69. In ascending though this scale of A minor, we lind the progression very agreeable; yet we are sensible that in coining to the octave a 'by the degree of tone from G, there is the same defect that we formed.). noticed in the se ties from G to g in the natural scale: The conclusion is 110t 50 complete and satisfactory as we wish. Hence the neces sity of having G a semitone below A, to bring us to a conclusion on the kcy-note, as musicians speak. The reader, however, will be still more satisfied of the necessity, of a ma jor seventh in the minor scale. when we come to speak of the nature of harmony. Now, if in the ascending scale of A minor, we make the G sharp, WC find in the step from F to 6* a species of' interval very different from the other de g,recs of the diatonic scales. II ence arises a kind of neces sity of giving the minor scale a major sixth F&"‹ also : not that the interval from F to is, as some respectable au thors say , false relation: Aire shall afterwards find that it is a true musical relation, and used N1 ith excellent effect ; but it is not as Ave have said, a diatonic degree. Hence it is that the minor scale is usually written in a different manner. ascending and descending, thus: • The reader, however, is not to stippose that the sixth and seventh are always major in ascending, and alwa-s minor in descending.
90. The minor mode of A is called the relative minor C major; and the latter is called the relative illajOr to the former. And thus to every major scale, the of the relative minor is the major sixth above, or minor third be low, and vice versa, to every minor scale the relative major is on the minor third above, or major sixth below. NOW these two relatives have always the same number of sharps or flats at the clef, or the same signature, as it is called: and when in the minor mode the sixth or seventh is to be sharpened, this is signified by a placed before the note in the course of the piece. Sharps or fiats not placed at the clef, but occurring in the course of the piece, arc called accidental fats or sharps.
'flitis then C major and A minor have neither sharp nor flat at the clef: G major and E minor have D major and 11 minor have F>.6 and &c. But this will be more clearly exhibited in the following table : in which, beginning with six flats, and proceeding by fifths upwards, or fourths downwards, these relatives are set down together.
91. From this table the reader may observe that the dif ference of signature between the major and minor modes of any one note is always three sharps more, or three flats fewer in the major mode than in the minor, or what is equi valent to the difference of three sharps or flats. Thus C major is natural; C minor has the signature of three flats; A major has three sharps; A minor, natural; D major has two sharps; D minor has one flat, equivalent to three sharps more, or three flats fewer, in the major than in the minor mode of D: G major has one sharp; G minor has two flats, equivalent to the difference of three sharps, or three tlats.
So that (considering the table as one continued line) the minor mode of any note will be found in the table three steps toward the le-ft hand, and vice versa.
92. It is proper to observe that in old music, such as that of Corelli, anti even not unfrequently of Handel, in the signature of the minor mode with flats, the last flat is omit ted at the clef, and is therefore inserted in the course of the music as an accidental. Thus D minor is found without a flat at the clef; G minor with one flat; C minor with two flats, &c. This has probably arisen from the major sixth of the scale being occasionally used in the minor mode, as al ready observed. But it is more difficult to account for the omission of the last sharp, in the signature of the major mode, of which instances occur. as two sharps in the key of A major, three sharps in that of E major, &c. It is hardly necessary to observe, that in such instances, the last sharp must appear as an accidental for the major-seventh of the scale.
93. If all the notes thus added to the scale, in order to obtain a diatonic series for each note of the key-board, be arranged in order as they- become gradually more and more acute from any note, C for instance, they produce NI hat is called the chromatic scale. This name is derived from a Greek word which signifies co/our, and it is applied to mu sic in a metaphorical sense, meaning that the most finished and ornamented style of nmsic is furnished by this scale. It is a term borrowed front the sister art of painting. Mere diatonic nmsic may be not unaptly compared to design, in which light and shade, without colour, are employed; and chromatic music to painting, properly so called, in which the artist adds all the beauties of colours. Without seeking to pursue this analog,y too far, it is quite true that the chro matic scale adds as much to the resources of the musician, as colours do to those of his brother artist. Many new inter vals, besides those which have already been described, arise out of this scale, with which the student will afterwards be made acquainted. But it is proper we should now proceed to explain the use of those arising out of the diatonic scale: viz. seconds, thirds, fourths, fifths, sixths, and sevenths, ma jor and minor, together with the octave and unison. For though this last be not properly an interval, the use of it is regulated by pre.cepts as strict as that of any interval pro perly so called.