362 



THE POPULAR EDUCATOR. 



LESSONS IN MUSIC. XXVI. 



EXERCISE 48. THREE EXAMPLES OF MENTAL EFFECT IN MINOR TUNES. 

 EXAMPLE 1. KEY D. LAH MODE. 



EXAMPLE 2. KEY F. LAH MODE. 



for no - bo - dy, 



d:-:d 



no, not 



,: 



1, 



The musical facts which are here ascribed simply to the com- 

 mon scafe used in a peculiar manner, and admitting occasional 

 variations, are usually supposed to be founded on an entirely 

 new scale, and that of a very remarkable structure. This new 

 scale is described as having its " semitones " between its 

 second and third, and fifth and sixth notes. (If you reckon 

 from LAH L to LAH, in the common mode, you will find the 

 little steps thus placed.) But the scale, it is said, only retains 

 this form in descending, for in ascending the sixth and seventh 

 are sharpened (making our occasional BAH and SE) so as to 

 place the "semitones" between the second and third, and 



:r 

 if 



d :-.ti:li 



no bo - dy 



.1 : : 861 



cares for 



seventh and eighth. This is, in fact, two scales ; and some 

 teachers of the pianoforte have gone so far, Dr. Maiiizer tells 

 us, with this " illogical system," as to make their pupils play 

 with the right hand ascending the scale BAH and SE, at the same 

 time that the left hand descending produced the sounds FAH and 

 son ! He justly remarks that " the simultaneous unison of 

 notes so opposite, producing an effect so discordant, is more 

 calculated to destroy than awaken the musical sentiments of the 

 'pupil." Let us examine facts and authorities on this subject. 



First, then, it appears that the common fcale, even without any 

 new note (SE or BAH), but simply allowing LAH to predominate 



