300 



EECEEATIYE SCIEISTCE. 



6. A dance-tune was of the length of 

 forty-eight quavers, and was divided into six- 

 teen bars : what was the signature P 



7. If, in the middle of a movement, you 

 saw a rest of this kind p zii;^'m i occupying a 



whole bar, what would E ^j you j udge 



the time of the movement to be ? 



8. If you saw, under similar circum- 



stances, this sign, [: — 1 what would you 



— i of the movement 



presume the time h — 

 to be? 



9. If, under similar circumstances, you saw 

 a bar occupied by rests, thus, J^^ 



what would you judge the time t 



of the movement to be ? 



10. If, in the middle of a movement, you 

 met with a bar figured thus : 





1— bJ — y«^— h- h-i ■•- 



Or thus 



what would you conclude the time of the 

 movement to be P 



Solutions of Questions on Section VI. 

 1. Forty-eight. 



2. 



7. Common time ; four crotchets in each 



bar. 



8. Common time ; two crotchets in each 

 bar. 



9. Triple time ; three-eighths, i. e., three 

 quavers in each bar. 



10. Common time ; four crotchets in a bar. 



SECTION Vir.— SHARPS, FLATS, AND 

 NATURALS. 



A Sharp ji raises a note half a tone; it 

 makes it by that much acuter in sound. For 



instance, C, 



thus simply written, has a 



certain sound izj;— (easily ascertainable by 

 touching that key upon the pianoforte, or pro- 

 ducing it from a blow-pipe). But if it have 

 a Sharp | placed against it, either in im- 

 mediate contact or next to the time-signature 

 at the commencement of the movement, it 

 expresses a sound half a tone higher. The 

 two ways in which C | is recognizable are as 

 under : — ■ 



1. 



sB?^^ 



2.Efe- 



"When the Sharp is affixed to the Staff in 

 the first manner, it affects all the C's in the 

 piece; when it is placed as in the second 

 instance, it affects that one note only. 



A Flat b depresses a note half a tone ; it 

 makes it by so much a deeper or graver 

 sound. 



A Natural "^ contradicts a | or a b » and 

 restores a note that had been raised by the |, 

 or depressed by the b, to its natural tone. 



Besides the above marks there are double 

 tt 's and double b 's. 



The double | is thus distinguished, x ; it 

 raises a note two semitones, i.e., it substitutes 

 D natural for C natural. 



The double b, thus marked bb' lowers a 

 note two semitones : thus, C natural depressed 

 by a double flat would be B flat, if sought for 

 among the keys of a pianoforte. 



Eebuses intended to recall to mind the 

 Forms and Names of Sharps, Flats, 

 and Naturals. 



1. Messrs. Dodson and Fogg were ad- 

 dicted to I practice. 



2. It is a I morning. 



3. Hunger is a :jj; thorn. 



4. He fell into the company of |ers. 



5. This beer has become quite b. 



6. Fools love btery. 



7. She gave him a b denial. 



8. He fell b upon the pavement. 



9. Leave off affectation, and be t|. 



10. lie was of a t^ly warm disposition. 



