xt7fbg2hb57r https://exploreuk.uky.edu/dips/xt7fbg2hb57r/data/mets.xml Fillmore, J. H. (James Henry), 1849-1936 Fillmore, J. H. (James Henry), 1849-1936 1879 scores (documents for music) English Cincinnati: Fillmore Brothers Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection School songbooks Singing -- Instruction and study Hours of Song: A Book of Rudiments and a Collection of New Music, Sacred and Secular, for Singing Classes and Conventions, 1879 text Revised edition. 127 p.: music, 17 x 25 cm. Call Number: MT935.H68 F550 1879 Hours of Song: A Book of Rudiments and a Collection of New Music, Sacred and Secular, for Singing Classes and Conventions, 1879 1879 1879 2022 true xt7fbg2hb57r section xt7fbg2hb57r
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[REVISED]
A BOOK OF RUDIMENTS
AND
A COLLECTION OF NEW MUSIC, SACRED AND SECULAR,
FOR
SINGING CLASSES AND CONVENTIONS.
BY JAMES H. FILLMORE.
FILLMORE BROTHERS, Publishers,
119 WEST SIXTH ST., No. 40 BIBLE HOUSE,
Cincinnati, O. New York.
Entered according to \Act of Congress, in the year 187 5, by
JAS. H. FILLMORE,
In the Office of the Librarian of Congress, at Washington, D. C.
Copyrighted 1879 by FILLMORE BROS.
Electrotyped at the Franklin Type Foundry, Cincinnati, 0.
' RUDIMENTAL.
PREFACE TO TEACHERS.—As the method adopted in the following lessons
differs a little from that generally found in books of this character, we give a few
words of explanation. It will be observed that we commence with Melody, and
give a number of exercises, recommending others on the board, for reading the
scale in all its positions on the staff soon at it is well learned by rote. We think
this the best course to pursue in singing classes, especially where the sessions are
short, for the following reasons: I. To read with equal fluency in all the keys
is one of the grand ends sought, and the difficulty consists only in want of
practice; by this method we have all the advantages for practice that the time
affords. 2. Experience proves that it does not take much more time to read in
all the positions tolerably than in any one key. 3. The difficulty otherwise aris-
ing from the use of the G and F clefs is by this means removed, the pupils being
prepared to read equally well in any position. 4. When the practice of other
points is desired—such as different kinds of notes, measures, and the many points
that follow in order,-—you are not confined to any one key for examples, but have
the advantage of any key that furnishes the best. 5. When the study of absolute
pitch and the philosophy of transposition is taken up, the pupils are so nicely pre-
pared for it. Many advantages might be given, but we think these sufficient to
give this method precedence. _
However, if the teacher does not choose to adopt this plan, the lessons and
exercises here given are adapted to any other method as well.
The next point that deserves mention 'is that of Rhythm. To develop in the
minds of pupils the faculty of “ keeping time,” is by no means a small item in the
labor of the teacher. It might be estimated that the practice necessary to perfect
this department of the science exceeds that or all the rest. There is no royal
road to its agcomplishment ; hence, the best the teacher can do is to direct the
practice in a strictly progressive manner. Our exercises and songs have been
prepared with special reference to this point. The teacher will observe through-
out the book a systematic, arrangement of notes and measures, and that the music
abounds in simplicity in this respect.
There is no doubt but that the popular method of “ beating time ” is the best
expedient that can be employed for the purpose of begetting in the minds of
pupils the idea of Rhythm. It should be kept in mind in selecting exercises,
that while the different kinds of notes demand some attention, different kinds of
measures demand more, for the kind of measure has the controlling influence
over the effect of the notes. .Hence, measures should be introduced progres-
sively, and each kind mastered, in 'a degree, before its successor is taken up.
Beating time, to be an assistance in measuring lengths, must be practiced a
good deal of itself. A good plan is to devote a few minutes of every lesson ex-
clusively to it. The manner, to be effective, should be varied, besides describ-
ing the beats: Down, up, etc., count I, 2, I, 2, etc.; also add the word and at
times, as though two notes were being sung to a beat; also beat one, and some-
times both beats, in silenCe. This variety should be carried through all the forms
used for beating time; and will develop the idea in the quickest possible way.
It is a very easy step from double measure to lively sextuple measure, especially
where the measure consists principally of eighth notes. It is a good step, too,
the contrast being thus made to appear between accenting groups of two notes
and groups of three.
Our effort has been to make the following statements readable as possible, so
that the pupil, with the assistance of the lectures by the teacher, may read and
understand. The questions and answers furnish matter for study between time!
to recite in the class.
. .vy.
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«mm...—
CHAPTER I.
MELODY.
I. The word Melody means song; but asaDcpartmom‘ in the science '
of music, MELODY embraces every thing that pertains to pitch (the high-
ness or lowness of tones).
2. The STAFF consists of five long lines and the spaces between.
The Staff.
3. Each line and space is called a DEGREE, which means that each is
used to indicate tones. -
4. The lower line is the first line, the next above the second line, etc.
Fifth Line
Fourth Linc
———Third Line
Second Line
First Line
Fourfll ‘Space __;
Third S pace __
Second .‘pace______l
First SJEIce
5. The short lines above or below the staff are called ADDED LINES,
or Ledger lines.
Second Added 'Line above—Second S ace above
First Added Linc above _First Sneeze above
_First §pace beIow
First Added Line below Second Space below
Second Added Line below—
. 6. Notes written on the staff indicate tones,—the length and the pitch
in which they are sung.
l A
If . l 4 F D l ‘l
E. I 4' J J L D l l ‘l
I I A ' 41 ' l l U ‘ _I
{a ' l U I
7. As a means of learning to sing, there is a series of graded tones,
eight in number, called the SCALE, and by associating the name of each
with its pitch, they are readily distinguished.
8. The scale has two sets of names. When talking about the scale, its
RUDIMENTAL.
lthe- numeral names, and the pupils singing in answer the syllable names.
tones are called I, 2, 3, 4, 5, 6, 7, 8; when singing, we use the sylla-
bles: Do, Ra, Me, Fa, Sol, La, Se, Do.
9. Singing the scale is-learned by imitation.
As the scale is the foundation of all singing, here is the place to begin its prac-
‘tice, the teacher singing and the pupils imitating. And it would be well for the
teacher, besides being careful to make good tones with good pronunciation, to have
the rhythm marked in his examples, thereby developing in their minds that idea
also, but without mentioning it now. A good practice is to call for the tones by
After
some practice of this kind, a few facts concerning the scale will be interesting:
10. The difference in pitch between any two tones is called an INTER-
VAL. From I' to 2 is an interval of a second; from 1 to 3 is an interval
of a Mini; from I to 4, a fourth, and so on 3 from I to 8 is called an
octave. ' ,
II. The distances between the tones of the scale are not
all the same. The intervals between 3 and 4, and 7 and 8
are only half as large as the others, and are called Izalfstops,
while all the others are called stops, or whole steps. The ac-
companying diagram illustrates.
12. This is called the MAJOR DIATONIC SCALE, and differs
from all others in this: its half steps are between 3 and 4, and
7 and 8. -
I 3. While there are eight tones in the scale, there are but
seven afferent tones; 8 is the same as I, an octave higher—or, the same
tone twice as lug/z, so to speak. .
I4. Scales may be formed one above the other, 8 of the lower one
becoming I of that above.
I 5. The scale may begin on either line or space of the staff.
Do
Se
La
Fa
Me
I
CHAPTER II.
Exercises with the Scale 2'72 all its posz'z‘z'om 072 ”£6 Slafi .
Each exercise should be repeated a number of times. First name the
tones before singing them. The teacher will pitch them as though the
signatures were used. Accent the first tone, and throughout, as in
l
{Za-
trac-
the
rave
idea
5 by
lfter
TER-
rval
an
- Do
— Se
— La
— Sol
—Fa
——Me
—Ra
—Do
;ame
one
e the
h the
double measure.
A good plan would be to give other like exercises on
the board. .
No. I. Do on the added line below.
4 5 6 7 8 8 7 6 5 4 3 2 1
, Ra, Me, Fa, Sol, La, Se, Do. Do, Se, La, Sol, Fa, Me, Ra,
1 2 3
No. 2.
No.3.
No. 4.
N0. 5. Observe that when Do is on a line, Me, Sol, Se are on lines also, and Ra,
Fa, La, D0 are on spaces.
No. 6.
Ra, Fa, La etc.
RUDIMENTAL.
No. 7. A part of two scales used.
Sol, 801, La, etc.
No. 8.
No. 9. Do on the first line.
Do, etc.
No. 10.
No. II.
No. 12.
Me, etc.
N0. 13. Do on the second line.
fl~n”' w.
7‘.)-
No. 14. A part of two scales used.
No. 17. Do on the third line.
Do, Se, etc,
No. 18.
No.
. 20. Do on the first space below.
RUDIMENTAL.
No. 2!. Observe that when Do is in a space, Me, 801, Se are In spaces arse, gnu
Ra, Fa, La, D0 are on lines.
No. 24. Do on first space.
No. 26. Do on the second space.
yo
CHAPTER III.
RHYTHM.
16. The word Rhythm relates to the flow of musical sounds, but as a
Department in the science of music, RHY-THM embraces every thing
that pertains to lengths and movements.
17. Different kinds of NOTES represent tones of different length.
Names: Whole Note. Half Note. Quarter Note. Eighth Note. Sixteenth Note.
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18. The stems may turn either upward or downward.
v 19. Notes depend upon one another for their length; hence, they are
said to have only relative length; that is, a half note must be just half
as long as a whole note in the same tune, a quarter note one-fourth as
long as a whole note, or one—half as long as a half note, etc.
20. Characters used to represent silence are called RESTS. They are
named from the notes, and correspond to them in length.
Whole Rest. Half Rest. Quarter Rest. Eighth Rest. Sixteenth Rest.
- p H
\ I
_L.._J_|
L .,
t ' '1
21. A dot after a note or rest increases its length one-half. Two dots
add three-fourths to its value.
22. When the figure 3 is placed over or under any three notes it re-
duces their value to two notes of the same kind. Notes thus marked
are called TRIPLETS.
Dotted Half Note. Dotted Quarter. Triplet. Triplet.
I_.__ A I A r‘ ’T’ 3 _
tee-equal toe—p—Ewequan m y—e—H~J—7l:l-—r—fi—E:3l
L-L P4‘ L! .I L1 l ' 3 ‘ '9 V r '
23. The character thus m placed over or under a note is called a
PROLONG, or Pause, and signifies that the tone must be prolonged be-
yond its usual length.
RUDIMENTAL.
24. The Prolong interrupts the regular movement of the music; and
while the tone is prolonged “ heating time” is discontinued.
25. Tones are prolonged at the discretion of the singer or leader.
26. The peculiar flow of the tones of a song is attributable to its kind
(gf measure. -
27. The lines across the staff are called BARS, and the spaces between
the bars represent the MEASURES.
Bar. Bar. Double Bar.
l I
F l
tineasure.+Measure.—i—Measure. E
L I L l
Clo-e.
F'r“
21::
28. A DOUBLE BAR indicates the end of a strain or line of poetry;
but does not always complete a measure, sometimes occurring within
the measure.
29. The CLOSE indicates the end of the song.
30. The measure takes its name from the number of parts into which
it is divided 3 thus: two parts, Double measure; three parts, Triple
measure, etc.
31. There are six kinds of measures in use:
Namesof Double Triple Quadruple Sextuple Compound Compound
Measures: Measure. Measure. Measure. Measure. Triple Meas. Sextuple Meas.
T/zeir
32. The RHYTHMIC SIGNATURE, or Fraction (two large figures one
above the other), is placed on the staff at the beginning of the tune,
and indicates the kind of measure.
33. The upper figure specifies the number of parts in the measure;
thus: 2, two parts; 3, three parts, etc.
34. The lower figure specifies the kind of note that represents the
parts Of the measure; thus: 2 specifies a half note; 4 a quarter note;
8 an eighth note.
35. To assist the mind in computing the lengths of measures certain
movements of the hand are learned, called beating time.
36. “Beating time” consists in making a motion of the hand for
each part of the measure. Sometimes three parts of a measure are sung
to one motion, or beat.
“Keeping time,” as it is called, requires a good deal of attention. The pupil
.8 , 'RUDIMENTAL.
‘ must patiently and perseveringly practice the movements for the hand till they be-
come natural and easy; and, to be of any benefit, it must be p1acticed till it be-
comes second rzatme, so to speak, so that when the will commands the hand to go
it will move along giacefully, and with the regulality of a pendulum, keeping the
beats pe1fectly, while the mind may be given \\ holly to other things, and rely upon
the hand for the cor1ect measurement of time.
37. The note which represents the time of a beat is called the ligat-
note, and is the standard by which the lengths of all the others in the
song are reckoned.
38. The form of motions for Double Measure is Down, Up.
39. The form for Triple Measure 15 Down, Left, Up.
40. The form for Quadruple Measure is Down, Left, Right, Up.
The form for Sextuple Measure, when the movement is slow, is
Do4wn, Left, Up, twice for each measure; when the movement is lively,
Down, Up, for each measure, singing z‘lzreeparz‘s to each motion or beat.
Some teachers use other fo1 ms for the six beats in Sextuple measure , but this 15
thought to be the most practicable, as there 15 no special advantage 1n another form;
and to save the necessity of lea1ning a new one is quite an item in practice.
42. The form for Compound Triple Measure is the same as for Triple,
singing threeparts to each beat.
43. The form for Compound Quadruple Measure is the same as for
Quadruple, singing t/zree parts to each beat.
44. The hand should move about six inches for each beat, and go
quickly from point to point, and not drag along.
CHAPTER IV.
TEXAMPLEs OF MEASURES.
Observe that two quarter notes, or t/zez'rwzlue, fill a measure.
E2 i_1 1‘ i J Edi 11I
ttoi—— JZtJ—d— —o—}—a———a——o—td—-a—d——d——[—6J——H
Up, Dowu,Up.
Double Measure.
Down, Up, Down, Up, Down, Up, Down,
Triple Measure.
W ‘ ’ — _ ‘ “
thi—o—a—a—ta—oHI—f—ET—f—filiw .
Down, Left, Up, Down, Left ,Up, Down, Left, Up, Down,Left,Up.'
Quadruple Measure.
' 4.
[11.1 .I as;
a 1 1 1 p r
W—a—J——J‘—lj—d— ~a——a-——d—
Down,Left,Right,Up,Down,Left,Right,Up,Down,Left,Right,Up, D.,L.,R.,U.
L
3‘
a},
Sextuple Measure (Slow).
I 41—. _1 I I
Irfi i i J J i 1 1 4 ll
H—J———o——a——a——a———a—+—a’—i . 6‘4—
Down, Left, Up, Down, Left, Up, D., L., U., D., L., U.
Sextuple Measure (Lively).
. II
11
i—S—J—-a‘—-—o——J:—J———a—+—a—~——a—~~—]1
Down, Up.
The Compound Measures will be illustrated in the exercises hereafter.
45. The difference between the kinds of measures is not in the time ,
occupied by each, but 1n the manner 772 20/175]; file}! are 52mg.
46. Some palts of the measures a1e sung with ACCENT (stress of
voice), while other parts are not.
4.7 In Double Measure the first part, or downward beat, is accented:
the second is unaccented.
48. In Triple Measure the first part is accented;
are not. (Sometimes the second part is accented, which will be illus-
trated hereafter.) *
49. In Quadruple Measure the first part receives the strongest accent,
the third part a light accent. The accents in Quadruple Measure are
called przmary and secondary accents.
50. Sextuple Measure has two accented parts, primary and secOndary,
occurring in the first and fourflz parts.
the other two parts-
51. In Compound Triple Measure the first, fourt/z, and sci/e721}: parts,"-
are accented.
her
”.d
time
as of,
ited:
parts ‘
illus-
cent, ‘
e are ,
dary,
parts.‘
52-. Compound Quadruple Measure has four accented parts, which are
the firsf, fourt/z, serpent/z, and low/z.
53. In all measures the first part receives the strongest accent: the
following accents are to be graded as light, lighter, etc.
54‘. A tone which continues over more than one accented part of the
measure receives but one accent.
55. A tone that commences on an unaccented part of a measure and
continues through an accented part should be accented. The regular
accent is thus broken up, and is called SYNCOPATION. The note is
called a Symoyfiaz‘eo’ Note.
56. Syncopation also occurs where a tone commences on the last part _
of a beat and continues through the following beat.
57. A TIE A, or SLUR f“, indicates that the notes thus tied together
are sung to one syllable of the words. Sometimes it indicates that the
notes are to be sung in a smooth, gliding manner, called LEGATO.
58. When the hooks on the stems of notes connect them together,
they are to be sung as if a slur was used.
59. Notes marked thus 5 5 $ are called STACCATo notes, and are to
be sung in the most distinclt, ldi—gtached style. Dots over notes are called
MARCATO, and are to be sung in a distinct style, but not so much de-
tached as Staccato.
60. A row of dots across the staff indicates repeat. D. C. is an ab-
breviation of Da Capo a! Fine, which means, repeat from the begin—
ning to the word Fine.
61. D. S. is an abbreviation of the words Dal Segflo, and means, re—
peat from the sign :5;
62. The word Rz'farri, or [81%, signifies gradually slower; it is some-
times marked Rallentando, Lentando, or Slentando.
CHAPTER V.
MELODY RESUMED.
63. The tones of the scale are considered with respect to each other;
RUDIMENTAL.
scale is pitched high, 2, 3, 4, etc., will be correspondingly high; if I is
pitched low, the other tones of the scale will be correspondingly low.
64. The science of music is based upon ABSOLUTE PITCH. Every
musical sound has a fixed name.
To illustrate the foregoing: Suppose the reader was asked, “How
low can you sing?” To answer, Down to Do, or any other scale tone,
would be indefinite. Musical tones may be considered alzsl/‘aezZy, and
as such have names.
65. The names of tones which represent A/zrolzzte Pile/z are A, B,
C, D, E, F, G.
66. CLEFS are used to locate these absolute tones on the staff.
67. There are three clefs in use:
G Clef. C Clef.
E fiE—é
68. The G Clef is said to be on the second line, and locates G on
that line. The other letters are in their alphabetical order.
69. The C Clef locates C on the third space.
70. The F Clef locates F on the fourth line.
71. Male and female voices differ in pitch an octave.
Ladies’ voices
are an octave higher than gentlemen’s. -
72. The highest part sung by ladies is called SOPRANO, or Treble,
and is written on the staff occupied by the G Clef. The G Clef is also
called the Soprano or Treole Clef.
73. The lowest part sung by ladies is called ALTO, or Contralto, and
is also written on the G Clef, sometimes below the Soprano, on the
same staff.
74. The lowest part sung by gentlemen is called BASE, and is written
on the F Clef. The F Clef is also called the Base Clef.
75.’ The highest part sung by gentlemen is called TENOR, and is
written on the C Clef. Sometimes the Tenor is written on the F Clef,
above the Base.
76. The proper pile/z of each part is: lowest, Base; next lowest,
Tenor; next lowest, Alto; highest, Soprano.
hence, they are said to have relative pita/z. To illustrate: If I of the
77. When each part is written on a separate staff, the lowest staff is
m 7 - RUDIMENTAL.
Base; next above, Soprano; next above, Alto, and the :upper staff
Tenor, unless otherwise specified. '
Absolute pitches of the Staves named.
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EL B (T ‘D
I'm ‘ r a: A q
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Q—fl—E-J; ' , a
9‘41”“ I
78. The C on the added line between these two staves is called mid-
a’le C, because it is about the middle of the compass of the human voice.~
79. The pitches represented by the C or Tenor Clef are an octave
lower than those represented by the G Clef.
It is necessary for the pupil to have the letter names of the pitches which each
line and space of the staves represent well fixed in the mind, for upon this knowl-
edge is based the understanding of transposition, etc.
80. The BRACE is used to connect two or more staves, and indicates
how many parts are sung at the same time. The parts thus connected
are called the SCORE.
The Brace.
CHAPTER VI.
SHARPS AND FLATS.
»
8r. Sharps and Flats are used for the purpose 'of modifying the de-
grees of the staff.
Names.- Sharp. Flat. Natural. Double Sharp. Double Flat.
Clearacters. # n X
s.N\‘I§MW"§EAC; .
82. A sharp placed on the staff indicates that the notes following on
that degree are to be sung a half step higher than otherwise.
The first two tones here represented are called F . and are sung a half step
higher than F. The last one is restored to F by the natural.
83. A flat placed on the staff indicates that the notes following on
that degree are to be sung a half step lower than otherwise.
I . i 1
d—E‘d—fl
I if} in:
Fifi—l9!
' we.»
The first two tones here represented are called Biz, and are sung a half step lower.
than B. The last one is B, having been restored by the natural.
84. Between those tones of the Diatonic scale which are whole steps,
an intermediate tone may be introduced, thus forming a scale entirely of
half steps, which is called the CHROMATIC SCALE.
Chromatic Scale Ascending.
n .
I U . l :l J _l l
Pk l W l l . “J l U. l 4‘ D 1
I I l L J .' LL l A I?“ U 11' ' l ‘l
E!\ Z I 'I ! Fi' ' Ir] In [— J
‘0'
AésoZu/e 1Vames.C, cg, D, Dfi, E, F, F#, G, G#, A, Ag, B, C.
NumeralAszesJ, #1, 2, #2, 3, 4, #4, 5, #5, 6: #6, 7, 8.
Syllaéla 1szmcs..Do, De, Ra, Re, Me, Fa, Fe, Sol, Se, La, Le, Sc, Do.
Chromatic Scale Descending.
n .
I E; D A l“!- l l 4 l I l if I l J '
r'lm .r - v.- a in .- 5; l l . r I I J
r334 r r I - v' a .- h.‘ . 1 n m
a] ' ' V' U {gt '1
AbsolzdeNames..C, B, 13b, A, Alz, G, Glz, F, E, Fig, D, Db, .c.
Numeral Names.8, 7, 127, 6, 126, 5, [25, 4, 3, b3, 2, [22, I.
Syllable Names..Do, Se, Sa, La, La, Sol, Sa, Fa, Me, Ma, Ra, Ra, Do.
ham-n. 1—...4
‘ step
gon
lower
steps,
ely of
Urb+
85. The sharps or flats at the heiginning of a piece of music are called
the SIGNATURE of the key, and continue their significance throughout
the tune, (but do not affect the syllables of the scale, as will be explained
hereafter.)
86. A sharp or flat occurring among the notes is called an ACCIDENT-
AL, and affects all the notes that follow on that degree of the staff in the
same measure, unless canceled by a natural.
This principle does not obtain among all writers. In some books the significance .
of an accidental continues from measure to measure, if the first note in the follow-
ing measure is on the degree that has been sharped or flatted. In this book the
accidental will be placed in every measure where it is needed.
Example of Accidental Sharp. Example of Accidental Sharp Canceled.
l U— . I l l l I E l I ID #1 I
Wfi:fii:ji:a:t l—giqu—a—Ifi—Jw—g— —Ii
Sol, Fe, Sol, Fe, Sol, Sol, Me, Sol, Fe, Fa, Me, Sol, Fa, Me.
Example of Accidental Flat. Example of Accidental Flat Canceled.
RUDIMENTAL.
II
88. These ‘new tones, for which the syllable names are changed, are
called CHROMATIC TONEs. _
89. When the effect of an accidental is on the accented part of a
measure, it temporarily changes the key, which is called MODULATION.
90. A Double Sharp or Double Flat is used when the degree of the
staff to be modified is already sharped or flatted by the signature.
91. The effect of a double sharp or double flat, to [lag slag”, is the
same as a simple sharp or flat. ,
Example of Double Sharp.
F
Example of Double Sharp Canceled.
“ I'II'I . . I I .
1? I: I I. I I I I I I
4—s—a—a—a—ta—4—o—«w
Me,
I l I
4 I I 1
Me, Do.
cJ
Me, Re, Me, Re, Me, Re, Ra,
Observe, a sharp or flat, as a signature, not only affects the degree of the staff it
is on, but its octaves also; hence the F of first space here is sharped by the sharp
on the fifth line, which is F. The first note in this example is Me; Do is on the
first line.
Example of Double Flat. Example of Double Flat Canceled.
IJ‘L . I I . i I . I . r; I I
t5:—‘W—'”‘*té*“'—?“tafi“tr—r—Viki—4‘4“]. I I III. I I . I I I
u I I - - ' tmb— II- . F—tfl—t—a—ppa—gad—P—Iy—a
D0, Sa, Sa, La, Sol, Se, Do, Do, Sa, La, Se, Do, Se, Do, rfiu I I E i I
Do, Ra, Ra, Do, Me, Do, Ra, Ra, Me, Do.
87. An accidental natural not preceded by an accidental sharp or flat
refers to the signature; that is, it temporarily restores that degree which
has been sharped or flatted by the signature. The effect of the natural,
to tlze singer, in this case, is the reverse of the signature 3 in other words,
if the signature is sharps, an accidental natural will have the effect of a
flat; if the signature is flats, the natural will have the effect of a sharp.
Example of Accidental Natural.
I ii .il j #1 I I
tier—Iz—Jflfi—Pwhial—fi—fi
L%II . I a l _i
Sol, La, Sol, Fe, Sol.
In the above example the natural has the effect of a sharp to the singer, canceling
the effect of the last flat in the signature temporarily.
These examples need not be sung.
CHAPTER VII.
TRANSPOSITION OF THE SCALE.
92. As before stated, the scale may begin on either line or space of
the staff. Either of the tones of absolute pits/z may be taken for Do or
I. When this is done the scale takes its name from the pitch.
93. ThUS: when Do is on C, it is called the Cscale; if Do is on C1},
it is called the Cfi scale.
.m N...
- . _ -_- --.-_... :rr’u."
94. The pitch that is taken for D0 is also called the KEY. When Do
is on C, the tune is in the Key of C. When Do is on G, the tune is
in the Key of 0, etc.
95. Do, or 1, is the governing tone of the scale—the one from which
the others are reckoned as to pitch; hence, it is called the TONIC, or
KEY NOTE. .
96. Changing the position of the scale is called TRANSPOSING THE
SCALE.
97. In the tones of absolute pitch half steps are fixed between E and
F, and B and C ; and when the pitches are located on the staff the half
steps are fixed accordingly.
98. The G Clef locates the pitches so that the half steps are between
the first line and first space and the third line and t/zz'm’ space. (The
fourth space and fifth line also represent a half step, they being E and
F an octave higher.)
Example, showing the fixe’fi position of the half steps by the G Clef.
l
I n
L l
[L F
‘Efitte
l
l J
4' C
v
The pupil must remember that the half steps of the scale must be preserved be-
tween 3 and 4 and 7 and 8 in every position on the staff, and that the lmlfsieps of
the staflmust be changed so as to correspond with those of the scale, which can be
done by means of sharps or flats.
Example, showing the fixed position of the half steps by the F Clef.
. .+
/ lflfi T
L/
L
‘m
1 A
l D 1’
U ‘ l
i
1L..-
L--
It is not necessary to illustrate the C Clef as its letters are in the same- positionas
those of the ‘G Clef.
99. When I of the scale is placed on C the order of the half steps
agree both in the scale and afiwlzctepz'tc/z. " ‘
RUDIMENTAL. _
Example, showing that the half steps in their fixed position on the staff correspond
/ with the scale when Do is on C.
,-
n - o *
I EL. a 4 r,— a . ' g p ' [a l q
E —;—~l—i-—4.—a—a——-—e~~+ . = . r . ' j
J‘ ' =1. 1' ' l_ l l 1
T 2 3 4 s 6 7 8 1 2 3 4 5 6 7 8
100. The Key of C is called by some the Naz‘zcml Key, but it is no
more natural to sing than any other. A better name, and one that is
now almost altogether used, is the Marie! Key.
101. It will be seen by the above that the scale can not be written in
any other position and its half steps still agree with those fixed on the
staff.
102. If the scale is pitched in any other position the half steps of the
staff must be changed so as to correspond, which may be done by mod-
ifying the degrees of the staff by sharps or flats. ' _
103. A sharp placed on F (the first space) will change the half step
to a step, making the interval from E to F#, instead of from E to F ;_
and from F1: to G will be a half step.
H
Example.
1 O . !
F@————~g—+ii
.j n
104. Thus half steps may be represented between any'of the degrees
of the staff by sharps or flats.
105. We will take D for 1 of the scale and see how many sharps are
needed to make the half steps of the staff agree with the scale.
‘l
__.___l
Example, showing that when D is taken for I of the scale neither of the half steps
of thestaff agree with those of the scale.
,
: n . ' - o 2" 18'
__.___ 4L'_ : A ‘0 F l l I I
fi—n~l‘:3——di—d—E~t——- -‘-.'*—E—F—t— . a
—i—'I——:— L l r I " , _l
1 2 3 v4 5 6 7 .‘, 8 - 1 2 3 V4 ‘ 5 6 '7 ‘- 8
106. To make the half steps of the staff correspond with thoseof
the scale, when I is pitched on D, two sharps are required. v '1'
. . “7-
TL
thl
tLIl
scz
sta
.stal
aftt
pond
3 no
at is
n in
the
f the
nod-
step
I F ,
grees
S are
steps
:e, of
Example, showing that when I of the scale is pitche'd'on D two sharps se‘tithe‘i 0r-
der of the half steps on the staff to correspond with those of the scale.
wgfipgigf:€_—a
L a
P
l
2345678
n ::_,—_n:;?:j:§l— 15!:p93—
——+‘—'—1‘ ' 2
_a_._ _ ’4 l I l
1 2 3 4 5 6 7 8
III
I
- I‘m
From the above it may be seen why two 5/1077): form the Signature of the Key of D.
The foregoing process of explaining the philosophy of transposition might be
carried further, but we will adopt a more common method.
107. It is usual to proceed by fifths in transposing the scale. . Com-
mencing with the Marie! Sat/e, C, and ascending a fifth brings us to G,
(second line of G Clef). Taking G for 1. the order of the intervals
of the staff correspond with the scale till we come to F, which'shoitld '
be a half step higher; hence, Ffi
Scale.
is required, instead of F, for the G
Example, showing that one sharp is required to represent the G Scale, or Key‘of G.
n A}: 9 I Jii‘r I." ”I
—:1:-l:—rcp*-P—l‘—fir-—I———l"3. , I J I - o #94 l
_._l t' . I I . L/ I J A a r I ”I ' ‘I
l— l ‘ I 4 U ' l L ' I
U 1 2 3 4 -s 6 7 s T 2 3 4 5 6 7 s
108. From the above it may be seen why 0726’ sharp forms the SIGNA—
TURE of the KEY or G.
109. The Signatures of the keys are always placed immediately after
the clefs, and are understood to continue their influence throughout the
tune. .
110. To ascend a fifth from G brings us to D; and to pitch I of the
scale on D another sharp will be required to make the half steps of the
staff correspond to those of the scale '
Example of Key of D.
n '1 . —W—F-§rt:tf-
E§:-Fajj~j:g:ll§:F:E91—I~fi#E—-'I——t—E ' d
| u I '
—J—a W:
In these examples we place the sharps among {/15 120135, On the degrees of the
staff affected by them; but remember,.as signatures they are