represent do sharp, ré sharp, mi sharp, etc.
A score of music in the new style of notation has no signature—that is, no flats or sharps at the beginning. Above the line of numerals is written simply "Key of G," "Key of A flat," etc. The pitch, of course, must be taken from the tuning-fork or a musical instrument, as it is in all cases.
Second. The same idea should always be presented by the same sign: the same sign should always represent the same idea.
It has already been shown how this principle is disregarded; but take, for further illustration, the symbols indicating silence. There are seven different kinds of rests, and there is no need of more than one. These signs are:
Again: these rests may be followed by one or two dots, which increase their duration. For example: an eighth-note rest dotted equals an eighth note and a sixteenth; and followed by two dots it equals an eighth, a sixteenth and a thirty-second note in time. That is, the first dot prolongs the rest one-half or a sixteenth, and the second dot prolongs the value of the first dot one-half or a thirty-second.
To a disciple of Galin it is really amazing that such a bungling, unscientific way of expressing silence should have been tolerated so long. Compare these "pot-hooks and trammels," dotted and double-dotted, with Galin's symbol of silence, the cipher (0)! This is all, and yet it expresses every length of rest, as will be shown presently.
Let us now examine the symbols representing the prolongation of a sound. There are three ways by the common notation, where there should be but one. First, by the form of the note itself, as—