Ornaments are much less numerous in the writings of Sebastian Bach. Numberless confusions have been produced in the interpretation of the mordant,[5] or biting note. It should be executed above or below the principal note depending on whether the notes which precede the mordant are superior or inferior to it. With reference to the difficulties in interpreting the works of Rameau and of Gluck, I would point out the change in the diapason or pitch which at that time was a tone lower than in our days. The organ of St. Merry had a pitch in B flat. In addition to the tempi and the different instruments which make the execution difficult, one must add the recitatives which were very much employed and of which at that time a serious study was made. I recall a beautiful example of recitative in the "Iphigenia in Tauris." We come now to the modern epoch. From the time of Liszt, who not only revolutionized the performance of music on the piano, but also the way of writing it, authors give to performers all necessary indications, and they have only to carefully observe them. There are, however, some interesting remarks applicable to the music of Chopin which recent editions unfortunately are commencing to falsify. Chopin detested the abuse of the pedal. He could not bear that through an ignorant employment of the pedal two different chords should be mixed in tone together. Therefore, he has given indications with the greatest pains. Employing it where he has not indicated it, must be avoided. But great skill is necessary to thus do without the pedal. Therefore, in the new editions of the author, no account of the author's indications whatever is observed. Thus in the "Cradle Song," where the author has indicated that the pedal be put on each measure and taken off in the middle of it, modern editions preserve the pedal throughout the entire measure, thus mixing up hopelessly the tonic with the dominant, which the composer was so careful to avoid. A question of the greatest importance in playing the music of Chopin is that of "tempo rubato." That does not mean, as many think, that the time is to be dislocated. It means permitting great liberty to the singing part or melody of the composition, while the accompaniment keeps rigorous time. Mozart played in this way and he speaks of it in one of his letters and he describes it marvelously, only the term "tempo rubato" had not at that time been invented. This kind of playing, demanding complete independence of the two hands, is not within the ability of everybody. Therefore, to give the illusion of such effect, players dislocate the bass and destroy the rhythm of the bar. When to this disorder is joined the abuse of the pedal, there results that vicious execution which, passing muster, is generally accepted in the salons and often elsewhere.