feeling
is not the same with all, it follows that some hurry, while others
slacken, and unity is soon destroyed. The only exception possible to
this rule is that of a first-rate orchestra, composed of performers who
are well acquainted with each other, are accustomed to play together,
and know almost by heart the work they are executing. Even then, the
inattention of a single player may occasion an accident. Why incur its
possibility? I know that certain artists feel their self-love hurt when
thus kept in leading-strings (like children, they say); but with a
conductor who has no other view than the excellence of the ultimate
result, this consideration can have no weight. Even in a quartet, it is
seldom that the individual feeling of the players can be left entirely
free to follow its own dictates. In a symphony, that of the conductor
must rule. The art of comprehending it, and fulfilling it with
unanimity, constitutes the perfection of execution; and individual
wills--which can never agree one with another--should never be permitted
to manifest themselves.

This being fully understood, it will be seen that subdivision is still
more essential for very slow times; as those of 6/4, 6/8, 9/8, 12/8 etc.

But these times--where the triple rhythm plays so important a part--may
be divided in various ways.

If the movement is brisk or moderate, it is rarely well to indicate
other than the simple beats of these times, according to the procedure
adopted for the analogous simple times.

The times of 6/8 allegretto, and of 6/4 allegro, therefore, are to be
beaten like those of two in a bar:--[Symbol: two in a bar] = or 2 = or
2/4; the time, 9/8 allegro, should be beaten like that of three in a
bar--3/4 moderato, or like that of 3/8 andantino; and the time, 12/8
moderato or allegro, like the time, simple four in a bar. But if the
movement be adagio, largo assai, or andante maestoso, either all the
quavers, or a crotchet followed by a quaver, should be beaten, according
to the form of the melody, or the predominant design.

[Illustration]

It is unnecessary, in this three in a bar, to mark all the quavers; the
rhythm of a crotchet followed by a quaver in each beat suffices.

As to the subdivision, the little supplementary gesture for simple times
should be made; this subdivision will however separate each beat into
two unequal portions, since it is requisite to indicate visibly the
value of the crotchet, and that of the quave