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
The music teacher, pp. [III]-XXXVIII
THE MUSIC TRACIIHI What letter Is sharped ? A. F. Why do we sharp r I A. To regulate the order of intervals. What is the order of intervals in all the transpositions ? A. Between three and four, and sevei and eight. are minor seconds; all the rest are major seconds. Name the letters to the scale of G. A. G is one, A is two, B is three,' C is four, D is five, E is six, F# is seven, and G is eight. RsEAax.-Most classes will be able to understand the theory, and, to a certain ex- tent, the practical part of the art that we have been oyer, in about twelve or thirteen lessons, ~the teacher has beenfaitful. Many classes will require twenty-four, or even more lessons, to acquire what we have been over in these few lessons. There is but little danger of going too slow in teaching the elements of music. The rest of the trans- positions may be taken up as the class may require, but let it be impressed on the mind, that if the first transposition is well understood, all the rest will come easy, and but little time will be required in teaching them. SECOND TRANSPOSITION BY SHARPS (KEY or D).-One is written on D, the fifth to G, and in order to preserve the order of intervals, two sharps are used; viz., C4 (new sharp) and F,; thus, No. S. 1 2 $ 4 5 6 1/ 8 Re mi fa sol ls si do re. D E FS G A B C# D. Do re ml fa sol la si do. 1 2 3 4 5 6 7 8 Re mi fa sol la si do re. D E F$G A 13 C: D. Do re mi fa sol ]a dl do. QDEs~toies.-n what key is this scale Arts. D. How do you know it to be in tho key of D A. By the signature What is the signature A. Two shaps. What letters are s tarp? A F and C. Why do we sharp F and C? A To preserve the order of intervals. What numerals of the new scaile are sharped? A. Three and seven. In order to transpose a scale to its next affinity in sharps, what numerals of it must we sharp? A. The fourth. What was the fourtito C. A. F. By sharping F, into what key do we modulate, or transpse the scale? A.G. By sharping the fourth in G (which is C), into what key do we modulate ? A. D, &c. Practice tunes in D. THIRD TRANSPOSITION BY SHARPS (KEY OF A).-One is written bn A, the fifth to D, and in order to preserve the order of intervals, three sharps are found necessary; viz., G# (the new sharp) F and C$; thus, No. 4. Question as in the key of D. D and A. No. §,--RouNr, IN Ty And may I be 9 All, all, all FOURTH TRANSPOSITION of this key is written on E, ing four sharps; viz., F#, C' No. 6. 567e8 ai do re MLsi E FS GS A B CS D: K. E F4 G4 Do re mi fa sol Ia si do. Do re mi fa Question as in the other ireys, and practice tunes in the key of E. FIFTH AND SIXTH T-ANsposmoms DY SuA.sr (KEYS seldom used. Thus, No. 7. KEY oF 1--Fve Sharp*. Krr or F-ix Sharps. 1 2 3 4 5 6 7 8 La si do re mi ia sol Ia. A B CS D E FS GS A. Do re ml fa sol li al do. 1 2 8 4 5 6 7 8 La si do re mi fa sol a A B C D E FS GSA. Do re ni fa sl )a al do. 1 2 3 4 5 6 7 8 1 2 $ 4 5 8 For extended instructions and illustrations in modulation, s" "Woodbury's Self-In struetor in Musieal Composition and Thorough Base." e-v - It - _dP_ _ e2.
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