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O-gni sol-da-to, each soldier D' ó-gni sol-dá-to, of each soldier

Ad ó-gni sol-da-to, to each soldier

O-gni sol-dd-to, each soldier Da ó-gni sol-dá-to, from each soldier

In b-gni sol-dd-to, in each soldier

Con 6-gni sol-dd-to, with each soldier

Per ó-gni sol-dd-to, for each

soldier

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Di qué-sti uc-cél-l, of these birds

A qué-sti uc-cêl-li, to these

birds

Qué-sti uc-cêl-li, these birds Da qué-sti uc-cêl-li, from these

birds

In que-sti uc-cêl-li, in these birds

Con qué-sti uc-cêl-li, with these birds

Per qué-sti uc-cêl-li, for these birds

Plural.

Cin-que sol-da-ti, five soldiers Di cin-que sol-dá-ti, of five soldiers

A cín que sol-dú-ti, to five soldiers

Cín-que sol-dá-ti, five soldiers Da cin-que sol-dd-ti, from five soldiers

In cin-que sol-dd-ti, in five soldiers

Con cin-que sol-dd-ti, with five soldiers

Per eín-que sol-dá-ti, for five

soldiers

EXERCISES.-ITALIAN-ENGLISH.

ru-scêl-lo.

to.

máz-zo.

Nei pol-mó-ni. Con da-ná-ro. Col faz-zo-létCoi cap-pel-li, Perpia-cé-re. Pelman-têl-lo. Pei gióva-ni. Sul pón-te. Sui quá-dri. Su qué-sta têr-ra. Lo staf-fiê-re. Dél-lospô-so. Al-lo stra-nie-re. Dál-lo straGli spiê-di. Dé-gli sme-rál-di. A-gli scrit-tó-ri. Dá-gli stam-pa-tó-ri. In i-stá-to. Nél-lo spêc-chio. Né-gli sti-vá-li. Con i-stú-dio. Cól-lo spí-ri-to. Có-gli scul-tó-ri. Per lo spa-da-jo. Per i-stru-mén-ti. Per lo spac-ca-lé-gna Súl-lo scô-glio. Sú-gli scán-ni. L' ôc-chio. Dell' uc-cêl-lo. All' a-mí-co. Dall' ôs-so. Gli er-ró-ri. Dêgl' in-ci-só-ri. Agl' in-grå-ti. Dá-gli ál-be-ri. In o-nó-re. Nell' án-no. Cógl' i-níNé-gli o-réc-chj. Con a-mó-re. qui. Per in-gan-no. Per l' o-pe-rá-jo. Per gli a-du-la-tó-ri. Sull' e-di-fi-zio. Sugl' in-fe-lí-ci.

Panno, cloth. Coltello, knife. Tondo, plate. Sale, salt.

Coll' á-bi-to.

VOCABULARY.

Cibo, article of food, aliment.
Cortile, court-yard.
Cuoco, cook (the plural of this
noun requires the auxiliary
letter h between c and i, in
order to preserve the sound
of c like k).
Sogno, dream.
Teatro, theatre.
Ruscello, brook.
Polmone, lung.
Danaro, money.

Fazzoletto, pocket-handker-
chief.
Cappello, hat.
Piacere, pleasure.
Mantello, cloak.
Giovane, young man, youth.
Ponte, bridge.
Quadro, picture.
Terra, earth.
Staffiere, footman.
Sposo, bridegroom.
Straniere, stranger.
Stramazzo, mattress.

Spiede, spiedo, spit, broach.
Smeraldo, emerald,
Scrittore, author, writer.
Stampatore, printer.

Del col-têl-lo. Al tón-do. Dal sá-le. I cí-bi. Stato, state, condition (after

Il pán-no. Dei cor-ti-li. Ai cuô-chi.

Dai sú-gni. In tea-tro. Nel

A full explanation of the two important pronouns quél-lo (masc.), quél-la (fem.), that, and qué-sto (masc.), qué-sta (fem.), this, will be given hereafter. It will be sufficient for the present to remark, that whenever these two pronouns come before nouns, qué-sto points out an object near to him who speaks (or writes), or an object just mentioned, while quel-lo points out an object at a smaller or greater distance from him who speaks (or writes), as well as from him who is spoken to; e. g. dá te-mi quel lí-bro, give me that (yonder) book; pren-dé-te-vi qué-sto li-bro, take this book. Before words commencing with the s impure, quél-lo is used. Before words commencing with vowels, the final o's and a's of quél-lo, quél-la, and qué-sto, qué-sta, are generally not pronounced, and in writing an apostrophe is placed instead; e.g. quél-lo sbir-ro, that bumbailiff; quél lo scel-le-rá-to, that wretch; quell' uo-mo, that man; quell' ap-pa-rên-za, that appearance; quest' al-lo-ro, this laurel; quest' úl-ti-ma im-pré-sa, this last enterprise. Before all other words of the masculine gender, quel must be used; e. g. quel lí-bro, that book: quel bel poê-ma, that fine poem; quel prô-de guer-riê-ro, that brave

warrior.

The masculine plural quei (also pronounced quei) or que', is a contraction of quél-li. Before vowels, or the s impure, qué-gli is used in the place of the plurals quél-li, quei, or que'; e. g. qué-gli 6c-chi, those eyes; que-gli spi-ri-ti, those spirits. The feminine plurals quél-le and qué-ste can not be marked with the apostrophe, but must always be pronounced and written in full.

O-gni has no plural number, and can only be used before

nouns

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the four particles con, in, non, and per, and, generally speaking, after every word ending with a consonant,

the vowel i is, for the sake of harmony, prefixed to any word commencing with the s impure, unless it be a proper noun; e. g., Sté-fa-no, Scipió-ne, for it is not allowable to say con Istefano, con Iscipione, &c.) Specchio, looking-glass. Stivale, boot. Studio, study. Spirito, spirit.

Scultore, sculptor.

Strumento, instrument, tool.

Spaccalegna, wood-cleaver.

Spadajo, sword-cutler.

Scoglio, rock.

Scanno, bench.

Occhio, eye.
Uccello, bird.

Amico, friend.
Osso, bone.

Errore, error, fault.

Incisore, engraver.

Ingrato, ungrateful.

Albero, free.

Onore, honour.
Anno, year.

Orecchio (pl. orecchj), ear.
Amore, love.

Abito, dress, coat.
Iniquo, wicked.
Inganno, deceit.
Operajo, day-labourer.
Adulatore, flatterer.
Edifizio, building, edifice.
Infelice, unhappy.

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commented on in my introductory remarks on the Grammar proper. This is the first of the anticipatory exercises mentioned and In order to attain the object proposed of familiarising the reader with conversational language by a more practical and quicker method, than the theoretical explanations of grammar would allow, it will be necessary to read these exercises aloud, to translate them into English, and to re-translate them into Italian, that the words and phrases for this purpose constantly recurring may be firmly impressed on the memory. The ingenious will, moreover, not fail themselves to trace out important rules of grammar by a careful

study of these exercises.

Il pá

EXCELSIOR (Birmingham): Every one knows that Walker's Dictionary I the standard for pronunciation; as improved by Smart, it is no dout better.-W. SMITH (Manchester): Animal means a living creature, any thing that breathes; surely, therefore, man is an animal!-YOUNG CAMBRIAN (Bethesda) is mistaken; he must look again.-Iwong (Lowerby): We don't know.-G. BARTON (Lincoln): The Latin mania means both a wall and walls.-MATHETES (Farnley): To obtain more particular information relating to the knowledge of chemistry required for Matriculation at the University of London, the best way is to write to the Secretary, H. Moore, Esq.-E. H. (Rothly): We would advise him to attend that college which is nearest to his home; Spring Hill College, Birmingham, seems to be the nearest of the affiliated colleges which constitute the University of London.-H. M. (Herts): With every desire to please, he must really excuse us for some time; our hands are so full, and some questions are still unanswered, which must be solved first.-G. E. (Binfield): Yes.-A. (Leeds): His scheme has been frequently proposed by others; we see some difficulty and more danger in it, and really must decline it. Nothing of any value is omitted in the French sections; they are published separately. The contraction br, is for brochure, and is best Englished by stitched.

Il pá-dre e la má-dre. Il fra-têl-lo e la so-rêl-la. dre e buô-no, la má-dre è buô-na. I buôn pa-dre, la buô-na má-dre. Il fra-têl-lo è buô-no, la so-rêl-la è buô-na. Il buôn fra-têl-lo, la buô-na so-rêl-la. Mi-o pá-dre; il mí-o buôn pá-dre. Mi-a má-dre; la mí-a buô-na má-dre. Mi-o pa-dre è buô-no, mí-a má-dre è buô-na. Mí-o fra-têl-lo e mí-a so-rel-la. I mí-o buôn fra-têl-lo e la mí-a buô-na sorêl-la. Mí-o fra-têl-lo è buô-no, mí-a so-rêl-la è buô-na. Un pá-dre, ú-na má-dre, un fra-têl-lo, ú-na so-rêl-la. Un buôn pá-dre, ú-na buô-na má-dre, un buôn fra-têl-lo, ú-na buô-na so-rêl-la. Mí-o pá-dre è un buôn pá-dre, mía má-dre è ú-na buô-na má-dre. Mi-o fra-têl-lo è un buôn fra-têl-lo, mí-a sorêl-la è ú-na buô-na so-rel-la. Sú o pá-dre è buô-no, mí-o pa-dre è án-che buô-no. Sú-a má.dre è buô-na, mí-a má-dre è ân-che buô-na. Sú-o pádre ha ú-na buô-na so-rêl-la, tú-a má-dre ha un buôn fra-têl-lo. Mí-o fra-têl-lo è tú-o pá-dre. Mi-o pá-dre è án-che tú-o pá-dre, e mí-a má-dre è án-che tú-a má-dre. Il lí-bro è buô-no, la pén-na è buô-na. Il mi-o lí-bro è píc-co-lo, la mi-a pén-na è grán-de. Su-o pá-dre ha un buôn lí-bro, tú-a so-rêl-la ha ú-na buô-na pén-na. Mí-o fra-têl-lo è grún-de, mi-a so-rêl-la è pic-co-la. Il tú-o pic-colo fra-têl-lo e la tú-a píc-co-la so-rêl-la. Sú-a so-rêl-la ha la mí-a pén-na, e tú-o fra-têl-lo ha il mi-o lí-bro. Il tú-o pic-co-meetings.-G. N. CONRADI (Dover), G. T. W. (Battersea), D. M. KEY lo lí-bro è un buôn lí-bro

ANSWERS TO CORRESPONDENTS.

W. HAMMOND (Harborne): Barnes' Commentary on the Gospels should be the best, being the latest, the author having had the advantage of consulting the labours of all his predecessors. The question on John vi. 9, appears useless, and we do not see how any difficulty can be made of it.-J. H. C. will not have gone far enough for the next Matriculation at the University of London, unless he studies other books than the P. E.; see our articles on the subject. Professor de Lolme's "Complete Manual," and "Andrews and Stoddard's Grammar," are by no means the same as those in the P.E., and we humbly think those in the P. E. are the best, and that the French can be learned quickest.

R. CRAIG (Cheapside): Dialling will be kept in view.-J. BENSON: The article on the "Useless Knowledge, Society" is only a quiz.-EVAN JONES (Bala): A new Magazine is scarcely wanted for the benefit of Literary Societies, if you only knew how many are already published, weekly. monthly and quarterly!-W. H. B. H. (Exeter): Many teachers and schoolmasters have adopted our lessons as text-books in their classes; were we to name one we should be deluged with applications.-D. R. BEST (Dundee): The insertion of the notice would be too late; besides our journal is not a Newspaper, and we cannot afford room for notices of society (Newington), G. J. (Oxford), ALEXANDER SWINDON (High Wycombe), G. ARCHBOLD (St. Peters), P. HAY (Shoreswood), THOMAS R. (Sutton in Ashfield), E. MAYALL (West Strand), M. B. (Burnly), Q. PRINGLE(Glasgow), D. R. D. (Dundee) and others, all right on the boy and apple question.A YOUTH OF 17 (Liverpool) is wiser than we are, for his Trial Balance and ours considerably differ.-Á STUDENT (Portsmouth) must be content with the Lessons on the pronunciation of Greek given in the P. E.-A SUBSCRIBRR (Shrewsbury), who wishes to become a reporter in one of the houses of Parliament, must first learn to spell English words.-A. (Hackey): Wrong. -ANNA PRINGLE (age 13) (Durham): Right; we are glad that she beats some of the boys.-QUESITOR (Lincoln): The subjects in Mathematics and Modern Languages for matriculation, are never particularly announced till the day of examination. For the subjects in Classics for 1854, see vol. ii. p. 215, col. 2. line 34.

CHEMISTRY.-WILLIAM FOX FORWARD (Plymouth): (1) A misprint in No. 81, p. 39, col. 1, line 26 from bottom, read "but obtain either metal as a sulphuret, (2) in the same col. line 29 from top, for "ammonia" read "* manganese;" (3) a "saturated solution "means a liquid fully charged with the material to be dissolved, and is usually prepared by adding more of any material than the liquid can dissolve. Thus, suppose a saturated aqueous solution of common salt be required, it may be prepared by pouring some water into a bottle and adding more salt than it can liquify. The resulting solution is necessarily saturated.-A SUBSCRIBER (Leeds): The machine of Thilorier is very expensive, from £20 to £50, we believe, according to size. We know of no cheap substitute. Our correspondent should address a letter to Newman, of Regent-street, Watkins and Hill, of Charing Cross, or Bland and Long, of Fleet-street.

J. ELAND (Morpeth): Good poetical ideas, but not sufficiently measured as to feet and rhyme.-VERE FOSTER (Brighton): Thanks for his attention, but we have not seen the decision of which he speaks.-H. C, XXV.: The Latin phrases are idioms and not errors. The errors have been corrected. The numerical value to which he refers should be ∞, that is minus infinity.LAMBDA (Princes-street, and J.J. STILES (Greenwich): Right.-WARIN (East Dereham): Right.-S. G. HUTCHINSON: Received, and under consideration.-F. A. SPILLER (Brede): Received, and will be attended to.GEORGIUS (Newcastle-on-Tyne): The Lessons in Geography will be continued under the head of Chorography, beginning with England. OREGOMAI should write to the Secretary of the University of Dublin for JAMES B SHADRAKE (Barnet): Although the spirit lamp is a very conveinformation, or buy the Almanack of the said University. As to the Univer-nient and elegant source of heat, it may frequently be dispensed with; a sity of London, see the indexes to vols. ii. and iii. of the P. E.-ALPHA S. gas flame or a few pieces of well ignited charcoal taking its place. NeverX: Our maps are far superior to Chapman's penny maps, or to those pub-theless, we can scarcely recommend our correspondent to be without it. lished anywhere else. You cannot have them cheaper and better than in The spirit employed should be either alcohol (rectified spirit of wine), or the P. E. An Atlas will most likely be published in time.-ADOLPHE, and C. RUBENS (Guyzon): We do not know.-D. R. B. (Dundee): We cannot cheaper, measure for measure, but consumes with greater rapidity than pyroacetic spirit (known in the shops as wood naphtha). The latter is insert letters, though they were ever so good, relating to matters of fact. alcohol. We prefer the latter. A laboratory for 16s. cannot be recommended. without knowing the name and address of the authors.-R. READ ABOUT Each student should procure the specific articles which he may require. IT (Pelton Grange) requests H. ULIDIA to fulfil his promise; and so do we. BRYAN DALE (Western College Plymouth): A key will be given.-UN mentioned in our chemical lessons. Messrs. Bland and Long of Newgate-street, supply all the tests and apparatus AMANT DES LIVRES, can have the P. E. bound at the office as cheaply as anywhere.-W. H, F. (Manchester): Rose's Analytical Chemistry, by

Grima.

A STUDENT (Lincoln): Do you ask of what practical use is Geometry? Alas! lock all round you, and see. God laid the foundation of the earth in number, weight and measure; and man has been busy with these ever since; that is, with Arithmetic, Algebra, and Geometry!!-T. EDENER: Apply to some member of the Geological Society.-E. BERNARD (Greenwich: English workmen are well appreciated on the Continent.-TYRO (Boston): The demonstration of the exercise in Cassell's Euclid will come in due course.-HIPPOCRATES (Okehampton): Will be published in numbers commencing Jan. 1, 1854. Cassell's Classical Library will contain all such books, both in Latin and Greek, as are useful to students. See our Literary Notices.-M. B. (Wigan): There is no sound in English like the French u; get some Scotchman to pronounce the Greek upsilon to you, and you will hear the nearest sound to it. Learn Bell's system in the P. E.-H. CLIVER (Wallace Mill): You can be supplied with all Mr. Cassell's publications by applying to Mr. Menzies, Princes-street, Edinburgh; the books you mention have been published for some time, and ought to be readily had. As to others, you should regularly read our Literary Notices and Advertisements. J. PHILLIPS (St. Katherine Docks): His request will be attended to as to the cheap balance. Covers for the P. E. may be had at our office, see advertisements on the cover of the monthly parts.-Gus (Birmingham): "Norie's Navigation" contains "only the necessary directions for navigating a ship," with rules and tables of various kinds, but no particulars of a ship, and no explanation of nautical terins connected therewith. In some old books on Navigation, which may be got at a book-stall for a shilling or two, you will find an engraving of a ship with the names of all the parts, an explanation of nautical terms, &c. We have seen some old editions of Hamilton Moore's Navigation, containing these requisites. There is a work entitled "Seamanship in Theory and Practice," sold at Wilson's, late rie's, Nautical Warehouse, Leadenhall-street, price 8s. 6d., which will most sly answer your purpose.

THOMAS OSBORNE (Camden Town): The method of obtaining distilled water, and of conducting distillation generally, will be described hereafter. At present we shall confine ourselves to the remark that, so far as distilled water is concerned, any contrivance enabling the operator to convey steam into a cool vessel, causes the partial condensation of the steam, and yields and the cover of which fits closely, will serve the purpose, provided a tube distilled water. A tea-kettle supplied with water not quite up to the spout, (say of glass or pewter, not lead) be annexed to the spout and caused to terminate in a large jar, which latter must not be closed.-MAZEPPA (London), wishes us to inform him how he can avoid the trouble of piercing corks, adapting tobacco-pipe shanks to them, and making the other forms of the study of chemistry, which he will never learn if he considers these apparatus mentioned in our lessons. He can avoid all this by relinquishing necessary operations a trouble.

HIGUY (Moorsley): evλaßeoμai means to act cautiously, or like those that take care; navreλns all-complete, all-perfect, the whole. The contractions are not printed in the modern books; in the order he has written them, they mean γάρ, s, δέ, εξ, ει, της, την, των, ην NIL DESPERANDUM (Queensquare); In process of time, of course, there will be an Italian Dictionary. A PRACTICAL MINER will find simple and yet accurate rules or methods of taking the variation of the magnetic needle, in "Norie's Navigation" pp. 206, et seq. The nature of Voltaic batteries will sooner or later be explained. The best work on business and trade is Macculloch's Commercial Dietionary; but we certainly have more important work to do than to draw up rules for a Circulating Library !!

J. L. JUNR. (Stirling): Keightley's "Elements of History" are most in use.-J. PERRY (Erdington): Her translation is under consideration; ker inquiries will be answered.-A GERMAN (Manchester): The German Lessons began in No. XI., p. 161, vol. i. We wish that correspondenta putting questions of this kind would save us and themselves trouble by con sulting the indexes to the volumes of the P. E., which may be had of the agents

who sell the work.

LESSONS IN MUSIC.-No. XX.

(Continued from page 185, Vol. III.)

We have hitherto concerned ourselves not with the way in which music is represented to the eye, but with the various effects it produces on the ear. We began at the beginning. Hence it is that our former lessons have presented an appearance so different from that which is commonly seen in elementary music books, where the sign is given before the thing signified, the name before the idea. Those, however, who have patiently followed us in those lessons, will now be well rewarded by discovering that they possess a facility and power of interpreting the mere notation of music, quite surprising to themselves. We now conclude our course of lessons on vocal music by an introduction to "the old notation."

That way of "noting" or writing music, called the old "notation," was invented by Guido, a monk of Arezzo, in the twelfth century, but it has undergone very many modifications since his time. It uses a ladder of five lines and four spaces, which is called THE STAFF. On this, certain marks are placed which represent the notes. These marks are placed higher or lower on the lines and spaces as the notes are higher or lower in pitch.

On this plan you perceive, that although the semitones of the scale are not shown pictorially, yet each note of the scale holds always the same place, so that you cannot look at a note without knowing its key relationship. In the old notation, it is not so. But there is not the slightest hope of improving it for a long time to come. It contains, moreover, all the stores of classical music. We must master it as it is. This we shall do the better for seeing, thus clearly, its real difficulty to the vocalist. Our first efforts must be directed to overcoming this difficulty. We must gain the power of seeing at once, by the aid of certain rules of relative position, the key relationship of each note we have to sing. To aid the pupil at first we shall use a square note to represent the key note. The upright "bar" across the staff shows that the stronger accent follows it. There are no marks in the old notation for the soft or the medium accents. Observe, and sing the following.

KEY G.

dr m fs f mr d

KEY C.

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The difficulty of the old notation to the singer arises from its not showing him plainly and promptly which is the "key note" (DOH), which is the third of the scale (ME), which is the fourth (FAH), &c.; for on this perception of key relationship the power of the singer depends. When once a pupil, who has passed through our course of vocal exercises, has heard the key note, and knows what place the note before him holds in the key, he can sing it. His knowledge of its proper mental effect gives him confidence and decision. It would be difficult for him to sing wrongly. But until he sees the key relationship of a note, he is at a loss. No information as to its absolute pitch, nor its distance in pitch from the last note sung, apart from key relationship, can supply to him that clear and accurate preconception of the note to be struck, to which he has been accustomed.

Mr. Hickson illustrates this point by showing that for the old notation to exhibit key relationship correctly, it would require a staff of eight lines, the third and fourth, and seventh and eighth, being closer together than the others, and the lines alone being used to carry the notes. Such a staff would, of course, be too cumbersome. Mr. Arthur Wallbridge Lunn has thrown out the most practical suggestion we have seen for an improved pictorial notation. But as long as instruments are constructed on the principles of "temperament," we despair of seeing any perfectly successful attempt in this direction. The most valuable point of Mr. Lunn's invention (called the Sequential Notation) is this: he uses a staff of three lines and four spaces, and places the key note always on the space below the bottom line. He allows another staff or part of a staff to be added either above or below if wanted, with this understanding, that between the two there is no line, but that the bottom space of one staff and the top space of the other are in juxtaposition. This secures the same position for the key note in every octave. It will be a useful exercise for the pupil to try the following phrase. We use the old notes upon Mr. Lunn's staff. Notice that the highest note in the little tune that which occurs five times, is the octave of the key note, or the upper DOH. It occupies the lowest space of a new staff, of which only a fragment needs to be given in this instance. With these explanations, solfa the piece. KEY D. A round for four voices.

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Morning bells I love to hear, ring- ing merrily, loud and clear.

VOL. IV.

D.C.

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Thus far the notes have been all consecutive, except where you rose or fell to the key note. But in the exercises which follow other intervals occur, and the pupil will begin to learn how to recognise a note at sight, without having to repeat the notes between it and the last.

EXERCISE 5. To recognise on the staff ME and soн, notice and remember, that DOH, ME, and soн are similarly placed. If DOH is on a line, the ME and sоH above are on the adjacent lines. If DOH is in a space, the two spaces above will be occupied by ME and soн. Keeping this in mind, you will be able to "read" and sing without a moment's hesitation the following pieces. Carefully notice, at the beginning, the places on the staff, of DOн, ME, and sон, and "keep them in your eye" No intervals are introduced but those throughout the tune. which rise or fall upon Dон, Me, or soн.

KEY G.

KEY F.

KEY G.

KEY A.

KEY E.

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EXERCISE 9. To recognise FAH on the staff, notice, first, that it is the next above ME,-and the places of DOH, ME, and soH "are kept in your eye throughout the tune. Next observe that FAH holds the same relative position to DOн, which that note holds to the soн below it, as you have just learnt. Lower FAH, is similarly placed to DOH. If on lines, they have one line between them; if in spaces, they have one space between them. When you have verified for yourself these assertions, name at sight the following notes.

KEY B.

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KEY A.

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KEY F. (DOH in the first space.) id:sim:d Im:dls:s Ids m:d ir sid

EXERCISE 7. To recognise on the staff lower soн, and upper Dон', first notice (and verify the assertion) that replicate (or octave) notes are DISSIMILARLY placed. If one is on a line, the other is in a space; if one is in a space, the other is on a line.

df:m|rf|md|tf|sf|m:dí,s]d

KEY B. (DOH on the middle line.)

Next, notice the relative position of lower son and DOH, and dt: s'd: mf: md: f1 | m1: s1│d: m│f:s\d

that of sox and upper Dон. You will observe that they are
If DOH is on a line, the soн below it is in
dissimilarly placed.
a space-not the next space, but the next to the one that DOR
touches. If Dон is in a space, the son below it will be found
Be careful to verify all this
on a line, the next line but one.
by your own observation; and, without allowing yourself, in any
case, to count from note to note, or to receive the prompting of a
friend, but always recurring to your rule, learn to name at sight
the notes of the following pieces. The lines occasionally
added to the staff are called ledger lines.

KEY D. (DOH or the space below the staff.) dis: dt:fim:s[d': d'r': d'it:sl1:f:d

EXERCISE 11. To recognise the other notes (RAY, LAH, and TE) on the staff at sight, you have, first, to perfect yourself in the ready application of the foregoing rules, and then to add to them this obvious one:-that Thirds (or notes making a third with

one another and the intervening note) are similarly placed. Read at sight the following,

KEY A.

EXERCISE 12. Write the following in two different positions on the staff in the old notation.

Id: mis:tid':1f:rt,: s, t,:rif:ls: t1ld

Take care thoroughly to master these rules and progressive exercises before you proceed. If you take each step firmly and truly for yourself, the path will be easy and clear. If you "slur" the work of self-teaching, then perplexities and discouragements will multiply upon you.

RELATIVE LENGTH OF NOTES.

You will remember that in our simple Initiatory Notation, the relative length of notes is indicated pictorially. By the help of regularly recurring accent marks we measure out to the eye that proportion of the rhythm which each note occupies. The Old Notation represents this relative length of notes symbolically as exhibited below.

1191 A BREVE (a note seldom used).

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A SEMIBREVE-half as long as the Breve.

A MINIM-half as long as the Semibreve.

A CROTCHET-half as long as the Minim.

A QUAVER-half as long as the Crotchet.

A SEMIQUAVER-half as long as the Quaver.

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The last tune should be sung very quickly to the words "Doh,
Ray, Me, Fah.

If you music would be reading,
Much attention 'twill be needing."

It is a round for four voices, from "Purday's Hundred Rounds."
Write it first with a crotchet to a beat, and then with a quaver
to a beat.

ABSOLUTE LENGTH OF NOTES AND SPEED OF MOVEMENT.

It is generally understood that when a tune is written with a quaver to each beat, it should be sung much faster than if it were written with a crotchet or a minim to a beat. But it is not necessarily so; for there is no absolute length (as so many parts of a minute) to crotchet, quaver, or minim. It is only relative length they signify. Nor have these symbols any fixed relation to the beats of the measure. In one tune, a quaver is the "aliquot" or beat; in another tune, the crotchet; in another, the minim; and you will constantly find the same tune written in different ways. The only thing that can fix the absolute length

A DEMISEMIQUAVER-half as long as the Semiquaver. of notes is the "Metronome." The following words are some

A

A Dor after a note lengthening it by half. second dot would lengthen it three-fourths. EXERCISE 13. Read at sight and sing "in time" the following pieces. Write them also into the solfa notation. The pen is a thorough teacher.

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movement.

times put into the title of a tune to indicate vaguely the rate of 1st, Grave, which means very slow and solemn; 2nd. Largo, meaning slow and majestic; 3rd, Adagio, leisurely; 4th, Andante, easy, flowing; 5th, Allegro, very quick.

PAUSES OF THE VOICE.

The following marks are used to indicate the pauses of the voice; they are called RESTS. The "crotchet rest" requires the voice to pause just so long as it would take the voice to sing a crotchet of the same tune. The "quaver rest" requires you to pause the time of a quaver in that tune; and so with the rest. In the diagram below, you will see the rests placed above the notes to which they are related:

EXERCISE 15. Copy the following into the old notation, first with a crotchet, and afterwards with a quaver for the aliquot or beat. Take care to insert the proper "rests." The first tune is a round for three voices. You may sing it to the words (from "Training School Song Book"), "Come sing a round with me, let all united be; that we may now agree, to sing in pleasant harmony."

KEY F. (DOH in the first space.)

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