122 



scale," in which each tone of the common scale is divided into a 

 chromatic degree and a " diatonic semitone." In one form of 

 this "scale" (that with "sharps" in the old notation) the 

 chromatic note leaves the larger interval above it, and in the 

 other below ; but the real musical fact is, that these chro- 

 matic notes are only occasional variations from the common 

 arrangement of notes. Why then puzzle us with a whole scale 

 of them ? " No piece of music," says Dr. Bryce, "is ever com- 

 posed in the chromatic scale." Then how could Dr. Bryce, as 

 a philosopher, elevate these exceptions to the dignity of a rule ? 

 Why should they be called a scale at all ? 



In transition, the music usually passes into the new key 

 through some note which, as far as relates to its pitch, is com- 

 mon to both keys. Thus you will see, from the diagram a-bove, 

 that we can pass into the key of SOH (the dominant) through 

 the note ME, which is convertible into LAH of the new key, or 

 through SOH (convertible into DOH), as well as through other 

 notes which have a corresponding pitch in both keys. But 

 if we were to pass directly from FAH, which cannot form part 

 of the new key, to FE (which "distinguishes " it), the note FE 

 would then seem to spring as a chromatic note from FAH, 

 and would not necessarily suggest the formation of a new key. 

 For the same reason, we could not well produce the effect of 

 transition by passing into the key of FAH (the " subdominant ") 

 from TE to TA. Nevertheless, in modern music, many cases 

 occur of a more " sudden" or " irregular" transition, in which 

 the music passes directly from FAH to FE or from TE to TA. Se.e 

 two cases in tunes well known one in the " May Fly," and 

 the other in " Lightly Tread." Both are sol-faed in the " Tonic 

 Sol-fa Reporter," No. 4. " Natural modulation," says Sir John 

 Cross, " that is, modulation into related keys, may be performed 

 either gradually or suddenly. The gradual method is that in 

 which we take some doubtful chord (or chord which may be 

 considered to belong either to the key we are in or to that 

 into which we are going), and from this chord proceed to a 

 modulating chord, or chord which clearly marks the change of 

 key, by exhibiting a new sharp or flat." Dr. Marx calls this 

 preparatory chord the " mediating chord." See also Dr. Crotch 

 and Mr. Hickson. 



This " convertible " note, from which transition is taken, 

 should be indicated, in solfaing, by pronouncing the syllabic 

 name it bears in the old key together with that which it takes 

 in the new. Thus MF. converted into LAH of the new key 

 would be pronounced M'LAH, DOH converted into SOH would 

 be pronounced D'SOH, and so with the rest. The mention of 

 the first syllabic name gives help to the ear (by association) in, 

 striking the note, and the sliding into the new syllable prepares 

 the ear for the interval by which we leave the note, and makes 

 us feel our place in the new key. In writing, this " convertible " 

 note may have the initial of its first syllabic name placed before 

 and above that of its second and new name. Thus tnl l 1 , or 

 dl S or B r. When music is solfaed in this, the more perfect way 

 of denoting transition, FE of course becomes the new TE, and 

 TA is the new FAH. As the old notation, however, does not 

 mark the "doubtful" or "convertible" note, and leaves us un- 

 prepared for the change until we come actually upon a dis- 

 tinguishing note of the new key, we are often obliged to 

 translate that distinguishing note by the syllables TE or TA, and 

 continue solfaing as though we were still in the old key. This, 

 however, is very unsatisfactory, except where the transition is 

 only momentary, and there is an immediate return to the old key. 



Transition may be indicated, without the occurrence of the 

 " distinguishing " notes to which we have referred, by the 

 narked use of those notes of the scale which are not the " bold 

 and strong" notes, as though the]) were meant to be bold and 

 strong. In the second part of the following phrase, for instance, 

 the ear naturally supposes SOH, TE, and RAT to have become 

 "bold and strong" notes in other words, to be changed into the 



di- 



: d 



s : 



m : d 'm : s 



s : 

 d :-' 



DOH, ME, and SOH of a new key. The " modulator " will show 

 you that that new key is the key of son, the dominant. 



And in the ensuing phrase you are compelled to feel that 

 the peculiar use of LAH and FAH has made them "bold and 



strong " notes, cv, in other words, placed you in the key of FAH, 

 the " subdoininau. j." ' 



d : |m : d. I s 



1 :f 

 m : d 



1 :f 

 m : d 



d 1 :- 

 s : 



LESSONS IN GREEK. XXVI. 



VERBS IN c THE' PURE VERB Xvca, I loose (ACTIVE VOICE). 

 THE Greek Atw and the English loose are obviously connected 

 in form as well as meaning. From the same root is our to lose, 

 which is the same word as loose, differently spelt and pronounced. 

 To lose is the effect of loosing. 



Below is given in full, as an example of a verb pure, the con- 

 jugation of the verb Atw, I loose or unbind. But as the pure 

 verbs do not possess the second tenses that is, the second 

 perfect active, the second pluperfect active, the second future 

 passive, and the second aorist active, middle, and passive exam- 

 ples of these second forms are taken from two mute verbs, 

 namely, rptjSw, I rub, and AetTr-co (root, Xnr), I leave; and from 

 one liquid verb, namely, <paiv-ca (root, (pav), I shoiv. By this 

 means a complete example is presented. 



CONJUGATION OF A PURE VERB IN -to. 



Active Voice. Paradigm. 



INDICATIVE MOOD. 



Present. Stem An-. Imperfect. Stem e-Au-. 



Sing. 1. \v-ca,*I loose, or am loosing. f-Xv-ov,* I was loosing. 



2. Xv-eis, thou art loosing. t-Xv-es, thou wast loosing.' 



3. Xv-ei, he is loosing. e-Au-e, he was loosing. 

 Dual. 2. \v-fTov,* you two areloosing.f-\v-fTt]v, you tivoiuereloosing 



3. Xv-trov,* tJiey two are loos- e-Xv-frrjv, they two were loos- 

 ing, ing. 

 Plur. 1. Au-ojuei/, we are loosing. 



2. Xv-erf,* you are loosing. 



3. Xv-ovcri, they are loosing. 



Future. Stem Xv-ff-. First Aorist. ^Stem t-Xv-ff-. 



Sing. 1. \v-ff-ca,* I shall loose, etc. f -\v-ff-a, I loosed, etc. 



2. \v-ff-tis. e-Xv-tr-as. 



3. Xv-<r-ei, f-Xv-ff-f. 

 Dual. 2. \v-ff-, etc. ~\ e-Xv-ff-arrjv. 



? *""'' (Like the *''-"' 



Plur. I Xv-v- pr e-Xv-v-a^. 



2. Xv-ff- -Au-<r-aT. 



3. \v-ff- J e-Av-cr-ew. 



Perfect 1st. Stem Ae-Ao-K-. Pluperfect 1st. Stem t-Ae-Au-K-. 

 Sing. 1. Ae-Au-K-a, Ihave loosed, etc. -\f-\v-K-eiv,Ihadloosed,etc. 



2. \f-\VK-aS. -\-\U-K-flS. 



3. Ae-Aw-/c-e.* e-A-Av-/c-e(. 

 Dual. 2. Ae-At-K-aTOj/.* e-Af-Ai/-/c-eiT?jv. 



3. Ae-Au-K-OTOJ'.* f-\e-\V-K-lTTf)V. 



Plur. 1. \e-\v-K-afj.ev. f -\t-\v-K- ftfj.fv. 



2. Ae-Au-K-are. e-\f-\v-K-fiTf. 



3. \{-\v-K-a<ri. -\f-\v-K-fiffai> or ecroi/. 



-\v-ofj.ev, we were loosing. 

 e-Au-eT, you were loosing. 

 t-\v-oi>,* they were loosing. 



Perfect Second. 

 Sing. 1. ire-(j>t]i>-a,^Ihave appeared. 



Pluperfect Second. 

 -Qriv-ftv, J Iliad appeared. 



Aorist Second. Stem e-AtTr-. 

 Sing. 1. e-Acrr-oi/. ^ (Like the Indicative 

 2. e-\iir-fs, etc. j Imperfect.) 



SUBJUNCTIVE MOOD. 



