BOSTON PUBLIC LIBRARY

111
3 9999 06659 493 6

EUSTACE B.RICE
BOSTON
PUBLIC
LIBRARY
TRANSPOSITION BY CLEF

NEW ENGLAND CONSERVATORY COURSE

IN TRANSPOSITION

USED IN CONNECTION WITH THE

GENERAL SIGHT-READING COURSE

EDITED BY

EUSTACE B. RICE

PUBLISHED BY
NEW ENGLAND CONSERVATORY OF MUSIC
BOSTON
Copyright, 1900, by New England Conservatory of Music
 PREFACE.

The subject of transposition is usually entirely neglected, often treated

casually, and but rarely made a matter of earnest study.
In the first case a desire for a superficial education is evinced or else a non-
appreciation of the value of transposition.
In the second, either a lack of time or method is the reason for no accurate
work in this direction. A pupil is often told to play a piece in a certain key,

but is given no particular method to follow.

When transposition is made a matter of serious study, it becomes a broaden-
ing factor in one's musical education.
The bearing of transposition upon sight-reading is evident from the fact that
if one can play a piece of music in different keys, reading in the original key
will be comparatively easy.

While transposition by clef is not the only means of placing a piece in a new
key, yet it is undoubtedly the most practical for the student who has had a
limited experience in thinking harmonically.

This book is designed to teach the several clefs through the medium of
reading exercises ; and also provides material progressively arranged for trans-
position. The work with each combination of clefs should be carried much
farther, after completing the foundation work contained in this book, until
accompaniments can be transposed with accuracy and fluency.

(3)
4

The material used is taken chiefly from the masters. The hymn tunes are

from the " Church Hymnal " by the kind permission of the editor, Kev. Chas.
L. Hut chins.
The author wishes here to express his sincere thanks to Mr. Samuel W.
Cole for his valuable suggestions ; also to express his appreciation of Mr. Cole's

work for many years in forming the principles of musicianship in the individual
student.

To all students who desire to continue their studies in reading, and to pursue

them farther into the grammar and composition of music, this book is dedicated.

Eustace B. Kice.
Boston, January, 1900.
 TRANSPOSITION BY CLEF.

To enable one to play a piece of music, either solo or accompaniment, in

some other key than the original, by the employment of different clefs, is the
object of this book.
A note is nothing as it stands on the staff without a clef at the

left of it jEjE -, but it becomes any one of the seven letters of the musical

alphabet, by placing successively the following clefs before it.

Pig. 1.

The previous example demonstrates the fact that by using the proper clefs,
a given key can be changed into any other key.
Laying aside the matter of accidentals and modulations, it is not more dim-
cult to play in anew key than to read in the original, provided that the clefs
have been mastered.
The clefs were, in their inception, the letters C, F, and G (from which our
present clefs have sprung through corruptions of the old forms of those letters),
placed in certain positions on the staff, thus fixing the letters c, f, or g, wherever
the clef stood.
The C clef indicates c; the F clef, f (small group); and the G clef, g.

Pig. 2.
OR «J
e, etc. b, etc. g a, etc.

(5)
 1

The F clef is used both on the third line and the fourth line; in the
former case it is called the Baritone, in the latter it is called the Bass clef.

Fig. 3. * 9^ The G or Violin clef is usually found on the sec-

Bar, f Bass f

ond line. Fig. 4.

i
A knowledge of the clefs is not only useful in transposition but also in
score reading; and a glance at a full oratorio score will convince one of the
necessity of knowing the clefs perfectly in order to read or conduct a work of
that character. Commit to memory the names of the following clefs, with their
original placings of one line c (c) and small f (f).

Fig. 5.

c c f

Old Sop. Mezzo Sop. Alto, Tenor, Baritone.

For the purpose of transposition, however, the clefs are to be used regardless
of the location of a note in a certain group or octave.
For instance, the Bass clef is sometimes used for the upper register of the
instrument, and the Violin clef for the lower.
Therefore, the clefs are here used to give different names to notes, but not to
place them necessarily in their original group.
N.B. Unless otherwise indicated, the clefs have the following significance in this book.

TABLE I.

Violin clef places c on 3d space

Old-Soprano " 4th "
Mezzo-Soprano '
2d line
3d "
H.^ Alto
'

R.
Tenor " 4th "
Baritone " 5th "
Bass 1

2d space
 7

Violin clef places c on 3d space

Old-Soprano " :
'
1st line
Mezzo-Soprano i 11
2d »
L. H.J Alto i n 3d *1

Tenor •
" 4tli
"
Baritone " 1st space
' " 2d "

In other words, the various clefs place c in the nearest position to c in the
Violin clef, for the right hand and they place c in the nearest position to c in
;

the Bass clef for the left hand. Otherwise, c, c or c will be placed by the staff

degree where it is to be played.

Pig. 6.

Violin clef reads c e a g e d c

Bass " " be g c bb g f be

The above example illustrates the principle of Transposition by Clef. The

Bass clef and the proper signature for Eb or E, are substituted for the Violin
clef and blank signature and the exercise can be read with no additional diffi-
;

culty. Not until an exercise containing accidentals is encountered does the

work become different from ordinary reading.
Accidentals are treated by number, e.g., a composition in C is to be lowered
a major third to Ab. An F# which is $4 (or raised 4 in the key of C) is en-
countered and is placed in the key of Ab, becoming Djj; a Bb, which is b7 (or
lowered 7 ) is found and is changed into Gb perhaps the next accidental would
;

be GJf (#5 in C) and would become E|} in A .

By marking the number with its $ or b (indicating the raised or lowered

scale degree) above or below the accidental, the work of transposition will be
facilitated.
8

( Commit to memory.)

TABLE n.

Transpositions Effected by the Various Clefs.

( Alto clef raises ond

Violin clef a second i

v > min. maj.. or aug.

Mezzo "
;
I
Bass
Tenor " lowers Violin
f
mm., inaj.. or aug.
l Alto " Bass
Bass raises Violin a third
dim., min., maj.. or aug.
Baritone " " Bass |

Old-Sop. " lowers Violin

\
dim., min.. maj., or aug.
) Violin ? n Bass |

{ Mezzo " raises Violin fourth

dim. perf or aug.
f Old-Sop. " M Bass | , . .

\ Baritone " lowers Violin

dim., perf.. or aug.
I Tenor n Bass |

The metronome marking in the exercises is intended to secure slow, even

reading : and in the excerpts, it is purposely made much slower than the origi-
nal, as they are there used simply as reading exercises. Before beginning to
read each exercise, write the scale in which it lies, commencing on the tonic
nearest the clef, ascending to the third leger line above the staff, and descending
to the third leger line below the staff. When the exercise lies in the minor
mode, write in the melodic form. Use the sharps and flats in building the
scales, both major and minor, not using a signature.
Write in the same clef in which the exercise is written.
The study of Clef Reading begins with the use of very simple exercises,
but gradually increases in difficulty until one is able to name quickly any degree

of the staff.

Always think the letter in its new position on the staff ; and if the work is

done carefully, the lines and spaces will assume new names.
 — r — ^

OLD-SOPRAiSrO CLEF.

EXERCISES IN CLEF READING.

Speak the letter as each note is played.

(See Introduction, Table 1.)

1. J= 40. For Right Hand.

— ~—
2
2
. For Left Hand.
i
( See Table I, L. H.)

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 — — —

12

THE OLD-SOPRANO COMBINED WITH THE VIOLIN AND

OTHER CLEFS.
16. '
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14
 15
EXERCISES IN TWO VOICES ON THE SAME STAFF.
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EXERCISES ON TWO STAVES WITH ADDITIONAL

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VOICES.
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5* 02 1
EXERCISES IN TRANSPOSITION.
The Old-Soprano clef is now to be substituted for the Violin clef, and the
Violin for the Bass clef.
First decide the key of the given exercise, then see Table II. and find the
transpositions effected by the clefs substituted above. The thirds possible below
the given key (fcB), are minor and major thirds, making transpositions to G and
i?G- possible.
The next step is to consider the accidentals. The accidental in No. 30 is
#4, or the fourth degree of the scale raised. Determine $4 in the new key before
commencing to play.

30.
1
J J n TT -
-i
j
—
——
From Beethoven.
i

\
i : 4=
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Proceed in like manner with No. 31, marking each accidental by number
(with # or '?). Play in all the keys possible.
31.
54
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54 fi4 54

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32. Flay in b minor and bb minor

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33. Play in and A?.
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 — ^ i I

MEZZO-SOPRANO CLEF.

EXERCISES IN READING.
Follow directions given for Old-Soprano clef.

38. J= 80. R. H. ( See Table I.)

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39. J = 60. L. H. (See Table I.)

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25
 ^

THE MEZZO-SOPRANO COMBINED WITH THE OLD-

SOPRANO AND OTHER CLEFS.
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59. From "Normal Music Course.
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60. *From "Normal Music Course.

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EXERCISES EN CHANGING CLEF.

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EXERCISES ON TWO STAVES WITH ADDITIONAL VOICES.
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 — « —— . < — i — — —^ —

36
EXERCISES IN TRANSPOSITION.
The Mezzo is to be substituted for the Violiu clef, and the Old-Soprano for
the Bass clef also a new signature is to be substituted for the original.
;
Play
in all the keys possible hy using this combination of clefs. (See Table of
Transpositions.) Mark each accidental by number.
76. From Spohk.

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77. Frou W. H. Haf tT.

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38
I Major.

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83. Arr. by Mendelssohn.

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At this point, review the Old-Soprano and Violin clefs by transposing the
exercises just preceding, a third lower according to Table II.
 ALTO CLEF.

EXERCISES IN READING.
Follow directions given for Old-Soprano clef.

84. J = 60 . R . H.
-<5>—

Hi
<S>--<
-<S>
—
-L & —\
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85. L. H.

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(39)
42
 » —

THE ALTO CLEF IN COMBINATION WITH THE MEZZO AND

OTHER CLEFS.
98.

E
'

II G
I

+— =t=: -1
1*4 r i
4— 4—
J •

L^-s
4—
fiJ •

(See Tabl el.)

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100.

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i *-• 0
to:
<9ua

sot* „ *

i
 H ? — F

44

H —
#
j f f J
Mj fT! -"-= y-
L
r
^ #
'1
|

- *

— *-> — faTrtu i\—

—
r
- #
r
**
--
: •
—r
T^^*-L - M- y ¥r !
<•

EXERCISE IN TWO VOICES ON THE SAME STAFF.

102. B. H.

«
^= ^
—
[2 #
* ^=1
— i —
# «

~ —
1 i

i i
i

j iJ J
_} _Zi 0
i* ! I

J
J—4h r !

«
«— <
— — •
i

'
v^.
— *—
h
t

T ' J.

EXERCISES ON TWO STAVES, WITH ADDITIONAL VOICES.

103, = 66. From Btkde.
J
l
—h ' — ~tl

1 1

—
I
i i

#
—«
1

L__.

\n\rr\~*

u
^ — —
.m. #9 #
1
*
I
J:
1

tFF=?=
 — —
104. # = 40. From Hummel.

1
& .

C
1~7
—<5£g
i

I I I

5fe-

— —T
-S>-

—— T~
"5
g f e
> 5)

MTit e
— ^— H
25
1

•
5? - _52
4R—r-r-r 1

1
L

106. V. B. GlLBE RT.

^
.1 n-

— ^ —^ -h _^ J _

^—
1 1 1
25
g L
<«
.

f «- (2- £^ b ^ !
^
—L -la
'g* 52
^
1

r r i
]
 ,

47
III MM EL.
108. / = 0O.

^i—
-^ 3=
' J
4ft ,

4 4 4 4

II
ITTT

— zzw —i :Je

109. = 66.
y ; ftHummel.
f
J

—
i—j,
r
1

«i hj
I

rL t-HigW^^-Hid-Hy ——
f
i P I

if*
l«jfl I. 1
u —&t
J
0 ^1- n
EXERCISES IN CHANGING CLEFS.
From Chopix.

1
48
From Bach.
111. ^=40.

EXERCISES IN TRANSPOSITION.
Substitute Alto for Violin clef. Proceed in the same manner as with the other
exercises in transposition.
112.
f2 6? =]

-si- -<&-

II

i 3=j 5
 — —
49
Substitute Mezzo for Bass Clef.
114.

=4: "25^ S|s±

• F JfL
F
#—F—F-H
-I 1

i i

Pi m IP
115. J. B. Dykes.

f
— &
IS
-©> ©>- -pi c -O©
4»-

U
J-
-<s-
^ ^ J*^- -
1

IN

r -&—

I I 1
1
116.

1 "3 — =fc=t
^i—zsl-
A. S. Sullivan.
J
-« —«9-
I-

-=q. _^ _g_
 —
i n i
A uJ l~

ij '

g—'g—
==V(2 1
r
-i

•i
— ———
^— i

1
i
g-^-lzfg—
i

(2—J—
r i i

I
J
ipiifiP
-T+- i
g r-i 1
e>—

r
J. B. Dyi

ffi'JIJjJ J J.J I J J l J J 4?

3
iff
;

P- M-: L
25* . 9 25
1
• * L . |5> hs^* "
#
1
1

At this point, review the Old-Soprano and Violin clefs by transposing the
exercises just preceding, a third lower and review the Mezzo and Old-Soprano
;

clefs by transposing the same material a fourth higher. Play in all the keys
possible.
 — —

TENOR CLEF.
EXERCISES IN READING.
Follow directions given for Old-Soprano clef.

118. j = 60. L. H.

J2. &

m R. H.
=r=£=^\ I
1 i
I

i
119,
l2 -i-S>-
a ^I

120. J= 40. L. H.

—r^^H—
12

-uf&-^^ *5
1=

H — —^— —
(g
fig fg- f2-

r-m- * ^

121. R. H.
fg-
<2

life
2 3 g- <2-
f

±t
I 3 i
(51)
 —
52
122. J = GO. L. H.

* •
8
-i

...
123. R. H.

m ±£E sr

lour 33: I
124. L. H-
•

p-H

125. 66. R. H.

• 1-

If
113111
126. , = 60. R. H. From Saml. Rousseau,

t tJ+x L

n—ra—M
H.
-^t^ ^.

s
 53
R. H.

i
From Alex. Guilmam.
127. E- H.

r t, r n—*h—t=

128. R. H.

-q*

^Pt—r

ill I U i
3 i
N
129. # =88. L. H.

0
 • f — — u 1 — — — '

54
1 o
ISO. s~\ T
K
> Tt
ri.
0 — 48. From Chopix.
*
i
0 • S fT> fly=E . * »,
——
.
V i

• P
'

> •
1 —
Oh
— 0
— 9#-£=

0 — *-
j
-
r> P
i
9 —
iCfi^

' '
. 0
— #^ 1

r
-A I
1

=
131. m 4 0.

—
R.
—
II.

J
From Ci JOPIN.
5
?~m~
0 J
My
,

• ft

S
if.
_
— ' • ' > f , r » r i

• • •
. j... rn- •#

ri hj
—r j—g
i i

1
?
''rU
|

THE COMBINATION OF THE TENOR AND ALTO CLEFS.

fee-
132.

<SL— t_^_L_ —— = 1

^>
(See Tab lei.)

— 1
,

—<S»— 1
<&—
 r — r ' — r —1
133.
=1= *2-=— -
-^ •
1
-.11
-1
h •4- F= x_ H

*
r
F= t
& .

— 5> ~

ft f=
(2 tI
4
i -

=t
fett
- 1- Tj
£
1

134.

-i—
—
-<5>
I ^
J

<s> 1
^ t=:
<S? 1
S>

I
1
-
—
—
—^ — —& 9 — & V—
^
-i
r
-(22 ^, - -
r
1

-1

"I
h

m&& f
— cp =t
FIT 1 — —— »
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H
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1-

4£ '1/ J
_l r u

Qftfrfe 1
fit-

— ! —— i
H — —H
135.

-
-

E- — ^ ^ ii J n , I
From Haydn.

—*1—

-U-J
m ft •
1
—r-#-#—
n —

F
— —
— pi-; *
!
EXERCISES ON TWO STAVES WITH ADDITIONAL VOICES.
From Chop ix.
 L L

60

-fU- sW* s^-rP^fefiil^f^ wr-\ tf^r-l hn

03=

142. From Beetohven.

a 4=t
-<9
I

<9-
I-
L <9-

-<9 — ^9-<9-
-,2.
-(2- -<9-

E 9 *2 —
-9-

—
J
<9

|EE3=i&EE^gEElE±SEEgEEi
f«
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I
1 1 ! 1-

9- 9 H
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9
mm
m (9 3
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9

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ii i

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9

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i

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i
iEEi
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r
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t
1^ gj-

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i
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?2=-i2
 — r — —

61
143 J. B. Di k v. b .

III.,
42-^>-©>-

^ fg- g>

—
r

b-h —— I I-

— &—<Sk& —
—
\—

"i

-P* p* — — ©-r^-n -<2 (2-^

2-

d—
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"1
jg #i

T
— *=g:
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1
7H-
l-N
-<$i <S<
(5— P<5-
<s

i
-(2- -<5-

r-r
1
144. J = 48. From Schumann.
-fca
• — <s<-

T
 u

6.3

EXERCISES IN TRANSPOSITION.
Substitute Tenor for Violin clef. Proceed in the same manner as with the
other exercises in transposition.
147.

i=—— 5-
*- -'-
ir »
p
r
t
J
•

1
148.

i
£t 3 — * * 5
=1

i
f
1
i

*
1
r

^
i

^
i

Substitute Alto for Bass clef.

149.

1
150.

r
 — — — ——
r
64

152. B. Tours.
-I 1

3*E

KJ
H
—
S
i

(9
& 1

<S>
—J^^
<5>
-t-
g
1

2d d
-
^<S>
— —-t—
j

<S>
— -r-i

» -3-

—u — ^
——
—
NN —
(Z
s i^—
¥ -t
1
1
1

F
i

153. Spohr.
r-l M~"S:
L
r Jt

h- — i 1

r i ii
q* —
1=
—uu
y
 DO

^b:ibr^iEi=E^:f!E»5EjiE£^gfE»^ —E^E=gfEE:»^i?— EtzdJ

154. From Flotow

^44-h-4-
i

_^>_ [Z_

=1=
=t
Lj
i

f- j
-»-
^ -r
-J-

• l~ J
It*

At this point, review the Old-Soprano and Violin clefs by transposing the
preceding exercises a third lower review the Mezzo and Old-Soprano clefs by
;

transposing the same exercises a fourth higher and review the Alto and Mezzo
;

clefs by transposing them a second higher. Use each combination in all the
keys possible.
 —
— «

BAEITONE CLEF.

EXERCISES IN READING.
Follow directions given for Old-Soprano clef.

155. J = 60 . R, H.

-fi' <Z -
ffl ' * - - - .L»
156. L . H.

L<s> f9
a * " ^ -

157. R. H.

i| i P a) >
-

-•
-1 "I
1
1 ; • II

158. L. H.
-
»— 1
_ (=
I i

1-
-•—
n -r- _^ H«
=
4—
—
159.
J R. H.
—
60.

S>

^• 2 ~ ^
f

±=±
1

~
1

b
"
U:•f— 1
^

h d

,—4- * f >
r r
(66)
 167. J= 40. R. H.
•
EE=E

-f=-

9V :
* 3* 4-

168. J = 60. L. H

5-»- £

-J: * 3
THE BARITONE COMBINED WITH THE TENOR
AND OTHER CLEFS.
169. j = 60.

42-

:t==t=
i
 — h
r — ——
70

170. J =40

— — T^R-^-F 'III,
8
:
p=P-h«- q

+t-
3 -i
F -U I

uXX ^_L. i i i
_i
.

2—f—f^
—
ft

+ r

•
p
h-
I* ,
1 .
1-

*H
F-
'—^ O —•—
1-

—4=t —
171. J = 40.
~
^4HhrTT-|
pep^ I
s ^
*M — L_ --H — '

(See Table I.)

r <s>

* — • -

^===
—F=r~* -
8 -
1
=
p: —& H * —
r-
i

l 1-

f r.r
>
mi
(=
II
afczt:
-•-
 — — M
71
172. fii
= 48.
-o rj
til—« s>
: ==ti£fca
h-rf |—
37==t:
~- '

d- 1

sty-J-
- \ [ J.'
|-r
a fg
— =J

173.

—^ — 1

J
1- H
J »

^
= =1 ^ f=
1

79
i

1 -t 1

-12
E

EXERCISES FOR TWO VOICES ON ONE STAFF.

—
174. B. H.
(2

-i
i-- 1
-1=
b—
T l

175. L. H.

T*f f-fH T-1—

~1
=^
i

T
"T -Sr- -f
176. R. H.
Ha- J
—
,
(
r 5?
^
=F
1 1

177. L. H.

-f-rt- —1
 ^ -

EXERCISES ON TWO STAVES WITH ADDITIONAL VOICES.

178. J= From Bach.

3yi = t=— *
. —
j

>*
1

*•".!
' - - • . . '
•
f • •
f j 1
f—

id II

J « ± J* «

»i§=S 1
179. From Bach.

9 ^ *^ — « _ —# # *

lis- —
1
-L pi
•jrzr
PI if::

if \~
 — ^
* J j j-
r
r
r
3?-

- — - r

181.

0 :
———
g4-
U
S
H=H
9 f—
—I—
m From u S.

3h
Alban's Tune-Book."

s-
-

&
F ——
Ml-F t-
F
f — £l » r i
i

t —
«=^*t_w- f
;
=» ,ff ^r r
r r
r-
r
1 11

= 40.

^
182. J Hummel.
A -•- £ £= -#- -

i— i— |

"Wr"
-
—?=^=^ -
t=±
( 0
 —

184. J = 40. From Barxhy.

If
I
I

* p-
g— r «. i
-

9fe3= SIS s- i

t
« — b»-

-a-

4
1

a
a-
^

-si-

1=1 I
EXERCISE IN CHANGING CLEFS,
 — r

78

EXERCISES IN TRANSPOSITION.
Substitute Baritone for Violin clef. Proceed in the same manner as with
the other exercises in transposition.
186.
&
1
1
H
—
— —?—P—•d—#
1

1
I

I | |
1-

1 ! L)

187.

' 0 *
-jrr •

» 4-I4.

V *

188.

Jj
l

^j J l
j: J I
J j^ i l
fJjJlA,jLl
Substitute Tenor for Bass clef.

189.
^
«l— -t
<9

-f 1
1

H-
f s>
r
sf-

——
1

r-
d
I

? 5 - i & &
190.
* * *
—H\—
|

f -\

r — —=- r r in*
 —

I I

— -

3?: 1

U A—
! I

J j-
I

At this point, review all the four preceding combinations of clefs by trans-
posing the material just used down a third, up a fourth, up a second, and down
a second.
 M
THE COMIUXATION OF THE BASS AND
BARITONE CLEFS.

EXERCISES IN READING.

M
195. (See Table I.)

-1

'
i i f
1

i * ^1 -4
-rs-
- j
<s>
= '

1
f r
•>Vi r f—
-(
-
I

I-
: 1
1

=a=p
 — • r —— i —h — i —— —— — 83
EXERCISES IN TRANSPOSITION.
Substitute Bass for Violin clef.
198.

i-r-- *
-pi — +—
* J J-
>-

—— m mm
Substitute Baril cone for B ass cle f.
#
-r—
1
4
i r
1
'

#^
199. 'rora 8 CHUMAHK.

V/- -U L
-v —J\
%
— J

f S
V-f
s
r
tj
1
#
0
P

:
i — =i- 9
•
m
* :

# — —
-•-

»
.
-w —
0
• * ^
>
=h+ ! |
1

— — — —
s V
1 P
1
l*
i
—N
#
-•-
m t
=±s S— p
p I
-m-

*
- • —•—
— -w
! »

——
200. Dykes.

—
J. B.

JpJ>.b» ^ lg — &
1

—=H o -i
4
!

^ ^ ^
! l 1

r^r^
h^—
l

7 \ •
# ^ *
t? * * # <S< S> * "ST
-

^ Ln — ^ —g
—
s

—
ffl

b b— ^ r r
1

fw^-j
F <?
r
i

C2
-j
L F
!
1

H 11
i

1
1

———
l

| i i
-i r

§2= fi> •— 1 ^ fij- Si : s II

1
—
j= r

-» ^5 ^
^
1 i
1 1
 — O— — — - — — —-— 1

>4
201. A. S. Sullivan.

5»
2? $ ^
g ^— -o . ^

2
*
'
pr
r- —— "

fi ^ ^ ^
1

1 1
J

Cs
/>

>
0»
^ ^—
—— *0 .
S
J fed r>

-5
—
-

<y
«^ — 1*
^,
— -s-

f 1 1 1
I

— L
^
—
-St-
— §»- 2^
0 <s— ^
|

<
1

^ fSL
^ —
— 15*-

III
1

j*
i

_ *» '

SI 1 1

-S fif—
& -S*

#—& J e ^ ^ n
[—
'1
-5
II 1
1-
-J

"C-
— 0 1
11

1 i 1 1

All the transpositions have now been dealt with, but of course,, in a limited
way. Return to the exercises for transposition with Old-Soprano and Violin
clefs, and review by- using all the combinations of clefs. In like manner treat all
the material for transposition in the entire book.