MUSIC 



MUSIC 



This leads one to suspect a general law, and 

 indeed, there is such a law, which may be stated 

 thus: 



The keynote in any scale with a sharp signa- 

 ture is the fifth tone in the scale with one 

 less sharp. It makes use of just the same tones, 

 but in addition sharps the seventh tone, or ti, 

 of the new scale. This process is called trans- 

 posing by fifths. 



with flat signatures, on the other hand, 

 are transposed by fourths. Begin, as above, by 

 :ng out the scale from C: C D E F G A 

 />' (\ Beginning with the fourth tone, or F, 

 you will find that to keep the order of steps 

 and half-steps correct in the new scale, the 

 fourth tone, or B, must be changed to B-flat. 

 This new scale, (hen, runs: 



FGAbBCDEF 



and its fourth tone is bB, which becomes the 

 keynote for the next scale in the ascending 

 order of flat scales. To carry out the correct 

 arrangement, it will again be found necessary 

 to flat the fourth tone, or E ; for transposing in 

 fourths consists in taking the fourth tone of 

 one scale as the keynote of that containing 

 one more flat, and in flatting the fourth tone in 

 tin- new scale. 



A little practice will make all this very clear. 

 Write out the scale of three flats, and from it 

 work out the scale of four flats; of five flats. 

 With the scale of two sharps as a starting point, 

 work out the scale from A; from E; from B. 



A Lesson on the Chromatic Scale. The major 



scale, discussed in the paragraphs above, is 



made up of eight tones, but within the octave 



there are other tones which are not included in 



major scale. Altogether, there are twelve 



s between a keynote and its octave, the 



rvals between them being in every instance 



half-steps. A scale winch includes all these 



ones is known as a chromatic .- 

 and since there are no tone names except tin- 

 seven alphabet letters, a number of sharps and 

 flats are necessary in writing any chromatic 

 scale l.;k. the major scale, th chromatic 

 may begin on any t 



As you have done so often in other exercises, 

 write out ,-, ,!. k,. v , 



and describe the intervals. 



D G A B C 



step M. step step step half- 



itep 



chromatic scale no interval is 

 li than a half- 



must be new tones introduced between C and 

 D, D and E, F and G, G and A, and A and B, 

 and the chromatic scale from C will thus run: 



C *C D W> E F ~r a ZG A 8A B C 

 and on the staff will be written thus: 



oflo * 



In an ordinary major scale, when sharps are 

 used in the ascending scale, they are used also 

 in the descending, but in the chromatic scale 

 sharps are used in the ascending and flats in the 

 descending scale. The descending scale from 

 C, therefore, is as follows: 



To summarize, in the ascending scale, one- 

 sharp, two-sharp, four-sharp, five-sharp and 

 six-sharp are added to the regular tones of the 

 major scale, while in the descending the added 

 tones are seven-flat, six-flat, five-flat, three-flat 

 and two-flat. 



With this in mind, write out the letter names 

 and the staff notation from the ascending and 

 the descending forms of the chromatic scale in 

 the key of F; of G; of D. 



The Syllable-Names. Every child in school 

 learns to sing the major scale by the do, re, mi 

 method, and these syllable-names have been 

 modified so that they fit the chromatic scale 

 with its half-steps as well. Ascending, the syl- 

 lables are as follows, those in small capital- 

 showing the added ones: do, DI, re, w, mi, /a, 

 FI, sol, si, la, u, ti, do; and descending, r; 

 TK. la, LE, sol, SE, fa, mi, MI . i:\. do. 



A Lesson on the Minor Scale. Even a person 

 who does not readily know what a minor is can 

 usually recognize a composition which is played 

 or sung in a minor key, for it has a peculiar 

 mournfulness. So universally is this felt that 

 the word m> nor has come into common literary 

 use to describe just such a state or condition. 

 1 1 had been from first to last in a minor 



key," writes the story-teller, and the reader 

 knows at once that the heroine has experienced 

 more gloom than brightness. 



Each major key has a minor key correspond- 

 ing to it. and tl -erves for 

 ; hut the minor key has a* its starting 

 note the sixth tone in the related major scale. 

 In the Mai for instance, the sixth 

 fills on A, and the key of C therefore has as its 



