ON THE SINGING OF BIRDS. 
Welsh one, called Morva Rhydland,* which is 
composed in a flat third; and if the music of 
the Turks and Chinese is examined in Du Halde 
and Dr. Shaw, half of the airs are also in the 
minor third. 
The music of two centuries ago is likewise 
often in a flat third, though ninety-nine compo- 
sitions out of a hundred are now in the sharp 
third. 
The reason, however, of this alteration seems 
to be very clear: the flat third is plaintive, and 
consequently adapted to simple movements, 
such as may be expected in countries where 
music hath not been long cultivated. 
There is on the other hand a most striking 
brilliancy in the sharp third, which is therefore 
proper for the amazing improvements in exe- 
cution, which both singers and players have 
arrived at within the last fifty years. 
When Corelli's music was first published, 
our ablest violinists conceived that it was too 
difficult to be performed; it is now, however, 
the first composition which is attempted by a 
+ Or Rhydland Marsh, where the Welsh received a, great de- 
feat; Rhydland is in Flintshire. We find also, by the Orpheus 
Britannicus, that even so late as the time of Purcel, two parts in 
three of his compositions are in the flat third. 
WOL. Ul: . QA 
353 
