not beat the
time, except through the first bar to indicate the movement.

"With the consent of General Lascours, all the teachers and professors
in the city, including the members of the Royal College, were on one
occasion admitted to a private rehearsal of M. Cheve's class. The
result was the same--admiration and astonishment. The professor
received on all sides well-merited praise for a success gained in so
short a time and with such unfavorable conditions.

"These soldiers have at this moment (September 1, 1843) reached a
degree of power in intonation and in reading music at sight which is
fairly wonderful. They can sing together at sight any new piece in
three or four parts, the music being written, after the new method, in
figures. If the piece be written in the ordinary musical character,
no matter what the key, they can also sing it at sight together after
they have together sung each part by itself. All the members of the
class understand thoroughly the theory of music, and are able to write
from dictation a vocalized air never heard before, no matter what the
modulations may be.

"Such are the results obtained by Professor Cheve from a mass of men
taken at hazard and against their will. The experiment to-day has had
eleven months of duration, seventeen or eighteen lessons being given
every month. The pupils have never studied at all between the lessons,
and those who remain at the present time have lost many lessons from
punishments, illness, leave of absence, etc.

"As to the method pursued by M. Cheve, it is as follows: In theory he
demonstrates _de facto_ the inequality of major and minor seconds, and
from this he deduces the theory of the gamut. Here he follows in the
footsteps of his master, Galin. The theory of time he takes from
the same source. In practice, he employs the Arabic figures for the
musical notes, as proposed by J. J. Rousseau and modified by Galin,
using a series of exercises created by Madame Cheve. To these
exercises especially does M. Cheve owe his ability to make his pupils
masters of intonation in an incredibly short time. He teaches time by
itself, using a language of durations invented by the father of Madame
Cheve, M. Aime Paris, and tables of exercises in time made by Madame
Cheve. Transposition is also taught separately, and never does M.
Cheve require his pupils to execute two things simultaneously until
they understand perfectly how to do them separately.

"In this way M.