it was nevertheless true, that with respect to the elementary expression of the seven notes, he was the first inventor.
But besides their giving to this primitive invention more importance than was due to it, they went still further, and, whenever they spoke of the fundamental principles of the system, talked nonsense. The greatest advantage of my scheme was to supersede transpositions and keys, so that the same piece of music was noted and transposed at will by means of the change of a single initial letter at the head of the air. These gentlemen had heard from the music-masters of Paris that the method of executing by transposition was a bad one; and on this authority converted the most evident advantage of my system into an invincible objection against it, and affirmed that my mode of notation was good for vocal music, but bad for instrumental; instead of concluding as they ought to have done, that it was good for vocal, and still better for instrumental. On their report the academy granted me a certificate full of fine compliments, amidst which it appeared that in reality it judged my system to be neither new nor useful. I did not think proper to ornament with such a paper the work entitled Dissertation sur la musique moderne,[1] by which I appealed to the public.
I had reason to remark on this occasion that, even with a narrow understanding, the sole but profound knowledge of a thing is preferable for the purpose of judging of it, to all the lights resulting from a cultivation of the sciences, when to these a particular study of that in question has not been joined. The only solid objection to my system was made by Rameau. I had scarcely explained it to him before he discovered its weak part. "Your signs," said he, "are very good inasmuch as they clearly and simply determine the length of notes, exactly represent intervals, and show the simple in the double note, which the common notation does not do; but they are objectionable on account of their requiring an operation of the mind, which cannot always accompany the rapidity of execution. The position of our notes," continued he, "is described to the eye without the concurrence of this operation. If two notes, one very high and the other very low, be joined by a series of intermediate ones, I see at the first glance the progress from one to the
- ↑ Dissertation on modern music.
