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damental note, in order to make two femi^ 
tones, according to the major key, between 
the fecond and third note in the fcale, you 
are under a neceffity of taking the F fliarp-, 
and, when you come up to C, the fame ne- 
ceflity recurs, becaufe there muft be a whole 
tone between the 6th and the yth, and but 
half a tone between the yth and the octave. 
For thefe reafons, when a piece of Mufic is 
compofed in D with a major third, there is a 
double crofs prefixt on or between the lines 
where F and C are pricked, fignifying that 
thefe two notes wtjkarp. If on the contrary, 
you make Bjlat your fundamental note, and 
proceed upwards in the major key, you will 
find yourfelf obliged in order to make the 
femitones fall between the 3d and 4th and 
yth and 8th as before, to take in Efat: fo 
that B and E muft be marked flat at the be- 
ginning of the movement: neverthelefs, this 
movement has a fharp third, and is confe- 
quently in the major key. But if, with tlie 
fame fundamental note, you change the fe- 
mitone-intervals, according to the minor 
modus, then A, B, D, E and G, will be fiat. 
Flats are marked by a fmall b, as the iharps 
are by a double crofs. 
You hear Muficians talk of Cliffs and of 
M 
