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pass from the original key to its either relative Minor, or a Change such as that illustrated, from "Love Laughs at Locksmiths/' from the operatic success, "Sergeant Kitty:"
The signature of the key is not to be changed, however, in writing these deviations, but the accidentals (Sharps or Flats) must he used in front of the notes requiring same, in order to show exactly the change of key or the return into the original key. Where, however, the change of key involves the use of eight measures or more, it is better to change the signature, reverting to the original signature in its proper place. In this way, you simplify the process of reading the • song immensely.
Another rule which the popular song writer may usefully bear in mind is never to change the key of the chorus or refrain of a song; keep it in the same key as your verse is written in. This rule, indeed, is imperative, and even the composer whose desire is to be as original as he consistently can, must be careful that his zeal for new effects and his desirv to depart from conventionality do not run away with his discretion in this respect.
A few suggestions regarding accompaniments for the main classes of popular songs may, perhaps, be useful and act as a guide to the amateur when considering the best form and style for certain songs.
Home or Mother Songs. Descriptive, Sensational Ballads.
Write these either in common, or 4-4 time, or 3-4 time; or else 4-4 time for the verse and 3-4 time for the refrain. |
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