4

:

tones, and be represented by three notes. Such divisions are called TRIPLETS,
and are usually indicated by the figure 3, over or under the notes.
NOTE.-Rhythmic exercises, designed to illustrate the subject of this chapter, should be introduced as
they are needed. The following may be regarded as examples.

امام | ۳ م | م| م| مامام م
اما م م م م م م | - ما ما م م م م م
|| م م م م م م م م ۲۲۰ م م م م م م م م م م

§ 17. As figures are used to designate the kinds of measure, so also figures
are used to designate varieties of measure. The figures being written as in
the representation of fractions, the kind of measure is designated by the nume-
rator, and the variety of measure is designated by the denominator.

NOTE. Varieties of measure merely furnish different signs for the same thing. To the ear they are
the same, to the eye only do they differ; the movement or degree of quickness depending not in the least
on the kind of notes, which represent no positive, but only a relative length.

EXAMPLES OF SOME OF THE MOST COMMON VARIETIES OF MEASURE.

CHAPTER V.

MELODICS-THE SCALE, ITS NAMES AND SIGNS.

NOTE.-Before any explanation of the scale is attempted, or definitions or signs are given, let the scale
itself, or a part of it, be presented, by being sung slowly and distinctly by the teacher, beginning with the
pitch C, to the syllable la. Let it be repeated until the class have obtained a clear idea of it, after which,
and not before, they may be required to sing it. Careful attention should be given to quality of tone,
which, with everything belonging to taste, should be cultivated from the beginning. When the scale has
been thus taught, or when the pupils have become so familiar with it as to have some correct apprecia-
tion of it as a connected series of tones, and can also sing it with tolerable accuracy, names, definitions.
and signs may follow.

§ 18. The Scale. Musical sounds or tones, when considered with respect to
the relation of pitch existing between them, are arranged in a certain series
called the SCALE; thus the scale is a succession of eight tones, in a certain
order of relative pitch.

§ 19. Names of the Tones of the Scale. The tones of the scale are named from
the names of numbers, beginning with the lowest, thus:

ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN, EIGHT.

§20. The Staff. The relative pitch of tones is represented by a character
called the STAFF.

§ 21. Degrees of the Staff. Each line and each space of the staff is called a
DEGREE; thus the staff contains nine degrees, counted upwards from the low
est, there being five lines and four spaces.

Cull the flowers 'Mong the bow-ers, Sweetest posies Pinks and ro 808,

While the thrushes In the bush-es, This warm weather, Sing together
CHAPTER VII.

EXTENSION OF THE SCALE, AND CLASSIFICATION OF VOICES. § 33. When tones higher than eight are sung, eight is to be regarded also, as one, of an upper scale.

NOTE. Besides the above, there are other distinctions, as BARYTONE, between the Base and Tenor, and MEZZO SOPRANO, between the Alto and Treble. The Treble is often called SOPRANO.

§ 37. The F clef is used for Base, the G clef is used for Tenor, Alto, and Treble, but when used for Tenor it denotes G an octave lower than when used for Treble or Alto.

NOTE. This different use of the G clef for Tenor, and for Alto or Treble, should be clearly illustrated and explained.

15.

4 4

Dark and deep the wa-ters flow-ing, While our boat is swiftly row - ing, Now the boisterous winds are blowing, And on waves we high are soar-ing,

And the distant thun-der roar-ing, Bids us quick-ly seek the shore; Yet we safely reach the moor-ing, And our cures and fears are o'er.

MELODICS-INTERVALS.

NOTE. A true knowledge of intervals can only be communicated through the ear. Names, definitions, or illustrations, may be given while the pupil obtains no correct idea of the thing itself, which can only be acquired by a careful listening to tones and comparison of them. The ear alone can appreciate or measure intervals. The subject is one which cannot be understood until the ear has been considerably trained; this is the reason why it has not been presented earlier in this course. After intervals have been taught, the following definitions will be easily understood.

§ 38. The difference of pitch between any two tones is called an INTERVAL. Thus, the difference of pitch between one and two is an interval.

§ 39. In the regular succession of the tones of the scale, there are two kinds of intervals, large and small.

§ 40. The large scale-intervals are called STEPS; and the small scale-intervals are called HALF-STEPS.

§ 41. The intervals of the scale occur in the following order :-between one and two, a step; between two and three, a step; between three and four, a halfstep; between four and five, a step; between five and six, a step; between six and seven, a step; and between seven and eight, a half-step.

CHAPTER IX.

THE MINOR SCALE.

§ 42. In addition to the scale already explained, there is another scale, dif. fering from that in the relation or succession of its tones, or in the order of us intervals, called the MINOR SCALE; it is the soft scale of the Germans. NOTE-The scale which has already been explained, based on C, or of which C is one, may now be called the MAJOR SCALE.

§ 43. The natural Minor Scale is based upon A, or upon six of the Major

Scale NOTE. The term natural is used here to indicate that the tones of which the scale is composed are the same as those belonging to the scale already explained.

EXAMPLE.

THE NATURAL MINOR SCALE REPRESENTED IN NOTES, WITH THE NAMES OF ITS TONES, THEIR PITCH, AND THE SYLLABLES APPLIED TO THEM IN SOLFAING.

A.

Names.
One, two, three, four, five, six, seven, eight. Eight, seven, six, five, four, three, two, one.
Pitch.
B, C, D, E, F, G, A.
A, G, F, E. D, C, B, A.
Syllables La, si, do, re, mi, fa, sol, la. La, sol, fa, mi, re, do, 81, la
NOTE-The explanation here given refers to the natural Minor Scale only, the artificial Minor 4.9
will be explained hereafter.