196 



THE POPULAR EDUCATOR. 



Amsterdam on Madrid. 

 Paris on London . . 



Madrid . . 



Amsterdam 

 Madrid on London . . 



Amsterdam 

 Paris 



1 florin 90 cents, for 1 dollar. 

 25 francs 20 cents, for 1 sterling. 

 5 francs 5 cents, for 1 dollar. 

 7 florins 70 cents, for 20 francs. 

 4s. for 1 dollar. 

 1 florin 80 cents, for 1 dollar. 

 5 francs for 1 dollar. 

 If London has a sum to receive in Madrid, find which of the follow- 

 ing methods will be most advantageous : 



1. Let London draw on Amsterdam, Amsterdam on Paris, and let 



Madrid remit to Paris. 



2. Let London draw on Paris, directing Paris to draw on 



Amsterdam, and Madrid to remit to Amsterdam. 



3. Let London draw on Madrid, and remit the bill to Paris to 



be negotiated; and let the returns be made in a bill on 

 Amsterdam. 



4. Let London draw on Amsterdam, Amsterdam on Paris, and 



Paris on Madrid. 



5. Let Madrid remit to Paris, Paris to Amsterdam, and Amster- 



dam to London. 



45. "When in Paris standard gold is at 1 per mille premium, and the 

 exchange on London is 25'30 francs, if standard gold in London be 

 reckoned at the Mint price of 3 17s. lOjd. per ounce, find how much 

 dearer pure gold is in Paris than in London. 



LESSONS IN" MUSIC. XVII. 



EXAMINATION OF THE NOTES TE AND BAT. 



WE have now to complete our study of the "scale of all 

 nations and all times " by examining the seventh note (TE) and 

 the second (BAT). 



1. These are the only notes of the scale which do not sound 

 well with the key-note. They are its dissonances. It is gene- 

 rally confessed by teachers of singing that BAT and TE are the 

 most difficult, " the most artificial," notes of the scale. This is 

 especially noticeable, in uncultivated voices, on the note TE in 

 ascending the scale, and on RAT in descending. We have 

 mentioned the difficulties connected with these notes that 

 the pupil may understand why they are placed last in the 

 order of illustration. It was necessary to make him familiar 

 with the simpler and easier notes of the scale before he 

 advanced to any characteristic or difficult use of these two. 

 Our pupils will also see the mistake of the ordinary methods 

 of developing the voice, by practising it at once on the scale of 

 successive degrees, instead of the cJiord of easily recognised 

 intervals, to which the more difficult notes may be afterwards 

 added. 



2. The note TE, when heard at length, and after the ear has 

 been filled with the other notes of the scale, inspires the mind 

 with a feeling of suspense accompanied with a strong desire for 

 its resolution in the key-note. For this reason, it is generally 

 called the "leading note" leading the ear to the key-note. 

 To prove this, let the pupil sing the notes of the scale either 

 up or down, and try whether the ear can be satisfied by rest- 

 ing on TE. 



3. The note BAT, when heard in similar circumstances, excites 

 a feeling of suspense almost as strong as TE, but does not so 

 decidedly indicate its resting note. The ear is pleased by its 

 rising to the third of the scale (ME), but more satisfied by its 

 falling on the key-note. Try the well-known Gregorian Tone 

 with these two endings : 



1st ending. 2nd ending. 



m : 



4. The musical effects of TE and BAT carry a strong appeal 

 to the mind's emotions, but do not touch so directly those softer 

 and gentler feelings which FAH and LAH affect. There is 

 more of hope and energy about them. TE may be called the 



SENSITIVE or piercing note, and BAT the HOPEFUL or rousing 

 note. 



The touching and elegant effect of both these notes is beauti- 

 fully shown in the opening of Handel's song, " What though I 

 trace." 



^ * 



Another beautiful example of the effective use of TE you find 

 in Haydn's " With verdure clad :" 



s :ti :ti Id: 



charm - ing sight. 



But the finest examples of these mental effects you will be 

 able to enjoy by studying Handel's song, " Angels ever bright 

 and fair." The character of BAT preceded by LAH is shown in 

 the opening on the word "fair:" 



Then follows the soft appeal of ME, seconded by the urgency 

 of FAH, on the words, " Take, take me, to your care : " 



This is repeated and again varied with the introduction of 

 lower TE, thus : 



Take, 



And when desire has risen to the intensity almost of despair, 

 it is expressed by the piercing voice of the higher TE, thus : 



After several repetitions and variations of the softer theme 

 referred to, the whole piece closes with this last piercing appeal. 



5. It may easily be noticed that every simple tune is divisible 

 into parts which correspond with a line in poetry. The notes 

 most frequently used for the close of these phrases are DOH, 

 ME, son, the resting notes of the scale. Next to these in 

 frequency are BAT and TE. But the moue emotional notes, 

 FAH and LAH, are but seldom found in that position. Let our 

 pupils test this interesting fact by examining the previous 

 exercises. They are now invited to stHdy the following exercise 



