musictheoryexamplesbywomen.com€¦ · .I: »-i 996263A PREFACE Duringmanyyears ofexperience the writerhas taughtaverylarge number of persons to read music, many of whom have rendered

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THE STUDY DF MUSIC M.RDE EASY,

MUSICAL TRUTH.

EASY AND PROGRESSIVE LESSONS IN THE RUDI

MENTS OF MUSIC.

WRITTEN AND ARRANGED BY

MISS R. M. WASHINGTON, Teacher of Music,

Organist of the Twelfth Baptist Church, Boston, Mass.

Ericas - - - purr obitts.

Copyright, 1884, by R. M. Washington.

BOSTON:

Alfred Mudge & Son, Printers, 24 Franklin Street.

1884.

.I: »-i

996263A

PREFACE

During many years of experience the writer has taught a very large

number of persons to read music, many of whom have rendered

acceptable service in choir and social circle, in the concert room and

as teachers.

The plan successfully followed has been one by which instruction

in the rudiments of music has been given in an easy and familiar

manner, and the questions on the lessons to test the knowledge

gained by the pupil have been attended with satisfactory results.

The rudiments of music are presented in this little book in a com

pact form, with the hope that it may find its way to all who desire to

learn, and, in connection with other works of similar character, assist

in spreading the knowledge of music until it shall become universal.

R. M. W.

-.

CONTENTS.

LESSON I.

Name of musical sounds; kind of notes; rests; staff; measures;

bars; brace; clefs; added lines; name of letters on degrees of

the staff, with G clef; name of octaves on treble staff; questions 5

LESSON II.

Name of letters on the degrees of the staff, with E clef; octaves found

on bass staff; numerals, letters, syllables, and octaves on

bass and treble staff; letters on key-board of the piano-forte;

time; questions 9

LESSON III.

The dot; triplet; tie; slur; accents; signs of repetition; the hold;

rests; questions 14

LESSON IV.

Compound time; the scale of C major; theoretical name of each

degree; use of the sharp, flat, and natural; intervals of the

diatonic major scale; chromatic scale; questions ... 19

LESSON V.

Formation of minor scales ; intervals of the harmonic and melodic

minor scales; numerals, letters and syllables; melody; harmony;

formation of chords ; name of chords formed on every degree of

the major and minor scale; chords in three positions; theoret

ical name of chords; questions 24

LESSON VI.

Thehuman voice; exercise in four parts; the Cclef; key; transposi

tion; key of G major; signature; use of sharps, etc., in transpos

ing the scales; scale of E minor; chords; questions ... 30

CONTENTS.

LESSON VII.

Continuation of transposition by sharps , with exercises for practice ;

exercises to enable the pupil to take the true pitch of major

scales; questions 39

LESSON VIII.

Transposition of major and minor scales by flats, with exercises for

practice; the true pitch of the scales; questions ... 59

LESSON IX.

The necessity of a cultivated ear; the recognition of single tones

and chords by the ear; exercises for practice; unaccented parts

of the measure; application of words to music; advice to

students; questions . 85

LESSON X.

Accentuation; staccato marks; absolute time; C clefs ; characters to

indicate expression; figures, etc., indicating rests; embellish

ments; syncopation; modulation; forms of arrangement; read

ing at sight; expression; questions 98

LESSON 1.

1. Musical sounds are named by seven letters, A, B, C, D, E, F, 6.

Also by syllables, do, re, mi, fa, sol, la, si.

2. Notes are characters used to represent musical sounds.

3. There are seven kinds of notes, as follows,—the whole note, (»)

half note, (f) quarter note, (f) eighth note, (£) sixteenth note, (J)

thirty-second note, {V \ sixty fourth note l$\.

4. Notes have corresponding rests which indicate silence, and are

written thus; whole rest, (-"-) half rest, (...) quarter rest, (X) eighth

rest, (i) sixteenth rest, ( |) thirty-second rest, ( | ) sixty-fourth

rest. /|\

5. Notes are represented on the staff.

6. A staff consists of five parallel lines, with the spaces between

Lines. Spaces.

them. Ex.—

1—fr—

—*—

1

'J

»4-

7. The lines and spaces are called degrees, and are counted from

the lowest line, upwards, making nine degrees to the staff.

Degrees.

I 1 & 3

8. Above, and below the staff there may be placed short lines,

called ledger or added lines.

lat Added line above. lat aâce aboTe,

lJH 43!H ^ne M0*' 1st added spaoe below.

2d Added line below. gd added space below.

9. Music is divided into measures, by means of lines drawn across

^—I EEfl the thickthe staff, called bars. Ex.-

or double bar, indicates the end of a line, or piece of music.

6

RUDIMENTS OF MUSIC.

10. When more than one staff is needed, a brace is used to con-

nect the staves. Ex.-

I11. There are two clefs commonly used in music, the G, or treble

clef, gv and the F, or bass clef, <gj

12. The clefs are placed at the beginning of the staff, and fix the

locality of the letters, or determine the position of the notes on the

staff. Ex.—

h

P

13. The G clef indicates that the letters on the five lines of the staff

^ „_ IT

are, E, G, B, D F, on the four spaces, F, A, C, E.

14. The F clef indicates that the letters on the five lines of the staff

are, G, B, D, F, A; on the four spaces, A, C, E, G, ^:=r-l=^£E3

15. The letter C, is placed on the first added line below the staff

(when the G clef is used). The letters and musical sounds follow in

regular order; D, will be found on the first space below the staff, E,

first line of the staff; F, first space; G, 2nd line; A, 2nd space; B, 3rd

line; C, 3rd space; D, 4th line; E, 4th space, F, 5th line; G, 1st space

above the staff; A, 1st added line above, &c.

16. To the letter C, on the first added line below, is applied the

numeral one; to D, the numeral two; to E, on first line, the numeral

three; to F, on first space, the numeral four; &c.

17. To the numeral one, is applied the syllable do; to the numeral

two; is applied the syllable re; to the numeral three, the syllable mi;

to the numeral four, the syllable fa; &c.

18. The letters, numerals, and syllables, may be represented on the

staff as follows,

ie ■g-y^--* *-

-&-&

3 ijj^

7 8

I 2

ts—«>-

45678

cde fgabcdefga b c

do re mi fa sol la si do re mi fa sol la si do

RUDIMENTS OF MUSIC.

The pupils may name aloud the numerals, letters, and syllables,

after this manner;— one, first added line below; two, first space below;

three, first line; four, first space; five, second line, &c. Then the let

ters;— C, first added line below; D, first space below ; E, first line, &c.

Name also the syllables;— do, first added line below; re, first space be

low; mi, first line, #c.

19. After having perfectly learned and committed to memory the a-

bove numerals, letters, and syllables, with their positions on the staff,

the pupils may name the notes in the following exercise, which consists

of skips from one degree to another at a distance, instead of by a reg

ular progression.

3^22:-d- -s>-

=*=E

T&&-

6>n*-s.-

( Numerals. I—

Example. \ Letters. C

( Syllables. do

3— 2—

E D

4 &c.

F &c.

fa &c.

20. The C, on the first added line below, is named the one lined c ;

the C, on the third space, is the two lined c ; the C, ou the second

line above, is the three lined c ; so, in like manner, the eight notes

written on the staff from C, added line below, to the C, on the third

space, is named the one lined octave; the next series of notes beginning

with the C, third space, and extending to the C, on the second added

line above, is the two lined octave ; Each octave begins with the nu

meral one ; thus ; the numeral eight of one octave will be one of the

next higher octave ;— Ex.

three lined C. 5678

two lined C. :£ 1234

tmraiz^sctzzZL

.%B& a

T 23 4567 8

cde fgabc

one lined C.

one lined octave.

cdefgab c

do re mi fa sol la si do

two lined octave.

The following exercises may be read aloud, giving the letters, nu

merals, and syllables, also the name of the octave to which each ex

ercise belongs.

%mx

.x

+ torite 1

RUDIMENTS OF MUSIC.

i0-

mmmmmmmp*

Note.— Pupils will be greatly benefited by writing on music paper, tbe various kinds

of notes, the name of the letters on the lines and spaces of the staff, and the different

octaves as above ; they may pursue the same course with every lesson throughout the

book, writing exercises on the lesson before them.

QUESTIONS ON LESSON 1.

1. By what letters and syllables are musical sounds named T

2. For what purpose are notes used !

3. Name the different kinds of notes ?

4. How many kinds of rests are there, and what is indicated by

them?

5. On what are the notes represented ?

6. Of what does the staff consist ?

7. What are the lines and spaces called, and how counted?

8. What may be added to the staff?

9. How is music divided ?

10. What character is used to connect the staves?

11. How many clefs are commouly used?— name them !

12. Of what use are the clefs?

13. What does the G clef indicate?

14. What letters are written on the lines and spaces when the P clef

is used ?

15. What letter is written on the first added line below the staff?

when the G, clef is used? What letter on the first space below ? Name

the letters on all the degrees of the staff.

16. What numeral is applied to C, on the first added line below?

What to D? What to E, on the first line of the staff? What to F ? &c.

17. What syllable is applied to the numeral owe? What to twol &c.

18. Name the numerals, letters and syllables, as represented in section

18.

19. Name the letters, numerals and syllables, of the exercise section

19.

20. Give the names of the Cs found on the first line below, 3rd space,

and 2d line above ? Also the name of the octaves found within the space

occupied by them ? What is the numeral 8, of one octave called?

RUDIMENTS OF MUSIC.

LESSON. 2.

1. When the F clef is used, the letters on the lines and spaces are as

follows;— G, 1st line; A, 1st space ; B, 2nd line ; C, 2nd space; D, 3rd

line ; E, 3rd space ; F, 4th line ; G, 4th space ; A, 5th line.

_—_—&

Ex.— mgabcdefga

2. The letters on two added lines below the staff with the interven

ing spaces, are, C, 2nd added line below ; D, 2nd space below ; E, 1st

line below : F, 1st space below.

3. The letters on two added lines above the staff with the spaces,

are, B, 1st space above; C, 1st added line above ; D, 2nd space above; E,.

2nd added line above.

Note.— Other lines may be added when necessary.

The pupils may name the letters of the following exercise with the

degrees of the staff on which the notes are written.

[a , . „ ; .-y~gg=£||~gr "W -*. £ gabcdef g a • b c d e

c d

4. The C, written on the second added line below the staff, is named'

the great c The C, written on the second space, is the small o ;

The C, written on the first added line above, is named the onk lined c,

and is the same in sound as the C written on the 1st added line below

the staff when the G clef is used.

5. The series of notes, extending from C, on the second line below,

to C on the second space, is named the great octave; the next series

from C, on the second space, to C, on the first added line above, is named

the small octave.

From the following exercise the pupils may give the names of the

C's written on the different degrees of the staff, and also that of the oc

taves with the letters which form them, naming also, the degrees of the

staff on which each note is written.

12345678 12345678

W- £=Its s> Z2=?

~a-<s>-

smallC onelinedc ^TTf gabc cdefgabc

c d small octave.great v. great octave.

RUDIMENTS OF MUSIC.

6. To the letter C, on the second added line below, is applied the syl

lable do; to D, the syllable re; to E, the syllable mi; to F, the syllable

fa; to G, the syllable sol; to A, the syllable la; to B, the syllable si ; to

C, ou the second space, the syllable do, &c.

12345678

AV ■(PJ. ■\£ls . .- 1

0

<^

b

si

ce

mi

f

fa

a

doc d

do re

sol la

Ex-

7. The letters written on the staff when both clefs are used, and the

octaves to which they belong, may be represented as follows ;

1 small octave.

234567 8

'-¥%-

great octave. 1

gj -<-»

4:£§-

in

^— <fl—s> "•*

h1

1

c

do

2

d

re

3 4 3

e f g

mi fa sol

6 7 8

a b c

do

d e f

re mi fa

g »

sol la

b c

la si si do

- 0

one lined octave.

j two lined octave. g

1 2 3 4 i -*>-7 J,1

y — —'j ■" - - ..- lt

X. Z? 11.itn

&1 jjW* - ^ '^ _ .- ,_- - -- " -■

ti 19-

I

C

2

d

re

3 4 5 6 7 8

e f g a b c

do

d e f

re mi fa

g a

sol la

b c

si dodo mi fa sol la si

Note. The octaves may be extended to three lined, four lined. &c The octave be.

low the Great Octave, is named the counter octave. The lowest C, on the Piano

Forte is named counter c. The highest C, is named the five lined C.

8. The pupils may name the numerals, letters, and syllables of the

following exercises.

m* T-tT

3=^^-s*

.<s>—&-4=

*>—<9- .&L .gizzzt

^^

^s=rw

1♦-#- =f^t*-#

3=1 rs:I I I II ±3=fc

The following is a representation of an octave as seen on the Piano

Porte.

RUDIMENTS OF MUSIC. II

I 23456 78

fflfffMcdefga be

C, is always found at the left of the two black keys; F, is found at

the left of the three black keys; as every similar octave is arranged iu

the same order, it will be easy to find these letters with those that lie

between them throughout the entire key-board.

9. Time is the measure of musical sounds.

10. On comparing the different notes in a measure, it is found to

consist of notes of equal or unequal value; a measure may contain

two half notes EmjE fl or' a na^ note aQd twa quarter notes,

r:?2=?3r a half note and a quarter note, j5c£gE f- or, a quarter

&c. As the half note is innote, and two eighth notes, gfcV V•

value twice as much as the quarter note, and the quarter note, twice

the value of the eighth note, in the same measure) the time occupied

in singing or playing the half note, is twice as long as that required for

the quarter note, etc. Thus, time is said to be comparative rather than

absolute,

11. The time of a piece of music is indicated by figures placed on the

staff after the clef has been written.

12. The figures 3 | or| indicate double time, and that two half-

notes, or two quarter notes fill the measures.

Ex.- Sfets

\=t

13. The figures 8 3 3 indicate triple time, and, that three half notes,

three quarter notes, or three eighth notes, fill the measures.

Ex,_E££at£

■£ £

£=r-r-r

14. The figures I |org indicate common time, and that four half-

notes, or, tour quarter notes, fill the measure.

mi2_rfi. W-~(Z

M4~r-r 1 ^

RUDIMENTS OF MUSIC.

15. The figures § g indicate sextuple time, and that six-quarter notes,

or six eighth notes fill the measure.

lp=E4 | | | | fc=£

=jt= ^2—#_|2=jr

rMH-^-t^^-^-b-3

16. The time of a musical composition is counted according to the

number of notes in the measure signified by the upper figure, or, by

motions of the hands, called beating time; the lower figure indicates

the kind of notes used in a measure ;— § indicates that two half-notes

(or their equivalents), fill the measure, — there may be divisions of the

measure into notes of a lower denomination, Ex-

tofiThe value of the measure remains the same as if the two half-notes

were written.

17. The following exercises are in Double Time, and should be counted

by the numerals 1— 2— or, by the downward and upward motions of

the hand.

IT=T-

3:£

35!=25tHfi—|fi-

w=r- jr:2=ts!=^ 3=t

I 2 I 2I 2

down, up, down, up, &c.

WSf—r-

It=tP=t t=t

I 2 I 2 I 2

down, up, down, up, &c.

18. Exercises in Triple Time, are counted by the numerals 1— 2— 3,

or the downward, left and upward motion of the hand.

1a i . r ]

I 2 3 I 2 3 123

down, left, up, down, left, up,

\*JA i=i*=s= 5'vvv

mttz

CTirtr&=«*

m ^& t=&T$P&

at±

1 2 3 r~2 3

down, left, up,

y y V *V * V EP

19. Exercise in Common Time, counted by numerals 1— 2— 3— 4, or,

by the dowuward, left, right, aud upward motions of the hand.

RUDIMENTS OF MUSIC.'3

3qq=T

m-jE±

1Tm=r-

£H^5^m51

Mo-9-î#+»»"k **-J5t^M

1 2 3 4 1 234

down, left, right, up, &c.

20. Exercise in Sextuple Time counted by numerals 1—2—3—4—5—6,

or, 1 2.

Hh

m^^m^&^^&^-..^-A-JV-N—p—1—1—i—

-N~1V

ictefeI123456 123456 &c.

or, 1 2

down, up,

As sextuple measure consists of six notes (or their equivalents) in

each measure, by an equal division of the notes, it may be well to count

by two motions of the hand, downward, and upward, giving three notes

to each count.

The pupils may write on music paper, the various kinds of time as

explained in the lesson, and^ fill the measures with notes corresponding

in value to the figures placed after the clef, to indicate the time and

value of notes in a measure.

Note.— It will help the pupils if In addition to counting the time of the exercises,

they name the numerals, letters, and syllables, and, by this means, test their knowledge

of Lesson 1.


1. Name the letters on the lines and spaces of the staff when the F

clef is used.

2. Name the letters on two added lines and spaces below the staff.

3. Name the letters on two added lines and spaces above the staff.

Give the name of the letters on the staff and the degrees on which they

are written, beginning at the second added line below and extending to

the second added line above.

4. Give the name of the C's written on the Bass staff and the degree

on which they are placed. Where is the one lined c found, when the

G clef is used?

5. Give the names of the octaves found on the bass staff. Name their

position and the letters which form them.

6. What syllable is applied to C on the second added line below T

What to D? What to Et What to P? What to G on first line? &c.

8. Name the letters on every degree of the staff as united by the P

and G clefs.

14 RUDIMENTS OF MUSIC.

8. Bead the numerals, letters, and syllables as written in exercise

section 8. Name the degrees of the staff, on which the notes are writ

ten, with the octave to which the tones belong. State where the tones

F and C are found on the key-board of a Piano Forte. State also the

position <m the key-board of the letters, D, E, G, A, B.

9. Give a definition of time, (as applied to music).

10 State the reason why time is comparative, rather than absolute.

11. How is the time of a musical composition indicated?

12. What kind of time is indicated by the figures | or • ?

13. What by the figures | \ | ?

14. How is Common, or Quadruple Time indicated?

15. What figures indicate Sextuple Time ?

16. How is the time of a musical composition counted!

17. Read the numerals, letters and syllables of the exercise in Double

Time, and count the time by the numerals one, two, and the downward

and upward motion of the hand.

18. How is Triple Time counted? Name the numerals, letters and

syllables, aud count the time.

19. By what numerals aud motions of the hand is Common Time

counted? Read the exercises given and count the time!

20. Bead the oxercise in Sextuple Time. What kind of notes fill the

measure? How is the time counted? How may the notes in each

measure be divided so as to give two beats (or counts) to the measure?

LESSON. 3.

1. A dot (•) when placed after a note adds to it, one half of its form-

er value. The following example will show the value of dotted notes.

Dotted whole note equal to, three half notes. j dotted *&™g^ê*. |

:z~ s?~T :—ol a a— : -—&—•-— p 3 :=?

dotted quarter note equal I 'dotted eighth note equal to I plotted sixteenth note equal)

to three eighth notes. I | 3 sixteenth notes. I | to 8 thirty-second notes. I

RUDIMENTS OF MUSIC. IS

1. A note having two dots placed after it, is increased three-fourths

of its former value. The effect of the double dot may be represented

thus ;—

I 1 I 1

Ex. i5

ra~ ?E

E *.

ZMZZW.

-*-V- II

Notk.— The double dot is not much used.

3. A Triplet is a group of three notes so connected that they may be

played or sung in the time usually given to two notes of the same kind

in a measure ;—

4. The triplet is designated by the figure three, written above, or be

low the group. The first note of the triplet is sung or played with more

force than the remaining two notes. .

5. Two or more notes on the same degree of the staff may be so con

nected as to have one unbroken sound ; The character used to connect

the tones is called a tie, (> „) and may be represented as follows,

IpPS ^gSÎP£5 »-*

The value of the tied notes should be observed and strict time be

given to each part of the measure.

6. Two or more notes may be sung to one syllable of a word ; the

character used to connect them is called a slur,—

Ex.=»t

-*-1Soft - ly now the light of day.

7. Groups of notes extending through one or more measures are often

connected by a slur and should be performed in a smooth and flowing

manner.

Ex-~s4-f—g_

EESIWritten.

Ml

The effect of the slur when

placed over two notes may be Yjifc—x—?-

represented as follows :&2

Performed.

A-

i6 RUDIMENTS OP MUSIC.

8. In vocal or instrumental music, one part of each measure receives

more force or stress than another; this particular stress given to a note is

called accent.

9. In a measure of Double Time, the accent is given to the first count.

loud, soft, loud, soft,

Ex.—

WjEX

rjK^yr

*=t II— 2

down, up,

i—

Note— The pupils should sing the example and beat time.

10. In Triple Time, the accent is given to the first count,

loud, soft, soft,

Ex.- 5^m it if i_2—3

down, left, up,

11. Quadruple, or Common measure, has two accents ; the first, or pri

mary accent is given to the first count ; the secbndary accent is given to

the third count.

loud, soft, loud, soft,

Ex--fH131 ^S

%

I — 2— 3— 4

down, left, right, up,

12. Sextuple Time, has two accents. The primary accent is given to

the first part of the measure, the secondary, to the fourth part.

loud,soft,soft,loud,soft,soft,

13. In reading music, the pupil should be able to read the numerals, let

ters, and syllables correctly, notice particularly the time, and accent, also

to recognize the value of the notes in each measure, being able at a glance

to tell the difference between the whole, half, quarter, eighth notes &c.

and their comparative value.

14. Dots placed at the end of a line or strain of music, before a doub1

bar, indicate that the notes already sung or played, are to be repeateu.

.Ex.-

m £±i

=t=t£_-*-a

RUDIMENTS OF MUSIC. 17

15. The abreviatiori D.C. (da capo), is used to indicate a return to the

beginning of a piece of music.

10. After a part of the music has been repeated, the word Fine, (pro

nounced fee nee), is used to indicate the e^d.

Fine. D C.

Ex.- ESsal* * *i± m t*^

t=t=£ if

t£&I17. When only a part of what has been sung or played, is to be re

peated, the abreviation D.S. (dal segno), is used to indicate a repetition

from the sign, :g: or, instead of D.S. the sign may be placed at the be

ginning and end of the passage to be repeated.

Ex-Sfeg■TT^t^ i^gi^^lfe

Efpggjl^wn .&z.

% (or D.S.)

I18. A hold, (^) indicates that the note over which it is placed is pro

longed beyond the usual time given to it (as indicated by the figures).

The hold is sometimes placed over a double bar to indicate the end of a

piece of music.

Ex.-

aae It=t

19. We have learned that rests indicate silence ; It often happens that

in whole measures, or parts of a measure, in place of musical sounds, .

there are characters written called "rests." The Time should be care

fully observed the same as if the notes were written.

20. The pupils may read the following exercises, naming the rests as

they occur; tell also the part of measure required to be passed over in

silence.

No. 1.

Ex.-HE*;

1 2 3

down, left, up,

m3Z=t

:fcj- i

No. 2.

|j§|||||||g1234

clown,left,right,up,

<*E*

i8 RUDIMENTS OF MUSIC.

No. 3.

&

151=17)

■totom

r=Fr

3 4

mdown, up, down, up,

-*- f—«-

No. 4.

~STi

pag^gaa^ -4-=i-n- *—*—*-£=£

q-=i-

12345

, 1 2

down, up,

Ly—y—u—\/—u<—v-

1 y 1

—v—v—v- I•—»—m-

1 r rt:

•VI

y—y—y—L -

-3-3-

t/ ^ 1/

Write several measures showing the value of dotted notes, and

: rests.


1. What effect has a dot when placed after a note? State the value

-of a dotted whole note. Half. Quarter. Eighth.

2. How much is the value of a note increased by the double dot ?

3. What is a Triplet?

4. By what figure is the triplet indicated ? How should the first note

be performed ?

5. For what purpose is a Tie used? What should be observed when

.notes are connected by the tie ?

6. Of what use is the Slur?

7. Explain the use of the slur when placed over larger groups of notes.

8. What is Accent ?

9. What part of a measure in Double Time is accented? Sing the

. exercises in section 9, observing the time and accent.

10. Where does the accent fall in Triple Time?— Example.

11. How is Quadruple, or Common measure accented?— Example.

12. How many accents has Sextuple Time?— Example.

13. What is necessary in order to read music correctly?

14. What is indicated by dots placed before a double bar?

15. What is indicated by the abreviation D.C.

16. What word is used after a repetition to indicate the end of a piece

of music?


17. When is the abreviation D.S. used? How may the sign % be used?

18. What is indicated by a hold (/*) ?

19. What is said .of rests, and what should be observed in regard to

them ?

20. Read exercises section 20, tell what kind of notes are used. What

kind of measure ? Where do rests occur ? Sing exercises and beat time.

LESSON 4.

1. A varied effect is produced by employing many notes of the same

kind in a measure.

T— 2 1-2-3 i 2 3 4

down, up, down, left, up, down, left, right, up,

The notes are divided into equal parts, and the time so arranged,

that three notes are sung or played to each count. This is called com

pound time.

2. Sextuple Time when counted by the numerals one, two, or by the

downward, and upward motion of the hand, is called "compound double

time." (In slow movements in Sextuple Time it may be well to have

six counts in a measure.)

3. A measure in g time, is called "compound teiple time." Three

counts are given to each measure, and the notes equally divided by giv

ing three eighth notes to each count.

4. A measure in ^ time is called "compound common, or quadruple

time," four counts are given to the measure, and three eighth notes to

each count.

5. A succession of eight sounds arranged on the staff without omiting

any of the degrees is called a scale. It is named from the letter with

which it begins and ends.

Ex.— Ej£ : -e>-

-«■- 1- i 2 3 4 5 6 7 8

Scale of C c d e f g ab c


6. The scale of C may be called the Normal (or foundation) Scale,

because from this scale we learn how all other scales are formed.

Note.— It is necessary that the pupils commit to memory the letters of scale the

oi C in connection with the numerals and syllables belonging to each degree.


7. As each sound of the scale differs in pitch, and has a special nu

meral, letter, and syllable, it may be useful to the pupil to remember a

theoretical name for each degree. The first degree is called the tonic;

second degree the super-tonic; third, mediant; fourth, sub-dominant;

fifth, dominant; sixth, sub-mediant; seventh, the leading note, (or

sensible seventh), eighth, the octave.

8. On looking at the keys of a Piano Porte (or Organ), we notice be

side the white keys, that there are also, short black keys. They are used

to raise or lower the degrees represented by the white keys, and may be

termed, Sharps, or Flats.

9. A sharp ( ft ) when placed before a note, takes its name from the

letter represented by the note and indicates that the tone is raised one

half step. Ex.—

mt —w-—

C sharp,

z$*-

G G sharp,

10. A flat ( fe ) also takes its name from the letter represented by the

note before which it is placed and indicates that the tone is lowered one

-WSr-half step. Ex.-

Li*~G Gnat, B B flat,

11. A natural ( £ ) serves to restore a tone to its former pitch after it

has been raised by a 5 or lowered by a fe.

=#2-- 3&z3>l .Ssi 1

12. Musical sounds differ in pitch. This difference of pitch between

two sounds is called an interval.

13. The distance from one tone to the next higher or lower is a half

step. The distance from one tone to the next but one, is a whole step.

EX-gl-». g*^

sr- TST-Jfo- sr- -&.ihalf step, whole step, half step, whole step.

14. The scale of eight sounds is called the Diatonic Scale; the

major scale consists of five whole steps and two half steps arranged as

follows.

m.Ex.—■if

-&-i

c

do

2

d

re

-&- I3

e

mi

4

f

fa

5

sol

6

a

la

7

b

si

8

c

do


Note.— The whole steps are indicated by the dash, (—) the curve, (<-) indicates the

half steps.

15. It will be noticed that the intervals of the Major Scale occur in

the following order,— two steps and a half step, three steps and a half

step.

The pupils may commit to memory the intervals of the scale and be

able to tell between what letters, numerals and syllables the whole and

half steps occur.

16. Nearly all the tones of the scale can be raised, by a sharp, or low

ered by a flat.

Ex.— w. -g—ff-a g—#g-

Ze=&=z=#e=2=Mz

m

C CJ D D( E F F) G GJ A AJ B C

*L—a fcg—&-bs>—.„—\-e—p-i?B=^=^

IC B BP A A> G Gf F E E? D D? C

17. It will be seen by the example that no sharp or flat was placed be

tween E and F, or B, and C; the interval between these letters is always

a half step.

Note.-^ Under what conditions a sharp can be placed before E and B or a flat before

C, and P, will be understood in studying the transposition of the scales.

18. The ascending scale from C to C, represented with five of its tones

raised by a # and also the scale descending from C to C, represented with

five of its tones lowered by a fe, form the Chromatic Scale— It consists

of twelve semitones, (half steps).

CHROMATIC SCALE.

Ascending.

Ex,-g (ffP-

-2--JP2-

I Jfi 2 #2 3 4 U 5 #5 6 86 7 8

C Cft D Djf E F Ff G GJ A A} B C

do di re ri mi fa fi sol si la li si do,

Descending.

w-.-a- —?- =t>«>• ±72Z I** «-W V—TlTS- _^_

"8 7 \t7 6 126 s fes 4 3 I23 2 &2 i.

C B B2 A Aj? G Gfe F E E2 D Dfe C

do si se la le sol se fa mi me re re do

19. The same numerals, letters, and syllables, are used for the chromatic,

and diatonic scale. It is necessary that the pupils name the tones of the

r


scale, (page 21) after this manner;-Numerals; one, sharp one; two, sharp

two; three; four, sharp four; &c. Letters,— C, C sharp; D, D sharp;

E, F, F sharp ; &c. Syllables ;— do, di ; re, ri ; mi, fa, fi ; &c.

20. The following exercises will illustrate the use of the Chromatic

Scale, and the effect of the #, t, and U, in musical compositions.

I 2

do re do. do di re.

CDC C f:D

ZMZfr-

3=i=3 j_^_4î_|

s=»EESF

v 4 U 5- 5 6 5- 5 jfs 6.

fa fi sol. sol la sol. sol si la.

3=t=£

***=**

6 7 6. 6 £6 7.

la si la. la li si.

tt=|= 1878.

do si do.

No. 2.

8 7 8. 7 P7 6.

do si do. si se la•

C B C BBH

707. 6 Í26 5.

si la si- la le sol.

FAB A A> G

656.

la sol la.

A G A

I►=33*=*3F id—

—i-t-i—p-

5 &5 4. 4 3 4. 3 t?3 2.

sol se fa. fa mi fa, mi me re.

G Gj2 F. F E F. E E2 D-

323

mi re mi-

1=P=

2 Í22

re re

1.

do.

E D E- D D|2 C

No. 3.

IS ^^■ fcS

-t--t-fct-

±=tt=*

5 54 6 «4

do mi ri mi. sol fa re. re sol fi sol. la fi sol.

mm^mt -•—*- -*-tTEW~

IS #4 5 SS- 6 4 2.

sol fi sol si. la fa re.

3 5 54 S- 6 7 8-

mi sol fi sol. la si do.


No. 4.

m ±^_- zt 1 1 1 «.eese

8 7 8 5. 5 I; 6.

do si do sol. sol se la.

7 6 7 5. 6 46 5. 5 3 4 6.

si la si sol. la le sol. sol mi fa la.

S £ IJIM

r:*-2*z-S-

r 1 1S I2S 4.

sol se fa.

Review Lesson 2.

42 3 4- 3 43 2.

fa re mi fa. mi me re.

2 2 3 4. 2 22

re re mi fa- re re do.


1. State how the notes are divided in a measure in compound time.

2. What is sextuple time called when two counts are given to a meas

ure?

3. What is compound triple time f How are the notes divided ?

4. Explain compound common, or quadruple time.

5. What is a Scale ? From what does a scale receive its name ?

6. What special name may be given to the scale of C ? why ? Name

the letters, numerals, and syllables of the scale of C.

7. Give the theoretical name of each degree of the scale.

8. What is noticed on looking at the keys of a Piano Forte ? For

what are the short black keys used ?

9. What effect has a sharp when placed before a note ? From what

does it receive its name ? Give examples.

10. What effect has a flat when placed before a note ? From what is

it named ? Give examples.

11. For what is the natural used? Give example.

12. What is an Interval?

13. What distance is a half step in music ? What a whole step ? what

is the distance from G to D? From C to Cft? From DtoD}? D to E?

14. What is a Diatonic Major Sâie, and of what intervals does it con

sist?

15. In what order, do the intervals of the scale occur? State from

memory between what letters, numerals, and syllables the whole steps

occur. Between which do the half steps occur.

16. Name the tones of the scale of C, that have been raised by a Jf, in

example No. 1, section 16. Name the tones of the scale of C, that have

been lowered by a 4, in example No. 2.


17. State the reason why no sharp was placed before E or B in the as

cending scale. Also, why no flat before B and F in the descending scale.

18. How is the Chromatic Scale formed? Of how many semi-tones

does it consist ? What characters are used in the ascending scale? What

in the descending scale ?

19. Name the numerals as they occur in the chromatic scale (ascending

and descending). Letters. Syllables.

20. Name the numerals, and syllables of section 20, exercise No. 1.

Tell what characters are used. Sing exercises, keeping strict time; Name

the numerals, letters, and syllables of No. 2. Sing and keep time. Read

in the same manner No. 3 and 4. Tell what clef is used.

Pupils may select exercises from any music book, and test their

knowledge of this and previous lessons.

Review Lesson 2.

LESSON. 5.

1. A minor scale may be formed from any major scale, by taking the

letter, numeral, and syllable represented on the sixth degree of the ma

jor, as the first degree of the minor scale.

C MAJOR. A MINOR.

Ex

No. i. _ iKfrTNg.

=5>—<?

12345678a bed ef gj a

c d e f g a b c la si do re mi fa si la

do re mi fa sol la si do.

A MINOR.No. 2. „ '•-

imm^mma b c d e fft gtt a

la SI do re mi H si la

2. It will be seen by the scale of a, minor as written above, that there

are two forms,— the first, is termed the harmonic minor, the second is

the melodic minor, the difference in the intervals of both scales may be

*een by comparing them as follows ;—


HARMONIC MINOR.

=3==£rHfca.. !3®z

:a_

—l%z

®

abcdefgja

la si do re mi fa si la

M __—__—^_y=>,

g$ f c b a

itta^-gz-^ -5-2-~p-

a bed efgjfa


a rt f e d c b a

la si fa mi re do si la

MELODIC MINOR.

5EEE=ii ^^ HE :js=

da b c e fjf gjf a a g f c b a

g .^£•«>-

fl^g*

a be de fJ gj a a g fed cb a

la si do re mi fi si la la sol fa mi re do si la

3. A minor is said to be related to a major scale, when the sixth de

gree of the major is taken as the first degree of the minor scale. The

scale of a minor, is relative to C major. It requires the same signature

and nearly the same tones, as that of the related major scale.

4. If the pupils have studied carefully the intervals of the major scale,

they will remember that from the first, to the third degree, there are two

steps ; this distance is a major third ; The distance from the first to

sixth degree (consisting of four steps and a half step) is a major sixth.

5. In the minor scale, it will be noticed that from the first to third

degree, there is one step and a half step, this distance, is a minor third.

The interval from the first \p sixth degree, (harmonic form) in this or

der ;— one step, half step, two steps, half step, is a minor sixth, these

intervals distinguish the minor from the major scales.

6. The note represented on the seventh degree of any scale, is always

a half step from the eighth degree (or octave). To correctly form the

interval from seven to eight in the minor scale, it is necessary to raise

the seventh tone one half step, it then takes the character of a leading

tone: In the scale of a minor, we use G sharp for this purpose, and

place the sharp before the note which has been chromatically changed.


7. After the seventh degree has been raised, the interval from six to

seven consists of one step and a half step, and is called an augmented

second. This interval distinguishes the harmonic minor, from the me

lodic minor, and in the ascending and descending scale remains the same.

8. The sixth degree of the melodic minor scale, is raised one half

step ; The interval from its first to third degree, is a minor third, that,

from the first to the sixth degree is a major sixth, and is a distinguishing

character of the melodic minok scale.

9. In the scale of a minor (melodic form), a sharp is placed before the

letters F, and G, in the ascending scale. In the descending scale, the

sharps are removed, F, and Gft are substituted for them, causing thereby

a slight alteration in the intervals of the descending scale.

10. The following exercises will illustrate the use of the minor scale.

The letters and syllables of the scale from which the exercise is formed

should be committed to memory.

33 3=£

a a b b

la la si si

tt= 3g3-

-I I 1

Elt

cagjabcb agjfa

do la si la si do si la si la

m3=fc

a a b

la la si

b c a

si do la si

b c b

la si do si

--*=&:-et-

a gj a

la si la

a

la

b &c-

si &c

±= =is=

mm 21—r—r

1 I i

a b Sec-

la si &c-

11. The minute explanation of the Major and Minor scales (their for

mation ; intervals and special names), will prove interesting and of great

benefit to those who wish to become thorough musicians, and to under

stand the science of music in all of its branches and variety, and will

help them to lay a foundation for future progress in musical culture.

Others who have not the time for special study, may be satisfied with the

knowledge of the fact, that there are major, minor, and chromatic scales,

and, by the ear be able to tell the difference between them, paying but

little attention to the intervals that form the scales. Every young sttt-


dent of music will find it a source of pleasure and profit to study earn

estly, and patiently, so as to clearly understand the entire subject.

12. A succession of single sounds is termed a Melody; these sounds are

arranged according to the rules of music, and thus made agreeable to the

ear. __

ex.- g|^5 f. --1-?E

^1=3

13. A combination of sounds which in playing, or singing are performed

at the same time, is termed, Harmony.

r-4-

Ex.— :=)=.tA-

3- .&.

14. A union of three sounds formed on a first, third and fifth degree of

the staff, is termed a Chord.

Ex.— I

i -5th degree.

-3rd degree. -

1st degree.

-6th.-

-3rd,-

-lst. -

-BthT

I3rd.-

-1st.m15. The letter or note from which the chord is formed, is termed the

root of the chord. By considering the root as written on the first de

gree, the second note of the chord is found to be a third from the root,

the third note of the chord, is at the distance of a fifth degree from the

root. The intervals of a chord then consists of a root, third, and fifth.

Ex.—

m -is--fifth. -

-third.-

root.

-e?- fifth, -

-third.-

root.—

-IRE J]third. II

root. Tl

_2?_third.

_22_rootj.

16. Every chord is named after the letter which forms its root. It will

be seen that chords may be formed on every degree of the scale.

Note.—The name of each chord with the special letter that belong to the root, third,

and fifth, should be given from memory.

Ex.—

tl%

r in IV vi vir VIII

I

17. Chords formed on the first, fourth, and fifth degrees of the scale,

are called major chords. Such chords have major thirds and are bright

and cheerful in sound.

18. The chords formed on the second, third and sixth degrees are mi

nor ciiokds, they have minor thirds and are plaintive in character.


19. The Chord formed on the seventh degree is termed a diminished

chord. It consists of a minor third, and the distance from the root, to

the fifth, contains three steps, making the fifth of this special chord one

half step less that of the other chords of the scale.

Note.—, The use of this chord is known to every Student of Harmony. It

is uot our purpose to enter at length on this subject, but only to hint at what is to be

learned from a thorough study of the beautiful science of music. Special attention is

called to the following statement.

20. The position of the notes of a chord as written on the staff will not

change the name of the chord.

Ex

EE£=z:f:g: IE Eg fi

In the first chord, C, is written as highest tone ; in the second, e, is

the highest tone, in the third chord g is the highest tone. As only C,

E, and G are used for this chord, it is evident that it is the chord op c.

By this, we learn that there may be three positions to every chord.

21. The following exercise will consist of chords in three positions,

formed on every degree of the scale. In the first position, the root of

the chord will be written as the highest tone. In the second position,

the third will be the highest tone. In the third position, the fifth will

be the highest tone. The pupil may name the chord and position.

POSITIONS.

i_<2_

f=

C. ist 2nd 3rd 1st 2nd 3rd*

$

I

22. The theoretical names of the chords are as follows ; A chord on

the first degree of the scale, is termed the chokd of the tonic ; that of

thefourth degree is the sub-dominant choed, on the fifth degree, the

dominant choed. The chords first named, are the most important, and

are called peimaey choeds.

The chord of the second degree is the choed of the super-tonic,

the third degree the choed of the mediant,- on the sixth degree, the

chord of the sub-mediant; they are termed secondary chords. The chord

of the seventh degree is a diminished choed.

RUDIMENTS OF MUSIC. 2g

Note— The pupils may tell from the exercise which are the primary, secondary,

and DIMINISHED CHORDS.

Review Lesson 3.


1. How are minor scales formed? What minor scale can be formed

from the scale of C major ? State the letters which belong to the scale

of a minor. Syllables.

'2. Name the two forms of the minor scale. State the difference in

the intervals of each sclae.

3. How is a minor scale related to a major scale ? Give an example.

What signature does the minor scale require?

4. What is the distance from the first to third degree of the major

scale termed ? Of how many steps does it consist ? What is the distance

from the first to the sixth degree? How many steps in this interval?

5. By what intervals are minor scales distinguished from major scales?

6. What is the distance from seven to eight in any scale ? In the mi

nor scale, what is necessary to form this interval correctly ? What sharp

is used for this purpose in the scale of a minor ? Where is the sharp

written ?

7. What is the interval from six to seven in the Harmonic minor scale?

What distinguishes the Harmonic minor from the Melodic minor scale ?

8. By what is the Melodic minor scale distinguished ?

9. State the difference between the ascending and descending Melodic

minor scale.

10. In what key is the exercise in minor written in Section 10? What

is its relative major key ? Name the letters and syllables. Sing the ex

ercise.

11. Read carefully the note to pupils in regard to a perfect knowledge

of the scales.

12. What is a Melody?

13. What is Harmony?

14. What is a Chord? How is a chord formed?

15. What is the root of a chord? Third? Fifth?

16. From what does a chord receive its name? On what degrees of

the scale may chords be formed ? Give the name of each chord ; tell

which is its root, third, and fifth.

17. On what degrees of the scale can major chords be formed? What

is said of major chords ?

IS. On what degrees of the scale are minor chords formed ? What is

said of minor chords ?

30 RUDIMENTS OP MUSIC.

19. What is the chord of the seventh degree of the scale called? Of

what does it consist ?

20. Does a change of position alter the name of a chord ? Give a rea

son why (using chord of C for example)? How many positions to each

chord ?

21. What is written as the highest tone in the first position of a chord?

Second position? Third? Name the chords on each degree of the

scale, with positions &c.

22. Give the theoretical name of the Primary Chords. Secondary.

LESSON. 6.

1. The human voice is divided into four classes, soprano, alto,

TENOR, BASS.

The compass of the different voices may be written as follows.

Tenor *^*Bass..,^ ' — ^ Soprano-^: Alto.

ML

11m« ■*■ ;=

From Great F to one lined 0, One lined C to 2 lined A,

Small C to 1 lined G, Small G to 2 lined E.

(Many persons sing higher or lower, as the case may be).

2. Another kind of male voice is called a baritone; its compass is be

tween the bass and tenor. A female voice which has a quality and com

pass between the Alto and Soprano, is called, mezzo-soprano. It is

necessary for those who sing to understand the compass of their voice,

and never strain it by singing either too high or low if they wish to pre

serve the voice.

3. The following exercise in four parts, will explain how music is ar

ranged on the staff for the four voices. Pupils may name the key in

which the exercise is written; also the letters, numerals, and syllables.

State what kind of time is written, and which part of the measure is

accented.


Tenor.

JCJtjfe trt^xrtoqrfcfcftFES

§¥=£ 1—0- X •mz*

«:

-•—j—*~*^h

yt—yt-*-i+-

Alto.

f-rrQ-4^=g=3-J

Soprano

5* -SF

=e^XS

Bass.

_#_«-

-v 7^

«_«_„_#: C3 -

V W pi *-'l—«V—> »< -V

:*=*_ EE-V-*-

MMS-uc=3=3=T

II

-N-fr-fr-ia-H—a- -»—H p-F—» - -<9- -■—•—= •—a -4

1-W-v-

_*_«. #..-22_

V ^ ij ' s—»t—V'♦—b-b—i—H-

:fc+c

iy v 6; h

-v v ^—^ abr:.v—«<-

-jr-*~

££££*«—^—*—V- m

4. Music for four voices is sometimes arranged on two staves. The

lower staff is used for tenor and bass, and the upper staff for soprano

and alto; (a thorough acquaintance with the letters belonging to each

staff is very necessary).

.3=*z


r-Tr-mr*

A ft fe, or ft that does not belong to the key indicated by the signa

ture, when written before a note in a measure, is called an accidental.

In the following measure if a note is written on the same degree, a char

acter is used to designate which is meant.

5. A special clef is sometimes used for the staff on which music for

the tenor voice is written called the C clef. BE It designates the part to

be sung by the tenor ; The positions of the notes and the letters, are the

same as when the G clef is used.

6. The key of a scale is the letter With which it begins and ends. The

scale formed with the letters, C, D, E, F, G, A, B, C, is in the key of C,

so, also, a piece of music formed principally from tones which plainly

indicate the key of C, is said to be in that key.— At least, one part of

the composition will begin or end on the key note, thus satisfyiug the ear

in regard to the key in which the piece is written.

7. The pupils by this time, have perfectly learned the numerals, letters,

and syllables, of the scale of C Major and its relative minor scale, also

those of the Chromatic scale ;— they will find it easy to form a scale on

every degree of the staff.

We have to remember that a scale is a succession of eight sounds,

and, that the same numerals and syllables are used for every new scale,

also that the position of the letters on the staff is never changed.

8. The following example will show that any letter can be taken as

one of a scale and this succession of sounds will be in the key of the let

ter with which it begins and ends :—

No. i.

Scale of D. (incorrect).

:g=vg=g—g=gj ; !2L^k«,=-g>-ll-=sÊ^^^=El-==^

123456781 23 4 5 67 8

C Maj. do re mi fa sol la si do.


Scale of D Major.

pr=^^-=S2

No. 2.

(correct.)

ate

~5>

d

do

ie

re mi

a

sol

b

la SI

d

do-D Maj.

9. If exercise in D, No. 1, is played or sung as written, it will be no

ticed that it is necessary to raise some of the tones to form the intervals

that belong to the scale, in order to sing them correctly. We find in this

exercise from the first to third degree a step and a half step. In the ma

jor scale this distance should be two steps. It will be necessary to use

p sharp to form this interval. From six to seven we find only n half

step, this distance should be a whole step. We use c sharp, to form the

interval. •

10. In No. 2, we have the scale correctly written, consisting of two*

steps, half step, three steps, half step, this being the regular order o£

intervals belonging to every diatonic major scale.

11. It will be seen that the introduction of sharps and flats is necessary

in order to form new scales ; by this means, we are enabled to use many

scales (or keys), giving variety and pleasure in the study of music. The-

change of key is called transposition.

12. It is customary however, to transpose the scale according to estab

lished rules, and, in each change of key to introduce but one new sharp

or flat, thus making the method of transposition easy to be understood. .

13. Each new scale is a fifth higher or lower than the scale from which

it was formed. For the first transposition, the tone represented on the .

fifth degree of the scale of C Major, (by the numeral five, letter G, and

syllable sol), is taken as the first degree (or one) of the new scale, i. e. G,

which in the scale of C is the fifth tone, becomes first tone in the scale

of G Major, A is second tone, B, third tone, C, fourth tone. <fec. &c.

Ex.—

C Major.


14. We have now a new scale formed like the scale of C Major iu re

spect to its intervals, numerals, and syllables ; beginning however, with

G, on the second line of Treble staff or first line of Bass staff. By study

ing carefully the scale of G major, we learn, that if G, is on the first

degree, a, will be found on the second degree, b, on the third degree,

&c. The same in regard to the syllables ; If do, is placed on the second

line, re, will be found on the second space, &c. The numeral one, is

given to the first degree, the numeral two, to the second degree, &c. &c.

15. In order to form correctly the interval from the sixth to seventh

degree of this scale, we find it necessary to raise the tone a half step ;

We use/sharp for this purpose, and find that we have a Major scale,

perfect in regard to its intervals. We thus comprehend at a glance the

reasop for the use of sharps or flats in transposing the scales, and say,

that it is for the purpose of preserving the regular order of intervals re

quired for each scale.

16. The sharps or flats used in transposing the scale, are placed after the

clef on the staff (instead of before the note chromatically changed).

They serve as the sign of the key and indicate that every tone written

on that degree is raised or lowered according to the character used to

indicate the key.

The requisite number of sharps or flats placed on the staff to indicate

the key of a musical composition is called, a signature.

17. The following exercises may be studied by the pupil giving name

of key, signature, numerals, letters, syllables, also the kind of notes used,

time (or measure), and accent.

No. i.

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Note.— Pupils are requested to test their knowledge of the lesson by selecting from

any music book an exerc'se, or song, or, any piece of music written in the key of G Maj

or, and to read the same by letters and syllables. Pursue the same course with every

new scale.

18. A relative minor scale can be formed from the scale of G Major

by taking the letter or note represented on the sixth degree of the major

as the first degree of the minor scale ;— Ex.

G Major. | ~ ; E Minor. IY2

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.* 4 -\ , si do la si do re mi fa si la1 2 ° r sol la

c la

do re ^ JôT^ta. ?ZL

m ^pI22T.

I 2 3 4 5 6! 7 8 |e ift g a b c dft e

do re mi fa sol la si do la si do re mi fa si la

We find it necessary in the scale of e minor (as above), to raise the

seventh tone (as in the scale of a minor). It then takes the character

of a leading tone, which is always a half step from the eighth degree, and

the order of intervals required for every minor scale is preserved.

19. The following scales and exercises in e minor may be read by the

pupils ;— giving letters, and syllables.

r


No- i.

HARMONIC MINOR SCALE.

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MELODIC MINOR SCALE.

No. 2.

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fit e djf

si la sido si si re do

20. Chords may be formed on every degree of the minor scale.


Ex.

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On the first degree (Tonic) we find a minor chord. On the second

degree, a diminished chord (the second degree in minor being the same

as the chord of the seventh degree in major). The chord on the third

degree is an augmented chord (the distance from the first to fifth degree

of this chord being half step greater than that of the third degree in

major). The chord of the fourth degree is a minor chord. Chords of

the fifth and sixth degrees are major chords. The chord of the seventh

degree is a diminished chord.

The following exercise will consist of Chords in three positions on

each degree of the scale of G major, and its relative scale of e minor :

G major.

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min.

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E minor.

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Review Lesson 4.

VI •

maj.

VII"

dim.


1. In how many classes may the human voice be divided?

compass of the Bass voice. Tenor. Soprano. Alto.

2. Name two forms of voice beside those already named.

State the


3. How many staves are used when music is written for the four

voices? In what key is the exercise in section 3 written? What kind

of notes are used ? What kind of measure ? What part of the measure

is accented? Name the letters, numerals, and syllables of each part?

beginning with those written for the Bass voice. Sing the exercise.

4. In what other form is music sometimes arranged for four parts f

Sing exercise in section 4. What is an Accidental ?

5. What special clef is sometimes used for the Tenor part ? What is

said in regard to this clef?

6. What is the key of a scale or musical composition ? How may we

know that a piece of music is in the key of C ?

7. Where may other scales than that of C be formed? What is

necessary for the pupil to remember ?

8. In writing a new scale, from what will it receive its name ?

9. Explain the reason why the scale in example No. 1 is imperfect ?

10. Give a reason why the scale in example No. 2 is correctly written ?

11. What is necessary in order to form new scales? What is Trans

position ?

12. What is said in regard to the transposition of scales ?

13. From what degree of a Major scale is a new Majoe scale formed ?

In forming the scale of G Major, what letter of the key of C is taken as

the first degree (or one) of the scale ?

14. Name the numerals, letters, and syllables, belonging to the scale of

G major, with the degree of the staff on which they are written. Sing

the scale of G major by numerals, letters, and syllables.

15. What letter is sharped in the key of G major ? On what degree

of the staff is f sharp written ? Why are sharps or flats used in traps-

posing the scale ?

16. Where are the sharps or flats placed in transposing the scales?

What is indicated by them ? What is.the signature of a key ?

17. In what key is exercise No. 1 written (section 17) ? What letter

is sharped ? What kind of time ? Where does the accent fall in triple

measure ? Read and sing the exercise No. 1 on both staves by numer

als, letters, and syllables. What kind of measure is used fbr exercises

No. 2 and 3 ? How many accents in each measure ? On what parts of

the measure does the accent fall ? What kind of notes are used ? Read

and sing the exercises.


18. What relative minor scale can be formed from the scale of G

major? From what degree of the major scale is it formed? Name the

order of intervals in the scale of e minor. Why was a sharp placed

on the seventh degree ?

19. Give the letters and syllables of the scale of e minor (Harmonic

form) . Name those of the Melodic minor. Explain the difference be

tween them. Read and sing exercises No. 3 and 4. Name the key ;

kind of measure 1 Which part of the measure is accented 1 Give the

name of the octave in which each exercise is written. Sing by letters

and syllables. Beat time correctly.

20. Give the name of every chord in the scaleof G major. Tell which

are major, minor, and diminished chords. Name the chords on every

degree of the scale of e minor with their positions. Tell also which are

minor, major, augmented, and diminished chords.

LESSON 7.

1. In the second transposition of the scale, the letter and tone repres

ented on the fifth degree of the scale of G Major, is taken as the first

degree of the new scale.— Ex.

E Major. D Major.

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g

fa

a

sol

b

la

7

d

do

2. Read the new scale, naming the key, and also the degree on which

each tone is written. We have now the scale of D major; On the sev

enth degree, we find a new sharp, (eft); it was added to this degree to

form correctly the intervals belonging to the scale. The following ex

ercises may be read or sung by numerals, letters, and syllables, naming

the signature, kind of notes, time, accent.


i

No. i.

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d e f# g a V)

do re mi fa sol la

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Exercise for four voices (on two staves).

No. 3.

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Note— Chords in three positions on every degree of the scale of D major may now

be written by the pupils.

4. A relative minor scale is formed by taking the tone and letter rep

resented on the sixth degree of the scale of D major, as the first degree

•of the minor scale. Ex.—


Ex.

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7 2 3 4 S P 7 8

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HARMONIC MINOR.

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la

cj d

si do

e ftf g# aj

re mi fi si

b

la

Read the scale of b minor by letters and syllables.

5. The following exercises will explain the use of both forms of the

scale of b minor.

34

Harmonic. "V- Melodic.

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Melodic.

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Write chords in three positions on every degree of the scale of b

minor.

6. The third transposition of the scale by sharps is made by taking

the tone and letter represented on the fifth degree of the scale of D

major, as the first degree in the new scale.

Key of A Major.

-t*F~ - IJP 32^*--to'*-

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--<S>- *—-E-»-•-*«-<CTT '

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7 8 ^t r 2 3

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4 6 l« 2 3 4

d

fa

5 6 7 8

d

do

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e

fl

a

sol

b

la

ctt d

si do

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do re mi

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sol la

tia <s>("J-ttj* « rt ll"-'- <s P*Ki^g at 1 \ls . ^ tv

4

fa

6

bd eft


7 8

eg d

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8

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6

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2

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1

a

do

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8 7 6

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5 4 3 2 1

e d<tf b a

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The new sharp in this scale is gjf on the seventh degree.


7. In the scale (section C) the sharps are placed before the degrees

which have been raised to form correct intervals ; their right place on

the staff is the fifth line, third space, and first space above the staff.

As we progress in transposing the scales, we shall realize the importance

of this rule, as it would otherwise be necessary in a musical composition

to write the sharps or flats a great many times. Read and sing the fol

lowing exercises naming keys kind of notes, time, accent :

No. 1.

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fa

5 5

e. ..

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6 6 6

la....

7 7 7 8

git a

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a

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mi ... . re . . . . do

8 8 8 7 7 7

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do.... si....

6 6 6 555

i~ .. . e. . ..

la.... sol ...

4 4

d...

fa...

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1


8. A minor scale relative to the scale of A major may be formed by

taking the tone and letter represented on the sixth degree of the major

as the first degree of the minor scale.

Ex. F# minor.

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f# e# d c# b

la si fa mi re

. IK

do si la

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Read the scale of fft minor by letters and syllables.

9. Exercises illustrating both forms of the scale f| minor.

tft&

Harmonic.

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Harmonic.

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Melodic.

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a FJt Minor. Melodic.

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HI

In this scale we have E sharp on the seventh degree. In playing

this sharp, the key struck will be F (in sound), this tone being a half

step above E.

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Write the scales of A major and F ft minor, also, chords in three

positions on every degree of the scale.

10. The scale is transposed the fourth time by sharps, by taking the

letter and tone represented on the fifth degree of the scale of A majob

as the first degree of the new scale.


.*&

B: i

E Major.

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15 6 7 8 *J ii 2 34S 6 78

'e fjf gjf a b c+f djf e


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e fjf gS a b cfl djf e


2 3 4 jS 6 7 8

vt?

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8 7 6 S 4

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3 2

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1

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do

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do si

b

sol fa mi

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876 S 4 3 2 1

e d$ cjf b a gjf f$ e

do si la sol fa mi re do

Read scale of E major by numerals, letters, syllables. The new

sharp introduced in this scale- is d#, on the seventh degree.

11. Exercises,— Pupils may name the key, signature, time accent.

Read and sing by numerals, letters and syllables, keeping strict time.

No. i.

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b cs djf e


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e f# g#, a

8765 s 3 8765

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I 2. 3 4 5678

e ftf gjf a b cjfdjfe


8765 3876S

feS -I-

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432

i=az S

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234 5678

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No. 2.

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Write scale of E major, also chords in three positions.

12. The relative minor scale is formed from the letter and tone rep

resented on the sixth degree of the scale of E major.— Ex.

48 RUDIMENTS OP MUSIC.

:S«3E -#^jar

Cjf Minor. 1%

mm H.£&-

3 3 4

f# g# a

.P ^8

-6>—*'

eg dtf e

5*5 ela si do

ftg_rg,_fiiZ3g:

i§

f# g# a b# cjf

re mi fa si la

^=2te=?gsr-

-<9—^2-

jfe :S»=

•g'

I234S678

e f# g# a b c# d# e

eft d# e f# gjt a bfl c#

la si do re mi fa sol la

«# *#a g#

f# e d#<#


& jf, is found in this scale on the seventh degree ; the key struck in

playing this sharp will be C (in sound), this tone being a half step above

the tone B. Read the new scale by letters and syllables.

13. The following exercises in Ctt minor, may be carefully studied, nam*

ing the signature, time ; also its relative major key. Write scales and

chords.

No. 1.

3A

I

Harmonic.

53H SBH3E

-#- j£z

la

, fa r T > T

&m -1—1-

:E=t

sse

Melodic form.

^^l|p^p=Sg^*m

40k-

^S±rC£ac ?E

JS

adfct=t

rtrt^

t=P J=fc


Harmonic.

iL3'

mtSjLed&. yr 3=^3

3=U

Ml "I H ^=d±^=^-^

^

3=*-

No. 2.

ppw3

:r ip

Bgj^[

s>—*--*»—*--j—-i——i—

^f^11* 1 1

ftfi^ se a

r

S S^lra r

14. The fifth transposition by sharps, is made by taking the letter and

tone represented on the fifth degree of the scale of e major, as the first

degree of the new scale.

■ B Major.

i£==i==sflaE^jg-«>

:a;

234 Is 6 7 8 ^

Wr**~

e fg g# a b cfl d# e

3, 4 7. 8


agjE -*-

.w-*n -ffg^Ss1- za:

_#g—^ flg r?.

1 23 4 S 6 7 8 2 4 7 8

e f|gf a b c}dj( e b eg d» e fjj rf. * b

do re mi fa sol la. si do

S° RUDIMENTS OF MUSIC.

®:--$"—**—

$*-

m

876

b aft gj

do si la

-a.

5

sol

-£*—gv ^r

4 3 2

e dfi eft

fa mi re

1

b

do

:8?=#2=g^:J?z=jsc

8 7 6 5 4 3 2 1

b aS k£ *s e d3 cS b

do si la sol ia mi re do

The new sharp in this scale is a J, on the seventh degree.

15. The following exercises may be studied, naming the key ; time, ac

cent ; Also the sharps belonging to the scale and their position on the

staff.

No. i- Scale of B major.

#sag -j—j—S-

*Ê3E±:=P

3f3=F*—•-.B>—^t

-*- -U-

Pgffl=gi=r-£-

mmg*y? 3=±?-p

to =f4=*3«iEfp^3»fi

zfcz»:E^X^ i=t*

Sg J J H 1 3=--*-*-

p •

* i » -&=&±=j=M-

IfcS

It*

*=jr 4—4—i-^rjzrjzq:

-*- -(2- T*-

*=p=

Isee 3=t ^=*=i: -<—f—*—±

mJci

No. 2.

r & • * £ ' ti*» 1/ *"

&S£l±±l . J AjUJlj -JL^^-J

fc?=fEFR=f=EH5—1«-


fc£1—u

=E=2§11 1

Psf*

m * V-P-

'W=ST-

I i5S«=t

f^5=5=e=^

=p=jt

^*s^^*^p^ppJJj-r.j J7J7 ijJ-r .lmj j.

^jrrjEfrrrfrrfrffr^rrr =PÊ^3^g^g=fEp=fl

16. The minor scale relative to the scale of B major is formed by

taking the letter and tone represented on the sixth degree of the major

as the first degree of the relative minor scale.

Ex.

GJJ miminor.

m EEpiS*

Ej^fer.-xs>- #2.

~zs- -19-

g^$g=g

ss

12345678

b eg dg e fg gg a| b

-O.

gg ag b eg dg e fx gg


-g-g-

w=*a

'JS.-<&-

%r^rgs^

3 4 5 ^78:p^2

I

b eg dg e fg gg ag b

ag b eg dg e f* gg


re:

W-

-3*=$zz

m

la

f*

si

e

fa

d»

mi

eg

re

b

do

--$*=&--

ag

si

-*»-rg^rrrK^r

fx

si

e

fa

eg

re

b

do

#2=g£

■8

si


17. The character used on the seventh degree of the scale of gjf minor

is called a double sharp (*). It indicates that the degree is raised a

half step ; this was necessary in order to correctly form the interval

from seven to eight of the scale, which should be a half step. In play

ing this tone, the key struck will be g (in sound), which represents f*.

EXERCISES.

Name the key, signature, relative scale, letters, and syllables ; sing

and keep strict time.

No. 1.

Harmonic Melodic.

- -IMfot-H-H-^-J-F*- «-g-g

la la si si do. . re. .Vr

£5595

Ardv U M -rt.*—*- 3=S=fcrfc

=?cri

V V v

re. ...do.. la la. - do .re. . fi....

-*—*—»—•-

=S=ft=£■0—*to

.e>-

J^3v :fcrft_

3=Jt=fcufciir

-$*--

v—v-v-

do ...re. ... mi ... fi..do. ...si. ... la la.

j* V Harmonic.

\Jf *» 5 1 1- 1 fc-t^-p|G*—*—f—0—h—b—F—I 4»—Jt—• 0 p p 1 1•fk\ ¥ #—b>—b—1

-n<—U—p—V—

fa. ... mi. ...

f—*-0=t.VTT <*—

si la la. ... si.... re ... . do .... si. . .. la

V H armonic. 1gVte.fttt f f ■— f f X0—0-

tM—2—..—.—Fgeftrfrnn

_N__N i—Hjw M *ft V V—i b=b=5-$-mC-C-v-J1* ^ J J 1i£=£jJ

SI. la la. fa. .re. do. si ... . la


No. 2.

P P P 0

k k fc. k

X*.

rr

Set*=*

1/ K. ^ '>

SI-N-N-

?

mu±Muv-g-g-3£

y y y k

-4-4-p-Jm m m •

-A-Mv-y

-4-4-4-

I 1/ •3

I IWfN

-»—#-

w*-*

V-V-V-

p$±± -\-N_N-N

^mr-t\,*vv

.m^z

iFÊt^

*-k-

V-Y-*-V

-9-0-

-?-V.

7

18. In the sixth transposition by sharps the letter and tone represented

on the fifth degree of the scale of B major is taken as the first degree

of the new scale.

F| major.

m.==zszzi=3«dte=S^

-^^jai^~s>- ftzrfe

#2

z^—zj—»—^

Tt ? 4 L5

b eg dg e fit gg ag b

678 3 4 5 6 7 8

ffl gg a* b cjf dg eg £«


IS nrs:-<s>-

iff2?

•ftg&g FiF^-48^

1 2 3 4 15 6 7 8

b eg dg e |fg gg ag b

1234 s 67 8

fg gg ag b eg dg eg g


dlSz

gg—g^f,K:

7 6 s

eg dg eg

si la sol

4

b

fa

3 2 1

af gf ^

mi re do

§M»=82=gS= =8sc*F^î

8 7 6 5 4 3 2 "f-

« e? da eg b ag e3 wdo si la sol ta mi re do


The new sharp used in this scale is e'*, on the seventh degree.

After having perfectly learned the numerals, letters, and syllables

of the scale of F$ major, read the following exercise in the same man

ner, naming also the key, position of sharps on the staff, time, accent.

No. 1.

TMz.±£j=± t=tm

-*—*•—#-

.-=>-

w&mM0—0

♦ x££it=t=t r-i—t—r £te

J&-J-J=t=w—*—*—i 4-4—*—d 1 -ri -?—\—I—d—*

*=tzrJt=Ss=,*=?

t=±

•-A--^ -if- ^

t=i

g^ggf^gS i*=P*£±=t .*-*-

S££:

rt

if f fir rtt.

£=r-

iill

19. In the minor scale relative to the scale of F$ major, the letter and

tone from which it is formed is d% found on the sixth degree of the

related major scale.

d$ Minor.

1 1 '-* —

^P *—s>—«■—a

-* * ffl "-^: -«=^r^^

•7 12345# \a» \ %,• fdJf elf ft g« a# b cs djj

C# .dtf e# f# ! la* si Ho re mi fa si \Z

<? & L \—>j£L-L.

1234 5 16 78 d# ejf fjf g# a# b ess djf

cf? l('$ eft fff la si do re mi fa si la

RUDIMENTS OF MUSIC. ss

'M

—fis<-SSI

-^-£g=:S*r=itz=p:

g

d c* b a# g# f# efl *|~


...,« tto J*-, r*=!V ^r-. .—d&=9*

-&*-:*?3E


On the seventh degree of the scale of d Jt minor we find a double

sharp. In playing this sharp, (c *), the key struck will be d (in sound),

this tone being a half step from d ft, on the eighth degree. Read the

scale of d ft minor, by the letters and syllables.

Exercise.— Name the sharps belonging to the scale ; read and sing

the exercise.—

In=t= 3=t

'3=gM=q=t

33t±.

t3C

±=t I I 1 I

JlPritzt^t

la si do re mi fa si la la si la fa fa mi la sol fa mi

mm.•—*. *£- £££

fcfe #—#-

33£=P=£ rri

±=t fc=J

la si do re mi fa si la la si la fa fa mi la sol fa mi

tfeSfit s:^r

IE

i»

*—«

— i—

K§=-*—m-

^fcSgiteft^!=P=

IP"ry-r =t=t

■3X.

*=F=^_<Uj—LiU.^

Pfe*

X -t g -g; jg-^g- -*-*•. fr»

g^magfl5:

Write the scales of J ft major, and 2) ft minor. Write chords in

three positions on the degrees of the scale.


20. The following exercises will enable pupils to take the true pitch of

each scale from the fifth degree of the preceeding scale. Sing the as

cending and descending scale of c major, taking the pitch from a Piano,

Organ, (or tuning fork) . Afterward, sing the small notes representing

tones of the scale by the numerals 8, 7, 6, 5, or syllables, do, si, la, sol,

applying the syllable do to this sound, and sing the scale of g major,

after singing this scale as written, sing the ascending numerals 1, 2, 3, 4,

5, and syllables, do, re, mi, fa, sol, apply the syllable do to this sound

and sing the scale of d majob. Pursue this course with all the scales

in the exercise, untill familiar with the difference of pitch between the

scales. Afterward, give the pitch without singing the connected notes.

Scale of C Major.

^mZSL-<9-

-GL--0-sr

-g~ -<&-SI

jff-2

834567887654321

do re mi fa sol la si do do si la sol fa mi re do do si la sol

Scale of G Major.

— L 1. ' — m

__ ^. ^r *^ ^r ^&- !^ -#-»-- ..—•

'123456788765432 112345

do re mi fa sol la si do do si la sol fa mi re do do re mi fa sol

D Major.

32-

23 45 67 887654 3 * » n , - .».'6 sw

do re mi fa sol la si do do si la sol fa mi re do do si . ' .

c-e:i^

1 IIP1is: is:<s -&- sz

V■a- .&- ~o~

234S6788765432112345'

do re mi fa sol la £>i do do si la sol fa mi re do

-'i

_scs:

^m-<S>-

5678876543 I 87 6 5

do re mi fa sol la si do do si la sol fa mi re do do si la sol


B major.

-&--&-

-a g32: g g> is^

93•*--BT

i£$

-T2345678 87654321 12345

do re mi fa sol la si do do si la sol fa mi re do do re mi fa sol

Ftt major.

ste:s: -&-

-J2Z1ST

-g—P-

V

c±&&

-"i 2345678 87654321

do re mi fa sol la si do do si la sol fa mi re do

C major.

e I=|=r

-*—-^-$K ~w8 7 6 5 Ct5

do si la sol sa

1 2345678



1. In the second transposition by sharps, what letter is taken as one of

the new scale ? What degree of the scale of G major becomes the first

degree of the scale of D major? Name the letters that belong to this

scale ?

2. What new sharp in this scale ? What is the signature ? Name the

sharps and their position on the staff. What kind of notes in exercise

No. 1, section 2? What kind of time ?

8. What kind of notes are used in exercise No. 1, section 3 ? What

kind of time ? Which part of the measure is accented ? Sing and beat

time.

4. From what degree of the scale of D major is a relative minor scale

formed ? What letter is taken as the first tone of the minor scale 1

What sharp is used on the seventh degree ?

5. Name the letters and syllables of the Harmonic and Melodic scale

of b minor. Sing the exercises.

6. What letter is taken as one of the scale in the third transposition

by sharps 1 From what degree of the scale of D major is it formed 1

What new sharp in this scale ? Read the letters and syllables of the

new scale 1

7. Name the sharps used in the scale of A major? State their posi

tion on the staff ? What kind of time in exercise No. 1, section 7 ?

Which part of the measure is accented 1 Sing and beat time.


8. What degree of the scale of A major is taken as the first degree of

its relative minor scale ? What letter ? Syllable ?

9. What letter is sharped on the seventh degree ? What key will be

struck in playing this tone on the piano or organ ? In what key is ex

ercise No. 1, section 9 ? To what major key is it related ? Read exer

cise by letter and syllable. Read and sing exercise No. 2 in four parts,

beating time.

10. In the fourth transposition by sharps what letter is taken as one of

the new scale ? On what degree of the scale of A major is it found ?

What new sharp in this scale f Name the order of intervals in this

scale.

11. In what key are exercises No. 1 and 2, section 11 ? Read and sing

the exercises, keeping strict time ?

12. What degree of the scale of E major is taken as the first degree of

its relative minor scale? What letter? What sharp on seventh de

gree ? What key is struck in playing this tone on the piano ?

13. Name the forms of the minor scale in exercise No. 1, section 13.

State the difference between them ? Read and sing exercise.

14. In the fifth transposition by sharps, what letter is taken as one of

the new scale ? On what degree of the scale of E major is it found ?

What new sharp in this scale ? On what degree ?

15. In what key are exercises No. 1 and 2, of section 15 ? What kind

of notes in each exercise ? What kind of measure ? Read letters and

syllables. Sing exercises, keeping strict time.

16. From what degree of the scale of B major is its relative minor

scale formed? What letter is taken as one?

17. What character is used on the seventh degree of the scale of g{J

minor? What is indicated by f double sharp? What key will be

struck in playing this tone ? . In what key are the exercises No. 1 and 2,

section 17 ? What kind of notes ? What kind of measure ? Read and

sing exercises, beating time.

18. In the sixth transposition by sharps, what letter is taken as one of

the new scale? On what degree of the scale of B major is it found?

What letter is sharped on the seventh degree ? Name the sharps and

their position on the staff ? Read and sing scale of Ffl major and exer

cise No. 1, section 18.

UUI1IMENTS OF MUSIC.59

19. What degree of the scale of Fjf major is taken as the first degree

of its relative minor scale? What letter? What character is used on

the seventh degree of this scale ? What key will be struck in playing

this tone ? Why ? Read and sing the scale of dj minor and exercises

in section 19?

20. After reading carefully the- directions given in section 20, sing the

exercise, giving every scale its true pitch. Repeat many times until it

is perfectly learned and understood.

LESSON 8.

1. In the transposition of scales by sharps, as explained in Lesson 6,

and 7, we remember that each new scale was formed from the fifth de

gree of the old scale ; If we follow the same rule in transposing the

scales by riats, we will count the degrees downwardfrom the first degree

of the scale, and, in the first transposition (by fiats) we find that the

tone and letter represented on the fifth degree of the scale of C major

is F, which we will take as the first degree of the new scale.

Example.— Scale of C Major. F major.

I iÊiii-5=;-=s,4*ZJB.

i

f

:&-9-6'- Z&Z

2 3 U S 6 7 8

t g

m

b

a

c

2 3 4S078

g a bt? c d e f


mm721

--S-

-F7— î =

n* 3 45 678

' i ga bzc d ef


10!* i.

3 14 567 8

I-s>-

-g~ --ter-ISC -»-

121

f

do

W-=*=~:

7

e

si

6

d

la

5 4 3

c bz a

sol fa mi

2 1

8 tre do

8 7 6 5 4 3 2 rf e d c b2 a g t


Read the letters, numerals and syllables of scale in F major.

6o RUDIMENTS OF MUSIC.

2. If we count the degrees upward from C, we find that F, is on the

fourth degree ; this proves, that a fourth above, is the same in sound, aa

a fifth below ;

Note.— In the transposition of the scale by flats Page 59, and in those that follow

it may be well to think of the key note of each new scale as found a fifth below, or,

fourth above the first degree of the old scale.

3. We have introduced in the scale of F major a flat on the fourth

degree (bl); this was necessary in order to form the interval correctly

from three to four, which should be a half step. It will be seen that

the regular order of intervals (two steps, half step, -"-^ three

steps, half step, '•"^) is thus preserved. The following exer

cise in the key of F major may be read, naming key, signature, kind of

notes, time, and accent.

No. 1.

iW3=3=?

I I I 2.

* S-

do re.

3-

a.

mi.

fc:

fa.

c. .

sol.

m3—i—t

m3—H 1

SE3=J=»=SE3I .

f..

do.

3-

a.

mi.

4--

bi

fa.

c. .

sol.

i t=it=t

0.

d.

la.

7

e.

- si.

8

f

do

8..

f..

do.

7-.

e.

si.

S3 =P-— :*9-

4==t6..

d.

la.

■ 7-

. e.

.si.

8

f

do

8..

f .

do.

7-

e.

si.

1 "II

V 6

M 1——i—'M 1 Msi-——H

s 4 3 I

d bl gf

la fa do

fr^-^-3Fl—=1 -1 1 1-

-i—i—r -i—i-—i-flM*——•—*~

6

■ •-#—•—4- -*

—»—»—5 s—3^

g

—1—

I

-H

fc:::::: f

3la fa do

RUDIMENTS OF MUSIC. 6l

No. 2. Exercise in four parts.

v i|i i if i n u^ r i i r r i i i

SI

i JiiiJ J jij -UJ-iJ i i j

ME

•—0-

=t=t s=w==?=.pri ^pÊEEEEEEEEE1I5=^

:*=:«zi—r-

1—r

3=S 4fe ggp£e±

4=1-4-

9-m-

f-FfTTTf. rrr rrrrrr

jj J 1«U J- J.J J J frJ J jJ-ii ii#—•zh»— a—*-J-P—P—K—1 •—0—V*—m •—0—

' I

m=Zf=W=W2 1 is idi i I i #—p- -tr-r I I I

^ÊSEEEEEEEEEEEÊEE5:g#:q:rEJE;feEEESÊgEEEEa

i if i fi i iu rfu'r' IT i i fi

8

iiUiii JaU j m±lX±± -J-icgj=i=af^rpq:f.

I Izgc±fr

£aqc Itrt±tdr=t1—r 1—f

4. A minor scale relative to the scale of F major may be formed by

taking the tone and letter represented on the sixth degree of the major

as the first degree of the relative minor scale.

Read the following scales by letters and syllables.

Ex. HARMONIC MINOR.

F major. 1 %

$

zsz ——J-,Jt<*-&

=t'/S>-

-zr-e-

1 d e f g a bJ2 cS d


3 4 S 16 7 8


m MW-sr-<s>-

-7s—e>-

MELODIC MINOR.

-2,—*-

.&S, pa~*—

^

i=^w-*^-St-

:5s=fe==S^=-^.■^r^=<9=2L

rsr sr-0

e ddef g a b c| d


d c bfe a g f

la sol fa mi re do si la

m•er .*•

-a •*.^p&J8e=*!^=2=3p=tt-

-& TO'

-*>--B-


No. 1. Exercises in the key of d minor.

Harmonic. V Melodic.

T:^=*

,-t*;

t=F

d e f g a bfe cjf d


.•-*•

B#-#-

=t £¥£: i£fc#-#

-•—#—?•—F

4=t#=•=.

jcs:

d e f g a to c# d


.i . i .! ,j

gl3 i Ei

*—•-

I3=£ mm&sm?=i-

#-*-

i£j&Jfc- =£*=±

*=!=

:«Bfc*—P-

t=t

Harmonic.

bg-l 1—Fl 1. ;. ±±^2±=±

-W

m-.:^-_l£-__jf-—if_k«=P

i 1 ^mit: g—f»—f*

In several measures of exercise No. 2, the four voices sing the same

notes. Such notes have downward and upward stems; it is termed

singing in Unison1.

No. a.

J—1—4- J-

mm3E§3S

fff v—t~

if*— 3=t

fT^FTT


&3=Ft

,_,. J- ^J J ,j j J J J J.i UJJ7J

Pî—t-

:=trr=£rrp

I:8e-£

r-rJ.JLJI

f-

*=3=\!»—#-

^2:

-*>- -&■

3P-#-*-*

hi^-fULJL

1-[—r-rfrzzi »-lr-t—t-

Write the scales of F major and d minor. Write chords in three

positions on every degree of the scale.

5. The second transposition by flats takes place when B2 is taken as

the first degree (or one) of the new scale. By counting downward from

F it is found on the fifth degree of the scale of F major, or on the

fourth degree above.

Ex.

i

B|2 major.

H -—7;—zj-S

mZSl

S9îPte^-

12 3 4 5

bfe c d ej2 f


m

3 14 S 6 7 8678

g a bjj

g^-frg—g—g

-si

rs?;

345678 45678

s

'-*=^•«-

8

_&2-

7

-<S>-

6

sr

3 2 1

±sz122:

87654321

Read scale of B2 major by numerals, letters, and syllables.

64 RUDIMENTS OF MUSIC

6. The new flat introduced in this scale is found on the fourth degree

(eJ2). The signature of the key will be two flats, B*l and E£, placed at

the beginning of the staff after the clef. The following exercises may

be carefully studied.

No. 1.

.4-f-H-4a t=x .d -d g -*-+.j. 1 1—A

^=±±=i=±=*-*-*-•-

i.... 2.... 3.... 4.... 5 6.... 7.... 8

do. ...re.... mi. .. fa. ... sol. ...la. ... si.... do

§sT-f-4-4-^Trrpirrf^: -(=-,-.*—P—#—#-

^ J-J^L-* --•—»—*—*-*=t

4= ±=±

fab. e[2. ... f. ... g. . . . a. ... b|2

#=P ^34335§■to irth*±3C3^

EE =P=f: jcq* g^^f±±ia

I1- ^5 qgppqqm qqqrqqi

^

^^=^=7

.J44»^'^*

te^^^^âFfpg^mrf^

No. 2.

r C r r * r r r rrn n p r u tt

j. Jj j j jiJJ. >J j J J J J. J J i

—a-r—trr-Fr 1 ' ! IL^ ' ' '1 1 t^t—f


-I N-l—i

:£*J-rJ

iihJbi

^*—»- -*—-J—g-

j j j

f^fr f^fT*-*-*-

1 1 1 1 1

=£ jLjb_j!_jf-jj J 4JJJ

N ! Jj J ^J.J JL.JL J

Write scale of B|2 and chords in three positions on every degree of

the scale.

7. The minor scale relative to the scale of B|? major is formed by tak

ing the letter and tone represented on the sixth degree of the major scale-

as the first degree of the relative minor.

Ex.

m*

$

HARMONIC MINOR.

55g <g

&-©—^

s>—&-T T r 4 S 6 7 8 * 8 a b2 c d * f« 8

biz c d ez f g a bz la si do re mi fa si la

IIrtezzi^z^

2^—e9—s- rt-p-ft9

12345678

bz c d ez f g a bz

MELODIC MINOR.

rfezte■fig &"-

-f>«>--g &

55: -g--s>-

f

£g

gabzcdefjfg g f ez d bz a g

a> Pa>-

-fog—gz :^rS?=Z3i

=$5


No. 1. Exercise in both forms of the scale of G minor

£

Harmonic. T

►ffiS-•-#-*

g .. a..

la.. ..si. .

m

rrz&jfczf^ £=*=&=£

Melodic.

trjr

.b2.. c.

.do. . re. .

d....e2.. t$.. g

.mi.. .fa., si., la

Harmonic.

g . f.... e2. d..

la. . sol. .. fa. . mi.

Melodic.

^^m^smWfS^^^..bV. d....e2.. f$

Sfe£»z-.-_-

M:iS*c ... b!2.

re. ...do. ..

—-gh-* -*-*--*-Fi—r~i—ré=é

-Mr-

. a. .

si. .

g

la

g

la

a.... b)2....c

si. .. .do. ...re.

e*. ..

fi....

-E ^» »-g F^-^-g-H-g-j-*-* F*-*

*=t 1=3=

i^lZZJt

Harmonic.

'F-OT-1=*

J]*#•••■ g g--.. fS-... e2..

si. ... la la. ... si. ... fa. .

.frb

d..

mi. .

I I [I

b2

do.

. a. ..

. . si . .

g

la

Harmonic.

Bg^gig^gg Sî2pr=p=S=

*=t3=t

IS

No. 2.

tez£ti=£li=£H

IHÈ£*Ej* **=£nr=g=T=r

fefebé

r

I^

UU-L_I

f

^

=s^

£afc2±

ill 3E

-I J 1—

é P HP f

J. ^

1/

* IE

*M

1 V

I J:

m m

rudiments of music.67

8. In the third transposition of the scale by flats, Efe is taken as the

first letter (or key), of the new scale; the new flat in this scale is afc, on

the fourth degree.

Efe MAJOR.

Sfcfc

-s>- -«-

.i 2 3 4 5bfe c d efe f

do re ml fa sol la si do

5 6 7 8

bfe c d efe

sol la si do

—9-—yz

_£2_

i 2 3 4 s .678

bfe c d efe f g a bfe


Pr*ji

efe

2

f

-iS>

daa—9,g- -z?~rife

34 5670

g afe b!2 c d efe


i±si

zfesz •-*>-

876

efe d c

do si la

fit

sol

4b 3

fa mi

Ê=fesr-1©-

EEzE^=fez:

8 7

efe d

do si

c

la

5

bfe

sol

4

g

mi

-g-

2 1

f efe

re do

f

re

-fer1

etz

fa mi re do

Read scale of Efe major by numerals, letters and syllables.

9. The signature of this scale will be three flats, B fe, E fe, A fe, placed

after the clef. Study the following exercises.

No. 1.

Í-N—(V

fgfe

1 1

efe. ..

do....

*?Ffc8

2. .

f. .

re.

•0- -0- -0- m

1 2.

efe f.

do re.

3

g-'

mi.

3--

«;•

mi. ,

4..

aS

fa.

4:sol.

g^feS


ife— v—

6...

c. ..

la...

7

d

8

do

e2

do.

7-

d:

rfe

m iOEE-fi^^zj=jz q==p

iT- 6.

c.

la.

s

. sol.

aV:

fa...

3-

g-

mi.

2

£..

re.

i

e^

do

m iEE-#-*-*

No. 2.

ijfc= zid=i :rt 4H-d—'^—l-a-|- ! '1=j=F•zr

5_rr—1 1 —

«T

nrrJL

* =e-J J J J J J J .J J J

t=t:P=pr

4=fc

£53l=3Eg

T

^5±

-«-

rgr^z

f

=t=rt

_J—-LJ.

H^

-i_

r r

j j.

- p a<- :

-<=-

pS^^t^^Pîrrffr

4-lAe

8fc«

BE .i—i-s-»-Hg-Hft-f- ?E

±r

=rf

Write scales of E fe major, also chords in three positions on the de

grees of the scale.


10. A relative minor scale may be formed from the sixth degree of the

scale of Eiz major ; c will be the first tone of the relative scale.

Ex. HARMONIC MINOR.

I>2

±z ifi2:-1*-

-&—&-.^--gjfeflg-g:

3 4 5 __

g ak bi2 c

678

efe f g a£ biz c d efe


&E

J c d e*2 i g al b c


-&&—&--&-&£>

2 3

Z£=JB=ZZZ

I 4 5 6 7 8

e£ f g afe biz c d e|2


c d ej f g at? b c


MELODIC MINOR.

-f- _-■ :> I c bin

*' — ^ i3c H—1 1 Dfi»

fJ

— h— c c *1 r> k*s

cdefefg a be


c hi

sol

afe

fa

g f

re

et>

do

d

si

c

la mi la

■^~1

-tS1-

n

i£-jp, aJLP c a,-q,

4-l>(» -s>- a

1

c d e2 f g a

la si do re mi fi

b c

si la

c b2 a2 g f efe d c

la sol fa mi re do si la

Read the Harmonic and Melodic scale of c minor, by letters and

syllables.

11. The signature of this scale is the same as that of EJ? major; the

letters of both scales are nearly the same, the difference being seen in

the degree on which the scale begins, and the change from BiJ to Btt on

the seventh degree, so as to form the intervals correctly. Study the

the following exercises in c minor, naming signature, kind of notes

used, measure, accent, etc.

No. 1.

Harmonic minor. V Melodic.

mc d. .

la

+=F=!=1-*—B-

ma--±

e!2. .. f....g ... a£. . b.... c

si. ... do. .. .re ...mi... fa., si... la

.I—

ÊE

JE&EÊpE

1—i—i—r- t=t it«=±

*_4tJ^.

m


fc«

PEfc=fcl«=

=F

t*zc=*=^

I I I-:z^=J:

3«:

taz l=w=r-2s6ptdt=t=t

=*=rr ^=g=g Tift:acfe

*-t

II

Harmonic.

^^Jg=§E^gg^t7T7i^Sp

?= -r=-

%pfetrc -^—•= S^gH

No. 2.

Jz=1=feS-** 1

f2 -«- *

■rt

i

jO. A A

~&-

^m^M&^f- 3=

P

d—^ S IKEf5-

f=-<S>-

I

^

*2=t=t=t 4=

bdt

sfrfcz

&£

=P=T

—i-zJ 1 T-r-

3

s=FFt= =t

JLW.

4r: 5=

*.%-

i]

i

Write the scale of c minor, also chords in three positions, and

designate each chord as major, minor, augmented, or diminished.


12. The fourth transposition by flats, takes place when a major scale

is formed, having A |2 as its first degree; it is found a 'fifth below, or

fourth above the first degree of the scale of Ez major.

Ex. Az MAJOR.

f

dszrh

»-fr^TZ—O-

"g- iZ2=±<~g~

12 3 4 S. 678

ez f g az b2 c d ez


1 2

a|2 bb

do re

3 4, 5 6

c dz eg f

mi fa sol la

7 Isi do

&fc

BE -77-

-g—g-

.*tefc f

12345678


Ja2 b|2 0

3 4

m^r-rro—»—

bz

IÎIZZ?-g~

d ez ~ a2i b2 c d2 e|2 f g a2

1

do

2

re

3

mi

4 5

fa sol

6

la

7 8

si do

b*-

£=« ,

fij _ ..... .--—Z'f-,.

-VSi kg,g- kz—r. .

8 7 6

f

5 4

ez dz

sol fa

3 2 1

azg

c bz az

re dodo si la mi

fcv »jJZS—ks, .£T

.*» zs

az g

8 7

do si

f

6

la

e2

5

sol

d2

4

fa

c

3

mi

b2

2

re

a2

1

do

Read scale of A|2 major by numerals, letters and syllables.

13. The new flat used in this scale is found on the fourth degree (dt?).

The signature of the scale is four flats, BJ2, Efe, Afe, D|2.

The following exercises may be studied, naming key, kind of notes,

time, &c. Pupils will remember when singing notes written above

one octave, that the numeral eight of the lower octave becomes one of

the next higher octave.

No.

12345678 11221


12345678 11

az bz c dz e2 f g az


87654321 2232


12345678 11223 2 87654321 11 2 2 1

No. 2.

aM

m i-f2-

r—r

j. j.

r—r

S^t

j j ^j. i

e=:t

*t-J-4rt

-J^LH !

£=E-?s-

-f=

-#«-

&Sz£=-_3=C=t

Û-JL J.

EE-f=- -<2-

-b*=i=J:

IRH=jfu =P2--

TO-

*Gl

t^f1^

A- A ± a

£fe;

j. j _a

1*%s 3

14. The minor scale relative to A 12 major is formed by taking F as the

key of the relative scale. It is found on the sixth degree of the scale

of Ajz major, and requires the same signature as that of the related

.major scale.


Ex. F minor.

1«

K>fc-T5>—*-

-j2_

-SZHi^jg^j^5: -w .*• " " I « I f g ab b|2 c dfc e f

1 2 3 4 5 1 6 7 8 I la si do re mi fa si la

IIm Z5&Z3&Z

-T2—&-

iF^±^±E

J f g ab bb C d{2 e f


jh-—s>—$0 -~te—

l»«oJ\ &>'**TTI

\MJ &

Jf e

si

c

mi

bb afe

do

g f

lala fa re si

frfr-—s>—

—tp>—-Hr?0 k»W

|7<5>

ZJ

f e db c bb at? g f

la si fa mi re do SI la

Read scale of/minor by letters and syllables, naming the intervals.

Study the following exercises in the same manner as directed for

other scales.

No. 1.

Harmonic form. Melodic.

5Eisw- tSnr±i

1:b*-T-

*—• :t=t=t±=*z

f g ab bb c db e f f e f db.... c_

la si do re mi fa si la la si la fa fa mi

Sfcfefcfcw»-|r-4-

:fcd=4=T *c

4=3

^r-*-^-r

fel§3—2—=—«—w—73^—*—g—^g ^-r ^-*—*—-

Eia

/■


fc££=ttp=p=

V Harmonic.

g-tftg-rf-ftrE

^g^ggE^ggJiPii I II IUTTfs-

feg* Ife^glgE S=tt

be 1—1-i atS -*-j:#-*——tf-T,

No. 2.

in-J I-

§S 2==*=??=M5 3F

r

ggjglEEE

»

^ a i

f—r~T

^

i—J U .-i j

^

#

=srr ±

tt

J—j- j

p&>&%fc=t

.r

S^ffi^^*^

isipTTI

££ • J 1 1-

w-

JiilJ

rr r;

id 1ii^tte

i=*B I'M.# f=F

15. In the fifth transposition by flats, the letter Di2 is taken as the first

degree (or one) of the scale. It is found on the fifth degree below or

fourth above the key note of the scale of AB major.


Ex. Dfc MAJOR.

m> -(tp—fe

w2r: ^=2tg

^-^—^~.g

.g -g- •*• ff f 6 7 8

1 2 3 d> e? f g air

a2 b> c

a &

« "7 '2 34 5 6 78

dtr et» f g!r air b? c dt>


Ê:ar

3 14 6 6 78

a!r blr c d!r etr f g at*


JBr

^=2^^

3 4,

dir elr f g!r

-g-w

678

b2 c d>

Ifi -a?-

^^z=k^S^=fc

543 2 t'

az gtr f etr dtr

sol fa mi re do

876

d!r c blr

do si la

rt32—K ^2ZZ$j

— *« ?S> 5,—^r

6 5432

b!T a)2 glr f ep

1 7d7 c db

The new flat introduced in this scale is G|2, found on the fourth

degree. The signature of the scale will be five flats, B 2, E fcs, A k, D fe,

6)2. Study the following exercises.

No. 1. Exercise in D2 major.

^Ste$£ j—J_J_JJLfc=i=»

«=3=£

a=P= -0—0.

-t—m—r

^w^g»—it-«q > f P

g^B

-#--•- -(S- A 4k- •«•

tr± £ l l -

;^^

ttR-*-»

3tZ3t» « iJ' *-*

S3!*• iC*m

'-ggSEî^S£


&*Ete

*S*=£ T^FW^WT-*

fcfc*

r*t*

P£££^

^^

No. 2. J2J J iJ-^J

hlEEEEBE

-*—•-

(=2—

r=:=*»

P=F

J. jL 4 A- A Al JrA A: 4 ^ =* 7 I z~ra-^ r~(g ' I • I ~(g !*-

-g-

3=e=t

te^^Siiig

3&ELS# ¥- r

tS>—t-

gy*

%Ti ± *PA a 4 j. a a A: A—————-r r-p- r—*—r£> <P—r*— ^-

2$5

MM^k=±*i=JJ&=£±*i£j=E?g 1§£ i ^s^*

I£*-|2-

:r-r

.i j

i^-*-i—i-

Sa-£l£j j. j. j. 4 j

mm.i

iP («-

t=t £1 h— gg;

q=S

Write the scale of D |2 major. Write chords in three positions on

every degree of the scale, designate each chord as major, minor, or dim

inished.

16. In forming a minor scale relative to Dt major, bi2 is used as the

first degree, it is found on the sixth degree of the major scale. Read

the scale of B b minor by letters and syllables, tell also what signature

is required for this scale, and why 1


Ex. B!? minor.

^§

\K

&—(2-

5 |6 7

d> e!r £ g a^ bt» c d?


m HE53i2B£S.9(5-

-Br .*

I 2 3

s>—*rr.S-~

-35C. H

—to c ^ e7 f g7 a b


%&~&±*îi=25r^

5 6 7 8

d!? ej> f g at> to c dfc>


jto c d7 e!? f g> a to

J la si do re mi fa si do

p . —frs. 99 Bar

&£**r '. j_

to a

la si

f et^ db c bt^

mi re do si la

/_y r R5> 7/5pj. » '!?£/ L„ * . — -fcl; \."■» « jj^j

to a *£ f e!2 d2 c to


No. 1.

EXERCISES IN B2 MINOR.

fcte

Harmonic. V Melodic.

4—1-4 S=B 1=q=4:

P^Sgfcpzi HP=»t :tT* s

§£f*

la si do re mi fa si la la si la fa mi

m 3^=£F=PH

zt3=

la sol fa mi

-*-9.#—a r-

*

fe-j i jij i j Iî^rb^^re do si la la si do re do si

Hil Hrtfir

i^§s»^

*3fct=C



2£

Harmonta.

:ltz-J2z

»n* dtt dJlL9#F^^

- -i—-H—i—;—I—I -

*-*-

IS£*4»

g^HÛfc^:

la si la do si la si fa mi re do si la la si do si la

No. 2.

£S±3 3=3:

:3'

—i—*—k»h—i—#

la si do si la si do re mi fa mi re mi

3=Effi?Er t=E

S3rf— -f—•- =Brft

*■* fr pi=t

Ep:»-p

*=t

feL_j-l_E-fr-t—«-tt«-cd-

3—J-4-C

fnabtz:

ffi^ 33 T=|=J= **

i*=&a=t

la si do re mi la si la

ISF

ip^ST

1BS =p=p= t=t t=± *tj*-* atzi 3=T

*-*~* •ZT-

♦ A A -f

SI*=t

£-*-*-t-rt dfefcc

1^ t=42E*Ei

17. The letter G|2 is taken as the first degree of the new scale in the

sixth transposition of the scale by flats. The new flat introduced in

this scale is ct2, found on the fourth degree ; the signature is six flats,

B|2, el2, afe, dfe, g£, ck. Read carefully the following exercises by numer

als, letters and syllables.


G|2 Major.

Ilil iM—&&-&£

~Z„~~.&£at

g-g-

=7^-fe^g

T~ 2 3 4 5 6 7 8 *> g> a> b> c> dtT e> f gi?

à\> efr f gÌ2 a!? bl> c d!r do re • mi fa sol la si do

^S ÌEE^f§5=3Ê^

te:

^--

-?s>—fog—<g

!4 S 6 7 82 3

pio re mi fa sol la si do

IV?

/^

/ !7^> »«-'

Do k^ u^^ 17^5

SoCIfez

Jg> f e* & by alp

fa mi redo si la sol do

/»V .. !?o

$«> - b«IPJ. i. i

ti^

-bo—«


No. i.

ta 3m T1^££ fff=^J

.è d <g-ÌJÉ3C

.*—#-

1122 33-4 4 5566778

gli at b!^ ci? di? eb f gt>

*=r-• . • >g- P3T

{£tej=3=2=2=É=t

S=3 ±rt1 . 2

gfc air

do • re

3

b>

£fei =F=t

j j j j ■ij.^jgff'f^?^^

SAj^^-F-K^FF=C

*=«trgzti=*

*-pc

8o RUDIMENTS OF MUSIC.

,3g iSl• 4

Û-^^î^-^F^

4-t-lH-jj—h-j- -+-»

jrn-rfcs:

sSp £t*^Ê^=P=*

I'M1

No 2.

z;—t_a_i—1_—u—^—m —t^—u—^—». -M-—(—q-i—m—m—m—m—t

mi a i ±*IS N

§?*5§tB-lÊt W—V—V-

w=w^=

*—*—V—V *=£V ¥ ¥.

m^^,^=^

-j st—r—N

-4 I—S l_|

e£e£nrrpf

E=zbJ5=$-& E i —E&FJ$

-9-f-

> IV 1/ f r V V V n I [) [i [) ]/ '-1 1 1 •-r

/ 1/ l> 1> I

* IS

^^ggjg^^

■Jj^j L1J.2J j

? ? ? I-* * i i afc

-t=t=t=ui 4=•#—•- _ _H F- 1 K

V V V -v1

Write the scale of G fc major. Write chord in three positions on

every degree of the scale.

18. The minor scale relative to G k major, is formed by taking E ft as

the first degree, (or key) of the scale.


Ex. E!2 minor.

£Em

-<B *

-&>—a--

$

IK

iî&i5E§§:^zit^z

te=ZL

i 2 3 4 5 |6 7 8

gfe afe tò cl2 d!2 e|z f gt2


IK

«BEE:a: ;_£??—

^2Z'2»-&S>-

12345678 la si do re mi fa si la

gt? afe bj2 cjz dz efe f gjj

i Ê=faaJZ|,^^=^=:


IK

55jz=:te£=rEté te—v-

-*=**=-&=&~25'—s^-


Exercise illustrating both forms of the scale of E£ minor.

Harmonic.

fcB-ittr-4 ;—1—'i-hH-5-n"-

fl 11—1—

—1=—

W^j J J-J^3=E•HF--Ji^L-jjfc ■-J :

5&*fct>- ' J

3=3= it*

1gJ^-g-»1-*

F=t HB*.

^f:*=£

* J.'Jl=*rrf^:


P§I

Harmonic.

itzd±E=iz-|—rr-,-r;flj-,-»-*-E^J:tz

§&

g gap, g gaa- â..^.

ii3=7:

^

±=t -F- .# 1 rfe 1 M2-rt

Read exercise in E5: minor by letters and syllables.

19. The following exercise will illustrate the transposition of major

scales by flats, and enable pupils to take the true pitch of each /scale

from the preceding one. After singing the scale of C major, at the cor

rect pitch, sing the small notes written in this exercise between each

scale, and apply the syllable do to the last note of the gr6up, then sing

the scale as written. After repeating the exercise until perfectly

learned, give the correct pitch of each scale without the aid of the small

notes.

Key of C major.

\J

.* rs lil1 > 1

-gft- =. m & ° . - ° en » -1—_1 U 1.

1234567887654321 1234

do do re mi fa

F major. - do

3_ -rj—&-r'Zt—ir. • wp-4Ft— —ZT-®-^— ^-S-27— -J—| r_ 1-

-im-> „ rj o"^ 1-2 . \ 1 1 1 10 4 !• J ! ' IIj. \j es 1-

« " •*. -*-. .

12345678 87654321 87654

do do si la sol fa

do

B]? major.

fj g- -<g—p-

-»—p-q=t

T

i^-o—e> .&—Z2-

I23456788765432 II234

do do re mi fa

Ekmajor. do

-fc

253S

3C

12=

5=Jpm

12345678 87654321 8765 jL_

do si la sol fado

do

RUDIMENTS OF MUSIC- 83

A \z Major.


1. What rule has been observed in the transposition of Major scales

by sharps? How may the same rule be followed in transposing the

scales by flats? What letter will be taken as one of the scale in the

first transposition by flats ?

2. On what degree will the same tone be found by counting upward

from C?

3. What new character is used in the scale of P major? Why? Name

the letters which belong to this scale? Sing as directed, exercise No. 1,

section 3. Read and sing exercise No. 2, by letters and syllables.

4. From what degree of the scale of F major, is its relative minor

scale formed? What letter is taken as one ? Syllable? Read the let

ters and syllables of both forms of the minor scale in exercise No. 1

section No. 4. What term is used when the four voices sing the same

notes ? Sing exercise No. 2, keeping strict time.

5. What letter is taken as one of the scale in the second transposition

by flats ? On what degree of the scale of F major is it found ?

6. What new flat in this scale? On what degree is it found? Read

the letters belonging to the scale of B|2 major. What is the signature?

Read and sing exercise No. 1 and 2, section 6 ;


7. From what degree of the scale of B t major is its relative minor

scale formed? What letter is taken as one of the scale? What syl

lable. Read and sing exercise No. 1 and 2, section 7.

8. What letter is taken as one of the scale in the third transposition

by flats ? On what degree of the scale of Bfe major is it found? What

new flat in this scale ? Name the letters belonging to the scale of E ?

major.

9. What is the signature of the key ? State the position of the flats

on the staff. Read and sing exercise No. 1 and 2, section 9.

10. What minor scale is relative to the scale of E V major? Name the

letters of the scale.

11. What signature is used for the scale of C minor? Why? Sing

exercises No. 1 and 2, section 11.

12. What letter is taken as one of the scale in the fourth transposition

by flats? On what degree of the scale of Efr major is it found?

13. What new flat in this scale ? On what degree ? What is the sig

nature ? State the position of the flats on the staff. After naming the

letters belonging to the scale of At> major, sing exercises No. 1 and 2,

section 13.

14. Name the letters of the scale of F minor. To what major scale is

it related ? State the difference between the harmonic and melodic scale

of F minor. Read and sing exercises No. 1 and 2, section 14.

15. What letter is taken as one of the scale in the fifth transposition by

flats ? On what degree of the scale of A k major is it found ? What

new flat is used in this scale ? On what degree? What is its signature?

Read and sing exercises No. 1 and 2, section 15.

16. Name the letters of the scale of B fe minor. To what major scale

is it related ? Why ? Read and sing exercises No. 1 and 2, section 16.

17. What letter is taken as one in the sixth transposition by flats? On

what degree of the scale of Dk major is it found? What new flat in

this scale, name the flats in the signature and their position on the staff.

Read and sing exercises No. 1 and 2, section 17.

18. Name the letters of the scale of Efe minor. To what major rela

ted? Sing exercises section 18.

19. After reading directions in section 19, give the correct pitch of

each scale as written.


LESSON. 9.

1. Having thoroughly learned the lessons taught in the preceding

lessons, pupils are expected to read music constantly from other selec

tions than the exercises already given. They should review the lessons

until the ideas are firmly impressed on the mind and memory, be able

to give the name of every scale or key, with the letters in their order,

and the sharps or flats belonging to each scale, with their position on the

staff, and answer promptly all questions from memory.

2. Pupils should now learn to recognize by the ear, the distance be

tween the degrees of the scale; these intervals should be played, sung,

and listened to, until on being heard, they are immediately recognized

as special intervals of a given scale or key.

3. Ex.

No. 1. No. 2.

I;

m IS=H=2£__«_J5L^_

a) <g-a-g> _ Hfcr+—«>

2 3 4 5i3S3i1 2 3 4 s 1 3 5 3. 1

do re mi fa sol do mi sol mi do do re mi fa sol do mi sol mi do

Ah ah ah Ah - -

No.

3 4 5 1 3 5 3 »

mi fa sol do mi sol mi do

1

In exercise No. 1, we have tones belonging to the first five degrees

of the scale of C major. After singing them by the numerals and syl

lables of the scale, also the syllable "Ah," sing in the same manner No.

2, in the key of G major, and No. 3, in the key of D major. In the

three exercises we have the same degrees of the scale, the difference

being that of position, and pitch of the tones.

4. If these or other tones are performed in connection with those

that plainly indicate the key to which they belong, they should be named

by the pupil as soon as heard, giving syllable, and degree.

5. The necessity of a cultivated ear is readily seen. Pupils should

acquire the habit of listening attentively during the performance of a

musical composition, and endeavor to recognize by the ear, the degree

to which the tones belong. This ability adds much to our own musical

enjoyment, and assists us in retaining in the memory what we have list

ened to with delight.


6. The following exercises consists of the various intervals of the

scale, and may be transposed into many keys. They should be sung or

played until each tone or distance is perfectly comprehended and the

pupil is able to give the name and pitch of any tone whenever called

upon to do so.

No. i.

i^His^si 3 i

do mi

ah

I 2

do re

ah

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I 3 I

do mi

ah

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do fa do fa

ah

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do

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do la - -

ah

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do fa do fa do do sol - . do la - -

ah • ah - ah

I

do

ah

»

-?

i 7 I 7

do si - -

ah

i^=îp|^l^zll8 i 8

do do - -

ah

i 8 i 8

do do - -

ah • ■


n

No. 2.

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fry „ ,- -i 1 -1 IIs± .1 rr

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mi

5 8

sol do

5

so

3

mi

1 3 5

sol

8

do

3

mi

8 .5

do sol

3

do do mi

Ah

mi

Ah

19-

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1 3 5 8

sol do

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sol

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mi

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3 5

sol

8

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3 8

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5

•1

3

mi

t_

do

Ah

mi do mi

Ah

mi sol

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'3 5

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3

mi

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5

sol

2 4

fa

6 2

re

6 4

fa

2

re

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sol

Ah

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re

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mi sol

3 8 5

sol

2 4

fa

6 2 6 4

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2

resol do mi do re

An

la re la

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3 6

la

8 3

do mi

8

do

6

la

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mi

4

fa

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6 8

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4

fa

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6 4

fa

iKS-•

mi

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3

mi

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4

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do

4

fa

8

do

6

-si

4

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la do la mi la

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5 7

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2

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sol

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sol

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Ah

si sol


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Ah

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la do re mi re si la

Ah

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si re fa mi re si sol do

Ah

Sing exercises No. 3 and 4 in the same manner as above.

No. 3.

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No. 4.

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Other exercises may be added at pleasure.

7. Having acquired the ability to recognize single tones by the ear,

pupils should listen to chords in all the positions, and by careful atten

tion they may learn to name each chord and its position, tell its theo

retical name or degree of the scale to which it belongs.

8. The following exercise may be read by pupils, giving name of

chord and position, with theoretical name, also tell which are major,

minor, or diminished chords.

9° RUDIMENTS OF MUSIC.

No. 1.

ist position.

sol -frS>-

mi-^9-

Tonic.

2d pos. ist pos.

~do-

~la

-mi 3l9-

a

Sub-Mediant.

-re 86-

_f.S_.4J2_

Super-Tonic.

i

ist pos. 3d pos. 2d pos.

I3____S_:

-eol

-mi Si=:

Tonic.

-si -7.

-sol -fr<

-mi -at!

Mediant.

_?eg_-mi' *9—

Sub-Med.

3d pos. 2d pos,

Sub-Dom. Super-Tonic. Leading.

3d pos.

Dominant.

1st pos.

ir__5

•»i-7g

-6ol-fr9

Mediant.

3d pos.

mi 3

-do

-la

Sub-Med.

ist pos,

-ft4(9-

Zdo'RQ^

_M__L

Sub-Dom.

3d pos.

—ft f*#_

- _/ re*,«

2d pos.

mrsmi 3rv

•eol-5^-

2d pos.

-reJ_-_?-

-si7_?-

;_____;

Leading tone. Dom.

2d pos.

2d pos.

-si-7(«sol -fr_

re--SO~

Dominant.

ist pos.

2d pos.

-mi 3^_

-sol -fr^-

Tonic.

ist pos.

-8015Q.,

-re4M

-si7d

3d pos.

Tonic

2d pos.

ESSEm'&(9-

Leading tone.

1st pos.

iD-a:

6gT

Sub-Med- Sub-Dom. Dom.

*

Tonic

v


No. 2.

The same exercise in key of A major. Read as on page 90.

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ah I

lg=

VI II

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V

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IV

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VII.in

-s>-

VI II

ii=l=

1=-«>-

III VI IV

I—s>-

VII" VI IV

(Transpose into several keys for practise).

•B7•

V

9. After reading the chords in both exercises as directed, sing the tones

separately by the numerals and syllables of the scale, and "Ah," then di

vide the voices in three parts and sing the notes of each chord simul

taneously. Afterward let the pupils listen while the chords are played

on an instrument, and, by a little practice of this kind they should be

able to give the name of each chord as soon as heard.

10. Many persons possess the faculty of imitation and a natural ability

to sin"- or play what they hear without being able to define the tones or

show an intelligent comprehension of their musical performance, and

they may enjoy much pleasure in this manner; when to this natural ability

is added a correct knowledge of music, there is afforded a source of

pleasure which the mere imitator can never enjoy.

11. It will be noticed that in the lessons already written, all of the ex

ercises began on the accented part of the measure. A piece of music

often begins on an unaccented part, as follows ;—


First eight measures of Part Song, "Farewell to the Forest."—Mendelssohn.

Ex. , K

Igs j 1 M —M.zn

f rr jrrr

i

(^

JL- I A i

fee^F^ rrrrff=f=

A

|^

jgjgî a

satfc

f1 i ' u

When this is the case in a song without woeds, or any other In

strumental composition, the reason may be given, that by this means, the

musical thought of the composer is better expressed.

12. When words are set to music it is generally arranged according to

the accent belonging to the words, or to the long and short syllables.

Read the following exercises, name the accented parts of the measure,

and words.

No. i.From " Peasant Wedding March." by A. Soderman.

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X T--*—=!- X --X

The sun is bright-Iy beam - ing From heav'n with gold - en

I ig^PP^j3=3w—1-

light, Buth'd in its gold are gleam - lag, Wood vale and mountain height.

No. 2.From " A Christmas Carol." by J. Barnby.

P3

za=iz £3E*EEEJ-L^-_J^

Ho - ly night' peace -ful night! Thro' the dark-ncss beams a light;


k^-eS I-->- £3rg-r*^*--

Ho - ]y night I peace -fal night; Thro' the dark-ncss beams a light.

13. When a piece of music begins with an incomplete measure, it gen

erally ends in the same manner, the two parts of a measure (at the be

ginning and end of a piece), making one complete measure.

3=4=± 3=F

f » f. :

i=t

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t—ii i I -*—*-

14. Words have been purposely omited in the exercises of the preceed-

ing lessons, that special attention may be given to reading the notes.

It has often been noticed in singing classes, that there are many who

wait until the words are to be •sung, and then, having a ready ear to

catch the tones of the song, unite in singing with those who have by

study and strict attention learned to read the music correctly. No such

opportunity is here afforded, but all are urged to perseeere until the les

son is fully understood.

15. The syllable "Ah," may be applied to the exercises after the notes

are learned, and the pupil is sure that the tone is correctly sung. As

soon as the syllable belonging to each tone is understood and the pupil

is able to sing it promptly, it will be easy to apply words to the music.

Sing the following exercises by the syllables — afterward, sing the

words.


Selection from " Oratorio of Creation " by Haydn.

i

No- i.

2 £b -t

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T-f-r r .

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fSf f-

The heav - ens are tell . Ing the glo - ry of God,

mmi=r^=±=rh±=l

m

l—1—I—I—r

jL J. j J. A. J. J.

*=*= J^

1j i i 1—i-

The won-der of his works dls - plays the fir - ma • nent.

No. 2. From four part song, " Sweet and Low." by J. Barnby.

fop

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-£-q=

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g

J-T^J

r£t =s»=;

E £^?-i uh (7—1- ^—&—IT-1 *

Sweet and low, sweet and low; Wind of the west-ern sea,

^m<•*/>

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rnr3: =Se 3fc

1

1/

f ^Ji J Vrî

i^-r-rLow, low, breathe and blow, Wind of the west - ern sea.


No. 3. From Triumphal March, Oratorio of " Naaman."

q=

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With 9heathed swords and bows unstrung, and spears and shields with

§1=1

::=!=

mgar - lands hung, Our might - y men of Vai - our

:fc:FF^-s—&: &iz

-j LI 1 *_ 1

Our glo-rious Cap- tain of the war re-turn-eth in hiscome,

i±-*r

^

bra - zen car, Tri- umph- ant, tri- umph - ant to his home.

16. The necessity of comprehending the distance from one tone to

another by a sort of mental process, is now realized, and will greatly

aid the pupil in the effort to read at sight. In fact, a musician should

have such a correct idea of tone, that on looking at a musical compo

sition, the effect to be produced by its performance, should partly

present itself to the mind before it is heard.

1,7. All persons, however, do not possess this faculty, and it may be

said to be one that is acquired through patient study and careful train

ing, aided by a deep love for the art, and a good ear, capable of the

highest cultivation.

18. We hint at possibilities for the young who are commencing the

study of music, with the hope that they will feel that there is much to

be acquired that will make them the musicians of the future, through

patient, persevering effort.


19. No one should be discouraged from attempting the study of music

by a too early consideration of the many ideas to be gained,or the earn

est work needed. It is only in climbing step by step that we reach the

highest round in the ladder ; so in music, one idea thoroughly learned,

will give the desire for another, until a multitude of ideas find a perma

nent place in the memory. The careful, conscientious work performed

by the earnest student will result in pleasure and satisfaction, and richly

repay for all the hard study required.

20. It may not be necessary or truly desirable that all who love or

study music should be thorough musicians. A perfect knowledge of

the rudiments 6/ music may be universal, enabling its possessor to find

enjoyment in vocal and instrumental performances, and to unite with

others in giving and receiving pleasure, which is derived from even a

limited knowledge of the science, and in elevating and refining the

mind, filling it with holy aspirations and harmonious feelings. Those

who do not intend to follow the art as a profession will not be expected

to search deeply for the treasures which lie hidden beneath the outward

form that is presented to the eye, but will be content with a sufficient

amount of musical knowledge to enable them to enjoy much real pleas

ure in this delightful art.

21. Those who are to be the teachers and musicians in the years that are

to follow, will delight to search out and discover the beautiful forms of

musical thought as written by the best composers of the past and pres

ent age, and in this effort find an ever increasing delight. They will

study many larger works, and with a love for knowledge, investigate

the principles of the science, and make themselves competent as in

structors, such as shall be needed in the present and future progressive

state of musical art.


1. State in your own words the advice given in section 1.

2. How may pupils learn to recognize the distance between the de

grees of the scale f

3. In what key are the exercises of section 3 written ? On what

degrees of the scale are the tones of the exercises written ? Sing them

in order. Transpose to other keys.

4. What is stated in section 4 1 (After a chord has been struck on

an instrument to indicate the first degree of any key, let other single

tones be struck, and the pupil name them promptly.)

KUD1MENTS OF MUSIC. $7

5. What habit should the pupil acquire ? What benefit is derived

from this habit ?

6. Practice the exercises of section 6, transposing into various keys.

7. What should a pupil now learn as suggested in section 7 ?

8. In what key is exercise No. 1, section 8 ? Give the name of the

first chord. What letters form the chord ? What numerals T Syllables?

Sing the tones of the chord in this order, 3, 5, 8 ; 5, 8, 3 ; 8, 5, 3 ; also by

syllables and " ah." Pursue this course with every chord.

9. Let the pupils listen while the chords are played, and endeavor to

recognize and name them correctly.

10. What natural ability do many persons have? What should be-

added to this ability ?

11. On which part of a measure may a composition commence ? Why

does a piece often begin on an unaccented part of the measure ? Sing

exercise, section 11. Name the key, time, accent, also on what part of

the measure the first note is written.

12. How is music arranged when words are used in connection with

the notes ?

13. What rule is followed when a piece of music begins on an incom

plete measure ? In what key is exercise, section 13 ? Which is the

accented part of the measure? What count is given to the first note?

On what part of the measure does the exercise end ?

14. State the reason for the omission of words in the preceding

lessons.

15. When will it be easy to apply words to a song? In what key are

exercises No. 1 and 2, section 15, written? What kind of time in

No. 1 ? Sing by syllables of the scale and " ah," giving correct tones.

Apply words. What kind of time in exercise No. 2 ? What part of

the measure is accented t Sing as directed for No. 1. In what key is^

exercise No. 3 ? On what part of measure does it begin ? What kind-

of time ? Read and sing as directed for exercises 1 and 2.

16. What knowledge will aid the pupil in reading at sight? What

idea of tone is necessary for the musician ?

17. How may the faculty spoken of in section 16 be acquired ?

18. What is stated in section 18 1

19. What encouragement to study is given in section 19?

20. What musical knowledge maybe universal? What pleasure is

derived from this knowledge ?

21. What will be a source of pleasure and profit to those who are to'

be trained as teachers and musicians ?


LESSON 10.

1. In this lesson, we give a few of the terms and marks of expression

used in musical compositions as a guide to the student, giving an idea

of the composer's intention, and assisting the performer in the effort to

give the correct expression to a piece of music. Many other terms are

to be found in larger works of instruction which no pupil should neg

lect to study. Those who have conscientiously studied and committed

to memory the contents of this book have laid the foundation on which

to build their future knowledge of music, and may pursue the study

intelligently and with success.

2. The accentuation of the parts of a measure should receive due

attention ; it tends to increase our interest in a musical performance,

and render it more enjoyable. Beside the accents taught in lesson 3,

characters are used to indicate the special emphasis given to parts of a

measure. The degree of force is always regulated according to the

passage over which the accent i# placed ; by this, we notice that the

accents of a passage marked / (forte), ov ff (fortissimo), will be much

stronger than those of a passage marked |? (piano) or pp (pianissimo).

3. In studying a composition in which the marks of accent are writ

ten, the pupil should try to produce the effect intended by the com

poser. The following characters are used to indicate a strong accent.

msfz

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E£*flS^Ê1

sf, sfz (sforzando), or rf (rinforzando), when written over a note,

indicate that it is to receive strong emphasis.


4. Staccato marks are placed over, or under notes in a measure,• and

indicate that the notes are to be performed in a detached manner ;

Ex.

No. i. Full Staccato.

3=J=

^m i^r^-=+

-S-H 1-

No. 2. Half Staccato.

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In example No. 1, we have full staccato marks ; the notes receive

one fourth of their time value, and are treated as if an eighth and six

teenth rest were placed after each note ; In No. 2, we have halfstaccato

marks ; the notes receive one half their value, and are treated as if an

eighth rest were written after each note.

No. !• Written-

2 T=£

mm iIE|=£ t=t

Performed.

No. 2. Written.

P5 isJE*i

Performed.

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5. The following characters and terms are used to denote expression.

Ex. —— indicates a gradual increase of tone ; : — a gradual de

crease of tone ; < > first an increase, afterwards a decrease ; <Jim.^=—

cres.—=cL The following terms and abbreviations are also used; f (Forte)

loud; ff (Fortissimo), loud as possible; p (Piano), soft; pp (Pianissimo),

soft as possible ; mf (Mezzoforte), rather loud; mp (Mezzo piano), rather

soft; crescendo, (or cres), with a gradually increasing power of tone;

diminuendo, (or dim), a gradual diminishing of intensity of tone ;

[See Dictionary of musical terms.]

996263A


6. Many characters and terms are used to assist the student in giving

expression to a musical composition. True expression must come from

the soul ; There must be an inner conception of the composer's mean

ing, and ability to grasp the idea, and to be so thoroughly filled with it,

that during the performance of an instrumental composition, the theme

and its treatment, or, if a vocal composition, both words and music shall

seem to come forth from the soul of the performer, and awaken a respon

sive feeling in that of the listener. Expression may be called an inborn

faculty ; while it exists by natural endowment, it must be strengthened

and directed by right instruction and cultivation, and a refined taste and

nice appreciation of the best forms of musical thought be acquired and

retained.

7. In lesson 2, time is spoken of as being comparative, as seen by the

different kinds of notes in a measure. The absolute time of a compo

sition is generally regulated by terms used in music to indicate the de

gree of motion required for the correct performance of the composition

over which the terms are written. The following are some of the terms

commonly used ;—.

Largo, Lento, Adagio, indicate slow movement;

Andante, Andantino, Larghetto, moderately slow;

Sostenuto, sustained ;

Allegro, merry, cheerful ;— Animato, animated, lively ;

Allegro agitato, strongly excited with joy;

Presto, quick ; Prestissimo, as quick as possible ;

Accelerando, accelerating the time ; Stringendo, pressing forward ;

Rallentando (or Rail), becoming slower; Ritenuto (or Rit), slower;

[See Dictionary of musical terms].

8. In addition to the rests represented in Lessons 1 and 3, another

form is sometimes used to indicate that two or more measures are to be

passed over in silence.

Two measures. F»ur measures. Six measures.

Ex.—

tr

Figures are also used to indicate the number of measures in which

rests are to be observed ; this method saves time and space which would

be required in writing a largo number of rests; (see exercise No. 1,

Lesson 9, section 15).

RUDIMENTS OF MUSIC. IOI

Measures.

23 57

lm

9. In studying orchestral and other musical works, it will be noticed

that the c clef ( |^| ) is often used. It is represented on different de

grees of the staff, as follows :

Soprano clef- Alto clef. Tenor clef.

m—IS

One lined C.

-<s-

One lined C. One lined C.

The use of the C clef is fully explained in works of instruction in Har

mony and Composition.

10. After the pupils have acquired a thorough knowledge of the notes

in every key, and the ability to read and sing them promptly, they

should learn to read at sight. There is needed a quick eye to see many

notes at the same moment, also, such a correct idea of tone as will en

able them to pass from one degree to another, however great the dis

tance (or skip), and read the notes without hesitation. Select at first

(for vocal practice), a simple composition; sing it through with or

without instrumental accompaniment. In the first efforts of this kind,

some mistakes will naturally occur, but perseverence will enable the

pupil to conquer all difficulties.

11. The following exercises may assist pupils in reading at sight.

Sing them through without stopping to correct mistakes, using the

syllable " ah," (instead of the syllables of the scale) ; repeat many times

until sure of having sung them correctly.

No. 1.

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12. The pitch of a scale may be given by other means than that named

in lessons 7 and 8. This ability can be acquired after progress has been

made in the study of music, and will enable those who sing without the

aid of an instrument to give the pitch of a key, however remote the dis

tance from a given sound. The following simple method for practice

may assist beginners in obtaining the true pitch of any key. Those

who can give correctly the pitch of the key of C major ( or obtain it by

means' of a tuning-fork ), and sing by skips any of the tones belonging

to it, also those of the chromatic scale, can readily associate the tone

sung, with a scale, the first tone of which, is found on the degree of the

staff represented by the pitch of that tone ; apply the syllable do to this

sound, and at once there arises in the mind the idea of a new scale. If

a selection in the key of C major has been sung, and another is in the

key of E major, it will be easy to pass from C (do), to E (mi), and ap

ply the syllable do to this tone, and thus obtain the true pitch of the

key of E major ; or passing from c to A£ major, it is easy to think of afe

as a half-step below a ; apply first, the chromatic syllable le to this tone,

and then do, and we have the pitch of the key of A£ major. By this

simple plan the pitch of any key can be given. Those who are ad

vanced in the science of music have other means of giving correct pitch,

aided, perhaps, by their knowledge of chords and the keys to which

they belong, and also by a mental comprehension of the distance from

one degree to another, or a correct idea of tone.

13. Syncopation is a form of writing notes in a measure by means of

which, the accent is given to an otherwise unaccented part of the

measure.

Ex. jm J U J ^^Hf-T+iMI

14. A musical composition may begin in one key, and during its pro

gress a part of it may be changed to another, after which it returns

to the key in which the first movement was written ; this change of key

is called Modulation. When only two or three measures indicate a

change from the key indicated by the signature, such a change may be

called a transient modulation. A permanent modulation takes place

when the part so changed begins and ends in the new key ; it then re

quires a new signature which is retained as long as the part remains in

the new key, after which there is a return to the original key and

signature.

RUDIMENTS OF MUSIC. I07

The following selections will illustrate Modulation :

No. 1. 12 measures from the " Credo," in Stearns' Mass in D.

Chorus.

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Solo. Contralto.

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The first eight measures taken from the chorus are in the key of G

major ; this is followed hy a solo which is written in the key of C ; a

modulation has taken place. At the end of the solo, there is a return to

the key in which the first movement is written (G major).

No. 2. Eight measures of the March from the "Capriccio," Op. 22.

Mendelssohn.

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By studying these and many other examples, it will be easy to tell

when a modulation has taken place.

15. Small notes, and groups of three or four notes are sometimes used

in music and serve as embellishments. The following are some of the

forms in which they are written.

No. 1. Appoggiatura.

Written.

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No. 2. Accacciatura.

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No. 3.

The Turn.

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In example No. 1, the grace note receives one half the value of the

succeeding note. In No. 2, it is performed rapidly without reference to

time value. The Turn when written over a note, as in example No. 3,

indicates that the note above and below the chief note is used to form

the group. A sharp written over a turn indicates that the first note of

the group is chromatically raised ; when written below, the last note of

the group is raised. (See Ex. 5 and 6.)

16. Among the numerous forms in which vocal music is arranged, we

may name the following as those most commonly met with : The one

part song, or Solo (generally with instrumental accompaniment); the

Duet, for two voices, or two-part song ; the Trio, or part song for three

voices ; the Quartette, or four-part song ; th\3 five-part song, or Quin

tet for five voices ; also, Anthems, Motets, Glees, and Choruses, in

which a large number of voices unite. These various forms, and many

others, may be studied, and will afford pleasure and profit to the pupil.

17. A Quartet for mixed voices is arranged for Soprano, Alto, Tenor,

Bass ; the same forfemale voices is arranged for two sopranos and two

altos ; for male voices, as first and second tenor, first and second bass,

the Duets, Trios, and Quintets, are arranged after the same plan accord

ing to the number of voices required. The following examples will

illustrate some of the forms of arrangement.

• ERRATA.

Page 108.—Ex. No. 4. The Turn should be placed between the

two notes.

Read after the word 'group" in section 15, same page.— When

the Turn is written between two notes as in No. 4, the chief note is

heard before the group.

RUDIMENTS OP MUSIC. I09

Ten measures of Soprano solo, "O For the Wings of a Dove-''

No. 1. Solo. Mendelssohn.

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18. The selections given will suffice as examples of some of the forms

in which music is arranged. We hope that an interest may be awak

ened that will lead to the study of many choice compositions, and the

cultivation of a refined taste in musical knowledge and a love for the

good and beautiful in Musical Art. The lessons will end with the fol

lowing terms used in music in addition to those already given ;—

Affetuoso, with tenderness and pathos.

Appassionato, with intensity of feeling.

Ad Libitum, at will or discretion.

Affabile, courteously, pleasing, elegant, lovely.

A mezza voce, in a subdued tone.

Assai, very, extremely (as Allegro assai, very quick).

A tempo, in time.

Brioso, with brilliancy and spirit.

Canlabile, in a graceful and singing style.

Energico, with energy.

Con, with ; as, con anima, with animation and feeling.


Con jlbbandone, with passion and sentiment.

Con Moto, with agitation, anxiously.

Legato, in a smooth and connected manner.

Beligioso, with religious feeling ; in a devotional manner.

Sempre, always. Sempre staccato (always staccato), sempre legato, &c.


1. Of what use to the student are the terms and marks of expression

used in music ?

2. What is said of correct accentuation ? How is accent regulated ?

3. What duty of pupils is stated in section three ? What terms and

marks of accent are given in this section ?

4. What is indicated by staccato marks ? State the value given to

notes over which full staccato marks are placed. Half staccato.

5. What is indicated by the characters given in section 5 If Give the

definition of the terms of expression in section 5.

6. State what is written in section 6 in regard to expression.

7. How is the absolute time of a composition regulated ? Name some

of the terms used to indicate the degree of motion required.

8. State what is written in regard to rests in section 8.

9. Give the names of the C clef as represented in section 9, and the

degree of the staff on which they are placed.

10. What is written in section 10 in regard to reading at sight ?

11. Practice exercises, naming key, time, accent ; sing by syllable

"ah."

12. Read carefully the suggestions in section 12, in regard to the

pitch of the different keys.

13. What is Syncopation ?

14. When does a Modulation take place ? Explain the difference be

tween a transient and permanent modulation. Name the keys in which

each movement is written in exercises No. 1 and 2, section 14.

15. Name some of the embellishments used in music. What is stated

in section 15 in regard to the appoggiatura, accacciatura, and turn ?

16. Name some of the forms in which vocal music is arranged.

17. Name the various arrangements for quartets as given in section 17.

Read the exercises, naming the key, time, kind of notes, accent.

18. Study the terms used in music, and endeavor to give the correct

expression to the performance of musical compositions. Review the

lessons constantly, until able to answer all questions with promptness.

I

AUG 1 7 193S

■-

I

Documents

musictheoryexamplesbywomen.com€¦ · .I: »-i 996263A PREFACE Duringmanyyears ofexperience the writerhas taughtaverylarge number of persons to read music, many of whom have rendered