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the fourth G and forming a six-four
chord, i.e., G-C-E. Now try C-Ab an-
other third. Observe how smooth it is.
Try F-A a major third in the key of F.
In fact all intervals seem to be out
of musical focus.
(a) Depress the E string to such a
degree G below middle C will
sound a pleasant sixth to E.
(b) The slightest movement of tun-
ing wrench is sufficient, i.e., for
hearing a difference between
roughness and smoothness.
(c) One's ability to judge thirds,
sixths, fourths and fifths and
tenths according to mathematical
tabulations can in all probability
come near it quite enough to be
heard as a beautiful sounding
chord through assiduous efforts
to bring about this intervalic re-
lationship within the octave.
Note 3
A cardinal point to remember is to
concentrate on the E first tuned, for
once you establish within your hearing
the sparkle heard in this C-E, the
groundwork is really laid.
Next tune D which stands between the
As. It is a fifth to G below and the D
above, an invaluable test. Next tune B
a major third in the key of G, which is
to be on sharp side of interval. Then
test the whole chord G-B-D-G. Next tune
D below, then test the inversion, viz..
D.G.B.D.
Always to be found desirable for
practice is trials and tests in the review.
Note 4
Tuning B above it must prove a
smooth fifth to the E first tuned. Here
is a fine trial and an example, for it
surely brings out the nicety of tuning
in its relation to music when all inter-
vals and chords relate with one another
in all keys.
D being the dominant in key of G,
viz., D-F-G-B, that resolves into E-G-C
and G.B.D.F, and lower down G-C-E
and again B-D-F-G into C-E-G.
Tune F * in the common chord of D
from a major third which can stand
enough tremolos to harmonize with A,
as a sixth, then see that the octave F #
above is in relation to B below it as a
fifth, and harmonizes with the whole
chord D-F#, A, D.
Note 5
This key is an important one. It is
the dominant of G, the last key tuned,
and the dominant seventh of G is erect-
ed on it, viz., D base, F sharp major
third, a perfect fifth and C a minor
seventh; which resolves into D, G, B:
or A, C, D, F sharp, into G, B, D, G or
F sharp, A, C, D into G, B, D.
Next tune A major and follow the
same procedure as near as you can in
this particular key by reviewing the
preceding one, viz., C sharp is the third
and F sharp below its trial fifth.
C sharp stands in a unique position
and worth noting. As a further exam-
ple it is a major third to both. The ear
should be guided insofar that the same
quantity of dissonance is distributed in
each interval, likewise a perfect fifth to
F sharp.
Note 6
It is worth observing that C sharp is
flat to F natural, as it is to A and de-
scending third from C sharp.
The major thirds in the octave must
all have the degree of sharpness or
brightness and flatness when below the
tonic.
Next harmonize the common chord of
E major, G sharp is the third and C
ESTABLISHED /8SS
MtNftV WICKHAM.
Ftunder
INCORPORATED 1903
sharp the last third tuned, and trial
fifth.
Note 7
G sharp hold an intermediate position
between E and C and a chord inciden-
tally tuned, i.e., D flat five flats. Db, F,
Ab, Db. A beautiful, delightful, sound-
ing key.
Harmonize the key of B major. D
sharp is the major third, G sharp be-
low a trial fifth B, D sharp, F sharp,
and B the chord. Here is another chord
incidentally tuned, viz, Ab, C, Eb,
Ab, and the two thirds are G above and
B below D sharp.
Next tune key of F sharp major, six
sharps usually treated by musicians as
six flats.
A sharp or B flat is the major third
and the last one tuned. The octave be-
ing tuned D# or Eb last the trial fifth.
Note 8
Special attention should be gipen to
this last fifth, A#, B# and the F above
middle C which, if all the fifths are
tuned in relation to the octave, the A#
and F will correspond evenly to the
first F tuned. The two remaining which
make the twelve Bb, D, F. B flat and
Eb, G, Bb, Eb.
CORRECTION
In the October issue on Page 25
there was an error in the paragraph
at the bottom of the second column.
It should have read:
"Next tune F# (9) another fifth
from B (8), then octave below.
Next tune G# (11) from G# (0)
another fifth. Then octave, then
G# above. Next tune D# 12 from
G# (11). Then the octave above.
Then F (14) from A# (13)."
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THE MUSIC TRADE REVIEW, NOVEMBER, 1954
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29