Book Description

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1843 edition. Excerpt: ... note. What do we call the act of changing a passage from one scale to another?--Transposition. Can a passage be transposed from the scale of Do merely by placing the notes higher or lower on the stave?--No. Why?--Because the semitones would no longer be between the 3rd and 4th and 7th and 8th of the scale. Are the 3rd and 4th, and 7th and 8th of every major scale to be separated by semitones?--Yes. How then do we augment or diminish any of the intervals in a passage for the purpose of transposing it, or making it sound the same in one scale as another?--By using sharp or flat notes instead of natural notes. Repeat the names of the sounds which form the scale of Re-making the manual signs. To be done, thus: Re, Mi, Fa if, Sol, &c--7 In the same manner, the scale of Si y--To be done, as before. On what part of the hand are the sharp notes represented?--At the roots of the fingers. On what part of the hand are the flat notes represented?--At the tips of the fingers. Touch Dot, Sol, Soli, ReS, Re &c, &c.--To be done; and similar Exercises to be continued, ad lib. 1. Were notes made sharp or flat only for the purpose of transposition, there would be no difficulty in singing them. All major scales are equally easy to sing. 2. But it has been shown that sharps or flats are used for other purposes besides transposition; for modulation, for writing in the minor scale, and the chromatic scale. 3. By the use of a greater or lesser number of sharps or flats, we can not only write any scale, but augment or diminish any individual interval. Before proceeding further with the study of this Chapter, the Teacher should examine the class on the interval of the second.--(See Chap. IX.) 4. A major second may become minor, or a minor second...