ART. 37. As there is a whole tone between C and D, it is evident that there is room for another sound between them, a half tone higher than C, and of course a half tone lower than D. Again between D and E is a tone; there may be then, a sound between them dividing the difference. So also, between F and G, G and A, A and B.

ART. 38. As these sounds are of constant use in music, it becomes necessary to have a method of representing them. As the natural notes, A, B, C, D, E, F, G, already occupy all the lines and spaces of the staff, we are obliged to write these new sounds on the same places with those to which they are nearest. We find it convenient also to name them by the same letters. But to distinguish them we make use of two characters, viz: the SHARP #, and the FLAT b. The sharp placed before a note represents a sound half a tone higher, and the sound is called by the same letter with a sharp after it. Thus we say, C, sharp; D, sharp, &c., written thus: C#, D#. The flat placed before a note or after a letter, represents a sound a half tone lower than the letter alone. Thus we say B, flat, G, flat; written Bb, Gb, &c.

ART. 39. Practically, C# and Db are regarded as the same sound, though in theory they are treated somewhat differently; and the same remark applies to the other sounds which appear to coincide.

ART. 40. The scale which is written in art. 28, is called the DIATONIC SCALE. When in all the whole tone intervals of this scale, the new sounds mentioned in art. 37 are introduced, a series of TWELVE sounds is formed, called the CHROMATIC SCALE. It is written below, with the numerals, letters, syllables and signs which apply to it. When this scale is written upwards, sharps are used, when downwards, flats. The numerals are read, sharp 1, sharp 2, &c., or flat 7, flat 6, &c. The syllables applied to the sharped notes change their termination to e as in eve; and applied to the flatted notes, to long a as in mate.

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If we examine the intervals between the several letters, remembering that the half tones are between B and C, and E and F. And also, bearing in mind that the half tone intervals should be between three and four and between seven and eight, we shall find this scale to be erroneous; but in order to increase the interval between six and seven to a whole tone as it should be, we must place a sharp before F to raise it half a tone, thereby also making a half tone from seven to eight, which is required by the constitution of the scale. Corrected, it stands thus:

#2 3 4 #4 5 #5 6 #6

7 8 8 7 5 7 6 b 6 5 b5 4 3

re mi fa fi sol si la

ii

3 2 b2 P si do do si se la le sol se fa mi me re re do

B

E

Here it becomes necessary to flat B, otherwise it would be a whole tone from three to four, and a half tone from four to five, which are wrong.

ART. 45. In like manner we may construct a Diatonic Scale upon any sound of the Chromatic Scale, whether sharped, flatted, or in its natural state. One only is here exhibited, namely the scale founded upon C#. It is obvious, as the first note is a half tone higher than the first note of the natural scale of C, it will be necessary to raise every note of the natural scale a half tone in order to preserve the proper intervals.

A, in which F, C and G are sharp.

E, in which F, C, G and D) are sharp.

F, in which B is flat.

Bb, in which B and E are flat.

Eb, in which B, E and A are flat.

Ab, in which B, E, A and D are flat.

The other three, viz:

B, in which F, C, G, D and A, are sharp.

F, in which F, C, G, D, A and E, are sharp.

Db, in which B, E, A, D and G, are flat, are seldom used as the principal scale in a piece of music.

ART. 48. The sharps or flats rendered necessary in each scale, are not written before the notes they affect, throughout a piece as often as they occur, as it would be inconvenient, but they are placed once for all at the commencement, on their proper lines and spaces; and they are to be understood as affecting every note of the same letter throughout the piece.

ART. 49. These sharps or flats placed at the beginning, constitute what is called the SIGNATURE or sign of the scale; because they show in what scale the music is written, and by knowing that, we know where to find do.

ART. 50. Each scale takes its name from the first letter, as the scale of C, the scale of E, the scale of Bb, &c.

ART. 51. A piece written in the scale of C, is spoken of usually as in the KEY of C. In like manner we say the key of D, the key of Eb, &c., when the scale commences with those notes. It is also common to say, such a scale or such a tune is in C, in B, in Ab, &c. It is incorrect to say, such a piece is in four sharps, or three flats.

ART. 52. The following table will enable the learner to find the key note, that is one, or do, in any scale of the kind we have been considering.

If there be no signature, it is the scale or key of C.

If the signature be one sharp #, it is the scale or key of G.

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two sharps, it is in the scale or key of D. three sharps, it is in the scale or key of A.

four sharps, it is in the scale or key of E.

Two sounds of the same pitch are called a UNISON.

This is not strictly an interval, but it is classed as such. The interval from a note to the next degree above is called a second; as from C to D, from D to E, from E to F. There are the major and the minor second, among the diatonic intervals. The one consisting of a tone, the other of a half tone. The interval from a note to two degrees above, is a THIRD; as from C to E, and from D to F.

Thirds also, are of two kinds, major and minor. The former, two tones; the latter, a tone and a half.

The interval from a note to three degrees above, is a FOURTH. from C to F, or from F to B.

As

There are two. The perfect fourth, (two tones and a half,) and the sharp fourth (three tones.)

The interval from a note to four degrees above, is a FIFTH, as from C to G. Perfect fifth, (three tones and a half,) and from B to F, flat fifth, (two tones and two half tones.)

The interval from a note to five degrees above, is a SIXTH. to A, major sixth, four tones and one half tone. From E to sirth, three tones and two half tones.

ART. 55. The interval from any letter to the same letter above or below, is called an EIGHTH or OCTAVE.

CHAPTER VIII.

THE MINOR SCALE.

From C

1

2

C, minor

As from

The interval from a note to six degrees above, is a SEVENTH. C to B, major seventh, consisting of five tones and one half tone. From

D to C, minor seventh, consisting of four tones and two semi-tones.

ART. 54. In naming intervals, we reckon both extremes; thus if we

P4

MINOR SCALE. No. 1.

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D

6

F

E

D

C

B

8 7 6 5

4

3

It will be seen that in No. one, the sixth and seventh a resharped in ascending, and they are restored in descending.

In No. two, the seventh is sharped both ascending and descending. ART. 60. The minor scale may be constructed upon any sound of the Chromatic Scale. By this means we have twelve different ones, of which those whose signature is more than four sharps or four flats, are seldom used. We speak of these keys as A-minor, D-minor, F-minor, &c.

ART. 61. The manner of applying the numerals, is seen in art. 59. ART. 62. The syllables commence with la and go up to la. The changes in termination which are requisite, are made according to the rule in art. 40.

key, which is to be long continued, for sharps, flats and naturals to be introduced into the signature. In such cases, the syllables should conform to the new scale indicated.

ART. 69. A sharp placed before four, generally, though not always, serves to introduce the scale founded upon five of the original one. ART. 70. A flat before seven, introduces the scale founded upon four of the original.

ART. 71. It is to be observed, that a natural may have the effect of a sharp, or flat, as to its raising or depressing a sound, according as the note affected by it, has been previously made sharp or flat.

ART. 72. The effect of an accidental extends to every note of the same letter in the measure, but it is not continued beyond it, except when the last note of a measure is affected, and the first in the next measure is the same letter.

CHAPTER IX.

MODULATION.

ART. 63. Psalm tunes are generally written mainly in one key, yet in common with other music, they admit of departures from the principal key into others nearly related to it. These changes of key constitute what is called MODULATION.

ART. 64. It is very common for instance, to make a transition from the principal key to the scale of its fifth or fourth, as from C to G or F. Also, from the principal key to the relative minor key, as from C to A-minor. Modulations may sometimes be made into more remote keys. ART. 65. Modulations are introduced by means of sharps, flats and naturals, bringing into the harmony, notes foreign to the principal scale. These sharps, flats and naturals, when not introduced into the signature, are called ACCIDENTALS.

ART. 66. Where the change of key is only for a few notes or measures, we make no change of syllables, except for the particular notes affected by the accidentals. These have a change of termination, according to the rule in art. 40.

ART. 67. But where the change of scale is decided and continued for a considerable time, the syllables should be all changed accordingly. ART. 68. It is common where a modulation takes place into a new

ART. 81. Ornamental notes are sometimes introduced in music which do not belong to the essential melody. They are called APPOGIATURES when they occur on the accented part of the measure, and they borrow their time from the note before which they are placed. If that note be dotted, the appogiature takes two thirds of its time, if not, one half. When they occur on the unaccented part of the measure, these ornamental notes are called AFTER NOTES, and they borrow their time from the preceding note.

CHAPTER XI.

PITCH AND EXTENT OF DIFFERENT VOICES-EXPLANATION OF CLEFS, AND THE RELATION OF NOTES IN DIFFERENT PARTS.

ART. 82. Psalm tunes are commonly written in four parts, viz: FIRST TREBLE, SECOND TREBLE, TENOR and BASE.

ART. 83. The First Treble is sung by the highest voices of women. The second by boys, and the lowest voices of women. The Tenor by the highest voices of men, and the Base by the lowest.

ART. 84. F clef, E. ART. 85. the G clef

The Base part is written upon the staff according to the

The two Trebles and the Tenor are written according to

But the Tenor is to be understood as being an octave

lower in the same position upon the staff, than the Treble.

ART. 86. Men's voices are naturally an octave lower than women's. Thus, when G, for instance, is sounded upon the third string of the violin, and the Tenor and Treble singers are called upon to sound the same pitch, the former give it an octave lower, that is, in unison with the open fourth string of the instrument, while the latter give the pitch in unison with the note sounded by the instrument.

ART. 87. Again, if the Tenor and Treble voices sing the same part, they sing in octaves to each other. If the Tenor have a note on the

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fourth line of their staff, and the Treble a note on the fourth line of theirs, which is D in both cases, when this note is sounded by them respectively, it is heard in two different points of pitch, varying from each other a whole scale or octave.

ART. 88. There was formerly used another clef, called the C clef, which was applied to the Tenor part, shewing it in its proper pitch. It is very much to be regretted that this clef has gone out of use.

Very little practical inconvenience will be felt by singers, however, from the use of the G clef in the Tenor, if the fact is borne in mind that it represents that part an octave too high, and provided, moreover, that Tenor singers, especially leaders, do not take it into their heads to sing the Treble, than which, no practice can be more abominable.

ART. 89. It is not uncommon in the country, for players of instruments, flutes and fiddles for instance, to play the Tenor as if it were Treble. Such persons ought to be made to understand that this is an outrage upon common sense. It should be played an octave lower.

ART. 90. Sometimes ladies indulge themselves in the delightful recreation of singing Tenor as if it were Treble; they ought to be seated among the men.

ART. 91. Below is exhibited the pitch of the parts, respectively.