Upper Austria, 2. Salzburg, 3. Styria, Salzburg. Gratz. 6. Bohemia, Prague. 10. Transylvania, 11. Hungary, Chief Towns. VIENNA. 12. The Banat, 13. Croatia, Sclavonia, 14. Dalmatia, 15. Military Frontier, (ITALIAN PROVINCES.) 16. Lombardy, Venice, Kronstadt. Milan. Venicc. A. B. C. D. LESSONS IN MUSIC.-No. XXI. (Continued from page 185, Vol. IV.) OF ACCIDENTAL FLATS AND SHARPS, AND RULES FOR RECOGNISING ON THE STAFF THE NOTES OF TRANSITION, THE DISTINGUISHING NOTES OF MINOR KEYS, AND CHROMATIC NOTES. ALL notes which differ from the ordinary notes of the key are distinguished in the old notation by flats, sharps, or "naturals," placed immediately before them, and are known by the common name of "accidentals." They are not, however, truly accidental, for each one has a distinct musical character and a special purpose, as will appear from the previous sections. It is important, then, that the pupil, when he sees the dumb sign of flat or sharp, should be able to discern its meaning, and to tell whether it indicates a transition of the whole music into this or that related key, with such or such a peculiar effect, or merely a chromatic variation without changing the key. The note Tu being substituted for FAH of the previous key, and being about half a tone above it, is represented by a note in the place of FAH, with a sharp before it. It is often called the "sharp fourth." Thus : BAH, being used instead of FAH, and about half a tone above it, is represented, like Tu, by a note in the place of FAH, with a sharp, or, in flat keys, with a "natural," before it. Some treat it as the same thing as TU. It is commonly called the "sharp sixth (reckoning from LAH) of the minor key." NE, being used instead of soн, and about half a tone above it, is represented by a note in the place of soн, with a sharp, or in keys with three or more flats in the signature, a "natural" before it. It is commonly called the "sharp seventh (reckoning from lower LAH) of the minor key." Thus, The "natural" indicates the removal of some previous flat or sharp, and the restoration of the note before which it is placed to its position in the (so-called) "natural" key. It thus sharpens a note previously flat, and flattens a note previously sharp. The power of the "accidental" sharps, flats, or naturals, extends to any notes similarly placed in the after part of the same measure (or bar), even when the sign is not repeated, but no further. Hence the necessity for putting a flat before the returning FAH. It would not have been required if there had been a bar between it and the previous TU. Accidentals are, however, frequently placed before notes where they are not absolutely needed, especially in cases where the composer fears that the singer or player might be in danger of mistake. However useful this practice in helping bad players, it is VOL. IV. NI, being about half a tone above the soн of its own key, which corresponds with DOH in the original key, is represented by a note in the place of DOH, with sharp or natural before it as the case may require. It is the "sharp seventh of the relative minor of the subdominant key." It is a note of frequent occurrence. Nu, being about half a tone above the soн of its own key, which corresponds with RAY in the original key, is represented by a note in the place of RAY, with sharp or natural before it as the case may require. It is seldom used. |