sibly help ; put it back ; then move the finger to D sharp, play it several times ; thumb C sharp, thumb D sharp ; then take the second finger the same way and same notes ; thumb second and thumb third. Don't let the finger straighten out when you take the thumb out and put it back ; keep it curved. Then come the scales. To every scale there is a perfect and imperfect cord ; the perfect is I, 3, 5, 8, the imperfect is 2, 4, 5, 7 ; of course 1 is the key note of whatever scale you wish to play ; take C, 1 is C, E is 3, G is 5, and C is 8, that is the perfect cord ; 2 is D, 4 is F, 5 is G, and 7 is B, that is the imperfect cord. Play the cords in running order, take the perfect C E G C, then E G C E, then G C E G, then C E G C, and run them up two or three octaves back, then the imperfect the same way. Play the scale twice and each cord twice, and it makes a very pleasant practice, THE CARE OF INSTRUMENTS. Keep them clean and do not leave the cover up except while the instru- ment is in use, as small things often drop into them, causing great inconvenience, and often ruining a piano. Where the keys are thought to be out of order it is well to investigate, especially if there are children in the house, for even so small a thing as a button may make a deal of mischief. If the keys at any time become discolored remove the front door, fall, and slip of wood just over them ; then lift each key up sepa- rately from the front (do not take them out), and with a white cloth, slightly dampened with a little clean cold water, rub each one separately (white keys only), and dry off with a cloth slightly warm. Should they be sticky through children practicing after handling sweetmeats, etc., first damp the cloth with a little spirits of wine or gin. On no account use soap or washing powder. If the keys be very yellow, the only thing to be done, if too unsightly, is to have them properly whitened by a practical man. If only slightly yellow, keep clean and exposed well to the light, and they will gradually improve. REMARKS ABOUT VOCALISM. It should be the aim of every vocalist to produce clear tones and to sing plainly. The act of singing, as well as speaking, is simply the act of arresting the breath. We do not breathe while singing. The air is usually admitted and expelled spasmodically, playing upon the vocal chords as the wind plays" on an asolian harp. In order to sing well we must first understand the art of breathing. Can you run a long distance and breathe as calmly as when you started ? Can you climb a steep hill or mountain and arrive at its summit breath- ing no harder than when at its foot ? Can you sing a long strain and not " gasp " for air ? Try it ; you will find your tones decreasing in volume and sweetness, until, with a gulp, you give it up and take in REMARKS ABOUT VOCALISM. 287 more air, your whole body trembling-, ears ringing and throat burning with the exertion.

AI-modernized reading of the original text

sibly help ; put it back ; then move the finger to D sharp, play it several times ; thumb C sharp, thumb D sharp ; then take the second finger the same way and same notes ; thumb second and thumb third. Don't let the finger straighten out when you take the thumb out and put it back ; keep it curved. Then come the scales. To every scale there is a perfect and imperfect cord ; the perfect is I, 3, 5, 8, the imperfect is 2, 4, 5, 7 ; of course 1 is the key note of whatever scale you wish to play ; take C, 1 is C, E is 3, G is 5, and C is 8, that is the perfect cord ; 2 is D, 4 is F, 5 is G, and 7 is B, that is the imperfect cord. Play the cords in running order, take the perfect C E G C, then E G C E, then G C E G, then C E G C, and run them up two or three octaves back, then the imperfect the same way. Play the scale twice and each cord twice, and it makes a very pleasant practice, THE CARE OF INSTRUMENTS. Keep them clean and do not leave the cover up except while the instrument is in use, as small things often drop into them, causing great inconvenience, and often ruining a piano. Where the keys are thought to be out of order it is well to investigate, especially if there are children in the house, for even so small a thing as a button may make a deal of mischief. If the keys at any time become discolored remove the front door, fall, and slip of wood just over them ; then lift each key up separately from the front (do not take them out), and with a white cloth, slightly dampened with a little clean cold water, rub each one separately (white keys only), and dry off with a cloth slightly warm. Should they be sticky through children practicing after handling sweetmeats, etc., first damp the cloth with a little spirits of wine or gin. On no account use soap or washing powder. If the keys be very yellow, the only thing to be done, if too unsightly, is to have them properly whitened by a practical man. If only slightly yellow, keep clean and exposed well to the light, and they will gradually improve. REMARKS ABOUT VOCALISM. It should be the aim of every vocalist to produce clear tones and to sing plainly. The act of singing, as well as speaking, is simply the act of arresting the breath. We do not breathe while singing. The air is usually admitted and expelled spasmodically, playing upon the vocal chords as the wind plays on an aeolian harp. In order to sing well we must first understand the art of breathing. Can you run a long distance and breathe as calmly as when you started ? Can you climb a steep hill or mountain and arrive at its summit breathing no harder than when at its foot ? Can you sing a long strain and not " gasp " for air ? Try it ; you will find your tones decreasing in volume and sweetness, until, with a gulp, you give it up and take in REMARKS ABOUT VOCALISM. 287 more air, your whole body trembling, ears ringing and throat burning with the exertion.

The household (of the Detroit free press)