ich proceeds always by
half-steps. Its intervals are therefore always equal no matter with what
tone it begins. Since, however, we have (from the standpoint of the
piano keyboard) five pairs of tones[19] which are enharmonically the
same, it may readily be seen that the chromatic scale might be notated
in all sorts of fashions, and this is in fact the real status of the
matter, there being no one method uniformly agreed upon by composers.

[Footnote 18: The student should differentiate between the so-called
"tonality" scales like the major and minor, the tones of which are
actually used as a basis for "key-feeling" with the familiar experience
of coming home to the tonic after a melodic or harmonic excursion, and
on the other hand the purely artificial and mechanical construction of
the chromatic scale.]

[Footnote 19: Many other enharmonic notations are possible, altho the
"five pairs of tones" above referred to are the most common. Thus
E[sharp] and F are enharmonically the same, as are also C[flat] and B,
C[sharp] and B[double-sharp], etc.]

Parry (Grove's Dictionary, article _chromatic_) recommends
writing the scale with such accidentals as can occur in
chromatic chords without changing the key in which the passage
occurs. Thus, taking C as a type, "the first accidental will
be D[flat], as the upper note of the minor ninth on the tonic;
the next will be E[flat], the minor third of the key; the next
F[sharp], the major third of the super-tonic--all of which can
occur without causing modulation--and the remaining two will
be A[flat] and B[flat], the minor sixth and seventh of the
key." According to this plan the chromatic scale beginning
with C would be spelled--C, D[flat], D, E[flat], E, F,
F[sharp], G, A[flat], A, B[flat], B, C--the form being the
same both ascending and descending. This is of course written
exclusively from a harmonic standpoint and the advantage of
such a form is its definiteness.

94. For _sight-singing purposes_ the chromatic scale[20] is usually
written by representing the intermediate tones in ascending by sharps,
(in some cases naturals and double-sharps), and the intermediate tones
in descending by flats (sometimes naturals and double-flats). The
chromatic scale in nine different positions, written from this
standpoint, follows, and the syllables most commonly applied in
sight-singing have also been added. In the