alternately in a time approaching to the vibrations of a church pendulum, there was a larger swell of which the others were but inconsiderable parts, and even a mightier still, of which this second was but a limb and portion. Something like this appears to be the nature of the undulations of musical notes. There is a great swell and a little one, and both of them contribute to the general effect. The examination may therefore on this principle be conducted in two directions :-first, to enquire what quantity of minor undulations may be within the compass of a bar or "measure"-and secondly, to ask whether bars themselves may not be fractions of greater undulations, and whether out of these again may not be constituted undulations of higher orders in succession, to an extent that can only be measured by the skill of the performer, and probably also by the cultivated sensitiveness of the hearer. Any person who will attend critically to the execution of superior instrumental performers, will be surprised to find to what an extent this species of 'linked sweetness' may be traced, and how large a number of bars may be formed into a connected whole, by means of the relations of what is here termed accent."

The Binary measure is the boldest of the measures and the one most easily felt or performed. It is by far the best for large masses of voice, and is well adapted to aid in giving majesty to a tune. Try "St. Stephen's" or "Bedford" first in the three-pulse measure (lengthening the accented notes) and then in the two-pulse measure, and you will understand the character of the Binary measure. The Trinary measure is well adapted to aid in producing a soft and soothing musical effect. When the tune is simple it is not unfit for congregational use. especially if the people have been trained to keep the accent. The adaptation of this measure to soft and soothing music is illustrated by its analogy (according to Dr. Bryce) to the breathing of health and rest. The Quaternary measure, when delicately performed, gives much elegance to a tune. It is adapted to congregational tunes when the movement is not too slow. Try the well-known tune "Vesper Hymn," taking care to give the medium accent. The Senary measure is commonly used in connexion with quick movements, and is naturally soft, light, and elegant. It is better adapted to secu lar than to sacred music.

NOTE.-Take a low sound of your voice for the key-note in this exercise. If any one gives you the pattern from an instrument, tell him to play in the key of D with two sharps. You understand that the letters are the initials of the notes on the modulator, and direct you in tracing out the tune there. The notes are placed, within the accent marks to which they belong. Doн occupies the whole of the loud "pulse" of the measure. ME fills the first soft pulse, and Soн the second. This is the Trinary measure. The second measure is easily understood. In the third measure you have the first DоH occupying two pulses (loud and soft), and the second Doн only one pulse. The horizontal stroke, as in the second pulse, always indicates that the preceding note is to be continued. Thus the last note of the exercise is continued through the whole measure. In the fourth measure, the third accent-mark is followed by no note. In the time of that pulse, therefore, the voice rests. If the previous exercises have been perfectly learnt

EXERCISE 10. THE SCALE.

from the modulator, you will probably be able to make this est without pattern. Be careful to give the proper accent. You ar strongly recommended not to study the "staff," at present, in arr of these exercises. It is printed here that you may be able to return to it when you have gained some command of voice and some knowledge of music itself, and are not likely to be perplexed by itầ numerous signs; but, if we may suppose that you have done this, then the following remarks will be of use. [The open note is twice as long as the closed notes. The empty "pulse," during which the voice rests, is represented by a distinct character, called a "rest." It tells you to rest as long as one of the closed notes, in the same time, would be sung. A dot after a note, in the oid notation, bids you sing that note half as long again. Thus you perceive that the relative length of notes is expressed by rymis, and not, as in the soifa notation, measured out pictorially by the regularly recurring accents placed along the page.]

2 All for the best; then FLING AWAY TERRORS, Meet all your fears and your foes in the van, And, in the midst of your dangers or errors, TRUST LIKE A CHILD, WHILE YOU STRIVE LIKE A MAN. NOTE.-You should take a rather low note for your Doн here. Tell your patterning friend-"the key of F with one flat." The hrst thing you will notice, in looking at this tune, is, that some of the "aliquots" or pulses have two notes in them. The dot which follows Soн, the second note, always means that the note before it takes half a pulse. It, of course, leaves the other half to the other note,-in this case ME. When you have carefully traced the first phrase of the tune (five notes) on the modulator, then sing it with special attention to this point,-letting the notes SOH ME (which are placed in one pulse of the voice) run from your tongue just twice as fast as the others. And so on with the rest. You will notice that both the first and second parts of the tune are repeated, so that it is not as long as it looks. If you find the "second" part of the tune low for your voice, pitch the key-note a little higher. Be careful to point on the modulator from memory.

All's for the best; for unbiassed, unbounded, Providence reigns from the east to the west, And by his wisdom and mercy surrounded, HOPE AND BE HAPPY THAT ALL'S FOR THE BEST. Remember that very tune, thus thoroughly learnt, becomes a power by which others will be more easily mastered. This tune, in its present arrangement, is taken from Mr. Curwen's "People's Singing Lessons." It is harmonised for three voices-"two Trebles and a Bass"-in his "School music," so as not to be discordant with the present harmony for two voices. You need not attempt the words yet. When you do, let those printed in CAPITALS be sung with increased force and loudness of voice; and those in italics with increased softness. [The square note is used to indicate the place of Don at the beginning of the staff, but it is not to be sung. The place of DоH, being thus once marked, is not afterwards indicated by a square note as in previous exercises. The pupil must learn to keep the place of Doн in his mind. The notes, with a tail to the stem, are to be sung half as long as those without the tail.]

Ignis, ignis, m. fire; civis, civis, m. a citizen; orbis, orbis, m. globe, the world; navis, navis, f. a ship; securis, securis, f. an ar; rupes, rupis, f. a rock; sedes, sedis, f. a seat; clades, cladis, f. slaughter; altare, altáris, n. an altar; ovíle, ovilis, n. a sheepfold. EXERCISES.-LATIN-ENGLISH.

Aves fallunt caelebes; matres occiduntur febribus; valde diligo mare; mare diligitur a nautis; agricolae colunt ségetes; nautae

sunt in navibus; in orbe est ignis; in ignibus sunt fratres; altaria sunt deabus; non ne diis sunt altaria? securi defendunt agricolae ovilia.

ENGLISH-LATIN.

Sailors defend ships with (their) bodies; birds are on the rocks; are rocks loved by sailors? slaughter injures the people; birds strike the clouds; axes defend the ships; the birds of the citizens are injured; the seat of the prince is praised; we conquer the companions of the princes.

General view of nouns of the third declension, according to their stems :

CLASS I.

Nouns with consonantal stems or imparisyllabic.

1st division; nouns without the termination s.

1st subdivision; nouns in which the nominative and the stem are the same; the stems end in r and l.

2nd subdivision; nouns in which the nominative and the stem art different; the stems end in n and s.

2nd division; nouns with the termination s, with the sounds k, t, p. CLASS II.

Nouns with vowel-stems, or parisyllabic.
With and without the termination s.

Some peculiarities belonging to this declension must be briefly indicated. The termination of the accusative singular is properly m, which is connected with the consonantal stem by the interposition of e. In the vowel-stems no interposing vowel is required, because there is a vowel in the stem. That vowel is i. Vowel-stems therefore end in im in the accusative, and in i in the ablative singular; for the most part, however, they in usage have e in both. However, in sitis, thirst, tussis, a cough, and vis, strength, i only is used. Vis is a defective noun; vis is thus declined; singular, vis, vim, vi; plural, vires, virium, viribus, vires, vires, viribus, the plural being complete and regular. In these nouns,—namely, febris, a fever; securis, an ax; pelvis, a basin; turris, a tower; and restis, a cord, im is more usual than em; but less usual than em is it in classis, a fleet; messis, a crop of corn; clavis, a key; navis, a ship. The ablative singular has for the most part i (perhaps from ie) instead of e in parisyllabics with the vowel-stem in i. In imparisyllabics with consonantal stems, is the usual ablative termination, but is sometimes found, derived from the usage in the vowel-stems.

Nouns which make the ablative singular in i make the genitive plural in ium instead of um; and nouns neuter, which in the ablative singular end in i, in the nominative, accusative, and vocative plural end in ia. Adjectives of the third declension, in general, follow the declension laws of the nouns, only that in the ablative singular they prefer i. Adjectives of the third declension are of two sorts; first, those that have three terminations, as, alacer, m., alacris, f., alucre, n., lively, active; second, those that have two terminations, as the comparitive, vilior, m. and f., vílius, n. meaner; under this second class may stand such as ferox, fierce, which in the nominative singular is m. f. and n. (accusative, 7ocem), but in the plural has for the neuter a separate form in ia, as ferocia.

DECLENSION OF AN ADJECTIVE OF THREE TERMINATIONS. EXAMPLE: Acer, acris, acre, sharp; acute, pungent, energetic.

Cases.

A. bono púero

boni púeri

bonorum puerórum bonis púeris

A. bonos púeros

bona soror bona soróre

Plural.

bonae sorores bonárum sorórum

bonis sororibus

bonas sorores

bonae sorores

bonis sororibus

bono nómine

bona nómina

bonorum nóminum bonis nominibus bona nómina

bona nómina

bonis nominibus

EXAMPLES: Campus viridis, m. a green field; herba viridis, f. a greet

herb; gramen viride, n. green grass.

Cases.

Singular.

Singular.

Plural.

N. campus viridis

G. campi víridis

D. A.

campo víridi

campum víridem

herba viridis herbae viridis herbae viridi

V. campe víridis A. campo viridi

herba víridis herbâ viridi

gramen víride

grámine víridi

OTHER FORMS OF ADJECTIVES OF TWO TERMINATIONS. EXAMPLES: Major, m. and f.; majus, n. greater; audax, m, f. and n. (audacem in acc.); audácia, n. plural, bold.

G.

campórum virídium

herbarum viridium

D.

A.

campos vírides

herbas vírides

Singular.

Plural. F.

A.

campis viridibus

herbis virídibus

N.

grámina virídia

gráminum virídium gramínibus viridibus grámina virídia

grámina viridia

graminibus virídibus audax femina, f. a bold

woman; audax animal, n. a bold animal.

N. audax vir

D.

audáci viro

A.

audácem virum

Plural.

Cases. M. and F.

Nom. audax

audax

Nom.

audaces

N. audácia audácium

ADJECTIVES AND NOUNS OF THE THIRD DECLENSION-

Declined together. Cases Singular. N. acer odor, m, a pungent smell dulcis mater, f. a sweet mother G. acris odóris, of a pungent smell dulcis matris, of a sweet mother D. acri odóri, to à pungent smell dulci matre, to a sweet mother A. acrem dórem, a pungent smell dulcem matrem, a sweet mother V. acris dor, O pungent smell dulcis mater, O sweet mother A. acri odóre, by a pungent smell dulci matre, by a sweet mother Cases.

G. acrium odórum, of pungent smells dulcium matrum, of sweet mothers
D. acribus odóribus, to pungent smells dulcibus mátribus, to sweet mothers
A. acres odóres, pungent smells dulces matres, sweet mothers

V. acres odóres, O pungent smells dulces matres, O sweet mothers
A. acribus odóribus, by pungent smells dulcibus mátribus, by sweet mothers
Cases.
Singular.
N. majus opus, n. a greater work rudis miles, m. an untrained soldier
G. majoris operis, of a greater work rudis militis, of an untrained soldier
D. majori operi, to a greater work rudi míliti, to un untrained soldier
A majus opus, a greater work rudem militem, an untrained soldier
V. majus opus, O greater work rudis miles, O untrained soldier
A majore opere, by a greater work rudi milite, by an untrained soldier

Fortis, e, brave; mortális, e, mortal; immortális, e, immortal; omnis, e, every one, in the plural, all; gravis, e, heavy, severe; indústria, ae, f. diligence; litterae, arum, f. letters, literature, knowledge; littera, in the singular, signifies a letter of the alphabet; litterae in the plural means also a letter, that is, an epistle (epistola); fundamentum, i, n. a foundation; avis, is, f. a bird; hostis, is, m.

V.

audax vir

audax animal

A. audáci viro

audáci animáli

Cases.

N.

audácia animália

audácium animálium

D.

audácibus animálibus

A.

audáces viros V. audáces viri

A.

audácibus viris

audaces féminae

audácibus féminis

following

an example of the latter in the annual meadow-grass, on which the stems or bents are in flower for nearly six months of the year.

All grains belong to the humble tribe of grasses. They are annual plants, which complete their vegetation generally in a few months, and never in longer time than a year. All send up a hollow straw, or culm, which is divided into lengths by joints; at these joints the leaves are inserted, one at each joint on the alternate sides of the stem, and each leaf embraces the stem for some length like a sheath. These stems, moreover, always contain a portion of silex or earth of flint, hence their firmness and stability, while their ashes are useful for polishing articles formed of wood, horn, ivory, and some of the softer metals. The last leaf of the season becomes a sheath to the newly-formed flower, embracing it for a time so firmly that the sheath cannot be opened without difficulty. With the growth of the flower it bursts open its sheath, rises above it, and the leaf then turns backward.

The small yellow points which beautify an ear of wheat, when in flower, are the anthers, and there are generally three stamens. Two threads always appear at the top of every seed; these, called the styles, are pretty objects when viewed through a glass. Sometimes they are peculiarly elegant, as in the case of the floating sweet-grass. The head or ear consists of an uncertain number of flowers, followed by seeds. The plant on which many people chiefly depend for food is called corn by them; as wheat is in England, oats in the northern lowlands of Scotland, rye in the sandy districts on the southern shores of the Baltic Sea, and maize throughout the United States of America. Let us look for a few moments at wheat, some varieties of which are exhibited in the following engravings:Fig. 2.