THE MUSIC TiAonlER. 
 
The pupil will observe, that from any letter to the same made flat or 
sharp, the interval is a chromatic one; and from      any letter to the next

above or below in the chromatic scale, the interval is a chromatic second.

QvasTioNs.-What is the interval from C to C: (sharp)? C$ to D, &c.  C
to B descending? 
Bto Bil(fiat)' IftoA? Ato4, &c.? 
Commence the practice of the chromatic scale something in the follow- 
ing manner-the class sing one, after which the teacher sings sharp one, 
the class imitating him. Then two, sharp two, &c. 
RicRKaa-For the future the class should devote a short time, each lesson,
to the 
practice of this scale. 
The influence of a sharp or flat extends from measure to measure, until a

note intervenes which is on a diffeient degree from that before which it
is 
placed." 
'  NATURAL (t) is used to contradict or take away the power of a flat 
or sharp. 
No.1 L 
After a sharped tone the ear naturally expects the next above, but after

aflatted tone the next below. 
NO. I 
No. 3--ROuND IN Four PARTS. 
-     ~!K            I                               wr 
Day is gone,    Night is come; When the day oflife is gone, Heaven bemy home.

No. 4.-ROUND m     T-wo PARTS. 
II                                            ,  I _01              ,,l 
And now    to    all   good night I Good night, good night, good night! 
* When a note succeeds oe that has been made flat or sharp, without a note
intervening oa an 
94tsr degree of the staff, the effect of the accidental contiares, although
in another moiam. 
Jj, A. L-2) 
 
LESSON VIII. 
MINOR SCALE. 
THERE is yet a third scale in music, called the Minor or soft mode. 14 
consists of seven intervals, and has two forms or progressions;, thus, 
No. I. 
 
*    a     a    A    C    ft   C     0    0    C    a     C    A    9   
 0    1 
 
La   si  do   re  mi fa    sol Ia   la   sol fa   mi   re  do   si  Ia. 
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; 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 progres- 
sion 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 smale 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. 
QUzsTIONs.-How many major seconds has the harmonic form, and between what
numerals 
they occur ? How many minors  Between which numerals does the extended second
occur ? Is 
the form the same ascending as descending, &c. ? 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 forml 
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 diktinguish between the two. When 
the signature is natural, and any part commences on A, it is generally in

the minor mode. When sharp five ocaur, often, the piece is geiterally in

 
XV"I 
 
bP 
 
*_ -esp-