LESSONS IN MUSIC. 



341 



VOCABULARY. 



Uln'rrffiimtn.j,/. recog" Babuf, /. umnufac- 8i}mmc$cn, n. lamb- 



mtion, aoknow- 



MlOllt. 



impulse, 

 mot 



w. business, 

 trade. 



ipeivun'tcni, to admire 

 UraucblMr. useful, ser- 

 viceable. 



n. little 

 darling. 



tory, factory. 



gifititcn, n. little flab. 



(Manfctycn, n. gosling. 



fyMfyn, n. little 

 garden. 



aud? en, n. cottage. 



'.v IH-. /. height, alti- 

 tude. (See abovoi 

 R. 1.) 



Jjiipfen, to hop, jump, 



kin. 



fcetftuno., /. perform- 

 ance, a.-i-umih-ii- 

 mont. 



Seutrben, little people. 



SftieMieb, neat, nice, 

 pretty. 



SPropbet', *n. prophet. 



Wepublifa'nifcb, repub- 

 lican. 



@amftao.,m. Saturday. 



pAt, late. 



Xb,icrcbcn, n. little ani- 

 mal. 



Iricr, m. impulse, in- 

 stinct, inclination. 



soon visit you. 

 In prosperity, as in affliction, 

 man should direct his look 

 upward. 



brother, darling i skip. 



brother. , ^iitcben, n. little hat. 



er\jcfi,iU in such a .(\attfbcn, n. pussy. 



manner, so. JJci'nc*falW,innowise. 



(5iirrtot>ten,to arrange, Jliftrben.n. little chest. 



order. \ jJlatfcfcen, to clap. 



RKSUME OF EXAMPLES. 

 <5r traf tbn tec'gcftalt mit feinem He struck him with his sword 



cb.n>erte, tap ev ju !8otcn |tel. so (in such a manner) that 



he fell to the ground. 

 Da Siibrtien frcut ficb. fefyt ubct The little boy rejoices much 



fein neuc* fcittctyen. over his (little) new hat. 



3cb merle et fo cin'riittcn, tap icb. I will so arrange it, that I can 



Sic bait bcfu'cben fann. 

 !Tir i'lcnfcb fell int liicfc, ttrie tm 



fieitcn, feine Slicfe in tie ob,c 



ricb.ten. 



EXERCISE 128. 



1. Saben ie tiefe nietlicbe Artcben gefefjen ? 2. S'iein, tcnn icb bc 

 tvuntertc \entt bubfrbe JjduScben. 3. 6s geb.6rt jtoet alien Seutcben, njelcfjc 

 icb fenne. 4. 2Ba ftnb tat fur nietlicbc 2b,icrc^en ? 5. Qt fmr in tcm 

 arten cine 3JJenge ganj junger SAmmcben. 6. 5)iefeS ffiAtcfjcn t>ie(t 

 mit feinem S3rutercbcn. 7. 26oHcn ie mir jeneJ Aifteben gcben ? 8. 

 SBcHen ic ticfe auf tern Sifcbc^cn ^aben'? 9. ebcn ic, n?elcb ein 

 b^utuijc^ utcben '. 10. 3)a JJintcben bat grope Sreute an feincm AAfcff 

 unl an feincm AnScbcn. 11. 9ticb.tcn ic tt fo ein, tap ie bis 

 amftag 'Hiorgen in tncincm -aufe fein fimncn. 12. 2)2a(ben mir c ter. 

 geftalt, taji e$ fur beite 3mccfc braucbbvir tft? 13. Sr foil tt fo macbcn 

 tap cr feine iBucber mitnebmen fann. 14. 3cb ridjte e jetenfatt* fo cm, 

 tap icj) bi je^n llbr bet 3^ncn bin. 15. 2Btr macbcn e fo, tap toir 

 IeinefaU ju fpAt fommcn. 1C. agcn k 3frem Srutcr, er mocbte 

 f tergeftalt einricbtcn, tap c fur Setermann tscrftAntltcb ift. 17. 3cb 

 boffc, tc wcrten c fo cinricf;ten, tap ie auf tcm lefcten Sampffcbiffe an 

 fommen. 18. (tin Qhopfyct gitt nirgent* wcnigcr, alS in feincm iatcr. 

 lante unt in feincm aufc. 19. cine ttmnte gilt cicl tm 9Jatbc. 20. 

 SQBa gttt', in jroanjig Sabren tft ter groptc Zfyeil @uropa' rcpnblifanifcb ? 

 21. Dcr Xrieb jum 28ofen ift net ftdrfer in un, at ter jttm uten. 22. 

 Die 2lnerfennung unfercr 8eiftungen tft ctn mAcbttger ?lntrieb jum BIcipe. 

 23. 35er Sctrieb feiner Sabrifen ttirfc con 3ab,r ju 3abr grower. 24. <St 

 ricf;tete feine 2lugen in tic 6be. 25. (Jr fprang cor Sreuten in tic -!pob.e 

 unt flatfc^te in tie Snte. 26. 3)ie Jtintcr f;upftcn in tie .&&6.C. 



EXERCISE 129. 



1. Dear father, will you buy me the little lambkin ? 2. No, 

 my dear daughter, but I will buy you the gosling and the little 

 fish. 3. Have you seen that pretty cottage ? 4. No, I admired 

 that beautiful little garden. 5. Mary plays with the pussy, and 

 her little brother with the little fish. 6. Look, what a beautiful 

 little chest this is. 7. Men should at all times direct their 

 thoughts to God. 8. Arrange it so, that I may find you to- 

 morrow at home. 9. I hope yon will arrange it so, that you may 

 arrive on Monday morning. 10. What is this garden worth ? 

 11. It is worth more than you believe. 12. What were these 

 books worth ten years ago ? 13. What will you bet against 

 thia horse ? 14. There are five pounds at stake. 



LESSONS IN MUSIC. XII. 



RELATION OP NOTES, ETC. 



THE admired glee- writer, Webbe, whose name is second to 

 none in the department of popular vocal music, in his solfeggio 

 exercises and instructions in singing, adopts, as a matter of 

 course, the " movable DOH ; " Dr. Crotch, a great musical 



authority, used the une method in hit " Element- of Compo- 



|)iit.ljihed A.D. 1812; and Mr. \\ uthor of the 



iring at Sight," follows their example. If other 



authorities are required, we would gladly leave our appeal with 



biich men a Mr. Graham, of Edinburgh, the author of the 



article on " Mono " in an early edition of the " Encyclopedia 



Britaunica ; " Mr. Hogarth, distingumhed tm a writer on mtuioml 



noral Thompson, the profound writer on mtuical 



s; Mr. Hickson, the father of English school route ; 



and Mr. Lowell Mason, the eminent American composer and 



teacher. Ask ninety-nine persons out of a hundred, who can 



really sing at sight, how they came to do so, and they will tell 



you: ' By measuring interval from the key-note, and keeping 



the key-note in the eye throughout the tone." Such person* 



will at once acknowledge the importance of having a distinct 



name (DOH) for that key-note, and of naming all the other note* 



by their relation to it. 



6. " In teaching," says Mr. Hickson, " the art of sight-singing, 

 an art rarely taught by Italian professors, whose fashionable 

 pupils only sing to the harp or pianoforte, there is but one mod* 

 of using the solfeggio syllables in which they can be of the 

 slightest use ; that is, by adhering to the rule laid down by 

 Rousseau, and followed by many of the best of our English 

 choral teachers, of identifying them, not with the fixed ouiub, 

 expressed by the letters, but vrith the intervals of the diatonic tcale, 

 ' DOH ' in every key representing the key-note ; ' KB,' the second 

 of the acale, etc. We have already shown that the art of 

 reading music at sight depends upon the ability to recognise at 

 a glance the intervals of the scale, in whatever key they may 

 be written ; that is to say, to distinguish at once, not which is 

 A or B, but which is the key-note, which is the 3rd, 5th, 7th, 

 etc. It will therefore at once be seen that Forde, by adopting 

 Rousseau's rule for nsing the solfeggio syllables, as names for 

 the intervals, converts them into a most profitable exercise, an 

 exercise which compels the pupil to study the intervals in every 

 bar he sings, and to give up guessing. . . . Great confusion 

 and perplexity are introduced by the opposite method. We 

 have pointed out the different properties of the fourth and the 

 seventh, the one tending downward* and the other upward* ; 

 yet although [the pitch note] y may sometimes be the fourth 

 and at other times the seventh, according to the key, and 

 although F in the key of c differs half a tone from r in the key 

 of o, it is always, we are told, to be colled FA ! " 



Tu-o notes OPPOSED to one another in mental effect, and DIF- 

 FERING in. pitch, yet called by the SAKE name, and in connectvm 

 ivith a system that prides itself on its educational " METHOD." 



tj Fa Me 



Fourth of the Scale. 



V Fa Sol 



Seventh of the Scale. 



"We think it must be obvious," continues Mr. Hickson, 

 "that the solfeggio syllables, thus employed, tend to mislead 

 the pupil rather than assist him in learning the art of sight- 

 singing. It is using words, as a lawyer would say, in the sense 

 of a suggestio falri.'' Perhaps the most marked practical ad- 

 vantage of the tonic (or key-cote) method of solfa-ing is that 

 it establishes in the ear of the pupil a complete association of 

 interval and syllable. So that the syllables become not only 

 an unchanging language of interval, useful in connection with 

 the whole study of music, however far it may be carried, but 

 also a guide and prompter in the art of striking interval with 

 accuracy and certainty. Thus, if the syllables xs, FAH are 

 frequently sung to a " semitone," the mind soon learns to asso- 

 ciate that interval with those syllables, so that the very attempt 

 to pronounce the syllable shall call up into the mind the in- 

 terval to which they have so often been sung. In this way ou> 

 syllables become invaluable aids and interpreters. 



7. We take this opportunity of giving our reason for accom- 

 panying the established notation with a constant interpreter, 

 in the new notation placed between the staves. The truth is 

 that the old notation, being used perhaps chiefly in connection 

 with instruments, sets forth the pitch of a note (the thing the 

 ordinary instrumentalist wants) in a most clear, distinct, and 

 pictorial manner, but leaves key-relationship (that which the 

 vocalist requires to be the first and most obvious thing to 



