The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1886-01-15
POTPOURRI PAPERS
By francis L. RAwsoN.
(Etqhth Paper ]

eighth Paper
1t is not necessary that the reader
should know who has asked this or that
question, nor do I think it would be
justice TO the parties to give their names.
| therefore refrain from so doing. All
questions, however, have been asked in
good faith. bearing the querist's name,
and a visible degree of courtesy.
Cues" Are there registers in the
voice. Ifso, how many, and what are
they?n
Ans. IF should answer these cues
tons according to my instructions and
experience, my answer to the first would
be, yes no ! and I do not knowl One
OF my first teachers made it very clear
to my mind that there are registers in
the voice, and when in my teaching /
could discover and point them out to nv
pupils / would congratulate myself on
having so honestly earned my money.
Notwithstanding that whatever had been
done to lay bare the registers must next
be undone to even up and smooth all
over again. But another teacher, equal
~ as good as the first, claimed that every
tone was produced by the self-same
organ, and that different registers were
impossible. Well, when a lady pupil
stands up before me and sings every
tone from lowest to highest, with equal
power and quality, ] can see how some
teachers are led to the conclusion that
registers do not exist. But, when an
9TH or md oyfo1> ~ a., ~, - 49,:
and I hear her sing with full, steady
voice the first four or five tones, and
then suddenly, as if two or three stops
of the organ had been put in, the tones
become light and fine until certain
point is reached, and then almost as
suddenly, as if other stops had been
drawn, the tones become firm, full. and
clear-then am forced to the opinion
that those who claim that there are
registers in the human voice are right,
The fact cannot be denied. The name
(register) We think is the only point
about which there can be any misunder-
standing. That these different qualities
known as registers do exist, no teacher
of any considerable experience or OBJ
servatlon can question, and in the alb.
sence of any better term why not call
them registers? In the female voice
there are three, more or less marked
In the male voice. there are two, that
are as well defined as the three in the
ladies' voice. Some teachers claim a
third in gentlemen's voices, also but ]
have never been able to make them ap-
parent to myself, and have taught two
only.
CUES" What is the meaning of
symphony"
Aas.-We will answer this question as
If it read, What is a symphony ~
which is, I think, what the person
wished to know. A symphony is kind
Of epic poem; or q sonata for the Or
chestra and sonata properly under
stood for the instrument, having effects
and using them, utilizing the instruments
for Its effects in the best possible man
ner. 1t is constructed of three, and
sometimes four movements, which are
all distinct from each other, but at the
same time form together one perfect art
work. The first movement is generally
marked " givace," sometimes played
very fast. 1t is constructed OF two
themes, generally, which I cannot here
explain. The second movement, an
dante, is ola quiet character, in direct con-
trast to the fast movement. Then there
may be very playful movement called
scltefso, generally intended to be as light
and joyous as it is possible to make it.
Then a elimination of the whole piece.
Sometimes choruses are brought in as
hymn practice, as in Beethoven's 9th
symphony. Generally it is purely in
strumental piece. The word "sym-
phony' is sometimes applied to the in
troductory and concluding instrumental
parts of a song.
CUES" Why do we not say major
tourths and fifths, instead of perfect
fourth5 and fifths p
Ans.-The term perfect and not major
is used for the fourths and fifths, because
when they are inverted, being perfect
intervals, they remain perfect intervals
For instance, G is a perfect fifth of G.; if
inverted, G becomes q perfect fourth of
G. The term major will not answer
therefor, because when major intervals
are inverted they become minor inter-
vais. When minor intervals are invert-
ed they become major intervals. For
example, q is major third of G.; when
inverted, G becomes minor sixth of E.
G is a minor third of A when inverted !,
A becomes major sixth of C.
The questions to be answered next
week are:
"How do you treat discouraged pu-
pils?"
did music originate in the human
mind?"
/" What is the effect on the auditory
nerve in the cultivation of Grassland
music?" -
" Is it orthodox to carry the tonic in
the mind while singing ~