Remember that yellow or gold bears the signification of spiritual excellence. This is possibly largely due to the fact that the color is associated with the sun, which in the early ages was worshiped as the chief divinity among the hosts of heaven. Bear in mind also that the tone is of a calm, peaceful nature, and although it fails to give the strong satisfaction of the keytone, it produces a feeling of spiritual restfulness which makes it beautifully appropriate in such music as Mendelssohn's "O rest in the Lord," and "Consolation." Here once more we trace a sympathy between the tone and color, both of which appeal to our moral or religious emotions.

But now let us group these tones together, and compare the effect with that of the grouped colors. It is well known that the 1st, 3rd, and 5th of the scale sounded together produce perfect harmony; they constitute the fundamental chord upon which all the other chords depend. It is equally well known that red, yellow, and blue form an harmonious combination which is more used in decorative art than any other color grouping.

Again, if we place red (not scarlet) and blue together, the effect is not altogether pleasing. The colors agree perfectly, but we are left with a sense of something wanting. In like manner the keytone and its fifth when sounded together are perfectly concordant; and yet they produce a hard, bare effect, which is carefully avoided by musicians. But place yellow with the red and blue, or add the third of the scale to the other tones, and in each case a feeling of relief and pleasure is the result. This opens up an interesting psychological study. It reminds us that a person with developed vital and intellectual powers, but destitute of moral feeling, would hardly be a satisfactory bosom companion. At the best, it could only be a beautiful Undine before she had found her soul. Add the moral feeling, and we get a complete human nature.

One more analogy between the two groups may be noticed. In the chord we can double either the root or its fifth with advantage, as a reinforcement of the root adds to its strength, and an additional fifth imparts brightness; but a doubling of the third is generally unsatisfactory, too much sweetness without sufficient strength and crispness making the chord sound effeminate. A corresponding effect is seen in the colors. To produce the most pleasing effect, there must be more of red and blue than of yellow; if the latter color preponderates, the effect is somewhat sickly.

The foregoing analogies will suffice for our purpose. If we have succeeded in showing that a natural connection exists between the first, third, and fifth-the most prominent constituents-of these two scales, there is a strong presumption that the other colors and tones will also correspond. Further research tends to strengthen this belief, and we are at last brought to the conviction that the tone and color scales are but two modes of expressing one and the same great truth. This result is just what we might have expected, for all the discoveries of

science are leading to a grand centralization. Amid the endless variety of created things, there are unmistakable traces of a wondrous unity, and we are beginning to understand how at the foundation of all there is "one God, one law, one element."

But what is the practical outcome of this inquiry? Granting that the tones and colors do produce similar impressions upon the mind, can this fact be turned to account in the education of the children? Yes. Let the two things be made mutually interpreting. The eye and ear are the chief avenues through which the mind is impressed; of these, the eye takes in the wider range, but the ear is the more profound, and the tone impressions stir us most deeply. The fable of Orpheus making all things dance to the music of his lute embodies a truth. It is a childlike way of showing what a moving power lies in harmonious sounds. See how a concourse of people will listen with breathless attention to the tones of a sweet singer; or again how the tired soldiers on their forced marches will pluck up their drooping spirits and step forward with renewed energy as the strains of martial music fall upon their ears. See, too, how the practised orator can move the vast audience to laughter or to tears with the tones of his voice. And this suggests the remark that we are probably not aware how much our opinions of people are influenced by their manner of speaking. It has been noticed that the blind often form a truer estimate of a person's character than those who have the advantage of sight, because their sense of hearing is more highly developed, and they have learned to trust it implicitly. For the same reason, they probably have a more exquisite enjoyment of music than we can have. Our nearest approach to it is when we close our eyes and give ourselves up to the captivating influence of sweet sounds. We have dwelt at some length upon this point for the reason that it is so generally misunderstood. Because sight is the more obvious, and also is educated out of all proportion to the sense of hearing, we are apt to form an unworthy estimate of the latter, and to ignore its wonderful possibilities of improvement.

The sound impressions are deeper, and therefore more difficult to grasp, than the sight impressions. Children generally learn to distinguish between colors before they can catch and reproduce different tones of the scale. A visit to the Kindergarten will make this plain. There it will be found that while the color sense in the youngest children is well developed, the tone sense is very imperfect. Now if it were simply a question of later growth this early imperfection would not matter much; but the evil is that many people have to go through life with what is called "no ear for music," and all for want of early culture. Of a truth there is an urgent demand for better educational methods of ear-training.

The chief difficulty lies in the abstract nature of sound. Children learn the properties of things by seeing and handling them; but tones are neither visible nor tangible, therefore it is necessary to represent

them by signs or notation. But the ordinary symbols which are used to indicate tones are entirely arbitrary, having no natural relation to the thing symbolized. The notes on the staff, for instance, only vaguely indicate that one tone is higher or lower than another, but show nothing of its character. Dr. Lowell Mason found the written signs of music so devoid of suggestion as to the real character of the tones that he once expressed a wish that the children could be blindfolded while they were learning to sing the scale. Where the eye receives an impression at variance with the ear, this would certainly be an advantage; but a better plan would be to engage the eye in sympathy with the ear, i. e., to use symbols which would naturally suggest the thing symbolized. This has to some extent been done. Mr. Curwen, the founder of the Tonic Sol-Fa school of music, prepared a chart called the "Modulator," which shows exactly the position of the tones in the scale, and the relation of the different keys one to another. This is a great improvement upon the staff, with its complicated system of sharps and flats; but still it fails to represent the mental effect of the tones. Another advance was made when, in a happy moment of inspiration, Mr. Curwen conceived the idea of representing the tone-characters by hand signs. In this way, the strong effect of the key-tone is represented by the firmly closed hand; the hopeful second, by the upturned hand; the peaceful third, by the open hand with palm downward, as if in pacification; the solemn fourth with its leaning tendency to the third, by the forefinger pointing downward; the clear open fifth, by the extended open hand turned sideways; the sorrowful sixth, by the hand drooping from the wrist; and the sharp aspiring seventh, by the forefinger pointing upward. The success which has attended the use of these simple manual signs has been very marked. By means of them any succession of tones can be sung by a large number of persons, at the will of the hand performer, and many a tune has been dictated and sung in this way. But however great their advantage as a means of instruction, or for social recreation, of course they cannot be used as a written notation.

It is here that we can make a practical application of the tone and color relations by using a color symbol to represent its related tone. Thus red stands for the keytone; orange for the second: yellow for the third, and so on through the scale. Even as arbitrary symbols they would have one great advantage over other arbitrary symbols, viz. :— that children take a natural delight in colors, and so their sympathies would be enlisted on behalf of this notation. But when we add to this the suggestiveness of the color symbols, their value will be recognized by all who are interested in educational methods.

We have now to say a few words about the working of this colortone method in the Kindergarten. Not that this is to be considered by any means as a complete account of the children's musical exercises, for in that case considerable space would be required to explain the

subject of rhythm, which constitutes the chief part of their earlier training. We pass this subject, not as unimportant in its place, but as not essential to a proper understanding of tone and color relations.

In teaching the elements of tune, the children are led to listen to the keytone, its fifth and third; and to notice how very different they are in character, and yet how well they agree together. Next, upon any keytone being given, they will produce its fifth and third. After this is done readily, they are expected to tell the name of any one of these tones upon hearing it sung or played. To assist them in their study of the tones, the children have the hand-signs, and the sol-fa names, as used by the Tonic Sol-faists.

Their first association of tone and color is by means of the colored balls. It is very interesting to the children to discover that their familiar playthings have a new meaning. The red, yellow, and blue balls can be personified as robin, canary, and bluebird; and little musical games may be made up, so as to present the tones in many ways, thus constantly deepening their impression. The children are then taught to associate them with other objects of the same color, and afterwards to see them arranged in their order upon the color chart. In the rhythmic exercises which precede this, the comparative length of tones has been learnt in connection with lines or sticks of different lengths. Now we combine these two forms of notation, color and length, i. e. we use colored lines, by which means time and tune can be represented in one symbol. When the tones have become familiar in connection with the color chart, the teacher with colored crayons writes down a fragment of melody upon the blackboard. First, the children go through with the rhythmic form, using a set of simple time-names for the purpose, then sing through the tones slowly, and lastly sing in correct time and tune, thus getting their first idea of the construction of melody. They are now provided with colored sticks or narrow strips of card, and upon a given rhythmic form set to invent a line of melody. Then "the concert" begins, in which each child in turn sings his own composition, the teacher sometimes pointing out a fault, or suggesting an improvement.

When the foundation is securely laid with these three tones, the dependent tones are introduced in their order, until the scale is complete. The mental effect of the tones is then studied more thoroughly, and the children-whose perceptive faculties are now more alive-constantly discover fresh characteristics in them. Of course various means have to be employed to give the tones a sort of personal reality. Of these, the children take most interest in what is called "The Musical Family." We have already discovered that some of the tones seem masculine while others by their comparative gentleness seein feminine, and we now decide that they shall be grouped into a family. The children have generally worked out the idea as follows:-DOH is the father; he is a strong, self-reliant man with a firm and full voice. ME is the

mother, because she is so gentle and full of sympathy. Son, the eldest son, is a young man of joyous disposition, with a clear ringing voice. FAH is the younger brother, but not at all like Son, for he is of a serious disposition, and often has turns of gloomy despondency; though he sometimes gets roused into grand outbursts of religious enthusiasm. He is very fond of sacred music; but we like him best because he shows such a constant attachment to his mother ME. LAH, the eldest daughter, is often found in a sad, complaining mood, and shows more tendency to tears than to smiles; but she is apt at times to swing off into the opposite extreme of yaiety. There is considerable sympathy between her and her brother FAH; she lacks his intensity of character, but in his company generally shows to good advantage, being then full of sweet seriousness. The younger sister, RAY, is of a hopeful, confiding nature, and it is beautiful to see with what tender affection she turns to her mother ME, or with what confident assurance she goes to her father Don. Let it not be supposed, however, that she has a weak or vacillating nature, for when the occasion calls for it, she can rouse us with terrible earnestness. There is one member of the family not yet introduced, and that is the baby TE (Si). The chief things that strike us about this little fellow are his shrill voice, and the habit he has of continually crying after his father Doн. This baby is a great favorite. By such methods as this the children learn to distinguish very readily between the different tones of the scale, and they soon gain the power of singing them at sight, as well as of recognizing them by ear. In their ear exercises they first learn to distinguish any one tone, then two or three tones in succession, and from that they are soon able to name all the tones in a line of melody which is sung to them. Their answers may be given either in the tone names, by the hand-signs, or, if they are able, by writing on the blackboard, while the others watch carefully for the chance of a mistake.

Their construction exercises in rhythm and melody now become more elaborate, and they are led to see the relation which one phrase should bear to another. After they can produce two lines which agree well together they may attempt four, and so make complete tunes. They receive help in this direction by each in turn standing out before the others, and dictating exercises with the hand-signs.

The introduction of harmony marks a distinct advance in musical education, and requires care on the part of the teacher. The children find the compound impression of hearing two tones together rather perplexing. The teacher prepares them to hold their own part side by side with another part by dividing them into two groups, and getting some to sing the tones which he indicates with his right hand, while others sing to his left hand-signs. He thus drills them upon strong fifths, sweet thirds, and tender sixths. Then a short and simple phrase is written down, with a second part below it; at first the teacher sings the second part while they sing the first; but afterwards they sing both parts themselves.