MUSIC 



102., 



MUSIC 



the other, seem to the modern ear to make up 

 a more agreeable succession of sounds than any 

 other, and these six, with the two "end" tones, 

 make up the octave, for octave means eight. 

 Each of the tones in this series of eight is given 

 a name to indicate its pitch, these names being 

 the first seven letters of the alphabet ; for tones 

 just an octave apart bear the same name. The 

 staff on which notes must be written if they are 

 to show pitch has its lines and spaces named 

 according to the note for which it stands. The 

 ves of the treble staff, then, with the added 

 lines and spaces most commonly used, are let- 

 tered as follows: 



Whenever a treble staff is seen, the notes on 

 it indicate just these tones and no others, 

 unless there is placed at the left end of the 

 staff or before any one note one of the symbols 

 called sharps or flats (see below). 



In the bass clef the degrees indicate the fol- 

 lowing letters or notes: 



The added lines above on the bass clef and the 

 added lines below on the treble overlap, that 

 is, the first added line above the bass and the 

 added line below the treble both indicate 

 middle C. This duplication, however, is not 

 unnecessary, for it furnishes a method of show- 

 ing clearly whether it is the left hand or the 

 right hand which is to play the notes on the 

 -.'. and whether the basses and tenors or 

 >opranos and altos are to sing certain notes 

 on the staff. 



Instant recognition of every note on the staff 

 is necessary before any headway can be made 

 in the study of music, and such recognition can 

 never come from reading about the notes. 

 Only continued examination of the staff itself, 

 and much practice in locating the notes on it. 

 can make SIP it ion knowledge abso- 



lutely sure First study carefully the treble 

 staff and tho bass staff given above. Then draw 

 and place upon them th. 1. tt,-rs or 

 s. takniK care not to use the easy method 

 of placin/ order as they come. Write 



of the fourth spar. 



the fourth line of the bass; the fifth line of the 

 treble; the second line of the bass. Write C 

 above the treble clef; A below; E above the 

 bass clef; A on that clef. Continue this until 

 all the lines and spaces are named, and repeat 

 the exercise until you can fill in the letters as 

 easily as you can write the alphabet or count 

 from one" to ten. 



A Lesson on Notes and Rests. We have 

 spoken of notes as indicating pitch by their 

 position on the staff; but pitch is not all they 

 can show. By their form they indicate the 

 duration of the tone the length of time it is to 

 be continued. The standard is the whole note, 

 and upon the time allowed for this depends the 

 length of all the other notes. The following 

 table will show the forms of the various notes, 

 the names, and the part of a whole note to 

 which each is equal: 



One whole note - 



equals two half notes 



or four quarter notes 



r r r r 



or eight eighth notes 



v v Y v v Y 



or sixteen sixteenth notes 



or thirty-two thirty-second notes 



Rests. Since time is such an important fea- 

 ture in music, the periods of silence must be as 

 exactly timed as is the duration of notes, and 

 thus there are necessary symbols called re*U 

 which indicate silence. Each kind of note has 

 a rest corresponding to it, and the various rests 

 same relation to the whole rest as do 

 tli. various notes to the whole note. The table 

 on the next page indicates the forms and names 

 of the rests. 



