CORNELL

iiOME OTHER SCALESm''V p p pP r Pp im iF==nF- pr ^'^'i^''i' J iso. li.ta.ry place shall be glad e glad for them^=fc zSzz^ r=rf :i=3 1 li^ ^g» #i •a- tiITHere is a suggestion of the " whole-tone " scale in a melodywrittenover a commonplace tonic harmony.Ex. 146.^.^'' 1^ iiAllegretto con dolcezza.l^o^sbirdBANTOCK, "The Nightingale's Song"from "Songs of Arabia."D. i^i) hJi^^^J i't.rj]jthat sing, est to the for . lorn^?A writer has pointed out that Blgar's scale in his earlierperiod contained a flat supertonic and an augmented fourth.This may be so. The present position is that acomposer is free to adopt any arrangement of thePoStfonseven divisions of the octave which will serve bestfor the purposes of his expression. This being so, the studentmay welcome a method of discovering the full possibilitiesof the septuple system in this direction. Take the scales onthe " sharp" side in succession, and apply to each the signaturesof the flat keys in succession, thus