genus and for the chromatic genus the minor 25: 24; the composition of the intervals is therefore different from those of Pythagoras.

The minor second is the semitone 16 : 15, as Mi to Fa; the major is the major tone, composed of a medial semitone 135: 128, and of the major 16 to 15, as Fa to Sol, composed of Fa, Fa*, Sol. There is another major second deficient by the comma SI: 80, which is the minor tone composed of the minor semitone 23: 24, and of the major 16: 15, as Sol to La, composed of Sol, Sol*, La. The major tone 9: 8, with the major semitone 16: 15, forms the perfect minor third 6: 5, as La to Do, composed of La, Si, Do. The minor tone 9: 10, with the major semitone 16: 15, forms the minor third 32: 27, as Re to Fa, which is a comma less than the perfect minor third 6 to 5. The major tone 9 to 8, with the minor 10 to 9 constitute the major third 5 to 4, as Do to Mi. The major third, with the major semitone, form the minor fourth 4: 3, as Do to Fa. The minor third 6:5, with the major tone 9: 8, constitute a minor fourth, increased by the comma 81: 80, in the ratio of 27: 20, as La to Re. The major third 5:4, with the major tone 9: 8, form the major fourth 45 to 32, as Fa to Si, which fourth is also called tritonus, because its diatonic progression is by three tones, two major of 9: 8, and one minor of 10 to 9—that is,

9:8 10:9 9:8

The minor fifth 64: 45, as Si to Fa, is composed of a fourth 4:3, and of the major semitone 16: 15, and the diminished minor of 32 to 27. The perfect fifth 3:2, as Do to Sol, is composed of two thirds, one major the other minor, or of a minor fourth 4:3, and a major tone 9:8. The fifth diminished from the perfect is composed of two thirds, one diminished minor 32: 27, the other major 5:4, and is in the ratio of 40: 27, as Re to La; this may also be formed of a minor fourth 4:3 and a minor tone 10: 9. The minor sixth 8: 5, as Mi to Do, is composed of a perfect fifth 3:2 and a major semitone 16:15, and may also consist of a major third 5:4 and of a minor fourth 4: 3. The major sixth 5: 3, as Sol to Mi, is composed of a perfect fifth 3:2 and a minor tone 10:9; and it may also be formed by a fourth 4:3 and a major third 5:4. The minor seventh 16: 9, as Sol to Fa, may be composed of a perfect fifth 3:2 and a diminished minor third

32:21, or of a diminished fifth 40: 27 and a perfect minor third 6:5, 40:27 6:5

as Re to Do, composed of Re La Do, and the minor increased by a comma 9: 5, as La to Sol, consists of a perfect fifth 3:2 and a minor third 6:5. The major seventh 16: 8, as Do to Si, is composed of a fifth 3:2 and a major third 5:4, that is to say Do, Sol & Si.

Proceeding to the chromatic intervals, the increased second, improperly called superfluous is composed of a major tone 10: 3 and of a minor semitone 25 to 24, and is found in the ratio of 75: 64, as Fa to Sol. The diminished third 256: 225 is formed by two major semitones 16: 15, as Sol to Sib, composed of Sol

256

15

La Sib

and its complement to the octave gives the increased sixth, improperly called superfluous, in the ratio of 225: 128, as Si b to Sol* composed of a fifth 3: 2 and of a superfluous second 75: 24. The major or increased fifth 25 : 16, as Do to Sol is composed of two major thirds 5:4, and of a fifth 3: 2, and of a minor semitone 25: 24. The completion of this fifth to the octave gives the diminished fourth in the ratio of 32: 25, as Sol * to Do, composed of a minor third 6: 5 and a major semitone 16:15. The diminished seventh 128: 75, as Sol* to Fa, which is the completion of the increased second to the octave, is composed of three thirds, two minor of 6: 5 and a diminished minor 32 to 27.

There are two other chromatic intervals mentioned by authorsthese are the minor chromatic fifth 36: 25, as Sol* to Re, which is increased by the comma 81: 80, from the diatonic minor fifth 64:45; as Si to Fa, and the chromatic major fourth 25: 18, as Re to Sol *, the completion of the chromatic fifth, which is a comma less than the diatonic fourth 45: 32, as Fa: Si; but as these two intervals, like the great semitone 27: 25, as Do* to Re, have not part in music, it is useless to speak of them in theory; and although it be true that the chromatic semitone 25:24, subtracted from the major tone 98, leaves the residue 27:25, yet it ought only to be considered as a component, in the same manner as the Pythagorean and modern comma and the A potome are considered, namely, as a difference of ratio.

It here seems necessary to mention the great tone of the Greeks; it arises from the resonance between a seventh and an octave of the string in the ratio of 8: 7, as Fab to Sol, which is composed of two

.

major semitones, in the ratio of 15: 14 and 16: 15, the form of the said great tone. If from this the major tone 10: 9 is subtracted, the enharmonic semitone 36: 35 of the Greeks remains, and if the major tone 9: 8 be subtracted, the residue is 64: 63, scarcely the eighth part of the major tone or the major semitone being divided into four parts, of which 64: 63 is the least part.

All these intervals are those pointed out by nature for a good theory, and for music executed by voices or moveable instruments; but these same intervals are also altered for fixed instruments, in order to facilitate execution through the means of temperament.

MISS STEPHENS.

THE most striking phænomenon in vocal art, as in universal nature, is the astonishing variety to be found in the employment and effects of so small a number of elements. In the progress of our publication we have minutely analyzed the characteristics of excellence in five of the greatest and most gifted female singers that have ever existed; yet it is most extraordinary that their attributes have not only differed in degree, but perhaps we ought rather to say that we have been able to trace so little distinct resemblance in the results of their comparative excellences as might almost obliterate belief in any principles common to them all-so general, so minute, and so beautiful are the designs of our Creator to produce endless diversity throughout all his works. We are of that sect of religious philosophers, it is thus seen, who delight to mark the hand of Divine Benevolence, who love to find "sermons in stones and good in every thing." But it is a fact in science, that those modifications lie in the faculties and in the organs-in the natural endowments of man, not in the artificial regulations to which he submits them. The aptitudes towards one peculiar species of execution in expression are to be found in the sensibility and in the voice. The first may be, and indeed is, attracted towards certain objects by circumstances and associations-the last may receive vast exaltation of its original qualities from art and exercise; but still the grand distinctions are

from nature. We might challenge the most acute perception, provided it were combined with a due portion of judgment, to point out any resemblances amounting to absolute similitude, except so far as direct imitation of manner may be occasionally concerned, between MARA, CATALANI, BILLINGTON, MRS. SALMON, and Miss CORRI; yet each of these distinguished singers have trod precisely in the same paths, sung the very same airs, and have stood nearly succes sively at the head of the profession. Without incurring the imputation of any invidious comparison, we must admit there are considerable gradations of power between them all, conferring a superior and graduated elevation as relates perhaps to every one of these celebrated individuals; but this is not the distinction we are now solicitous to point out.-What we refer to more particularly is the singular variation among them all, not in the degrees, but in the manner of their several excellences.

We are led to these remarks by the fact, that the singer whose eminent talents are about to become the subject of particular discussion, though possessing very fine natural endowments, and the acquisitions of high cultivation, yet appears to us to stand apart from all those we have before had occasion to analyze, and to occupy her own region more obviously and definitely than any of the rest; for it is not till examination begins that the mind of the observer awakens to the discrepancies we have just remarked. The generalization by which we are accustomed to classify singers of the same genus very much precludes our dividing them into species, yet so many specific characteristics appertain to each, that every individual may almost justly be said to constitute a species.

A philosophical enquirer into the sources of art encounters nothing so difficult as the impediments opposed to the discovery of the causes of these differences in the performance of the artist. Why, with a voice inferior to CATALANI in fullness, richness, and volume, with less facility of execution, MARA should yet have stood proudly preeminent in majesty and true pathos-why BILLINGTON, with sweetness and compass, and all the graces of facility, should have seldom reached the heart except through the medium of amatory expression -why the brilliancy, beauty, and extreme finish of MRS. SALMON'S and Mrs. CORRI's voices and manner should still stop short of all the essential characteristics of powerful expression, seems to baffle conjecture, except we can find the cause in force of intellect and de

licacy of feeling, and in associations, which instead of concentrating the sensibility, and rendering the perception of the means of expression more intense, have served to dissipate the attention, and weaken the natural and acquired powers by varying their objects.

MISS STEPHENS appears, to our judgment, to have been kept lower in the scale of excellence than from admitted premises she ought to have been, admitting as we nevertheless do that she has reached a point of great exaltation, by some unknown circumstances of this nature. Her voice is powerful and rich beyond most others. So vast indeed is its volume that we remember upon one occasion to have heard her distinctly through a whole band of chorussers and the orchestra in the opera of Figaro, at Covent Garden, though intercepted entirely from the audience by both. Her taste is pure and her general manner exceedingly chaste. Granting her these attributes, we have never perhaps heard a singer who moved the high affections less, yet did so little to reprehend.

The first rudiments of instruction MISS STEPHENS received from MR. LANZA, a teacher, who proceeded upon the genuine Italian method of forming the voice; he initiated the pupil very slowly but very surely, we apprehend, in the elements. Her power of sustaining and her intonation are therefore both fixed. But at a subsequent period it is probable her studies were conducted with a view princi-` pally to the dramatic exercise of the art, and a deviation from the principles which best conduce to form a perfect orchestra singer were deserted for the practice which contributes to the efforts the stage demands. MR. LANZA'S process of tuition, we have remarked, was by no means rapid. MISS STEPHENS remained his pupil many years, during which she was brought out at the Pantheon. She also made a professional tour, in company with some other pupils and their master, to Brighton, and along the Coast; but we believe she appeared under an assumed name during this excursion. The father of Miss S. (who was a carver and gilder, in Park-street, Grosvenorsquare,) had reason to think MR. LANZA's attention too remiss, both for his own interest and for those of his pupil; MR. WELCH was applied to, who saw the promise, and exerted himself vigorously to bring MISS STEPHENS sufficiently forward to appear before the public. She made her debut at Covent Garden Theatre, with brilliant approbation. Nevertheless, in spite of this success, we doubt whether the warmth of feeling and fertility of imagination