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But for this dignity we should be too suddenly brought down to the general tone of the opera, here stamped on that terrible fury of diminished sevenths which resolves itself into an infernal waltz, and finally brings us face to face with the demons.

A man is not a great artist because he makes use of unresolved sevenths and ninths, consecutive major thirds and ninths, and harmonic progressions based on a scale of whole tones; one is only an artist when one makes them say something.

Certainly, if a man is too fond of paradox, if he is flighty and empty, if, instead of striking those fifths and sevenths, those harmonious discords, often so much better than the twinned octaves, in the music of thought, if, instead of striking these, he jangles the chords, stick a fact into him like a stiletto.

One reason might have been laid to the poor libretto, another to the rumor, started, it is said, by no less an authority than the great master Beethoven, that the music of the opera was "only a collection of diminished sevenths." The composer lost no time in laying his score before Beethoven, who said he should have visited him before, not after the performance.

A peculiar imploring tenderness is imparted to her appeal at the end by the falling sevenths, an interval which we have already met with in the Prelude and which is characteristic of this act. Her efforts are vain; Isolde starts up hastily crying "Air! air! throw open the curtains!"

The others, who would have been hard put to it to give any explanation and were disconcerted by Christophe, referred him to the musician of the company, Theophile Goujart, the great musical critic, who began at once to talk of sevenths and ninths. Goujart knew music much as Sganarelle knew Latin.... "... You don't know Latin?" "No."

Neither make too much of flaws and occasional overstatements. Some persons seem to think that absolute truth, in the form of rigidly stated propositions, is all that conversation admits. This is precisely as if a musician should insist on having nothing but perfect chords and simple melodies, no diminished fifths, no flat sevenths, no flourishes, on any account.

The work will get on better, and the tenants look with justice to the advantages of an open house again. But there is no more to be said at this time. Come, Allan, let us go to the drawing-room, I hear Mary playing a song I never can resist, no nor any other person, I think " and he began to hum "O Love will venture in." "Isn't it a wonderful combination of thirds and sevenths?

Besides, there are fasciae running all round under the cymatia on the jambs, and apportioned so as to be equal to three sevenths of a jamb, excluding the cymatium. The doors are without lattice-work, are not double but have folds in them, and open outward.

If the preliminary work in cadences, dominant sevenths, &c. has been conscientiously done in all keys there will be no difficulty in extemporizing a sung melody, which modulates, and adding a simple accompaniment at the piano. Other chords can now be added, and the children will be ready to extemporize short tunes, entirely at the piano, without the aid of the voice.