first two scales the student
of harmony is asked to note that because of the very common practice of
modulating to the dominant and sub-dominant keys, the intermediate tones
[sharp]4 and [flat]7 are quite universally used in both ascending and
descending melody passages. In other words the scales that follow would
more nearly represent actual usage if in each case [sharp]4 (FI) were
substituted for [flat]5 (SE) in the descending scale; and if [flat]7
(TE) were substituted for [sharp]6 (LI) in the ascending form.

[Footnote 20: The word _chromatic_ means literally _colored_ and was
first applied to the intermediate tones because by using them the singer
could get smoother and more diversely-shaded progressions, _i.e._, could
get more _color_ than by using only the diatonic tones. Composers were
not long discovering the peculiar value of these additional tones and
soon found that these same tones were exceedingly valuable also in
modulating, hence the two uses of intermediate tones at the present
time--first, to embellish a melody; second, to modulate to another key.]

[Illustration]

_Note._--In writing chromatic scales from this sight-singing
standpoint the student is urged to adopt a three-step process;
first, writing the major diatonic scale both ascending and
descending; second, marking the half-steps; third, inserting
accidental notes calling for the intermediate tones. In the
above chromatic scales these intermediate tones have been
represented by black note-heads so as to differentiate them
from the notes representing diatonic scale tones.

95. The _whole-step scale_ (the third type mentioned in Sec. 79) is, as
its name implies, a scale in which the intervals between the tones
consist in every instance of whole-steps. This reduces the number of
tones in the scale to seven. Beginning with C the scale reads: C, D, E,
F[sharp] or G[flat], A[flat], B[flat], C. This scale has been used
somewhat extensively by the ultramodern French school of composition
represented by Debussy, Ravel, and others, but is not making any
progress toward universal adoption. The remarks of a recent English
writer[21] on this subject may be interesting to the student who is
puzzled by the apparent present-day tendencies of French music. He says:

"The student of some interesting modern developments will also
speedily discover that the adoption of the so-called
whole-tone scale as a