NOTE 1.-Observe that the names are not first, second, and third, nor are they No. 1, No. 2, and No. 3, but are, as above stated, ONE, TWO, THREE, FOUR, and so on. The importance of this will appear from the fact that the first tone of a melody or tune is often some other than one, the second is often some other than two, &c.

NOTE 2.-When the Scale, or such part of it as has been introduced, has become somewhat familiar, and the names of its tones have been given, the teacher may proceed to exhibit its signs, or to write upon the black board the characters by which it, or a part of it, represented; if the whole Scale, thus:

NOTE 3.-The class may now sing the Scale slowly, both ascending and descending, while the teacher points to the notes by which it is represented.

§ 14. The Staff. The relative pitch of tones is represented by a character called THE STAFF.

§ 15. Notes. Notes represent the length of tones, and also the order of their succession. (Sec § 9.)

§ 16. Degrees of the Staff. Each line, and cach space of the Staff, is called DEGREE; thus the staff contains nine degrees, counted upwards from the lowest, there being five lines and four spaces.

NOTE. The word degree as applied to the Staff, is used to mean point, place, or position; thus there are nine degrees or places on which notes may be written or on which tones may be represented. The word is also used in connection with the Scale; us the Scale is said to proceed by successive degrees, or di grado.

§ 17. Added lines and Spaces. The compass of the Staff may be extended by additional lines above or below, called ADDED LINES, or LINES ABOVE, or LINES BELOW, or SPACES ABOVE, or SPACES BELOW. Added lines are also sometimes called LEGER LINES.

§ 18. Syllables. In elementary singing-exercises, or as helps to beginners, the following syllables are used in connection with the tones of the scale, and are applied to them, as follows: Scale names.

Syllables as written.

one, two, three, four, five, six, seven, eight. Do, RE, MI, FA, SOL, LA, SI, Do. Syllables as pronounced. Doe, Ray, Mee, Fah, Sol, Lah, See, Doe.

NOTE. Although the syllables are not regarded as indispensable, yet experience seems to decide in favor of their use as affording valuable assistance to those who are beginning to learn to read music, and especially in classes where the pupils are not permitted to depend upon an instrument for pitch or tune. The principle is that of mental association; after a little practice each syllable becomes so strongly associated with the relative pitch of the tone to which it is applied as to recall it or bring it up quickly to the Imagination, and thus the pupil is enabled to produce the tone with ease and accuracy. This use of the yllables is peculiar to England and America, though it has been introduced and is extending in Ger

many, where the one syllable la principally prevails. In Italy and in France the same syllables are used for a very different purpose, or to indicate absolute pitch. The Scale naines, one, two, three, &c., may be used instead of the syllables, but the latter are preferable on account of their more euphonious character. The use of the syllables in singing is called Solfaing, or singing by Solfa. Singing to the single syllable la, or ah, or to any other vowel, is called vocalizing.

§ 19. The Scale represented on the Staff. The Scale may be represented on the Staff by notes in various positions; thus the note representing the tone one may be written on either line or space; but when the place of this note is fixed, notes representing the other tones must follow in their proper order.

NOTE. The pupils should understand that the Scale has not necessarily any particular position or loca tion on the Staff, but that the note representing the tone one may be written upon any of its degrees,

10

§ 20. Absolute Pitch Letters. Absolute pitch, or the pitch of tones independent of scale relationship, is indicated by letters, as A, B, C, D, E, F, G.

NOTE.-Clef is a French word signifying key; thus the clef-letter is a key or guide to the manner of rep resenting pitch on the Staff.

§ 24. Clef letters. The letters commonly used as Clefs are F and G.

NOTE 2.-It can be of no advantage to the pupil to commit to memory the letters in any certain position on the Staff, as first line G, first space A, and so on; indeed there is at present no use for the letters whatever, except as they are convenient for Clefs. In juvenile classes it may be better to omit the

letters altogether until a later period in the course of instruction. When, in the transposition of the scale it becomes important for the pupil to understand the subject of absolute pitch, the use of the letters will be readily understood, and the different positions in which they may be applied to the Staff will be easily remembered.

8 21. C as one of the scale. Key of C. In the first steps of musical study, C is taken as the pitch of the tone one, or as the basis of the scale, and the scale is then said to be in the key of C. The order of the scaletones in the key of C is thus: C, D, E, F, G, A, B, C. C is one, D is two, E is three, F is four, G is five, A is six, B is seven, and C is eight.

EXAMPLE.

The scale represented on the staff, with the names and pitch of its tones, and their appropriate syllables.

$25. The F Clef is placed upon the fourth line, and determines the pitch of that line to be F; consequently C, or one of the C scale must be represented by the second space.

§ 26. The G Clef is placed upon the second line, and determines the pitck of that line to be G; consequently C, or one of the C scale must be repre sented by the added line below.

NOTE. It should be understood that a Clef is merely a letter differing in shape from its ordinary form.

The Scale, G Clef, key of C.

EXAMPLES.

NOTE. The word key is used in this connection to signify the relationship of tones. Seven tones are required to constitute a tone-family, or a key; thus the key of C consists of the sounds C, D, E, F, G, A, and B.

§ 22. Common positions of the Scale as represented on the Staff. There are two positions in which it is common to represent the C scale on the Staff. In the first, the note representing the tone one is placed on the added line below; in the second, the note representing the tone one is written on the second space.

§ 23. Clefs. To determine the position and pitch of the scale as represented on the Staff, one of the letters is used as a sign or guide, and when thus used is called a CLEF.

PROLONGED TONES.-PRIMITIVE AND DERIVED FORMS OF MEASURE.

§ 27. Prolonged Tones. A tone may be prolonged so as to occupy two parts of a measure, or both parts of double measure, and thus a new form of measure is obtained or derived from the first form of measure.

NOTE 1.-In presenting this subject to the pupils, the teacher may proceed as follows:

1. The pupils are required to count or beat the time.

2. While the pupils are counting and beating, the teacher sings two measures, the first in the primitive and the second in the derived form, as at Section 31, Example 2.

EXAMPLE II.

Primitive form of measure.

Derived form of measure.

CHAPTER V.

RHYTHMICS.

TRIPLE MEASURE. (SEE CHAPTER II., NOTE 4.)

§ 32. A measure may have three parts: such a measure may be described

4. The teacher counts and beats while the pupils sing both forms of measure.

NOTE 2.-The tones (musical sounds) may be called short and long: so also the notes and rests (signs) may be called short or long notes or rests. These names will be found more convenient at present since they are naturally suggested by the subject, and carry with them their own signification. The names Quarter and Half which would be at present merely arbitrary and unmeaning will come in better hereafter. The pupil should never be burdened with naines or technical terms in advance, or until they are needed as aids to the memory, or to bring up to the imagination the idea of things which have been already learned.

Elementary Exercises, 5 to 7.

§ 28. Primitive form of Measure. The first form of measure may be called, THE PRIMITIVE FORM OF MEASURE.

§ 29. Derived form of Measure. The second form of measure may be called, THE DERIVED FORM OF MEASURE.

§ 30. Derived forms of measure are obtained from primitive forms, by uniting the different parts of a measure.

§ 31. Long Note. The prolonged tone is represented by a note differing in form from that which has been already introduced, and this note has also a corresponding rest

upward beat.

§ 33. A measure with three parts is called TRIPLE MEASURE.

§ 34. Accent. Triple Measure receives an accent on the first part of the

measure.

NOTE. See Note on accent at Section 7.

§ 35. Derived forms of measure are obtained in Triple Measure on the same principle as in Double Measure.

NOTE.-See Section 30. See also Note at Section 27.

§ 36. When the derived form is obtained by the union of the first and second parts of a measure, it is called the FIRST DERIVATIVE; when it is obtained by the union of the first, second, and third parts, it is called the SECOND DERIVATIVE.

§ 37. When in a derived form of measure the union of the parts commences with the first part, the derivative is said to be in the FIRST CLASS;

Second Derivative.

§ 39. Figures are used to designate the kind of measure; thus, the figure 2 denotes Double Measure, and the figure 3 denotes Triple Measure. Elementary Exercises, 8 to 15.

§ 41. Four part measure is called QUADRUPLE MEASURE, and is marked by the figure 4.

§ 42. Accent. Quadruple measure is accented principally on the first part, and slightly on the third part of the measure.

NOTE.-See Section 7.

§ 43. Derived forms of measure are obtained in Quadruple Measure on the same principle as in Double Measure.

NOTE.-See Section 30. See, also, Note at Section 27.

844. When in a derived form of measure, the union commences with the third part, it is said to be in the THIRD CLASS.

NOTE.-See Section 37.

§ 45. When a tone is prolonged so as to occupy four parts of a measure, it is represented by a note of different form from those already introduced, which may be called the longest note.

EXAMPLE I.

Longest Notes.

Longest Rests.

NOTE. It will now be convenient to drop the names which have heretofore been used to designate tones of different lengths, and their corresponding notes, and to substitute for them those which are commonly used. See Note at Section 27. The new names may be drawn from the pupil in the following manner: having written the four different kinds of notes upon the Black-board the teacher asks, pointing Aus.

to the note of which he is speaking, How many short notes are equal in duration to a longest note? Four. What part of a longest note, then, is a short note? Ans. One fourth, or one quarter. How many long notes are equal to a longest note? Ans. Two. What part of a longest note, then, is a long note? Ans. A half. What part of a longest note is a longer note? Ans. Three quarters. If, then, the short notes be quarters of the longest note, what will be a convenient name for thek? Ans. Quarters. If the notes that we have heretofore called long are halves of the longest note, what will be a convenient name for them? Ans. Halves. What will be a convenient name for the notes which we have heretofore called longer notes? Ans. Three quarters. And what shall we now call the note that we have hitherto called the longest note. Ans. Whole note, or Note. The teacher may give out, if he thinks best, the names Crotchet, Minim, Dotted Minim, and Semibreve.

8 3 5 1 8 51 3

• Syncopes.

§ 47. When a tone commences on an unaccented part of a measure, and is continued on an accented part of a measure, it is called a SYNCOPE, or SYNCOPATED TONE, and the note representing it is called a SYNCOPATED NOTE.

NOTE.-Syncope, from two Greek words signifying "I cut," or "to cut." A Syncope cuts into, or breaks up, or contradicts the regular order of accent.

§ 48. A syncopated tone should always receive an accent.

No.-See Syncopes represented in the above example, second class, first and second derivatives.

Elementary Exercises, 16 to 30.

CHAPTER VII.

MELODICS.

SKIPS.

§ 49. A melody or tune may proceed not only by the regularly successive steps or degrees of the scale, (di grado,) but also by skips, (di salto.)

§ 50. The easiest and most natural skips are those which occur between the tones one, three, five, and eight.

NOTE 1. The pupils should be exercised on these tones, or in skipping from one to another until they become so familiar with them as to name them when they hear them, or to produce them when they are named or called for by the teacher.

5 8 13 5 8 3 1 8 5 3 1 Elementary Exercises, 37 to 43.