Two tones, indicated by two notes, occupying the same degree of the is a SECOND; if three degrees, a THIRD; if four, a FOURTH; if five, a staff, are said to be in UNISON. If the interval includes two degrees, it FIFTH, if six, a SIXTH, if seven, a SEVENTH; if eight, an OCTAVE. NOTE.-An interval is always counted upward, unless the contrary is specified, and the degrees occupied by the NOTES, and all those between them are counted. sharp sharp sharp sharp or a b orap NAMES, Eight, seven,seven, six, six, five, five, four, three, three, two, two, one. PITCH, C, B, B2, A, A2, G, G2, F, E, E2, D, D2, C. § 68. In singing by syllables, whenever a note occurs with a before it, the same syllable is used that would be, did not the pear, save that the termination is changed. If a sharp appear," the syllable ends with ee; if a flat, with the long a or ay; thus: One is called Do: sharp one, DEE; seven, SI; flat seven, SAY. § 69. A or a 2 continues in force throughout the measure in which it occurs; also through succeeding measures when the same tone is continuously repeated, unless canceled by the sign, called a NATURAL. 1. EXAMPLES. 2. 3, In 1, by the rule, 69, the fourth note indicates F; and the four tones in the third measure are G In 2, the fourth note is F, the being canceled by the . In 3, the first two tones second measure would be F, but for the. In 4, the first tone of the second measure is B but two tones, A and G, intervening, the fourth tone is B (or as is frequently said B natural). A sharp or a flat occurring in a measure, is called an accidental, in distinction from those forming the signature. See § 80. . CHAPTER XII. MELODICS CONTINUED. § 70. Intervals. We have said, in § 50, that "the difference in pitch between any two tones is called an INTERVAL." The various intervals are best illustrated upon the staff. Unison, Second, Third, Fourth, Fifth, Sixth, Seventh, Octave. Third, § 71. Major and Minor Intervals. In these intervals, excepting in the unisons and the octaves, those of the same name will be found to differ in extent to the amount of a half-step. The larger ones are termed MAJOR, the smaller ones MINOR. UNISONS are of the same pitch. SECONDS. A MINOR SECOND Consists of a half-step; a MAJOR SECOND of a whole step. THIRDS.—A MINOR THIRD consists of a step and a half-step; MAJOR THIRD of two steps. FOURTHS.—A * PERFECT FOURTH consists of two steps and a half-step; a *SHARP FOURTH of three steps. FIFTHS.-AFLAT FIFTH consists of two steps and two half-steps; a * PERFECT FIFTH of three steps and one half-step. SIXTHS.—A MINOR SIXTH consists of three steps and two half-steps; a MAJOR SIXTH of four steps and one half-step. SEVENTHS.-A FLAT SEVENTH consists of four steps and two half-steps; a SHARP SEVENTH of fire steps and one half-step. OCTAVES.-OCTAVES are equal, each consisting of five steps and two half-steps. When the lower note of the two representing an interval is placed an octave higher, or the upper one an octave lower, the interval is said to be INVERTED. NOTE.-These are called DIATONIC INTERVALS, as they are all found in the DIATONIC SCALE. Those marked * have special names. Other intervals, called CHROMATIC INTERVALS, may be formed by the use of Sharps and Flats. Thus F to A is an EXTENDED third, being a half-step greater than a major third; and E to GP is a DIMINISHED third. CHAPTER XIII. MELODICS CONTINUED. § 72. Minor Scale.-In the Natural Minor Scale (§ 56) the half steps occur between two and three, and five and six. Other forms of the minor scale are used, that may be called artificial. § 73. The Harmonic Form differs from the natural by the introduction of sharp seven. 74. The Melodie Form in ascending has both sharp six and sharp seven, while it usually descends by the natural form. EXAMPLES OF THE KEY OF D. 1. WRONG. 2. RIGHT. 1 2 3 4 5 6 7 8, 1 2 3 4 5 6 7 8. Here we find it necessary to use two of the INSERTED tones from the chromatic scale, but if we proceed by a certain law in our transpositions, only one tone in each new scale will be found wrong, as we will find below. § 79. The First Transposition of the Scale by Fifths, from C to G, requires that F be taken instead of F, to preserve the proper intervals between six and seven, and between seven and eight. ILLUSTRATION. 6 5 THE SCALE. 3 2 1. 1 2 3 4 5 6 7 8 8 7 4 NOTE.-Observe that one feature is common to all three forms; that Three of the scale is a minor third from the Key note One, while in the major scale it is a major third. This is the distinguishing feature of the minor scale. CHAPTER XIV. MELODICS CONTINUED. $76. Transposition. Thus far in all our examinations of the major scale we have taken C as one; but a tone of any other pitch may be taken as one. Then the position of the scale as to pitch is changed, and such a change is called TRANSPOSITION, or the TRANSPOSITION OF THE SCALE. 877. The letter taken as one of the scale, is called the KEY. Thus, if C be one, the scale is said to be in the Key of C; if D, it is in the Key of D, and so on. § 78. When the scale is transposed, the order of its intervals is preserved by the use of one or more of the inserted tones represented to the eye by sharps or flats. NOTE.-Suppose we are singing the scale in the Key of C. Let us sing up to two and stop. Now take that tone (which of course is D, as one, and using the syllables Do, Re, Mi, &c., sing the scale. Then take E as one, and again sing the scale. We find it as easily sung at one pitch as at the other, provided the tones are within the range of our voices. But as in the major scale, the half-steps come between three and four and seven and eight, it follows, that when we began on D, we did not sing the tones D, E, F, G, A, B, C, D, for we have before found, that from E to F (2, 3, Key of D, and from B to C (6, 7,) are HALF STEPS, while the scale requires that from 2 to 3, and from 6 to 7 shall be STEPS. The tone we used in the place of E was F, and in the place of C, C Let us sing the scale in the Key of D, while some one plays a pianoforte. When we come to three, we find F too low, and it is 1 2 3 4 5 6 7 8. Observe in the scale that the first four tones, and the last four, follow each other in the same order as to intervals, making step, step, half step, from one to four, and step, step, half step, from five to eight. Beginning then on Five, it is plain that taking the upper half (as we may call it,) of the scale, Key of C, as the lower half of the scale, Taking G then as one. Key of G, the first four tones will be right. and ascending, we find all right but F, seven, which is but a half step from E, six, and a step from G, eight in the new Key of G Therefore F is omitted and F inserted, by which we obtain a step from E to F, six to seven, and a half step from F to G, seven to eight, making a correct scale, KEY OF G. § 80. Signature.-The sign or signs of the inserted tone or tones used in any key, placed on the staff next to the clef, are called the SIGNATURE of that key. Thus the signature of the key of G is one sharp, or F# The signature of the key of C is said to be natural; that is, there are no signs indicating tones not found in the so-called natural scale or key. §81. Second Transposition by Fifths, from G to D.-C (four in the key of necessary to play the black key next above, F. In the same way, C is too low for seven, and CG) being found too low, must be omitted, and C# taken, as seven in the new key of D. Signature two sharps. must be played. KEY OF G. ILLUSTRATION. ELEMENTS OF MUSIC. KEY OF D. One, two, three, four, five,six,seven,eight. § 82. Third Transposition by Fifths, from D to A.-Here G (four) must be omitted, and G taken as seven to A, Key of A. Signature three sharps. § 83. Fourth Transposition by Fifths, from A to E.-Omit D (four) and take D as seven to E, Key of E. Signature four sharps. 13 § 88. The sign of B flat, or one flat (b) on B, is the signature of this key. §89. Second Transposition by Fourths; F to B2.-Omit E and take E2. Key of B2. Signature two flats. 890. Third Transposition by Fourths; B2 to E 2.-Omit A and take A 2. Key of E 2. Signature three flats. $91. Fourth Transposition by Fourths; E2 to A2.-Omit D and take Dk. Key of A2. Signature four flats. § 92. Eifth Transposition by Fourths; A2 to D2.-Omit G and take G 2. Key of D2. Signature five flats. $84. Fifth Transposition by Fifths, from E to B.-Omit A and take Aof G 2. Signature six flats. Key of B. Signature five sharps. 93. Sixth Transposition by Flats; D2 to G2.-Omit C and take Ch. Key § 95. This transposition by fourths, like that by fifths, can be still far 885. Sixth Transposition by Fifths, from B to F-Omit E and take Ether carried, but as the last key, G2, with six flats, sounds the same to Key of F. Signature six sharps. This transposition by fifths may be continued without end, theoretically, but as the keys thus obtained appear to the ear the same as those more easily found, as shown in the next chapter, they are of little practical use. When we arrive at the key of G F must be omitted, and F DOUBLE SHARP (FX) taken. The keys beyond E (four sharps) are seldom used in church music. §86. In each of these transpositions One has been taken a fifth higher, and the new tone introduced has been sharp four; hence the rule, "SHARP FOUR transposes the scale a fifth," or the tone of transposition between any key and the one based on its fifth, is SHARP FOUR. CHAPTER XV. MELODICS CONTINUED. the ear as F with six sharps, and as at the next transposition we only will have the key of C2, with seven flats, which sounds the same as the key of B, with only five sharps, it will be of little use. The keys beyond A 2 (four flats) are seldom used in church music. § 96. Observe here, that in each transposition seven of the old scale is altered to flat seven, which becomes four of the new scale. Hence the rule that flat seven transposes the scale a fourth. ILLUSTRATION OF KEYS AND SIGNATURES. 16 16 As we have taken the upper four tones of a scale for the lower four of a new seale, based KEY OF C. KEY OF F. KEY OF B2. KEY OF E2. KEY OF A2. KEY OF D2. KEY OF on five of the old key, so we may take the lower four for the upper four of a new scale, based on four of the old key. § 87. First Transposition by Fourths, from C to F.-Taking F as one, it will be found necessary to omit B, and to take B2 as four in the new key of F. NOTE.-Observe that the transposition by Flats is precisely the reverse of that by Sharps. Each new sharp transposes the scale a FIFTH HIGHER, or which is the same by inversion, a FOURTH LOWER. Here the upper four tones of the old scale are four of the old scale becomes seven of the new taken as the lower four of the new scale, while sharp On the contrary, each new flat transposes the scale a FOURTH HIGHER, or a FIFTH LOWER. Now the lower four tones become the higher ones of the new scale, and flat seven of the old becomes four of the new. Starting at C, with either we run into the other at Gb or F, and return in a circle again to C. Thus by fifths (or downward by fourths) we have, on the upper staff of the illustration, C, G, D, A, E, B, F which is the same as G on the lower staff; then to the left over it by Db, Ab, Eb, Bb, F back to C. Again by fourths, (or downwards by fifths) we have on the lower staff C, F, Bb, Eb, Ab, Db, Gb, which is the same as F on the upper staff, and then back by that staff B, E, A, D, G to C. A transposition may occur in the middle of a melody, and is then called a MODULATION. If long continued, it is often well to change the syllables to correspond with the new key MELODICS CONCLUDED. APPOGGIATÚRA, AFTER NOTE, SHAKE or TRILL and TURN. § 97. Tones, not essentially belonging to a melody, are often introduced, called PASSING TONES. They are sometimes, though not always, represented by notes of a smaller size. They are foreign to the harmony in which they appear. § 98. The Appoggiatura is a passing tone that preceedes an essential tone on an accented part of a measure. NOTE. From the Italian APPOGGIARE, TO LEAN, OR REST UPON. The voice leans or rests upon the appoggiatura before taking the principal tone. It takes its time from the principal tone. § 99. The After Note.-A passing tone that follows an essential tone on an unaccented part of a measure, is called an AFTER TONE. PERFORMED. NOTE. Neither the Trill or Turn belongs to chorus singing. The Trill at least should only be introduced by a cultivated voice after long practice. § 102. Various Characters, some of which have not been introduced.-The BRACE, placed before two or more staves, show how many parts move together, or form the score. The REPEAT shows that a portion of a piece of music is to be sung or played twice. Sometimes a repetition of a short passage is indicated by the term Bis. A DOUBLE SHARP is used before a note that represents a tone elevated two half-steps above the natural tone. Thus F is a half-step higher than F, while Fx is two half-steps above F, and sounds the same to the ear as G, though occupying another degree of the staff. A DOUBLE FLAT is the reverse of the DOUBLE SHARP. Thus, G22 is two half-steps lower than G. A DOUBLE SHARP is canceled thus:, and a DOUBLE FLAT thus: 2. A note may be twice-dotted, the second dot adding half to the length of the first. NOTE.-The DOUBLE SHARP is used in those keys having several sharps in their signatures, before a note representing a tone of the scale THAT IS ALREADY MARKED BY A SHARP IN THE SIGNATURE. In the example above we want at the second note SHARP FOUR in the Treble. In the key of E, A is four, A then will be sharp four, as written. In the Alto we want SHARP TWO, but two in the key of E is F Therefore it will not do to put a before the note on two, as it would only indicate F, which already indicated in the signature; but a X double sharp is used to show that not Two of the scale, (F) is to be sung or played, but that SHARP Two, which is a half-step higher than F, is required. This is especially necessary for the organist or pianist, where a indicates that he shall play the key next to the right, and a X, the second key to the right of the one he otherwise would play. The would ELEMENTS OF MUSIC. not answer here to cancel sharp two, for the note following it would then represent F natural; there fore is used to show that one is removed, and that the note now represents F, which, we know, is two in the scale, key of E. The DOUBLE FLAT is simply the reverse of the double sharp. The letters D. C. (da capo, to the head,) placed at the end of a piece of music, direct the performer to return to the beginning. The piece then generally ends somewhere in the middle, at a double bar, over which is the word FINE, meaning the end. DAL SEGNO, (from the sign,) in the same position, means, repeat from the sign . A PAUSE or HOLD over a note or rest, signifies that its time is to be prolonged beyond the usual length. In beating time, the hand during such prolongation must remain stationary at the point it may have reached. The is frequently used with or without the word FINE over a double bar, to mark the close of a composition after a D. C. The SLUR connects notes that are to be sung to one syllable. When placed over notes upon the same degree, it is called a TIE. 15 expressing nothing, but sympathetic like the voice in speech, where the tone itself will betray the emotions of the speaker, though we can not distinguish a word. Most especially, however, avoid that agonizing tone, heard from many imitators of the opera, especially Soprano singers, who sing everything, even the most spirited music and words with a tone of voice that would lead a hearer to suppose, all hope had fled, and they, poor souls! were standing on the very verge of blank despair. § 105. The proper Delivery of Words in Connection with Song. Here we would observe, that a person who does not pronounce, accent, and emphasize his words correctly in reading, will not do so in singing. Again, that if the tone be delivered lazily and without vigor, the words will surely be indistinct. The general rule is to pronounce, accent, and emphasize words in singing as in reading, unless there be some purely musical reason to the contrary. More care however is needed in singing, by reason of the prolongation of the tones. A few hints only will be added. Form the vowels correctly, and hold them firmly without change. Who can tell pine from pin, unless the vowel in each be correctly formed? In any syllable it is the vowel only that is prolonged. Be careful, then, that it be prolonged without change. For example, do not sing the word great, grea-ee-t. The consonants should be given quickly, forcibly, and with great precision, for on them, in a great measure, depends the distinct articulation of words. In the words say, lay, hay, ray, bay, may, nay, who can tell one from another, unless the consonant beginning it, be distinctly given? Form the habit of knowing just what elements constitute a word. § 106. Taking Breath. Take breath at such places as will not injure the sense; at pauses and after emphatic words. § 107. Finally let the tone be pure and the style simple; then entering into the spirit of both words and music, deliver the one distinctly, and the other neatly, and the performance will seldom fail to produce the intended effect. NOTE.-In concluding these elements, the writer would say, that being unexpectedly called upon at a time when the printer's "more copy" was already heard, they have been written amid the many interruptions of business hours. Limited also as to space, many illustrations are necessarily: left out. Still, he trusts, they will be found both intelligible and useful. J. M. P. |