OUT of every major second of the diatonic scale, two intervals can be procured by the use of a sharp (#) or flat (b). The sharp elevates a sound before which it is placed a chromatic interval, and the flat depresses it a chromatic interval. A series of twelve intervals is called the Chromatic Scale, thus: The following Letters, Numerals and Syllables, are applied to the Chromatic Scale. C. I. M. S. C. I. M. S. M. S. C. I. M.S. C. I. M. S. C. I. M. S. M. S. NOTE.-When naming the chromatic intervals by numerals, say-sharp one, sharp two, flat six, flat seven, &c.; but when naming them by letters, C sharp, D flat, Ê dat, &c. The pupil will observe, that from any letter to the same made flat or sharp, the interval ís a chromatic one; and from any letter to the next above or below in the chromatic scale, the interval is a minor second. Questions: What is the interval from C to C# (sharp)? C# to D, &c.? C to B in descending? B to Bb (flat)? Bb to A? A to Ab, &c.? Commence the practice of the chromatic scale something in the following manner-the class sings one, after which the teacher sings sharp one, the class imitating him. Then two, sharp two, &c. For the future the class should devote a short time, each lesson, to the practise of this scale. The influence of a sharp or flat extends from measure to measure, until a note intervenes which is on a different degree from that before which it is placed.* A NATURAL () is used to contradict or take away the power of a flat or a sharp. No. 1. 0:4 4 EXAMPLE. ROUND IN TWO PARTS. 2 -Б good night! Good night, good night, good 13 night! See the following tunes for practice: Edmeston, Henry, Paron, Rutgers street, Palestine, &c. LESSON XII. MINOR SCALE. THERE is yet a third scale in music, called the Minor or soft mode. It consists of seven intervals, and has two forms or progressions; thus, No. 1. 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 La Si Do Re Me Fa Sol La La Sol Fa Me Re Do Si La. is called the Harmonic form, and thus, No. 2. is termed the Melodic form. The seconds are as follows in the Harmonic form: from one to two a major second; from two to three, minor; three to four, and four to five, major seconds; five to six, minor second; six to seven an extended second, and seven to eight a minor second. The same progression is observed in descending. In the Melodic form of the minor scale, the intervals occur as follows, viz.: from one to two, a major second; two to three, a minor second; three to four, four to five, five to six, and six to seven, all major seconds; and seven to eight, a minor second. The descending scale in the melodic form differs, viz.: eight to seven, and seven to six, major seconds; six to five, a minor second; five to four, and four to three, major seconds; three to two, minor second; two to one, major second. Question as follows on the harmonic form: How many major seconds has the harmonic form, and between which numerals do they occur? How many minors? Between which numerals does the extended second occur? Is the form the same descending as ascending, &c. ? * When a note succeeds one that has been made flat or sharp, without a note intervening on another degree of the staff, the effect of the accidental continues, although in another measure. Question as follows on the melodic form: How many major and minor seconds has the melodic form of the minor scale ascending, and between which numerals do they occur? Name the seconds descending. In what respect does this form of the scale differ from the Harmonic form? How does it differ from the major scale, &c. ? The scale of A minor has the same signature that C major has, hence some guide is necessary in order to distinguish between the two. When the signature is natural, and any part commences on A, it is generally in the minor mode. When sharp five occurs often, the piece of music is generally in A minor. After hearing some minor music, the ear will enable one to decide whether it is in the major or minor mode. But as the key or mode is constantly varying in most pieces of music, it is impossible to decide with certainty in relation to the key, without some knowledge of modulation, &c. See the following minor tunes, viz.: Meldrum, Russia, Lebanon, Ramoth, &c. mi LESSON XIII. TRANSPOSITION OF THE SCALE. WHEN a scale of eight sounds occurs founded on any letter, the order of intervals being from one to two and two to three, major seconds; three to four, a minor; four to five, five to six, and six to seven, major seconds; and seven to eight a minor second; it is named after the letter on which one is written. Thus, if one is written on C, it is called the scale of C; if on D, the scale of D; if on E, the scale of E, &c. When a piece of music commences in the key of C, (although other keys may be introduced in the course of the piece by means of accidentals,) the signature is said to be natural, or, in other words, there are no flats or sharps used at the commencement. But when a piece of music has flats or sharps placed at the commencement, it is said to be transposed. The signature (or number of flats or sharps) placed at the commencement of a piece of music will decide the key. The pupil will take notice in transposing the scale, that the same order of intervals as in the key of C must be preserved, i. e., from three to four and seven to eight must be minor seconds, and all the rest major seconds. In the first regular transposition of the scale by fifths, G becomes one of the new scale, thus: The same method is followed in all the transpositions by sharps, viz., the fifth above or fourth below is taken as one of a new key, in every succeeding transposition, and an additional sharp will be required also in every succeeding transposition. REMARK.-In the above example, it will be observed that we have not only placed the syllables transposed, but retained their original position as in the scale of C. Eight or ten years' experience has proved to us, that, generally speaking, more can be learned by classes, if the syllables are not changed.* REMARK.-We are aware that this will not meet with the approbation of all our teachers, but those who have given it a fair trial, will fully endorse the above. Here we would also enter our protest against the change of the vowel sounds of the syllables, where an accidental is introduced. It brings a long train of evils that requires months of labor to eradicate. One reason why our choirs, and even select societies, almost always fail on the accidentals, is owing to the habit of changing the syllables and their vowel sounds. The system of changing the syllables is not known in the best schools of Europe, and we predict that, ere many years pass away, the elements of the art in this country will throw off these trammels, and find itself free to soar on, in its glorious path of love to fallen man. Question as follows:-What do you understand by the transposition of the scale? Ans. When any other letter besides C is taken as one of a new scale, and accidentals are introduced. When is the scale said to be in its natural position? What letter is used to designate the natural key? What is the signature to C? In transposing the scale what order of intervals should always be preserved? What is the first transposition? Ans. To G, the fifth of C? What is the signature to G? If F is not sharped how many intervals would be wrong? What would be the interval from six to seven without the F#? What should it be, &c. ? No. 3. 1 Sol G Do re la mi la • We think classes in general are too much confined to the syllables. The practice of them to some extent, is desirable and even necessary; but we would not use them one moment longer than is necessary, • For extended illustrations and instructions in Medulation, see Woodbury's “ Self-Instructor in Mu- but substitute the words as soon as the progress of the class will allow. The syllable La and the vowels sical Composition and Thorough Base," may also be used much more than is customary. · E F G A. B Re mi fa sol la si do Te C# 1 Re D do | ឥដ្ឋ ស 3 mi fa 4 5 sol la si 6 7 8 do TE F# G A B C# D Do re mi fa sol la re mi fa sol la si do Questions.-In what key is this scale? Ans. D. How do you know it to be in the Stars shining o-ver-head, Tell us to go to bed; Dear friends, good night, Dear friends,good night. key of D? By the signature. What is the signature? Two sharps. What letters ROUND IN FOUR PARTS. Pick up the stones, not a weed must be growing Here on the ground, where our sweet flowers are blowing. Practise such tunes as Temple, Monmouth, Invitation, Greenwich, and in fact all tunes in the Key of G, which will be found arranged together in the different metres. Question on each tune something as follows: What is the signature? Ans. One sharp. What letter is sharped? Ans. F. Why do we sharp F To regulate the order of the intervals. What is the order of intervals in all the transpositions? Between three and four, and seven and eight, are minor seconds; all the rest are major seconds. Name the letters to the scale of G. Ans. G is one, A is two, B is three, Ĉ is four, D is five, E is six, F# is seven, and G is eight. REMARK.-Most classes will be able to understand the theory, and, to a certain extent, the practical part of the art that we have been over, in about twelve or thirteen lessons, if the teacher has been faithful. Of course, in our division of the elements into lessons, it is not intended that they shall be followed out to the letter, but changes should be made as the interest of the class may require. Many classes will require twenty-four, or even more lessons, to acquire what we have been over in these few lessons. There is but little danger of going too slow in teaching the elements of music. The rest of the transpositions may be taken up as the class may require, but let it be impressed on the mind, that if the first transposition is well understood, all the rest will come easy, and but little time will be required in teaching them. Second transposition by sharps (Key of D). One is written on D, the fifth to G, and If these old Continental Tunes are not useful for the services of the sanctuary, they are at least valua ble as practice for classes. We are aware that many will "cry out" against them, but such are not obliged to use them, for there is surely enough of good music in this work. are sharp? F and C. Why do we sharp F and C? To preserve the order of intervals. What numerals of the new scale are sharped? Three and seven. In order to transpose a scale to its next affinity in sharps, what numeral of it must we sharp ? The fourth. What was the fourth to C? Ans. F. By sharping F into what key do we modulate, or transpose the scale? Ans. G. By sharping the fourth to G (which is C), into what key do we modulate? Ans. D, &c. Practise tunes in D. Third transposition by sharps (Key of A). One is written on A, the fifth to D, and in order to preserve the order of intervals, three sharps are found necessary, viz., G# (the new sharp), F# and C#, thus: |