The Relative Pitch of tones is indicated by a Scale, or Tone Ladder. The Diatonic Scale, generally called the Scale, consists of a regular succession of intervals from the key-note to the octave, 1st, 2d, 3d, 4th, 5th, 6th, 7th, 8th or octave, by a compromise called TEMPERAMENT (q.v.), it having been found most agreeable to join to the seven sounds of one group, the first of the next higher, making eight in all. The key-note is the first note in the scale. This scale is also called the Major scale to distinguish it from another scale, having its semi-tones in different order, and called the Minor scale. In the compass of the scale there are five whole tones or degrees, and two semi-tones or half degrees. Commencing on C, that is making C one of the scale, these semi-tones are found between the third and fourth and seventh and eighth degrees and between the first and third degrees are found two whole• tones, marking the distinctive feature of the °Major° or greater third. All music written on the scale when so constructed is said to be in the major keys; and this scale can only be formed from notes following this natural order. There is, however, another series of notes, equally well fitted for expressing musical ideas, which is formed by commencing on A instead of C or the equivalent note of any other Major key tone. In this scale the semi-tones always fall between two and three and five and six, between the first and third degrees, there being not two whole tones, but only a tone and a half, mak ing the °minor* or lesser third. All music written on a scale so constructed is said to be in the minor key, and is often most im pressive. The Minor scale has various forms. In the Natural form as already shown, the half-steps occur between two and three, and five and six, and is formed from the Major Scale, by taking the last two notes above and placing them below. The Harmonic form dif fers from the Natural form by the introduction of sharp-seven. The Melodic form in ascend ing has sharp-six and sharp-seven, while it usually descends by the Natural form. The Minor scale, based upon six of the Major scale, is called its relative minor; and the Major scale, based upon three of the Minor scale, is called its relative major. The signa ture of a minor piece of music is the same as its relative major, the additional sharps or flats being introduced before the proper notes in the piece. Thus, a minor piece in the idly of E has the signature of G major, that is Ft' and DO is used instead of D.
The key-note is One of the scale, and is called the Tonic. As already explained a minor third above the tonic characterizes the Minor scale; a major third, the Major. The Fifth of the scale is the Dominant; the Fourth, the Sub-Dominant. The key of a piece of music is the fundamental tone, or one of the scale in which it is written, and is indicated by the signature. The key of C has no sig nature. The other key signatures are G, one sharp—F#; D, two sharps—Ft C# A, three sharps—PI; C#, G#; E, four sharps—Ft C#; G#, D*; B, five sharps—P#, C# G# D#, Ft six sharps—PS, Ct Gg, Es,- F. one flat —B9; B9, two flats— )39, E9; E9, three flats—Bp, ED, A9; Atp, four flats—Bp, E9, AD, D; Dip, five flats—B0, Eip, A9, ; GP, flats—Bp, ED, Ap, Dip, G9, C. D9, that
beginning with C the dominant or fifth note of each scale forms the tonic or key-note of the next scale, and thus interweaves the 11 scales into a completed circle.
An interval is the difference of pitch be tween any two notes in the scale. 'Unisons are of the same pitch. A major second consists of a step; a minor second of a half-step. A major third consists of two steps; a minor third of a step and a half-step. A perfect fourth consists of two steps and a half-step; an augmented fourth of three steps. A perfect fifth consists of three steps and a half-step; a diminished fifth of two steps and two half steps. A perfect sixth consists of four steps and a half-step; a diminished sixth of three steps and •two half-steps. A major seventh consists of five steps and a half-step; a minor seventh of four steps and two half steps. A perfect octave consists of five steps and two half-steps. These are called diatonic intervals. as they are all found in the diatonic scale. Other intervals, called chromatic intervals, may be formed by the use of sharps and flats. When the lower note of the two representing an interval is placed an octave higher, or the upper one an octave lower, the interval is said to be inverted. The degrees of an interval are counted upward, unless the opposite is stated; and the degrees occupied by the notes, as well as the ones between them, are counted.
The Chromatic Scale is a regular succession of semi-tones, the tones named from those of the diatonic scale or the letters of the staff, the intermediate ones taking their names from one or the other of the tones between which they occur, with the addition of the word ((sharp* or ((flat?' Thus the tone inserted between C and D when named with respect to absolute i pitch, s called C sharp or D flat; and with respect to relative pitch is called sharp one or flat two.
Passing Tones not essentially belonging to a melody are often introduced, and are usually represented by small notes.
A Chord is a pleasing combination of tones sounded together, and Harmony (q.v.) is a succession of chords, according to the rules of progression and modulation.
Dynamics or the power of tones and the manner or form of their delivery constitute the third elemental department of music. The power of tones is usually indicated by words, marks of expression, characters and abbrevia tions, mostly of Italian origin, affixed in the positions desired on the composition by com poser, editor or technical The following alphabetical list includes the dynamic marks of expression, together with the terms which indicate the relative time move meat of a composition, and certain other terms and phrases, commonly used in music. Im portant terms treated separately in this work, under their respective titles, are designated by the reference (see special article). Terms which are practically in anglicized form and self-explanatory are omitted.
A. (II.) — By, for, from, to, at, in.