XXIV. The second reason why this diminution of figures destroys music, is because it does not give space for the ear to perceive melody. As the delight the eye receives by a well-disposed variety of colours, could not be attained, if each was to pass the sight with so quick a motion, that it could scarce make a distinct impression on the organ, and it is the same with all sorts of visible objects; just so, if the points into which music is divided are of so short a duration, as to be incapable of acting distinctly on the ear, this organ, would not perceive harmony but confusion. Further, this second inconvenience, like the rest, is increased by the abuse, which, in their practice is committed by instrumental performers; who, although they are but slow or indifferent hands, generally make ostentation of playing with great velocity; and commonly strive to execute the sonata, with more rapidity than the composer intended, or than the character of the music requires. From whence it follows, that by a defect in the most essential part of the execution, which is precision and exactness, the music loses its true and proper genius; and the by-standers hear nothing but a confused clatter. Let every one then pursue the mode, which is suitable to his talents and abilities; for if he, who is heavy and slow of foot, endeavours to run as fast as him who is light and nimble, his whole career will be nothing but stumbles: and if he, who can only run, attempts to fly, he will soon fall, and dash himself to pieces. XXIX. The second distinction between antient and modern music, consists in the frequency and excess of transitions in this last, from the diatonic to the chromatic and enharmonic stile; and in often changing the tones, by the introduction of sostenutos and B flats. This, as I observed before, has a good effect, if it is done with moderation and opportunely. But the Italians of this day, run to such an extravagant excess with these transitions, that they force harmony off its hinges. Whoever has any difficulty of believing this, let him, free from prejudice or partiality, consult his own ears, whenever he hears any of those sonatas or chants performed which abound much in accidentals.