4. Il y a means there is, or there are, and may be followed by When it snows we remain at home. 20. Are there ladies at a singular or plural noun [§ 61, 2].

THE POPULAR EDUCATOR.

9. INDICATIVE PRESENT OF THE IRREGULAR VERES, CONDUI-RE, 4. to conduct. ECRI-RE, 4. to write.

LI-RE, 4. to read.

Je conduis, I conduct, do J'écris, I write, do write, Je lis, I read, do read,
conduct, or am

ducting;

Tu conduis,

Il conduit.

Nous conduisons,
Vous conduisez,
Ils conduisent.

con

or am writing.

Tu écris,

Il écrit,

Nous écrivons,

Vous écrivez,
Ils écrivent.

RESUME OF EXAMPLES.

Votre parent écrit il bien?
Il écrit assez bien et assez vite.
Nous avons assez de livres.
Nous sommes assez attentifs à nos
leçons.

Voilà la demoiselle dont vous
parlez.

Votre cheval n'est il pas dans le
champ?

Il n'y est pas, il est dans le jardin.
Allez vous en France cette année?
Nous allons à Paris et à Lyon.
Où conduisez vous ce jeune homme?
Je le conduis en Allemagne.
Demeurez vous à la ville?
Nous demeurons à la campagne.
Allez vous souvent à la chasse?
Nous allons quelquefois à la pêche.

Associé, m. partner. Canif, m. peninafe. Campague, f. country. Chasse, f. hunting. Commis, m. clerk.

or am reading;

Ta lis,
Il lit,

Nous lisons
Vous lisez,
Ils lisent.

Does your relation write well!
He writes well enough and rapidly
enough.
We are attentive enough to our les-
We have books enough.
There is the young lady of whom you
speak.

Is not your horse in the field ↑

It is not there, it is in the garden.
Do you go to France this year ?
Where do you take this young man!
We go to Paris and to Lyons
I take him to Germany.
Do you live in the town!
We live in the country.
We sometimes go fishing.
Do you go often hunting.
EXERCISE 65.

Fort, very.
Peche, fishing.
Prusse, f. Prussia.
Rapidement, rapidly.
Rend-re, 4. to return.

Suisse, f. Switzerland.
Terre, f farm, estate.
Ville, f. town, city.
Vite, quickly.
Voyage, m. journey.

1. Ecrivez vous encore la même leçon? 2. Je n'écris plus la même, j'en écris une autre. rapidement? 4. Il écrit fort bien, mais il n'ecrit pas vite. 5. 3. Votre commis écrit il N'avez vous pas assez d'argent pour acheter cette terre? 6. J'ai assez d'argent, mais j'ai l'intention de faire un voyage en

LESSONS IN MUSIC.-No. VII.

By JOHN CURWEN.

M. JEU DE BERNEVAL, in his expensive but admirable work "Music Simplified," uses certain signs for the notes of the scale, which well illustrate the closing remarks of our last Jesson. He represents von, the key-note (the strongest of the aree pillars of the scale), by a square firm-standing note; on, the fifth (next to the key-note in strength), by another, but standing on an angle; and ME, the third (also a strong note), by the ordinary round note; TE, the seventh (the most marked of the notes of "suspense and dependence." commonly called "the leading note," because of its "leading" to now, the key-note), he represents by a triangular shape pointAng upwards, as though indicating its desire for DOH; FAH, the fourth (which is next in its leaning tendency), he marks by another triangular note, but pointing downwards, as though ready to resolve itself on Mn; LAH and RAY are expressed by other signs which need not now be described. (LAH is a #quare with the sides hollowed out, and RAY a crescent moon.) We have seen another work in which the imagination of the author has represented the scale in the form of a four-barred gate, us, now, and upper nou being the strong bars of die gate, white vacious animals and objects clinging to them ant fath the various characters of "the leaning notes." We mention these illustrations for the purpose of retaining your attention in the great musical faci to which they point, and ingroasting them in your memory. For the same purpose we ack your attention to the Rllowing summary by Mr. Hickson (ap Weatuluater Review" and pretace to "Part Singing") id M deu de Berneval a viewa: "After all we attach comKey(2. Avadang mukea.

1

France. 7. Voilà votre livre, en avez vous besoin? 8. Je besoin de mon canif? 10. Je n'en ai plus besoin, je vais vous n'en ai pas besoin, j'en ai un autre. 9. Avez vous encore le rendre. 11. Notre cousin demeure-t-il à la ville? 12. I ne demeure plus à la ville, il demeure à la campagne. 13. Aime-t-il à aller à la chasse? 14. Il n'aime pas à aller à la chasse. 15. Il va tous les jours à la pêche. 16. Notre associé est il à Paris ou à Rouen? 17. Il est à Marseille. 18. Où avez vous l'intention de conduire votre fils? 19. Je vais le conduire en Italie. 20. Demeurez vous à Milan ou à Florence? 21. Je ni demeure ni à Milan ni à Florence, je demeure à Turin. 22. Votre ami demeure-t-il en Suisse? demeure plus en Suisse, il demeure en Prusse. 23. Il ne domestique est il à l'eglise? 25. Non, Monsieur, il est à l'école. EXERCISE 66.

24. Votre

16.

enough in your library? 4. I have not books enough, but I 1. Does your clerk write as well as your son? 2. He writes tolerably well, but not so well as my son. 3. Have you books intend to buy some more. 5. Here is your sister's letter, will you read it? 6. I intend to read it. 7. Does your son like to go fishing? 8. He likes to go fishing and hunting. 9. When does he like to go fishing? 10. When I am in the country. 11. What do you do when you are in the city? 12. When I am in the city, I read and learn my lesson. 13. Do you intend to go to France this year? 14. I intend to go to Germany. 15. Will you go to the city if it (s'il) rains; When it rains I always remain at home [R. 1]. 17. How many friends have you in the city? 18. I have many friends there. 19. Are there many English in France? 20. There are many English in France and in Italy (Italie). 21. Are there more English in Germany than in Italy? 22. There are more English in Italy than in Germany. 23. Is it fine weather in Italy? 24. It is very fine weather there. 25. Does it often freeze there? 26. It freezes sometimes there, sister? 28. She reads better than her sister, but her sister but not often. 27. Does that young lady read as well as her My father is at home. 31. Is your brother-in-law absent? reads better than I. 29. Is there any one at your house? 30. 32. My brother-in-law is at your house. 33. There is noone at home to-day.

paratively little importance to exercises on fourths or sevenths or any other intervals. They may be learnt by ear as well as thus made, but the pupil's great difficulty is in remembering, when nursery songs, and are so learnt in large classes. Progress is 4ths, 3rds, 6ths, and 7ths are grouped promiscuously together, what is the precise sound [mental effect] belonging to each. And to learn this without the incessant practice of professional singers (which makes it an affair not of mind but of habit) an appeal must be made to the understanding, and the pupil must be taught to mark the quality of the sounds characteristic of each interval. professor of sight-singing at the Royal Academy of Music], M. Jeu de Berneval's system [M. Jeu was from that of Wilhem, which is purely mechanical from beginwhich may be termed an intellectual method, differs entirely ning to end. M. Jeu draws the attention of his pupils to the fact that each interval [it would be more correct to say note] of the diatonic scale has a sound so peculiar to itself, that, when its character is once understood, they can never be at a loss to distinguish it from any other. For example, the 7th (TE) may be remembered by noting its tendency to ascend to the 8th (DOH). The ear cannot rest or repose on the 7th. It is a note of passage, leading to the octave of the key. The 4th (FAH) and the 6th (LAH) are in like manner notes of passage, but having a tendency to descend. The 4th (FAH) leading to the 3rd (ME), and the 6th (LAH) to the 5th (SOH). While the 1st (DOH), 3rd (ME), 5th (SOH), and 8th (upper DOH), are all notes of repose,-notes upon which the ear may rest,-employed, therefore, as the concluding chord of every composition, and remembered with ease as the most natural progression from the key-note to its octave. For example:

1

DоH (being the "governing" note) gives a sense of POWER to the hearer, and of SECURITY to the singer in a greater degree than any other. The singer feels it to be the note to which he can, from any point, most easily return. It is more easy to perceive musical effects, than to find words that will sufficiently represent them; but if names must be given, this note should be called (in reference to its effect in a slow movement) THE STRONG or firm NOTE. Soн has a similar effect to DоH, but is not equal to it in power. It may be distinguished (when sung slowly), as THE

GRAND or clear NOTE.

ME has a somewhat graver and softer effect than sox. It may be denominated (especially in slow movements), THE STEADY or calm NOTE.

Let the learner in the old notation pay no attention to the new marks at the beginning of the staff. They will be explained in their place. They are inserted here for the sake of those who understand music. He has only to look for the place of DOH, indicated by the square note as before.] The way to impress these distinctions on the mind is, after having given the explanation, to sing or play to the pupil various intervals and to direct him to write them down, finding out for himself what the intervals are by listening attentively. We would strongly recommend the frequent repetition of such an exercise as one of the most profitable in which a pupil can be engaged. The teacher, however, must be careful, in singing, not always to use the same words or syllables, so as to give any other clue to the interval [note] than the actual sound [mental effect] belonging to it. [This is the practice of "copying by ear," which we shall recommend to our pupils in its proper place.] As an instance of the facility with which this power may be acquired, we may mention that we once heard a little boy, under six years of age (taught by M. Jeu), name correctly the intervals of every chord we struck on the pianoforte, the boy standing with his back to the instrument. Perhaps it is only the children of musicians-in the habit of hearing musical sounds from the moment of birth-In studying the following examples, let the pupil always strike who would at the same age attain an equal proficiency; but there is practically no difficulty in teaching either children or adults to distinguish by the ear separate intervals played upon a flute or a violin, and this kind of practice is generally as pleasing as it is profitable to the pupil."

Let us now simply state our own conclusions in reference to the three principal notes of the scale, asking our pupils to verify or reject them by observation.

KEY F.

When DOH, ME, and soн, predominate in a tune, they contribute to its general character, if the movement be a quick one, great BOLDNESS and DECISION; and, if the movement be a slow one, they give to it DIGNIFIED SOLEMNITY. Of course, the power of any particular note to give a character to the tune in which it occurs, will depend on the frequency and the emphasis with which it is used, and will be modified, also, by the kind of "measure" and the rhythmical arrangement in which it occurs. the chord of the key-note, and part, at least, of the scale before he begins to sing the phrase; for our assertions in reference to the mental effects of notes are not true, unless the ear is first filled with "a sense" of the scale in which they occur. For "dignified solemnity," notice the power of pOH, ME, and soн, in the following opening phrases from Handel. You wi remark how, in each case, the great artist takes advantage e these bold and grand notes to bring out, by contrast, a very KEY D.

The

m: Lord

is my shepherd, But another striking illustration occurs to us. A minister had heard, and had been greatly moved by Mendelssohn's song"O! rest in the Lord." He preached on the text, and thought much of that repose which comes, not with weariness or sleep, but with living blessedness. Sometime after, thinking on the power, of the notes of the scale, it occurred that Mendelssohn must surely have expressed the idea of rest in God, chiefly by means of the third note of the scale, ME, which we have called the note of serene repose. "If, by any other note," he said to himself, "that peculiar effect was produced on my mind so strongly, then the theory about mental effects must fall to the ground." He at once analysed the song, and found, that the

KEY C.

m:-
I-

rr
no't

m: want

r: d sha'll very first emphatic note was that which he had expected-that the power of this note was brought out, by placing it in evervarying but most effective positions; and, that even when the key changes, the ear is surprised and pleased by the recurrence again of this same third note in the new scale. Among other studies, in this delightful song, it was pleasant to notice the change in the manner in which the word "Lord" is expressed in the latter part of the song. At first, it is uttered with the firm and sure confidence of the note Dон; but, when that spirit of confidence has risen to a somewhat triumphant feeling, then it must use the "clear" and " grand" note

SOH.

See the conquering He

ΤΟ

comes;

Sound

m:-.fs:- dr.m:f.sf: mr-m.f:s.ls: s d': s:-m.r.d.r mrd:the trumpets, beat the drums. The chorus in Judas Maccabæus, "Lead on! Lead on!" | in which the "trumpet note" son is chiefly used. The EL begins thus,-KEY D. : 8 d' s d' s d' s d'. The ing are some of the phrases in which the call to arms a the call to arms in the same oratorio makes the most emphatic most bold and decided. use of these notes. The most inspiring call is evidently that

Again, in "Let the bright Seraphim" you have the follow- | have been given to the words by any other note of the ing bold phrase at the opening. Could this bold character scale KEY D.

The peculiar character of the note ME in connexion with a rather quick movement is strikingly illustrated by the opening | of the song, in the Messiah, "He was despised," in which the singer does not, for the moment, express sympathy with the despised one, but rather seems passingly to personate the despiser. As you sing lessen the accent to DOн, and throw a fuller force of voice on ME,

KEY Eb. M. 52. Quickly.

d':

an gel trum

|_ We remarked in the last lesson, the striking change in mental effect of a note produced by rapidity of movement, observed that, though seemingly opposed, these double effects do hold a real relation to each other. We sp LAH passing (by change of movement) from the “abandera of sorrow to the "abandonment" of joy. We have now the mental effect of DOн, MP, and son passing from the"-** fied and solemn" to the "bold and decisive," and, by tak yet quicker movement still, we may find these same never, mark you, passing into that emotional character belongs to TE, RAY, FAH, and LAH, but-expressing the hearty laughter holding both its sides" of which X wrote, and Handel sung.