104 



MUSIC. 



E< 

 A f 

 D f 

 G' 

 G 

 D 

 A 



B 

 B 

 F' 



It is desirable that the musician should have 

 some easy mode of determining the number and 

 situation of the flats and sliarps of every key, both 

 in the major and minor modes, and those given in 

 the foregoing chapter for the major scales being 

 sufficiently simple, we will here proceed to show 

 such a relation between these and the minor scales 

 as will enable the student easily to determine the one 

 from the other. 



Writers on music designate the flats or sharps 

 placed at the beginning of the clef signatures. On 

 comparing the minor and major keys together, we 

 will find that the signature of 



C major is the same as A minor 



F D 



B f .. .. G.. 



E major is the same as C* 



B G' 



F' .. .. D' 



These are called relatives of each other, that is, 

 A is the relative minor of C major, B minor is the 

 relative of D major, &c. , and having any major scale, 

 it is not difficult to find the minor. 



It remains for us to notice another scale, differing 

 from those already considered, and called the Chro- 

 matic, i. e. coloured scaled, as it is employed by the 

 musician to give effect to his piece, much in the 

 same way that colour is employed by the painter. 

 The chromatic scale proceeds by semi tones from the 

 key note to the octave. Many new intervals arise 

 out of this scale, which it would be out of place here to 

 examine. For a complete development of the scales 

 see our article Enharmonic. 



We have stated before, that notes, by their place 

 upon the clef, show the degree of acuteness or gravity 

 of the tones which they represent ; but besides this, 

 they have various forms in order to show what length 

 of time is to be occupied in performing them. The 

 scheme below will show at one view the relative 

 values of these notes in respect to time. 



Scmibrcvc, 



t 

 Equal to 2 minims, 



Or 4 crotchets, 



Or 8 quavers, 



N 



it 



Or 16 semiquavers, 



Or 32 demisemiqu.-ivers, 



In church music we sometimes meet with a note , 

 double of the length of the semibreve,viz. the breve, 

 marked thus n:, and in some modern pieces of music 

 which are very slow, we meet with a note ^ only 

 half the length of the demisemiquaver ; but, if the 

 semibreve be taken as the unit of measure, the minim 

 will be one-half, the crotchet one-fourth, the quaver 

 one-eighth, the semiquaver one sixteenth, and the 

 demisemiquaver one-thirty second. These differen- 

 ces in the length of notes, however minute they may 

 appear, are insufficient for the purposes of music : 

 accordingly, a dot is used, which being put after a 

 note, makes it one-half longer than it would otherwise 

 be. Thus, p is equal to P P or to p f p also p is 

 equal to f f or to f f f and so of the rest. Some 

 composers employ a tie ^ for the dot : thus f"p is the 

 same as f and f the same as f When the tie is 

 employed for this purpose, the notes are always at 

 the same pitch. In modern music a double dot 

 frequently occurs, and in this case the note is al- 

 ways to be sounded as long as itself, and the next 

 two succeeding notes in the table given above : 

 thus j 3 is equal to PPP and f is the same as f? 

 wherefore, by the use of the dot CLf is the same as 

 ' f and r*,^ as T f * 5 Sometimes three notes are to 

 oe performed in the time of two, which is marked by 

 placing the figure 3 and a tie above them; thus 



piM is the same as T f: notes so written are called 



triplets. Two triplets are sometimes joined together 

 by one tie, and a figure G, designating that they are 

 to be performed in the time of four. 



Sensible intervals of time often occur between the 

 sounding of two notes, which is denoted by charac- 

 ters called rests, each note having a corresponding 

 rest, thus 



A dot placed after a rest makes it half as long 

 again as it would otherwise be ; thus ( is the same 

 as ^ 



Regular music naturally arranges itself into mea- 

 sures, by the occurrence of emphases, at equal inter- 

 vals of time, the divisions thus arising being denoted 

 by perpendicular lines, bars. The time of perform 

 ing one measure must be precisely the same as that 



