In the above example we pass to the key of E, and back again, progressively, through the intermediate keys of G D A. The pupil should be questioned and instructed on it, until he can tell readily where the modulation takes place from one key to another. After the transposition by flats, the class should also be exercised on different tunes, such as Amirah, Mahli, Farimer, &c.; also the set pieces on pages 260 and 274. Let us take, for example, the three measures of symphony on p. 275. The first sign of modulation or transposition takes place in the first measure, third note, where Ab is introduced, the sign of modulation from the key of Bb to Eb. After passing through an interrupted cadence, the modulation is completed in the last note of the symphony. First transposition of the scale by fourths. To transpose the scale by flats we take the fourth (instead of the fifth) of every new scale. F is the fourth of C, hence it is one of the new scale (Key of F), thus, No. 15. IMPERFECT-Because B is not Flat. PERFECT-Because B is Flat. For extended instructions and illustrations in modulation, see "Woodbury's Self- lyzing the perfect example above, we find that from F to G is a major; G to A, a maInstructor in Musical Composition and Thorough Base." jor; A to Bb (three to four), a minor; Bb to C, a major; C to D, a major; D to E, a major; E to F, a minor second. Question something as follows:-What is the signature to the Key of F? Ans. One flat. What letter is flat? B. Why do we flat? To regulate the order of intervals. Name the letters as they occur in this scale. The flat keys are transposed a fourth instead of a fifth, and flats are used instead of sharps to regulate the order of intervals-the fourth of each new scale being flatted instead of the seventh being sharped as in the sharp keys, &c. Second, third, and fourth transpositions by flats stand thus: 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. 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 introduced in all these keys, in the order of the transpositions as above. 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 intervals in the minor scale is the same, as shown in Lesson 12, in all cases. Question the class as follows: What is the relative minor scale to G major? Ans. E. What is the signature of the relative minor to any major scale? The same as its major. What is the signature to E minor? Ans. One sharp. Is it necessary to introduce any accidentals in the minor scale? Yes; the seventh is always sharped both in ascending and descending in the Harmonic form, (for example see page 13); but in the Melodic form only in ascending. Which form of the minor scale is now generally used? The Harmonic. Why? Because every note of the scale is susceptible of natural harmonies. What is the relative minor to A major? F sharp minor. To E major? C sharp minor. To F major? D minor. B flat major? G minor. E flat major? C minor. A flat major? F minor. Here we have all the minor scales at one view. follow, follow, whither shall I follow, follow thee? To the greenwood, greenwood,greenwood, To the beautiful green wood tree. Sound the strain again O-ver sea and main, No. 6. ROUND IN THREE PARTS. la, la la, la White sand and gray sand, Who'll buy my white sand? Who'll buy my gray sand? "Tis now the time to go a- way, It is the evening of the day, The dews of night begin to fall, No. 9. ROUND IN THREE PARTS. 2 And dark-ness soon shall cover Those who wish to sing with pleasure, Must keep tune and time together, Keep the time to gether. |