' s ▁rem edy ▁to ▁poor ▁in ton ation ▁is ▁to ▁begin ▁the ▁singer ▁young ▁on ▁sol f ege , ▁using ▁the ▁traditional ▁gam ut ▁created ▁by ▁Gu ido . ▁ ▁While ▁both ▁the ▁Gu id onian ▁hex ach ord ▁system ▁and ▁meant one ▁temper ament ▁were ▁becoming ▁anti qu ated ▁at ▁the ▁time ▁T osi ▁wrote ▁his ▁treat ise , ▁he ▁never theless ▁ins isted ▁on ▁their ▁use . ▁ ▁Op in ioni ▁was ▁in ▁fact ▁a ▁waters hed ▁for ▁much ▁more ▁than ▁just ▁early ▁Bar o que ▁music ▁theory ▁and ▁tun ing . ▁ ▁T osi ▁sp ends ▁a ▁considerable ▁amount ▁of ▁time ▁in ▁his ▁treat ise ▁pra ising ▁the ▁“ anci ent ” ▁cant abile ▁( or ▁“ Path et ick ,” ▁as ▁the ▁original ▁transl ator ▁put ▁it ) ▁style ▁of ▁his ▁generation , ▁around ▁the ▁start ▁of ▁the ▁ 1 8 th ▁century . ▁ ▁He ▁cannot ▁seem ▁to ▁understand ▁why ▁“ the ▁Mode ” ▁has ▁moved ▁to ▁the ▁rapid , ▁highly ▁orn ate ▁“ Al leg ro ” ▁style ▁popular ▁at ▁the ▁time ▁of ▁his ▁writing , ▁which ▁he ▁l umps ▁with ▁ins u fficient ▁singer ▁training , ▁ign oring ▁the ▁traditional ▁Church ▁modes ▁and ▁“ t ast eless ” ▁virt u os ic ▁displays ▁as ▁the ▁great ▁sin ▁of ▁the ▁“ mod ern ” ▁music ▁generation . ▁ ▁Being ▁a ▁p rag m atic ist , ▁however , ▁he ▁still ▁encourag es ▁“ it ▁will ▁be ▁of ▁Use ▁to ▁a ▁pr udent ▁Sch olar , ▁who