SO. When an octave in the scale is performed either up wards or downwards, beginning and ending, with C, it is ex tremely pleasing and satisfactory to the ear; but if we begin and end on any other note of the scale, we experience a sett :ale disappointment, especially in ascending. Experience has indeed proved that the order of sound.s in the scale of C, is the best adapted for furnishing good music, of which the reader will be more able to judge, when he becomes ac quainted with the nature of harmony. But if we could find this order only- at one pitch, music would necessarily become monotonous. It is therefore very desirable to have the same order of sounds when we begin with other notes besides C. \ow when we compare the series of sounds beginning with as shown No. 5, we find the steps exactly similar to the scale of C, till we come to E inclusive, the sixth from G ; but we find the interval of minor third between E and G, the octave, filled up in a different manner. In the scale of C, we go front A to 11 by the degree of a tone, and thence to C by semitone; whereas from E we go to F by semitone, and thence to G by a tone. And this seemingly slight dif ference would make a wonderful defect in the scale of G. 'Fo remedy this defect, a new sound is introduced, which in the piano-forte is given by the short black finger-key between and G. This new sound is only semitone below G, or major seventh to the octave below, and, consequently, a tone above E. In performing, the scale of G. therefore, F is left out; and this new sound played instead of it, and then the scale of G is exactly like that of C. instead of calling this new sound by an additional letter to the seven used in the scale of C, we call it F sharp; and this introduces a new character into our notation, viz. *, which, being placed be fore any note, signifies that such note is to be taken semi tone higher than in the scale of C. When a piece of music is composed in the scale of G, this mark * is placed at the beginning of the staff, on the line or space on which F is placed, immediately after the clef; and this mark at the clef signifies that all the F's throughout the piece are to be per formed sharp, unless the composer directs it otherwise. And this calls for a new mark to enable the composer to do so. 'This character is called a natural, and is written thus, tf. It signifies that the note before which it is placed, is to be played as in the scale of C.
81. .As the scale of G is, by means of F*, made similar to that of C, it is plain that in making a new scale of its fifth, D, we shall find the same defect in its seventh note.
C, which is the fourth in the scale of G, is too flat; it is -a minor sesenth to D, or a whole tone. below the octave (I; hereas it ought to be a major seventh to D, or a semitone below (I. The same character * put before C, raises it a semitone, which is found in the short black finger-kev, be tween C atuf D. And music written on the scale of D, has therefore the character ,",‹ placed both on the line or space of F., and on the line or space of G.
82. It is plain that if we reverse this process, and go from a scale with one or more sharps at the clef to the fifth be low, or, which is the same thing, to its fourth upwards, we shall find the note which was major seventh in the former, too sharp for the scale of the latter; it is major fourth, whereas the diatonic series requires minor fourth. 1Ve are
therefore obliged to remove the sharp from the seventh. 'I'litts, going front the scale of I), with F* and C*, to that of (..; its fourth, (or fiftlt counted downwards,) we must re move the sharp from C, in order to have a proper minor fourth in the scale of.G. After the same manner, going front the scale of G with F* to that of C, its fifth counted downwards, or its liairth upwards, we must remose the sharp front F, when we shall have our original scale C. See this represented in notes at the end of the tables, art. 78.
83. Now, should we go from the scale of C to that of F. its fourth (or fifth counted downwards) we should find B, the major seventh to C, too sharp, that is major fourth to F. But here WC have no sharp to remove. Another cha racter therefore is used, called a flat, and written thus b ; which, being put before a note, signifies that it is to be taken semitone lower than in the scale of C. This mark being set before 11, signifies that it is to be played on the short black finger-key, between B and A, which being semitone flatter than 11, is thus minor fourth to F. And music written in the key of F, has a flat put at the clef, on the line or space of the note 13, which signifies that throughout the piece every B is to be played flat, unless otherwise signified by the musician. But to do so, he has no need of a new character ; the 11 natural set before a flattened note, signifies that it is to be played as in the key of C.
84. It is plain that, for the sante reasons, if we go from the scale of F to that of B, its fourth (or fifth downwards) it will be necessary to flatten the E, major seventh to F, and major fourth to Bb , in order to lime a minor fourth for the new scale. And it is equally plain, that if we reverse this process, and go from a scale with two or more flats, to the scale of its fifth above, we shall be obliged to remove the b from the note which was minor fourth in the former, and which is now to be major seventh in the latter ; and by repeating this process, we shall at last come to C again, which has neither sharp nor flat in its scale.
85. It is for this reason that music written in the scale of C, is called natural; not that it is more natural to has e tite diatonic series of sounds at one pitch than at another, or that mu..:ic written in scales with many flats or sharps, is more artificial than the other. It is true, indeed, that in general ntusic written on scales requiring many sharps or flats, is more difficult of execution; but this arises solely from the construction of instruments, and is altogether unconnected with the nature of the music itself.
86. The reader is now possessed of a general rule, capa ble of very easy application, by which he may lind the num ber of flats or sharps to be placed at the clef of any scale, or of any key, as musicians say; and also to find where these sharps or flats are to be placed in the major mode. We shall therefore here exhibit this notation in the G and F clefs, with a remark or two, in which the reader is prepared to go along with us.