MUSIC 



402S 



MUSIC 



and the key of A, 



How to Remember Scales. Of course it would 

 be possible in writing out a musical composi- 

 tion to place a sharp or a flat before each note 

 when one was : but this would be 



troublesome and would make the music look 

 unnecessarily difficult. A much simpler method, 

 therefore, is in use. All the sharps or flats 

 needed for the scale in which a composition is 

 written an- the left end of the staff, 



just after the clef sign, and every note which 

 appears on one of these sharped or flatted 

 degrees is affected throughout the composi- 

 tion unless otherwise marked. 



The term key .^it/nature is the name applied 

 to this group of key-marking sharps or flats; 

 and every composition bears a signature, unless 

 it is in the key of C. 



Here are the key signatures for the scales 

 which make use of flats. Both the bass and 

 treble clefs are given, as the eye must learn to 

 recognize one as rapidly as the other. 



Key of 



F B-fiat E-flat A-flat D-flat G-flat 



right always comes on fa of the scale, and it 

 is merely necessary to count down, fa, mi, re, 

 do, to find the- keynote. In all except the key 

 of one flat there is another method of recog- 

 nition. The next to the last flat always marks 

 the keynote. 



To tell the keynote in a scale using sharps 

 is even simpler, for the sharp farthest to the 

 right is always just one degree below the key- 

 note. In other words, this last sharp marks 

 ti of the scale, and counting up one tone 

 gives do. 



In the formation of scales, flats are added in 

 the order B, E, A, D, G, C, and sharps in the 

 order F, C, G, D, A, E. 



Accidentals. Sometimes the composer wishes 

 to indicate that a note within the composition 

 which was not indicated in the key signature is 

 to be sharped or flatted, and he places a $ or 

 a b on the required degree of the staff. When 

 the character is introduced in this way, it is 

 called an accidental, and affects the note only 

 through the measure in which it occurs. 



There is another accidental which is made 

 thus, 4, and is called a natural. It cancels the 

 effect of a sharp or flat, whether this has been 

 used in the key signature or merely as an acci- 

 dental. This will indicate its use: 



The sharp signatures run thus: 

 Key of 



^ 



m 



rf 



,B F 



jte 



^ 



Is there any way to recognize a key from 

 its key signature? is a question the beginner 

 will want to know. It is easy enough to say, 

 "This is written in the key of four flats," but 

 what is the keynote, or do? Look in the flat 

 signatures at the flat farthest to the right in 

 each case, and count down four degrees on the 

 staff, including the degree marked by the flat. 

 Is the result not in every case the keynote, as 

 shown above? That is, the flat farthest to the 



A Lesson on Transposition. This may at first 

 sound difficult, but there are certain facts about 

 the subject of transposition which any pupil 

 will find interesting. Transposition means the 

 shifting from one key to another, and it is ac- 

 complished in a delightfully simple and orderly 

 manner. Write out the letter names of the 

 tones in the scale from C, thus: 



CDEFGABC 



and to find the key of one sharp, take the 

 fifth tone in the scale, or G, as the starting 

 point. Writing out the formula, 



GABCDEFG 



it becomes clear that F, or the seventh of the 

 scale, must be sharped if it is to conform to the 

 laws studied above. Now with this scale as a 

 starting point, it is easy to find the key of two 

 sharps. In the formula GABCDEFG, 

 take the fifth tone, or D, as a keynote, and 

 complete the octave, and it will again be evi- 

 dent that the seventh tone must be sharped. 



