16 ELEMENTS OF VOCAL MUSIC. § 101. It will be perceived that if the fifth of any key, natural, or || flatted? Ans. B. Why is B b necessary in the key of F? How much with sharps in the signature, be taken, as one of a new key, a new sharp higher is the key of F than that of C? How much lower? must be introduced, viz: on the fourth: which sharp fourth becomes the Tunes in F may be introduced. seventh in the new key. KEY OF E; FOURTH TRANSPOSITION BY SHARPS. KEY OF B b, SECOND TRANSPOSITION BY FLATS. § 108. The fourth from F, (Bb,) is taken as one; and the scale § 102 Examine the key of E in connexion with that of A? and investigated as before. They will find that E, the seventh in the key of F, must be flatted. proceed as before. Questions after the same manner as at § 99. Sing tunes in E. § 103. It is not necessary to proceed further in the transposition of the scale by sharps; as others very seldom occur. CHAPTER. XII. KEY OF F; FIRST TRANSPOSITION BY FLATS. $104. In the transposition of the scale, we have hitherto always taken fire as one of a new key; we will now take four as such. § 105. The teacher writes the C scale on the upper staff, and the F scale (without the signature) below it, and investigates as before. It will be found that from three to four is a whole tone; and a flat must be introduced on seven, of the C scale, on B, in order to preserve the relative order of tones and semitones in the new key of F. 106. The teacher may explain in relation to this transposition after the same manner as at § 95. 107. In the transposition of the scale from C to F, it is carried a fourth higher, or a fifth lower; thus a fourth above is the same as a fifth below. QUESTIONS. Questions as at § 107. Sing tunes in Bþ. KEY OF E b: THIRD TRANSPOSITION BY FLATS. §109. In examining the scale in Eb, it will be found necessary to flat A. Questions after the same manner as at § 107. § 110. If the fourth of any key (natural, or with flats in the signature) be taken as one of a new key, a new flat must be introduced, viz: on the seventh; which flat seventh becomes four in the new key. Introduce tunes in Bb. KEY OF Ab; FOURTH TRANSPOSITION BY FLATS. § 111. In examining the scale in Ab, it will be found necessary to flat D. Questions after the same manner as at ý 107. Sing in Ab. $112. Further transposition by flats is unnecessary. Others, however, may be exhibited and explained, if the teacher thinks proper. For further remarks and illustrations see "Manual." CHAPTER XIII. MODULATION INTO RELATIVE KEYS. § 113. Preparatory exercises. In transposing the scale from C to F, what sound must we alter? Ans. 1. The scholars sing the C scale; then assume Two as One of anothSeven. What must we do with seven? Ans. Flat it. What does the flater scale, which they also sing through; then Three; then Four, and so seventh become, in the new key? Ans. Four. What letter is seven, in on. A scale is formed upon each, as far as the voice extends. the key of C? Ans. B. What letter is four in the key of F. Ans. B þ. 2 They take Eight, Seven, Six, &c. as Five, and complete the scale, What is the signature to the key of F; Ans. One flat. What letter is ascending and descending. ELEMENTS OF VOCAL MUSIC. 3. Similar exercises should be practised, until the scholars can immediately take any sound which is given them, and consider it as any other sourd, and from that form the scale, upwards or downwards. § 114. When, in a piece of music, the scale is transposed, such change is called MODULATION. From C to G. FIRST MODULATION, OR FROM ONE TO FIVE. $115. What is the signature to the key of C? 116. F# is the NOTE OF MODULATION from the key of C to that of G. The sharp fourth is always the note of modulation from any key to its fifth. QUESTIONS. What is the note of modulation from C to G? From D to A? From A to E? From F to C? &c. § 117. When modulation occurs, the melodic relations of the sounds, and often the syllables, applied in solmization, must be changed. according to the new key. § 118. When a modulation occurs from C to G, C appears no longer as One; but, according to the G scale, as Four; A as Two; D as Five, &c. EXAMPLE. 256 7 8 sol la si do § 119. RULE 1. If several notes, on the same degree, occur before the note of modulation, the change is most conveniently made on the last. See the above Example, where the second note on D is changed to 5. § 120 RUle 2. If no two notes, on the same degree, precede the note of modulation, the change should be made on a note somewhat longer than the rest. [B. A. C.-3] 17 § 121. RUle 3. If long notes are not to be found on which the change can be made, we must quickly regard the second or third note, before the note of modulation, as belonging to the coming key. EXAMPLE. 18 ELEMENTS OF VOCAL MUSIC. § 127. These two modulations are the most common. It is not thought necessary to speak of others in this place. Further remarks may be found in the "Manual.” $128. In such changes as usually occur in Psalmody, extending only to one or two measures, it is not advisable to make any change of syllables, but merely to alter the termination of the note of modulation; but in longer pieces, or where the change is continued for some time, not only that part which has the note of modulation, but also the other parts, should adopt the solmization of the new key. and what sounds he flats in descending; and where the semitones occur § 131. In ascending (Minor scale) the third is flatted; in descend ing, the seventh, sixth and third are flatted. $132. In ascending (Minor scale) the semitones occur between Two and Three, and Seven and Eight; in descending, between Six and Five, and Three and Two. § 133. This scale is called the MINOR SCALE, or MODE, (by the Germans moll, soft) because it moves on more softly and gently than the other which we have hitherto practised, and which is called the MAJOR SCALE, or MODE, (by the Germans, Dur, hard.) See "Manual." § 449. $134. Instead of marking the flatted sounds of the Minor C scale, one by one, with flats, as in the above example, we mark them in the signature. b b EXAMPLE. § 135. As Six and Seven are not flatted in ascending, we are now obliged to alter these two sounds from the signature, by the sign of elevation; in this case a natural. $136. It will be perceived that Eb Major, has the same signature as C Minor, viz: three flats. § 137. Every Minor scale has the same signature as the Major scale, which is based on its third. Hence, these two are said to be related. C Minor is the relative Minor of Eb Major; and Eb Major is the rela tive Major of C Minor. $138. The letters and syllables are the same in the relative modes, but the numerals are changed. Thus, the syllable Do is applied to Eb in both cases, although it is One in the Major, and Three in th Minor mode. $139. If the signature is three flats, the music may be either in Eb Major, or C Minor. In which of the two it is, however, can only be known ELEMENTS OF VOCAL MUSIC. oy an examination of the scale or chords, or by the ear, which, when practised, immediately distinguishes the one from the other. § 140. If the Minor scale is practically understood in C, it will be easy to transpose it to any of the other letters. Some of the most common Minor modes should be written upon the board, examined and practised. QUESTIONS. In the ascending Minor scale, what sound is flatted? In descending? In the ascending Minor scale, where is the first semitone? In descending, where is the first semitone found? What two sounds of the ascending Minor scale must be altered from the What is the relative Major scale to C Minor? To D? To E?, &c. What is the relative Minor scale to C Major? To G? To D?, &c. What syllable is applied to One in the Major mode? In the Minor?, &c. Which mode is the most common, Major or Minor? Ans. Major. Which is the most brilliant or lively? Which is the most mournful? Which best expresses joy or praise? Which best expresses surrow, grief, penitence? 19 20 ELEMENTS OF VOCAL MUSIC. QUESTIONS. What is the interval from One to Two called? From Two to Three?, &c. From One to Three?, &c. From One to Four, &c. &c. 142. Major and Minor intervals. SECONDS. A second, including a semitone, is called a MINOR şecond: a second, including a whole tone, is called a MAJOR second. NOTE. The teacher writes the scale on the board, points and questions: What is the second from C to D? Ans. Major. From D to E? Ans. Major. From E to F? Ans. Minor, &c. THIRDS. An interval, including a tone and a semitone, is called a MINOR third one including two tones is called a MAJOR third. Questions as before FOURTHS. An interval, including two tones and a semitone, is called a PERFECT fourth: one including three tones, a SHARP fourth. Questions as before. FIFTHS. An interval, including two tones and two semitones, is called a FLAT fifth: one including three tones and a semitone, a PERFECT fifth. Illustrations and questions. SIXTHS. An interval of three tones and two semitones, is called a MINOR sixth: one of four tones and a semitone, a MAJOR sixth. Questions, &c. SEVENTHS An interval of four tones and two semitones, is called a FLAT OF MINOR Seventh: one of five tones and a semitone, a SHARP or MAJOR seventh. Questions. OCTAVES. All the octaves are equal, including five tones and two semi tones. § 143. If the lower note of any minor interval be depressed, or the upper one elevated, the interval becomes major. § 144. If the lower note of any major interval be elevated, or the upper one depressed, the interval becomes minor. $145. If the lower note of any major interval be depressed, or the upper note elevated, there arises a SUPERFLUOUS OF EXTREME SHARP interval. § 146. If the lower note of any Minor interval be elevated, or the upper note depressed, there arises a DIMINISHED, OF EXTREME FLAT interval. For further examples and illustrations, see "Manual." |