LESSONS IN MUSIC. 



121 



EXSECISE 38. MELCOMBE. KEY F. M. 50. 



Soo 

 THUS 



1 



bil - 



Time's 



d 

 r : 



for 

 mo 



t, : 



8 

 how 



MAN, 



ni 



: 



low 



m 



a - 

 ment 



d 



:f 



be- 



the 

 :r 



m 



ncatb 



*port 

 d 



: r 

 the 



of 



d : l 



moon beam's 



bliss and 



d :f 



8 



heaves 



vent 



:fo 



its 



8 



breast, 



ful 



:m 



And 

 And 



:d 



8 

 smile, 



care, 

 m 



m 



fVuriiH 

 hav 



d 



: s 

 Yon 



Bis. 



:f 

 :f 



and 

 ing 



d 



lit 



:t 



tie 



f :f 



while, And 

 there, Thus 



m 



mur 



m'ring 



melts in 



d : s. . f, 



S 



then 



to 

 m, 



:f 



sub- 



m 



sides 



ter 

 s, .d 



m 



s 



spar - 



swelled 

 t, 



:r 



to 



on 

 :r 



:m 



kle* 

 a 



:d 

 d 



rest. 



tj- 

 d 



exercise as directed, or in listening to it when sung by line, immediately after the FE has been heard. Is not MB 

 another, let the pupil notice the effect of the second " eight " j softened and more sad ? Is it not the " steady, calm " 

 as compared with the first. Do you not foel that it has be- | note, partaking of the " weeping, sorrowful " character ? After 

 come, in mental effect, no longer sou but DOH ? Notice again the next paragraph we shall be able to pursue the tune a step 



the effect on your mind of the first two notes in the third 



farther. 



THE MENTAL EFFECTS OF TKANSITION PROXIMATELY DESCRIBED. 



grand 



desolate 



steady 



hopeful 



strong 



sensitive 



weeping 



grand 



clear 



awe-inspiring 



calm 



SOH 



FAH 



ME 



RAY routing 

 DOH firm 

 TE piercing 

 LAH sorrowful 

 SOH clear 



STRONG DOM 



SENSITIVE TE 



WEEPING LAH 



GRAND SOH 



DESOLATE FAH 



STEADY MB 



HOPEFUL RAY 



Si KONG DOH 



The note FAH the fourth in the common scale is also very 

 frequently taken, by transition, as a key-note. The whole 

 " intention " of tbo music is diverted to FAH as its new centre, 

 and tho tune is said to have passed into the FAH key. This 

 transition is indicated to the ear by the introduction of a 

 new note instead of the TE of the original key. This new note 

 stands in the same relation to LAH (the sixth) which FAH 

 holds to ME. It is the FAH of the new key, but is called TA 

 when it is wished to distinguish it from the FAH of the previous 

 key. This FAH key is represented by the left-hand column 

 of the diagram above. Let the pupil put these remarks to the 

 test in connection with tho tunes " Obcrlin " and "Saul;" or 

 by studying the following phrase : 



=fc 



:ta 

 :f 



1 



m 



d :- 





The second method of solfaing need not at present be noticed. 

 Only ask yourselves, in connection with tho first method of 

 solfaing, " do LAH really sound like tho weeping, and FAH like 

 the desolate notes they were ? " The note SOH is called in 

 books of musical science the "dominant," and the new key first 

 described is called the key of tho "dominant." FAH being called 

 the " subdominant," tho second of tho new keys described is 

 called the " key of tho subdominant." It may also be noticed 

 that FE the distinguishing note of the dominant key is often 

 called " the sharp fourth," as though it were only the fourth 

 of tho original key made "sharper" or higher. So indeed it 

 appears in the old notation, but it is not truly the fourth of 

 any key, but tho seventh of a new key. So also TA the distin- 

 guishing note of tho eubdominant key is often called "the 

 flat seventh," as though it were merely the seventh of the 

 original key made " flat " or lower, whereas it is, in truth, the 

 fourth of a new key. 



The pupil will have noticed, in the third line of the tune 

 M Melcombe," that immediately the FAH of the original key is 



heard instead of FE, the music is f eit to have returned to the ori- 

 ginal key, and the sou is instantly restored to its more brilliant 

 character. Thus the " return " from the sou key is made by a 

 transition, which has the same effect as passing into the FAB 

 key, and you will also notice that a " return " from the FAH 

 key has also the same effect as transition into a SOH key. 



In simple music, the tune is seldom carried, by transition, 

 more than one remove from the original key, and soon returns- 

 to it. In lengthened pieces of music, however, the tune some- 

 times passes from key to key, in this manner, till it is several 

 removes from the original key, and then returns, through the 

 same keys, till it reaches the original key again. And some- 

 times it passes immediately into a more distant key. 



It will bo observed that the notes FE and TA produce on the 

 mind the effects proper, respectively, to the TE and FAH of 

 the original key, but somewhat softened. " It is clear," says 

 M. Jeu de Berneval, " that the whole artifice of these two 

 modulations depends on the properties of the subdominant 

 (FAH) and sensible (TE) which exchange their respective offices." 

 In other words, these transitions present TE to the ear where it 

 was expecting FAH, and FAH where it expected TE. 



Occasionally, in the course of a tune, a note is introduced 

 which is somewhat less than half a tone higher or lower than 

 some given note of the scale. It is called a chromatic (the 

 Greek for colouring) note, and the interval between it and the 

 note of the scale from which it springs is called a chromatic 

 degree. When a note is thus raised a chromatic degree, we 

 distinguish it by the vowel e. Thus FAH becomes FE, and BAT 

 becomes RE. When a note is lowered a chromatic degree, the 

 vowel aw is given to the syllable. Thus TE becomes TAW. ME 

 MAW, etc., written TA and MA. 



FAH : Fs 





SOH ; I Ms : MA 



RAT : 



It is usual, in elementary works, to treat this chromatic 

 interval as the foundation of a scale, called "the chromatic 



