slugs may therefore know, as well as human beings, what it is to suffer from nervous attacks. Would any one like to see the heart of a snail ? The keeper of the above-mentioned museum will gratify the wish. It is a hard matter to look into the human heart, but readers may there inspect the inner part of a snail's heart, which is generally placed near the middle of the animal's back. The snail must, of course, breathe. How does the air enter his system? The snail's nose, if we may use the expression, is on the back, or right side of the neck-that is, the hole through which the air enters is there placed. Can the snail smell? Philosophers are not agreed upon the point. There is not, however, the least doubt that they soon find out vegetables for which they have a liking, as many an indignant gardener will admit. Snails exhibit in spring and early summer a strange peculiarity. Their bodies are then covered with little spikes or darts of a horny substance, about a quarter of an inch long. Some of the older books have engravings representing these darts flying as if shot off from the bodies of the snails. They are, however, a puzzle to the snail philosophers up to the present time. Let us now look at the shell. In what light shall we regard this? Is it the snail's house, or the snail's skeleton? Either notion may be held. If we deem it the house, then we may well envy the animal for his power, not only of making his own house, but of repairing damages which may happen to walls or roofs. He is not only his own mason, builder, and architect, but provides his own quarry. We need not say, perhaps, that the lime of the shell is produced from the pores of the animal's body. When he grows too large for his first house he enlarges it, and thus inhabitant and mansion are always accommodated each to the other. As his family never live with him, he has but his own good-will and pleasure to consult in the building. Two things deserve special notice. Readers must have observed great differences in the coloured markings of snails' shells. Now each snail has his own colour manufactory. A series of glands, like so many chemical workshops, produce the colours which give the various tints to the shell. It is a singular fact that even the baby snail begins its work of builder before it is hatched. Even when yet in the egg, the little creatures are found to have formed a thin shell. This is something like infant precocity. One thing, however, seems beyond these babies; they cannot form the colouring matter of the shell; the house is built first and ornamented after. We must now call attention to the snail's winter house. When food begins to fail, and the autumn nights get cool, the creature becomes drowsy, and makes up his mind to a long sleep. Some bury themselves in the ground, others crowd into sheltered corners. But note the preparation for the winter. Some species retire deeply into the shell, building up four or five thin walls of lime at the entrance, so that the animal is completely blocked up and separated from the outside world. Having performed this building feat, the snail bids good-bye to all care and sorrow, dropping into a comfortable sleep for the whole winter. Some of these are indeed rudely roused from slumber by hungry birds, which, discovering the shells, drive their beaks through the thin walls, and tearing out the luckless snail, devour him before he has time to awake. Are snails of any use at all? Readers who wish for variety of food may make wholesome soup of their bodies. Start not at the proposal; one species of snail was eaten in England in the time of Elizabeth, and "a snail feast" is said to be still celebrated on special days by some trades in the North of England. A modern cookery book describes no less than twelve modes of preparing the animals for food. Is any reader anxious to try a dish? Then take our recipe: Get a sufficient quantity, according to appetite, of the edible snail (Helix pomatia is the learned name), boil them in spring water, then strew pepper and salt over-and dine. The Emperor Nero is said to have preferred them fried; any reader who pleases can, of course, try them that way. Our friends will bear in mind that we purposely avoid in these articles technical descriptions of species and genera, deep physiological discussion, and anatomical details. Our main object is to call attention to the richly varied facts which are to be seen in every field and garden throughout the year. There is much to excite wonder, and remind us of our infinite Creator in the meanest creatures of the waters, land, or air. LESSONS IN FRENCH.-XVII. SECTION I-FRENCH PRONUNCIATION (continued). 80. L and LL.-Whenever I and ll are preceded by ai, ei, oui, and sometimes by i only, they receive a sound very different from that which they have when initial. In the former case, they become liquid, and are so called from their peculiar sound. Yet it is a sound with which foreigners are well acquainted. The only difficulty is, in expressing or illustrating the sound by means of English analogous sounds. It is the same sound which is given to the letters lli in the correct pronunciation of the English words collier, billiard, brilliant, and William. If you pronounce any one of these words very carefully, observing at the same time the peculiar sound of the letters lli, you will have the correct liquid sound which is illus trated by the peculiar sound of gl in the word seraglio. In French words containing liquid sounds, observe the following general rules, namely: Rule 1.-Pronounce the letter a before il and ill as a in the English word ah. Rule 2.-Pronounce the letter e before il and ill as a in the English word day. In the illustrated pronunciation of the following examples of liquid sounds, the last syllable ye of many of them is scarcely sounded. Let it be but the mere faint echo of the voice. Name, gl; sound, like gl in the English word seraglio. Speaking of these different methods of pronouncing the liquids, the following opinion is taken from Bolmar's “Levizac's French Grammar," namely : "This last pronunciation being the easiest of the two, has been adopted by so many people in France, that it is no longer considered a fault, except by grammarians. However, I recom mend the former, not only on account of its correctness, but also on account of its being a sound very common to the Spanish, Italian, and Portuguese languages, in which languages this sound does not admit of any variation. It is represented in the Spanish by ll, in the Italian by gli, and in the Portuguese by lh." 81. GN.-This liquid is much used in the French language. Its correct sound is peculiar, and by no means difficult to attain. It is the sound of the letters gn in the English words bagnio, mignonette, and vignette. Pronounce the word mignonette correctly and carefully, observ ing, at the same time, the peculiar sound of the letters gn, which will be the correct sound of this liquid. Ig-namm ENGLISH. FRENCH. Igname Igneous. Fire-worshipper. Ignition. Fire-vomiting. Fire-eating. A native. Stagnant. Les fleurs sont l'ornement des jar- Flowers are the ornament of gardens. dins. Les fleurs des jardins de ce château. The flowers of the gardens of this villa. Avez-vous l'intention de visiter la Do you intend visiting France? France ? J'ai l'intention de visiter l'Italie. I intend visiting Italy. Is Captain Dumont here? 1. Aimez-vous le pain ou la viande? 2. J'aime le pain, la viande et le fruit. 3. Avons-nous des pêches dans notre jardin? 4. Nous y avons des pêches, des fraises, des framboises et des cerises. 5. Monsieur votre frère aime-t-il les cerises? 6. Il n'aime guère les cerises, il préfère les prunes. 7. Avez Name of a sacred hymn. vous des légumes? 8. Je n'aime point les légumes. 9. Nous n'avons ni légumes ni fruits. (Sect. VI. 3, 4.) 10. Nous n'aimons ni les légumes ni les fruits. 11. Allez-vous tous les jours dans le bois de Monsieur votre frère ? 12. Je n'y vais pas tous les jours. 13. Votre sœur apporte-t-elle les fleurs? 14. Elle les apporte. 15. Madame votre mère apporte-t-elle des fleurs ? 16. Elle en apporte tous les Lundis. 17. Voyez-vous le Général Bertrand? 18. Je ne le vois pas, je vois le Caporal Duchêne. 19. Mesdemoiselles vos sœurs sont-elles fatiguées ? 20. Mes sœurs sont fatiguées d'étudier. To the above may be added a few proper names. SECTION XXVIII.-USE OF THE ARTICLE [§ 77]. 1. The article le, la, les, as already stated, is used in French before nouns taken in a general sense. Les jardins sont les ornements des villages et des campagnes, Gardens are the ornaments of villages EXERCISE 52. 1. Does your sister like flowers ? 2. My sister likes flowers, 2. The article is also used in French, as in English, before and my brother is fond of books. 3. Is he wrong to like books? nouns taken in a particular sense. Les jardins de ce village sont su- The gardens of this village are superbes, Berb. 4. No, Sir, he is right to like books and flowers. 5. Have you many flowers in your garden? 6. We have many flowers and much fruit. 7. Is your cousin fond of raspberries? 8. My 3. It is also used before abstract nouns, before verbs and cousin is fond of raspberries and strawberries. 9. Is the capadjectives used substantively. La paresse est odieuse, Idleness is odious. La jeunesse n'est pas toujours Youth is not always tractable. docile, tain fond of praises? 10. He is not fond of praises. 11. Has the gardener brought you vegetables? 12. He has brought me vegetables and fruit.* 13. Is he ashamed to bring you vegetables? 14. He is neither ashamed nor afraid to sell vegetables. Le boire et le manger sont néces- Eating and drinking are necessary to 15. Is your mother tired? 16. My mother is not tired? 17. saires à la vie, Is your brother at Colonel D.'s? 18. He lives at Colonel D.'s, * LESSONS IN GEOGRAPHY.—IX. THE Russian Admiral Krusenstern, in 1804-5, made an ex- * The student must not forget that the article is repeated before every noun. made additions to the geography of the Kurile Isles, the coasts | islands, stretching from the island of Saghalien on the north to of Japan, and the Sea of Okhotsk. Captain Maxwell, of the suite of Lord Amherst, our ambassador to China, extended our knowledge of these Asiatic regions. The squadron under his command made several important discoveries in the Yellow Sea, particularly Sir James Hall's Islands. This expedition ascertained that the western coast of the peninsula of Corea had been placed on our maps greatly to the westward of its true position; and made known to the world a vast archipelago which no European had previously visited. Captain Maxwell also visited the Loo-Choo Islands, where he was only welcomed by feigning shipwreck, and seeking the assistance of the in habitants. The northern coasts of Asia having been previously imperfectly known, M. Gedenchtrom was commissioned to explore them in 1808; but his efforts were limited. Lieutenant (afterwards Admiral) Wrangell was charged to complete the exploration of these coasts, and to fill up the blanks which then existed in the maps of Siberia, by re-visiting the most northern latitudes of these dreary regions. The object of this expedition was to examine the whole of the coast from Cape Chelagsk to Cape North, discovered by Cook to the west of Behring Strait, and to determine whether there existed in the vicinity of these capes an isthmus uniting Asia and America. This dangerous expedition occupied from 1820 to 1824. Beyond Cape Chelagsk, he discovered Cape Baranoff, and surveyed the coast from this cape to the mouth of the river Kolyma. He discovered that the hypothesis of the existence of land in this vicinity was unfounded; and he rectified and completed the geography of this part of the continent of Asia. In 1843, M. Middendorff successfully explored, in the midst of innumerable dangers, the coasts of the Frozen Ocean between Turukansk, the sources of the Khatounga, and Cape Taimoura. Traversing Siberia from north-west to south-west, he visited the coasts of the Sea of Okhotsk, and part of Tartary. In the quarter of a century that has clapsed since this time, our knowledge of Central Asia has been greatly extended, by the advance of the outposts of the Russian empire towards the south into the heart of Independent Tartary, and to the north bank of the River Amur, or Amoor, in the east, which now forms the greater part of the northern frontier of Manchooria, that part of Central Asia, nominally tributary to China, which lies to the east of the great sandy desert of Gobi. Commencing at the Caspian Sea, on the western side of the continent, the acquisition by Russia of the Kirghiz Steppes, and the great plains round the Sea of Aral, that are traversed by the Syr Daria or Jaxartes, and the Amoo Daria or Oxus, has led to the thorough exploration of these regions, of which comparatively little or nothing was previously known with any degree of certainty. In 1825 an expedition was sent to the Sea of Aral by the Russian Government, under the command of General, now Count de Berg, who was commissioned to make an accurate exploration of the Russian frontier; and in 1848 an eminent Russian sailor, Admiral Alexis Boutakoff, cut out and fitted together ships at Orenburg, and carried them in pieces across the steppes to the shores of the Sea of Aral, where they were built and launched. These ships were the pioneers of the establishment of regular steam navigation on the Sea of Aral, and up the great rivers Oxus and Jaxartes, which discharge their waters into it on the south and west, establishing along the coast of the last-named stream a line of water communication through the centre of Turkistan, by which an active commerce is and will be carried on between the Celestial Empire and Russia. For this achievement, the Founder's Gold Medal of the Royal Geographical Society was awarded to Admiral Boutakoff in 1867. Our knowledge of the scenery and the manners and customs of the inhabitants of Khiva, Bokhara, Thibet, and other parts of West Central Asia, has been increased by M. Arminius Vámbéry, an enterprising Hungarian, who has travelled through these regions, visiting many places hitherto unseen by Europeans, in the disguise of a dervish, at the risk of his life and liberty. Passing eastward along the line of the Jaxartes, through the sandy wastes of the desert of Gobi, down the wooded slopes of the mountains that divide Manchooria from Mongolia, and over the rich plains that are watered by the Songari and its tributaries, we stand at last on the shores of the Japan Sea, and make our way across its waters to the crescent-formed chain of the south-eastern extremity of the peninsula of Corea, that form the Empire of Japan. Of this island empire, the most reliable account that we possessed, until Lieutenant Silver's recently published work, was one written by Engelbert Kæmpfer, in 1690. Several attempts have been made by the Portuguese and Dutch, since the commencement of the sixteenth century, to establish commercial relations with Japan; but trade with this country has always been attended with great difficulty and danger, owing to the repugnance of the inhabitants to hold intercourse with foreigners. In 1853, however, the Japanese government entered into a commercial treaty with the United States, and in the following year another was concluded with Great Britain. Since that time several ports have been opened to British commerce, while embassies have been sent from Japan to visit Europe and America, the Japanese showing a disposition to abandon many of the customs, and even the costume to which they have adhered without change for many hundreds of years, according to their own account, and to adopt in a great measure the usages of the most civilised portions of the world. Much of an efficient and thorough survey of the Japanese waters has recently (1865-8) been carried out by Commander Bullock, of the Royal navy. Expeditions into the interior of Asia have, from time to time, thrown great light on the geography of this part of the Old World. We owe much of our knowledge of China to the Jesuit missionaries who laboured in that country; of the northern frontiers of this empire, to Klaproth, Timkowsky, De Humboldt, and Pierre de Tohihatcheff; of Thibet, to Turner; of the Himalaya chain of mountains and the adjacent countries, to Lieutenant Webb, Captain Raper, Moorcraft, Colonel Crawford, M. Frazer, Victor Jacquemont, and Major Rennell. Sir H. Pottinger made us acquainted with Beloochistan and Scinde; Elphinstone and Burnes with Afghanistan; Burnes with Bokhara; and Mouravief with Turcomania and Khiva. Persia has, at different periods, been visited by a number of able travellers, to whom we owe a knowledge of this country; as, Tavernier, Chardin, A. Jubert, Moorcraft, Morier, Frazer, Kerr Porter, Alexander, and Messrs. Coste and Flaudin. Of Arabia, we have gained information from Niebuhr, Burckhardt, and Rüppel; but of late years a great deal of additional light has been thrown on the western districts of this enormous peninsula, and the condition of its inhabitants, by Captain Richard F. Burton, who visited Mecca and Medina in 1853, and travelled through that part of the country which borders on the Red Sea, by a route hitherto untrodden by Europeans. A considerable part of Captain Burton's adventurous journey was performed in the disguise of a pilgrim to the cities sacred to Mahometans as the birth-place and burial-place of Mahomet, the founder of their religion, as it would be impossible for a European to pass through that country in quest of information, otherwise than in the garb of the inhabitants of some Mahometan country. Captain Burton's researches were further supplemented and augmented by Mr. William Gifford Palgrave, who travelled from the Dead Sea to the Persian Gulf, through Central and Eastern Arabia, in 1862-3. This gentleman also made his way through the country in disguise, and found, contrary to his own expecta tion and the general belief, that the interior of Arabia, instead of being a trackless waste, resembling the Sahara in its character, and peopled only by a few wandering Bedouin Arabs, is inhabited by tribes who live in towns and villages, under sheikhs and native princes, actively engaged in trading with each other and the countries bordering on the coast. Mr. Palgrave's dis coveries, indeed, were of so important a nature, as to give quite a new character to the map of Arabia, the interior of which, previous to his visit, has been represented as being little better than a sterile uninhabited desert. Of recent discoveries in Asia little remains to be said, but that the acquisition of territory recently made by the French in the south of Cambodia and Cochin China, has led to an extended knowledge of this part of India beyond the Ganges, or the Indo-Chinese Peninsula; while our wars with China, and the spirit of enterprise shown by such men as the "English Tai-ping," and other adventurers in the service of the Imperialists, and the so-called Tai-pings who are seeking to overthrow the present dynasty in that country, have secured a more elaborate survey of the Chinese coast, and much information respecting the interior of that wonderful country. 66 expression. You, however, are a long way from that position, and should carefully practise yourself with this instrument until you have established in your mind and ear a sense of time. LESSONS IN MUSIC.-V. THE learner must be careful not to let his thoughts be confused by the different uses of the word "time" in ordinary musical It is not an easy thing for an unpractised singer to keep language. You will meet with the phrases common time," an equal rate of movement throughout a tune without aid, but "triple time," etc. The word " time," then, refers to the he must learn to do it, and we are persuaded that a careful and orderly recurrence of accents-the measure. In the phrases frequent use of the pendulum is the best means hitherto pro"quick time," ," "slow time," etc., it means rate of movement, the posed for the attainment of this power; but it is customary to speed with which the accents recur. And when we are re-recommend the practice of "beating time." To those who may quested to "keep the time," it is commonly meant that (though wish to adopt this plan, the diagrams below-explaining the we may have been correct in the rate of movement, and accurate method of "beating time" for the different measures-may be in the recurrence of accents) we have not given the exact propor. of use. But to many persons this is only a hindrance. Let us tionate length of each note. It is known that the swings of the keep in mind that the object to be gained is-first a mental persame pendulum are of equal length in time, whether they are ception of equal movement, or the regular recurrence of the long or short in respect of the distance traversed; and that the pulses; and secondly, a mental command, by which the muscles longer the pendulum, the slower its movement; and the shorter of the larynx are made to obey the conceptions of the mind. the pendulum, the quicker its movement. This gives us the Both these may be gained by careful practice, discipline, and means of regulating the "rate of movement" in music as well effort on the part of the pupil. If a regular movement of the as in clockwork. There is an instrument called a "metronome" muscles of the arm is easier to him than a regular movement or measure-ruler, the pendulum of which can be lengthened or of the muscles of the larynx, then let him use the first as a shortened according to a graduated scale, so as to swing any guide to the second-not otherwise. It is, however, frequently required number of times in a minute. Let each swing of the necessary, when many sing together, that the leader of the metronome correspond with an aliquot or "pulse" of the band should beat time, either with a wand, or by the movement measure, or in the quick senary measure, with the loud and of his own hands. The senary measure may be beaten in the medium accents. Then, if the number at which the weight is same way as the binary. set, on the graduated scale of the metronome, be given in the signature or title of the tune, it will indicate to others the rate at which that tune should be sung. Thus, "M. 66," placed at the head of a tune, signifies that, while this tune is sung, the metronome should swing at the rate of sixty-six swings a minute; and that each aliquot of the measure should keep pace with a swing of the metronome. The larger metronome, which is kept in motion by clockwork and "ticks" to every accent of the measure, costs thirty shillings and upward-that which strikes a bell on the recurrence of each stronger accent being much more expensive. The smaller metronomes, which simply oscillate without noise, are sold at four shillings and upward, and there are even cheaper instruments than these which are sold at sixpence or eightpence. Each teacher, however, and scholar too may make his string pendulum, which will answer the end very fairly. For this purpose fasten a penny or some such weight at the end of a piece of string. Then, at four inches and five-eighths from the weight, tie a double knot. Hold the string by this knot, and the weight will swing at the rate of 160 swings a minute, and make your pendulum correspond with M. 160. At 6 inches tie a single knot, and that length of pendulum will correspond with M. 138. The double knots may mark the distances most used, and the single knots those used occasionally between them. The rest of the pendalum may be constructed to the following table-S. standing or single, and D. for double knot. A silk tape with the metronome figures marked at the proper distances would be preferable to the string. A lath of wood might be graduated in a similar manner, with holes punctured for the points of suspension, but it would require different distances according to its own weight. The "string pendulum" which is here recommended for its convenience of measurement by a common carpenter's rule, is slightly inaccurate, though quite near enough to the truth for all practical purposes. Some such instrument should be used by every pupil. Though it need not be always used for the exercises, it should be constantly referred to as a standard, and strict attention should be given to it in the earlier lessons. When you have learnt to sing the notes of a tune correctly, then set your metronome swinging, and practise singing the tune at the proper rate, or "in the right time." After considerable practice has taught you to keep the accents at regular and equal distances, you will only need your pendulum to give you a correct idea of the "rate of movement," before you commence singing a tune. An accomplished solo singer, or instrumentalist, need not confine himself to strict clock-time, but should vary the rate of movement according to the emotional VOL. I. THE BINARY MEASURE. Down (!) Up (:) THE TRINARY THE QUATERNARY Down (!) Right (:) Down (!) Left (:) Right (;) "To enable a number of performers," says Dr. Bryce, "to keep time, it is usual for a leader to guide them by a preconThis is called beating time. certed movement of his hand. .. Though it is most essential that every learner should be made to keep time-that is, follow his leader-it is by no means necessary that he should at first be able to beat time, that is, act as leader. It may be said that he requires to keep time when singing alone. This is true. But if his mental conception of time cannot guide him to a correct and regular movement of the muscles of the larynx, neither will it guide him to a correct and regular movement of the muscles of the arm. On the contrary, by making him first to regulate the motion of the arm by his mental feeling of time, and then to regulate the motions of his organ of sound by that of his arm, we give him two things to do instead of one, and therefore double the chance of going wrong by the very measures we take to keep him right. There can, therefore, be no greater practical blunder in teaching than the premature attempt to teach the beating of time to those who are yet struggling with the difficulties of the scale; and, instead of being any assistance to them in keeping time, it is the most effective hindrance." Dr. Burney, in his "Dissertation on the Music of the Ancients," prefixed to his "General History of Music," seems to have proved satisfactorily that one of the greatest improvements of modern music is, that we have learned to keep time with less external flourishing and hammering than was necessary in ruder ages, whose music was little more than an exaggerated way of marking the feet of the poetry to which it was sung. He concludes his account of the operations of the ancient Coryphæus, or leader of a choir, in the following words: "It was not only with the feet that the ancients beat the time, but with all the fingers of the right hand upon the hollow of the left; and he who marked the time or rhythm in this manner was called 'Manu-ductor.' For this purpose they used oyster-shells and the shells of other fish, as well as the bones of animals, in beating time, as we do castanets, tabors, etc. Both Hesychius and the Scholiast of Aristophanes furnish passages 18 - :-.f | m : d I d : .fm d. NOTATION OF SLURS, REPEATS, AND EXPRESSION. a. When two or more notes are sung to the same syllable, they are said to be slurred. The slur is indicated by a stroke beneath the notes. to confirm this assertion. What a noisy and barbarous music; Or thus :- The peculiarities of the old notation on the staff of five lines will be explained as we come to them, and at the proper period of his course our pupil will be more systematically introduced to them. He is already acquainted with most of the points relating to our "interpreting notation." They are, however, repeated below for the sake of distinctness. Observe that the notation of "slurs, repeats, and expression," applies alike to both notations. NOTATION OF THE RELATIVE LENGTH OF NOTES.-As the accents recur at equal intervals of time throughout a tune, marking aliquot parts of the measure, the relative length of notes can be clearly indicated by showing what proportion of the measure each note occupies. This is done by first placing the accent marks at equal distances along the page, thus | d.,r: m.,f | m.,r: d b. In some tunes it is required to repeat certain parts of the strain. The manner in which this is done is indicated by the following signs : : D. C. abbreviated from the Italian Da Capo, means "Return to the beginning." D. S. abbreviated from Dal Segno, means " Return, and sing from the sign." s. is used for the sign, and F. abbreviated from Fine, shows where such repetitions end. R. placed over a note shows that a repetition of words commences there. c. Greater "expression" is sometimes given to music by regulating the degree of force with which certain parts of the strain are to be delivered. This is done by means of the following signs placed over the notes: : f. abbreviated from forte, signifies loud. pp. very soft. d. Sometimes it is needful to indicate the manner in which that force is to be thrown in. For this purpose the following marks are used : denotes a swell, the voice commencing softly, becoming louder, and then closing softly. <denotes increasing force. denotes diminishing force. or over a note shows that it should be sung abruptly and with accent. e. The same piece of music often requires to be sung with different expression, according to the different words with which it may be used. In that case the marks of expression should be placed on the words. It is proposed that CAPITAL LETTERS, in printing, or double lines under the word in writing, should distinguish words to be sung louder than others; that Italic letters, in printing, or a single line under the word in writing, should indicate softness; that The acute accent' should denote special abruptness and decision of voice; that A stroke above the words, in printing, a succession of little strokes over or a stroke through the word in writing, should show a heavy movement; the accents being dragged along, and the lighter ones little distinguished from the stronger; and that The grave accent' placed on the words which fall to the strong accent of the music, should indicate a spirited movement, with marked attention to accent. A slower or quicker movement may be expressed by the words slowly or quickly. The "heavy movement" mentioned above necessarily tends to slacken, as the "spirited movement" does to quicken the pace of the singer. An analysis of the markings used in the Tonic Sol-fa System has elicited the following principles, which may be of use to the student--Passages should be marked to be sung softly in which (1) any peculiarly solemn or awe-inspiring thought is expressed; (2) a change from praise to reflection, or (3) from reflection to prayer. Passages should be marked to be sung loudly which express (1) joyful praise, (2) strong desire, (3) ardent gratitude, (4) high resolve, or (5) some inspiring thought. For a much fuller development of this subject of expression (verbal and 9. This mark, indicates that the note before it fills one-third musical) see the "Standard Course" of Tonic "Sol-fa Lessons,” of the time from one accent to the next, thus: and the "Tonic Sol-fa Reporter," Vol. VIII. THE STANDARD SCALE.-A certain note "about midway between the highest and the lowest that can be perceived by k. An aliquot or any part of an aliquot left unfilled indicates the ear" is fixed on by musicians as the standard of FITCH, and & pause of the voice, thus : the notes arranged upon it, according to the order of the common mode or scale already described, are called the standard scale. This note is called c. The second note of the |
