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the difficulty of playing thus from a musical score, I will endeavour to explain it by the most similar comparison I can think of.
I must at the same time admit that the illustration will fail in one particular, as the voice in reading cannot comprehend more than what is contained in a single line. I must suppose, however, that the reader's eye, by habit and quickness, may take in other lines, though the voice cannot articulate them, as the musician accompanies the words of an air by his harpsichord.
Let it be imagined, therefore, that a child of eight years old was directed to read five lines[1] at once, in four[2] of which the letters of the alphabet were to have different powers.
For example, in the first line A, to have its common powers.
In the second that of B.
In the third of C.
In the fourth of D.
Let it be conceived also, that the lines so composed of characters, with different powers, are not ranged
- ↑ By this I mean,
The two parts for the violins.
The upper part for the voice.
The words set to music.
And lastly, the base. - ↑ By this I mean,
The violin parts in the common treble cleff.
The upper part for the voice in the contralto cleff as before-mentioned.
The words in common characters.
And the base in its common cleff.
