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. 1875 Excerpt: ...the scale of Sol, with the same manual signs. These scales, being identical in their construction, are, though different in pitch, identical in their effect or tune. In like manner, we could form scales beginning on Be, Mi, La, and Si, and even on notes, of whatever names, already made sharp or flat. For the present our practice will be limited to the scales of Sol and Fa. CHAPTER XXVIII. Transposition. (Prepare Figs. 43, 44, 45, 46 and 47.) Br transposition is meant the placing of a musical passage in a different scale from that in which it has been already placed or performed. By transposition a passage is not in itself changed, though its place in the great system of musical sounds is. The melody or tune of a musical passage, by which alone we are enabled to recognise it, depends on the intervals or relations of the sounds of which it is made up. Transposition in no way affects these; it simply affects the pitch of these sounds, and affects them all to exactly the same extent. Fig. 43, a passage from a well-known Welsh melody, is in the scale of Do. Listen to it. Suppose I should think that this passage would sound better, or that somebody would sing it better, at a little higher pitch, I could transpose it into Re, thereby raising every note a tone. To do this I must make every Fa and every Do sharp; because Fa natural is only a semitone above Mi, and Do natural only a semitone above Si. Compare the altered notes of Fig. 44 with their corresponding notes in Fig. 43. Sing Fig. 44. Call Do ft Da. Fig. 44. Or suppose, on the contrary, I wanted the passage at a little lower pitch, I could transpose it into Si b, therein lowering every note a tone. Here I must make every Mi, as well as every Si, flat; for Mi and Si natural are each a semitone only below Do. ...
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