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

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12
OREM'S HARMONY BOOK
CHAPTER IV
THE MAJOR SCALE CONTINUED
In constructing the Major Scale be careful of two points:óDo not write two notes of the same degree in succession; for instance, A and A#. Do not skip a letter; for instance, A# to C. Always write out the notes first, making an outline of the scale; then fill in the sharps, or flats, as needed. For instance, let us write the scale of F# Major.
To begin with, we make an outline, thus:
Now begin to add the needed sharps: F# (the Tonic or Key Note) to Gft is a Whole Step, G# to A# is a Whole Step, A# to B is a Half-Step; and our first Tetra-chord is complete. A Whole Step from B gives C#; then C# to D# is a Whole Step, D# to E# is a Whole Step, E# to F# is a Half-Step; and our Scale is complete.
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At this point the student should write out for himself the Scale of C#. It will be discovered that every note will need a Sharp.
Write out the Scale of C# Major.
Let us turn back for a little and attempt the construction of a Scale on F.
From F to G is a Whole Step, G to A, a Whole Step, but from A to B is also a Whole Step. Some way must be found for correcting this. Where notes would be a Half-Step too high without them we must introduce Flats; so we write Bt>. Then, from A to Bb is a Half-Step, and all is well, thus:
At this point the student should write out, and play, the Scales of Bb- and Eb Major.








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