Again: the scales of the keys of G flat and of F sharp are the same--are played on precisely the same keys of the organ or piano--yet they are placed on different lines and spaces of the staff, and the signature of the first is six flats, and of the second six sharps. Think of the disheartened state of the victim of this notation when he has learned to read comfortably in one key, and then, taking up a piece of music written in another key, finds that he has all the lines and spaces to relearn! The wonder is that he does not lose his wits altogether. Compare this maze of notes and lines and spaces, for ever changing like a will-o'-the wisp, with the following: Low Octave. Middle Octave. High Octave. =.......= =1234567= =1234567= =1234567= =.......= Here everything is as clear as day. Take any note--as =5=, for example. This is _sol_--always _sol_, and never by any chance anything else. If it has a dot under, it is _sol_ of the octave below the middle; if it has no dot, it belongs to the middle octave; and if it has a dot above, it belongs to the octave above the middle. These three octaves are amply sufficient for all the purposes of vocal music, which alone is considered here. For instrumental music, where many octaves are used, the system is modified without losing its simplicity and conciseness. To represent the flats, Galin crosses the numerals with a line like the grave accent, and marks the sharps by a line like the acute accent. For example, =\1\2\3\4\5\6\7=[*] represent _do_ flat, _re_ flat, _mi_ flat, etc.: =/1 /2 /3 /4 /5 /6 /7=[*] represent _do_ sharp, _re_ sharp, _mi_ sharp, etc. [*: the slash goes _through_ the number (transcriber)] 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: [Illustration of music rest symbols] 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.