What No one but myself can command me; and indeed I )ns. mer article I stated that the method of representing by step, in regular scales, would help the singer to cise pitch; since the eye would then be brought to e of the ear. I also stated that this asistance was ew system, as several of the scales are made irregng on some degrees no notes at all, and on others The old sharp, C not, say always t for the e fat, or e sharpe these t gained proved Such a motive would ma ce science, banished some e me. ngs to aid him in forming hat the method of representi eye would then be brought t intervals. The singer must accustom the new scale, to contradictions. He intervals sometimes nearer, and some they appear to the eye. The old Nota the same imperfections as the new, an latter dispenses with all chromatic sig pression, such as single and double s flats, natural and sharp, natural and f anxious to preserve all these character as a hobby, and which by no means m correspond to the tones as they seem t I ask you which of the two here f simplest, and which brings the writing with the tones as they appear to the ea under 2? (Remark; write the example out in double sharp, g with a natural-2, g and g white, (sole, see, la, sole)? Af tion by regular steps good for? Do 2 scales? Or do we not much oftener s all kinds of intervals? But this leads The new Notation makes it more diff pitch than the old, so say the opponen and I have said so too. Let us see wha The old Notation teaches, for exampl sharp, (write it out in notes,) is a sup not, says the teacher, alter this interv always the same for yourself and the w for the eye, write this interval in four flat, or e sharp and g sharp-thanks sharps; I can drive this still farther a flat. If the pupil asks the teacher, i these two tones written in so differ gained by it? The teacher will say proved to be an error, we gain the ently in your mind from what it actually seems on Ou will sing it right at once. tely Mr. Von Heeringen, who intends to pay the it, hears this conversation while opening the door, The teacher, Sir, are you not ashamed to teach the rash, and to trouble him in such a way? If you to g sharp you count from 1 to 4, from 1 4 you to a flat, and from e sharp to g sharp, and from e t. This relationship of numbers is according to changeable and in fact existing intervals a fourth; you call this for the ear, always one and the same ce a second, once a fourth, and twice a third? write it four times differently, notwithstanding it e executed but in the same manner? And the nemy and demolisher of these optical deceiving right. Every sound has but one unchangeable - on the piano keyboard as on any other instruact for the singer (of the enharmonic differences ) and may therefore have but one place on paper, nough on but one name. If we count from any he piano to the very next one, we count from 1 to 1 to 2 is a second. Do we count from any one cond next we count from 1 to 3, and from 1 to 3 If we continue constantly to count this way we will Heeringen's Division (octave), our chromatic scale, distinct, unchangeable, never and nowhere differing me you reasonabl usiness Doe: ray, Doe: ree, Doe: me, Doe : fa, Doe: ole, Doe: see, Doe: la, Doe: lee, Doe: pa. in notes). the in mpure, superfluo have le that it is necessary to say about intervals, (all for rposes otherwise necessary intervals); ninths in the. teenths in the new system are easy remembered, e shown elsewhere. Never does the pupil find it learn anything about large, small, diminished, you would ΤΡ rom what it actually seems t once. ngen, who intends to pay t ee, Doe: me, Doe: fa, De diminished 1-11th or a superfluous 1-1 1) C flat; d, 2) f a flat, 3) f double Under 1) is the interval, a superfluo must, instead of imagining the Key C below, which is B; he must in his mind than it appears on paper when it seems Under 2) is the interval a small third; |