On Musical Shorthand. 



377 



mented Triad," a double loop has been used for a flat, and a 

 lozenge for a sharp. The awkwardness of these forms is imma- 

 terial, as the augmented triads are bu,t little employed, and in the 

 rare cases where they are introduced the peculiarity of the shape 

 is useful to draw attention to them. 



Beside the chords of these tables there is one other which may 

 possibly occur, viz., the augmented triad produced from the im- 

 perfect triad by flattening its first and sharpening its third ; it 



may be designated by ^^P , which indicates the accidentals 

 that produce it. 



The reader can now interpret the whole of Figure 2, and the 

 student would do well to add to it in the corner squares the 

 symbols for the tonic and relative minors of the first sharp and 

 the first flat major keys. 



A similar exercise should be written out by the student for 

 music which begins in a minor key. It should contain the keys 

 most related to it in some such order as the following : — 



In analysing music the symbols may be employed in two ways, 

 When they are written under the music the student is advised to 

 insert only those chords which he is unable freely to read off the 

 music itself according as he plays it, and to diminish the number 

 of symbols he inserts until he can wholly dispense with this 

 assistance. 



When used in this way the inversions of the chords are most 

 conveniently indicated by a small u-shaped appendage, the ap- 

 pendage being placed opposite the middle of the symbol when the 

 third of the chord is in the base, and beside the upper end of the 



