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EXERCISE 45. BOYCE'S CHANT. KET E PLAT. M. C6. 



To the following musio may be chanted Psalms li., cxxxix. ; Isaiah Ixiii. 1 7, 9 1C; Romans xi. 33 3C; 1 Corinthians rr. 



5158 ; 1 Thessalonians iv. 1318. 



We shall now try to elucidate the subject of " Minor Tunes." 

 Why they are so denominated we shall explain presently. Bnt, 

 first, let us ask our readers to recall all that we have said in 

 fi.rmor lessons on the mental effect of the note LAH (the sixth 

 above the key-note or the minor third below), or, better still, 

 let them recall all they have themselves observed and felt in 

 connection with it. Was it not always, when sunp slowly, the 

 sorrowful note ? Then let ns suppose ourselves trying to com- 

 pose a very sorrowful tnne should we not naturally employ 



this note in the most effective positions ? Without composing, 

 however, let us just recall one of the oldest tunca of ibis kind 

 in existence. 



You notice what a sorrowful effect is produced by amply 

 closing on LAH instead of the key-note in Example 1 in the 

 accompanying Exercise. Yet more ntriking is this effect if 

 the tune also opens with this note of sadness. Take, for 

 instance, the second example with which Mr. Hicluon illus- 

 trates this subject. 



EXERCISE 40. TWO EXAMPLES OF MENTAL EFFECT IN MINOR TUNES. 



EXAMPLE 1. KKT F. 



EXAMPLE 2. KET C. 



