404 



THE POPULAfi EDUCATOR. 



, QUESTIONS AND TESTS OP PROGRESS ON THE " FIRST 

 STAGE." 



[The questions are to bo answered from book over and over again 

 until they can be also answered from memory.] 



LESSON 1 (page 27;. 



1. What were the reasons that encouraged " our friend " to 

 think that he had a voice ? What kind of road to music do 

 we offer ? What are the conditions of admission to it ? 



2. What is the difference between high and low in music ? 



3. What must be chosen and fixed before the notes which 

 may be introduced into a tune are distinctly ascertained ? What 



is this arrangement of notes called, and by what primary laws ia 

 it regulated ? On what grounds do we call it the scale of all 

 nations and of all times ? 



4. What is a musical interval ? Is it a distance in time ? in 

 space ? in what ? 



* 5. Draw from memory a diagram of the scale, with the sol-fa 

 syllable to represent the notes, marking carefully the two shorter 

 distances. 



6. What is the general character of the 1st, 3rd, and 5th of 

 the scale ? How is the voice tuned ? 



* 7. Sol-fa and point on the diagram, from memory, Exercises 

 1, 2, 3, 4. 



LESSON 2 (page 90). 



1. Give an account of the first experiments on the sounds of 

 a single string. What note does half a string give? two- 

 thirds ? three-fourths ? four- fifths ? etc. 



2. Describe the " syren." What is the relation of a note's 

 length of string to its vibrations ? 



3. What is the smallest perfect measurement of the scale 

 in plain figures, and according to that how many degrees belong 

 to the great tone ? small tone ? tonnle ? 



4. What is an " octave " note or " replicate?" 



* 5. Sol-fa and point on the diagram of the scale, from memory, 

 Exercises 5, 6, 7, 8. 



LESSON 3 (page 145). 



* 1. Explain the two sets of tetrachords. Arrange them by 

 memory, taking coins to represent your notes. 



2. By what intervals are the tonules of the scale always sepa- 

 rated from one another ? Show this by drawing a circular dia- 

 gram. 



* 3. Draw a modulator from me*nory. (Notice that the right- 

 hand column takes its DOH from the level of son, the left from 



PAH.) 



4. Explain fully the three great advantages of the modulator, 

 its picture of interval ; its mnemonic (or memory-helping) 

 power ; and its aid to the pattern. 



5. What is the effect of a " mental modulator " on the hori- 

 jontal line of notes ? 



6. Give three reasons for learning an "interpreting notation" 

 of music in connection with the other. 



7. What is accent ? How many sorts of accent are there ? 



8. What is a measure ? an aliquot ? 



9. What is the structure of the BINARY MEASURE, and what 

 is its character ? TRINARY ? QUATERNARY ? SENARY ? 



10. Give Dr. Bryce's views of the origin of our sense of 

 Ehythm, and its connection with the heart and lungs ? 



LESSON 4 (page 211). 



* 1. Sol-fa and point on the modulator, from memon/, Exer- 

 cises 9, 10, 11, 12, 13, 14. 



LESSON 5 (page 273). 



1. What are the three different senses in which the word time 

 is used in ordinary musical language ? Give examples of each. 



2. What is the peculiarity in the swings of the pendulum ? 

 What regulates the speed of a pendulum ? 



3. Describe the " metronome." With what is it proposed 

 that each swing of the metronome should correspond in the 

 binary, trinary, and quaternary measure? in quick senary 

 measure ? 



4. How wojild you use the string pendulum ? 



5. In learning to " keep time," what is the double object to 

 be gained ? Will beating time help you ? 



6. Describe the views of Eousseau, Dr. Burney, and Dr. 

 Bryce on " beating " time. 



7. What^ is the standard by which the length of notes is 

 measured in the sol-fa notation? What proportion of time 



belongs to a note placed alone immediately after an accent 

 mark ? What is the meaning of the horizontal stroke ? the 

 dot after a note ? the comma ? the dot and comma ? tho 

 inverted comma ? What means an empty aliquot ? 



8. How do you indicate a slur ? 



9. Explain the meaning of the following signs : B.C., D.S., 8., 

 F., /., p., ff., pp., <, >, and ' or over a note. 



10. How would you indicate "expression" in writing or 

 printing words ? loud ? soft ? abrupt ? 



11. Take a book of hymns or songs, and mark ten pieces for 

 expression. [This is a really important and useful exercise of 

 judgment and taste.] 



12. What are the vibrations of the TENOR c the standard 

 note of pitch ? Draw a diagram of the standard scale. What 

 is meant by G sharp ? B flat ? 



* 13. Pitch the key-note A G F E D, and take the chord 

 in each case. 



LESSON 6 (page 339). 



* 1. Point on the modulator by memory, and afterwards sing 

 to words the tnne GRIFFIN. 



2. What is the difference between the sound of the voice in 

 speaking and in singing ? What is a sound of the singing voice 

 called ? of the speaking voice ? 



3. What is the best posture for the singer in reference to hia 

 head ? shoulders ? chest ? mouth ? tongue ? lips ? 



4. What is the first daily practice for opening and strength- 

 ening the lungs ? How should tho chord and scale be sung, 

 and with what two peculiar observances, in this daily practice ? 



5. What three faults should bo especially avoided by the 

 singer ? 



6. What habit, in reference to loudness and softness of voice, 

 should be carefully formed ? 



7. In what respects would you alter your phraseology and 

 mode of illustration if you had to set the facts and principles of 

 this first " stage" of our course before the minds of the young-, 

 or persons dull of comprehension ? [It will be a good exercise 

 of mind for you to answer this question. It will be better still 

 for you to do so practically. Teach what you know. There is 

 no better way of perfecting your knowledge.] 



8. What are the advantages and disadvantages of class 

 teaching ? Show the importance of personal effort and exami- 

 nation. 



* 9. Sing a high note with the low larynx, a low note with 

 the high larynx. 



* 10. Sing (taking a very low note for DOH) DOH, HIE, son, 

 DOH', ME', and if you can without straining the voice, son, 1 

 holding each note with a long and steady breath. [You should 

 be more anxious about the chord than the scale in the present 

 stage of your course ; for you may not yet have got all the 

 notes of the scale quite perfectly in tune.] 



*11. Eepeat slowly and very distinctly (with good use of 

 tongue, lips, and teeth), and in one breath, "How doth the little 

 busy bee improve each shining hour." Take two more lines in 

 another breath, and so on. 



* 12. Point and sing the tune LEYBURN from memory on the 

 modulator. 



Sec 



LESSONS IN FR ENCH. XXVI, 



SECTION XLV. THE PASSIVE VEBB [ 54]. 



1. THE passive verb is conjugated by adding to the verb 

 in all its tenses, the past participle of an active verb. 

 model, 54. 



2. This participle must agree in gender and number with the 

 subject [ 134 (2), Sect. XLI. 6]. 



Cea vieillards sont respects, Those old men are respected. 



Cos enfants sont airnds de tout le TJiose children are loved ly every- 

 monde, body. 



3. The genius of the French language seems to prefer the 

 active to the passive voice. Many expressions which are in the 

 passive in English, are accordingly rendered into French by the 

 active or reflective [ 128 (5), 113 (1)]. 



Cette maisou est a louer ou a That house istole let or sold. 



maisou 



vendre, 



Ma soeur est a plaindre, 

 Get homme est a eraindre, 

 Get homme s'appelle H. 



XXXV. 2], 



[Sect. 



My sister is to be pitied. 

 Tliat man is to be feared. 

 That man is called II. 



