Genre Music. Page - 1

These cavities reinforce the primary vibrations set up by the cords and serve to increase their intensity as they are projected from the larynx. The larynx is the vibrating organ of the voice. It is situated at the base of the tongue and is so closely connected with it by attachment to the hyoid bone, to which the tongue is also attached, that it is capable of only slight movement independent of that organ; consequently it must move with the tongue in articulation. The interior muscles of the larynx vary the position of its walls, thus regulating the proximity and tension of the vocal cords. The male larynx is the larger and shows the Adam's apple. In both sexes the larynx of the low voice, alto or bass, is larger than that of the high voice, soprano or tenor. The larynx and tongue should not rise with the pitch of the voice, but drop naturally with the lower jaw as the mouth opens in ascending the scale. The proper position of the tongue will insure a proper position for the larynx. The less attention the la

plinters. Antiquarians differrespecting the intent and meaning of this ceremony, which has beenconstrued and interpreted in many different ways. The strong probability isthat it was done "for luck;" and yet Lord Bateman should have been superiorto the prejudices of the vulgar.]

[Footnote 9:

If my own Sophia.

So called doubtless from the mosque of St. Sophia, at Constantinople; herfather having professed the Mahomedan religion.]

[Footnote 10:

_Then up and spoke this young bride's mother,
Who never vos heerd to speak so free._

This is an exquisite touch of nature, which most married men, whether ofnoble or plebeian blood, will quickly recognise. During the whole of herdaughter's courtship, the good old lady had scarcely spoken, save byexpressive smiles and looks of approval. But now that her object is gained,and her daughter fast married (as she thinks), she suddenly assumes quite anew tone, "and never was heerd to speak so free." It would be diff

d when writing the present tale, the gratuities received yearly by the musicians at Christmas were somewhat as follows: From the manor-house ten shillings and a supper; from the vicar ten shillings; from the farmers five shillings each; from each cottage-household one shilling; amounting altogether to not more than ten shillings a head annually--just enough, as an old executant told me, to pay for their fiddle-strings, repairs, rosin, and music-paper (which they mostly ruled themselves). Their music in those days was all in their own manuscript, copied in the evenings after work, and their music-books were home-bound.

It was customary to inscribe a few jigs, reels, horn-pipes, and ballads in the same book, by beginning it at the other end, the insertions being continued from front and back till sacred and secular met together in the middle, often with bizarre effect, the words of some of the songs exhibiting that ancient and broad humour which our grandfathers, and possibly grandmothers, took delight i

tells me he has the piece and that it is weak, having historic interest only. I cannot find much about the Polish poet, Julius Slowacki, who died the same year, 1849, as Edgar Allan Poe. Tarnowski declares him to have been Chopin's warmest friend and in his poetry a starting point of inspiration for the composer.

In July 1829, accompanied by two friends, Chopin started for Vienna. Travelling in a delightful, old-fashioned manner, the party saw much of the country--Galicia, Upper Silesia and Moravia--the Polish Switzerland. On July 31 they arrived in the Austrian capital. Then Chopin first began to enjoy an artistic atmosphere, to live less parochially. His home life, sweet and tranquil as it was, could not fail to hurt him as artist; he was flattered and coddled and doubtless the touch of effeminacy in his person was fostered. In Vienna the life was gayer, freer and infinitely more artistic than in Warsaw. He met every one worth knowing in the artistic world and his letters at that period are positive

im to know it) he is over-fatigued by the injudicious distribution of his lesson hours. Unluckily it is not easy to alter this; so pray, however strict you may be, show him every indulgence, which will, I am sure, have also a better effect on Carl under such unfavorable circumstances.

With respect to his playing with you, when he has finally acquired the proper mode of fingering, and plays in right time, and gives the notes with tolerable correctness, you must only then first direct his attention to the mode of execution; and when he is sufficiently advanced, do not stop his playing on account of little mistakes, but only point them out at the end of the piece. Although I have myself given very little instruction, I have always followed this system, which quickly forms a musician; and this is, after all, one of the first objects of art, and less fatiguing both to master and scholar. In certain passages, like the following,--

[Music: Treble clef, sixteenth notes.]

I wish all the f

ited repertory when she was indisposed. She never attended rehearsals, but came to the theatre in the evening and sang triumphantly, without ever having seen the persons who sang and acted with her. She spared herself rehearsals which, on the day of the performance, or the day before, exhaust all singers, because of the excitement of all kinds attending them, and which contribute neither to the freshness of the voice nor to the joy of the profession.

Although she was a Spaniard by birth and an American by early adoption, she was, so to speak, the greatest Italian singer of my time. All was absolutely good, correct, and flawless, the voice like a bell that you seemed to hear long after its singing had ceased.

Yet she could give no explanation of her art, and answered all her colleagues' questions concerning it with an "Ah, je n'en sais rien!"

She possessed, unconsciously, as a gift of nature, a union of all those qualities that all other singers must attain and possess consciously

for him, especially at this period, when he was entering manhood and eager to get at the works of contemporary composers. In those times only a small amount of the music that was written, was published. Many of the lesser works were composed merely to grace some social function, with but little thought given them as to their ultimate fate. It was customary to play from manuscript, copies of which were not readily attainable. In a city like Vienna new music was constantly being produced, occasionally at public concerts, but most often at social gatherings. The freemasonry existing among musicians and the wealthy amateurs was such that a musician of any talent was sure to be received, and put on a friendly footing. No other city in Europe afforded such opportunities for musical culture as did Vienna. It was the home of Mozart and Haydn and a host of lesser composers, as well as instrumentalists and singers. Music in one form or another was the chief diversion of the better classes, the wealthier of whom maintai

The cultivation of the Ear is of the greatest importance.--Endeavour early to distinguish each several tone and key. Find out the exact notes sounded by the bell, the glass, the cuckoo, etc.

* * * * *

Practise frequently the scale and other finger exercises; but this alone is not sufficient. There are many people who think to obtain grand results in this way, and who up to a mature age spend many hours daily in mechanical labour. That is about the same, as if we tried every day to pronounce the alphabet with greater volubility! You can employ your time more usefully.

* * * * *

There are such things as mute pianoforte-keyboards; try them for a while, and you will discover that they are useless. Dumb people cannot teach us to speak.

* * * * *

Play strictly in time! The playing of many a virtuoso resembles the walk of an intoxicated person. Do not take such as your model.

* * * * *

Learn betimes

This book is not finished yet... but I still think it is pretty good preview. I hope you enjoy.