CHROMATIC SECTION. THE SINGING CLASS. THE CHROMATIC SCALE AND EXERCISES, TO BE INTRODUCED WHENEVER § 1. All the intervals of the scale that are a whole tone (step) distant from each other may be divided into half tones, (small steps), forming an entire scale of small intervals, (half tones), called the Chromatic Scale.* NOTE.-Let pupils recall the intervals of the scale, and then name such only as must be divided in order to form the Chromatic Scale. 92. The division of the large intervals, (tones), is represented by the See illustration 81, page 20. sharp or flat. § 3. All the tones (steps) of the scale being thus divided, either by means of the sharp or flat, we shall have for our Chromatic Scale thirteen intervals, of a half tone (small step) each. § 4. The scale heretofore exclusively used, consisting of five tones, or steps, and two half tones, or small steps, is called the DIATONIC SCALE.T NOTE-The Chromatic Scale, being more difficult to sing than the Diatonic, and not being much requir ed in plain music, it is not usually studied or practised until pupils are well versed in the Diatonic Scale, and able to read with considerable facility. The editors of this work, after much experience, would urgently recommend the introduction of either a part or the whole of the Chromatic Scale, as an exercise for the voice and ear, just as soon as pupils can read plain music in the Diatonic Scale. We would not attempt too much of this kind of study at any one time. One or two of the following chromatic exercises at each lesson will generally be found sufficient, and, by judicious management, pupils will not become wearied. The easiest, and perhaps the most useful, is the sharp fourth. Next in order may follow the flat seventh; then the sharp second, flat third, &c., then, from sharp one on, gradually introducing the whole Chromatic Scale. If you have an instrument play the chromatic scale often, that they may become accustomed to its progression, 23 NOTE.-In singing the Chromatic Scale, or exercises, with syllables. use the vowel sound of e long, as in mete, for the sharps, (Di pronounced Dee, Ri Ree), and a long, as in fate, for the flats, (Se pronounced Fay Le Lay, &c.]. By observing this rule we are enabled to preserve uniformity in printing the syllables. THE CHROMATIC SCALE. NOTES, LETTERS, AND SYLLABLES 92. Ascending. fi, sol, fi, re, do, FLAT SEVEN. § 5. Sharps, flats and naturals, introduced to represent different portions of the Chromatic Scale, do not usually belong to the signature of the tune, but are found interspersed through the different measures. They are termed accidentals (for want of a better name), and their influence extends Light of those whose dreary dwelling, throughout the measure only in which they are found, except where the note that has been changed is continued or repeated on the first part of the next measure. In that case, the note or notes thus repeated in the succeeding measure, are affected by the accidental. See The Linden Tree," page 24. CHROMATIO. From a Greek word, signifying color, the intermediate, or chromatic tones, having been formerly written with colored ink. The term may also have a figurative signifi cation, as chromatics in music, may be regarded as analogous to coloring in painting. +INJONIO. From two Greek words signifying through the tones, or from one to tone. 95. Firm-ly stand, my na it was not necessary to reprint the natural here, as the accidental in the preceding measure does not extend to this; yet most authors prefer, in such passages, to print the additional accidental to prevent the possibility of a mistake. |