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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 XVIII

T 1E  Al MUS I C  TEACHEIL 
enable one to dc- 
lhe key or mode 
ossible to decide 
L dge of modula- 
tre, founded on any letter, the order of 
I two to three, major seconds; three to 
six, six to seven, major seconds; and 
s named after the letter on which one is 
C, it is called the scale of C ; if on D, 
E, &e. When a piece of music com- 
other keys may be introduced in the 
Adentals), the signature is said to be na- 
to flats or sharps used at the commence- 
has flats or sharps placed at the com- 
ed. The signature (or number of flats 
nent of a piece of music will decide the 
in transposing the scale, that the same 
Q, must be preserved; i. e. from three 
minor seconds, and all the rest major 
)osition of the scale by fifths, G becomes 
E IN THE KEv or G, I.PERFECT. 
I erfect  Perfect  Perfect. Perfect. Imperfect 
t ol      . eoC.  taD. D  .  E t. o J Mi.F. 
Maj sec-  Mini. see. IMaj. sec. IMaj. sec. IMin. sec. 
Imperfect. 
F  o '.. 
Maj. sec. 
L          .. 
8         5       6       '1      8 
Sol     Ia      si       do      re      mi      fa     sol. 
G       A       B       C       D       E       F       G. 
Do       ro     mi       fa     Sol     a      si      do. 
- For extended Ilustrations and instructions in Modulation, see Woodbury's
"Self-Instructor in 
Musical Composition a- d Thorough Base.- 
The preeeoung example is not, strictly speaking, in the key of G, although'
we take G as one. When F sharp is introduced , then, and then only, the 
transposition takes place; thus, 
NO. 2.-SCALE IN THE KEY or G, PERFECT. 
Perfect. Perfect. Perfect  Perfect. Perfect, Perfect. Perfect. 
GtoA...t. l      C. Con t.Ft                 $ toG. 
Maj. sec. Miaj. see. IMin. see. fMaj. sec. IMaj. sec. Maj. sec.  in. see.
-~li 
t        1        2        3        4         5        6         7      
  8 
Sol      la        si       do        re       mi        fa       Sol. 
G        A         B        C        D         E        FS        G. 
Do        re       mi       fa       Sol       la        bi       do. 
T'le same method is followed in all the transpositions by sharps; viz.; 
the fifth above or the fourth below is taken as one of a new key, in every
succeeding transposition, and an additional sharp will be required also in
every succeeding transposition. 
REMARK.-In the above example, it will be observed that we have not only placed
the syllables transposed, but retained their original position as in the
scale of C. Eight 
or ten years' experience has proved to us, that, generally speaking, more
can be learned 
by classes, if the syllables are not changed * 
REMAL-We are aware that this will not meet with the approbation of all of
our 
teachers, but those who have given it a fair trial, will fully indorse the
above. Here 
we would also enter our protest against the change of the vowel sounds of
the syllables, 
where an accidental is introduced. It brings a long train of evils that requires
months 
of labor to eradicate. One reason why our choirs, and even select societies,
almost 
always fail on the accidentals, is owing to the habit of changing the syllables
and their 
vowel sounds. The system of changing the syllables is not known in the beat
schools 
of Europe; and we predict that, ere many years pass away, the elements of
the art in 
this country will throw off these trammels, and find itself free to soar
on, in its glorious 
mission to fallen man. 
QczSrTIOSS -What do you understand by the transposition of thc scale? An*.
When any other 
letter besides C is taken as one of a new scale, and accidentais are introduced.
When is the Scale 
said to be in its natural position? What letter is used to designate the
natural key 1 What is the 
signature to C ? In transposing the scale what order of intervals should
always be preserved' 
What is the first transposition? A To G, the fifth of C. What is the signature
to G? If F isnot 
sharped, how many intervals would be wrong 1 What would be the interval from
six to seven 
without the F#?  What should it be, &c. ? 
QUESTiON ON EACH TUE SOMETHINO AS FOLLOWS:-What is the signatureI Ans. One
sharV 
* We think classes in general are too much confined to the syllables. The
practice of them, to 
some extent, is desirable and even necessary: but we would not use them one
moment longer than 
is necesary, but aubsitute the words as soon as the progress of the class
will allow. The sytjao 
L     t ; h iIe vowels may also be used much mere gthan is custemary.. 


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