Page:Popular Science Monthly Volume 30.djvu/806

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THE POPULAR SCIENCE MONTHLY.

${ \override Score.TimeSignature #'stencil = ##f \time 2/4 \relative a' { \grace bes4^\markup { \smaller \italic "D minor." } a2 | \grace g4 a2 \bar "||" \grace b4^\markup { \smaller \italic "A minor." } a2 | gis4 a2 \bar "||" \grace d4 c2 | \grace b4 c2 \bar "||" \grace f4 e2 | \grace d4 e2 \bar "||" } }$

${ \override Score.TimeSignature #'stencil = ##f \time 2/4 \relative d' { \cadenzaOn d4^\markup { \smaller \italic "In C." } c f e a g c \cadenzaOff \bar "||" \partial 4 a^\markup { \smaller \italic "On the Dominant." } | g c | b e | d \bar "||" } \addlyrics { Will you please to tell me that? Oh no, oh no, oh no! } }$

${ \override Score.TimeSignature #'stencil = ##f \relative d' { \cadenzaOn d4 cis d e f e f g a \bar "||" \break c g a e f2 c4 e g2 f \bar "||" } \addlyrics { Will you be my friend and help me now? Yes, I am your friend, and will help you. } }$

Common conversation is generally held in the major mode, and in the same key:

${ \override Score.TimeSignature #'stencil = ##f \override Score.Rest #'style = #'classical \relative g' { \cadenzaOn g4 e c r a' g e c d \bar "||" g c r e,8 e g4 c, \bar "||" } \addlyrics { Good mor -- ning, how are you to -- day? Thank you, I am quite well. } }$

But when sad and pathetic it is in minor:

${ \override Score.Rest #'style = #'classical \override Score.TimeSignature #'stencil = ##f \key c \minor \relative c' { \cadenzaOn c4 g' ees f f8 g ees g d4 g c, \bar "||" g' r g8 ees'4 c \bar "||" } \addlyrics { To -- day I heard of a ve -- ry sad e -- vent. Say, what is it? } }$

An unfriendly reply is mostly in an unrelated key:

${ \override Score.TimeSignature #'stencil = ##f \relative a' { \cadenzaOn a4 a g g f e d c g \bar "||" fis' dis' dis8 dis b4 \bar "||" } \addlyrics { Will you please to do me this fa -- vor? No, cer -- tain -- ly not! } }$

Every person has his own fundamental and favorite key in which he generally speaks, but which he often transposes higher or lower in sympathy to other voices, and when he is excited. In divine service at church I have heard the minister begin in his natural key, and the choir sing the response in a higher key; when the minister, possessing a musical ear, gradually rose to the tone of the choir. In one instance the minister began the communion service in E flat, and the choir and organ gave the response in F. The minister gradually raised his voice, and by the fourth commandment met the tone of the choir, wherein he continued to the end.