∗ For class teaching, two pointers are used: the teacher touches a figure of the diagram with a black pointer when it is to be sung, and with a white pointer when it is to be thought of. The white pointer is gradually dispensed with as the pupils gain confidence.Google Scholar

∗ Each of these chords has one note omitted. In their complete condition they offer no difficulty to the singer.Google Scholar

† The arrows indicate the order in which the columns are to be studied, commencing with those next to the figures. Thus, the first column should be sung from top to bottom; then the second in the same way; then the first and second together, and so on. In this table, therefore, are seven distinct and progressive exercises.Google Scholar

∗ Enharmonic of Fb major.Google Scholar

† Enharmonic of G♯ minor.Google Scholar

‡ Or tonic minor.Google Scholar

∗ In pointing accidentals on the Meloplast, a piece of cardboard may be fastened at the end of the pointer. When the edge is presented, a natural is sung, according to the line on which it rests; while a sharp or flat is sung according to the sign exhibited, thus:—Google Scholar

∗ By covering the lower black bare with a piece of paper, tie effect of the same phrase written in ¼ time is shown. Conversely, by uniting the two groups in each measure by a still lower bar, each measure becomes one beatGoogle Scholar

∗ Galin, Exposition d'une Nouvelle Méthode pour l'enseignement de la Musique, 1818, p. 162, note. These numbers show that he actually used Huyghens's cycle of 31 parts to the octave, the tone having 5 and the semitone E to F, 8 of these parts; see Ibid. p. 107, note. Chevé, Méthode, p. 292, implies that Galin gave two divisions to this interval, E to F.—A. J. E.Google Scholar

† This passage is quoted in the preface to my translation of Helmholtz.— A. J. E.Google Scholar

∗ Mme. Chevé (Ibid. p. 38) deals with the errors arising from this case also.—A. J. E.Google Scholar

† Chevé, Méthode, p. xlv.—A. J. E.Google Scholar