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Woodbury, I. B. (Issac Baker), 1819-1858 (ed.) / The new lute of Zion: a collection of sacred music, designed for the use of congregations generally, but more especially the Methodist Episcopal Church
(c1856)

The music teacher,   pp. [III]-XXXVIII


Page XX

THE  MUSIC  TEACHER. 
4 
mer-ri - ly,  loui and clear. 
JURTHs.-To transpose the 
e fifth) of every ncw scale. 
scale (key of F); thus, 
8          8          7         8 
2       3        4       5       6       7        8 
Sol     Ia       si      do      re      mi      fa. 
G       A       B       C       D       E       F. 
re      mi      fa      sol      Ia      si      do. 
r of intervals must be the same in the flat keys as in the sharps. 
ig the perfect example above, we find that from F to G is a 
o A, a major; A     to ]t (three to four), a minor; BL) to C, a 
o D, a major; D to E, a major; E to F, a minor second. 
it is the signature to the key of F  Ans One flat  What letter is flat? A.
B. 
A. To regulate the order of intervals. Name the letters, as they occur in
-The flat keys are transposed a fourth instead of a fifth, and flats are
used 
iarps to regulate the order of intervals-the fourth of each new scale being
ad of the seventh being sharped as ia the sharp keys, &c. 
third, and fourth transposition by flats stana thus: 
No, 1--KEY OF BTh!-Sgnature, two Flats. 
....s  _:2 -- 
-       1   2   3  4   5   6   7   8 
Si do   re mi fa sol la   s. 
Bb C D Eh F G A B. 
Do re mi fa al Ia i do. 
1  2, 3   4  5   6  7   8 
Si do re mi fa sol Ia si. 
B]C D &_F G A El. 
Do re mi fa sol Ia si do. 
No. 12.-KEY OF E'-ignature, three Flats. 
-11   -          4 
3   4 
sol Ia 
mi fa 
5 6 7 8 
si do re 11i. 
so%  C  D d. 
Sol la si do. 
1dF 2 3 4 5 6  . 8 
Mi fa sol la si do re mi. 
Er F   G  A  %   C   D   Efr 
Do re mi fa sol Ia si do. 
No. 13.-KEY OF A2-Signature, four Flats. 
S        1   2   3  4       6   7   8             1  2 3   4  5  6   7  8
La si do   re nii fa sol la.            La si do re mi fa sol la. 
Ah IB  C   Dz Ed F     G   AL.          A   B  C  D  E  F  G  A . 
Do re mi fa    sol la  si do.           Do re mi ft sol Ia si do. 
It will be perceived that in each succeeding new scale, the fourth of the
old scale is taken as one of the new, and that an additional flat is used
to 
each. 
REMAna-Other modulations may be procured by continuing to-use additional
flats, 
but as they would not be of any practical use, we omit them here. Questions
should be 
proposed on all the scales, as in the key of F, and the practice of tunes
should be intro- 
duced in all these keys, in the order of the transpositions as above. 
LESSON X. 
CONTINUATION OF THE MINOR SCALE. 
EvERY major has its relative minor scale, founded on the third letter 
below, i. e. the relative minor to C is A; to D, B, &c. The order of
inter- 
vals in the minor scale is the same as shown on page 17, in all cases. 
1. What is the relative minor scale to G major? Answer. E. 
2. What is the signature of the relative minor to any major scale? A. 
The same as its major. 
3. What is the signature of E minor? A. One sharp. 
4. Is it necessary to introduce any accidentals in the minor scale ? A. 
Yes; the seventh is always sharped both in ascending and descending in 
the Harmonic form (for example, See page 17); but in the Melodic form 
only in ascending. 
V i)w'                                             J!               6Pj:_
Jil I 


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