This is the very Case with the modern Harpsichord; it is very pretty, notwithstanding it's Imperfections, with Regard to the Change of Keys, (of which more in it's Place.) But no one can say, that it speaks to his Passions like those Instruments which have so immediate a Connection with the Finger of the Performer, as to sound just in the Manner which he directs. In that Case the Powers are great; you have the Numbers of Graces which have Names to them, and the still greater Number which have none; you have the Staccato and the Slur, the Swell and the Smotzato, and the Sostenuto, and a great Variety of other Embellishments, which are as necessary as Light and Shade in Painting. To convince the Reader of this, let him hear any Master play Handel's Song, _Pious Orgies, pious Airs_, upon the Organ or Harpsichord, and he will find, that, though it will appear to be Harmony, yet it will want that Meaning, and (not to make Use of the Word too often) Expression, which it is intended to have given it by the Word Sostenuto, which Mr. Handel has placed at the Beginning of the Symphony. Now a fine Performer upon the Violin or Hautboy, with a Bass to accompany him, will give it that Sostenuto, even with greater Strength than the human Voice itself, if possible. I by no Means intend to debase that noble and solemn Instrument the Organ, nor the Wonders that are done upon it, nor the great Merit of the Performers who execute them, by what has been here said; only to discuss a little upon the Perfections and Imperfections of different Instruments, as the more the Imperfections of an Instrument are looked into, the more likely is the Ingenuity of Mechanics one Day or other to rectify them. * * * * * X. _That every different Key in Music ought to have a different Effect or Sound._ This is an Error which belongs chiefly to those who play a little upon the Harpsichord; it arises from the Imperfection of their Instrument. As a greater Number of Keys would be inconvenient to the Performer, they are obliged to make one Note serve for another, such as B flat for A sharp, and many others, which necessarily renders some of the Keys imperfect. But we are not to take Notice of the Imperfection of any one Instrument, and regulate our Ear by that alone; we are to consider what is the real Scheme of Music, and what was the Intent of having different Keys introduced into Harmony.