xt77sq8qg09k https://exploreuk.uky.edu/dips/xt77sq8qg09k/data/mets.xml Palmer, H. R. (Horatio Richmond), 1834-1907  Palmer, H. R. (Horatio Richmond), 1834-1907 1872 scores (documents for music)  English Cincinnati: John Church & Co.  Contact the Lucille Little Fine Arts Library for information regarding rights and use of this collection Glenn C. Wilcox Collection School songbooks Choruses (Mixed voices) with piano Hymns, English Songs, English Anthems Chants The Song King: Collection of New and Original Music for Singing Classes, Day Schools, Conventions, &c., 1872 text 1 close score (192 pages) 16 x 24 cm. Call Number: M1495.P26 S6 1871 The Song King: Collection of New and Original Music for Singing Classes, Day Schools, Conventions, &c., 1872 1872 1872 2022 true xt77sq8qg09k section xt77sq8qg09k  

 

 

 

 

 

 

" AUTHOR OF H THE SONG QUEEN," ‘APALMER’S NORMAL COLLEcaroN” ‘QUDIME’VTAL LLASS TEACETNG"
“ELEME’VQb 0A MUSICAL COMPOSH‘ION; ” “11:1“;st SAEUATH— ' . . A
SCHOOL SONGS" Em; Etc ‘

 

 

 

 

 

 

CHICAGO

PUBLISHED BY ROOT & CADY, 612 MICHIGAN AVENUE; ,

 

 

 

 

 

 

 

 

  

 

       
   
   
   
   
  

THE

9‘ SONG KING:

COLLECTION OF NEXV AND ORIGINAL MUSIC FOR

. ,

SINGING CLASSES, DAY SCHOOLS, CONVENTIONS &G,,
By HQ 139 ”AflEJRQ

AUTHOR OF

V“ THE SONG Q KEEN, " ‘ ‘PALMER’S NORMAL COLLECTION,” “R UDIMEN T AL CIASS TEA CHIN I , ’{
“ELEJJIENTS 0F MUSICAL 0 011113 081 TI 0.2V; ” ‘ ‘PALfiIER’S
SABBA TH SOIIO 0L SONGS, ”
3 EO, E’c.

 

, , A."

CHICAGO:
PUBLISHED BY ROOT & CADY, 612 MICHIGAN AVENUE.
1 8 7 1 .

Entered according to Act of Congress, in the year 1871, by Room & CADY, in the office of the Librarian of Congress at Washington,

   

  

Va»,

. "' www‘rwmmW—MW-“ “J, 0.“. _.l .

SUGGESTIONS TI] TEACHERS CONCERNING THE M‘ANNEH OF USING THE GATEGHISML

The author speaks advisedly when he says, that in no way can a singing school be made more Interesting
than by the use of a properly arranged catechism. It has been proven to be an element of great strength in his
own teaching, as all those who were present at the Normal term of 1869 will remember. Let it be understood
that it is not intended to take the place of the teacher’s regular instructiOn, blackboard exercises, etc, but as an
addition to the1n~¥-s01nethingfor the pupils to learn between the lessons. Ten minutes each evening will be

sufficient.

To save time, each member should be given a numeral name Upon joining the class, by which he will be»

called upon to answer questions from time to timea

Before entering the schoolroom, the teacher should make a private list of the members he will call upon to
answer questions, and adopt some marl: to show Whether they answereormctly or not, and preserVe the list for
future reference ‘

The lessons may not be divided. equally. If so, the teacher may change the division accel'ding to the capacw

ity of his clas‘Ses‘, or, accel‘ding to the number of lessons he has to giVe. » , p
' , - THE AUTHOR.

    
 
  
 
  
  
 
 
  
     

     

 
   

Ir
0

a I. The staff is a character used to re resent the pitch of tones. It con-
sists of five lines and four spaces, each 0 which is called a DEGREE. Short
ADDED LINES, above and below, are sometimes used to represent tones which are
too high or too low to be represented upon the staff.

a 2. The DOUBLE BAR denotes the beginning and ending of a line of the
words.

g 3. The CLOSE indicates the end of a composition.

 

 

 

 

 

 

THE STAFF. ADDED LINES. DOUBLE BAR. THE CLOSE.
-.-—"iftli-1tnov~——P—-T.-__ —- .—
———F h-li __ urt spans ~— .—
~sii559ei° ttézt..°£;::.—"“ . H
First space ——————— ~—— ~—

 

 

 

;__E5 b“
. W .—

§ 4.. NOTES are characters used to represent the length of tones. The stems
may turn either upward or downward.

 

 

 

 

 

N 0 TE 80
l t; n l i
i_ l l i‘ A; 2‘ 43 a ‘i‘ “i 1 M fi' [
r . l .4 a " " ' _. T_d:.__ WQ
.6. C’ 7 $4 5: d 19- A

a 5. The DIATONIC SCALE is a graded series of eight tones, each differing
from the others in pitch. Tones are named from the names of the first eight
digits; also from the names of the first seven letters of the alphabet; and also
by syllables, as f0110ws: '

THE DIATONIC SCALE.

 

 

L

L ’3 a Q ('5

I a v (3

L (J V C?

’I
r." , w

hLLL.

.9. a 0 @-
Numcral Names—: 2 3 4 5 6 7 8 8 7 6 5 4 3 2 I
Syllable Names—Do, Re, Mi, Fa, Sol, La, Si, Do, Do, Si, La, Sol, Fa, Mi, Re. Do.
Pronounced— ‘
I’erm‘nt Names— C, D, E, F, G, A, B, C, C, B, A, G, F . E, D, C.
{3 6. A MEASURE is a portion of time, and is represented by the spaces between
two bars.

g 7. BARS are lines drawn perpendicularly across the staff to denote the. ending
and beginning of measures. -

MUSICAL DICTIONARY.

Doe, Ray, Mee, Fah, Sole, Lah, See, Doe, Doe, See, Lah, Sole, Fah, Mee, Ray, Doe. .

 

P-‘Lé-s—i—dri—i—w—a—a—E駧:a=§§:

db

MEASUR ES AND BARS.
Bar. Bar.

 

 

 

 

Meuum

__-l- g?

mud-I-

I , r
_ I
iE' ‘ ' Mensttire_“*ll“*"—Measrlre F Mnaum:

 

Q 8. A measure divided into two parts is called DOUBLE MEASURE, and is
indicated by the figure 2.

DOUBLE MEASURE.

.. L .

 

 

 

Euj +te>r“ti..”‘:s=:ts 3
F—fl-a——-—o-——}d—awa—d—l—E—d—d—3—d—d—-d—-d—l:§—-————}

 

Q 9. A measure divided into three parts is called TRIPLE MEASURE, and is
indicated by the figure 3.

TRIPLE MEASURE.

 

 

 

 

.Lsa : ire—\vsaer—t‘. It? I
[—u—d——a—-——d——[-—d——3——?——d—a—a—t—5 i-—|——d—r—-—j

 

a 10. A measure having four parts 15 called QUADRUPLE MEASURE, and is
indicated by the figure 4.. -

DOUBLE MEASURE.

 

'4 Fla—[*“TT—g'fiilti it—~—»
t2§1fl23::3::2:lg—a—a—9—d—a—-at—.E——a—~a——t—9—— fl

 

 

é II. A measure having six parts is called SEXTUPLE MEASURE, and is indi-
cated by the figure 6.

SEXTUPLE M EASURE.

i 1 T j J . r 1 I 1 4._}_ i 1

'r n . - . l j r . . ._ —‘ v E: 'T:~':_':
FJ—d—o—E— d—d— 3—-t—y——d—a—-_ta-,~—-—a——.—t~ ~ ——.—3 -~.—~ ~

 

 

g m. A measure having nine parts is called a COMPOUND TRIPLE MFASL‘RI'L.

. and is indicat‘edibythe figure 9.

COMPOUND TRIPLE MEASURE.

 

Enij“. NV‘II :1 I;

      

J
F—a— -.— -:.-.¥7— F —--

 

  

 

 

a 13. A measure having twelve parts is called a JCOMPOUND QIADRUPLE
MEASURE, and is indicated by the figure 12.

COMPOUND QUADRUPLE MEASURE.

. . ‘ j i,__,\ i l 1 3 3 L JI
a 1537:; E'c-T—5—3—w—f ———a:F—d~——.—-—d—:~—d——T--—C——-——d———-!
V v

 

 

. a
..,4 .._.._.‘- .V ,

 
  

«2 14. HEATING TIME is the designating of each part ofa measure bya certain
movement of the hand. In DOUBLE measure the hand should move downward
and upward. In TRIPLE down, left and up, or down, right and up. In QUAD—
RUPLE measure, down, left, right and up. In SEXTUPLE measure, down, down,
left, right, up and up; or in more rapid movements, simply down and up, as in
double measure, comprehending three parts to each motion. In COMPOUND
TRIPLE measure, down, left and up, comprehending three parts to each beat.
1n COMPOUND Q\UADRUPLE measure, down, left, right and up, comprehending
three parts to each beat.

DIAGRAMS,
S/zoacz'ng {/15 malfom oft/M Ila/1d in 1/13 rva 'iam kind: qumruru.

DOUBLE. TRIPLE. SEXTUPLE.

QUADRUI’LE.

 

{2 15. A CENT is a slight stress or force given to a certain part to mark its
position in the measure. In DOUBLE measure the first part is accented. In
'J'erm—t measure the first part is accented. (QIADRUPLE measure has a primary
accent on the first, part, and a secomlary accent on the third part. SEXTUPLE
measure has a primary accent on the first part, and a secondary accent on the
fourth part. COMPOUND TRIPLE measure has a primary accent on the first part,
and secondary accents on the fourth and seventh parts. COMPOUND @ADRUPLE
measure has a primary accent on the first part, and secondary accents on the
fourth, seventh and tenth parts. In vocal music these rules are not as binding
now as formerly, the emphatic syllables of the words determining, in nearly all
instances, where the accents should fall.

% 16. The FRACTION, which in modern works always follows the clef, indi-
cates the number of parts into which the measure is divided, and the kind of
.note which fills each part. The Numerator shows the number of parts in the
The

measure, and the Denominator shows what kind of note ‘fills each part.
fraction 4
4

is read thus: Four quarter notes will fill a measure.

BIUSICJLL DICTIONARY.

 

    

THE FRACTION.

 

 

 

‘1 n 0 D ‘3 A A A 11 __.9_._ i _
A ll n r) E “E “F EE 1 , __ __ _____
6) A 0 A O 0 A 8— _ _

LI CF a ‘f (1 £1 ‘F

 

 

Q I7. The SLUR represents the connecting of two or more tones, and indicates
that one syllable of the words is applied to as many notes as are so connected.

 

 

 

 

 

THE SLUR.
r—4———- . .51 1 I a {a I a at c 1
[3.5L 5 '1 _‘_l ' idw' Q". h; 3' i i i— “i
» ‘~_/ \—-——-/
Hal - - 1e - - lu - - iahl A - - - - - men.

a r 8. The TIE, like the slur, represents the connecting of two or more tones;
the difference between them is, that when the notes connected are upon different
degrees of the staff, the curved line is called a SLUR, and when they are upon ’
the same degree it is called a TIE. In either instance, one syllable o“ the words
is applied to as many notes as are so connected.

 

 

 

 

 

THE TIE. .
I P ‘ i g 1 —" F_g' . o ’4‘ l ‘1 ‘13 g_‘wl'—#::P::l!
EE—d—r 3 d = m g a t—a = - . w—t—L———I~——h
\\;_,/ ‘
. .Hur - rah! Hur - rahl Our glo-rious land is free!

g 19. Characters indicating silence are called RESTS, and correspond in length
to notes of the same denomination.

 

 

 

 

 

RESTS.
“'hnle Note Half Note Quarter Note Eighth Note Sixteenth Note Thirty-second Note
nnd rest. and rest. and rest. and rest. and rent. and rest.
l: n ‘I u r n L n x u m‘ I]
'- ii ,i ii .1 rt 11 ‘ 1 n s .., u : -1 u
r u u c. n .. H—3———— H—i——=I——H—d——§—~—.-—H

20. The human voice is naturally divided into four classes. Low male
voices called BASE; high male voices called TENOR; low female voices called
ALTO, and high female voices called SOPRANO.

a 21. CLEFs are used to determine the pitch of tones as represented on the
staff, and also to indicate the parts which are to be sung by these different voices.

age
a 22. The F CLEF shows that the pitches are so arranged upon the staff as to

fix F upon the fourth line, with middle C upon the added line above.

The tone C, which the Base, Tenor, Alto and Soprano have in common, is
called MIDDLE C. It lies midway between the male and female voices.

THE F, OR BASE CLER-
The usual compass of Bass voices.

«raga—.3 r‘“

A B

G clef.‘ g g r clef. c clef. 2:3;

Middle C.

 

 

 

= P "

.J..l.l.l

 

0.1) Ire-ABC

  

 IVIUSICAL DIOTIONAIRY.

§ 23. The C CLEF shows that the pitches are so arranged as to fix middle C
upon the third space. '
THE c, OR TENOR CLEF.
The usual compass of Tenor voices.

 

 

 

 

 

. I ‘- .
Kl [ 1— o _
L .- fig ’ '
L“ = "
-.- a = a Middle
c D E F G A B C D E F G

g 2.1.. The G CLEF shows that the pitches are so arranged as to fix G upon
the second line, with middle C upon the added line below.

ma 0, or. SOPRANO AND ALTO CLEF.

 

 

 

 

Middle The usual compass of Soprano voices. :
./ C p = 1 = *—
%1 .— o =
W a - ,

 

 

.__ ___ _ . _ - C ' l
'a‘ 'a‘ il’Theeusual compass of Alto voices. I
G A B C D E F G A B C D' E F G
Q 25. The BRACE is used to connect two or more staffs, and generally indi-
cates the number of parts which are to be sung simultaneously. Staffs thus
connected are called :1 SCORE.

 

THE BRACE.

THE BRACE.

 

 

0R, :::::—

 

 

 

@26. A DOT, following a note, adds one half to the length of the note.
Thus, a dotted whole note 5- is equal to a whole note and a half-note tied,
5%; a dotted half—note gl. is equal to a whole—note and a quarter—note tied,
5'ng a dotted quarter note J. is equal to a quarter—note and an eighth note

tied, Jvd‘; a dotted eighth note all is equal to an eighth note and six-4

teenth note, tied, Oil/gt, etc. When more than one dot is used, each addition-
al dot adds one-half the length indicated by the preceding dot. Thus, a whole
note followed by two dots 5;” is equal to a whole note, a half-note, and a quar-
ter-note tied, gvd'vd’, etc.

THE DOT.

 

If f) 1 I i l J. a ‘ i: . P F R ' 5 IE- a ‘ [I
I _._ _ '_ :_ __- . I._ ' . ' . —."“’_“‘ "‘ _‘._’—'—
§_Z__g_;_u_t1__¥4__tt.él_r_‘ e. ., , . i ‘ll

The above example is performed as if written as follows:

'd A A
é—B:+—_:a—. it? : g::::l;__':‘::f_—¢:g:p:;A_,—_-g:l:-:p_.—2::H
’ v T —1 . —- v g V l U

:s—z—g— d.

 

U .
3; 27 The REPEAT shows that the preceding passage should be sung again.

 

c1

THE REPEAT.

 

—~'—~——«——-4—4en—H—ma—pnF—p——.~i~v———-——p-~-

:Eia:f::;:ié:2:ill:3_*: *g;t::ig">' ".1.J>J‘..‘:'*r'u
_ " and—0+ 1 ET. 5i- an: i l '1' . —5’—;.:'_b't—
2-25 *2‘ :E5__ __‘c5_ _[g__‘__LQ__fa_i;2—g_‘t _ Jag-j
13 E . E r F l“ l E -

Q 34. The difference of pitch between any two tones is called an INTERVAL.
The interval from any tone to the next in alphabetical order IS called a SECOND;
to the next but one, a THIRD; to the next but two, a FOURTH; to the next but
three, a FIFTH; to the next but four, a SIXTH; to the next but five, a SEVENTH;
to the next but six, an OCTAVE.

§ 35. There are, in the scale, two kinds of each of these intervals—7a larger
one and a smaller one.

2 36. That we may analyze these intervals to better advantage, we have a
means of measttrement called S'I EPS and HALF-STEPS. Half-step is the name
which is given to the smallest interval now in use. Step is the name which is
given to an interval that is as great as two half-steps. We use this means of
measurement (steps and half-steps) very much as the carpenter uses his foot-rule.

Q 37. A second as small as a half—step is called a MINOR SECOND; a second
as great as a step is called a MAJOR SECOND; a third as great as one step and
one half step is called a MINOR THIRD; a third as great as two steps is called a
MAJOR THIRD; a fourth as great as two steps and one half-step is called 3. PER-
FECT FOURTH; a fourth as great as three steps is called an AUGMENTED FOURTH ;
a fifth as great as two steps and two half-steps is called a DIMINISHED FIFTH;
a fifth as great as three steps and one half-step is called a PERFECT FIFTH; a
sixth as great as three steps and two half—steps is called a MINOR SIXTH; a sixth
as great as four steps and one half-step is called a MAJOR SIXTH; a seventh as
great as four steps and two half-steps is called a MINOR SEVENTH; a seventh as
great as five steps and one half—step is called a MAJOR SEVENTH; an OCTAVE
consists of five steps and two half-steps.

 

 

INTERVALS OF THE C SCALE

All the Seconds in the Scale. All the Thirds in the Scale. All the Fourths in the Scale.

 

Perfect. Aug-

'd"
Major. Minor. Major. Minor.
, . V . , ,mented.

\__._..
All the Fifth: in the Scale. All the Sixths in the Scale. All the Sevenths in the Scale.
2.. -

am:- 3‘: e as“ PE- :3? es: tart

- I . . a
Perfect. hed Major. Mm or. M aj hr. Minor.
\._._ ‘3 , - \___,_/ V V ¥_____/

     

IVIUSICAL DICTIONARY.

 

Q 38. As every major second is as great as two half—steps, it necessarily follows
that between any two tones which form a major Second there may be found an
INTERMEDIATE TONE. Thus, intermediate tones may be found between I and
z, 2 and 3, 4. and 5, 5 and 6, 6 and 7, but not between 3 and 4.; nor 7 and 8,for
each of these being only equal to a half-step, are the smallest intervals in use.

a 39. Intermediate tones derive their names from the names of the degrees by
wmcn tney are represented. Thus, the tone between I and 2 is called SHARP
ONE, or FLAT Two; all the other intermediate. tones are named in a similar
manner.

§ 40. The mind and feelings are never at rest while singing or listening to an
intermediate tone, but a-desire is felt that the tone next above or below should
follow. This upward or downward tendency is called THE RESOLUTION, and
the tone which follows is said to RESOLVE’the intermediate tone.

-§ 4r. Thus, it will be seen why two names are given to each intermediate
tone. If its tendency is to resolve upward, it is represented upon the lower of
the two degrees, and called SHARP; if its tendency is to resolve downward, it is
represented upon the higher of the two degrees, and called FLAT.

Q 42. Characters called SHARPS (it) and FLATS (b) are used in representing
intermediate tones. The NATURAL (13* is used to cancel the effect of a previous
sharp or flat. A note with a fibefore it indicates a tone, the tendency from
which is upwardj‘ while a note with a before it indicates a tone, the tendency
from which is downwardsj‘ A note With a 11 before it implies a previous [7 or it,
the effect of which is now at an end. Intermediate tones are generally intros
duced for the purpose of producing effects of short duration; when so used, the
characters which indicate them (it p n) are called ACCIDENTALs, and are subject
to the following rule: Accidental: continue t/zeir significance throng/tout tlzc measure
in rwfziclz they count:

ACCIDENTALS.
TWEE—a—*sm—aE-a—irngtifgfifiE
§1é22ifig:azn¢:srng:imgzfi§; _i:5:s:g:_:g:p.: “311:3:

Q 43. A scale in which all the tones, intermediate and otherwise,.occur in
alphabetical order, is called THE CHRoMATIC SCALE. In the chromatic scale
ascending, the tendency from each intermediate tone is upward; hence it is
represented by the lower of the two degrees, modified, and called .rlzarp. In the
chromatic scale descending, the tendency from each intermediate tone is down-
ward; hence it is represented by the higher of the two degrees, modified, and
called flat.

* A most unfortunate name, as its tendency is to continually mislead the pupil into the belief that
some tones and scales are more natural than others. Ifit was called the CANCEL (“ a limit,” see Web‘-
ster’s Dictionary) its name would be far less objectionable, and would convey to the mind a better id ‘a
of its oflice.

T There are exceptions to this, as to all general rules.

I The additional clause of this rule, as formerly given, namely—“ and from measure to measure until
canceled by an intervening note upon another degree of the staff,” is very properly discontinued by most
of our modem composers, as it is of no benefit1 and causes great confusion. In this book, as in all the
author’s works, whenever an accidental is requ1re‘d in the following measure it is placed there.

 

a

 

 BIUSICAL DICTIONARY. 7

CHROMATIC SCALE.

 

 

 

 

 

 

 

 

 

 

Ascending.
9 . - a H
are _ a fig ,. a. a P w it
J -9- $9- 5 $5 "
I'Permanentl‘iames— C, Cit, D, D3, E, F, Fit, G G1t, A, Art, B, C.
:Syllable Names— Do, Di, Re, Ri, Mi, Fa, Fi, 3b], Si, La, Li, Si, Do.
:Pronounced— Doe, Dee, Ray, Ree, Mee, Fah, Fee, Sole, See, Lah, Lee, See, Doe.
‘Ixummnl Names~ I) #1, 2, +42, 37 4-) \ $4" 5 $5) 6) $6) 7, 8'
‘ Descending.
A " H
7] a in, L . u
11‘ ‘ I :3 U5 ’- h I [1
vv v a h L. n
«J v v4 a ma .9.
"Permanent Names— C, B, Bb, A, Ab, G, Gb, F, E, Eh, D, Db, C.
:Syllable Names— Do, Si, Se, La, Le, Sol, Se, Fa, Mi, Me, Re, Ra, Do.
.Pronounced—-— Doe, See, Say, Lab, Lay, Sole, Say, Fah, Mee, May, Ray, [Rah, Doe.
'Numeral Names“ 8’ 7: i273 6) h6: 5: b5! 4, 3: b3) 2, ‘ b2) 1‘

a 44.. Either of the tones, of the chromatic scale may be taken as one, and a .

scale formed from it,- thus making it possible to form twelve different scales,
each scale receiving its name from the name of the pitch which is taken as 072:.
Thus, a scale formed from the pitch C would be called the C scale; from the
pitch D would be the D scale, etc.

a 4.5. One of every scale is called the KEY-TONE or TONIC of that scale—the
tone whose influence redominates over all others in the scale—and is always the
POINT OF REPOSE. he relationship of the tones and intervals is called the
KEY; thus the tones, A, G, C, F,.B,,E, and D, placed in any possible order of
succession, would constitute the key of C; while it would require the following
order——C, D, E, F, G, A, B and C—to form the scale of C. From this it will
be seen that a key consists of seven tones, while a scale must contain eight.

{2 4.6. Changing the pitch ofa scale, 1'. 5., taking some other pitch as one (see g
4.4.) is called TRANSPOSITION. The same order of intervals must be preserved
as in the MODEL SCALE (scale of C),viz.: from I to 2, and z to 3, must be major
seconds, from 3 to 4. a minor second, from 4. to 5, 5 to 6, and 6 to 7, major
seconds, and from 7 to 8 a minor second.

g 4.7. It is usual to proceed by fifths in transposing the scale, i. 3.,take 5 of the
scale under consideration for I of the scale we are about to consider. Starting
with the MODEL SCALE, we find 5 to be the pitch G; which being taken as one,
A will be 2, B 3, C 4, D 5, E 6. Thus far the order ofintervals is correct, but
F being only a minor second from E, cannot be taken as 7, consequently we
must seek a pitch which will form an interval ofa major second from E; this is
found to be the case with the intermediate tone between F and G, namely, Ffi,
which being taken as 7, and G as 8, we find our new scale as perfect and natural
as the MODEL SCALE ' ‘

 

Q 48. As it would be inconvenient to make use ofa sharp every time 7 of the
scale is wanted throughout the tune, a it is placed at the commencement, imme-
diately following the clef, and serves two purposes—as a SIGN or signature of the
key of G, and the other to show that all the degrees of the stall" which usually
represent the pitch F now represent the pitch Fit.

THE C SCALE.

\Vith G Clef. With F Clef.
1

 

 

 

 

 

E93 *i i pi a i9 '0 1” g “g? ‘3 j I i all ” {:21 u
If}? 5‘; a ‘-' L l I [ ' u _5~‘Fj_5j-d" “E—‘F—JZZHZ
1) 2) 39 4) 5) 62 7) 8- I, 2) 3: 4) 5! 61 7) 8'

Do, Re, Mi, Fa, Sol, La, Si, Do. Do, Re, Mi, Fa, Sol. La, Si, Do
G, A. B. C, D. E1 1’13. G. G. A. 13- C, D- E. Fit. G-

NOTE.-—The position of the scale with the C clef being always the same upon the stat? as with the G
clef, it is not considered necessary to occupy time and space by illustrating it.

§ 4.9. Again, taking D (fifth of our last scale) as I, E will be 2, F3: 3, G 4.,
A 5, B 6; but C being only a minor second from B, cannot be taken as 7 and
we are again obliged to seek for a tone a half—step higher than C; C3; is ound
to be the correct tone, and forms 7; D is 8; and thus we have another perfectly
natural scale by making use of two sharps, (F1: and C ). By placin sharps
upon the F and C degrees of the staff we not only have t e signature 0 the key
of D, but are continually reminded by them that these degrees now represent
Ff; and C5, and that F and C are done away with for the present.

THE D SCALE.

\Vith G Clef. With F Clei‘

 

 

 

 

3Q$ ——.—"1——1—:‘*:‘—;‘l*a‘—5’_ @firz—a*fi“P~E—§£_—_ :
{33 w 9" 5‘ S 5‘ a u k L ilV 3‘ i’ l l L— n
I) 2: 3) 4’ 5; 6: 7: 8' I) 2: 3) 4') 5! 6, 7, 8‘
Do, Re, Mi, Fa, Sol, La, Si, Do. Do, Re, Mi, Fa, Sol, La, Si, Do.
D, E. F11. G» A. B. C3. 13- D, E, F3, G. A. B. C3. D-

a 50. Five of this last scale, which is A, will be taken as I, in our next trans-
position, B 2, Cfi 3, D 4, E 5, F1; 6, Gt; being used instead of G, for reasons
similar to those given at Q 48 and a 49, and A as 8,,making a complete scale
founded upon A, by the use of Fit“, C1; and Gfi. In writing we place sharps
upon the proper degrees at the commencement, which form the signature of the
key of A.

THE A SCALE.

 

 

 

 

 

With G Clef. With F Clef.
M! i a ‘9‘ .. __ ._ A _.
aL—AT—a—o—Cz—L——-—q@a — a a D 0 n
ifli‘z‘fii Q " h 3‘ a 5' a U H
I: 2: 3, 4: 5) 6: 7: 8- I, 2: . 3, 4-, 57 6, 7, 8-
Do, Re, Mi, Fa, Sol, La, Si, Do. Do, Re, Mi, Fa, Sol, La, Si, Do.
A) B! Cg: D! E! Fa Cg! 1" A! B! C; D, E! Fit) Girl A

 

  

  
 
 
 

Q i MUSICAL DICTIONARY.

r2 5:. Five of the A scale is E, which, being taken as 1, F3: will be 2, G1; 3,
A 4, B 5, Cfl, 6, and for 7 we take Dfi, as it is a major second from C , making,
with E as 8, another complete scale by the use of four sharps, viz.: F , Cit, G1;
and Dfl.

THE E SCALE.

\Viih G Clef". With F Clef.

 

 

 

 

  

E 7, and with F as 8 we have a perfectly natural scale with the use of one flat,

). A flat is placed upon the proper degree at the commencement, and, as
in t 1e case of sharps, it shows that the degree upOn which it is placed represents
BlZ instead of B, and at the same time forms the signature of the scale of F.

 

 

 

 

 

 

 

 

u ' . With G Clef. THE F SCALE- vWith F Clef.

fifih—j—fl--——-!—+-:—p—~~2~F—ugaa . , i 7 £- g_,2_fi: n . i ,. .

\‘1/ i :5" 7" 0 i/ [ l L” ly—fi—J—jfi——§— L. 'r_u_ fit ‘1 z . ’2 a 5’) '0 i’ HLQL 1 i l i r, a 59—
, " «st-d” ‘fiva’aa’arirelave'aaaflrii
7: 2) 3) 4-7 5, 6’ 7: 8- I? 21 37 4'1 57 67 7) 8- (J l a ‘l l '

Do, Re, Mi, Fa, Sol, La, Si, Do. Do, Re, Mi, Fa, Sol. La, St, Do. I: 2: 3g 4, 59 69 7) 8' I, 2, 3, 4-, 5, 6, 7, 8.
E, 1"$l,', Git, A, 3, Cit, D3, E. E, Fit, Gill, A, B, Cit, D1; E. Do, Re, Mi, Fa, .801, La, Si, Do. . Do, Re, Mi, Fa, Sol, La, Si, Do.
F, _ G, A, if), , D, E, F. F, G, A, Bb, C, D, E, F.

& 52. B (five of the scale of E) being taken as 1, Ci: will be 2,'Df_‘t 3, E 4,
Ffi 5, Git 6, and, following the correct order ofintervals, we find it necessary to
make use of A? as 7, which leads to B as 8, giving us another natural scale, by
the use offivc s tarps, Fifi, Ct", Gg, D1: and Ag.

\Vith G Clef. THE B SCALE- With F Clef.

 

 

 

 

 

—~ 3% __ . g i.__ L a 1:. 1 1: n p *9 Pu
, .‘"£:§11,”———T‘-3"j—j_;;1—zfi—5~H@H§-$£g‘—b—19-E_Ej——t—4-H
“ at a. a u ., s . J

I, 27 3) 4-, 5) 6, 7) 3' I, 2) 3g 4’ 5, 6, 7'" 8'
Do, Re, Mi, Fa, Sol, La, Si, Do. Do, Re, MI, Fa, Sol, La, S], Do.
)” C“) D3, E! 18$! (33', A1; B- .By C“, Dfiy E) Ff» Gerfi' B'

a 53. In our last transposition by sharps, we take F11 (five of the scale‘ of B)
as I, Git 2, A1: 3, B 4., C11 5, Dfi 6, and, as E is only a minor second from D31,
and consequently a half-step too low for our purpose, we adopt the tone Efl: for
7, and complete the scale with Ffi as 8.

Norm—It will be readily seen that although the pitch E1: is identical with the pitch F, there are two
reasons why it cannot be named or represented as F. Jr‘z'rstljl, the D degree of the staff being used for 6,
and the F degree for 7, the E degree would be left out; thus making the interval between 6 and 7 a
third of some kind instead of a second ; and secondly, the F degree being already used to represent 8,
cannot be used to represent 7; for, although a degree can be made to represent two tones, a half-step,
or even a step apart, it can. in 710 possible warmer, be made to represent two tones, the interval between
which is a major, or even a minor second. It should be remembered that the word second always
implies two degrees, while the word step or half-step may or may ”or! imply two degrees. Hence, these
writers and teachers are wrong who adopt the language “ from one to two is a step, from three to fouris
a half«step,” 81c. For instance,——in the C scale, from E to E3; (same pitch as F) is a half-step, but it is
not a minor second. »

THE SCALE OF F11.

\Vith G Clef. \Vith F Clef.

 

 

 

 

 

_ $2.: fit-_w__.___- ___,_ §__?. #253 L n u
{fig—El :EZ:;‘:C::C iifl__ “@Wflfl a 9 , a la
a “ a "
I, 2) 3). 4-" 5a 6) 7) 3' I: 27 3a 47 5, 6: 7: 8'
Do, Re, Mi, Fa, Sol, La, Si, Do. Do, Re, Mi, Fa, Sol, La, Si ‘Do.
1’5. Gil: All, 3, C113, D13. E33» F3- Fii, Gil, All» B9 C3: Dill: Elly F§~

Q 54. In transposition by flats we usually proceed by fourths. Returning to

~ the MODEL SCALE (scale of C), we find four to be F, which, being taken as I,
‘ G will be a, A 3, but B cannot be taken as 4, as it is major second from A, (3),
whereas only a minor second is wanted. The intermediate tone between B and

A, which ‘is Bb, is found to be the correct tone,arnd is adopted as 4., C is 5, D 6,

    

 

§ 55. Eb, being 4 of our last scale, will now be taken as I, C becoming 2,
D 3, but E is too high for4, so we must adopt Ell (the intermediate tone between
E and D) as 4, F as 5, G 6, A 7, and B12 8, givmg another natural scale by the
use of Bb and Eb. '

THE SCALE 01" at.

 

 

 

 

 

n L With G Clef. ‘ . , _ With F Clef. _Q__
Ste" in!%gfl@bllnarfii§lgifl
%”a ins-,0 i.b?ar’tn" a
.J ’5‘ at a .. i ‘ '

1, 2, 3, 4, 5, 6, 7, 8- I, 2, 3,_ 4, 5, 6, 7, 8-
Do, Re, Mi, Fa, 801, La, Si, Do. Do, Re, Mi, Fa, Sol, La, Si, Do.
1317.0, D. Eb. F. G. A, Bb- Bb, C. D, Eb, F, G. A, Bly-

§ 56. Taking E17 as I, F a, G 3, we are obliged to use Ab as 4., Bl) 5, C 6,
D 7, and with E17 as 8 another natural scale is the result, using Bl), El) and All

NOTE—It will be noticed that the scale of B}; has a position upon the staff precisely like the scale-

 

 

 

 

 

ofE (four sharps). See § 5:.
wane Clef. THE SCALE 0F Eb With 1'" Clef.

n L .
ask-”2? fire-e: a. , a - Jar;
W ’3 g ‘I U V l] D Ill
.1 -9 a ' ~

I, 27 3) 4r 5: 6: 7, 8' I! 29 3? 43 5, 69 7; 8-
Do, Re, Mi, Fa. Sol, La, Si, Do. Do, Re, M1, Fa, Sol, La, SI, Do.
El): F, G» Ab. Biz, C, D» El). Eb» F: G» Alfi Bl7: C, D, El?-

§ 57. In forming the next scale, we commence with Ab (four of last scale):
as I, Bl) becomes 2, and C 3, when it will be found necessary to take Db as 4.,
Eb 5, F 6, G 7, and, with Ab as 8, completing another scale by the use of four
flats, viz.: B17, Eb, AV and Db. .

NOTE—This scale has aposition upon the stall precisely like the scale of A (three sharps), See § 50t

 

 

 

 

With G Clef: THE SCALE OF Ah. With F Clef:
L . . ‘ I n a ‘5' . 1 In
9—1— — —- .2 .t' g . . a 4. '— — -—Q—t’—
W:‘E:E:C:C:b:fi@firg:g—d~3—F—IE—t—“r——u
1’ 7', 3’ 4-: 55 6: 7! 8 I: 2: 3.) 4': 5) 67 7: '8-
Do, Re, Mi, Fa, Sol, La, Si, Do. Do, Re, M1, Fa, Sol, La, Si Do.
Ab, Eb, C, Db. Eb, F, Gr Al) Ab, Eb, C, D'Q, Flt; F G. Ah,

/

 
  

 MUSICAL DICTIONARY. ' 9

a, 58. Following the plan still farther, we take D (four of last scale) as I, E};
will be 2 and F 3, but G being too high, we take G as 4., Al 5, Biz 6, C 7, and
DE 8, and the result is another natural scale, with t e use 0 Bi, Ell, Ab, Dlz
and GE. ,

S Agra—The position of this scale upon the staff is the same as that of the scale of D, (two sharps)-
ee 49. .
THE SCALE OF Dlz.

 

 

 

 

 

 

n L With G Clef. With F Clef. a 19. Q.
. u in l l ,, ~ g a '5’ . x l
‘ I .____1__ ._ '_ _ _,Q___ {WW—)1 a W l’ . lfi l
éElI_Eg-_LE,_—g 51 7i if r Liz—illu@v i} l? [[1 vi 1 r l Id
1: 29 3, 4-) 5’ 6: 72 8- I, 7': 3g 4-: 5: 6a 7; 8-
Do, Re, Mi, Fa, Sol, La, Si, Do. Do, Re, Mi, Fa, Sol, La, 811, Do.
Dlz. Ell: F, Glz, Alz, Bb’ C, ”(7- Di), Ell: F, All, Blz- (. Dlz,

Q 59. Our last transposition commences with G as I, Ab becomes a, and
Rh 3, C being too high we adopt Cb (see note followmgé 53) as 4, Db 5, Ell 6,
F 7 and Gt 8, and we have a complete and natural scale by the use 0? Bb, Eb,
All! Dlz, Glz and Cb.

Norm—The pOsition of this scale is like that of the scale of G, (one sharp). See § 48. Another

remarkable feature of this scale is that it 15 produced upon the organ and piano by pressing the same
keys which are required to produce the scale of Fit. (See § 58.)

With G Clef. THE SCALE 0F Gb- With F Clef.

_ I I‘__ ~_ — _ c_a “I _ . - ——