The writer of this has attended a class taught by one of Cheve's pupils, and can testify to the efficiency of the method, though the lessons were a very modest attempt to exemplify the perfection of the system. The lessons of M. and Mme. Cheve were divided into three parts: first, a drill in the principles of the theory of music; second, singing scales and exercises; third, drills in "reading time," beating time, analyzing time, etc., ending with some diverting "round" or "catch" or some exercise in vocal harmonies. On their method of teaching time, more than on any other part of their system perhaps, did the grand success of the Cheves depend. Rhythm was always taught separately from intonation, it being contrary to their principle to present two difficulties together before each had been mastered alone. The first grand law of Galin's system is that _every isolated symbol represents a unit of time_ or beat, whatever the measure. For example: 5, unit of sound articulated. ., unit of sound prolonged. 0, unit of silence. The second law is that _the various divisions of the unit of time are always united in a group under a principal bar, and such a bar always contains the unit of time--never more, never less_. To illustrate: H | __ T | ___ A | 55 H | 555 L | __ I | ___ V | .. R | ... E | __ D | ___ S | 00 S | 000 . | . | Here the units of time--the numeral, the dot and the cipher--are divided first into two equal parts, and then into three. In both cases the groups represent units of time--one beat of a measure--according to the rule. It will be noticed that the form of the notes is the same whether whole or divided into fractions; that is, there are no different forms for "crotchets," "quavers," "semiquavers," etc., the expression of time being better provided for. Thus, halves or thirds are indicated to the eye by a single bar surmounting two signs for halves, three for thirds. If the halves or thirds have in their turn been divided by _two_, then the principal bar covers two little groups of _two_ signs each; if the halves or thirds have been divided by _three_, then each principal bar covers two or three little groups of _three_ signs each. Nothing could be more simple than this. The eye has always before it, separate and distinct, the unit of time or beat; and the mind apprehends instantly the number of articulated sounds, prolongations or silences (rests) that must be sung or played during that beat. The eye has no hesitation, the mind no calculation, as to what note commences or ends a beat. Even the most modest student of music will see the immense advantage of this. Nor is there any need for the multiplicity of fractions to express different kinds of time. The moment the eye rests upon the score the student knows the measure as definitely and certainly as he knows the letters of the alphabet.