H. W. Poole on Perfect Harmony, etc. 5 
all such ee have the excuse of being relatives, with the 
right of entrance, under certain rules, which the great masters 
scloedalila Among the related notes in the scale in G, last 
given, are C ande, or the fourth and sixth of the double dia- 
tonic on the same key- note, G. These are introduced in a pass- 
ing manner, as in the cadence—a familiar example is found in the 
Oh! dolce concento* of Mozart—where the subdominant harmony, 
not before heard, comes in just before the final dominant and 
tonic chords. In the example given from Rossini, the third 
note of the third measure may be C, as well as c—Fa of the 
triple scale, as well as Se of the double. In the fifth — 
cme compat or what the ear will not 
cry f music, and it is the exact rendering r all 
the melodies and — which gives the charm 
When acutely perceptive of such accuracy, T a the 
ee fortune to ston to Alboni on all the occasions when it 
was possible to do so. I thought her then, and still am of the 
opinion, that she was the best singer I have ever heard. It is 
certain that she had a wonderful exactness in executing what- 
ever she undertook. There was no “temperament” in her 
and what the strictest theory requires in intonation she under- 
stood and gave. She sang music whose analysis would alarm a 
student with its apparent difficulties ; put the delighted auditors 
perceived only a delicious and “easy” flow of melody. 
10. Fortunately, the greater part of the difficulties in the 
higher class of melodies are overcome by the unconscious or 
instinctive talent of the singers. The accompaniment of such 
melodies is not difficult, and the harmonies attending make clear 
what the melody must be. No instrument will ever compete 
with the voice in its tetas department, but may weak eps it in 
that which it is fitted for. Neither voices nor instruments sepa 
rately can produce the highest effects in music; those will } 
attained by the combination of the two. Improvement in the 
® Generally so called. It is the air in Mozart’s Jl Flauto Magico, “Oh! cara — 
ia.” From this is taken the song “ Away with melancholy” | 
