Método para vientos, Ejercicios de Teoría y Análisis de la Música

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Altés Method for the Boehm Flute, Part 1 CONTENTS Preface. The Rudiments of Music. Drawing and Description of the Boehm Flute: Manner of Holding the Flute: Position of the Player: Production of Tone. Lesson 1. Exercise, No. 1: Tonguing on the syllable Tu: Exercise, No. 2: Position and use of the first Anger of the left hand. Fingering of the Scale of C. (Middle and Lower Registers): Exercises, Nos. 3 and 4. Melodic Exercise and Variations 1 € II (No. 5). Lesson IL Exercise, No. 1. (Half Notes): Melodic Exercise (No. 2): Theme and Variarions, 1-IV, (Half-Notes, Quarter-Notes, Quarter Rests). Lesson 111 Exercise, No. 1. (Half-Notes and Rests). Melodic Exercise (No. 2): Theme and Variations 1-V* (introducing Dotted Hal£- Notes). Lesson 1V. Exercise, No. 1. (Three Quarter Time). Melodic Exercise (No. 2): Theme and Variations 1-1H1, (introducing Dotted Quarters, Quarter and Eighth Rests). Lesson Y. Lower Notes: Exercises, Nos. 1 and 2. Melodic Exercise (No. 3): Theme and Variations, 1, 11: Exercise, No. 4: Exercise, No. 5 (Scale), Exercise, No. 6 (Scale): Melodic Exercise (No. 7). Lesson VI. Equality of Tone and Perfect Intonation. Exercises, Nos. 1, 2, 3 (Octaves) : Melodic Exercise, No. 4. Exerciss, No. 5 (Detached and Tied Notes), and No. 6 (Scale): Melodic Exercise, No. 7 (Sixteenth lotes). Lesson VII. Exercise, No. 1. (Threc-eight Time): «Exercise, No. 2 (Scale): Melodic Exercise, No. 3; (Allegrétto), Exercise, No. 4 (Triplets): Exercise, No. 5 (Scale): Melodic Exercise, No. 6 (Triplets). Lessow VII. Scale and Arpeggio in C Major. Exercises, Nos. 1-4: Exercise, No. 5 (Scale progressing in intervals of a third): Exercises, Nos. 6, 7: Melodic Exercise, No. 8 (Inversions). Lesson IX. Key of G Major (Scale and Arpeggio in G Major): Exercises, Nos. 1-8: Melodic Exercise, No. 9. Lesson X. Key of D Major (Scale and Arpeggio in D Major): Exercises, Nos. 1-8: Melodic Exercise, No. 9. Lesson XL Key of F Major (Scale and Arpeggio in F Major): Exercises, Nos. 1-8: Melodic Exercise, No. 9. Lesson XII. Key of B flat Major (Scale and Arpeggio in B flat Major): Exercises, Nos. 1-6: Melodic Exercise, No. 7. Lesson XII. Key of A Major (Scale and Arpeggio in Á Major): Exercises, Nos. 1-5: Melodic Exercise, No. 6 (Theme and Variations). Lesson XIV. Key of E flar Major (Scale and Arpeggio in E flat Major): Exercises, Nos. 1-6: Melodic Exercise, No. 7. (Canzonetta). Lesson XV. Studies in Chromatic Scales on C and A. Table of the General Compass of the Flute (Ordinary Fingering), for Lower, Middle and Upper Octaves. Scales and Arpeggios in all Major Keys with Sharps (followed by Chromatic Scales on C and A). Scales and Arpeggios in all Major Keys with Flats (followed by Chromatic Scales on Á and C). THE FLUTE This instrument, which up to the time of Theobald Boehm had remained imperfect in many respects, has now, thanks to the skill of certain manufacturers and to the systems invented by Boehm and others, been rendered as perfect, true and even in its entire tonal compass as could be desired. Theobald Boehm, born in Munich in 1794, was one of the great flute players of his time and a pro- lific composer for his instrument. His first attempts to construct a flute with ringed keys and conical boring were made in Munich, Germany, (1832) with the object of doing away with the imperfections of the old-style flute and securing purity and equality oftone. Tn a general way, the result was success- ful, though not entirely so. Jt was not until 1847, after innumerable unsuccessful trials that Boehm finally succeeded in producing a flute of cylindrical bore which did away once and for all with the former shortcomings of the instrument. This Boehm system flute (so named afrer its inventor) has since come into extensive use in France, England, Germany and Ámerica and has practically taken the place of all other systems devised for the fute. The material used for the manufacture of the flute has the grearest influence upon its tonal quality. In former days, varied experiments were made in this respect and flutes were built of rubber, ivory, erystal-glass and even from a composition of wax and amber; but these results were all unsatisfactory and finally the makers returned to their former methods of employing some variety of hard wood such as grenadilla or cocoa. Flutes are also made of silver and German silver; these instruments are very popular in France. Rittershausen, of Berlin, one of the best-known modern flute makers, has built Áutes of 18-karat gold which possess a very soft and agreeable tone. (One of the best toned flutes 1 ever heard was made of vulcanite, but this material is said to be rather unreliable and a good instrument made of this material is rather an exception.—The Translator.) While there has always been a very decided difference of opinion regarding silver flutes, the increased use of such instruments during recent years by foremost soloists and orchestra players seems to indicate that a decided change in their favor has taken place. The claim that their extreme metallic quality of tone forms too shrill a contrast to the rest of the wood-wind instruments is offset by the opinion of many prominent players who deny this and the greatest possible argument in their favor consists in their undis- puted and very semarkable easy speaking qualities. The latter qualities make the silver fute particularly desirable for pupils and amateurs. A large class of players on the other hand insists that it is most advisable thar every musician should provide himself with a grenadilla or cocoa wood flute at the very start. All players, however, whether partial to the wood or silver fute agree that 1t is quite impractical for a futist to use a wooden flute for the orchestra and a silver one for solo performances as the method of tone-production on two such instru- ments is very different. Boehm system flutes are made with an open and a closed G sharp key, (See charts for both instru- ments) and players who are considering a change from the old to the Boehm system flute will do well to acquire an instrument with a closed G sharp key because the transition is materially easier. This method though principally designed for the Boehm system flute can also be used with equally good results for the ordinary system flute. (See charts For flutes wich 8, 10, 11 and 13 keys.) CONSTRUCTION OF THE FLUTE. The ordinary flute with eight or more keys, as a rule, is made in four and sometimes in five parts; the head, barrel or tuning-slide, long middle-joint or two joints and foot-joint. Present-day military bands employ flutes pitched in F, D flat and E fat, the latter at times known as the F flute. In orchestras the € or concert fute is used. Tr] 2 order that the action of the respiratory organs may not be interfered with in any way. The weight of the body must rest mainly on the left foot and the right foot (turned in a slightly outward direction) must be advanced a litele. The flute must be held in such a way by both hands that the middle joint will come to rest on the lower part of the forefinger of the left hand, while the ¿humb holds the instrument. The upper joint of the flute must be held in a slightly raised “and the lower in 2 somewhat slanting downward direction. Following this the pupil must try to place his left hand fingers in their correct positions. The index- finger belongs to the second cover of the upper part of the middle-joint, the middle finger to tbe fourth and the third finger, to the fifeh cover. It should be noted that the second cover, which is connected with the first one, shuts the same simul- taneously, the fourth cover shuts the third, and the fifth, the sixth one. The little finger of the left hand must always be held over the G sharp key. The thumb of the right hand supports the lower part of the middle joint and the first, second and third fingers cover the last three covers. The little finger of the right hand must always be held over the E flat or D sharp. The fingers must rest easily on the covers and keys and when raised, must not be removed too far from same. The same amount of care must be exercised to raise the fingers to an equal height and put them down again in their original arched position on the covers or keys, touching the latter only with the tips of the fingers. CORRECT HAND POSITIONS FOR THE BOEHM FLUTE, Right Fland. EMBOUCHURE (MOUTHPIECE) AND PRODUCTION OF SOUND, The embouchure (mouthpiece) must be placed against the edge of the lower lip where the red part of the latter begins. Át most, the lip should cover only one-fourth of the hole. The head in turn, should be firmly placed against the lower lip in order to gain the greatest amount of power and certainty in playing the instrument. After establishing this position, the student must press the lips somewhat broadly towards the corners of the mouth and as soon as he is ready to produce a tone, the tongue which has been placed against the lips must be drawn back and as the breath 15 blown into the embouchure, the syllable Too or the letter T must be pronounced. After this, the E flat or D sharp key is to be opened with the little finger of the right hand while the rest of the fingers remain inactive. In this way the tone C sharp $ will be produced. ltshould be started pp (pianissimo) increased to f (forte) and after this, decreased again to pp (pianissimo.) ]n order to produce a tone of fine and even quality, the breath should not be blown Iv! 4 into the instrument by fits and starts. It is quite important that it should pass evenly and without the slightest strain from the chest into the embouchure. The tone must neither be sharpened dunng crescendo nor flattened during a decrescendo. It should be mentioned again that the embouchure of the fute is to be turned in a slightly outward direction as in this manner a clearer, more musical and voluminous tone can be produced. However, this alone will not sufice. Assuming that the pupil be possessed of the qualities necessary for the making of an artist, it will depend upon him in the main, to develop the essential needs through perseverance and persistent study. In order to avoid the sound of escaping breath while playing and to prevent the disturbing effect which this produces upon the listener, the player should pay strict attention to correct placing of his lips. After producing the tone C sharp several times in the above-described manner, proceed to the next nearest tone on the ordinary flute by closing the first hole with the index finger of the left hand and opening the C key with the index finger of the right hand. By closing the second cover of the middle joint on the Boehm flute with the index finger of the left hand (which cover simultaneously closes the first one) the sound of C natural will be produced. Continuing in the same manner and according to this principle the student should try all the tones down to lower € $ practice each one of these carefully and refrain from attempting the higher tones until his lip is surer, and he zan produce the lower tones with clear and pure quality. INTERPRETATION. Almost anyone can acquire a fine clear tone and brilliant technical skill after long years of practice and perseverance, but if artistic taste and temperament be wanting, the listener, while likely to admire the technical skill of the player, will fail to be impressed as he should be, because the playing is devoid of warmth. Artistic interpretation is possible only for him who will use his tone and finished technic as means to an end, and who understands how to interpret all the sentiments and passionate feelings of a composition to best and most artistic advantage. The interpretation of a piece of music should show what the composer has endeavored to express in sounds. It is therefore necessary that the player should be thoroughly acquainted with the contents of a composition, that he should understand its style and purpose thoroughly and in this wav be able to communicate to his hearers the impression which the composition has made upon himself, Whenever the student is not capable of giving a correct interpretation of whatever studies or solos he may have in hand, the teacher by playing the compositions for him, should explain the pupil”s shortcom= ings, suggest improvements, give examples of phrasing and frequently ¡llustrate how apparently unim- portant parts may be made interesting through the introduction of skillful effects. While in the majority of cases, every composer will provide his works with the necessary signs of in- terpretation, suggesting how his composition is to be played, it stands to reason that every artist will introduce effects, according to his own individual liking and it is on this account that no specified or fixed tules can be laid down in regard to interpretation since so very much depends upon the character of the composition itself. In order to acquire good taste, it is not only necessary for a pupil to assimilate the teachings of his instructor, but he must also listen to good music whenever possible and seek to attend the concerts and recitals of leading performers. a breath must.never be taken after, but always before an up-beat. ]t must also be avoided at the end of a measure iunless same closes a phrase or a pause affords the necessary opportunity for doing so. In rapid passages extending throughout several measures without interruption, it is best to take breath after the first note of a measure, However, in order to avoid any dragging of tempo, the note, after which breath has been taken, must lose a little of its real time-value and the momentary break between this first and second note must serve for taking the necessary breath. Ir is also allowable in particularly difficult cases to alter the original phrasing as provided by the composer, in favor of a more convenient division of breath, providing, of course, that the performance will not suffer thereby. A number of exercises in this method have been provided with litele signs, > intended as a practical aid for students in pointing out the proper places where breath should be taken. THE Bb-LEVER-KEY, THE € AND Bb-KEYS AND ARTISTIC OR AUXILIARY FINGERING ON THE BOEHM FLUTE In his article “The Construction of the Boehm Flute” the author has already pointed out the great advantages offered by the Bb lever-key and can only add that not only through this, but the C and Bb keys as well, the execution of complicated and intricate passages is simplified to a very great extent. When simultaneously closed, the C and Bb keys, as a rule, are referred to as the Double-key. As may be observed on the Boehm Flute Chart of Fingering, A sharp and B flat in the two lower octaves, are taken with different fingering. This tone may be fingered with the index finger of both the left and right hand, also with the index finger of the left hand and the double-key or, in place of these, with the Bb lever-key, stopped by the index finger of the right hand. The first-mentioned fingering requires more strength than the two others. This is particularly noticeable in technical passages as the right index-finger must frequently close three combined covers at the same time. Owing to this, the student should finger the A sharp or B flat with the double-key only, or with the Bb lever-key. When overblowing the tone while using this same fingering, E sharp or F in the third octave can be produced. The student should also bear in mind that all the tones on the flute, excepting those for which the thumb-key is not used, as well as the tone B in all three octaves and the high E sharp, can be produced with the aid of the C- and the double-key. In flat-keys, with their frequent recurrence of the tone B flat, it is advisable to use the double-key and the change from that to the C-key must be effected very skilifully; for instance, the connection of B flat and C flat with the aid of the double-key, must be done without the slightest extra sounds of any kind. 1t will be the teacher's duty to instruct the pupil just how and when the gliding from one key to the other is to be prepared, In the following example, the first seven notes are fingered with the double-key and the change to € must occur not at E but at D, For the sharp-keys, the double-key can also render valuable assistance, but a certain amount of experience will be necessary before it can be used to fullest and best advantage. As this double-key is frequently fitted to the Bochm-Flute in a very unpractical manner, the author advises a model such as shown in the following illustration. In addition to the ordinary Áingering, a number of so-called artistic or auxiliary fingerings is used for the higher tones of the Boehm flute, with the aid of which the most rapid runs and passages imaginable can be played with astonishing perfection and ease. These auxiliary fingerings, which the student will find on the fingering-charts, are used in the third octave, including the eight tones from D to 4. They are pro- duced through fingering a fifeh below the tone overblowing; for instance, to blow D, the fingering for G in the second octave, must be used. To use these auxiliary fingerings to best effect requires very reliable lhpping, as a player deficient' in this respect will easily overblow a tone where such is entirely out of place. However, the auxiliary fingerings must be used only when the execution of difficult passages is im- possible with the ordinary fingerings or when the use of the auxiliary Áingering will improve the passages materially, both as to their tonal perfection and effect. It is a remarkable face chat these auxiliary fingerings are ignored entirely by a large number of flutasts. The modern orchestra literature is particularly rich in examples for which the auxiltary fingerings are practically indispensable and to mention just a few, such works as the Franz Liszt “Polonaise,” scored for orchestra by Muller-Berghaus, Ambroise Thomas' “Mignon” overture and “The Bartered Bride” Overture by Smetana, are exceedingly difficult to play without them, GENERAL REMARKS. USE OF THE CORK IN THE HEADPIECE OF A FLUTE AND PICCOLO Ia some way, a mistaken idea is prevalent among many flute players, that che function of the cork is to raise or lower the pitch of the instrument. It is not placed in the headpiece with this purpose, but to equalize the scale of the instrument and enable perfect intonation. While the position of the cork does not affect the lower and the first half of the second octave, the slightest change in its position will affect the third octave to a very considerable extent. Lf moved too near the embouchure, it will cause the notes of the third octave to be too sharp, as compared with those of the first and second and if moved too far in the opposite direction, it will cause them to be too flat. Consequently, to adjust the cork properly, a careful, comparative test should be made between the notes of the third and those of the first and second octave and in case of necessity, altering the position of the cork until a perfect adjustment of all the notes has been obtained. KEEPING THE INSTRUMENT IN ORDER. The instrument should be handled with great care at all times, as the very best and most perfect in- strument may be damaged or completely ruined through carelessness. To begin with; The flute must never be laid away until it has been taken apart and every section cleaned and thoroughly dried with either a swab or a piece of soft silk. Second: The joints, whether of cork or thread, must always be kept well greased. This also applies to the tuning-slide which should be greased occasionally. (The best kind of grease for this purpose put up in a neat wooden box, can be obtained from the publisher of this work.) Third: Be careful to keep a little oil under the point of each spring, as well as on the screw upon which the key works. This can easily be done by taking the smallest quantity possible on the point of a small pen-knife and distributing it wherever necessary. Fourth: Always keep a piece of chamois skin in your case for cleaning all parricles of dust, possible finger-marks, etc. from the instrument after using 1t. Esfeh: If any of the keys do not work properly, take out the screw carefully with a screw-driver and clean it, as well as the pipe of the key, with a piece of wash-leather; but avoid taking off any more keys than are absolutely necessary. Sixth: If a pad dues not cover, or if a spring should break, have the damage repaired at once by an experienced instrument maker, Seventh: Never take hold of the instrument at the foot-joint, but always towards the middle, where it can be equally balanced. For want of attention in observing this simple precaution many a fine instru- ment has been ruined, through having the peg, which fits into the foot-joine, broken off. Eighth: By giving strict attention to the above simple rules, any well-constructed instrument will need very litdle in the way of repairs, [rx] 8 The Rudiments of Music By PAUL DE VILLE and GUSTAV SAENGER —o No art, science or branch of industry can be successfully mastered or acquired, un - less the strictest and most thorough attention is paid to the rudiments or elementary prin- ciples. Music is the art of combining sounds in a manner agresable to the ear and, broadly speaking, is divided into two parts: 1) Melody and 1) Harmony. Melody is a pleasing succession of musical sounds, arranged in such a fashion that the ear can readily understand and remember them in their proper order. Harmony is the combination of musical sounds, which, by their spontancous union, serve to form chords for the support and effectiveness of the melody. NOTATION Music is written upon five the five lines and in the intervening four spaces ofa system known as “the staff.” se line 4th line std line sré space sud line 22d space 4st line 18% space sh space The characters employed for this notation are called notes and are named like the first seven letters of the alphabet. As shown in the above illustration the lines and spaces are counted upwards, the lowest being called the first line or space. When the instrument requires a greater compass than the staff contains, small lines called Leger lines are added below the staff for the lower and above the staff for the upper notes, e.g.. CLEFS For general and practical uses the following four clefs are the most important: F *i9 E Treble or G Clef és Bass or F Cler HE] Alto or € CES] Tenor or € cler BY * The C-clef is variously called the Tenor-, Alto-, and Soprano -clef according to its position on either the 4tb, arél or 1 fjue of the stafí, 10 These clefs are placed at the beginning of the staff, upon different lines, according to the instruments for which they are used. They give their names to the lines upon which they are placed, and serve as starting Points to determine the name of the notes. In this country the Alto-clef is mostly used for the Viola; the Tenor-clef occurs in the music for “Cello, Bassoon, Trombone, and is of special use to of a part becomes necessary. Horn players, in cases where transposition A EGBDF FACE DEFGABCDEFG + p- + - + Treble Cior HE e ===: PSSS ] Notes on the lines: | Notes in the | All the notes that can be put on the staff spaces: without the use of leger lines: 4 y + , y Bass Clef === ==> Saa GBODFA ACEG FGABC DEFGAGB AN c ZÉ Above B » A nrac efi rEGRD Cefr X $ EA Treble Clef Hs == == sl v 3 + +T1+R a 3 Below Below Notes on the leger lines: | Notes in the spaces between the lines: Above 2 Abi al E + e 2tE m Bass Clef 72 HH — = Y ] 37 Cc EG +. + BD FA Below A Ú Below BP THE NOTES IN CONTINUOUS SUCCESSION G Be £ A EFGABCDEFGA pocDErCcies = + Treble Clef Há , EEE EAS + 3 Y ITZA A +. . Ef E CU E RE EE E Bass Clef 2% == PASA 3 3... ABCTEFGABCDEFGA 3" EFG D E A BC>P It will be observed that in continuous scales a note of the same name may occur sey- eral times, but always iu a different position. NOTES AND RESTS Their form and time-value The time-value (duration) of a note or rest is determined by the form of same, as illustrated in the following table: TABLE One Whole Note: is the equivalent of, y or equal to: Two Half Notes: or 64 Sixty-Fourth Notes: RESTS Characters indicating a temporary suspension of time while playing are called rests. These rests correspond exactly with all the above-mentioned note varieties, both in name and time-values. Whole Rest Half Rest Quarter Rest Eighth Rest 16fhRest 32ndRest 64th Rest 37 = = + 5 > + ; + E j p asa H Count same as E Quarter Notejetc. Whale Note las a Half Note: ==; + 3 1 y Y $ Rests beyond the extent of a single measure are indicated by numbered abbrevia - tions as follows: 2 3 4 5 6 8 10 20 | IFE 0 E si qe > ma | + TIME The following combinations of figures are used to indicate the different kinds of time in general use, Common-time? Half-timo, Two-four, Three-Tour, Three-bwo, Three-eighth, Six- eighth,Nine-eighth,Twelve-elghth. 7 0 3 1 y AE E dE pl Da +) 3-6 32 Ae sa FSA re pt Fs] re pa ES E 3 ES És $, $4 7 *) The figure € is«more generally used than £. Either one indicates Common Time. The Upper.Figure designates how many counts or beats in a measure. The Zower- Figure designates what kind of a note or rest tor equivalent,) is necess- ary to fill such a count or beat. In this way Common or Four- Quarter time has four beats or counts to a measure and each count must be taken up by either a quarter note or rest (or equivalent.) The following examples will show the manner of counting some of the various kinds of time: EXAMPLES TA + 3 + AER HPA o e 1234 1234 1 23 4 1223 4 123 4 1234 1234 1.234 The word and is used to indicate the hal? of a beat ; ' ES a E Aa A ess y 123 4 1234 1 and 2and 3Bandáand 1and2 3and4and 1234 12and 3and4and ds 2 7 > DEA e ARA eo. 4 Y AA 1aud2and 12 fand2 and 123 128 412 8and1238 gs hy 7 Ei A HE ARAS e. Ss == AS == + 123 123 land2and3and 1 2 3 123 1and2 2 123 123 123456 123 123 458 789 E A 04 ES ET y EZ EZZZZ Y 2 e y j 1 2 1 1 2 3 or the same as two-four time orthe same as three fourtime 1.28 4 5 6 789 1288456 278 9 13d 8 4586 78 9 ZÉ A 7 j + + AO A A eto. r 1 2 s 1 s 1 B 123456 7,8 9 10413 123456 789 10118 123 4 5 6 789 1044 43 == == SS : S : ES EA E eto. 1 11.23 3 A En 2 3 4 1.2 a 4 or the same as common time 14 THE TRIPLET When the figure 3 and a slur are placed over or under a group of three notes, the gróup is termed a Zríplet, and the three notes are played in the time of two notes of the same value. Examples: THE SEXTOLE When the figure $” and a slur are placed over or under a group of six notes,the group is termed a Sestfole, and the six notes are played in the time of four of the same value. Examples: E pa A, ta ¿7 $ da THE PAUSE fs OR HOLD A Pause (13) placed over a note or rest, signifies that its duration may be pro- longed at the pleasure of the conductor or performer, the counting being interrupted in the meantime. Example: p IN fan f + a E pj H+ a A a ax EE HH Ñ F H + When this sign is met with, it signifies that the sound of the notes under which it is placed must gradually be increased from soft to loud; the word crescendo Or erese. is also used to indicate the same. When the sign is reversed,>— it signifies that the sound must diminish from loud to soft. The word diminuendo Or dím. is also used to indicate the same thing. The joining of both signs —— indicates a gradual increase and decrease of tone. The letters D.C.(abbreviation of Da Capo) placed at the end of a piece or at a double bar, signify to repeat from the beginning and play as far as the double bar marked with a pause /n or to wherever the word Fine (the end) is found.For in- (N aan stance: Pine. When the Sign S, or the words Dal Segno (abbreviated D.S.) are met with at the end of a part, or the composition, it signifies to repeat from where a former sim- ilar sign % is placed, and play to the end indicated by the pause, or the word P+ns, placed at the double bar. 16 When the figures 1 and 2 or 4% and 22d are placed at a double bar, thus: they signify that in repeating the strain, (indicated by the dots at the double bar) the part marked 1 is omitted, and the part marked 2is Played in its place. The Sign gua, followed by a wavy line or dots, signifies that the notes overwhich it is placed must be played an octave higher. written: When placed under the notes, they are to be played an octave lower. The word Zoco means to play as written. When a note, occupying an unaccented part of a measure is to be emphasized in particular, it is designated by either of the following signs: for sf a or. Example: LL” 47 When a note of long duration is placed between two notes of shorter time dur- ation thereby making the weaker part of the measure the stronger, such deviation from the regular accent is called Syncopation. Examples: => => e ] == A AHARAAARAHEAO2S HR a) y LAA + S => ABBREVIATIONS For the sake of economizing space, the following abbreviations are sometimes úsed. e a z == + Written: pl p ro de zz a na e . L Ta a HERA Played: He daa Cidra” e p + + Written: ES £ E a e e 0 5 o e Played: O) DIATONIC SCALES In the following Scale of C Major(or natural Scale, because there are no sharps or flats in it), it will be observed that the half or semitones occur between the 3Yd and 4th, and 7th and Sth degrees -of the Scale. SCALE OF C MAJOR Tonic 2nd 3rd 4tb 5ih 6th 7íh 8th Y AF 07 ] Half- tone 0 — Half - tone Every Major Scale, no matter upon which note it is started, is formed in this manner; hence the necessity of sharps and flats. Every Major Scale has its Relative Minor Scale, found one thirá below the Major. SCALE OF C MAJOR Degrees. pg t23 4567 8 48 7654 321 Ascending: Descending AAA) Halftone HalÉtone HalÉtone Home In the ascending melodic Minor Scales the half tones occur between the second and third, and seventh and eighth degrees of the scale; in descending, between the fifth and sixth, and second and third. The Minor Scale always bears the same signature as its Relative Major Scale, and the difference in its intervals is made by adding extra sharps or naturals wherev- er necessary instead of writing them at the signature. SCALE OF A MINOR (Relative of C Major) Degrees 12 3455067 8 8 76 543 24 + + Ascending: dE ostia dl je_s HalFtone oa E HalFíone Ñ Hat£tone Halftone THE HARMONIC MINOR SCALE The Harmonic Minor Scale differs from the Melodic, in so far, that only its 7th degree is raised by an accidental, and this raised interval remains for both the ascending and descending scale. THE HARMONIC SCALE OF A MINOR Degrees 12 345 6.7 8 pe8o76 543 214 py + _A PU, Et Etoné HATE Halflono Plbiono ETOO HalbtonS Halbtono q * Interval of a fone and a semitone 19 TABLE OF KEYS WITH SHARPS AND THEIR SIGNATURES C MAJOR GMAJOR DMAJOR AMAJOR E MAJOR B MAJOR FA MAJOR 7 m7 E q E as ls H + e e vu y AMINOR EMINOR BMINOR FRMINOR CEMINOR GÍMINOR Dj MINOR He E 4 4 y, X H ra Edo pént 2 tt Hs + E + vz <=” = AS TABLE OF KEYS WITH FLATS AND THEIR SIGNATURES Gb MAJOR DHMAJOR Ap MAJOR Eb MAJOR B)MAJOR F MAJOR bb ls cb — dh dr 17 A E A 4= a j el Eb MINOR Bb MINOR F MINOR C MINOR GMINOR DMINOR 3 ph bb yde rd Ez EZ se 5 pS = =. CHROMATIC SCALE The Chromatic Scale proceeds entirely in half tones. 77 Ascending, with Sharps. A e E Y 21320 pa Descending, with Flats. y A al TRANSPOSITION OF THE KEYS When C is taken as 1, the scale or key is said to be in its natural position; but either of the other letters may be taken as 1, in which case the scale is said to be Transposed. As 1 is the basis of the scale, the foundation on which it rests, so the letter which is taken for the sound is called the Xey-Nofe, Thus, if the scale be in its natural position, it is said to be in the key of C; if G be taken as 1, the scale is in the key of G; if D be taken as 1, the scale is in the. key of D, and so on with the rest of the seven letters; whichever letter is taken as 1, that letter becomes the key-note of the scale. 20