12th.-1 3 5 8, 8 5 3 1; 1 4 6 8, 8 6 4 1; 1881.

13th. 1 1, 33; 55, 88; 8 8, 7 7, 6 6, 55, 44, 33, 2 2,1 1.

14th.

-

-1 2 3 2 1; 2 3 4 3 2; 3 4 5 43; 4 5 6 5 4; 5 6 7 6 5; 67876 ; 7 8 7 6 5 4 3 2 1.

15th. 1 2 1233; 232344; 343455; 45 45 66; 5 6 5 6 7 7 ; 6 7 6 7 8 8; 8 8 8 8 ; 7777 6666; 5 5 5 5; 4 4 4 4; 3 3 3 3; 2 2 2 2; 1111; 18; 8 1.

Besides these ten minutes on the scale, (which should not occur next to singing the hymn, but after some other exercise has intervened,) it is an excellent plan to let the Kindergarten close with singing songs by rote. The words should be simple, such as "The Cat and the Sparrow," and other pretty melodies to be found in the Pestalozzian Singing Book and the many compilations prepared for children. For it is well for the child not to go out of the natural octave, and to have the words of songs adapted to the childish capacity. Besides this singing, the piano-forte should be used to play marches, as the children go from one room to another to their different exercises. "Order is Heaven's first law," and music is the heavenly voice of order, which disposes to gentleness and regularity of motion. As all the exercises change every quarter of an hour at least, this brings the marching to music as often; and it will last one or two minutes, sometimes longer. The children get accustomed to rise at the sound of the piano, and it will be easy to make them silent during the music, especially if it is hinted to them that soldiers always march in silence. Besides this, the piano is necessary for the gymnastics, and for the fanciful plays, which are always to be accompanied by descriptive songs.

A few songs and plays are given in this Guide, which, if taken in turn, will recur not oftener than once in ten days. We subjoin a description of the plays.

I will finish this chapter by a translation from a notice of "Enseignement Musical, d'aprés Froebel, par Fred. Stern,

prix, 2 francs: En vente à Bruxelles, rue de Vienne, 16, et à Paris, rue Fossés St. Victor, 35." "A man to be complete, should be master of linear and musical expression. Most of our education aims only to give him lingual expression; and drawing and music are considered accomplishments merely! The divine art which enables us to reproduce the human figure illuminated with the expression of the spirit, a mere accomplishment!* Music, the melodious expression of our most intimate thoughts, the colored reflection of the heart, a mere accomplishment!

"Life is sad, monotonous, earthy, without the arts. If a woman of the middle and higher classes especially, does not daily realize the higher life by knowledge of truth and love of beauty, what shall save her from the frivolity and ennui that gnaws away the heart, tarnishes the soul, and brings misfortune to the fireside? Every woman should be an artist, and make artists of her children, if she would do a woman's whole duty. Especially should the mother teach her children to improvise music, which can be done by pursuing this method.

"He commences by the study of the three sounds constituting the major triad, and, as in the model gamut, or gamut of do, there are three similar triads, three perfect major chords, do-mi-sol, fa-la-do, and sol-si-re, we begin naturally with the central chord, do-mi-sol, which we name the master chord; for, in the model gamut of do, it is around this, as around a centre, that the two other triads balance themselves, the lower fifth, fal-la-do, and the higher fifth, sol-si-re. We can show the unity of plan between these three established notes, in all the possible changes. We thus introduce a fine variety

* There is no excuse for its being so considered in Boston, now that Dr. Rimmer, the remarkable sculptor of the Falling Gladiator, has founded the true method of teaching to draw the human figure. It is indeed a method which it is not probable any person of less profound knowledge of the human figure than himself, (a practical surgeon as well as artist,) together with genius less bold and original, can conduct as he does; unless he shall train such teachers.

into the exercises, which permits the repetition of the same sounds and intervals, without causing fatigue or weariness to the child.

"Scarcely have our pupils learned to sing or to repeat alone, at will, the three sounds do-mi-sol, when we have them mark them with pencils on the staff (key of sol); only as in the unity of tone there are yet the two other perfect chords, fala-do and sol-si-re, we let them write the three notes of the central chord with a red pencil, and reserve the three sounds of the chord on the left, (the lower or subdominant,) to be written with a yellow pencil, and the chord on the right, (higher or dominant,) with a blue pencil. On the other hand, for the appellative chords (dissonant,) made by the combination of the chord sol-si-re, with one, two, and even three notes of the chord fa-la-do, we use green pencils (mixture of blue and yellow). For we would keep the theory in mind by visible signs, which act most powerfully upon the minds of children.

but

"Then we pass to perfect minor chords, and terminate this first branch of our method by the study of the gamut. "Our pupil knows as yet only a single tone, the tone of do, which we designate by the name of model tone; all musicians are aware that to know well one tone, is to know them all, since they are all calculated on the model tone with which we began. The second part of our method will treat of the other tones, but it will prove no serious difficulty to our pupil.

"We have carefully avoided scientific terms, though doubtless, by a learned terminology, we should have struck superficial minds more. But we address ourselves to the serious, who know that it is better to know a thing in itself, (in what constitutes it essentially,) without knowing its technology, than to know obscure terms and be ignorant of the thing.

Later, we shall initiate our pupil into the language generally adopted by all treatises on harmony. We wish that one day he may be a distinguished harmonist, knowing mu

sical grammar at the foundation. It is strange that the study of grammar, so vigorously recommended for all other languages, is so entirely neglected in respect to musical language. The study of harmony seems to be reserved exclusively to artists; and even among them, only the few who are occupied with composing devote themselves to it with any profoundness. It is to this culpable negligence that we must attribute the difficulties of musical education. Where is the intelligent musician who would dare to deny the happy results inseparable from the most profound study of music? The scholar would necessarily have to give much less time to know the art in the best manner, which is now accessible only to remarkable persons of strong will. The grammatical study of music should begin at the same time as all other studies, and soon music would become the language of all, instead of being reserved exclusively to the privileged.

"Doubtless great reforms will be necessary to arrive at this result, and the spirit of routine which unhappily reigns everywhere will render such reforms difficult.

66

However, we found great hopes on the inevitable development of the method of Froebel, for the principles he lays down are of general application."

I am myself so profoundly impressed with the importance of little children's beginning music in this manner, that, having found a teacher who is capable of it, I intend, another year, to have extra hours for those who will commence instrumental music, in my own Kindergarten; so that each child can have a lesson every day, and only play under the eye of the teacher until quite expert.

2米

CHAPTER IV.

PLAYS, GYMNASTICS, AND DANCING.

IN playing THE PIGEON-HOUSE, the teacher, who should always play with the children, takes three quarters of the number, and forms them into a circle, while the other quarter remains in the middle, to represent the pigeons.

The circle is the pigeon-house, and sings the song, beginning with the words:

"We open the pigeon-house again,"

while, standing still, they all hold up their joined hands, so as to let all the pigeons out at the word "open ;" and, as the circle goes round singing,

"And let all the happy flutterers free,

They fly o'er the fields and grassy plain,

Delighted with glorious liberty,"

the pigeons run round, waving their hands up and down to imitate flying. At the word "return," in the line

"And when they return from their joyous flight,"

the joined hands of those in circle are lifted up again, and the pigeons go in. Then the pigeon-house closes round them, bowing their heads, and singing,

"We shut up the house and bid them good-night,"

which is repeated while the circle swings off and again comes together bowing.

The play can be done over until all in turn have been pigeons.

In playing HARE IN THE HOLLOW, a fourth of the chil