HOW TO VAMP. A NEW METHOD BY THEO. LA MOTTE Vamping is an Art, by which Any Porson musically inclined or gifted, having « knowledge of the notes,can, after a few hours’ practice, loam to play by eat an accompaniment on the pianoforte or organ to any song, in any key, without going to the trouble aud expense of taking lessons in musio. Some people carn money by this art. A notable instance ooourred very recently in the case of Mr. 0. K. Harris, of Milwaukee. This gontleman hhas aoqnived the srt of Vamping, and composed the world. wide, well-known song, “After the Ball, and many other popular songs, Tt is estimated thathe made over $150,000 recently. Abthe same time many Professors of Musto, ‘who hove epent all their lives in learning Harmony, ote, te., oannot compose a song or anything else thab will sell or pleaso the popular taste. By this method, people can develop their latent musical talents and save expense. PRICE, 50 CENTSTHE PIANOFORTE. Sounds are produced on the Pinnoforte by hummurs string the wires. ‘These hammers are set in motion by n mechanism connected with the Keyboard which is manipulated by the fogers’ As you progress to the tight the nates become higher in pitch, to the left lower. The ipper portion of the keyhonvd: Is called “the treble? the tower portion “the Buss” The following. eonsitates the entire keybonra of the planoforte. Dingram of Keyboard. a G44 dd Sid Ad ceé 48 E4a GA Cas AR See Ga Cua 5 sis 58 55£ 53 $55 SS Fes EE SEE 58 FSS 5B TEs z HS 55 KER Sh FS2 SA ES= SH REZ Sa RSI SA ESE {| ela] s}p}o|n)/r|ala\ om he 1 Pee aotes oT $ doses, “ FI js} ofoieyFfsta at of eFax ojo}D)e](a]a B]O DIR) |alayopopDpElR|ota io Sib ae oP || *| + This eMiled middle C; it is Just half-way delween the Bass and Treble statts. 8-1 indicates an octave highor than the written note. geesso ne tower nate. Now to call the attention of the student fo the above diagram. Observe, that if we proceed to count to the extent of eight keys either. to, the.right or left from any given key we come upon one heariog the sume name as the key from which we stared. Ik is necessary to become roughly acquainted with the keyboard of the pianoforte using the preceeding Diagrim-xs n guide. Memorize thé position of the different notes on the keyboard, tbat you riay detect them immediately on- seating yourself at the instrument for instaice:— remember that the white key preceéding the (wo black-ones Is Cand’ that preceeding the three black keys 1s F. Other keys have thelr distinet post- ious, which wil be deait with tater on. MODULATION. To avoid monotony duriug the performance of a musical work we infroduce a variety of chords In different positions, und having different ass notes. This is exUed modulation. We, will ink of pieee,of ausle (ther vocal oF iastrunental) commencing iv they Key of ‘The natural modulation would’ be info one or moze ‘of the nearest relatives of the key of O (of whieh there ate three) which will be found in the following example, This may be applied to all other keys, complete disetiption of which will,follow later on.8 Original Pos. 1 Relative Key. 2! Relative Key. Relative Mivor. Example. Rey of C. key of @. Key of F Rey of A Minor. Having made « modulation from the key of C fo one or more of its relatlves we must return {0 it-again to complete the effect, or in other words/40 please the ear? This applies to all keys and their relatives. See following exercises for general instruction. in various Keys.— The following so fof chords in thelr different positins should receive thorourh nractlee with a vlew of committing them in memory. HOW TO VAMP. Exercise in key of © Major giving position af chords i notes may: he used In the bass) relative keys. (Rither octaves or single Inc. In @. nF In A Minor. ‘et Position. Original Pos. | 4 Relative Rey. ae Relative Rey. Rata te 0. ‘a Position. More extended Form of Modulating. | me in @. Tn A Minor. ‘Attention is enlted fo the position of Bass notes having the mark + placed over them.a ‘The following example Ilustrates accompaniment to a SONG, the welody being given on extra stave placed above the piano part. This fs in the key of C and one of its relative keys and contains some of the chords and modulations referred to in previous examples. Melody, Accomp. range 0a. Gaatne er) (sodaision 10 ¢)More eleboraté and pleusing forms of wecompaniment will he introduced as we proceed with this work, Accompaniment to a WALTZ in C Major and one of its relative keys intradueing chords of previous exercises, Melody. E Tampo ai Velie. Accomp, (3 4 (rotsieo es)(Retwen Accémpauiment to a POLKA in © Major and one of ils relative keys introducing chords of previous exercises. Melody. Accomp. (mation Re)Accompaniment to a SCHOTTISORE tn C Major and éne of its relative heys introdueing chords of previous exercises. Melody. Accomp: re}, (Retaien es) Repeet first yark to Pine,8 The following illustrateshow accompaniments may be varied In form. Attentlon is called to the fnet that the notes used at b,o and d are the same as at’ a but placed in different farms, giving: vurlety which greatly enhances the accompaniment, Key of C. Common Trace, ‘Turve-Four TIME. eaeSix-Bignt TINE. Now that the student has made » thorongh sindy of the key of C and its relative keys we will in- tvoduce other keys with their relatives. Close altentiou to the manner in which the key of G Major hhas been treated daring the exercises over which we have just past, willenable the student to make use of the following Keys Inn similar manner. (See Fege 3.)40 @ Major and its relative Keys. nG. In D. in. In E Minor. Original Pos. Relative Key. Relative Key. Relative Minor, D Major and its relative Keys. nD. In A nG In B Minor, Original Pos. Relative Key. Relative Rey Relative Minor. A Major and its relative Keys. In A. mE. In D. In F# Minor. Original Pos, Relative Key Relative Key. Relative Mivor. E Major and its relative Keys. In E. in B. In A. In CH Minor. Original Pos. Relative Rey. Relative Key. Relative Minor.MW F Major and its relative Keys. tm Bb. In D Minor. nF me, Original Pos. Relative Key. Relative Key. Retative Minor. Bb Major and its relative Keys. In Bb. mE In Bb. fn G Minor. Original Pos. Relative Key. Relative Key, Relative Miuor, Eb Major and its relative Keys. In Bb. fn Bb. in Ab. In © Minor. Original Pos. Relative Key. Relative Key. Relative Minor. Ab Major and its relative Keys. In Ab. In Eb, In Db. In F Minor. Original Pos. Relative Rey. Relative Key. Relative Minor. ‘The following accompaniment to a song in, A Minor (the relative Minor of C) will show the usnal form of mostlation in a Minor Key. (See Poxe3.)12 Song in A Minor. 4 a a 4 Melody. Accomp. (change m © shor) (ohange to A shir) Now to look back xf the song and accompaniment we have just passed over, The student should bear fa mind that although a song may commence in any Key (A Minor for example) it iavavinbly wanders during rendition through a number of different keys. Notice that at measures 9, a und 42 We find chords wot so closely related to A Minor as those given in previous examples. Look through the other keys and locate these vhords, it will help you to memorize them.13. Chords in their different positions. ‘The following illustrates the great variety of positions in which one or any chord may be placed. ‘This we give only In key of C Major. The stadent may imitate in any of the other keys, for It applies to all. He may even go further for wo have only given a few of the positions. This may be carried on in a number of other forms. General Exercises In Modulating. Under this heading we give the student a more complete and effective set of chords which Will serve nicely as a reference tuble. © Major.D Major. Bb Major. A Major.