LESSONS IN MUSIC. 



;; j 



LESSONS IN MUSIC. XXV 



EXAMPLES Or MINOIt TUNES, 

 to the examples given in a previoui lesson, two 1 Wirkiworth, will bring more clearly before the mind the effect 



(Exs. 1, 2), in the well-known tunos St. Bridot and I of LAH when placed in effective position*. 



EXERCISE 47. THREE EXAMPLES OF MENTAL EFFECT IN MINOR TUNES. 

 EXAMPLE 1. KET C. LAH MODS. ST. BRIDE'S. 



EXAMPLE 2. KEY 



LAH MODE. WIEKSWOETH. 



EXAMPLE 8. KEY G. LAH MODE. 



Our pupils will now be prepared for the following exposition 

 of the subject before us : 



a. In some tunes chiefly those which are intended to ex- 

 press a mournful sentiment the note LAH is found to predo- 

 minate. It is necessarily heard both at the beginning and at 

 the end of such tunes, and assumes almost the importance of 

 a governing or key-note, but without changing (as son and 

 FAH do when they become key-notes by "transition") its 1 own 

 musical effect. It still leaves on the mind the impression of 

 " sorrowful suspense." 



6. Modern musicians, in order to give to LAH a closer resem- 

 blance to the ordinary key-note, and to direct the ear to it 

 more decisively as the note on which the tune closes, as well 

 as to increase the general effect of such tunes, introduce a new 

 note, which wo shall call SE, a little step below LAH. This 

 note bears the same relation to LAH, which TE boars to DOH. 

 Musicians sometimes introduce another new note, which they 

 then use instead of FAH. It is a tone below BE, or a chromatic 

 part- tone above FAH. We call it BAH. It bean the same 

 relation to SE which LAH bears to TE. BAH, BE, LAH, heard in 



succession, resemble, in mental effect, LAH, TE, DOH. The 

 learner may sometimes strike BAH more easily by thinking of 

 it as FE. The note BE is in frequent use, but BAH is less often 

 used in ordinary music (Ex. 3). 



c. Tunes of this kind are commonly called minor tunes, 

 from their having the interval called a minor (smaller) third 

 immediately above their predominating note LAH (LAH, DOH), 

 and in distinction from other tnnes which hare a major (larger) 

 third above their predominating note DOH. They may be said 

 to be in the LAH mode. It is advisable to take their pitch by 

 means of DOH, as in other tune*. The signature may be written 

 in this form, KEY A, LAH MODE. 



Those who studied with us the modifications in the mental 

 effect of the note LAH, will be quite prepared to understand 

 how this kind of tune may be used in the serio-comic style, 

 and how by quickening the speed they may even express a 

 lively careless abandonment. Of this we have several examples 

 in the old English music. It will be a good vocal exercise for 

 our pupils to learn to sol-fa those which we shall give in our 

 next lodson. 



