MUSIC 



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MUSIC 



just as it L< always on> . while the letter name 

 varies according to the keynote of the scale. 

 Thus in the key of C, C is do; in the key of 

 B, B is do, and so on. 



Working Out Other Scales. If the student 

 approaches the subject with the right mental 

 attitude, there is no topic in music more inter- 

 \z than that of the changing scales. Sharps 

 and flats then appear, not as vexatious signs in- 

 vented to puzzle the learner, but as ingenious 

 res to do away with difficulties. The mat- 

 ter may be approached somewhat as follows: 



Remembering that each scale must contain 

 all the letter names, write the scale from F, 

 and indicate underneath the interval between 

 the successive tones, as made clear in the para- 

 graph on the "natural" key. 



12345678 

 FGABCDEF 

 step step step half- step step half- 

 step step 



Now compare this with the order of steps and 

 half-steps necessary for the making of a perfect 

 scale. It is found there that the half-steps 

 must come between three and four, and be- 



n seven and eight. So far as the latter is 

 concerned, this scale from F is all right, for the 

 interval between E and F is but a half-step. 



the other half-step comes between four and 

 instead of between three and four, as it 



M. What is to be done? There is no 

 extra letter which can be used, but there is a 

 handy little symbol which just answers the 

 purpose. It is made thus, b, and is called a 

 flat, and it shows that a tone one-half step 

 lower than that indicated by the letter to 

 winch it is joined should be used. This flat, 

 thru. i> placed in front of the B, and the int< r- 



l>etween three and four is diminished to a 

 h ilf-strp, while at the same time that between 

 four ami five is increased to a whole step. Tin- 

 tin -n, to be complete, should be 

 \Mitten as follows: 



O A \>B C D E F 



her scale which can be worked out with- 

 out ii .,n i.s that from G: 



A B r D F a 



step step half- step step half- step 

 rtep step 



tin- tir-' It are con 



half-step occurring between thr third and 

 fourth, but t ;-step appears be- 



tween six and seven, instead of between seven 

 and eight, as it should. The problem, then, is 

 to lengthen the interval between six and seven 

 and to lessen that between seven and eight, 

 and that can be done in just one way by sub- 

 stituting for F a tone one-half step higher. 

 This new tone is called F sharp, and written 

 *F. The scale from G, then runs 



G A B C D E 'b G 



These two little characters, if and b, serve to 

 make all the changes that are necessary in 

 working out all the possible scales, but whereas 

 in the scales just discussed each one is used but 

 once, in some scales there are several. 



Interesting Problems. A scale may be writ- 

 ten as stated above, beginning with any tone, 

 and the beginner will find it interesting to work 

 out other scales. He will thus convince himself 

 that there is nothing more difficult about the 

 scales with several sharps and flats than there 

 is about the scale from C. Take, for example, 

 the key of A, and write out the letters as fol- 

 lows: 



ABCDEFGA 

 step half- step step half- step step 

 step step 



It is evident at once that the intervals between 

 two and three and between five and bix must 

 be lengthened, while those between three and 

 four and between seven and eight must be 

 shortened. By adding sharps to the C, the G 

 and the F, this is accomplished, the resulting 

 scale reading as follows: 



A B JfC D E ifF ifG A 



step step half- step step step half- 

 step step 



Work out the scale from E; from D; from B; 

 from \)E; from \>B. 



When the principles of this are fully i: rasped, 

 try writing out the various scales on the staff, 

 :nn the .sharps or flats before the notes 

 whenever necessary. The key of F, for in- 

 stance, would be as follows: 



the key of G would be written thus. 

 h **~ o 



