550 



MUSIC. 



thus: sd, lr, d etc. (pronounced "s'doh," 

 " 1'ray," " d'fah "), the small note on the left 

 giving the name of the tone in the old key, and 

 the large note its name in the new key, and also 

 by the signature of the new key placed directly 

 over the notes. After the change is made, the 

 reading in the new key is as easy and natural as 

 in the original key. When the transition is very 

 brief, less than two measures it is more con- 

 venient not to change the names of the tones. 



In the Tonic Sol-fa notation, time (duration 

 or length of tones) is not, as in the staff sys- 

 tem, represented by arbitrary characters, but 

 by space. A beat (or, as it is called in this 

 system, a pulse) is represented by a certain 

 length of space. A tone two pulses long oc- 

 cupies twice the space. If the pulse is divided, 

 the space is divided, etc. Thus the system is 

 philosophical and consistent in every part. 



The notation represents the different degrees 

 of accent as well as time. The strong accent 

 is indicated by a long, heavy bar, the medium 

 accent by a short, thin bar, and the weak ac- 

 cent by a colon (:) ; that is, a note following a 

 long or short bar or colon is to be sung with a 

 strong, medium, or weak accent. Time (length) 

 is represented by the space between the accent 

 marks. The space from one accent-mark to the 

 next represents the time of a pulse (beat, or 

 part of a measure) ; and the space between the 

 strong accent-marks (long bars) represents the 

 time of a measure. 

 Two-Pulse Measure. Three-Pulse Measure. 



\\ ' I : II 



Four-Pulse Measure. Six- Pulse Measure. 



\\ 



\\ 



A system of Time-names is used to aid in the 

 study of time. The pulse is the unit of measure- 

 ment, and a tone one pulse long is named TAA. 

 A dash indicates the continuation of a tone 

 through the next pulse, and the time-name is 

 obtained by dropping the consonant, thus : 

 Id :d | d : I d : | : 



| TAA TAA TAA - AA | TAA - AA - AA - AA 



(AA has the sound of a in far ; at, as in pail; e, short, as 

 to MA) 



The various subdivisions of the pube and 

 their time-names are shown in the following 

 table: 



HALF-PULSE TONES. Indicated by a dot in 

 the middle of the pulse-space : 



Id . d : d . d II 



I TAATAI TAATAI 



PULSE- AND-HALF TONES : 



Id :- . d 



I TAA -AA TAI 



QUAETEE - PULSE TONES. Indicated by 

 comma in the middle of each half-pulse : 

 d,d.d,d:d,d.d,d|| 



ta - fa - te - fe ta - fa - te - fe II 



Two QTTABTEBS AND A HALF, and a half and 

 two quarters: 



| d , d . d :d . d , d 



I ta - fa -TAI TAA - te - fe 



THBEE QUAETEES AND A QUAETEE : 

 d ., d: d ., d 



TAA -efe TAA -efe 



THIEDS of a pulse (triplets). Indicated by 

 inverted commas: 



a ,a a :a ,a ,a 



taa - tai - tee taa - tai - tee 



SILENCES (Rests) are indicated by the ab- 

 sence of notes in the pulse-divisions, i. e., 

 vacant space. The letter S is used as the 

 initial letter in the time-names for silences in- 

 stead of Tor F: 



d : || 



TAA SAA 



d : . d 



TAA 8AI SAA TAI 



In the Sol-fa notation no distinction is made 

 between ^, jjjj, A, J, etc., there being but 



one way of writing the different varieties of 

 measure. 



The following tune shows the leading char- 

 acteristics of the notation : 



