of scales those beginning
on F[sharp] and G[flat] call for the same keys on the piano, _i.e._,
while the notation is different, the actual tones of the scale are the
same. The scales of C[sharp] and D[flat] likewise employ the same tones.
When two scales thus employ the same tones but differ in notation they
are said to be _enharmonic_, (cf. p. 38, Sec. 93.)

_Note_.--The student is advised to adopt some uniform method
of writing scales, preferably the one followed in those given
above, the necessary sharps and flats appearing before the
notes in the scale and then repeated collectively at the end
as a signature. He is also advised to repeat these scales and
signatures over and over until absolute familiarity is
attained. _E.g._, E--F[sharp]--G[sharp]--A--B--C[sharp]--D[sharp]--E;
signature, four sharps, F, C, G, and D.

CHAPTER VIII

SCALES (_Continued_)

84. The _minor diatonic scale_ is used in several slightly different
forms, but the characteristic interval between the first and third tones
(which differentiates it from the major scale) remains the same in every
case. This interval between the first and third tones consists of four
half-steps in the major scale and of three half-steps in the minor scale
and this difference in size has given rise to the designation _major_
for the scale having the larger third, and _minor_ for the scale having
the smaller one.

85. _The original (or primitive) form_ of the minor scale has its tones
arranged as follows.

1 whole 2 half 3 whole 4 half 5 half 6 whole 7 whole 8
step step step step step step step

As its name implies, this is the oldest of the three forms (being
derived from the old Greek Aeolian scale), but because of the absence of
a "leading tone" it is suitable for the simplest one-part music only,
and is therefore little used at present.

86. _The harmonic minor scale_ is like the primitive form except that it
substitutes a tone one half-step higher for the seventh tone of the
older (_i.e._, the primitive) form. This change was made because the
development of writing music in several parts (particularly _harmonic_
part-writing) made necessary a "leading tone," _i.e._, a tone with a
strong tendency to move on up to the key-tone as a closing point. In
order to secure a tone with such a strongly upward tendency the
interval between _seven_ and _eight_ had to be reduced