Mandolin Self Instructor, online tutorial - Page 26

A simplified self learning system for the Mandolin with tuning instruction, song folio, chord diagrams, sheet music and PDF for printing. By ZARH MYRON BICKFORD

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Keys and Scales (continued)
third and fourth, fourth and fifth, half steps between the second and third, fifth and sixth and seventh
and eig-hth and three half steps (a step and a half,) between the sixth and seventh tones. The Melodic
minor is the same as the Harmonic in ascending, with the exception that the interval between the fifth
and sixth tones is made a whole step, which in turn makes a whole step from the sixth to the seventh.
In descending, the Melodic minor calls for a whole step from the eighth to the seventh and the seventh
to the sixth degrees,this in turn making a half step from the sixth to the fifth.
Below are illustrated the major scale of C, and the chromatic scale, showing the intermediate tones.
The use of the sharp (#) before a note indicates the tone between that note and the degree next hig-her.
The sharp is thus said to raise a note a half step, its tendency or inclination being- upwards. To be ex-
act, it is impossible to raise a note or a tone, since they are stationary. What the sharp really does,
therefore, is to represent the tone (also stationary) a half step hig-her.
The flat(10 is used to represent the tone a half step lower than any g-iven note or letter, its tenden-
cy being to lead downwards to the next tone a whole step away.
The cancel or natural (t|) is used to cancel the effect of a previous sharp or flat or to represent
the tone indicated by the unchanged or"natural"note.
Chromatic or intermediate tones may be represented by either flats or sharps, as shown in the
The word chromatic is derived from a Greek word and refers to the manner in which a scale prog-
ressing by half steps was formerly written,the sharps having been represented by red notes and
the flats by yellow notes,the picture thus presented being a colored or chromatic scale.
Scale Exercise in C
In playing the high C(fourth measure), it is necessary to extend or stretch the fourth finger to the
eig-hth fret, the other fingers, or as many of them as possible, still remaining- in their places. In the
following measure this finger is drawn back to the seventh fret for the B without being- lifted from the
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