Musical Intonation and Temperament. 515 



deeper. So, too, with a beginner in music, everything depends on 

 beginning well. No question affecting his beginning is trifling. 



Two systems of Sulmization reign jointly i;, American singing 

 schools. Both are adapted to the Diatonic scale. The better of the 

 two applies to the degrees of every diatonic scale the names which 

 we have applied to the scale of Do. This is perplexing to the begin- 

 ner, and exposes the proficient to the evils of reading by the scale 

 before mentioned. But its evil effects do not stop here. It breaks 

 up all analogy between vocal and instrumental music. In this way 

 the keys of 4ffs and 3 j>s are sung precisely alike, while in playing 

 not one note is the same ; and the keys of 1# and 2 #s are sung en 

 tirely different, while in playing they differ but in one note. 



The other uses but four names. It would tax ingenuity to the ut- 

 most to make an argument in its favor. It seems incredible that it 

 should ever have made a reader of easy music at sight, but it is said 

 to have sometimes done it. Of course all the objections aguinsl the 

 preceding system apply with equal force to this, and it is attended 

 with others so serious, that its prevalence in a rational community 

 furnishes a good illustration of the tenacity with which indefensible 

 customs retain their hold on the best minds. 



All the European systems are, in the main, free from these ob- 

 jections. The German system is precisely analogous to that which 

 we have used, only the names selected are, unfortunately, less eupho- 

 nious, and more disagreeable to sing — particularly the flatted and 

 sharped names, both of which end in s. The Italian is like that we 

 have here used, except the flats and sharps are indicated by adjec- 

 tives instead of change of termination, and inj singing, Dob;, D< #, 

 and DoX, are all sung Do, and so of all (he rest. By this defect lie 

 Italians lose the advantage of learning the scales by vocal exercises 

 and in classes — a matter of incalculable importance to those who ■' •- 

 sign learning also an instrument, or studying harmony. The 

 ral adoption of the German system, or better still, the names I have 

 used,* would be an era in American music, and the following results 

 might bo confidently anticipated : First — singers would more gene. 

 rally become players, and thereby better singers. Second — players 

 would almost universally become singers, and thereby better players. 

 And lastly — thorough domestic education in music would be placed 

 in the reach of every family where any musical instrument is well 

 played. To this change arises the objection to every proposed change, 



* Invented by Professor E. Ives,' of this city. 



