Harmony Book For Beginners - online book

Scales, Intervals, Common Chords, Dominant Seventh Chord and Melody Making.

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Let us experiment a little, add another Tetrachord to the two we already have, and see what happens.
Leaving a Whole Step, we find that our additional Tetrachord is to begin on D. Proceeding from D, a Whole Step will give us E. So far, so good. We now want a Whole Step from E, whereas F (the next degree) is but a Half-Step. To correct this let us take the black key F#. From E to F# is a Whole Step (two Half-Steps), and now we have the proper distance. Furthermore, from F$ to G is a Half-Step, and our new Tetrachord is now complete.
An examination of the above discloses the fact that, in addition to a new Tetra­chord, we have also formed a new scale.
Take the Tetrachord G, A, B, C, followed by the Tetrachord D, E, F#, G, and we have the Scale of G.
Scale of G
Now, let us start with the Tetrachord D, E, F $, G, and follow on with still another Tetrachord, beginning on A. From A to B is a Whole Step, but from B to C is but a Half-Step. Correcting this, we change C to C$, giving a Whole Step from B to C#. Then, from C# to D is a Half-Step, as required.
We now have the Scale of D.
Before proceeding further, play all these Scales and Tetrachords, and let the ear verify all that has been done. Let the teacher or one of the students play incorrect Scales and Tetrachords in which the Whole and Half-Steps are improperly placed, and have the members of the class correct them.
As a writing exercise every student should first write out in musical notation Tetrachords beginning on C, G, D, A, E, B, F#; then, write out in full Scales begin­ning on C, G, D, A, E, B.

E-Book - An Annotated Compendium of Old Time American Songs by James Alverson III