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No one but myself can command me; and indeed I
s follow my own directions.
Ptelomy who, to advance science, banished some of
exandrians and killed others, so Mr. Von Heeringen,
power, would decapitate all who oppose his system.
of such a man I shall never write a word.
day was prepared before I saw the Illustrated News.
you ask, has caused me to mention the new system
having stated that I was done with it? Ah, Mr.
remember the story of the old Professor of Erlangen,
nothing left but skin and plasters, still studied as
ared the worms would not find ideas enough. Such
osity am I. Whenever I can learn anything, or
g forward, I am unable to stop, notwithstanding my
ution bids me cease. The new notation made me
estless. Day and night it whispered "Thou hast
ins enough to examine me. Be not moved by my
One who uses old things to aid him in forming an
new is always wrong, says Laube. In short, nolens
to apply my mind to the system again, and was
ot a little when I entered a clear and beautiful
ly, neatly, and plainly arranged, when before I ex-
d a dark Labyrinth. I met questions which never
have made their appearance, and received answers
t me that the new system contains more valuable
the world has heretofore been willing to see. Per-
parate work I shall demonstrate how far the new
s the old. Here I shall only correct some of my

)ns.

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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
command me; and indeed!
tions.

ce science, banished some
thers, so Mr. Von Heering
e all who oppose his syste
never write a word. W
re I saw the Illustrated News
e to mention the new syste
was done with it? Ah,
the old Professor of Erlange
and plasters, still studied
not find ideas enough. Suc
er I can learn anything,
le to stop, notwithstanding
The new notation made
ght it whispered "Thou h
Be not moved by

e me.

ngs to aid him in forming
says Laube. In short, nole
to the system again, and
entered a clear and beaut
y arranged, when before I er
I met questions which ne
pearance, and received answer
ystem contains more valua!!
tofore been willing to see. Pe
I demonstrate how far the ne
hall only correct some of ♫

hat the method of representi
ales, would help the singer

eye would then be brought t
o stated that this asistance E
l of the scales are made irreg
no notes at all, and on others

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.

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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

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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

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ΤΡ

rom what it actually seems

t once.

ngen, who intends to pay t
sation while opening the de
you not ashamed to teach t!
him in such a way? If
nt from 1 to 4, from 14
sharp to g sharp, and from
p of numbers is according
act existing intervals a four
ear, always one and the su
a fourth, and twice a third
differently, notwithstandingi
the same manner? And t
er of these optical decei
and has but one unchanges
board as on any other instr
of the enharmonic difference
have but one place on paper
name. If we count from
'next one, we count from 1
. Do we count from any
from 1 to 3, and from 1
antly to count this way we
(octave), our chromatic se
le, never and nowhere differ

ee, Doe: me, Doe: fa, De
e: la, Doe: lee, Doe: p
to say about intervals, (all)
essary intervals); ninths int
system are easy remembered
Never does the pupil find
out large, small, diminished

diminished 1-11th or a superfluous 1-1
only one 1-11th or undecime. And i
whether take the interval above or
you
above or below for instance. In the f
system, you count from 1 to 5 ascendin
from 1 to 5 descending. Now sir, ples
all the intervals that you have learned
quarter of an hour, according to the old
time you will be done. It is true t
reasonable one, because you would have
business for many days, many weeks if
all the intricate different small, large, I
impure, diminished, double diminished,
superfluous (things) intervals, and eve
to have learned them in a few easy key
a very smart interval Professor, I would
questions that would puzzle you. In c
you would soon become desperate. Th
system, even for the singer, is easily dis
ed. It is a fact in regard to this. Th
an image in the mind of the singer, of
cending movements, but neither the ne
is doing this in an absolute or positive
same distance of sound appears in both
grees of the staff. The interval 1 t
different distances of sound in the old
time belongs to a different scale and is
on a different key for instance.

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;

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