although there are three other positions, as has been shown in Lesson III on Musical Composition; but as the common chord of any letter is not usually figured, it would be difficult to tell which position it should be played in, without looking to the intermediate parts, if the last three inversions were played.*

Perhaps it would be well for us here to remark, tha all the letters bear the same relationship to C, whether high or low, so far as the figuring is concerned; for examples and illustrations see Lesson III.

Sometimes the common chord is figured; when this is the case, it is usually done to contradict some preceding chord. The figures which are used are either of which singly or together, represent the common chord and po

itions.

Exercise for the pupil to fill out as it should be playea, also, name the different positions, &c.

It is to be regretted that the habit of playing by figures is so much is rogue in this country, as many of the chords must necessarily be played rather imperfect, which would not be the case, if the intermediate parts wen Brought on the two staffs with the Base and Soprano.

The pupil should now commence playing simple psalm lunes, leaving out the chords which he does not understand, and confining himself to the common chord. He should also be required to name the different positions of each letter which he plays in the Base.

LESSON II.

INVERSIONS OF THE COMMON CHORD.

EVERY common chord is susceptible of two inversions and to each of the inversions the three different positions may be played, thus.

1st inversion.

2d inversion.

6

64

64

As the pupil will perceive, the figure to the first inversion is 6-to the second, . When the figure 6 is written under a chord, we refer back a third and play the common chord, to that letter which is a third below the Base, and this is termed the fundamental base of the chord. In the second inversion, we refer back a fifth and play the common chord to the fifth bel

REMARK. It is hoped that the pupil will not put a wrong construction on what has been said respecting the inversion of the common chord. It is not expected that the fundamental base will be played with the left hand, but the real base which is written; yet still preserving the common chord to the fundamental, viz. (See Lesson III on the Elements of Musical Composition.)

Example for the pupil to fill out and play.

The pupil may now play the same tunes in which he has been practising the common chord, and play the chords of the 6 and & wherever they occur, naming the inversion and position, &c.

LESSON III

CHORD OF THE SEVENTH.

THE Common chord of any letter with the seventh added counted up from the base, constitutes the chord of the seventh; three positions are usually played thus:

Exercise for the pupil to fill out and play.

Practice tunes, and play the chord of the seventh wherever it occurs, naming the position, &c.

The chord of the seventh has three inversions, and to each inversion three positions, thus:

Exercise for the pupil to fill out and play, naming th inversion, position, &c.

Practice tunes, and play the inversions of the seventh serever they occur, naming the inversion, position, &e

LESSON IV.

MISCELLANEOUS CHORDS

1 HERE are several other chords besides the above, ou It will not be necessary to go so minutely into particulars respecting them, if the pupil will only bear in mind the fact, that they are always figured from the real base. Here are most of the remaining chords which are used in common psalm tunes, written out, thus

A Sharp, Flat or Natural placed under a chord or figure, always has reference to the thir I from the real base.