LESSONS IN MUSIC.-No. XXI.

(Continued from page 185, Vol. IV.)

OF ACCIDENTAL FLATS AND SHARPS,

AND RULES FOR RECOGNISING ON THE STAFF THE NOTES OF TRANSITION, THE DISTINGUISHING NOTES OF MINOR KEYS,

AND CHROMATIC NOTES.

ALL notes which differ from the ordinary notes of the key are distinguished in the old notation by flats, sharps, or "naturals," placed immediately before them, and are known by the common name of "accidentals." They are not, however, truly accidental, for each one has a distinct musical character and a special purpose, as will appear from the previous sections. It is important, then, that the pupil, when he sees the dumb sign of flat or sharp, should be able to discern its meaning, and to tell whether it indicates a transition of the whole music into this or that related key, with such or such a peculiar effect, or merely a chromatic variation without changing the key.

The note ru being substituted for FAH of the previous key, and being about half a tone above it, is represented by a note in the place of FAH, with a sharp before it. It is often called the "sharp fourth." Thus :

TE into FI.

BAH, being used instead of FAH, and about half a tone above it, is represented, like Tu, by a note in the place of FAH, with a sharp, or, in flat keys, with a "natural," before it. Some treat it as the same thing as TU. It is commonly called the "sharp sixth (reckoning from LAH) of the minor key."

NE, being used instead of son, and about half a tone above it, is represented by a note in the place of son, with a sharp, or in keys with three or more flats in the signature, a "natural" before it. It is commonly called the "sharp seventh (reckoning from lower LAH) of the minor key." Thus,

The "natural" indicates the removal of some previous flat or sharp, and the restoration of the note before which it is placed to its position in the (so-called) "natural" key. It thus sharpens a note previously flat, and flattens a note previously sharp.

The power of the "accidental" sharps, flats, or naturals, extends to any notes similarly placed in the after part of the same measure (or bar), even when the sign is not repeated, but no further. Hence the necessity for putting a flat before the returning FAH. It would not have been required if there had been a bar between it and the previous TU.

Accidentals are, however, frequently placed before notes where they are not absolutely needed, especially in cases where the compaser fears that the singer or player might be in danger of mistake. However useful this practice in helping bad players, it is

VOL. IV.

N1, being about half a tone above the son of its own key, which corresponds with DOH in the original key, is represented by a note in the place of DOH, with sharp or natural before it as the case may require. It is the "sharp seventh of the relative minor of the subdominant key." It is a note of frequent occurrence. Nu, being about half a tone above the soн of its own key, which corresponds with RAY in the original key, is represented by case may require. It is seldom used. a note in the place of RAY, with sharp or natural before it as the

In consequence of the attempt of the old notation to combine the expression of absolute with relative pitch, and to mingle, for this purpose, the symbolic notation of flats, sharps, and "naturals," with the pictorial notation of the staff, several difficulties arise in connexion with this subject. For instance :

How shall we express the note NE (the sharp seventh of the minor mode) in the key of E? The answer is-By putting a sharp on B, which is the son of that key. But is not в SHARP regarded by the learner (and described by many teachers) as the same thing as C NATURAL, and will not this cause a puzzle? Yes, it is the misfortune of the notation to do so. But there are two reasons why C NATURAL would not be correct; first, because it would not point out the note (SOH) instead of which the NE was used; and secondly, because the real position of NE is only a chromatic parttone (three degrees) above B (soн), and not a tonule (five degrees), as the c NATURAL would make it. Thus :

How shall we express NE in the keys of в and F SHARP, or tu in the key of F SHARP, for the note which we would sharpen is already sharpened in the signature? May we use the so-called "natural" note above? No. Reasons corresponding to those given in the last case compel us to invent a new symbol called a double sharp. This placed before the note which would have been SOн, indicates the origin of the NE, and shows more accurately its position. Again :

How shall we express a chromatic sharp when the note has been sharpened before in the signature, or a chromatic flat when the note has been flattened before in the signature? For these purposes we shall require, in addition to the double sharp already mentioned, a double flat. These double sharps and flats are also needed on other occasions.

"after a

When the note which would be FAH is raised, by sharp or natural, what does it indicate? Tu-the "returning TE previous FI-in minor tunes BAH-or with FAH preceding, the chromatic FOI.

When the note which. would be RAY is raised, by sharp or natural, what does it indicate? Nu-or with RAY preceding, the chromatic ROI.

When the note that would be Don is raised, by sharp or natural, what does it indicate? Ni-or if DOH precede, the chromatic DOI. How do you distinguish the chromatic note? By its being immediately preceded by that from which it springs. So might be called NE, but when preceded by son it has a different effect on the mind from NE, and therefore should be distinguished. So also When these points have been once thoroughly understood, the pupil will find little difficulty in recognising the ordinary "accidentals" as he comes upon them. Extraordinary accidentals may still occur, which it is difficult to decipher from the signs of the old notation, and perhaps difficult to explain on the principles of music.

with for and Tu.

OTHER SYMBOLS OF FREQUENT OCCURRENCE.

For an explanation of all the terms and signs that are ever used in music, we must refer to such works as Hamilton's Shilling Dictionary of Musical Terms," published by Cocks, London, and Saroni's Musical Vade Mecum," published by Mason and Law, New York. But a few signs of frequent use remain to be explained.

THE DOUBLE BAR generally indicates the close of a line in the poetry or a "passage" in the music. A row of dots before it (or sometimes two dots) means that the preceding part of the music should be repeated. A row of dots after it (or even apart from the double bar) shows that the passage which follows will have to be repeated. Try to sing the following.

A curve with a figure three in the centre is put over a triplet of notes when they should be sung in the time of two. A small curve with a dot in its centre, when placed over a note or rest, allows to give to that note or rest any length of time which you think good taste requires. A dot or strike above a note shows that it should be sung "staccato," or shorter than the note would ordinarily be. Saroni says that the dot does not indicate so decided a staccato" as the stroke.

Je lis pour la première fois un bon livre, et j'y prends le même plairir que si je faisais un nouvel ami. Je relis un livre que j'ai lu, c'est un ancien ami que je revois.-Voltaire.

La lecture est une partie du devoir de l'honnête homme.Christine.

On ne peut avoir l'âme grande, ou l'esprit un peu pénétrant sans quelque passion pour les lettres.-Vauvenargues

Aimer à lire, c'est faire un échange des heures d'ennui que l'on doit avoir en sa vie contre des heures délicieuses.-Montesquieu.

Ce n'est pas dans les choses extraordinaires et bizarres que se trouve l'excellence de quelque genre ce soit. Les meilleurs livres sont ceux que chaque lecteur croit qu'il aurait pu faire; la nature, qui seule est bonne, est toute familière et commune.. Je hais les

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