ve from many points of view. This is the
universal opinion, but we are forced to accept this method by the
absolute impossibility of any improvement, especially with the key-board
instruments now in vogue; and it must be accepted until some new
invention shall revolutionize the piano by modulating its tones, a
transformation which would give that instrument not only the musical
design, but also the color and warmth which it now lacks.

Let us pass to passional trueness, leaving science to enter the domain
of art. "Passional trueness," said Delsarte, "consists in giving each
semitone three, four, five, six, or even seven commas, according to its
tendency." As we see, the precept is daring, and an inattentive scholar
would only have to forget the last words of the definition to make
people say that the great master of lyric art taught his pupils to sing
false.

Every rule has its reason and its consequences. St. Augustine, who knew
the Beautiful, of which art is only the expression, and who could
explain it well, has given us a brief but admirable definition of music:
"Music is a succession of sounds each calling forth the other." Simple
yet profound words! The sounds call each other forth, desire and
mutually attract each other, and in every age this attraction has been
so clearly evident, that the seventh note in the scale, when it meets
the others each of which has its particular name relating to its
particular function, tonic, dominant, etc., is simply called the
sensitive note, from its tendency to pass into the atonic.

Passional trueness is based upon this tendency of the notes to pass into
those which succeed them, and upon this reciprocal attraction of sounds.
Thus, notes, which have a tendency toward the acute or shrill, may be
raised two commas or more above temperate trueness. Notes which have a
tendency toward the grave may be lowered in the same proportion.
(Example, taken from "The Prophet," by Meyerbeer.)

Ex. No. 1.
[Music]
Ah! mon fils

Ex. No. 2
[Music]
il re-nia ta me-re

Here, the B may be but two commas distant from the C; and in the second
example given, the A flat may also be but two commas removed from the
G, and this change far from producing a disagreeable effect upon the
ear, will make a most striking impression and the accent will be far
more dramatic than before. Try the reverse, that is, divide the interval
B sharp-C into seven commas on the semitones A flat