ures over the scale, both in reading and writing. I gave ten lessons on the scale, and one only with figures, saying that it was all the same thing, and the pupils always ask me to write in figures, and they themselves write in figures.
The second remarkable idea belonging exclusively to Chevé consists in teaching sounds apart from tempo, and vice versa. Any one who once applies this method of instruction will see that what presented itself as an invincible difficulty will suddenly become so easy that the only wonder is that such a simple idea never occurred to any one before. How many torments would have been spared the unfortunate children taught in the Episcopal "chapels" and other choirs, reformed and the like, if the regents had tried this simple thing—to compel the beginner, without singing, to beat the time with his finger or a stick according to the notes of the phrase; once for quarters, twice for eighths, and so on ; then to sing the same phrase without the time; then again to sing one measure, and then again combining them. For example, this phrase is written:—
The pupil first sings—without tempo—do-re-mi-fa-sol-mi-re-do; then he does not sing, but, beating on the whole note of the first measure, says: one—two—three—four; then he beats once on each of the notes of the second measure, saying one—two—three—four; then on the first note of the third measure he beats twice and says, one—two; and on the second half-note he also beats twice, saying three—four, and so on; and then he sings the same thing in measure, and beats the time, and the other pupils count aloud.
This is my method, which, just like Chevé's, it is impossible to prescribe; it may be found convenient, but it is possible that many others still more convenient may be discovered. But the secret is simply to separate the teaching of tempo from that of notes,
