@JakeEstner, pulled out the Liebman this morning. Some thoughts. First of all, it’s great for covering all the possibilities of intervals between chromatic pitches in a musical ordering. Second, break the chromatic line down into tiny chunks, and the fragments are not unlike what we’re talking about with the Bergonzi. They’ll help in any context. Third, choice of starting “Do” is really arbitrary. Until assimilated, hard to know what context a line might work well in. Fourth, I recommend starting them all on “La” or “Do” so that one may relate them to each other from a constant starting syllable point.
The first of the 100 in the line compendium starts, Do-Fa-Ra-Mi. I note that it is a permutation of the notes in the tetrachord found in harmonic minor. I find it interesting in that the second note descends by major 3rd to return up to the scalar major 3rd (relatively speaking) by minor 3rd. Interesting, at least to me. I’m sure others would find interesting things of their own.
Really tunes one’s pitch awareness right up. I like to compare against plain-jane Do-Re-Mi-Fa-So. I know I’m getting it when I’m no longer questioning whether I’m on the right note or not. That the landing points feel solid, completely relaxed, and in tune with my internal reference points. They pop, if you will.
So bringing it back around to the Bergonzi. If sung and later played musically, the patterns recur all over the place.