-J- fi.:- «=:r^: I I 1^ :?=: z^ n — j= jr~ p 1' p ; rzf =t:&^ Prelude on the Commok Chord, and the J chord op la. I do»S No. 72. Exercises on the Fifth. Scale of Ut. No. 73. ^^;^| ^^^^£^Ji^-Ji[:^^ ig=rr-P ^^ :^3 ^1 £E 3t±: ■tzpit =5 t£ 60 TBIFLB -' TIME. MELODY ON THE FTTTH, WITH FOURTH, THIRD, SECOND, AND UNISON Alleorbtto. No. 74. n? 9. 4 ,. p U^J -^ m I'm ve-ry glad the Spring has come, the aun shines out so I like to see the dai - sy and the but - ter cups once m &^^^^^E ^'.zfz bright, The lit - tlo birds up - on the trees arc sing - ing with de - more; The prim -rose and the cow -slip too, and ov - *ry pret - ij i 9.1 s^ ^ r J r ^ ^ ^g33 3^=it light. The young grass looks so fresh and green, the lamb -kins sport and flower. I like to see the but - ter - fly, so gai - ly on the JJ: ^ 3 Slow. 4i m play. And I can skip and run a - bout as mer - ri - ly as they. wiag, And all things seem just like my - self so pleased to see tho Kpring. For farther practice of the fifth, with the fourth, third, second, and (idwo-n, refer to "The Volunteers," page 25; "The Kine, the kiue," page 56; " Momia^j Pray«r," page 88, in the "Three-part Song Book." CHAPTER XXVII. Triple I Time. 145. Triple, or three part measures of three crotchets, is expressed by the signature f. (See Fig. 23, par. 106, as also Fig. 26, and Table VII.) For directions for beating f time, see Fig. 31). de - - ty urtwon, SIXTHS. 61 ExBBCisMi Foa Practiob or Ceotchbts, with Mnriufi and Quavkks. No. 75. ^ W- c-' •^^TP S -iS'- ^j zz I No. 76. 3E S ^iH^ 1 r-r-f No. 77. ^:^____._^LiL^ F- ^ ^^-^--1-^ No. 78. No. 79. No. 80. No. 81. :a w> ^m 22 jZZ ^^ ^i Jl J J ^^ -iT-^ ^ r-r-i fejX3N^C/ l ^r[/Ni l^^^ P ^ tcgr i rcr^ M-^ ^ r-r-f ' No. 82. ■ ft^g^'^ i ^rcTF^^e^-J-j^e^d^s Sixths. CHAPTER XXVIII. 1 46. A note standing next but /our above or below another on a stave is called the "sijcth" above or below that note, and oconpies six degrees of the stave. 147. There are four "sixths" in a diatonic scale, each containiiig /- 2d±: tr:c7 g tij O ^ No. 80. ^orgoiij^ j— if-y - W ^ 0,1? 'I 1 — ri* — ri 1^ — rr^ 1 1 — ri n [tI ti gh^^ J Jrr 1' rr'H^'fr^iiHj^rbVr-tR-rrvl-^ J |V r " :|| <^^ ~ -^ mt- -^ ^ „ -- J Mf J 4 /> -f — i -r»- -ff*" ■ "■ ~ ^ "~ "P~|" (■ \a 1 1 — - ^«- ^J-^?4«'-H^"^J^~a-=^-^'^^-^CJTi:-5-^^^- No. 91. 7^^ 4. y|t p ^-^^H--tp II rJ -^-a- - -g^or^ortn-Tf . .^ __^__^ -^,^. JIJI ^ fflZC J '- -cJ- -J6J- ^<>^ Ky ^-^ w v-^ v^ . ;S2. ZX (S^-f- ^ tt^* — wtirar zz 3 jy^jj^ SOLFEOOIO Olf TBB SCALB OF i\^. No. 92, 9E=aE ( ^ ^,D,r]| Jrr J^jr f rG^iJ;gjg S: =;ih^?c ^ :^*je G- i r&^UX' 04 sixxnaL MELODY ON THE SIXTH, WITH FIFTH, FOURTH, THIRD, F5EC0XD, AND UNISON. Alleorktto. No. 93. fcr it-Ar- 'iS^ u: ^ r f fztr^ g rni How plea-iant it it at tlio cloas of the day, No In - itead of all thia if it must b« eon - fost That 3^ m ^ fol - lies to have to re - pent, But re care - lesi and i - die I' re been, I fleet on the paat and be lie down as u - lual and g^^ 5 ^ ^2: m a - ble to say. My time has been pro - per - ly spent ! When I've go to my rest, But feel dis - con-tent - ed with - in. Then 94. ^ ifc ' fin - ished my buis - neas with pa - tienoe and care. And been as I dis - like all the trou - ble I've had. In fu - :|c K=:tz P good and o - blig - ing and kind, I ture I'll try to pro - vent it, For I lie on my pil - low and nev - cr am way - ward with 96. 97. P »> 1^ ly m sleep a - way there, With a out be • ing sad. Or ^ "» J » ^^S^■ hap - py and peace - a - ble mind, good with - out be - ing con - - - tent - ed. 98. 99. For farther practice of the interval of the tixth, with the fifth, fourth, third, Kcond and unwon, refer to "The Violet," page 13; "Employment," page 9; "The Pilot," page 17; "The Skater's Song," page 22; "Be Kind to the Loved Ones at Home," page 36; "Our Country and our Queen," page 48, in the " Three-part Song Book. *«i DOTTED CBOTCHETS. COND, ay, No fost That ^ ; and b« ■ual and When I've Then r- m td been I fu - ■ low and - ward with ^^ mind, tent - ed. fourth, third, je 9; "The ived Ones at ree-part Song DOTTED CROTCHETS. 149, A dotted ncto may be practised by counting a few exercises vocally (by numerals, until the mental feeling of its value be perceived. Afterwards aol-fa with the beat alone. 150. A dot (•) after a note prolongs its duration by one halfj a dotted crotchet is equal to three quavers. Fia. 83. ^ ^^ EXBKCISBS FOB THB PkACTICB OF DoTTKD CsOTCHBTS. Boat! 12 34 12 34 12 34 12 34 1234 94. p. i.JJ^ I ^' ^^ Couut« 1-2-3 4 6.6 7-6 1-2-3 4 5-C 7-8 1-2-3 4 5-6 7-8 1-2-34 6-6 7-8 1-2 34 5678 96. $ =3=5=" jTplr P J * J W Counts 1-2 3-4 5-6-7 8 1-2 3-4 5-6-7 8 1-2 3-4 5-6-7 8 1-2 3-4 5-6-7 8 1-2345678 »6. $ ^ ^ i »7.^ ^ J*^^ ^ ^ 98. 99. ^ijyj2 J-^ \ [ ^ W ■.% ^, IMAGE EVALUATION TEST TARGET (MT-3) / o o L fe U. 1.0 I.I 150 ■^" ■■■ - lis liM 12.2 1.8 11.25 ■ 1.4 i 1.6 m m & //, /a f ^i ^V.^^' W '» '/ /A Ifliotographic Sdences Corporation 33 WEST MAIN %J*f£\ WEBSTER, NY. 14580 (716) 872-4503 4> '^^ I/. 6« SEVENTHS. 'Vsl CHAPTER XXIX. Sevenths. 151. A note that stands next but Jive above or below another on the stave, is called the " seventh" above or below that note, and occupies seven degrees of the stave. j 152. There are five "sevenths" in a diatonic scale, each containing /oitr tones and two lull/tones, hence they are called small sevenths ; and two con- taining five tones and one halftone, which are called larffe eeventhe. Sevenths occupy similar positions on the stave. Fig. 84. ^ I Z J^^ f 32 -^ as := ^ ^^ "7? ^^ (Prelude as at No. 19.) Exercises for the Practice or Sevenths. No. 100. ISS g ££ SFBFJ^ ^ Lor! -^WS No. 101. $ ^^^ i^-H^ rj , r : ^ m No. 102. j:_^or.^or: ^ 73~ ^ 2=t i rs ^^^^^^ ^^^i^^^ -(©- i sr on the ries seven ning four two con- :^ fe^ ^ — I 3: 1 SEVENTHS. 6 MELODY ON THE SEVENTH, WITH FIFTH, FOURTH, THIRD, SECOND, AND UNISON. AXLEOBITTO. \ ■ \ I r -• No. 103. i^^^^ I ^ g 'Tia the voice of the slug-gard; I heard him corn-plain, "Youhave I passed by hia gar - den, and saw the wild briar. The m '~r'~^ W J •^i^c m waked me too soon, I must slum - ber a - gain." Aa tho thorn and the this - tie grew high • er and high • er ; The ^ m ? 3^E ^^nr^ door on its hing - es, so ho on his bed, Toms hii aides and hia clothes that hung on him are turn - ing to rags, And hia mo - ney atill i ^ '."I .■-' m ^^^ p m ? ahould-ers, and his hea-vy head. "A lit • tie more sleep and a waatea till ho atarves or he begs. I made him a vis - it atill r f !t ff^±i^'=^ lit - tie more slum-ber ;" Thus he wastos half his days and hia hop - • ing to find, That he took bet - tcr c^re for im - ^ 5S ^ j^ — hr ^ ^ LJ 45I ? hours with-out num-ber ; And when he gets up he sits fold - ing hia prov - ing hia mind, He told me hia dreama, talk'd of eat • ing and t*3 ^ ^ ^ ^.^-3^ tt=i^ id U i handa. Or walka a-bout a"->nt''ring, or iri - fling he stands, drink-ing, But he acaroe reada hia !>.. - ble, and n* • ver lovea think-ing. C8 THE TIE, OR BIND. THE TIE, OR BIND. I,; /'M /^.i;.j,;ti^ 153. The tie, or bind, is principally used to add length or value to Bounds in such positions that could not be otherwise expressed. Fig. 85, a, represents a sound with a value of five beats ; 6, a aouiid with a value of two beats and a half. These notes cannot be otherwise expressed. Two notes occupying some internal nart of a measure, are nrequentlf repre< hented as at c and d. Fia. 85. ~?s~ ^m No. VM. Exercises for tbb Practice of Tied Notes. iJ-4-fS: .»>')r4.oriIi. .<^-^ ^.J r^rrfg us. 'p^ B zz .! 'I'-.n ^\i;:. I. ■^^ ^'o. 105. 2 4 / l i iior^orS^L 14 ^JU U ^ ^r hl fr^ ^^a^ i ^^:^ No. 106. 1^^^ :ai ^ii? r r 1 1 ~ i ^ ^ fS *[LgS i ^^ No. lor. ^^^^ Na 108. oi»F ^^ •^ ^^^^ i^ 1^ z^: ^ rz * m. 109 ^gjT^^^^^^^t^^^^^ No. 110. ^i^^E ^^a^ri ^ ^ ^ tf 0CTAVK8. C9 value to ihd with a i. atlf repre- ■ 1 I — g ^& w m ^ ^1 CHAPTER XXX. Octaves. ■ v 154. A note that stands Tiext but six above or helow another on the stave, is called the "octave" above or below that note, and occupies eight degrees of the stave. 155. Octaves are of one kind only, each containing five tones and tioa halftones Octaves occupy dissimilar positions on the stave. (fly ''- . j,^jj,^ -^n^ Fig. 8G y ^ J -^ No. 111. ■3ZL ^s^i^ ^ ^^^^^^ Lor \l IP EX£IICISBS ON THK Oci4TE. i ^^^ J^r^JT-yS No. 112. Lorl n — ~^~ •L-l :i:i^ ^ ur jiS: ?^^^^ i ^3S ^ pi: e-^ -tf; ^^^S^!^ SoLnOOIO Olf THC OOTATI, WUH THX ThTBD« ScOOVC, Il8X> VhISOW. No 113. eirrrr ^^^^i^^ni^ ^tTt^ -J^" SEE iS 3s; ^ f For farther practice of tho octave, refer to "The Sea ia England's GIoij/ page 21, in tho " Three-part Song Book." BECAPITULATORY EXERCISES. CHAPTER XXXI. Eecapitulatory Exercises on the Intervals. Ko. 114. I ^ ^ No, 116. I No. 116. 1 — ?j^i5^ia3giV3^^^r r ^ i rf'- t No. 117. ^g 3tJ s B No. 118, No. 119. ur^^l^rrflrfffl^ □E r rJ l JT r^ ^ i No. 120. f No. 121. w m ^ ■> ^ 1 =;i3c ii f JjHj^ i 3^ No. 122. ji^jljjJrljr^jJrijrJj I jjJffaffiS 6E i lis. p- ^Hi^ E= ^S Jlrr-j f, RECAPITULATORT EXERClSEi. JfJ 156. The following exercises contain twenty-four forms of the second, third, and fourth, in the lower half of the scale of do* : namely do^, re^, mi^, fa*-. No. 123. 'S "C7 '■l ll j l j^J I J S "cr si ' ' = ' '^ ' ^'"3 3 ^ 3 CJ ZJ ^' za: =:^^ .^ ciJ^ zz ■fil- ' ^""e>^ $ 3 a 2=c: ^i «<- i :s»-^ 5 E±±: ^■" ' ^ ^^ gg ' ^ rJ 3=ll g jl g -^J \ \^ \ rJ J J^ rJIJ J l ^t fr' J l J^^ I J i S'/^ 'jj. ' ^' U " ^ - "'^ ^ cr 157. Twenty-four forms of the second, third, and fourth, in the upper part of the scale of do* : namely, soi*, Za*, st*, do*. No. 124. P rJ fS> Z2 ^r s^ -fg^nr=» f&- 17:2: z± ^ zz: ^ -«»■ 2Z -«»■ M ril ^^ I r gnaller than largo by one halftone, s© dimi- nished intervals are smaller than small by one halftone. 100. The following examples, — the diminished, small, largo, and aug- mented — are given in consecutive order for the convenience of comparison. 161. The unison is technically called the pure prime. Tho small second occupying the same degree of the stave, as do^-do^t, is called the augmented prime] but it is in principle equivalent to tho small second, as (Zt»^-vc'7. Fio. 87. ' '" ■"''■' '■'' ' PRIMES. i I u a P^ SECONDS. •a Pi B o a o 11 13 •a. 'TS*: THIRDS. I" FOURTHS o h 1^ tp.b a a I ?i o no So «4H IB *4-t t—t <*■! c3 t^ if-^^r^&^-ci'^^^':^^^ <^^ ' '5 3 I FIFTHS. I o to •a a -f^?- I SIXTHS. i 3 I -g? g? ^jk?— c I- S^ "1 :^ -:Ss^ -= P ::3S': l^^ SEVENTHS. s S 1221 .S . P 3 ^ =J^ 7o- =S^ EIGHTHS. 1^ 1| i 10 « O P4 - ^ iT j b r L > 32r 1 § 221 HSf- 1 ▲CCIQEMTALS. 73 CHAPTER XXXIII. The Flat and Sharp as Accidentals. The Natural, or Cancelling Sign. It will be seen on reference to the diatonic scales, Table III. , that in each scale thereof there are five unappropriated or omitted sounds as compared with the chromatic scale. The five unappropriated sounds of the scale of do* are : do^*j^ or re^\f, — re'# or >m^^, — /a"!} or «oi'jy, — aoJ'5 or i«'|y, — and Ja'jf or «'[>. The five unappropriated sounds of the scala of re' are : re'jj or wii'j^,— /a', — soi'jj or 'a'7, — i , — sol ' J{ or trt ' 7 , — si- , — rfo'jf or re^^, re''J{ or wi'j^, and so on through the remaining sharp or flat keys of the diatonic scales. Any one of these unappropriated sounds, when introduced into a musical composi- tion, is used principally for effect. Their effects upon the contents of an interval is to ntako small intervals large, and large intervals small: and when the same sign is applied to the two sounds inclusive alike, they cause snutll inter\-al8 to remain small, and large intervals to remain large ; thus at a, Fig. 88, the large second is made small ; at 6, the small second is mado large, by the use of the sharp ; at c and d the same results follow by the use of tho Jlat ; at e the small third ren:ains small, and at / the large third remains large. Fia 88. EXERCISES FOR THE PRACTICE OF THE FIVE ACCIDENTALS. 162. Two halftones occupying two successive degrees (par. 46) of the stave, as do^t — re^, re^t — mi, fa^t — sol^, and so on, by way of distinc- tion, are called diatonic halftones; while the same series of sounds repre- sented as re^^ — re^, mi^i — mi^, sol^i — sol^, and so on, which occupy the eavie degrees of the stave, are called chromatic halftones. To intone a chromatic scale correctly, without instrumental aid, is a very difficult matter, and its attainment is tho result of a very considerable amount of application. But its attainment in its entirety is not a necessity, for rarely is any practical use made of it for vocal purposes. Short chromatic passages, however, consisting of two or three halftones, are of irequent occurrence in modem composition, and ability to sing them is consequently indispensable. The following exercises, intended for the practise of halftones as accidentals, are first given in the diatonic form, and repeated in the chromatic ; the same in fact^ though differently represented. Chromatic passages in the diatonic form are more simpU in appearance, and much easier to sing ; but it is desirable to study them both ways. 74 No. 125. ACCIDENTALS. EziRCiai IN THR DlATOHIO TORM. Pj4J 'i I J»l J'-^Mj ^ ^ ' ' ^ ^^^^ ^jjJr l ^iiJg ^^ r' IT jj J ^ I J ,^-^ J « ^ ^e -e^ The same in the Chromatic form. No. 126. n ^^^^^^g SiSsS^ w=s* fe=»!:^Jt» ^^ -I — >- ^ J n J "'fibj ^^l^^^^ ^ g^ !? J t ;J * 'U Exercise in the Diatonic form. No. 127. $ ■JjJ I jJ^'j t J l 's'J*' ^J Jjij l J>l ii J J ^iiJ 1 ^^-^ J"* IJ ^ J4«U-^ J *M-«^r ^ I r^«S ^^^fffFCaT- ir r r-r- i rTr i r f^ ^ ^ ^^ rJr J1^?fl J I J^.liiL„^ jlj^jlJi i h i ^jJjIj j^jUjjIjjjj m 1 ^ _ 1 1 ^ 1 ^ Great assistance in the study of the foregoing examples will bo derived by carefully tracing them on the chromatic diagram, Tablo III. 1G3. An accidental affects not only tho note before which it is placed but also all the notes of the same name in the same measure, unless contra- dicted by another sign. Tho jjassago in Fig. 89, a, is to be sung as at b. , Fia. 89. &-J-^^^-J-J-l^^ :cz i -=^ 1G4. When the first note in a following measure is identical with the last note in a preceding measure, previously affected by an accidental, such accidental applies to the following note without any repetition of the sign : thus the passage in Fig. 90, a * *, is to be sung as at 6 * *. Fiu. 90. $ S ^ ESE 1 1 1 -iT3jq luJ 171 J d-d g^''^ 1 Pg* rJ 105. A note in a following measure, of the same name as a note affected by a sharp or a flat on the last part of a preceding measure, but intercepted by a note of another denomination, does not require the canceUiiig sign before it : thus the passage at Fig. 91, a, is sung as at b. i Fia 91. a ^^^ -«)—=»- b_ 3fc 23: "i-3- 76 ACCIDENTALS. THE NATURAL. OR CANCELLING SIGN. 1G6. In addition to tho sharp and the flat, wo have a third -lynibol called the natural (t). It is the characteristic sign by which the eight sounds of the diatonic scale of do (commonly callod the natund scale) are described, in contradistinction to all the othct scales having sharps or flats in their construction. Fia 92. ^^3^q^3fe^^^-^ Unlike the sharp or flat, the natural hoa tho double poorer of cancelling any sharp or flat, either accidental or MKntial. By its use an interval may We made less by a halftone, by cancelling a sharp, or made larger bv a halftone, by cancelling a flat. Thus at 0, Fig. 93, the j'a- . which at a was Micidentally made A*'J{. i» restored to its original position in its scale at ». and the interval, which at a was a larje secotui, becomes a small second at b, by cancelling the j^ At d, the si, which was accidentally made flat at c, a stnaU ueond, becomes a large second at d, by cancelling the <). Thus tho accidentals /a°-j( and 3o/-j{ at a .and c in tho following figure, are cancelled at b and d; the accidentals mi'y and si nharp, or I restored •rje second, lecomes a cancelled m MODULATION. •' 'M 'It. 1 , . . I ink CHAPTER XXXIV. Modulation. 167. Tfierw are four Bound* .of a diatonic scale distinguished by gi naxaetSf which bear certain relations to the key-note. the iatt t6Mtid of a Bcala is called ther Tonic, '"»n The fourth Th« fifth „ the sixth „ The sevofith , The eighth ^ I) i> It SaMoT-iirant. Dominant. Belated Minor. Leading Note. UctaTo. Thtiri in th0 iteii€ of tfo^ db', the first note, is called thef Tonic, /rt*, thefoilrth, ,i ,* Subdominant. «o?», the fifth, t(t*i the «ixth, n' , the seventh^ tlo'i the eighth >» >» M Dominant. Related Minor. Leading Note. Octave. GeUAesS : — ^AU the precedin;; Exercises on Interrals, Solfeggi, and Melodies haye be€n confined exclusively to the sounds belonging to the respective scales in \rhich they are written. But compositions, bo they ever so short, are rarely confined exclusively to the scale indicated by its signature. Departures into other scales take place : that u, supposing a composition to J^ written in the scale of do, the composer at his option' m' ^ depart from that scale, and by given rules modulate at will into the scale of the domjnant (sol), the subdominant {fa), or its related minor (la), and return again by given rules into tho original scale. This liberty of changing scales in the course of a composition is called modulation, and is employed tc) give a greater variety and scope to the genius of the composer than could bo obtained by a continuation in the same scale throughout all its phrases. . 168. By modulation is meant a change of key or scale in the course of a musical pkrase, by which " a stop is taken irto the realm of another key.'» In order to attune the ear to a change of key in the course of a phrase, other sounds, bearing a certain relation to the new key, must precede or announce if. 169. A change of key may also take place at the coTtvmencem&tit of any of the internal phrases of a composition, out the jmal phrase is al\rays in the principal key. 170. The key in which a composition begins, and mostly continues, is called the TOTNCIPaL KEY. iTl. Modulations from a principal key generally proceed into those scrJc', most nearly related to it : i. e., into those scales having tho least num- i>er of sharps or flats in their construction. Thus, of the sharp keys, the 78 MODULATION. Icey of sol is most nearly related to do, because it has only one sharp ; and the scale of fa is as nearly related, because it has only one fiat in its con- struction. 172. The order ©f modulation from a principal key is : — 1. Into its DOMINANT, - - through its modvdating - - iharp fourth. Into its SUBDOMINANT, - „ » " " M^ leveuth. 2. 3. Into its EELATED MINOB, iharp fifth. Bkmabkb : — The ability to appreciate the effect of modulation, eapeoiallj into the more remote keys, is purely the result of considerable application and experience in the practice of harmonized music. All that theory can do on the subject is, to present to the eye in as simple a manner as the subject will admit, the course of the movemenU of the parts by which means it is effected ; the education of the ear, by application and observation in its practise, must accomplish the rest. EXAMPLES IN MODULATION FROM A PRINCIPAL KEY WITH SHARPS INTO ITS DOMINANT. Remarks : — Great care and clearness are neoessary on the part of the teacher, in his method of illustrating this part of the subject, in order to convey to the mind of his pupils a correct impression, or feeling, of modulation. As prefatory exercises on modulation, siraplv in the progressions of scales, the following, or some similar course is recommended. Ascend the principal scale as far as the fourth, as at a, Fig. 95, and pause upon the sound very firmly ; repeat it several times ; then introduce the sharp fourth, which in the scale of do^ is fa^J^; intone do', re^, mi^, /a'j(, as at b, pausing firmly on fa^^ sufficiently long to attune the ear to the sound ; repeat the passage several times, ultimately gliding smoothly, but firmly, to $ol, as at ; repeat this several times. The ear will now be attuned to the new tenic, tol, the dominant being previously announced by the preceding sharp fourth. Lastly, sing the new scale of sol firmly, as at d, being careful to intone the fa*jj^ (the leading seventh) firmly ; descend the new scale, as at e, and pause upon its tonic at /. The ear will now become attuned to the new key, and all unpresaioxu of th« fozmer principal key will have become obliterated. Fia. 95. i tt izr "H^Wt/"^ »4 ^ ^ tf^" #4 6 i '■\j ^ m w^ ■* **• m ^ 1 •Jf- ^ * « ■ — " * 1 Fn — > « * v;,_,.^.ir, ., ..... .J «4 «1 a — do^ is the tonic of printipcd key. t— /rt'j{ is the leading or anivouncing note of the new scale, 4jJ (fa^^- c — so J* is the dominant of principal key, and tonic of new scale. d e — now scale of dominant, moI, ascending and descending. 173. A return from a dominant scale into the scale of its principal, is made in all scales with sharps, by means of the natural which contradicts or cancels the modulating sharp, or large fourth. The following examples show the modulations from five jnrincijpal keys, into their rosi)octive dominants, and the cliango back again into their principals. MODULATION. 79 arp\ aod a its con- trfk. h. Uy into the ence in the present to ovtmenU of ication and SHARPS teacher, in nind of his scales, the ale as far as A it several intone do*, e ear to the mly, to tol, •nic, Jo{, the ie /a»Jf (the tonic tk f. the former MCNDUIAWOK FBOH TBB 80ALi OV (fo' IVTO mM, ITS DOMIirAST, AlHk BKTU^IK TO ITS PBIKCIPAI.. ( Fio. 96. $ /IK =1^ -M-^ 4Jt 4jf $ -^S^ /^ 32: a — is the oscendin]^ modulating^ cadence from the tonic to the principal. 6 — is the tonic of the dominant. c — is the ascending scale of the dominant, in which the modulation is completed, and /a*^ the sharp fourth of do", becomes the seventh of tol*. d — is the descending scale of the dominant. c — is the restoring descending cadence, in wMch/a'jf is cancelled by the natural, /—id the principiJ key restored. Modulation from xhk scaib of aoU rare re*, its dominakt, and RXTURN TO ZTS FBINOIPAL. Fia. 97. $ ^x^ z^zSmr -o- *$ 4tf ^f^ ^ /^ T=r ::«*: :^=if«»=^ .OL. -O- It will bo seen that the same uniforns principles rule modulations into tho •^'^minants iif all sharp scales. Modulations into the romainii^g sharp scales are left as exercises for the pupils. rincipal, is jontFodicts i keys, into Is. EXAMPLES OF MODULATIONS FROM PRINCIPAL KEYS WITH FLATS, INTO THEIR DOMINANTS, AND RETURNS. 174. In the modulations fiom principal sharp keys into their dominants, ^ho sharp was the accidental, and the natural the cancelling sign. In scales with flats, this order is inverted ; the natural becomes the accidental, and the flat the cancelling sign, as at Fig, 98, Where at a, Za'lJ becomes the 4^J{ to the key n«tc •r t^nic of wii'b, which is cancelled by the flat at b. 80 MODULATION. The following examples show the motAilations from two principal keys vith flats into their respective dominants, and the change again into their principala. Modulation from the scale of /a^ into do^, its douikant, and ixtvKS, . '^^ . • , ." FlO. 99. a b e ^4-^L.U^ ^ §- Jf4 5^4 ^^ ^ ^ zz >j/ Modulation from the scale of ti^ into /a, its dominant, and return. * ■- ' • > ' . FlO. 100. U ^^-rrr rr rl^^^c^ ^ £= :i l-»l-* ^ i ^^ -^ The same xmiform rule extends to all the modulations in flat scales. J^" Modulations into the remaining flat scales are left as exercises for the \>upils. EXAMPLES IN MODULATION FROM A PRINCIPAL KEY INTO j ITS SUBDOMINANT. 175. Modulation from a principal key into its subdominant is effected by what is technicr'ly called its Jlat seventh, that is, the seventh, which in all scales is a large seventh, is reduced to a small (or flat) seventh descend- ing to the subdominant, when the modulation is completed. Modulation from the scale or do* into/u*, its subdominant, and return to its principal. ' ' ;,' Fia. 101. ^- j-j -g-i i r^ i^-]^- E_'^ 'KJ^ ^ P=gr=J= ^ ^ keys ivith kevB ipala. CTTEW. TTTKN. HINOB DUTONIG SCALES. a — u tlia aiGflnding scale of the principal. b — is the cadence by «i'b (flat seventh of principal) to /a>, ita dominant. c — ia the scale of the subdominant, in which the modulation is complete. d — ia the descending cadence to the tonic of the principal. e — is the scale of the principal restored by the cancelling sign on itvsOESiDma, Fia. 105. ^s 3 ZSC 7 8 ^^ T Dr. Marx (General Musical Instructor) obser7es of this form, — "No doubt these saccessions of tones (soimds) are softer than those with the extreme (augmented) second, but the idea of one form is entirely destroyed. The sixth is as well la^\} (ascending) as to' ; the seventh, ai^^ as ai'; therefore the pretended scale should be declared to be a double formation." In addition to its greater smoothness, Form A. has the merit of preserving a uni- formity of scale relationship. A second form of the minor scale is as follows : (1) a halftone from 6 to 6. a tone from 6 to 7. a tone from 7 to 8. FormB. -^-^ Fig. 106. g^^^^^ The difference between Forms A. and B. is, that the ascending form is the same as the descending. This is the form contended fo r by Dr. Marx. A third form is as follows : il) a halfUnie from 6 to 6. 2) a tone and a half from 6 to 7. (3) a halftone from 7 to 8. Form C, '■^ '$G Fig. 107. ^ atfe p P Form A. has a key relationship, namely, mi^ major. Form B. has the same key relation as Form A. Form C. has no key relationship. Form A. is more generally adopted in England, and partially in the United States, and is the one adopted in this work. Forms B. and C. are more generally used by German theorists, occasionally iise them all. Classical writers their m( fO] XINOB DIATONIC SCALEa 83 >ubt these d) second, ing) as la^ ; ft double ring a tmi- ^^ le Mme as [ted States, ioal •writers CHAPTER XXXVL Signatures of Minor Diatonic Scales. Eelated Minors and Majors. 17G. The signatures and successions of the minor scales of Form A. are derived exclusively from the descend/mg form of their related majors. DmcBiTDiMa voBH or do^ imroB. Fia. 108. ^^T^ iZ r-J g ^ The Msential flats of the descending scale of do^ minor, have the self same notes flat as the essential flats of mi'|^ major ; and hence, because these flats are common to both scales (though falling in a dilfarent order in their rolative positions to one another) they are said to have a relation to each other, and are accordingly called "related scales." But beyond this, aU relationship or similarity ceases. 177. Every major scale has its related minor scale, and, by inversion, every minor scale has its related major. 178. The t^T>in, or key note, of a minor scale is invariably a small third below, or fwhicu xs the same thing) a large sixth above the tonic of its related major. Fia. 109. Major Soaib or mi^]^. MiNOB SoALi or . ■^)^^ (^^^^^r^^ ^ ^i - r^^4-^ ' ^\^^ J JL 179. Table IX. contains the signatures of nine minor scales, with their corresponding majors, to which they are rela'xd. The notation of thesd scales is not given, as a sufficient acquaintance 'mth the method of forming them is supposed to nave been attuned by previous praetibe ii^ forming major acafes. Table III. &4, MINOB DUTONIO SCALES. SIGNATURES OF MINOR SCALEa Table IX. "1... Do minor -< ft\^ *?" ?3: ^^=^=3^?^ 3= : derived from the dea- cending soale of - • Mi^ major. J2« minor inor - fezr EZf" ^-J =3Ejr^ derived from the des- cending scale of • - JTa major. .T .'.iv: * Mi minor -^X—' C ^^^3^ ^ derived from the des- cending scale of - - Sol major. Fa minor - fejl? ^^r=^ • ' 1 r t ' t ■ : de/tved from the des- ^-j r cendiDg scale of - - Xaj^ majer. &>I minor ^=^ derived from the des- cending scale of - • Siljf major. La minor ^* S^ai^ dttrived from the des- cending scale of • - Do major. Si minor- f s^l ~ , ; h dnri ra=i=jr-;^ ce, derived from the des- cending scale of • - R« major. Si^f minor Kt--^=^='. ^^^ J~I-^A l-t arrst •^^-^ : derived from the des- cending scale of - • Re}f major. Jlfi't^ minon ?^^RF^ '^=^^ -^t- derived from the des- eending scale oi - - 0^ major. MINOR DIATONIC SCALEa 85 MODULATION FEOM A PRINCIPAL MAJOR SCALE INTO ITS RELATED MINOR. 180. According to the conditions upon which Form A. of the minor scale is constructed, rule 2 provides a halftone Ijetween its seventh and eighth. The related minor of do* major ia la^ minor, the tonic or key note of w}iich is the sixth of the scale of (fo>. The 5^ of the scale of rio' is iol^% which becomes the seventh of its related minor, lo* , as at a, Fig. 110. This occasions a tone and a halftoiui (an augmented second) between /a'ti and «oPtt, which is contrary to condition 4. In order to conform to this condition, /a>t] must be altered to fa*^, as at b. The scale of la^ minor, ascending and descending, is represented at e. FlO. 110. P o Jift' i g ip= S xz 5Jf C 6 7 ^ W^ ^^s 4« 5tf 6 «=F ^^f-rr^rr r J.I major. 181. The following figures show the modulations from five principal keys with sharps into their respective related minors, and returns into theic principals. From do^ urro la^ hiitor, asd return. r'frf tp_ Fia. 111. c d Jp^ ^ 6Jt 7# M^ ^ -J—M ?2i a — tonic of principal major scale of do*, i c — modulating sharp fourth (fa^) and sharp fifth («o!$). d — tonic of related minor, e — scale of la^ minor ascending. / — scale of Ja* minor descending. ' — returning cadence to principal, -principal scale restored. From soU into re* mikor, and ritttrn. Fio. 112. t p jip y [ - '^ -^ f-r^, J JFTT^ s UIKOR DIATONIC SCALES. Fkou re* into j( minok, and betitbn. iLffJ ■ ■ I I -^i^tt^ f^ Q gh^ - I i ! - =i^ ^¥)jjJr^^'rrr J.iwrrr J2: FbOH mi* INTO (lo'jt UINOK, AND SBTUKN. Fia 115. *3e -i4>li^^^-f-'^pa»l^ j j ^ ^ _U J il J»^ f\ll^yj J J J J-^ f^t^:i^ ^ ModulatiooB into the other related minors are left for exeroiaes for the pupils. 182. The following figure shows the modulation from the principal key of fa^ into its related minor, and its returr^ again to its principal. Fbom /a' INTO re' uinok ano back. a b Fia, 116. F=t= i 4S 6S^ latrst ^s ^ :tJpcK g-*g-J =F- 3SC2: £^ :S?r a — ascending cadence to tonic of related minor. 6 — descending scale of related minor. c — ascending scale of related minor. d — descending cadence to tonic of principaL e — major scale of /a* restored. 183. The following example illustrates the three principal modulations from the scale of do^. EXAMPLK a b e d S=3 g ^ J J J U J^i^ ?=: ^S ^ sz: fi^l- '4jJ 5 5# 6 7b 4. 7fl 8 a — modulation into dominant (sol^\ e — modulation into subdominant (/a*). &— modulation into rdAt«d minor (la^)' d — ^return to prindpal scale (do'). INVKBSIONS. •7 _^„^ , 4 I. ■ ■!■ CHAPTER XXXVII. Inversions. ^ 184. An interval is said to be inverted when its lowest note is placed an octave higher, or its highest note an octave lower. A Unison A Second A Third A Fourth A Fifth - A Sixth A Seventh' An Eighth Table X. — Inversions. by inversion becomes - - an Octave - - - U7 inversion becomes • - a Seventh- - - by inversion becomes - - a Sixth - - - - by inversion becomes - - a Fifth - - - - by inversion becomes - - a Fourth - • - by inversion becomes - - a Third - - - - by inversion becomes - - a Second • - • by inversion becomes • a Unison - - - - i 12?! 32j Moreover : X A major or large second - - by inversion becomes A minor or small second - - *i it A major or large third - - - )> }> A minor or small third - - - }f )> A perfect or small fourth - • >f »l An imperfect or large fourth )i )> A perfect or largo fifth - - - >» » An imperfect or small fifth • >) >> A major or large sixth - - - f» it A minor or small sixth - - - » »> A major or large seventh - - j> J> An octav* 1) it - - a minor or small seventh. - - a major or large seventh. - - a minor or small sixth. - - a perfect or large sixth. - - a perfect or large fifth. - • an imperfect or small fifth. - - a perfect or small fourth. - - an imperfect or laige fourth. • - a minor or small third. • • a major or large third.'^ • - a minor small or second. • • a major or large second. - - a perfect unison. (. / 88 ACcroEirrALi nnDicATiira MODtnuLTiOK. CHAPTER XXXVIII. Accidentals Indicating Modulation. 185. The occasional introduction of an accidental sharp or flat into a composition is used for one of two purposes, luunely, moaulation, or for expressing a musical idea. 186. In Chapter XXXIY. it has been shown that a sound called the modulating note must precede the resolutions into the related keys ; that the modulating notes are tho 4$, the 5t, and the 7h, and that these lead into tho tonics of the new keys. These latter are called accidentaU vndi- cating modulation. No. 130 is a 8olfo£gio or melodj, trithont -words, examplifying modulation from the principal key of re* into its dominant la^. The points of modulation into the dominant are marked with a 4j(, and thair return to the principal with i^ $ No. 130. SoLiioaio. P 10 11 13 r^ S 14 : ihh^H^ 15 IS I ^^ ^3 j;a p 17 18 1» 30 I I 31 SS 341 J fr 'i k - 'q^ ^ M ■.iij- ^ ^ /^ M ^ ^1^ " 37 38 1 1 30 iO . 31 S3 "y ' *'j(- ; I it » 1 J ^ 1. 1 u Ji ** m • ^ ' \^\) m ^ ^ m ^ d ^ 9 W L d ■ ci $ SS J m S4 /-s jSUow. Of the thirty-six measures of the above solfeggio, numbers 1 to 4 are in the principal key ; numbers 5 to 8 are in the scale of la^ , its dominant, modulation into which took place at Ja' by tho 4Jj!; numbers 9 to 10 are in the principal key, a return to which took place at 10 by the natural at sol^ ; measures 17 to 24 are in the domi- nant, which commenced at IT without any introductory modulation, and returns s{;ain into the principal at 24, in which it continues to the end. ACCIDENTALS NOT INDICATING MODULATION'. 89 li into a I, or for tiled the 78; that lese lead lis vndi- liion from n into tho ^ 11 EXAMPLE OP MODULATION INTO THE DOMINANT AND THE BELATED MINOR. No. 131. SoiruMio. — ^PSALM BTTM. #^ 1 1 a '4' 5 . 7 '.' 1 1 10 h n '>,' ^ s^ ^d^ bJ^ •^H^-'^H^'^ td ^=^-J- « H 14 II 7. ^ 17 la It T r ti aa » 22: EZ g > g? M^ ^gg P ta »7 "^aa'- ■^r /a >a'^ e s za: at ao TT'aa^ aa a4 as a« zz:^ zz S ^dZZ gUgg -C g^ ^jU-'" i a? aa at ■^40^ 4a 4a "'44'" 4S 46 47 48 iS^-&- izi rzi 3 22: ^ • ^ c J -^• 32 3 In harmonized music of tiro or more parts, thejnodulating note may appear in any one of the parts, according to the position of the lending or ^ble part of the melody ; that is, it may occur in tho treble, contralto, tenor, or bass. In the songs (" Three-part Song Book") " Employment," page 9; " My hands, how nicely are they made," page 15; "The Volunteers," page 25; "The Reapers* Song," page 27; " Christmas Carol," page 40; *' The Red, White, and Blue," page 72, in each, the modulating note into its dominant is in the melody. In "The Pilot" page 17; "On the Water," page 19; " The Sea is England's Glory," page 21; "Defence, and not Defiance," page 76, in each, the modulating note into its dominant is in the second or contralto part. Compositions sometimes remain throughout in the principal key. " God Save the Queen," page 124; " Oft in the Stilly Night," page 4; "When the Rosy Mom Appear- ing," page 23; "Th« Poor Blind Bojr," page 24 j and th9 "Er^ning Hymn," page 77, are of this class. ^S *)i aa are in the lation into ^, a return the dorai- id returns CHAPTER XXXIX. Accidentals not Indicating Modulation. 187. All accidentals, excepting those indicating modulation, are used aa transition or passing notes, and fall principally on unaccented parts of a measure. Fia. 117. ^^^^^ ^^^ 188. The words Da Cafo, with the mark of the repeat ^ reads " re- jpeai from, the beginning." M 189. The word Fine indicates the end, in whatever part of a piece of musio it may be placed. 90 ACCIDEMTALR NOT IKDICATIMO MODULATION. Ko. 132. DUET. AUBOaZTTO. *j'jJ3J:iJ^ i j:'^Jr|pra-f-rcr ^5% Ji i j 3''3jr i J^fj'cri'^ ^ j:j3J3J3 | J3jSir|JLg^^gjj5:-'^-i - ecT I ^5^ ^ ^ JVn*. ±::=t ^^ ^ ^^ fr^ TiUKSPosi'iio:;. 91 •5i«3 ^ Fine. J-F"*- ^ ^ I Co Capo. CHAPTER XL. Transposition. ^^ 190. All scales being alike in their internal arrangement, — that in, alike in the order of their progressions, — it is evidently immaterial which scale is chosen vrherein to write a melody. So it is also evident, that a melody written in Any one key, may bo changed to another. This change is coiled TRANSPOSITIOJT. To tranapom a melody is a rery simple matter. All that is required, is to observe the same nuinerioal interval between each succeeding noto, in the new scale, that exisiis in the original one. The best vay for a beginner to learn to transpose, is to marlc tho numericnl position of each succeeding note of a melody in tho scale in which \i is written. Then write the scale into which it is intended to be transposed, and mark its nume- rical succession ; and whatever may be the numerical relation of each sound of tbe melody, transfer tho note to its corresponding position in tho new scale. a — (Ifo. 133) u a melody in tho key of do', each noto marked according to its numtf rical positio<\ in tho scale. b — is tho scale of mi*, into which it ia intended to be transposed, also markoil numerically. < — tho melody at a transposed into mi*, with which tho numerals exactly correspond. d — tho scale of /«>, into which tho melody is to bo transposed. « — the same melody transposed into /a*. It is no more difficult to ting in any of tho extreme sharp or flat scales than m the scale of do*. Let the practise of either of the following transpositions be pre- ceded by its respective preludes and chords, so as to attune the ear to the scale, and no difficulty will be found in iran^oti'ng vocally. MELODY. (May be sung to any Common Metre.) a Jfo. 133. ^ ^ a: g ■&■ ^ m St- 22: iS>- ^ • 4 T I -- 22: I P g? f - J p Z3C P ^J 1 3 P .rJ Melody. 01^ V 2=^. zz =f=?=^ :^2; ■tS>- 32: ■(s—e>- S^S 1!Z7" i iS'- s 1&- 1 $ » (^ 22r ^ 3=2= s^ ^3— --tS^ 33: ±: CHAPTER XLI. The Bass Register and ClefF. ] 91. At a, Fig. 19, Table VI., the bass register extends from FA to re', i, range of thirteen diatonic sounds. Fig. 118, the position of the bass register is clearly shown, both in its relation to its position in the scale of octavea, ai well as its position aa compared with the treble register. A comprehensive acquaintance with these relations is indispensable to an intelligent «tudy of registers and cleffa. Fig. 118. elo' — fs — _ -- „ r r. r Bass Eeoister ani» Clefp. rfo" -■ rj -J do —a— ;S zz! ^ — " ■■■-■ » "^ S^ M=Z i^-(^ TrePIiB ReoWIBR AHD ClEFF. Exercises ox the Bass Reoisteb. No. 13-i. ^3 ^ Z^SC *FF rrr rffF rfir rr i n * r r i rr 'F-Tr r*i*" i r"n*" i "F ^*1•^^--^ g ±1 + &==£* g a!^ ^^-rf«^ rrrr|rrrr|rrrr | rrrr|rrr g tfj.|fl ; jti » yjj j JjJ & MiU iUJjr i ^jia ffi i 1 m ~sr 32: n FA to re\ its relation to rith the treble ) An intelligent Mrf-f^ f» Clkfp. j r | J r -l Ko. 136. INTERRUPTED OR UIXED MEASURES. SoLVEaoio. % ^sg a=4: £t= TS" 3 ^^ 33: »3:-g,A P-p-t-" T^^ '^n^ -''=^ T5-p- "T — *?•" mP ^ 1-=- " !wua-Mi-~ U- — ^^-1— J — Up- f' J" ^^'-^- ^ T^rp^ ?'3~ 1 g JK-^ 5E ^ , (• T3Z m e e ^i i'w r r P zz lS^ S2: ac 22=22 ^ 32 rrrr rjJ I ^JJ^ l ^ ^ THE TENOR AND THIi CONTRALTO REGISTERS. v. HsuARKS: — The nso of the tenor and contralto cleffa and ataves has become obsolete, and probably will not bo again restored until a conviction of their importance shall havo drisen, — the result of a moro general knov. ledgo of their elementary relations. CHAPTER XLIL Interrupted or Mixed Measures. 192. Tho regular rocurrenco of oven pjirts in simple eijual, and unequal times, is occasionally interrupted in their rhythm by the introduction of a triplet, in notes of the next lower denomination, on one of the even parts of a measure, which does not destroy tho regular flow of the time, but is intended to be enunciated in the same time as the value of tho note which it displaces. Fig. 119, ia an example in ? time, two beats. To the up beats at a and 6 a three-quaver triplet is introducea ; the time of the second beat must not be inter- rupted, but the three quavers must be enunciated in tho time cif the up beat. A figure ^ is always placed under or over them. At c and d a triplet is given to each of the BACond and third beats, each of which has to be enunciated in tho time of one boat, the example being m } time. i)* ILA£MOinES m SHORT SCORE. Fio. 119. ^ isbc S: pz^^P^ J^-Jg3- H^- H =*¥i No. 13G. SoLFEOoio OK Mixed Measures. , ^4Jjjj]r : ^ | JgrruJ ^ ^-^ rfl: ^ E BYf^ ^ ^gg -^-t m ^ ■> ■'J* P*y Sf* vhil • • CHAPTER XLTII. Harmonies in Short Score. 193. The following hnrmonized solfeggi for four voices are given as introductions to the more elaborately harmonized pieces in the Appendix to the "Three-part Song Book." Thoy are arranged in what is technically called "ahorl sccire," that i», the four parts ore writte* ou two staves, — namely, the contralto brlote t1)e treble on the (r(&i« stave, and the tenor atoie the bass on the buM stave. This method keeps each voice in its fundamental position, and is an accurate amngerient iur the piano loito. ^^ *»-fg»f -a (- 5^as ^^ ■ a -^ given as ppendix to U, the four on the trtbte loch voice in HARMONIES IN SHORT SCORE. 95 FOVB-TABT EzUtOUE, rtaVOITALhY OS THE COMMON OB | CHOBD, AND UODVLATIOX TO lis DOMINANT. No. 137. '. "^ Fine. m i-4. ^^ r r r- r-^i i r cT r r r ""1 i r i > 14* 1 J. ££: J.-" r-F-r - J^U^-^ Da Capo. m s ^-r ^r^ £±1 III ' I4J^' ' ' i4jt -\=± ^ g dm — - » » ^FT-Tt EEE CORALfi. No. 138. P^^^^^^^ es n _^i i^j ^j. ,^.<=i jj_ ^ 3Z r ip :gt:!=' :e=& g S :c2. iS itt-II S m m J-J- 3 ^^ 1=^ I ^ rcz: -r-rr ir^ :tti=2: :z2; .izL 1 I . I ■m -jzizzz =?= ^^ 32 j^i. ^ J. 5=21 i ^^ :^=F^=^ StS: J. J fr^T^rT f¥ :2ii T^ 1^^ — r g i a iJ db=i ^^ J. J J ^ f=W4-f» f I J i 96 HABKONIES IN SHORT SCORE. FOUH-FAUT EXIBOISB ON THK I OF THE PEINCIPAi. AND ITS BVmOiOSJiST:. So. 139. ^.,A J J «hj- 1 J J -I- -1 — h- a-J-J — r^ -^h- r A J J. J. .J.JJ.J 1 ^ ^ rrTj^-rr^ EESi ^nit: ^i I I I I I rrrr i A-^ I I J J & rrrr. M iA No. 140. P d: CORALE. Ft= ^p «ae r - . • ■90 ^ 0h M: ^ ^H-yf- 100 VsrMs expressive of absolute time. Terms expressive of Absolute Time. HfiMAEKS :— Words in themselvca cannot convey a cowcct Idea of absolute volocity. A pendulum, the ticking of a clock or watch, a metronome or time measurer, can alone describe absolute time. Certain Italian words, however, have been received, by which an approximation to the correct time intended by the composer of a piece of music may be understood. There are five principal word^ wliich are intended to express the different degrees of movement, from the very slow to the greatest velocity, to which other words are occasionally added to qualify them. WORDS RELATING TO VELOCITY, STYLE, AND INTENSITY. Labqo, Lento, Grave : extremely slow, Largetto, rather slow. . . Adaoio: slow. Andante : at a moderate pace. Andantino, slower than Andante. Andantiiio sostennto, sustained. Andantino viaestoto, majestic. , -. , - 1 Andantino graziosv, graceful. '. '>-^ .-, _ , ; .' Allboro : merry and cheerful. Allegro animate, animated, lively. Allegro con moto, lively, with increased motion. Alkgro (ujitato, strongly excited. • A llegro vivace, most lively. Allegro gxdsio, exact, marked. 'r , ; Allegro hrillant, or con brio, with brilliancy f Allegretto, rather lively. Allegretto moderato, moderate. Presto : quiclc. Frcstissimo, as quickly as possible. Piano or p, softly. Fianissimo or pp, very softly. Crescendo or Ores., or -== — rr, increasing in loudness. Mezzo forte or mf, middling loud. — =■ — : : -— Crescendo and Diminuendo combined. Sforgato or sf, forced. Forte or /, loud. Fortissimo or ff, very loud. Decrescendo or Decres., Dimimiendo or iHm., or r= '^■v*>- -, decreasing in loudness. to velocity. ', can alone iroxunation jrstood. jnt degrees woi'ds are INDEX Accent, change of positions of the long... ... Accent, further investigation : the long .. . Accidentals as transition or passing notes Accidentals, exercises for tho practise of the five ... Accidentals indicating modulation Accidentals, intercepted Accidentals, occasional introduction of ... Accidentals, repetition of in tho same measure Accidentals, repetition of in a following measure ... Bar line, the Bar line, use of the ... ,,, Bass register, extent of Beat, any degree of velocity of .1 Beat, a crotchet equal to one ... ... Beats, a minim equal to two — Positions of ... .., Beats, a semibrevo equal to four— Positions of Beats, exactness of Beats, triple measures of three beats— Positions of... ,„ Beats of two-fold order, Positions of the Beating time, importance of practising— Pulses cr beati?, invrard feeling of — May bo made evident Beating time, preparatory position of tho hand ... .,, C^^«'^• .. 3 68 . .. 23 27 . .. 9 116 . .. 33 16 . .. 6 118 . .. 33 117 . .. 33 130 . .. 47 134 . .. 50 140 . .. 56 143 . .. 58 146 . .. 61 151 . .. 66 154 . .. 09 22 . . 7 ... .. 45 100 . . 72 . 43 184 . . 87 159 . . 72 127 . . 40 . > • • . 44 ... • 79 158 . . 72 ICl , , 72 104 INDEX. Intervals: tone, halftone, tho tinita of admoasuromont of Intorvals, twenty-four forms of second, third, and fourth — lower half of scale Intervals, twenty-four forms of second, third, and fourth— upper half of scale Intervals, various terms in use to denominate tho same intervals — Uniform terms desirable ... ,., „, ,„ Inversions ... ... ... Ledger lines Legato ... ... ... ... Major diatonic scales, exercises on Major scales, signatures of ... Measure rests, method of comating Measui'o signs ... ... „, ,„ ,,» Measure signs, fractions ... ... ... ... Measures fundamentally the same Measures, interrupted or mixed : tho tegular rhythm interrupted Measures, obsolete Measures ; two or four part order, common times ; three part order, triple times — Simple times ... ... Melody ... Melody as an example of transposition ... Melody on tho interval of the second, .and unison ... Melody on tho interval of tho tliird, with tho second, and unison Melodj on tho fourth, with the third, second, and unison Melody on the fifth, with fourth, third, second, and unisoii ... Melody on tho sixth, with fifth, fourth, third, second, aiia jnison Melody on tho seventh, with fifth, fourth, third, second, and unison Metre in versification — metro in music ... Minor scale. Form A., Dr. Marx's observations on; Form B., and Form C. Minor scale, signatures and successions of Form A. ... Minor scale, unsatisfactory treatment of — Nino forms of — Hullah's condi- tions to tho form of ... Minor scales, related majors... ... ... ... Minor scales, signatures of, (Table IX.) ... ii.' Minor scales, tonic of ., ,,.. ,..- ',.,': Modulation: a change of key ... ... ... ' Modulation, ability to appreciate — Application and experience — Education of the ear Modulation at tho commencement or internal phrase of a composition Modulation, care and clearness necessary in teaching — Modulation in the progression of scales, method recommended Modulation from a principal key with sharps into its dominant, examples of Modulation from principal keys with flats into their dominants, and re- turns, examples of... PAR, PAoa, 110 .. 33 156 . .. 71 157 ,. 71 .. 45 184 .. 87 42 .. 14 194 .. 97 ... .. 36 . . . .. 22 148 .. 62 92 .. 27 93 .. 27 *. • .. 27 192 .. 93 95 .. 28 90 .. 27 120 ,. 34 .. . .. 91 .. 49 .. 62 ,. 58 .. 60 .. 64 .. 67 76 .. 25 .. 82 176 .. 83 .. 81 177 .. 83 179 . .. 84 178 .. 83 168 .. 77 .. 78 169 .. 77 .. 78 . . < .. 78 79 INDEX. 105 rioa. . 33 . 71 71 45 87 14 97 36 22 62 27 27 27 93 28 27 34 91 49 62 58 CO 64 67 25 82 83 81 , 83 84 . 83 . 77 . 78 . 77 . 78 . 78 . 79 Modulation from a principal koy with a flat, and return to its principal ... Modulation from a principal koy into its Bubdominant, examples of Modulation from a principal major scale into its related minor... Modulations from principal keys with sharps into their related minora, and returns, five examples of Modulations into nearest related . 'ales ... Modulation into the dominant and its related minor, example of Modulation 'iito subdominant, order of ... Modulations, example (jf the throe principal illustrated Modulations, order of with sharpa "Moualations, order of with flats Modulation, return frum dominant into its related principal Music, a science ... Music, a science of sound ... Musical sounds, comparative values of ... Musical sounds, four properties of Musical sound, limit of acutencss of Musical system, basis of the... ... ,,, Natural or cancelling sign, the Natural, powers of the Natural scale, the so-called — "Sharpening" — "Flattening" — Chromatic scale — Infelicitous mode of construction — Tabulated form of Chro- /.i. matic scale numerically, alphabetically, and syllabically Nine octaves, method of readily expressing the positions of the Notes convey two ideas Notes, no change in the names of Notes, positions of stems of . . . ... ... ... Notes, relative values of, illustrated Notes, table of comparative values, descending Notation, the liighest attainment sought in — Lines and spaces of stave — Names of notes, simple method of studying them Notation, symbols and nomenclature of .. Octaves, one kind only. Dissimilar positions Flirase — Period ... Pitch, the Pitch, notes alone no indication of absolute Prelude, objects of the Principal key Prosody of grammar — prosody of music .... ... Quality Quavers, practise of. Beating and counting ... ... ... Jlegular falling of the accent in versification and music : feet ... ». Bepeat, the JXCSXifi ,,, •«• •«■ .,, «a« ,«f ,,^ Bests, method of beating and counting > ••• •>• PAR. r.\oi. 182 . . 86 ,,, , . 80 ... . . 86 181 . . 85 Ifl . . 77 ■ •• . . 89 176 . . 80 183 . .. 86 172 . . 78 174 . .. 79 173 . . 78 1 . 1 2 . 1 32 . .. 10 25 . 9 14 . .. 5 8 . 2 ... .. 76 166 . .. 76 .. 17 *•• . .. 16 40 . . 14 • •■ • .. 3d 41 • 14 113 . . 32 34 . .. 11 .. 36 30 . 9 165 . . 69 86 . . 26 26 . 9 62 . . 23 ... . 42 170 . . 7^' 76 . . 26 29 . 9 137 . . 63 79 . . 26 186 . . 61 37 . . 13 ... . . H 106 INDEX. PAR. vMn. Kests, measure, the brovo representing an indefinite number of — Method of counting Rhythm: time, accent, measures, bars... Rhythm, its importance investigated Round (Sacred) for three voices Scales, derived ... Scale, measured fixed sounds — Scale of octaves — Chromatic scale — Diatonic scales — One dependant on the other Scale of octaves ... Scale of octaves, transfetenco of Scales, major or minor, no two have the same signature Scales, transposition of — Term inapplicable — No change by removal Seconds, seven large and Small. Dissimilar positions Sevenths, seveii large and small. Similar positions Shoi-t score, harmonies iii Simple times aiid their sigiiatures ... Simple and compounded times, (Table VII.) ... ... Sixths, seven large and email. Dissimilar positions Slur, the Solfeggio, a ... ... Sonometer, or time measurer, the Improved Sound, in its general acceptation ... ... ... Sound, measurement of a Sound, the result of vibrations. Its Laws ... ' -' " '.». " Sound, velocity of ... ... ... .„ ' ' ' Sounds, octave, velocity of vibrations of ... "■ • , Scunds, all produced by the same media. (1) Noise or unmusical Sounds, (2) musical ... ... ... „, Sounds, method of representing the Icngtlis of Sounds, musical or unmusical : velocities of vibrations Sounds, related ... ... ^' k.-'-,^^ ■'"■■" < _^ Sounds, unlimited number of conceivable — No practical use for vocal pur- poses— Musical system reduced to thirteen — Chromatio scale Staccato Stave, the : fivo parallel lines — Their numerical positions Stave, the — Five line — Thirty-two linia ... String, a steel wire, the medium of ill" stratiori String, length of, method of arriving at... ... ... Symbols or nolos, shapes and comparative value of the ... Syncopation ... ... ... ... ... Tenor and contralto registers, the ... ... ... Thirds, seven large and small. Similar positiona ... ... Tie or bind, tlie ... ... ... ... ... Tie or bind, the, for prolongations ' ' ... ... ... Time and admeasurement, the asBumed unit of ... ... 148 ... 62 73 ... 25 74 ... 25 97 9 ... 2 3 16 ... 5 43 ... 15 53 ... 20 21 131 ... 47 152 ... 66 193 ... 94 94 ... 27 101 ... 29 147 ... 61 133 ... 48 132 ... 48 3 3 ... 1 31 ... 10 4 ... 1 11 ... 4 13 ... 4 5 ... 1 6 ... 1 103 ... 31 7 ... 2 167 ... 77 3 195 ... 98 39 ... 14 14 10 ... 4 12 ... 4 10 142 ... 57 93 135 ... 50 36 ... 12 153 ... 68 102 ... 30 Times, Tone: Transpi Transfe Triple i Triple ; Unaccei Unisom Unisonf Vocal n Vocal o Voice, .1 Voices, Voices c Words r MOI. 62 25 25 97 2 3 5 15 20 21 47 66 94 27 29 61 48 48 3 1 10 1 4 4 1 1 31 2 77 INDEX. Times, analysiV of the various— Ratios of Tone: an interval Transposition : change from one key to another Transference of Table III. to notation Triple time, three beats Triple I time Unaccented syllables, unaccented notes— the short . Unisons Unisons vocal music, conditions for success in teaching Vocal organs, functions of the Voice, average extent of each si^ecies of... [ Voices, registers of Voices of women and children Words relating to velocity, style, and intensity '. 107 PAR. PAOB. .. 29 .. 19 .. 190 ■ 6 .. 91 .. 44 . .. 15 . 105 . .. 31 . 145 . .. 60 . 84 . .. 26 . 115 . . 33 . 129 . . 46 . 43 . 61 .. . 3 . 23 . 59 .. . 23 60 .. . 23 .^■. . 100 ^^^-- 3 98 14 14 4 4 10 57 93 50 12 68 30