mistakes. The papil who has to teach himself, with only an accas.onal pattern from some voice or instrument, must make himself taragg perfect in pointing on the modulator, and anging those pices in which he has had the advantage of a pastern, and they will help him to the rest. The first sign of DALLADON in a learner is that he knows when he sings wrong. Let him & rays, in that case, go back to the key-note and emri, ani - try again." Many persons have taught themselves to sing in this way, often making mistakes of which they were irmorant for a while, but discovering their error and the means cf scrrecting it, in their efforts to sing some following exercise. A teacher always by our side will, doubtless, save us from many misunderstandings and blunders; but he who cannot enjoy this advantage, may work on sturdily and hopefully without one. Let him remember that his first business is to use the modulator so constantly that it shall become "printed" in the eye of

memory.

This introduces as our next topic that simple way of writing vocal music which we intend to use as the companion and interpreter of the more difficult and complex "old notation," of which we hope finally to make you master. It is the invention of an excellent and intelligent lady-Miss Glover, of Norwich-and has been modified and adapted to popular purposes by Mr. Curwen, in his "Grammar of Vocal Music," "Tonic-Solfa Edition of the People's Service of Song," and other works. It consists of the first letters of the solfa syllables, which you have used in learning a tune from the modulator, written down. And if you have used the modulator till you are able to carry one "in your mind's eye," this simple notation answers the purpose of pointing out the notes on that mental scale. But let it be remembered that this notation should never be used apart from a perfect modulator either on paper before the learner, or clearly seen in his mind's eye. When we remember that to secure this mental modulator it is only necessary to learn the proper position of seven notes, the effort does not appear a difficult one; yet, so inrooted is laziness in some people, that we have found many who go on using the solfa syllables to no advantage for years, without taking the trouble to learn this little ten minutes' lesson, which would make those syllables, in connection with the power of association just described, clear interpreters of music to them. You will perceive, then, that these notes of the new notation do not appear to our own pupils as they would to others, only on one horizontal line, but seem, as they sing them, to rise or fall to their proper places in the scale. Some persons have objected to this marking of the notes by the solfa syllables, saying, "If the old notation must be learnt at last, however difficult it is, because it contains all the stores of classical music, then why not begin with that at once? why teach two notations ?" First, because there is really no trouble in teaching the solfa notation; we have seen children in an infants' school use it before they had learnt to read. It was to them, as we have described it, simply the letters from the modulator "written down." Secondly, because the old notation presents such difficulties to the learner as to make it impossible to teach music in any short time by its means alone. Many of the best systems make use of some simpler notation to interpret the old. Mr. Gall, of E linburgh, Mr. Waite, and some others, make use of a notation by figures. Dr. Bryce, of Belfast, uses both the figures and the solfa syllables. And we have lately learnt that a sort of solfa notation was printed under the notes with some of the very earliest English psalm-tunes. It consisted of the initial letters of the solfa syllables placed under the notes much as we shall use them. Thirdly, because the use of some such new notation is the quickest and most perfect means of gaining a real command of the old. Already, by the method which we are now developing, many children in day-schools, in addition to a large number of adults, have learnt to sing "at sight" from the old notation.

It is of small consequence what syllables are used for this purpose. A great variety have been used at different times. We have chosen those given above because they are best known, only changing SE into TE for the sake of having a different initial letter from SOн. We have given the English spelling of the syllables instead of the Italian, as we have nothing to do with the Italian language in these lessons.

I. be easily noticed that, at certain distances throughout voice is delivered with increased distinctness and combination of distinctness and force is called

"accent." Close observation will enable you to distinguish three degrees of accent thus produced-the louder (or stronger), the softer (or weaker), and the medium. Listen to a well-sung tune more closely still, and you will find that the accents recur in regular order, and at equal distances of time. Take care to verify all these assertions by singing some well-known tune yourself, or by listening to another. Then remember that-the distance of time from one of the louder accents to the next is called a MEASURE. (It is sometimes inaccurately called a BAR.) The distance of time between any accent and the next is called an ALIQUOT, or equal part, of the measure. It may also be called a "pulse" of the voice. There are four sorts of MEASURE in common use.

The BINARY or Two-PULSE MEASURE contains two aliquots, one having the louder and the other the softer accent. We use an upright bar to represent the louder accent, and two dots to represent the softer. The binary measure may, therefore, be represented thus:

:

:

: :|: : :|: : or : 0:0 : | : etc. You perceive that these measures often begin on the softer or medium accents, but the imperfect measure is always completed at the end of a tune. Much of the delicacy and expressiveness of music depends on this proper recurrence of accent, sometimes called rhythm. By neglect of this a properly beautiful tune is often made dull, heavy, and unmeaning, while careful attention to it will give beauty to some of the plainest melodies. Many of our most popular tunes owe their effect almost entirely to

rhythm, and it forms nearly the sole power of such instruments as the drum and the tambourine. It makes even the regulated step of the soldier and the dancer akin to music. The philosophy of the origin of our sense of rhythm is treated very admirably in the appendix to Dr. Bryce's "Rational Introduc tion to Music." He shows its connection with the pulsations of the heart, which are multiples of the respirations of the lungs. "About the commencement of each expiration of the breath, there is one moment at which the effort, whether muscular or elastic, is stronger than at any other time in the whole breathing. This is most apparent in a person sleeping soundly, when the mechanism of the body, not being controlled by the mind, follows unceremoniously its own laws. .. Between the expiration and inspiration there seems to intervene a pause, during which the lungs are at rest; but during or immediately after great bodily exertion-running for example-this pause disappears, and expiration succeeds inspiration immediately, or with a very brief period of rest. The same happens when the breathing is impeded by disease. ... Hence, a respiration may be divided into two (Binary) or into three (Trinary) parts. If into three parts they will be-1st, expiration; 2nd, pause; 3rd, inspiration. If into two-1st, expiration; 2nd, inspiration."

Rhythm in its fullest sense has a wider range and more delicate expression than can be given within the boundaries of a single measure. General Thompson (Westminster Review, Oct., 1832), very beautifully describes it thus:-"Whoever has been rocked in a boat upon what in plain prose may be called 'the ocean waves' will have been conscious that besides the petty furrow which lifted its head and stern 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 inquire 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."

LESSONS IN FRENCH.-X.

SECTION 1.-FRENCH PRONUNCIATION (continued).

IV. NAME AND SOUND OF THE CONSONANTS.

52. H, h.—This letter is used in the French language in two ways, usually styled mute and aspirate-a definition perfectly intelligible to natives of France, but not equally so to others, that is, to foreigners. Let us explain. When we say h is mute, every one knows what is meant; but when we say h is aspirate in the French language, we do not mean that it ever has the same sound as h in the English words have, high, hold, and hull, that is, a forcible breathing, or emission of the voice at the commencement of a word. There seems to be a misapprehension of this matter with many writers and teachers, not natives of France. It is believed that the true theory is this, namely-the French never sound the h. It is with them, virtually, always mate. But, besides being mute, it has a particular duty to do, so to speak. But when we say h is aspirate, we only mean that the vowel immediately following partakes so much of the property of a consonant, as to prevent elision with the preceding cel. The following examples will illustrate our meaning very clearly, viz.:

not hay-ro, as an Englishman would pronounce it, with a strong guttural articulation. But to add to the force and office of the aspirate h in the word héros, let the article le be placed before it, thus-le héros. Now, if the h were mute, these two words would become one in pronunciation, viz.-léros. The h not being mute in this word héros, but aspirate, what is its office? It enables the following letter é to prevent elision with the e of the word preceding it, and consequently, the two words must be pronounced as if printed le-é-ros.

One side

Thus it will be seen, that one particular use of the aspirated his to prevent elision of the two vowels between which it may chance to be placed, in being the initial of a word. H aspirate is best determined by consulting a French dictionary, because no particular and definite rule can be given for distinguishing it from k mute. It must be granted that this whole matter is now considered debatable ground among orthoepists. affirms that the h aspirate is never sounded, any more than h Ente is, but serves the sole purpose of preventing elision. The other side affirms that the aspiration is very slight, which, in common conversation, amounts to nothing, but is barely observable only in serious reading, and the use of devotional language. One thing, however, is quite certain that a native Frenchman never aspirates the h of his own language as we do in pronouncing the words have, high, hold, and huli.

53. J, j.-This letter has the sound of the two English letters sh. In the two English words, glazier and azure, the z Las the sound of zh, viz.-glazhier and azhure.

54. K, k.—This letter has the sound of the English k in all situations.

55. L, 1.-This letter has the sound of the English 7 in nearly all situations, except when used with the vowel i, as a liquid. In a few words, I final is silent. The dictionary will best determine which these are.

56. M, m.-When initial, the letter m has only the sound of the English m. It is used in nasal combinations like the following, viz. :— im,

and in old French :

am,

um ;

ym,

Mûre, f., mulberry.
Nèfle, f., medlar.
Noisette, f., hazel-nut.
Noix, f., nut.

Orange, f., orange.
Pêche, f., peach.
Poire, f., pear.

Poirier, m., pear-tree.
Pomme, f., apple.

Pommier, m., apple-tree.

Prune, f., plum.

Prunier, m., plum-tree.

Raisin, m., grape.
Vigne, f., vine.

ETC.-FOREST TREES, ETC.
Peuplier, m., poplar.
Rameau, m., bough.
Sapin, m., pine.
Saule, m., willow.
Tilleul, m., linden-tree.
Tremble, m., aspen.
Tronc, m., trunk.

Anguille, f., eel. Baleine, f., whale.

Brochet, m., pike.

Carpe, f., carp.

Chevrette, f., shrimp.

Ecrevisse, f., crawfish,

Lièvre, m., hare. Lion, m., lion.

Loup, m., wolf.

Mule, f., mule.

Ours, m., bear.

Poulain, m., colt.

Pourceau, m., hog, swine.
Renard, m., fox.

Singe, m., monkey.
Taupe, f., mole.
Tigre, m., tiger.

15. POISSONS.-FISHES.

1. Votre beau-frère est-il plus âgé que le mien ? 2. Le vôtre est plus jeune que le mien. 3. Quel âge a votre belle-mère ? 4. Elle a près de cinquante ans. 5. Quelle heure est-il maintenant? 6. Il est six heures passées. 7. Etes-vous certain de cela? 8. Oui, Monsieur, j'en suis certain. 9. Est-il plus de deux heures à votre montre ? 10. Il n'est que midi à ma montre? 11. 12. Je n'ai pas Avez-vous plus de cinq ans, mon enfant ? encore quatre ans. 13. Avez-vous plus de six mètres d'indienne? 14. J'en ai moins de trois mètres. 15. Combien d'aunes de ruban votre beau-père a-t-il ? 16. Il n'a guère de ruban, il n'en a qu'une demi-aune. 17. Est-il midi moins un quart? 18. I est plus tard, Monsieur; il est midi et quart. 19. Quel jour du mois avors-nous? 20. Nous avons le six Octobre. 21. N'estce pas le huit Février? 22. Non, Madame, c'est le huit Mars. 24. Il n'en a 23. Combien de jardins a votre cousin-germain ? qu'un, mais il est très-bean. 25. Il en a plus de dix.

EXERCISE 34.

1. How old is your brother-in-law? 2. He is fifty years old. 3. Is your sister-in-law older than mine? 4. No, Sir, my sisterold? 6. No, Madam, he is only sixteen. in-law is younger than yours. 5. Is your son twenty-five years 7. What day of the month is it (have we) to-day? 8. It is (we have) the eleventh. 9. Have you the twentieth volume of Chateaubriand's works? 10. No, Madam, we have the eleventh. 11. What o'clock is it,

lo vingt ans,

I am more than twenty.

It wants a quarter of one. 15. It is a quarter after five. 16. How many yards of this holland (toile de Hollande, f.) have you? 17. I have ten ells and a half. 18. I have six metres of it, and sixteen yards of Italian silk. 19. Is your mother-in-law younger than your father-in-law. 20. She is younger than he. 21. Are you twenty years old? 22. No, Sir, I am only nineteen and a half. 23. Are you sure (súr) that it is ten o'clock? 24. Yes, Madam, I am sure of it. 25. Is it twenty minutes of ten? 26. No, Sir, it is a quarter before twelve (midi). 27. How many houses have you? 28. I have only one, but my sister-inlaw has two. 29. Have you mine (f.) or yours? 30. I have neither yours nor mine, I have your son-in-law's. 31. Has your mother-in-law five yards of that printed calico? 32. She has only two yards of it. 33. What o'clock is it by (a) your watch? 34. It is half-past four by my watch. 35. It is more than seven o'clock by mine (ì la micane).

accurately 39 inches.

LESSONS IN PENMANSHIP.-X.

WITH the three copy-slips on this page the learner will finish the series of copies that is based on letters or combinations of letters formed of the bottom-turn, top-turn, top-and-bottomturn, and straight stroke. In our next lesson we shall give the self-teacher a new letter, which is in itself an elementary form that enters into the composition of the majority of the letters that he has yet to learn to write.

If any of those who are endeavouring to acquire a knowledge of the art of Penmanship from our lessons will now take the trouble to glance over the thirty-four copy-slips that we have placed before them, they will see by how gentle and easy a gradation we have led them on from the first simple stroke, known as the bottom-turn, to words involving combinations of all the four elementary strokes that have hitherto been brought

him

hitt

by drawing or dragging," or the word hull, which means the "frame or body of a ship," the huge black mass that floats upon the waters that sustain it, and from which rise the tapering masts and network of cordage that give grace and beauty to a vessel's form. It is unnecessary to mention more cases in which confusion would arise from a want of proper attention to the relative proportion of the strokes of which letters are formed. The reader can find out many for himself by altering the height or length of strokes above or below the lines that contain the body of the letters in any copy-slip that is either a combination of letters, or a word that conveys a distinct and special meaning of its own. A clear and legible handwriting is what every man should strive to attain, whatever may be his rank or station in life. Many suppose that it is vulgar and commonplace to write a legible hand-that it shows good breeding to write such a serawl that it is impossible for any one but an expert to decipher

pull

before their notice. The words in Copy-slips Nos. 33 and 34 will bear efficient witness to the truth and propriety of the statement we made in our last lesson, that unless due attention be paid to the relative proportion of the strokes of letters that extend above or below the lines that contain the body of any letter, the appearance of any handwriting will be far from pleasing, as it will be wanting in that harmony that is so absolutely necessary to satisfy the eye. Suppose, for instance, that in Copy-slip No. 33 the letter 1 in the word hilt had been carried no higher than the t, how unsatisfactory would have been its aspect: or, again, if the letter t in the same word had been carried as high as the 1, what trouble would the reader have to determine whether the writer meant what he had written to be the word that means the "handle of a sword," or that by which "rising ground" is denoted. Then, also, in Copy-slip No. 34, if the straight stroke of the p in pull were not carried down to its proper extent, but allowed to terminate a little below the lower of the lines that contain the letter u, what doubt would arise in a reader's mind as to whether the writer meant to write the word which means "to draw," or "to move

it.

How the notion has arisen it is difficult to say; but, to hazard a guess, it is fair to suppose that it originated in an idea that to be engaged in trade and commerce was low, and that as people in business generally wrote legibly and plainly, it was the stamp of a commercial huxtering spirit to go and do likewise. Happily, in our times legible handwriting is not thought unworthy of a man of education and good social position, while, indeed, it is one of the principal qualifications that is insisted on in those who aspire to the Civil Service and employment in Government offices. To write a good hand is one of the first steps towards the attainment of that liberal education which stamps a man as a gentleman without any of the adventitious claims that arise out of a man's descent and social standing, and it is now as absurd for any man to sneer at another because he can write legibly as it was for Jack Cade to dub the clerk of Chatham a villain because he was taken "setting of boy's copies," and to hang him as a traitor, with his pen and ink-horn about his neck, because he could write his own name, and had not a mark to himself, like, in Cade's estimation, "an honest plain-dealing man."

being made by the song of the letter The second person sugiar a firmel by alling to the root the letters test, the ptautin để the name person taking ten

of the present minute: toss from ute to praise), take cn, The root as found by removing the letters en from the form

and you get lat when as the root

The Prams Funnyed a made by adding to the root the 34. 29-03 prasing The Bergen Fahope is produced by prefixing to the root the 15. 2, 4, and suffering the etter sometimes et): tane g-at prosed

The Birgit vast is formed by combining the perfect participle vad puna minste if the atlary baden or jein, to ETI I 2 33 sa at tum jam. I have praised.

as fremed by staining the perfect participle TI I Ma a ca, as, sá hana gelist, I had

Participles.

PRIS. Seen praising. PERF Seizet, praised.

ve praise. you praise.

Babe, they praise.

#26

we praised.

I

ve ales suben, they will jare prasel