THE POPULAR EDUCATOR. 



LESSONS IN MUSIC. XIV. 



CONSONANCES OP NOTES. 



IN addition to the observations on the consonances of DOH, ME, 

 son in a former lesson, let the following remarks be examined 

 and tested. 



PAH forms a more "perfect" consonance with the key-note 

 than LAH. (It is more like it, and has a greater number of 

 coinciding vibrations.) But the consonance of LAH with the 

 key-note is more soft and pleasing. 



The best consonances with FAH are RAT and LAH. The best 

 notes to sound with LAH are FAH and Don 1 . 



It may be noticed that when the notes of a consonance are in 

 their closest position, as DOH 1 with LAH, or LAH with FAH, the 

 proper mental effect of each is sweetly blended with that of the 

 other ; but when, by raising or lowering one of them an octave, 

 they are more distant, as DOH with LAH or LAH 1 with FAH, each 

 produces its own effect with greater distinctness, though still 

 with good agreement. 



Two persons can easily try these experiments by singing the 

 chord DOH, ME, SOH together, and then " striking out " each into 

 the separate note previously agreed on. It would be diffi- 

 cult to contrive any better preparation for the study of 

 harmony. 



EXERCISE 22. THE NORWICH CHANT. KEY 0. M. 66. 



The | grass' withereth th' || flower fadeth 



BUT THE | WORD OF' OUR || GOD ' SHALL | STAND ' FOR | EVER. 



The effect of LAH is beautifully shown in the air, and that of 

 FAH in the second. Look back for the instructions on chanting 

 given in Lesson II. (Vol. I., page 90). 



EXERCISE 23. WHITE SAND AND GREY SAND, 



(A Round for Three Voices.) 



KEY C. M. 50. 



This illustrates FAH and LAH when in succession at the 

 close. If three persons can be got to join in singing it, let 

 the first sing alone till he comes to the note over which an 

 asterisk is placed to the words "Who'll." Then just as ho 

 strikes that note let the second singer strike the first note and 



follow. When lie reaches the asterisk let the third voice strike 

 in. When each singer reaches the close, let him begin again 

 instantly ; and so let them go on, round and round, after one 

 another, until the leader makes a signal for all to stop together. 

 This kind of composition is called a round. 



EXERCISE 24. IP HAPPINESS. KEY D. M. 60. 



( A Round for Four Voices.) 



In singing this round take care to keep the time accurately. 

 Here four voices should follow each other just as three voices 

 did in the last case. FAH is well illustrated here. If you sing 

 the round with four voices, or even with only two, you will have 

 an opportunity of comparing the consonance, FAH with LAH, 

 with the semi-dissonance FAH with TE. Directly the second 

 voice gets on to the bar containing LAH, LAH, TE, TE, the first 



voice will be singing FAH, FAH, FAH, FAH. " TE with FAH " is 

 usually treated as a dissonance ; but it will be found that on 

 occasions it is a very piquant and useful one. Notice parti- 

 cularly whether your own taste and ear do not require, what 

 musicians always demand, that it should be followed- by the 

 consonance " ME with DOH," the FAH descending on ME, and the 

 TE ascending to DOH. 



