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. 1859* edition. Excerpt: ...of the major scale. In this example, the G natural, F natural, and C natural, of. the minor scale, are all to be considered as flats, when contrasted with G sharp, F sharp, and C sharp of the major scale. Sect. VIII.--Of Transposition, &c. 242. That change which arises from the performance of ths same melody in a higher or lower pitch, is called transposition. 243. Every melody in a major scale may be transposed into any other major scale, by altering the signature according to the pitch of the new tonic. The same alteration may take place in every minor melody. When, however, any tune is performed in the relative, or in the tonic minor, which tune was originally major, such change is not called transposition, but variation. 244. When, in the course of a melody, the tonic is changed and the original scale altered by the introduction of a new sharp or flat, such change is called modulation. This will be' further explained in treating of harmony. 245. Every scale has two others immediately connected with it; one on the fifth above, which adds a new sharp to the signature; the other on the fifth below, (or fourth above, ) which adds a new flat to the signature. These two scales will, in this work, be called attendant keys--an epithet given them by Dr. Boyce, in his manuscripts. 246. As every major key has a relative minor, and as this relative minor has its two attendant keys, hence arise, from every signature, six scales, nearly connected with each other; three with major thirds and three with minor thirds. 247. Of these, two are principal, viz., the major and minor of the signature itself; and four are subordinate, viz., the attendant keys, both of the major and of the minor; these require another sharp or flat to complete their...