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Musicparticularly as applied to thePiano-Accordion  \nBy  \nEUSTACE ST.GEORGE PETT  \nA.R.C.M.,L.R.A.M.  \nLate“Kent Scholar”Royal College of Music,Lecturer on Musical Appreciation,London County Council,Principal British College of Accordionists  \nPublished under the Authorityof the Council of the BritishCollege of Accordionists  \nBy  \nHOHNER CONCESSIONAIRES LTD.  \n| US'T MUSIC  \u003Cbr>FOR ACCORDIONISTS AND OTHERS  \u003Cbr>A Text Book of the Theory of Music  \u003Cbr>particularly as applied to the  \u003Cbr>Piano-Accordion  \u003Cbr>By  \u003Cbr>EUSTACE ST.GEORGE PETT  \u003Cbr>A.R.C.M.,L,R.A.M.  \u003Cbr>Late“Kent Scholar”Royal College of Music,Lecturer on Musical Appreciation,  \u003Cbr>London County Council,Principal British College of Accordionists  \u003Cbr>Published under the Authority  \u003Cbr>of the Council of the British  \u003Cbr>College of Accordionists  \u003Cbr>Third Edition 1943  \u003Cbr>H.C.9057  \u003Cbr>HOHNER cONCESSIONAIRES LTD.   |\n| --- |\n\nINDEX  \nPAGELeger Lines and Spaces   ..  7Lines and Spaces..6-7Major Scales(also pp.27-8)..24Marvels (of the Accordion).·  I9Melodic Minor Scales(also p.30)24Minor Keys and Scales..29Mordent ...·34Note Values.·..  I0Notes.·5Odds and Ends..····26Perfect Concords..18Pitch..6Quality ..··9Quantity··9Relatives(and Rules)...31Repeat Signs··35Rests····12Scales...··.·6Shake.······33Sharp Keys····.·28Signs··..36Simple Duple Time13”Triple Time··13”Quadruple Time13Staff5Syncopation.·..16Temperament..26Theory3Thirds··.·.···20Ties·IITimeI3Top Figure(Time Signatures)..13Tonal Scales.·   .·24Tonic(maj.and min.).·    ·3ITremolo..··   ·35Turn··   ·34Unusual Times...  16  \nPAGE  \nAbbreviations··35Acciaccatura...·33Accidentals.·.·  17Acoustics..····..5Appoggiatura ...···33Arbitrary(Melodic)Minor.·30Augmented Intervals(andInversions).·    .  21Bar..  I4Bar Lines.·14Bottom Figure(Time Signatures)14Chromatic Scales...·24Clefs··.·5Compound Intervals..·23Compound Time··15Concords...·..18Degrees (of scale)..25Diatonic..··..26Difficulties.···20Diminished (Intervals)..··21Discords ...···18Dots.·..··I IDuration··.···9Enharmonic·.29Epilogue..···39Epitome(Intervals).···22Flat Keys.·.·28Formation(Scales).·27Glossary(of tcrms and words)37Graces ...·   .·33Great Staff··   ·  5Harmonic Minor (also p.29)..  24Imperfect Concords..      .    ICIntervals ...·.18Inversions··.·  2IKey Signatures(also p.26).·27Keys·   27  \n。  \n,·  \n# Prologue\n\nTHEORY.From the Greek\"Theorema,\"meaning the science as distinguishedfrom the art of anything.Literally,thousands of people from the time of theGreeks--3,000 years ago—up to to-day have written,and will go on writing,theory books.But this is the very first one of its kind ever evolved foraccordionists.  \nTheory!The very word often produces from both young and old apathetic wail of“I don't want to learn theory!”Ah,but believe the writer—you do,you really do,when you know how fascinating it can be.  \nLet us suppose that you own an accordion,and wish to play not only\"hot numbers\"on it,but real music also.Do you know that to-day thereare available for your pleasure many thousands of compositions,not onlyby the great classical composers,but by moderns also?  \n.Now,if you don't know something about theory—how can you possiblyunderstand what the composers wanted when they wrote down their lovelyideas?Let us hope this settles the matter.Read on—not too much at a time,but small portions—until understood.Mark with a pencil the things whichrefuse to come clear,then ask your teacher,or write to the College about it.  \nThe author hereby acknouwledges and offers thanks to the following gentlemen:Dv.Otto Meyer,the late Mr.Al.Davison,and Mv.Comway Graves,each ofwhom has given freely of his great experience,so that this litlebook may helpaccordionists towards veal musicE.P.  \nLoNDON,1936  \nCHAPTER IAbout Pitch  \nNOTES.一\"Nota\"(Latin),a mark.Remember that a note can be either oftwo things—a musical sound,ora mark on paper representing a sound.You'llfind the names in most instruction","cbCaisriXvVOcYhd","https://ap.wps.com/l/cbCaisriXvVOcYhd","pdf",2436002,44,"English","# Prologue\n## Theory\n# Chapter I\n## About Pitch","[{\"question\":\"Why does the author emphasize learning theory for accordionists?\",\"answer\":\"Learning theory helps players move beyond “hot numbers” and understand what composers intended when writing their music.\"},{\"question\":\"How does the book define a “note”?\",\"answer\":\"A note can be either a musical sound or a mark on paper representing a sound, with letter names used for musical instruction.\"},{\"question\":\"What does the first chapter focus on after introducing notes and notation?\",\"answer\":\"Chapter I begins with pitch, explaining how notes are represented through notation and how performers interpret them using clefs and the staff.\"}]","Music Theory for Accordionists and Others - Prologue - About Pitch | PDF",1790612590,111]