oe aa 
eo 
le ot 
Hi. W. Poole on Perfect Harmony, etc. 3 
4. The reasons for taking the key-note on Fa will appear on 
consideration, but for the present the reader will recollect that 
if the flat seventh of the natural key is taken—for example B> 
with the common chord of C—the ear requires a resolution on 
the chord of F or Fa, which is the controlling note. 
5. To sing this scale is easy, provided the intervals of the 
triple seale are well fixed by their syllables; and it only remains 
to learn the intervals La to Se, 20:21, and Se to Do, 7:8, which 
are easily recognized on hearing the harmony which should ac- 
company a lesson in singing. In the last scale are five different 
intervals in place of the three of the first scale, by which more 
variety is secured. 
These two scales contain all that belongs to the major 
keys; the additional notes required to complete the minor keys 
will be considered afterwards, as well as those called “acciden- 
tals,” which are borrowed from related scales. The notation 
generally employed in music is practically correct, and, without 
changing the letters or sharps and flats, scales may be noted so 
that the exact sounds shall be indicated. In all times a singer 
must know or feel the pitch of each note, if he would sing it 
correctly. If he has learned the intervals by solmization, in 
the only rational way, or by always giving the same intervals to 
the same succession of syllables, and if he knows by the written 
music what intervals are called for, he will give them eq 
well in the key of C or in C#, or on the dozen different pitches 
which can be given between these two sounds. But when we 
are to deal with fixed sounds, as is necessary when constructing 
an instrument, or when two fixed instruments may have to play 
ry. 
required. If the note be GC, it will not do to use that which is 
the key-note of the natural scale for the third of four flats, 
-which is a comma lower, nor for the perfect seventh of D, two 
sharps, which is lower still. I etcaef indicated this distinc. 
tion by a numerical index, but the following system presents 
advantages. 
7. Every key-note is marked as usual, but with a Roman cap- 
ital; every major third to these key-notes with Roman lower 
case, and every perfect seventh with a Gothic capital. The sec- 
ond, fourth and fifth of the triple diatonic scale, bahay key-notes 
in other scales, and in the series of key-notes, each a fifth one 
from another, are accordingly in Roman capitals. So the sixth 
and seventh of the same scale are thirds of other keys, and 
marked in letters of the lower case. The two diatonic scales 
will then be represented thus in the natural key. ees 
Triple diatonic, C D e F G PO ee 
Do Re mi Fa Sot la gee Der ; 
Double diatonic, © D e F G ee 
Fa Sot In se Do Re mi Fa 
