The Mediant or third of the scale is 

 peaceful and calm, and the color 

 Yellow is suggested, with its vital, 

 radiating, sunshiny warmth and com- 

 fort. The " O, rest in the Lord " from 

 " Elijah " exemplifies this quality of 

 restful and peaceful assurance. Of the 

 tones of the Dominant chord besides 

 the Soh which we have considered, 

 the Ti or seventh interval is full of 

 irresolution and unrest, crying for 

 completion in the strong and resolute 

 Doh. This unrest and yearning 

 suggest the mixed color Magenta. The 

 quality is expressed in bits of an old 

 English song entitled "Too Late." 

 The insistency of the seventh is felt in 

 the strong measures with the words, 

 "oh let us in, oh, let us in." 



The Ray or second of the scale 

 which completes the Dominant chord 

 is rousing and expectant — quite in 

 contrast to the eagerness and dispair of 

 the seventh. This second is repre- 

 sented by orange, the mixture of red 

 and yellow between which it stands 

 being equally related to both, with 

 the expectancy born of trust and rest 

 which the Mediant expresses, and the 

 rousing hopefulness which is the out- 

 come of the firm strength and convic- 

 tion of the Doh. As a musical exam- 

 ple take Pleyel's hymn set to the 

 words : " Children of the Heavenly 

 King." In the remaining tones of 

 the sub-dominant chord Fah and 

 Lah, we find Fah the fourth has 

 a distinctively leaning tendency, a 

 solemnity which calls forth the direct 

 opposite of the seventh or Ti which 

 yearns upward and cannot be other- 

 wise satisfied, while Fah is a down- 

 ward leaning, a protective and even- 

 solemnly grand, dependent tone. We 

 hear this in the dead march in " Saul," 

 and the almost stem reproach in the 

 two measures of " Too late, too late, 

 ye cannot enter now." Fall's tonal 

 qualities suggest the protective green. 



Lah, or the sixth tone is expres- 



ive of tender sympathy, and unlike 

 Fah, is a variable tone which may 

 turn upward or downward for rest. It 

 is found prominently in Minor music 

 and is represented by the half mourn- 

 ing color of lavender or violet. " By 

 the sad sea-waves " is a good illustra- 

 tion of this gentle wail. 



While these emotional effects are 

 certainly true, it may be well to re- 

 mind the reader that when modulation 

 comes in, the character of the tones is 

 necessarily changed ; just as the ap- 

 pearance and impression of an individ- 

 ual will be modified and altered by 

 change of surroundings. Consequently 

 these effects are strong only in the 

 pure unmodulated key. 



In awakening the musical sensibil- 

 ity of the child, we are rescuing it from 

 probable loss of appreciation for the 

 noble, and true, and fine. This loss is 

 shown by such as are pleased with the 

 trash of the " popular " tunes of a 

 day — tunes which express nothing 

 worthy of the great gift of expression. 

 Music is life in all its moods and 

 tenses, but we should be sensitive only 

 to that which is the expression of the 

 best and most helpful. 



Through the many percepts of sight 

 of the birds which represent the inter- 

 vals of the scale, of touch in pasting 

 the little colored discs on the staff, of 

 ear in singing the tones of the Doh 

 bird, the Me bird, the Soh bird, etc., 

 the child finds the symbols and 

 mechanics of musical notation entranc- 

 ing instead of tedious. 



In teaching the rythms and value of 

 notes the imagination is called upon 

 in marking off rooms instead of meas- 

 ures, and putting one or more bird 

 eggs into them, naming them with the 

 time names and swinging the rythm 

 with a snap-tape measure. 



Agnes Stewart. 



In charge of classes in Color Music and assist- 

 ant teacher of Voice in The Mrs. John Vance 

 Cheney School, Steinway Hall, Chicago. 



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