LESSONS IN MUSIC. 



Annullare 

 Aiilo 



Amllo 



At.,,. 

 Atteiine 



(' It 



C.'i/ii/i. '.i 



Fuetlii 



Faccttt* 



Soitto 



li(J JOltlj 



alm-uool-lih.rai 



ab-zte-lo 



ahs-.il-lo 



ah-W-nai 



aht-U'n-nai 



ko-iuil-Uh 



fah.tche-tsh 



faht-tch,H-tah 



ro-ziii-to 



rou-Bct-to 



To abolish, annul. 

 Asylum. 

 Hone- fly. 



Athuua. 



t hit word. 



I'. .in. I. 



He may commit (a crime). 

 Facetious, droll (t 

 Faot (on out stones). 

 Eoso-guruon, bud of rosos. 

 Reddish. 



VII. THE ACCENTS. 



I shall now proceed to an explanation of the Italian accents 

 as they are used in Italian writing and printing ; for I have 

 already remarked on the accent of tone (an accent not marked 

 in Italian writing and printing), and its primary importance in 

 the enunciation of each word. This is, properly speaking, rather 

 a part of orthography than of pronunciation ; but I speak of it 

 here because it is so intimately connected with the rules of pro- 

 nunciation, and, indeed, with the whole grammar, that I prefer 

 to explain it at the beginning of these grammatical instructions, 

 instead of at the end of them, as grammarians generally do. 



1. THE GRAVE ACCENT. 



Strictly speaking, there is only one Italian accent, which is 

 the grave accent, marked with a stroke from the left to the 

 right, thus ("), Its use is not left to the discretion of the writer, 

 but is regulated by invariable rules ; its omission is therefore 

 on infraction of grammatical laws. A characteristic of this 

 accent is, that only final letters of Italian words can be marked 

 with it. It is placed 



1st. On the last vowel of those words of more than one syl- 

 lable, the pronunciation of which requires a very emphatic stress 

 to be laid on that vowel: as, for example, pietd (peeai-tah),* 

 piety, pity; bontti (bon-ta), goodness, Jifcerfci (lee-berr-tah), 

 liberty ; caritd, (kah-ree-tah), charity ; virtii (virr-tod), virtue ; 

 gioventii (jo-ven-tod), youth ; perd (poi-ro), for that reason, still: 

 umd (ah-mo), he loved ; crede (kra-diti), he believed ; udi (oo-dee), 

 he heard; ameru (ah-mai-ro), I shall love; costi (ko-stee), here; 

 costa (ko-stah), there ; cosi (ko-see),t thus. 



2nd. On some monosyllables, where, to avoid ambiguity and 

 confusion, the grave accent is used as a means of indicating the 

 difference of signification. For example : 



With the Grave Accent. 

 A (ah), has (for ha). 

 Chi (kai), to the end that, or in 



order that; for (conjunction). 

 Dd (dah), gives, give. 

 Di (dee), day. 



Die (dee), he gave (for diede). 

 (e), is. 



Fe (fai), faith (for/ede). 

 Qid (jah), already, indeed, 

 id (lah), U (lee), there). 



Ni (n6), nor. 



(6), I have (for ho). 



Pie (pe6), foot (for piede). 



8e (sai), a pronoun. 



SI (see), yes, so. 



Without the Grave Accent. 



A (ah), to (preposition). 



die (kai), who, which, what, that 

 (conjunction). 



Da (dah), from, by. 



Di (dee), of. 



Die (dde-oi), day. 



E (ai), and. 



Fe' (fai), he did (for fece). 



Qia (jee"-ab), he went (for giva). 



La (lah), It (lee), articles and pro- 

 nouns. 



Ne (nai), a pronoun. 



O (o), or. 



Pfo (ped-ai), pious. 



S (sai), if. 



Si (see), a pronoun. 



3rd. It is placed on those monosyllables which have more 

 than one vowel as termination, to indicate the necessity of pro- 

 nouncing them as monosyllables ; as, for example : cid (tcho), 

 that, what ; pud (pood), he can ; pih (peeod), more ; giii (joo), 

 below ; qul (kwee), here ; sie (seee), he is seated (for siede). 



Other monosyllables offer no ambiguity, and must therefore 

 be considered as naturally unaccented, as they can neither be 

 confounded with other words of the same spelling, nor can their 



* For the sake of consistency of system, I shall not deviate, in these 

 cases, from my usual practice of marking every syllable which has the 

 accent of tone by the acute or circumflex sign. The reader will, of 

 course, understand that these are mere arbitrary signs used for the 

 purpose of instruction, and which must not be imitated when he may 

 have occasion to write words requiring the grave accent. 



t This is another of those exceptional words where the must be 

 pronounced with a sharp, hissing sound, though it is placed between 

 two vowels. It is obvious, from its meaning, that, like COM (ko-sah), 

 thing, it is of the most frequent occurrence. 



pronunciation offer any difficulty. To mark thsss, M i* some- 

 times dona, with a grave accent, manly because they an mono- 

 syllable*, is not only a grammatical fault, hot nssltss, serving 

 no purpose whatever, and encumbering Italian writing with 

 superfluous signs ; for example : re (rai), king ; /it (foo), was ; 

 yru (groo), crane; u (oo), above; ee (tchai), ns, here; ma 

 (mah), but ; mo (md), now ; no (06), not ; to (aft), I know ; M 

 (mai), mo ; etc. 



of the monosyllable qua (kwab), here, it may be r<Msu1rd 

 that it is more frequently written without than with the grave 

 accent, and of M (ste), he stood (for itetU), that being aa ab- 

 breviated word, it is always written with the grave accent. 



I shall terminate these remarks on the grave accent with two 

 important rules, of very frequent application in Italian grammar. 



1. When any monosyllable, written with the grave accent or 

 unaccented, or when any word of more syllables than one, having 

 the grave accent on its final vowel, is joined to another word so 

 aa to make a compound with it, the initial consonant of the 

 latter word (unless an with another consonant to follow) most 

 be strongly vibrated in pronunciation, and therefore doubled in 

 writing, and the grave accent of the first word taken of. For 

 example : 



6 (e), is, and vi (vee), there = mi (ev-vee), there is. 



Piu (peeoo), more, and toU> (to-sto), soon = j>iutto*to (peeoo-ti-ito), 

 sooner, rather. 



Gid (jah), indeed, and mai (mahee), never = giammai (Jihrn mihen), 

 never. 



Dd (dah), give, and mi (mee), to me = dammi (dihm-me), five Die. 



Fa (fab), do, and mi (mee), to me = /amm( (tthm-mee), do me. 



Ami) (ah-mo), he loved, and (a (lah), her = amoUa (ah-mol-Uh), he 

 loved her. 



Ford (fah-ro), I shall do, and to (lo), it = /aroUo (fah.rC.Uo), I shall 

 do it. 



Fra (frah), between, and (anto (tahu-to) , so much or so long a time = 

 frattantio (fraht-tuhu-to.i, in the meantime. 



Da (dah), from, and lo (lo), the = dallo (dthl-lo), from the. 



Su (soo), upon, and lo (lo), *.he = sMo (sool-lo), upon the. 



2. Monosyllables, though naturally unaccented, must be marked 

 with the grave accent when, as last syllables of a compound, 

 they are joined to participles or other words. For example : 



Per (per), through, and cht (kai), which = jxreW (pert- kai i, why 

 because. 



A (ah), to, and do (do), I give = addo (ahd-do), I apply myself to. 



Contra (kun-trah), against, and/o (fo), I make =s ccntnjfi) (koo-trahf- 

 fo), I counterfeit. 



Hi (ree), a particle, and ho (ho), I have = riho or rib (ree-6), I have 

 or get again. 



JRi (ree), a particle, and *o (so), I know = ritd (ree-s6), I know by 

 hearsay, I learn. 



Sopra (so-prah), upon, and sto (sto), I stand = topnuti (so-pra-sto), I 

 am above. 



Tras (trahs), a particle, and ro (vo), I go =tra*ro (trahs-vo), I past 

 beyond or exceed. 



Qua (kwah), here, and u (soo), above = ftiasrii (kwahs-sou), up here 



Mat (mahee), never, and no (no), not = matno (mahee-no), no, not 

 at all. 



Oi (oee), ah! alas ! and m (mai), me = oinw (oee-mai), alas I unhappy 

 me ! 



Vice (vee-tchai), substitute, and r (rai), king = ricrri (vee-tchai-rii), 

 viceroy. 



And so all the numerous and similar compounds of che, the oon> 

 pounds of su, and of the verbs do, fo, ho, so, sto, vo, etc. 



LESSONS IN MUSIC. XIX. 



MENTAL EFFECTS OF TE AND RAT (co!iu*d). 



WE must now ask our pupils to diligently study the three 

 following tunes " Cyprus," " Spanish Chant," and " Clifton 

 Grove " in order to recognise perfectly and familiarly the 

 mental effects of TE and BAT. 



It will be encouraging to those who have faithfully followed 

 our course thus far, to know how much of the journey they 

 have yet to travel. The present lesson will be followed 

 by one on the varieties of the human voice pitch, quality, 

 strength, force, etc. which will be illustrated by several aong 

 arranged for three voices. Next will come a lesson on the 

 deeply-interesting subject of transition or " modulation," illus- 

 trated by several short pieces arranged for fmtr voices. The 

 subject of " minor " tunes and the " minor scale " will follow. 



