Vicks a lea, TEGAWES: Published by the PHILADELPHIA MUSICAL ACADEMY. Linggh 107 by AderBeing,Ibelieve the first time the Scales are publishedin other than the usual old and approved fingering ,I do not think it out of place to make a few remarks, concerning the reasons and a — daptobility of this new mode. Allteachers doubtless,have noticed that Pupils learn with greater facility such scales as B major, F sharp major and Dflat major,than such as B flat major. The reason for this is because in the former the thumbsof both hands occur on the same notes, while in the latter ( Bflat major and others) the thumb of the right hand occurs sometimes with the 2d.finger sometimes with the 3d.finger of the left hand. If this method of playingboth thumbs together be easierywhy not adapt it through all the scales major as well as minor. Ihave found in my experience as a teacher that the pupils learn the scales in this manner in a shorter time and perform them more evenly RICH. ZECKWER .CHROMATIC SCALES . calledthe French . 24 2, That marked bis called English. 3,That marked c,is the German . 4, The fingering marked a EbMinor.The following method is only to beused when the Chromatic Scales occur in conjunction with double notes . (» tye dy2e ahs sbes 312 1433 (@) 1g13 2 1134 ‘The Chromatic Seales in parallel motion may be practiced, beginning with different notes. 1 21s ais a5 123% Sage Bere stoi32191.5 sHegiesitarsts? ‘The following fingering may be found a very useful exercise; each hand tobe played separately, a2 32 do su 5193 Bode beh, : tans La) 9 #285532 245, oy 215 pater £ eaThere aretwokeys 1st.the Major 2ud.the Minor keys Ast.the Major Scales. The major seales are divided in two halves . The first part in C major is composed of C,D,E,F, the other of G.A.B.C Every major scale closes with ahalf tone.The steps in the major scales are: ©,D{B,FyG,A,B,C We have 12 major scales. jose cay form major scales with 42 #s and 12sbut fromthe 7th #it is prefered toput band also fromthe 7h to th on account of its easier reading . To imagine a key or to form one, means,tolearn,which steps in the scale are tobe raised or lowered. We begin with C,sign it as the beginning and write acipher above it,as a sign, that no tone is raised orlowered .thanwe write after C the Fifth and so ou very Fifth fromthe lasttone. FromCthe Fifth in @, Ghas 4¢. The following key with 2fris formed, intaking the Fifth of G (thatis D) and so on.Now we find that in everykey formed after C one tone is raised and every raised tone remains sharp. In G major is one tone raised in D major remains the same one aud another is added in A major remain both and a third is added etc. This representation of the keys is called Fifth Circle. The keys with too many changes( # orb) are dispensable. If weput here 0 1 2 3 4 5 6 7 8 9 1 86 12 © ¢ pv a ec Bp Ft cH ct pvt af ef af pbb abb ebb pbb =oFb 6ch 6Cgh > bbb 2 tf 0 9 8 7 6 5 4 3 2 1 0 the keys with # and those with together for comparison, we find that : Dbb with 12 bis the same as C major BF with 12 is the same ab... th... . .G .. withlt | Eb .. 10b .. . 2fatsothat AF. wf Bb. gb. ~ 3f pi. 9 rb. 8 ct. 8. ob. 7 “% © 7. ‘All these comptred keys are only enharmonic changes 2 Minor Scales ‘The steps of the minor scales are a ing de AG F,E.D.C.BLA AB CDPB PI GELA going down AG PER which is called the melodie, in contrary to the harmonic minor scales. Every minor key ies a minor third below its relative major key, The formation of the minor scale is as follows: A minor is played ascending like A major with the exception that the third is lowered a semitone; descending it is like its relative major scale, that is like C major.