called the fifth because in the order C, D, E, F, G, it is the fifth from C, the fundamental note. Again subdivided, it has its double and triple octaves, like C, as above described. As the intervals 1 and 2 in C, and 1 and 3 in G, are the nearest at which vibrations can accord, so the fifth, or G, is the nearest accord which can exist whose tone is not the same;and violin strings rising by 5ths are therefore easily tuned.

Other accords are produced by other proportions of the string, as 3 to 4, 8 to 9, &c. and the relative vibrations and proportions in round numbers of all the divisions are as follow: the C, or original string, being 96 parts, B is 90, A 80, G 72, F 64, E 60, D 54, and C, the octave or half, is 48: which divisions are called THE DIATONIC SCALE, and in a string so divided the greatest number of accords, or the nearest recurrences of vibration are produced.

The semi-tones as B flat is 84 parts; G sharp, 75; F sharp 671; D sharp 564; and C sharp 50; and these, with the perfect notes, constitute the twelve notes, or tones, of which all music is composed.

The variations of course are infinite, for these twelve notes are again employed in six different lengths or intervals; and the whole are played in several different times; and with varied degrees of force, so as to express every passion of the mind, and excite every shade of feeling and sentiment.

The only other circumstances to which I desire to call your attention on this subject, are the causes of tones, and the velocity with which sound proceeds from one place to another. While the air was considered as a uniform substance composed of only one kind of atoms, varied tones were ascribed to varied vibrations; but a difficulty always arose from the fact, that many tones could be heard in a concert at the same time, and of course those could not be produced in the very same medium. Since, however, it has been proved by Priestley, that the

air is composed of two or three different kinds of gases, it has been suggested by a modern writer, that tones arise from appropriate affections of the different gases composing the air, and therefore different tones may reasonably be heard at the very same time.

In regard to the velocity of sound it has been proved by experiment to be about 1140 feet, or the fifth of a mile, per second, which is nearly two thirds the velocity of a cannon ball; for a cannon ball moves from 1600 to 2000 feet per second, or 20 miles per minute.

I cannot, however, conclude these observations on sound as the basis of music, without remarking on the connexion of surfaces with all the phenomena. Rough and interrupted surfaces, as curtains, tapestry, &c. destroy it; and where there are few surfaces, as on the tops of mountains, and in air balloons, such places are found to be unfavourable to its propagation. On the other hand, deal rods, smooth water, &c. augment it indefinitely. I suspect, therefore, that the philosophers are wrong in ascribing its propagation wholly to the direct excitement of air, in right lines; and perhaps the local atmospheres of surfaces are more concerned in its propagation than has hitherto been imagined. In musical glasses the atmosphere and surface of the water display the effect most curiously; and it is worth your while to tie a poker to a ribband, and hold one end to the ear while you strike the poker. In this case the ribband conducts the sound in a very different way from the simple air.

In the study of music, with a view to a finished performance, and perfect execution, I cannot too often repeat, what I have so often told you verbally, that no perfection can be attained without incessant practice, and, above all, by practice early in the morning. Much depends also on the use of tasteful productions, and the Instructions, Sonatinas, (Op. 36,) and Gradus ad Parnassum of Clementi, with

Cramer's Studies, I have always preferred, as far as my influence had weight with the music-master. In studying the harp, Meyers' Instructions are also entitled to commendation, but in forming your ear and taste, it is of more importance than is commonly imagined to practise only from finished and scientific compositions.

LETTER XXXIII.

Affectation and certain Weaknesses.

My esteemed Children,

Before I dismiss the consideration of music, allow me to remark on a foible which too often renders its attainment quite useless to yourselves, and a source of pain and mortification to your parents and friends. I allude to the affectation with which many young ladies resist every importunity to play before the friends and visitors of their family, or to join, with ease and grace, in the performances of parties, where they are visitors. I am far from recommending an obtrusive boldness of manner, and a conceited confidence in skill, but there is in this point, as in most others, a happy medium which constitutes the perfection of character.

I have in parties been put to the blush, as much by obtrusive forwardness, as by mawkish, and often obstinate reserve. I scarcely know which is a greater annoyance to those who meet to make each other happy for the time, the young lady who gets possession of a piano-forte, and, fond of hearing her favourite pieces, and displaying her own voice, bores a company for an entire evening, or another who resists invitation for half an hour, then plays and sings admirably for ten minutes, and requires a siege for another half hour, before she will again condescend. While you are learning music, you should always bear in mind that it is a social science, G

that its object is to please, and that hearers are always more gratified than those who play; while the pleasure of pleasing ought to be the constant solicitude of every amiably-disposed person.

I have already spoken of affectation of every kind, as being a very odious quality. But there are habits of affectation so in-bred and general, as to lose their proper name. I allude to the affectation of fear, and excessive sensibility, in which young women often indulge, till they render themselves ridiculous. They scream with affected fright at every unusual appearance, till it becomes not merely a habit, but an incurable disease. Reason appears to be useless to them, and as though they were incapable of reasoning, and acting in subordination to their understandings, they yield to impressions of every kind, making themselves miserable, and every one about them uncomfortable. They cannot advance within twenty yards of a horse, lest he should' kick, even at that distance; they cannot pass a road where a few harmless cows are plodding their weary way; they cannot cross a street while a coach or cart is advancing within sight; and they lose the pleasure of water-parties, because they cannot endure the undulations of a boat. In a word, by their affectations, they caricature that feminine softness, delicacy, and sensibility, which are the fascinating charms of their sex, by displaying them without the due corrective of that reason which ought always in rational creatures to predominate.

I was lately in a party, where a little harmless mouse, unable to find its hole, by which to retreat from the unsparing ferocity of man, darted across the room. I saw the terrified creature, and was admiring its agile and graceful movements, hoping, at the same time, that it would escape observation ; when, unfortunately, it caught the eye of an hysterical young lady, and she, from senseless fear, or habitual affectation, raised an appalling scream.

A

mouse-a mouse-burst at once from five or six voices, followed by as many screams, and a general rising and rush from that side of the room where this little intruder, the size of my thumb, had made its appearance. In a moment, a china vase, worth at least twenty guineas, was overset, and dashed to pieces, every lady in the party had part of her dress torn, and one of the more affected, actually fainted. The mouse escaped, but our party was destroyed, and we accordingly took our departure three hours before the proper time. Such, however, are ordinary occurrences. I have seen pleasant parties thrown into disorder, by the intrusion of a blackbeetle, an ear-wig, a spider, a frog, a toad, a wasp, and even a bee, all of them perfectly harmless, and the wasp itself only hurtful when attacked. Death is, however, the general penalty inflicted, without ceremony, on these little creatures, not for the harm they may do, or ever were known to do, for the harm they have done is upon no authentic record, but because they happen to be objects of the habitual and senseless aversion of unthinking and affected young ladies; though, as some apology, I must say, the young are too often kept in countenance by their seniors, and not unfrequently by the feeble-minded of the other sex.

It seems horrible to sacrifice the life of any creatures to our mere prejudices against their forms or appearance. They are, as God made them, for wise purposes; and their highly curious structure, often equal in beauty to Solomou, in all his glory, ought to render us admirers, and not wanton and cruel destroyers. The amiable and benevolent Cowper exclaims thus:

I would not enter on my list of friends

(Though grac'd with polish'd manners and fine sense, Yet wanting sensibility) the man

Who needlessly sets foot upon a worm.

An inadvertent step may crush the snail