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A BREVE (a note seldom used).

A SEMIBREVE-half as long as the Breve.

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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.

EXERCISE 14. Copy the following into the old notation. You may sing the first to the words "Hot cross buns! One a penny burs! One a penny, two a penny,-Hot cross buns !" See it harmonized in Mr. Hickson's" First Class Tune Book." Write it first with a crotchet to correspond with a beat, and then again with a minim for a beat.

KEY B flat. (Don on the third line).

|d :d │d : - | tud: r.t1|d: ~| m.d: d.d f.r:r.r

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D.C.

| r

Is :f
lf :m
m :m
r :r Im r
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 The following words are sometimes put into the title of a tune to indicate vaguely the rate of movement. 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.

A DEMISEMIQUAVER-half as long as the Semiquaver. of notes is the "Metronome."

A

A DOT 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 solta notation. The pen is a thorough teacher.

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In the first space.

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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:

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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.)
\r :d :r m

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ny

old

rags.

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Oh! be just. Ch: be true. Be kind and tender-hearted, and mer-ry too. NOTE. Some of the quavers are "tied." This is a round for two or four voices, from Mrs. Herschell's "Fireside Harmony."

The second is a round for six voices, and may be sung to the | from the c tuning-fork, an octave below that which a woman words, "God save the Queen; Long live the Queen; Let the Queen live; Let the Queen live for ever and ever, Amen."

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The examples hitherto given of the old notation all use the crotchet as the standard "aliquot." You have, therefore, had no difficulty in finding what measure (Binary, Trinary, Quaternary, or Senary) they should be written in. But the crotchet is not thus invariably used as the aliquot except in the books called "People's Service" and "School Music," and some others. Certain marks are, therefore, necessary to show the nature of the measure. These marks are called "Time Signatures," and are put at the beginning of a tune. By "time," in this case, is meant "measure"-rhythm-the arrangement of accents. The letter Cat the beginning of a staff sometimes indicates the Four-pulse (Quaternary) measure, and sometimes the Two pulse (Binary) measure. It is occasionally found with a perpendicular line through it. The usage of this line or bar is equally dubious, though it appears to have originally implied a secondary accent in each "bar," or the measure. You will often be obliged to listen to a quaternary" measure. few phrases of the music itself before you can tell what the rhythm really is. The other marks for measure are more definite. They are formed by placing two figures one over the other, on the commencement of the staff. The upper figure shows how many aliquots," or beats, there are in a meusure. The lower figure shows what note is used for the aliquot. "Two," when used as the lower figure, stands for the Minim, or that which divides the Semibreve into two parts. "Four" represents the Crotchet, or that which divides it into four parts. Eight" represents the Quaver, or that which divides it into eight parts. Thus "two with "four" under it, indicates a "bar," or measure of two beats, a crotchet to each beat. "Two," with "two" under it, shows that the measure has two beats with a minim to each. They are different ways of writing the BINARY, OR TWO-PULSE MEASURE. 'Three, two," "Three, four," and "Three, eight," represent different appearances of the TRINARY, or THREE-PULSE MEASURE. Six, four," and "Six, eight," represent the SENARY, or SIX PULSE MEASURE. "Nine, four " and " Nine, eight," (nine crotchet, and nine quaver measure) represent a Trinary Measure in which the aliquots frequently have a triplet rhythm. "Twelve, four," and "Twelve, eight," represent two Senary Measures in one "bar." We have noticed that "Four, two," and "Four, four," are coming into use for the QUATERNARY MEASURE, and that such doubtful marks as the plain and the barred c are 'going out."

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The following are a few examples of "Time Signatures."

takes from the same fork. This clef is chiefly used on the fourth line, for the tenor (higher man's) voice,-and on the third line, for the contra-alto (lower woman's, or rarely high men's) voice. It is called the c clef.

EXERCISE 17. Write three of the preceding rounds in the proper clef for the tenor voice, putting a square note for DOH in the place proper to its pitch, but not on the lines or spaces before mentioned. Write them also in the proper clef for the contraalto voice. See questions in Curwen's "Grammar of Vocal Music," p. 155.

A mark, which is said to have been originally made in the shape of a capital G, makes the line on which its lower curve turns, to represent the & above the "standard c." It is called the G CLEF. It is commonly used on the second line, in which position it adapts the staff to the TREBLE or soprano (high women's). voice. The preceding examples in the old notation are all written as though they had the G CLEF before them.

EXERCISE 18. Write the contra-alto and the tenor "parts" of Brailsford's Chant" given below, into the G CLEF. Although this mode of writing them is clearly inaccurate, it is that most commonly used at the present day. You will find that the. of the staff. We recommend you to write it on the lower part, can be written either on the upper or the lower part lest it should have the misfortune to be sung above the air.

"contra-alto

A mark like c turned backwards, followed by a dot on each side of the line on which c bends, makes that line represent F below the "standard c." It is generally placed on the fourth line, for the BASS VOICE.

BASS CLEF, and copy the following into the solfa rotation. EXERCISE 19. Write three of the preceding rounds in the

The four clefs which are most used are shown in the following example. It is "Brailsford's Chant" arranged for four voices, and written in "the proper clefs." The first line gives the first Treble or Soprano part, the second the Contralto, the third the Tenor, and the fourth the Bass. The square note at the beginning of each staff is used, for the present, to show the place of the key note. They must not be sung. The other notes without stems are the untimed reciting notes of the chant. They may be sung as crotchet, minim, or semibreve, according to the number of words recited on them.

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The G Clef on the second line, called the Treble Clef, and the F Clef on the fourth line, called the Bass Clef, are used almost (( stanEXERCISE 16. Put the proper "time signatures" to all the exclusively in popular music books. The position of the preceding examples from the old notation. dard scale" in connection with these clefs should therefore be carefully studied. Let it be noticed that the "standard C" is expressed by the first ledger line below the staff of the Treble Glef, and by the first ledger line above the staff of the Bass Claf. The c' which the tuning fork gives is in the fourth space of th Treble Clef.

ABSOLUTE PITCH AND CLEFS.

The old notation seeks to represent the notes not only in their relative pitch (that is, as compared with the key note), but also in their absolute pitch in the scale of sound. But as the staff of five lines is not large enough for this, certain marks called CLEFS, are placed at the beginning of each staff, which decide the absolute pitch of the line on which they stand, and adapt the compass of the staff to that of the voice or instrument for which it is used.

A mark, like an H with two strokes joining its upright bars, makes the line which passes between those two strokes to represent "the standard c." The same sound which a man takes {

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C

OF THE KEYS AND THEIR SIGNATURES.

You are always to suppose that the staff is in the key of C, unless some sign is placed at the beginning which points to another key note. Hence the key of c is called the natnral key (although it is not really more natural to the ear or voice than any other), and the other keys in use are developed from this. The diagram at the side represents the key of c, with its "semitones " between the third and fourth, and seventh and eighth. If we take the fifth of that key (G), and wish to raise another key upon it, the diagram will show you that we shall require a new note, instead of F, and a "chromatic semitone" above it; in fact, the TU of "transition.". In order, then, to adapt the staff to the key of a, a mark like a double cross, called a sharp," is placed on F, at the beginning. It means that all the F's on the staff are raised to suit the key of

G.

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If, again, we take the fifth of that key D, for a key note, it will only cost you the drawing of another diagram to prove that we shall not only need the F sharp, but also another sharp upon c.

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LESSONS IN GREEK.-No. XVI.

BY JOHN R. BEARD, D.D.
EXERCISES.-GREEK-ENGLISH.

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Adj.

Gen. Plural.

Adverb.

φιλος, loving
καλος, beautiful

φιλων
καλων

φιλως, lovingly

καλως, beautifully

ἁπλοῦς, simple

ἁπλῶν

πας, all

παντων

παντως, altogether

σωφρων, wise

σωφρονων

σωφρόνως, wisely

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EXERCISE 20. Develop by diagrams four other keys ascending by fifths. Remember that in reckoning musical intervals you include the two extreme notes.

μεγας, great
αληθης, true
συνηθης, accustomed συνηθων

αληθως, truly

συνηθως, according to

custom.

The terminations Oɛv, Ot, and de form adverbs by being added to nouns, pronouns, and verbs, to signify relations of place; thus ev denotes, from a place (whence), Oi, at a place (where), and dɛ, to a place (whither); e.g. ovpavolev, from heaven; ovpavoli, in heaven; ovpavovde, to heaven. With

If now we take the fourth of the c key (or F) for a new key note, the diagram will show you that we shall want a new note instead of B, a chromatic semitone lower, in fact the FI of "transition." In order then to adapt the staff to the key of F, a mark called a flat is placed upon B at the beginning. It makes all the B's on the staff "flat. EXERCISE 21. Develop by diagrams four other "flat keys" pronouns de becomes oɛ, thus alors, to some other place; so ascending by fourths.

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These "flats" or sharps "at the beginning of the staff are called the "signature" of the tune. Their only use to the singer is to point out the key note.

TO FIND THE KEY NOTE, therefore, remember that the last sharp towards the right hand stands upon TE (TE, the "piercing note, will easily associate in the memory with sharps), and that DOH is consequently the next above. Remember also that the last flat towards the right hand stands upon FAH (associate "flat" with "desolate note") and that DOH is the fourth below.

with ɛke, there, as EkɛɩGE, thither. In the plural of the substantives in as, σδε passes into ζε, as Αθηναζε for Αθηνασδε; from Αθηναι, ων, the city Athens.

Adverbs of place terminate in w, as avw, above; karw, below; εw, without; εow, within. ɛžw, There are many adverbs which are obviously cases of nouns or pronouns, as εžaπivηs, (so in Latin, derepente) suddenly; Tov, somewhere; òrov, où, where; avrov, there; ovdaμov, nowhere; these adverbs are all genitives.

Accusatives are also common, as πρwηv, at the dawn; μakpav, a long way; TEрav, beyond the river, whence the country along the east side of the river Jordan had the name of Peréa, that is, the other side: dwpɛav, gratis, gratuitously; onμɛpov, to-day (Lat. hodie); avpɩov, to-morrow'. (Lat, cras).

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Comparison of Adverbs.

Adverbs of manner have commonly no peculiar adverbial termination, but employ, in the comparative, the neuter singular, and, in the superlative, the neuter plural of the corresponding adjectives. The same fact may be stated thus, namely, that the neuter singular of comparatives may be used adverbially, that, with an adverbial signification; and that the neuter plural of superlatives may be used with an adverbial signification; e.g.

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EXERCISE 23. Write from memory the signatures of the keys xapievтws (xapusis), charmingly xapıσrepov G, D, A, E, F, B flat, and r fat. These are the keys most used. Το ευδαιμονως (ευδαιμων), happily ευδαιμονέστερον ευδαιμονεστατα remember these signatures, notice the place of the first sharp aoxows and of the first flat. Then the sharps descend a fourth, ascend ήδεως a fifth, and so on; while the flat signatures ascend a fourth, descend a fifth, and so on. Thus they necessarily fall into | ταχέως parallel rows. Verify these remarks, and they will greatly help your memory.

The note Tu is expressed in the old notation by a sharp before the note which would otherwise have been FAH, except in tunes with flat signatures, when a "natural" is used instead.

(Taxus), swiftly θᾶττον

ήδιστα
ταχιστα

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The comparative and superlative of most other adverbs of gods; περιπαθης, ες, sufering greatly, acutely sensible to ser place end in w, as

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εισι.

EXERCISES FROM THE CLASSICS.-GREEK-ENGLISH. 1. Παν το σκληρον χαλεπως μαλαττεται. 2. Ο ουρανος χαλκους εστι τα εξω. 3. Έλεγεν ὁ Βιας, ατυχη ειναι τον ατυχιαν μη φεροντα, 4. Ἡ φιλοσοφια διδασκει, ότι δει μητ' εν ταις ευπραγίαις περιχαρεῖς ὑπαρχειν, μητ' εν ταις οργαις περιπαθεις και θηριωδεις. 5. Πώς η αχάριστοι, η αμελεις, η πλεονεκται, η απιστοί, η ακρατεις ανθρωποι δυνανται φιλοι γίγνεσθαι ; 6. Ο πλουτος και τα εκτος αγαθα χωρις αρετης ανωφελη εισι τοις εχουσι. 7. Τις ορνις ευφωνότερα εστιν αηδονος ; 8. Αἱ δευτεραι πως φροντίδες σοφωτέραι. 9. Δαρείου και Παρυσάτιδος γιγνονται παιδες δυο· πρεσβυτερος μεν Αρταξερξης, νεώτερος δε Κυρος. 10. Γυναίκες ανδρων φιλοπενθέστεροι 11. Το αδικειν κακιον εστι του αδικεισθαι, 12. 'O Αγησίλαος περι του μεγάλου βασιλεως ειπεν. Τί γαρ εμου μείζων εκείνος, ει μη και δικαιότερος; 13. Ζηνων όρων του Θεοφραστον ἔπι τῳ πολλους εχειν μαθητας θαυμαζόμενον, ὁ εκείνου μεν χορος, εφη, μείζων, ὁ εμος δε συμφωνότερος. 14. Σοφός Σοφοκλης, Ευριπίδης σοφώτερος, ανδρων δε πάντων Σωκράτης σοφωτατος. 15. Η μελιττα φυσικως εν τοις ανθεσι εξανευρίσκει το λειοτατον μελι και χρηστικωτατον. 16. Παντες, ά επίστανται, ῥᾷστα τε και ταχιστα και καλλιστα και ήδιστα εργαζονται. 17. Καλως και ανδρείως έκαστα ποιει. 18. Ο Αστυάγης, καλως, εφη, εποιησας, προειπων. 19. Τους άλισκομένους, ὡς κακως κλεπτοντας τιμωρούνται. 20. Αδηλον εστι ειτε βελτιον είτε κάκιον εσται. 21. Πῶς καλλίον η ευσεβεστερον τιμψη θεους; 22. Σωκρατης ιδων μειρακιον πλουσιον και απαιδευτον, ιδου, εφη, χρυσουν ανδραπαδον.

VOCABULARY.

1. okλnpos, a, ov, dry, hard; rav ro. The article is frequently used in Greek when it must be omitted in English, as in general propositions; μαλαττομαι, I am softened.

exterior.

ing ; θηριώδης, ες, like the animals, lou, douncast.

5. αχάριστος, η,

ov, ungrateful; αμελης, ες, neglectful; πλεονεκτης, αναricious; απιστος, unfaithful.

6. εκτος, adv. without; τα εκτ. αγ. external goods, advantages ; ανωφελης, ες, useless; χωρις, apart from; τους εχουσι, to those who have (them), that is, their possessors.

8. πως, how, somehow, some way, in a measure; the adverb restricts or qualifies the statement.

9. Δαρείου και Παρυς. These genitives depend on παιδες ; we should say, D. and P., have two sons.

10. φιλοπενθης, ες, fond of mourning ; πενθος, ους, το, grief, lamentation.

11. το αδ. The infinitive mood with the article is often equivalent to a noun in English, to injure another is worse than to suffer an injury.

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12. ὁ μεγ. βασιλ. the great king, that is, the king of Persia, who was the great king to the Greeks ; εκείνος, he, that one.

13. όρων, seeing, pres. part. from οραω; επι τῳ, &c., in conse quence of having many disciples ; χορος, our chorus, here class, audience ; συμφωνος, ον, agreeing, harmonious ; ὁ εμος, mine ; literally, the mine.

14. ανδρ. παντ. σοφωτ. &c. The superlative governs a genitive; thus we say in English “ the fairest of women.

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15. φυσικως, naturally, by natural impulse; λειος, α, ον, soft, mild, sweet ; χρηστικός, η, ον, useful.

18. εποιησας (from ποιειν) thou hast done; προειπων, in fore telling (that).

19. τους άλισκ. the captives ; άλισκειν, to take, capture; κλεπτειν, torol; τιμωρεομαι, I punish.

20. εσται, it will be, future of ειναι

21. τιμφη, could he honour ? τιμαω, I honour.

22. μειράκιον, a young man, ανδραποδον, ου, τo, a slave.

ENGLISH-GREEK.

Wise men seek not external advantages. Women suffer very much in adversity. An intemperate man cannot become a faithful friend. The nightingale is the sweetest (in voice) of birds. Girls are more given to sorrow than women. The wisest (man) is greatest. I am admired for having much wealth. How can men admire me for having much wealth My brother is wise, my father is wiser, the philosopher is wisest. Children naturally love their parents. Fight, Ο citizens, well and bravely for (περι) your (the) city.

Certes, j'ai eu souvent dépit de voir des juges attirer, par fraude et fausses espérances de faveur ou pardon, le criminel à découvrir son fait, et y employer la piperie et l'impudence. Il servirait bien à la justice, et à Platon même qui favorise cet usage, de me fournir d'autres moyens plus selon moi: c'est une justice malicieuse; et ne l'estime pas moins blessée par soi-même que par autrui. Montaigne

On est quelquefois un sot avec de l'esprit, on ne l'est jamais avec du jugement.-La Rochefoucauld.

D'où vient qu'un boiteux ne nous irrite pas, et qu'un esprit boiteux nous irrite? C'est à cause qu'un boiteux reconnaît que nous allons droit, et qu'un esprit boiteux dit que c'est nous qui boitons; sans cela nous en aurions plus de pitié que de colère.—

Pascal.

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Ceux qui jugent d'un ouvrage par règle, sont, à l'égard des 'autres, comme ceux qui ont une montre, à l'égard de ceux qui n'en ont point. L'un dit: ily a deux heures que nous sommes ici. 2. τα εξω, in regard to the things without, that is, on its L'autre dit: il n'y a que trois quarts d'heure. Je regards ma montre ; je dis à l'un: vous vous ennuyez; et à l'autre : le temps ne vous dure guère, car il y a une heure et demie; et je me moque de ceux qui me disent que le temps me dure à moi, et que j'en juge par fantaisie: ils ne savent pas que j'en juge par ma montre. Iden.

3. τον μη φερ. that he who could not bear misfortune.

4. ευπραγία, ας, ή, prosperity, literally well-doing, from ev and πραττειν, I do, I am in a certain ccndition, as in our phrase "How do you do περιχαρής, very joyful, περι gives the idea of much or excess; όργη, ης, ή, anger, here used for adversity, considered as a consequence of the anger of the

Beaucoup de gens ne donnent pas leur bien, mais semblent le jeter. Je n'appelle pas libéral un homme qui 'agit comme s'il était en colère contre son argent.-Sênêque.

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