102 



MUSIC. 



val between B and C is so in the natural scale. So 

 likewise the intervals from the fourth to the fifth, and 

 from tin- fifth to the sixth, ought all to be full tones, 

 ami the intervals from C to D, and from D to E, are 

 full tones in the scale of C. But the interval be- 

 tween the sixtii and seventh ought in this scale to be 

 one full tone, whereas in the natural scale, that from 

 E to F is only half a tone ; in consequence of which 

 the note F must be raised half a tone higher than it 

 is in the scale of C, a circumstance which is denoted 

 by the mark 8 denominated a sharp, and which serves 

 to show that the note before which it is placed ought 

 to be played half a note higher than it would other- 

 wise be. By the introduction of this sharp, then, the 

 note F is raised half a tone higher than in the natu- 

 ral scale, and the interval from E to F is made a full 

 tone : at the same time this sharpening of the note 

 F has brought it in pitch only half a tone lower than 

 the eighth note G of the scale, thus making the in- 

 terval from the seventh to the eighth only half a tone, 

 which the natural scale requires. 



We have thus found tliat by the introduction of 

 one sharp the whole melody may be transposed from 

 the key of C to that of G. 



If a piece of music set on the scale C did not suit 

 the pitch of the instrument, and it is found necessary 

 to make the key note D, we proceed to form the 

 scale in a similar way to the foregoing. And the 

 scale of D will stand thus : 



SCAi-B OF G. 



8CALB OP D. 



For the sake of simplicity, however, the sharp is ! 

 placed at the beginning of the stave, immediately j 

 after the clef, and on that line or space on which the 

 notes to be sharpened throughout the piece occur 

 thus : 



SCALE OP G. 



SCALE OF D. 



It will be found that in some instances, it will be 

 necessary to lower the pitch of a note by lialf a tone, 

 which is denoted by prefixing the character [> called 

 a flat, after the same manner as the sharp was em- 

 ployed, but with the contrary effect. This will be 

 illustrated in the formation of the scale whose key 

 note is F. The first two intervals from F to G, and 

 from G to A, are full tones at the natural pitch of the 

 notes. The third interval from A to B is a full 

 tone in the scale of C, but the diatonic scale requires 

 that the third interval should be a semi tone, and 

 we must therefore reduce the pitch of B a semi tone, 

 by prefixing the flat \j. The interval from B to C is 

 naturally half a tone, but the B being flattened, it 

 has in this case become a full tone. The rest of the 

 scale requires no alteration. 



Since there are five full and two semi tones in the 

 natural scale, there must therefore be in all twelve 

 semitones in the octave, and this is the number of 

 keys which constitute an entire octave in the piano 

 forte. Ndw, reckoning from C, and denoting a sharp 

 by s, and a flat by f, we have the keys C, Cs or Df, 

 D, Ds or Ef, E, F, Fs or Gf, G, Gs or Af, A, As or 

 Bf, B, C, each of which may be made the key note 

 of a scale. 



From this synopsis it will be easy to express any 

 of the scales on the various clefs, but we will here 

 confine ourselves to the treble and bass, being those 

 which most commonly occur. 



~TF&= 



^e 



* 



FJf 



Much information may be derived from the fore- 

 going example, and the reader is desired to give it 

 a careful examination. It will be observed, that the 

 scales go on gradually, from the natural scale of C, 

 increasing in the number of sharps, to the scale of 

 F sharp ; after which the flats are introduced in a 

 similar manner. The scales are separated from each 

 other by upright lines, called bars, which are here 



used precisely in the same way as the comma in 

 ordinary letter-press, and the double bar at the end 

 may be regarded as a period. The treble and bass 

 staves are connected together by a brace, and each 

 scale in the treble clef has its corresponding scale 

 immediately beneath it in the bass. 



Before proceeding farther with our examination of 

 the preceding example, it will be necessary to ao 



