to what. Extent,,and how most readily attainable?” 245 
shall be executed by any ordinary ear when detached from the 
piano. No more then is intended ‘than that the practitioner shall 
execute these intervals: while assisted by the instrument. To 
preserve more certainly a recollection of the fundamental note, it 
may even be necessary, for some time, to sound the lower octave 
of that note (suppose ‘c) during the performance. | 
No. 8. The same, for re purpose specified in No. 2. 
No. 9. The same, with reversed Emphasis. 
(Umiecessary to note down. No. 3 will explain the reason of 
this lesson, and the method.]} 
Such are the very simple lessons beyond which (unless some 
pieces of recitative were composed for the occasion by a first-rate 
master) much doubt was entertained by my judicious musical 
Jesson for his pupils, the vast majority of whom are left by their masters 
most egregiously ignorant of intervals. 
In this selfay, every semitone of the octave is comprehended by the 
words Dopare Bomifa Tusoldé Lanosi; the syllables of which should, in 
my opinion, be disposed not merely in the Venetian manner, but in a man- 
ner significant of immediate distance, so that the practitioner shall sing the 
interval itself by the agency of its name. I shall exemplity the Diapente 
by the first eight syllables Doparé Bomifa ‘Tusdl: let the remaining four 
be added by the musician. 
Descent is implied by the termination z. 
SS eee 
Do pa ocr re dy bo do wi do fa do tu do sol 
=a === 
do paz do rez do boz du mz do faz do tuz do solz, 
Here the syllable “ du” is always the mensuration standard. 
pa implies « semitone, 
TE", nan KOE 
bo. . . aminor 3d, 
mi - + imajor 3d, 
and so of the rest. 
Q 3 friends 
