Synopsis
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1880 Excerpt: ... occupy the first half of the next measure; the dotted semibreve, in common time, is, however, almost an obsolete form, the prolongation of a semibreve being made by means of another note connected with it by a tye or bind. The signature of common time (see No. 41) is not, as might be supposed, the initial letter of the word common, but properly a half-circle the symbol of what was once regarded as imperfect time, in contradistinction to perfect or triple time, formerly indicated by an entire circle. Kead the following in time, calling each note by its pitch name. Only the 1st or upper part of No. 42 should be attempted by a class thus far advanced; the 2nd being reserved for future practice, sung by a more advanced class, or played on an instrument. CHAPTER XXVII. Essential Sharps and Flats. (Prepare Large Sheet 20.) Two notes of the same name, but of different pitch, e.g., Si and Si flat, Fa and Fa sharp, are never found in the same diatonic scale; for a diatonic scale consists of eight sounds, seven of them having different names, the eighth only having the same name as the first. All sounds have the same names as their octaves. Nos. 39, 40, 42, and 43 are, therefore, not throughout in the same scale; a portion of each is in a scale of which Si flat forms a constituent sound; or another portion is in a scale of which Fa sharp forms a constituent sound. Of these scales we shall now speak. The quality of any interval may be altered, as we have seen, by raising or lowering one of the two notes composing it. Availing ourselves of this expedient, we can form a scale exactly like that of Do--the "natural" scale--in the order of its intervals, beginning on any sound whatever. By the alteration of one note in each we can form such scales on Sol and on ...
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