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THE POPULAB EDUCATOR. 



EXERCISE 9. Don, ME, Son. TJiree-pulse Measure. KEY D (OB C). 



Take a low sound of your voice for the key-note in this 

 exercise. If any one gives you the pattern from an instrument, 

 tell him to play in the key of D with two sharps. You under- 

 .-stand that the letters under the " staff" are the initials of the 

 notes on the modulator, and direct you in tracing out the tune 

 there. The notes are placed within the accent marks to which 

 ihey belong. Don occupies the whole of the loud " pulse " of 

 the measure. ME fills the first soft pulse, and SOH the second. 

 This is the Trinary measure. The second measure is easily 

 understood. In the third measure you have the first Don 

 occupying two pulses (loud and soft), and the second Don only 

 one pulse. The horizontal stroke, as in the second pulse, always 

 Indicates that the preceding note is to be continued. Thus the 

 last note of the exercise is continued through the whole measure. 

 In the fourth measure the third accent-mark is followed by no 

 note. In the time of that pulse, therefore, the voice rests. If 

 the previous exercises have been perfectly learnt from the 



modulator, you will probably be able to make this out without 

 pattern. Be careful to give the proper accent. You are 

 strongly recommended not to study the " staff," at present, in 

 any of these exercises. It is printed here that you may be able 

 to return to it when you have gained some command of voice 

 and some knowledge of music itself, and are not likely to be 

 perplexed by its numerous signs ; but if we may suppose that 

 you have done this, then the following remarks will be of use. 

 [The open note is twice as long as the closed notes. The empty 

 " pulse," during which the voice rests, is represented by a 

 distinct character, called a " rest." It tells you to rest as long 

 as one of the closed notes, in the same time, would be sung. 

 A dot after a note, in the old notation, bids you sing that 

 note half as long again. Thus you perceive that the relative 

 length of notes is expressed by symbols, and not, as in the solfa 

 notation, measured out pictorially by the regularly recurring 

 accents placed along the page.] 



EXERCISE 10. THE SCALE. Three-pulse Measure. 



d :r :m 



d :tj :d 



f :s :1 



r :m :f 



t : d 1 : r 1 

 S =1 =t 



Take a low note for the key-note of this exercise also. Point 

 it from memory on the modulator, like the last, and all you 

 learn. Mark the accent well, and learn t sing both the upper 

 and the lower line of notes. [The key-note is placed on the 

 lowest line to prevent your accustoming your eye to look for it 



always in the same place on the staff. It would be well for you 

 if it could be so. But as it is to be found, in different tunes, 

 on every position on the staff, it is important that we should not 

 mislead you. We prefer, however, that this exercise should be 

 sung in the key of I) or C, not of E.J 



EXEBCISE 11. Don, ME, Son. Four-pulse Measure. KEY G. Quickly. 



Take a middle sound of your voice for the key-note. If your 

 friend patterns, let it be " in the key of G with one sharp." 

 ' Trace the exercise on the modulator. Sing it with spirit, mark- 



ing the accents carefully. What measure is it in ? [You will 

 notice that the old notation has no mark for the secondary 

 accents.] 



.EXERCISE 12. Don, ME, SOH. Four-pulse Measure. KEY F (OR E). 



Take a low, but not very low, note for your DOH. Tell your 

 friend to pattern it (if you are still dependent on him) " in F 

 with one flat." Learn both " parts." Be careful to hold the 

 g' notes of the lower line with evenness of sound, swelling 



them a little in the middle, so as to express the medium accent. 

 [The open note without a stem is to be sung twice as long as 

 that with a stem. There was not room to write the last long 

 open note of the " second " part on tho staff.] 



