



>S IN MUSIC. III. 



IN order to fix in tho memory yet more distinctly 1 

 htnu'tiiro of tho wuli<, it. may lie well to Hot: 

 nililo into two similar Hf>tn of four notes, each cet ineluding two 

 tones, crowned by a tontile. The-e sets nf four union have becu 

 colled Ti-.TKAi'iiniMis. [f t!i.- r. '(.lii-ate .,!' the key-note IB in- 

 clude.!, you will haw !>>n, KA v, M K, F.\ 11 l'..r tho first totrn- 

 chord, and SOH, LA, TK, Don 1 for tho second. These are called 

 ditfjttm-t tetraehonl-, because tho tono between FAH and S<>i: 

 separates them. If tho koy-noto is nia.de the highest note of 

 tho ono and tho lewent of the other tetrachonl, S.n, LAH, TK, 

 1>. .ii, will form the first, iiud I>'>n (r.peated), RAY, ME, FAH, 

 the second. Thoao are called tho conjunct tetrachords, becauHo 

 thy are, joined in tho key-noto. Take coins or counters to 

 represent tho notes, and arrange them on the table, first 

 with tho disjunct, and then with the conjunct totraohorda 

 thus: 



TETRACHORD. TETRACHORD. 



* * * * 

 TETRACHORD. 



TETRACHOBD. 



Learn to do this from memory, and, having done it, to name 

 tho notes yon have arranged. Some scale-makers, beginning 

 upon RAT and ascending to the upper RAY', suppose they have 

 got hold of a different scale, because the tonules (semi-tones) 

 are between the second and third and sixth and seventh notes 

 from RAY, while they were between the third and fourth and 

 seventh and eighth from DOH ! In the same way, they begin 

 upon ME, and ascending to the upper ME', suppose they have 

 discovered another new scale, with its tonules differently placed! 

 And so on, making every note of the scale the beginning of what 

 they strangely fancy to bo a new scale ! You will be saved 

 from this delusion by simply observing that, whatever note you 

 begin on, the tonules ore divided by two tones on the ono hand, 

 and by three on tho other. This will best appear by your 

 placing the notes in tho form of a circle, thus : 



*SOH 



RAY* 



Don * 



Our pupil will not blame us for having so long drawn his 

 attention to this foundation scale of all music, when ho cornea 

 to see the importance in his after progress of thus thoroughly 

 comprehending its structure. Ho will now bo prepared to 

 understand the "Modulator, or pointing board for teaching 

 tunes." The middla column represents the seven notes of the 

 scale in their proper order and at their proper distances. The 

 replicates (octave notes) are added, both above and below, with 

 the figures attached to them as already described. It will be 

 soon that, with the exception of tho middle octavo (eight notes), 

 the initial letters of the sol-fa syllables alone are used. Tho sido 

 columns (which are but repetitions of the same thing at different 

 heights in pitch) and the additional notes given in these columns, 

 namely, TA, pronounced taw, and FE, need not be attended 

 to at present. They are only printed here for the sake of com- 

 pleteness. The scale is sometimes called tho " common 

 (the common mode in which notes are arranged for a tune), and 

 tho word modulate means properly to sing " in mode," or, in 

 other words, to sing correctly "in tune." Tho uses of tho 

 modulator are tho following : 



1. ' t supplies the learner with a perfect pictorial representa- 

 tion of the notes ho is singing, and thus enables him, as ho 

 wnps and " points," to measure to the eye tho exact intervals 

 which the voice is taking. This cannot bo done on tho staff of 

 five linoe, for there is nothing thero to indicate pictorialhj tho 

 place of tho tonules (semi-tones) and it is not easy for tho 



VOL. I. 



part of the 





mple and uniform 

 iyn tho key-noto, th 



H.MI'I.K 

 OR POINTING BOARD FOE 

 TEACHING TDXB8. 



d> 



m 1 



DOH 1 

 TE 



fta 



fi- 



LAH r 



ne 



SOH d 

 -fe t, 

 PAH 



ME 1, 



RAY s, 



DOH f, 



t, m, 



8, 

 f, 



m t 

 r, 



learner to know at all 



i|/e whieh f\ 



with lii 



will tin'1 that tin- ha* bi 



tho " Htuff," and a clear, Mir* 



maze of flat-, an- 1 .-hai].-. a 



other iliflietiltiei may bo crowded np 



J. I- 

 of interval," for I>i< being alwayi 



remain a .line, to 



whatever pit Hi tho Mai 

 bo raised or lowered, 

 the tonules ure ,. 

 MB FAH, and 'I i 

 tho pupil is so accustomed to 

 sing those syllables to that 

 interval, that ho would find it 

 difficult to sing them wrongly. 

 This constant use of the syl- 

 lables in connection always 

 with tho same intervals, helps 

 the mind to recall thoso inter- 

 vals with great ease. We all 

 acknowledge tho power of this 

 mental association of syllable. 

 and interval. When we wish 

 to remember Rome favourite 

 tune, for instance, how fre- 

 quently do wo a*k ourselves in 

 aid of memory, " What are the 

 words we iisually sing it to ?" 

 and immediately that we think 

 of the words we remember the 

 tune. How is this ? It is plain 

 that the first syllables of tho 

 hymn or song had so often 

 co-existed in our minds along 

 with the first intervals of the 

 tune, that the one had gained 

 a power to suggest the other. 

 This power of "association," 

 proved to be occasionally so 

 useful, we systematise and make 

 of constant use. Several per- 

 sons, recently made acquainted 

 with this method of teaching 

 to sing, have written to us in 

 this manner: "I was reckoned 

 a very fair sight-singer before 

 I became acquainted with this 

 method, but I frequently, in 

 preparing for our choral meet- 

 ings, met with passages which 

 I could not conquer without 

 tho help of on instrument. I 



now, however, simply trace out such passages on tho modulator, 

 translate them into this accurate and unchanging language of 

 interval, and then it becomes really difficult to sing them 

 wrongly." 



3. It facilitates tho practice of teaching by pattern. This is 

 of great importance. Tho teacher sings, softly and duitinctijr, 

 a short phrase of the tune to bo taught. To this vocal pattern 

 the pupils so listen that they may bo able to imitntc immediately 

 afterwards. There arc two mental processes in learning to sing 

 a note. Tho first is an effort (if wo may so speak) of perception. 

 in seeking to appreciate clearly the note to bo imitated. The 

 second is an effort of u-ill, commanding the organs of voice to 

 reproduce tho notes thus clearly perceived. Tho " pattern " 

 cultivate:) each of these distinctly. It stimulate!) the pupil to a 

 strong niciilnl tjf<-t in endeavouring to bring the oar and the 

 voice to do tho mind's bidding. In this mental effort alone 

 tho real i-o/A- of learning to sing. That method ;.- the. 

 best, therefore, which requires the most of it. One hour's 

 training of this kind is far more effective than f. 

 singing with a leader. Tho teacher also, not singing with his 

 pupils, is better able to criticise and patiently correct their 



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