fluctuating tafle of the age, and on the ex- 
ecutive powers of the performer. In the 
modern ftyle of performance, a prefto move- 
ment muft be played with the rapidity of 
lightning. 
There are, in Mufic, but two kinds of 
Time. One is called Common^ the other Tri- 
ple Time. In the firft, when the notes in 
a bar are of equal length, the number is 
even; in the fecond, it is odd. By a Bar is 
underflood the fpace between any two of 
thofe- perpendicular lines drawn acrofs the 
five lines ruled upon the paper. Let us 
fuppofe the following figures to be notes. 
1234, 1234, 1234, &c. Now, ifyoufing 
thefe four figures to any tune you pleafe, 
and beat with your hand or foot whenever 
you come to the i, you will fing in common 
time. If now you change your melody to 
three figures, thus 123, 123, 123, and beat 
as before, you fing in triple Time. A few 
repetitions of this very fimple practice, will, 
in five minutes, teach you that which many 
young ladies do not comprehend, after feveiv 
years instruction. The fault is in the Mafter. 
As to the length, continuance, duration, 
pr protraction of each fpecies of notes, the 
fcholar is unneceflarily perplexed by a num- 
M 3 ber 
