The notation that I have adopted is, for the enharmonic diesis, , quarter tone or half sharp; the usual ♯ for the sharp; and for three-quarter sharp. In like manner, the for quarter tone or half flat; ♭ for the flat; and for the three-quarter flat. + 

In the Arab ternal division I should use⁠—one-third sharp, /♯; two-third sharp, ♯/; one-third flat, /♭; two-third flat, ♭//. + 

In my notation, also, it must be observed, that a sign ♯ or ♭ never conveys its influence beyond the note to which it is attached; thus + 

would read E half-flat, E natural, E half-sharp, E natural; and is a delicate expression of the chromatic + 

or of the diatonic + 

I now give the airs as best I can. + 

One word as to time. Though I have timed the airs I have given, I am free to confess there was neither metre nor rhythm of any marked character discernible in them; and even in the divisions of the lines or verses, the singer seemed to stop indifferently now at one, now at another word. I have, however, followed in my divisions those given in the book, taking it for granted that the learned author, who has given himself so much pains about the matter, will have chosen the most authentic. + 