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THE
ISilglEil
*'i n H
fHattarimfetts Compiler
O F
THEORETICAL and PRACTICAL ELEMENTS
o F
H>acreo Hocal jflutiL
TOGETHER. WITH
A MUSICAL DICTIONARY.
AND A
Variety of PSALM TUNES, CHORUSSES, &c.
Chiefly Seiefted or Adapted from Modern European Publications.
Publi/hed. at Bojlon , February , 1795, according to Aft of Congrefs.
Printed at BOSTON,
tv ISAIAH THOMAS and EBENEZE R LAN
Sold at their Bookftore, No. 45, Newbury Street, and by the other Booksellers in Bos roN-by ford Thomas
orcester, and at
Oliver Holden’s Store in Charlestown.
i
advertisement,
THE inferring of the names of the flibfcribers for this compilation was intended ; but the unexpe&ed addition of a number of pages more than at firfl promifed, muft apologize for omitting them.
From a former propofal it was defigned that the work fhould appear in fix monthly numbers ; but, from the advice of literary patrons, in addition to the probability of more dire&ly benefiting pcrufers, it was thought befl to publifh the whole in one volume.
Thofe gentlemen, who have encouraged this publication, either by their friendly fuggeftions, or liberal fubfcriptions, are entitled to the moft grateful acknowledgments.*
P R E F A C E.
MANY American votaries of /acred mufic , have long Juice exprejfed their wifhes for a compendium of the genujne princi¬ ples of that fcience. At the prefent period it becomes necejfary that greater attention be paid to every mean for improving that important part of divine worfhip , as good, mufical emigrants are daily feeling an afylum in this country . f Particular advice
i
and encouragement , upon this fubjeCt, has lately been given by literary and eminent characters.
Thefe circumfances induced the fubferibers to affociate and prepare for this publication.
A compilation was judged more eligible than the tranfating,or republijhing of any, particular treat fe, efpe dally fine e the plan of fitch treat ifes is generally prolix, and more directly defgned for improving thefudent of infrumental muftc.
With refpeCl to the feleClion of muftc , it is necejfary to cbferve, that fever al of the pieces were not originally compofed for f acred words ; they were chofen and adapted for furnijhing a variety of fylefrom the mof modern compofitions.
Thomas Williams' Collection of Mufc, from which fever al tunes were taken, was pttblifed in London, 1790.
The merits, of the materials , exhibited in the following introduction, being unexceptionable, the editors have only to wtfk
that their plan and choice may meet approbation, and become ufefuL
At an d Ty>ram, dfamuet A Co/ yo/e,
Oliver j/Co/den .
Charleftown, Massachusetts, February, 1795=
INTRODUCTION!
The Theoretical Part of this Publication is compiled from the following Works. ELEMENTS de Mufique Theorique et Pratique eclaircls et Amplifies par M’D’ Alembert, Didtionaire de Mufique par J. J. Roufleau.
Allgemeine Theorie der Schoenen Kunfte bey Johann George Sulzer.
Treatife on the Art of Mufic, by \V. Jones.
An Elfay on mufical Exprelfion, by Charles Avifon.
Treatife on Counterpoint, by John Jofeph FeuX.
Elements on Thorough Bafs and Compofition by Dr. Edw. Miller.
The Extracts from the aforefaid Works are arrranged in the following Order.
PART I.
THEORETICAL OBSERVATIONS.
Of Notes, Intervals in General, Confonances and Dlflbnances,
Of the Diatonic Intervals.
Of the Chromatic Intervals.
Of the Enharmonic Intervals.
Of Bafs, the Fundamental and Continued Bafs.
On Chords and Thorough Bafs.
Of the Undergoverning Chord and of Chords by Suppofition,
Of Counterpoint.
Of Cadences.
PART II.
THEORETICO PRACTICAL OBSERVATIONS.
Ciiap. I— Of Time, Accenting and Syncopation.
'■■,hap. II.— On Sinnrnfr
A ENDIX to Chap. II.— Containing feveral Progreffive Leffont on Singing.
Ciiap. I. —
Chap. II.— Chap. III. — Chap. IV.— Chap. V.— Chap. VI. — APPENDIX to Chap. VI.— Chap. VII.— Chap. VIII,
THE
jWaffacfntfette: Compiler, &c.
THEORETICAL OBSERVATIONS.
I
CHAPTER L
Of Notes and Intervals in General *
Section i.
T is, at the prefent day, agreed that there are, in Mu fie, (eith- ^ er Inflrumental or Vocal,) twelve different Semitones or Notes, each of which is a half tone diftant from the next pre¬ ceding, or fucceeding.
Obfervation. — The expreflion of a half tone , (though apparently problemati¬ cal) may be clearer from the idea, that any femitone, Confidered m its own in¬ dependent date, has an equal chance of vibrating with the next higher, or low¬ er femitone.
Section 2.
the i 2 mentioned femitones are named by 7 letters in the following manner,
. , c f> 1- 8. o. to. it- I2*
C. «£btfc52U,. t. n newb. o. o*^b,*. **"b; »■
Mfr-na&m t ft. Every one of the 12 named femitones is equally entitled to a refpSf^a/e, in th7 diatonic icale ; in other words, there are twelve differ-
ent0i/C2hr’lnr fome' inftances, (as will appear in the following) E and B are
fta-red, and F and C are fitted. thcn F js ajf0 (harped ; now, wherc-
Ti.e ca!e is, tlrat when, e.^ E^ f^P parts ofthc oftave, E* mull
^t be named? natural, Uccaule then there would be, in thatoffave, two notes
Under the name of F, and none under the name of E : It is be fide fmple and proper to name the note, either fharped or flatted, or not, by the name of its place in the Have.
Obf. yi. It is evident, that thefeven mentioned letters, by adding, when ne- cefiary, the word iharp, or fiat, are fuffleient to denominate any refpe&ive part in the 1 2 different oiflaves ; thus in the pitch, or o&ave of C, D is the fecond, E the major third, F the fourth, &c. and in the pitch, or octave of C$, is the fecond, E^.the major third, and F# the fourth, &c.
N- B. But far fmaller, if hardly any, are the common purpofes of fa, fot, la, mi, of which more will be explained, in the theoretical practical obiervations.
Section 3.
AN Interval is the diftance from one note to another, either when fucceeding one the other, or when actually conjuntteff. All Intervals are either Confonances , or Diffonances.
Section 4. _
CONSONANCES, (or concords) are all thofe intervals, which
can agree together, and be derived from the natural vibration
of a fundamental note. _ _ r v. ,
f I' “ all0'Ve(; *? *b°rS ‘if £- ££ Sr will ta on any inftrument, capable of vibration, tne - f
or
V.I1 - - - ' 1 _ 1
that found perceive fever al other founds, in a^r ex- taves, in the following order.
I— tent of three oc-
-0-
N. B. All counting to be made upward.
Qbfrvaticn
\i
Obf. id. A good car anticipates, in any given tone, (of the notes, within the compal's of the Bafs and Treble Rave) a riling and falling 5th ; but it mud be noticed, that the riling 5 th never vibrates another 5 th, and that the fall¬ ing 5th is not a natural vibration, becaufe by vibration is meant higher lounds, originating from the lower ones.
Obf. 3 d. From the preceding, it appears, that there are feven mufical corfo- nances, which, according to their earlier, or later exiftence in the coUrfe of vibra¬ tion, arc computed more, or lefs perfect, in the following order,
1 — An Ofiave , as from - - C to C
2 — A Fifth, as from - - C to G
f*~A Fourth, as from - - G to C
4 — A ‘Third Major , as from - C to E
■ 5 — A Third Minor , as from - - E to G
6 — A Sixth Major, as from - - G to E
7 — A Sixth Minor, as from - - E to C
* In a compolition of two parts the 4th isufed as a diffonance.
Section 5.
DISSONANCES , (or difeords) are fuch intervals, or founds, as cannot agree, in the vibration of a produced found.
Obfervation if. In the preceding lift of confonances, there are two points of the o<ftave wanting, viz. the fecond and fevenlh. In addition to thefe two diffonan- ces, there is another, viz. the ninth, which, though apparently the fame note as the fecond, is an intirely different diffonance, and requires other preparations and refolntions than the fecond.
Obf. 2 d. The various purpofes of modulation produce a number of other dtf- fontnees, which are as many exceptions from the regularity of the odtave. Thofe diffonances have, with refpeft to their extenfive degree of difeording ef- feft, the following order : b
1 — The Minor Second, as from
2 — The extreme Flat Seventh, as from
- _ V The Falfe Fifth, as from
1 And the Sharp Fourth, as from 4 — The Minor Seventh, as from
Section 6.
THE Intervals, from the different modes and principles of conjunction and procefs, are called either Diatonic, Chromatic, or Enharmonic.
C to Db to Eb F* to C C to F$ C to Bb
CHAPTER II.
Of the Diatonic Intervals.
AXTr,„ Section i.
NOaave confifts of eight fucceffive founds, which, t
condine'or dT°,Prate?’ rdP"aive deSrecs. (other when a S> d "-.tending) give the car or voice a familiar chain
of proceeding to an eighth note, which is the mofl perfect con¬ cord with the firft of the eight founds.
Section 2.
THE intervals, contained in an odtave, are called Diatonic intervals, their degrees being determined by the Diatonic Scale.
Obfervation if. Diatonic is, originally, a Greek word, which fignifics through the tone, probably applied, becaufe tire diatonic fcale admitted fuch degrees, and liicceilion of founds, as lhould preferve die original tone, or pitch.
The ancient diatonic iyftem was imperfedt, and admitted but few, and falfe modulations, principally becaufe, that in their fcale, there were no other intervals of femitones, than only between E and F, and B and C _
The modern, improved diatonic lcale comprehends 1 3 femitones, which are arranged in eight different parts, of which, every 8 th is a perfect concord with the firft.
Obf. 2d. The diatonic fyftem, or fcale, proceeds either in a Major Mode, in which the third is a major one, or the 5th femitone ; or in a Minor Mode , in which the third is a minor one, or the fourth femitone.
n
Section
The Diatonic Scale of Intervals in the Octave.
Major Mode.
1 - The pitch, - any given note.
2- Its fecond, - the 3d femitone.
3 - Its third, - the 5 th - .
4- Its fourth , - the 6th - .
5- ltsffth, . the 8th - .
6-Its fxth, - the 1 o'
ch
7 - Its fevenlh , - the 1 2 th-
8 - Its eighth, - the 13th—
Minor Mode.
| 1 -The pitch , . any given note.
2- Its fecona, - - the 3d femitone.
3- Its third, the 4th- - .
4- Its fourth, - - the 6th - .
5- 1 & fifth, - . the 8th - .
Cwhen riling the iorh _ .
6- Its fxth, < but
i wl
7 -Its /event/},
8-Its eighth.
T
hen falling the 9th-
.'hen riling the 12th-
Example of C Major.
but
henfalling the 11th _ f
the 15 th. - .
Example of C Minor.
|
» — |
5r^-k _ t |
se_: |
Ch |
E-*-k — "1 |
||
|
1 2 r |
+ |
- U- 6 |
2 1 |
- t-erp- « ^ |
w j * I
Obfervation
0
Vll
Olfirvfttion i That t he 6th and 7th, in tiie diatonic minor, undergo fo ef-
r. ntial an alteration, when attending, and delcending, may be underftood thus ; the eighth requires that the preceding 7 th thall contain a part of its vi¬ bration, by being but a femitone lower ; the 6th then, in confequence, can¬ not be more th m two femitones under the 7th. — In the defending minor modes, the 7th, 6th, 5th, 4th, 3d, and 2d, have the fame flops of fuccefllon, as the 5 til, 4th, 3d, 2d, I ft, and 7th in the related defending minor mode.
A — Minor.
zsiizizzfr— z£:=zr.®;::
6th,
5th, 4th, C — Majc-r.
3d, 2d.
5 th, 4th, 3d, 2d, ift, 7 th.
01 f. 2d. By modern writers on milic, the terms pitch. Ley, tone, major Ley , mi- „nr hy, major mode and minor mode are frequently ufed as fynonimous terms, all which have reference to the diatonic fcale, or prder of the oftave in queftion.
St. Aun’s. D-Major.
536. 5 8 — : - 7 8 585
The terms, Jharp ley an Aflat Ley, are rather improper, caufing, in many in- ftances, ohfcuiity and falfe ideas. — The word mode is, in all modern treatifes, ftill ufed, only for the above purpofes, and never applied for the fpecific differ¬ ences of the time.
Olf. 3 d. The diatonic fcale always determines the ftatc of an oftave, or the pitch in queftion. Every part, in that oftave, may, by way of modulation, un¬ dergo an alteration in its order, in the oftave, thus, e. g. the rifing, or falling 5th, to the pitch may be changed into a pitch note, in which cafe, the whole oftave is changed into another, but perfeft fimilar oftave.
The means, and purpofes, of fuch exchanges, are contained in the chroma¬ tic, and enharmonic principles, which, when having effefted their peculiar in¬ tents, are immediately guided into the great purpofe of harmony, by receiv¬ ing a diatonic form and procefs.
Section 4.
TIIE diatonic form indicates, that a note has fuch a degree, relative to the preceding, and fucceeding note, either in the fame part, or in the other conjundted parts, as to hold a certain re- fpedtive place in that pitch of the compofition, which is then prevailing.
D-Major.
3&7 8 6
B-Mi. F$Ma. 3 8 5
Hiliiiil
^ — -zzzjzzzp
k I r - 1 _ _ C I
35
—4
D-Major.
C’r —ation 1 /?. In the preceding example, all the Intervening, chromatic, and ' enharmonic notes are purpofely omitted, ( exceptmg in two bars of the -dr 1 The circum fiance of other fuppolcd notes as well as the cafe of the f. v' -al ncculiar, diatonic changes, implies the following qqeftmns ; ift, How whichnotes, in a part, or harmony, are the pure diatonic ones, and
2d, Howto know, when the oftave or pitch is changed. , ,
Neither of thofe two points can be prccifcly comprehended, bat b> good v,’or- , the queftions will be folved, » far * can, cn-
and difappomtments by noticing. Ill, rntWr^ gifts and talents ; 2d, not
D-Major. 5 6 7
9 8
z-y
7
ZK
D-hfajor-
8&5 3425 16 1
| D-Major. B-Mi, F$Ma.
and improvements, which, in courfe of additions and experience, will amount to a handfome ftock, and hence render ample fatisfa&ion to the iludent, who has been perfevering, well tutored, and naturally well qualified for mu tic.
• Section 5.
THE diatonic procefs, is, either by oftaves, or by fifths, which, when reverfed, make a procefs by fourths, or by thirds, which, when reverfed, make a procefs by fixths, or by fcconds, fevenths,
and mnths. ^ ::Ild chpke 0f the diatonic proceffes, are
ces ofthe accenu-dand unaccented places in the compof.t.on > and by the various nature ofthe three different fpecies of counterpoint.
VUl
THE tion
Section 6. , . , , .
HE . . dia.oric pitches, of each modus, are exhibited in the following table, which ftows their different marks, thc-ir genera- bfrifing, and falling 5ths, and what minor mode is the neared related to a major mode, or vice vena. <
The T A B L E.
C-Major.
y=p=!ii
A-Major.
No. T-
Generation by rifing fifths, G-Major.
3:
No. 2. D-Major.
i EM
EvMinor
m
B-Minor.
tl=f=feafi
iE^Ef'SEI =l=i=f
No. 3. A-Major.
1 1
:zi:
F#-Minor
No. 4. E-Major.
3E
~w
* -
No. 5. B-Minor.
— <s
-Hi
C$(-Minor pizazz":-:— ^=2rlz:=:z:j~z
:z EZfzz:
:tz=r
n-.:? ^
Gig-Minor.
ggggPgg
?f the ab<lvc mentioned pitches, thofe marked with five
nnns Z T ’ bUt fdd°m llfcd in modern compel*, -
o / ’ nt nfarfR higher or lower pitches anfwering an equally conven- »C<‘t purpofe, both for the voice and inftrument. 7
Generation by falling fifths.
No. 1. F-Major.
f3EEEJE3E3=f=
± J-=a)=
D-Minor.
3e?eee:
No. 2. Bjj-Major.
3:
===s;
No. 3.
'Efo-Major.
a:
?Ef
or.
G-Minor.
e£zI±~=
- b
* *
C-Minor.
e§epe|
-
No. 4. A^-Major.
|
- — |
- 1 - 1 - r |
|
|
s E JQ |
— |
|
F-Minor.
|
- — |
_ |
— |
— |
|
|
it k |
_ |
W |
||
|
_ ^ tr |
r |
No. 5. D[j-Major,
|
« ~ ~n |
» — |
► — |
— |
|
-~*3cgi==i Bb-Mi BREr-^t— |
nor. |
f- — |
9. |
|
l-S^Ej |
E= |
_ _ L |
No. 6. Gt-Major
fiii§E=i=
:k~
Ejj-Minor.
iffliillll
Section 7.
/A the octave , the iff, and 8th, are called the Key Note , cr the Tone, or the principal ; the 5tb, is called the Governing Note ; and the major feventh is called the leading Note.
ObfervatioK .
/•
I
Obferviiicn. I'he 5th is called the governing note , becaufe it is that bafs note, on which cadences, or flops, in mufical fentences, are prepared ; and the 7th is called the leading note , becaufe the major 7th leads the ear and voice in upon the key note.
CHAPTER III.
Of the Chromatic Intervals.
Section i.
CHROMATIC confifts in a /ucceflion, or continuation of melody, that proceeds by femitones, as well in defcending as afcending, which produces a furprifing effed in harmony.
The greateft pat t of thefe femitones, not being in a diatonic form and procefs, caufes at every iiiftant, foine difcords, which fufpend, or interrupt a conclufion, without altering the diatonic
order, in the other part or parts. , ,
Observation. Chromatic is a Greek word, which figmfies coloured. Roufleau, mentions, that the ancient, Greek compofers, marked all their chromatic paflages with a remarkable coloui .
Section 2.
CHROMATIC Intervals can be ufed, either defcending, or afcending, or defcending and afcending together, as may be feen in the three following tables.
TABLE I,
T ABLE II
|
A ■ |
. _ |
|
|
^ U |
-©#©- |
/ N
s— ©
u — T
gkefe— : zzzzz .zzzfzzz iHc si I
- L — ~ - L _L_ J __
-Qy7C_©"L§~©Lcr
:EE:
— } -
lil
e*epic:x© zofe©
ZfSZS'©
3
LMq.
~za
■0-0
Le-;r
ta:a
izzzfaz.
— a
0—0-
tgzzztozc
I
Fundamental Bafs.
'D~0~s' "O'
TABLE III.
X
Observation if. Chromatic is chiefly ufed in minor Keys ; its crs.nncd effects are more perceived in defending, than in afeending, became, then the leading notes, (or 7ths) inftead of being refolved into the key notes, (or Sths) become fucceflively governing notes, (or 5ths) as may be feen on tne i ft: table, where
in the i mo. is fucceeded by in the z do.
cH . 9 ' . :
15 - - - . - - E-
Bt» . Efci
A ----- - D -
Further,
in the 2 do. is the governing note to B in the 1 mo.
Ftj . Bb - -
E . A - - -
D - G - - -
Obf. 2d. In chromatic, the upper part, or parts, proceed by as many fe- mitones, as poffible, each of which makes the third, the feventh, or forrte- times the falfe fifth, to the fundamental bafs note.
Obf. 3 d. The afeending chromatic, by palling its leading note the right v.-ay, coincides more with the diatonic, and fundamental harmony ; but the defeending produces more plaintive, folemn and furprifmg effects.
Obf. 4th. All femitones, ufed in chromatic, in minor keys, cOnfift: but in the fixth and feventh note of the key ; the leading note, in the minor keys, being flatted a femitone, in order to defeend, and the fixth {harped a femitone in order to afeend.
Section 3.
CHROMATIC may be pradifed in major keys, upon the major third to a governing note , which, afterwards, becomes a feventh to another governing note.
Example of Chromatic in Major Keys-
01 fr -.dor.. The bafs note B is r#ot a true fundamental, bafs note, it le- ing a {harp fourth to the preceding F. Its chord is, alfo, rather enharmo¬ nic, than chromatic. But, to fupport the following, chromatic fucceffion, in the major key, it was neceffary to make this exception.
Section 4.
AS the pitch, in the chromatic, is changed upon every pro¬ duced note, great care mud be taken to obferve the proper lim¬ its. RomTeau obferves, that, in giving an octave a chromatic form, it is fafeft to place the afeending, chromatic fuccedions be¬ tween the 5th and the 8th of the otlave ; tpid the defeending ones between the 5th and the id,
c, n i\ r
Of the Enharmonic Intervals.
Section i .
AN extent of ten femitones, divided into three fucceeding, mi¬ nor thirds, as F, Ab or G$, B, D, produce, when founding the aforeiaid notes together, a dilfonant chord, in which three, of the notes, are always refolved on a fucceeding femitone. This con¬ junction, of intervals, is called the enharmonic chord, and is
marked, in thorough bafs, *7, or or or 2#-
Obfervatiori. In modern, refined treatifes on mulic, each of the 12 fe¬ mitones, is confidered divifible into two parts. There are organs, on which every key is divided in two parts, of which, either one, or both to¬ gether may be founded. It is alfo a fact, that thofe divifions are ftridiy obferysd on other inftrunjents, as the violin, Sec. on which, e. g. a differ¬ ent Itop is appropriated for D$, than for Eb, &c.
Modern wi iters divide iemitones into major femitones , which contain the whole quantum of a common femitone j and into minor femitones which contain only the half quantum.
Upon this principle they define Diatonic, a procefs by tones and femi¬ tones ; Chromatic, a procefs by femitones, which are, alternately, minor aiyd major iemitones Enharmonic, in which, the proccis is by more minor, than major femitones.
It may be proper here to obferve, that, fince fuch divifions of femitones imply great difficulty in voc d performance, and finee the keyed inilru- ments in general, as well as the various kinds of wind inftruments, with- °u emg con hutted upon the principle of fubdivided femitones, will ad¬ mit a genuine performance of either a diatonic, chromatic, or an enharmo- uc procefs ; it may be thought more plain and fafe, in any procefs, bv fe¬ mitones, to notice veil the place of preparation and refolution 7
A
XI
A judicious finger, who, after having toned e. g. the note G, has to pro¬ duce the next femitone above, wiil diferiminate, whether that note is G%, ot •, in the firft cafe his imagination induces his organs to a rifing, that makes an addition to the preceding note ; in the laft cafe, he abftrafts from that degree he was ufed to give A, or the whole tone above G.
In the firft cafe, the vibration, of the produced femitone, originates in G ; in the laft, in A. Thus, in courfe of natural exertion and habit, the attentive, and judicious finger’s performance will perfe&ly correfpond with the niceft calculations, derived from the principle of fubdivided femitones.
Section 2.
THE real nature of the enharmonic chord is, that its oftave is divided into four minor thirds. This equal divifion, produces a multiplicity of the moil delicate refolutions ; of which, neither
the diatonic, nor chromatic form of the oftave admits any chance. 1
Obfervation. By dividing an oeftave into three major thirds, as C, E, G#> no finifhed, regular refolution can be obtained. (By a regular re- folution is meant a diatonic, confonant chord, that originates from a pre¬ ceding preparation of diffonances) but by dividing an otfave into four mi¬ nor thirds, and, of them, to promote three fucceeding thirds, into fuch new vibrations, as they, by a natural fucceflion of founds, can receive, it will ap¬ pear, by the following table, that one, and the fame, individual, enharmo¬ nic chord, contains 1 2 different, proper refolutions. N. B. Allowing that a feptima, minor chord, when confiding of a major, and two fucceeding, mi¬ nor thirds, is frequently introduced, in good compofitions, as a fpecies of clofing cadence, or a chord, from which you may proceed, without reviv¬ ing it.
- —
A Minor.
Section 3.
TABLE of the 12 Refolutions of one Enharmonic Chord. 4 I 5 I . 6 i. 7 8
‘ -f-nr, — It— z-i
=pffT SB ste
"-i -i—
A Major, and its
zirkEEf:
7!]. C Minor. C Major, and its 7k}
Obfervatian \Ji. The praftice is, ift, to confider that note of the chord, which is the lowed, as the leading note •, 2d, to notice, that the new, pro¬ duced key note is to be, either of a minor mode, or of a major mode, or of a major mode with an addition of a minor feventh.
Obf 2d. Of the 12 refolutions, contained in the enharmonic chord,
three have the fame marks of fharps, or fiats.
Obf. id. The preparing moments, in the enharmonic chord, are always in a minor mode, as far as the date of intervals, then allows and requires
n* arks of 21 mode* . . ,
“ Qbf Ath. From the above table, it is evident, that the enharmonic chord
is a duninifhed, feptima chord ; and that this chord, by inverfion, becomes the chord of or of ^ , or of 2$.
io
m
_ _ .
5^:
1 1
B
f
ban:
SSI
m p :
Obf rth There is another fpecies of enharmonic mufic, i. e. when, in contrary motion of two femitones, that are diftant by a whole tone, the
10 dTil‘ ki nTofpro«^ ; the intention in fucli i procefs
is, that the fecond and feventh in their meeting, may join in the key no.c
b;’ half degrees.
Eb Major, and its 7tj " F$ Minor F& Major, and its7 |j.
Obf 6th. The enharmonic is but feldom ufed in any large continuation, its great purpofes and fuccefs being rather problematical, both to compo- fers and performers. The famous Rameau attempted in a large and maf- terly enharmonic compolition, to exprefs the terrors of nature when con- vulfed by an earthquake. But he never could have it well performed, and therefore changed it into a diatonic and chromatic form. Roufleau pre¬ fumes, that the bed time and place, for the enharmonic, is in the perfor¬ mance of an Obligato recitativo.
V.
CHAPTER
On Bass.
Section i.
NO mufic, whatever, can be good without its proper
^a*s* „ « „ Intended for a vocal folo , or duetto,
' The bed vocal fobs, in modern compoli¬ tion, are accompanied by the whole orcheitra. Thc
The word contains no exceptions from the Uriel rules Of harmony ; for any kind of building mu ft have a foundation. To compofe is to give to a melody (that, may be called the produc'd of imagination and genius) a diatonic, a chromatic, or an enharmonic form and procefs ; the rules and reafons. of which are contained in the particular nature and Heps, either o an exhibited, or a fuppofed bafs.
Obf. 2d. A bafs folo cannot, on any account, be conhdered exceptiona¬ ble from the Itricleft rules of modulation and harmony.
Every bafs note fuppofes its chord, which is, either a preparing, or a re-
folving one.
All' bafs folos have additional reftr/clions, that they may correfpond with an idiomatical propriety of lower founds, and that they may produce that effect upon the fuppofed harmony, which originates only from a good, and juft bafs.
• Section 2.
THE Bafs is either fundamental, or continued.
Obfervation. It may lead to a better underftanding of this important ob¬ ject, to notice, that, in any chord, or conjuniftion of intervals, that note, in general, is the fundamental bafs, which characderifes the tone, or pitch ; and that fuch bafs notes,, as take the common chord, or the chord of the feventh, are called fundamental bafs notes : and farther, that any bafs note in the oifdave, which muft receive a fixth and third without a fifth, is not a fundamental, bafs note ; and, confequently, that the apparent, loweft note, in harmony, is not always the fundamental nolle.
Section 3.
THE fundamental bafs notes are, either, the key note, or its rif- ing fifth, cr its falling fifth, with thefe obfervations, that when the rifing fifth is the fundamental, bafs note, and confequently, has a major third , and a fifth, the falling fifth of the pitch fhall be added, or the pitch will be changed.
For fimilar reafons fhall the falling fifth to the key note, when ufed as a fundamental note, receive a great fixth, in addition to its major third and fifth.
Obfe ration iff. Anyone of the 12 eftablilhed femitoncs, with its rifing and tailing fifths, as, e. °
- — - exhibits three fifth points, of which the rifing,
- — — - and fallingoncs, by the rules of the fundamental
. _ f ft* ' j 7 ferve to continue the given pitch, which
Md eftabll‘hcd “'P8- " 1,1 «% !»«■»« new.
Ol>f. id. From the preceding, it plainly appears, that tne fundamental bafs, differs widely from the diatonic bafs, though operating upon the fame ^principle, with refpetl to natural vibrations on the rifing fifth, fourth and major third.
Rouffeau obferves, that, in the fteps of fundamental bafs, there are three, correct, and practicable methods, viz. 1 ft, to afeend, or defeend, in the bafs, by thirds or fixths ; 2d, by fourths, or fifths ; and 3d, to rife diatonically, as from the fourth to the fifth of the pitch. (N. B. Under the preferibed rcftrictions.) Fie, at the fame time, ftrictly forbids ever to let the funda¬ mental bafs defeend diatonically, viz. by tone, or femitone, except where there fhould happen to be two fequent perfedf chords, that had an a£luai, or fuppofed reft between them.
Obf. 3 d. Any note, in a bafs, that is not one of the three fifth points, in a pitch, or not accompanied, as mentioned, are, either, not fundamental notes, or the pitch is changed.
Obf. 4 th . In the moment, when the pitch is actually changing, by proper difeording preparations, the three fifth points of the former pitch are, con- fequently, no longer in their prior ftate ; therefore a new riling, and fall¬ ing fifth point muft be applied, on a correfponding, preferibed method.
Obf $th. The purpofes of the fundamental bafs are to direct the judg¬ ment of the compoier, or performer, to the fcnfe and limits of a regular har¬ mony, which never can be good, without its proper, fundamental bafs, either adjoined, or fuppofed.
Obf. 6th. The purpofes, of good harmony, do not always require, that the fundamental bafs fhould be exhibited, or performed, but only that it be known, and juftly fuppofed, by the compofer, or performer.
Obf 7th. Let it be obferved, that the fundamental bafs chord of 6, the 6th being a great 6th, is intended and fitted to,preferve the pitch, becaufe being thus framed, it contains two of the fifth points of the pitch. The ufual chord of 6 , in which the 6th is a fmall 6th, has quite different, and contrary effects.
Section 4.
THE Continued Bafs is an inverfion of the chords of the fun¬ damental bafs notes ; thus, fay that the Fundamental Bafs was E . G. the continued bafs to the .chord may bv inverfion be E. G. C. or G. C. E. farther, fay that the Fundamental Bafs ^ as G. B. D. F. the Continued Bals may be made up from either of the three other notes in that chord, in confiffency with the due preparations and rcfolutions, &c.
Obfematlon
Obfervation \Ji. A bafs may be excellent, though it be not a fundamen¬ tal bafs, but nobafs is good, that is not, by inverfion, one of the notes, con¬ tained in the choi ds of the? fundamental bafs notes ^ which chords are, either plain, common chords, viz. the i ft, 3d, and 5th ; or the feptima minor chord, as G, B, D, F, or chord of the 6th and 5th, when the falling 5th to the pitch note happens to be the fundamental, bafs note, in which .cafe, the chord is the diatonic 4th of the pitch, with its major 3d, its 5th, and great 6th.
Obj. 2 d. The continued bafs notes have a diatonic procefs, either rifing, or falling. It is of conlequence, to notice, particularly, the three follow¬ ing rules ;
A.) Any bafs note, which has the chord of a falfe 5th, and, confequently, is a leading note, fhail rife to the next note.
Fundamental B4fs,
B.) Any bafs note, which has the chord of tritone, or (harp 4th, fhail defeend to the next note.
Continued Bafs.
Fundamental Bafs.
C.) For the chord of the defending, diatonic 2d, fuch a con¬ tinued bafs note, is ufed, as will admit of a defending fyncopa- tion, by which, the diffonance is encreafed, and its fucceedmg refolutions made the fweeter.
XIII
e:
&==
Diatonic Bafs.
gzz©z=p:
Continued Bafs.
-Q-
4—
Fundam.Bafs, ^
CHAPTER VI.
On Chords.
A Section i.
CHORD is a Conjunction of different Intervals,
Obfervation \Jl. As Melody fignifies a fucceilion of fingle intervals, in the air of any of the parts, in a compofition, and as Harmony denotes the (late and effect of thofe feveral airs, when united, it follows, that the chords con¬ tain the means and purpofes, as well f°r melody, as for harmony.
Obf 2d. As Modulation means, that all confonances and diffonances, in a melody, and harmony, fucceed, in a manner fuitable for producing plea- fure, it hence follows, that all chords are, eithpr confonant or diffonant chords ; the laft are frequently called preparations to the confonant chords, which are then confidered as refolutions.
Section 2.
TABLES of the Fundamental Chords ■ made ufe of in Har¬ mony.
-9- -0
The Common Chord zy — — t — y — T~~p _ q
with its derivatives. _I~ ^ Q ^ ' 1
Obfervation. In this chord , the third is changeable, whether the key be major or minor.
The Governing Chord z
with its. derivatives. nurft - rr-- - .
7 -5- or f i i
' 3 2
The falfe jih. The little The tritone Major 6th. or (harp 4th,
Obfervation. In this chord neither of the intervals muit he altered.^
I
XIV
The Septima Chord , SL^EE — --ce with its derivatives. r~~
_w>_
CJ
7
rj
6 or Fund. 6th. Tlie great 6th.
IQ:
5fE
6
+
3
The little Major 6th.
6
4-
r
The Second.
Ohfervathn i /?. In this chord, the 3d, or 5th, or 7th, may be altered, a- greeably with the nature of the key, or the fyncopating purpofes 111 the
chromatic procds, &c. _ .
Ql)f. 2d* 'This Chord, in its function, as a fundamental chord, is called the Undcrgoverning Chord, the fundamental note being then the diatonic fourth.
Ol f 3 d. The feptima chord differs from the governing chord, with re- fpect to their feveral qualifications and functions, in fundamental bafs.
Off. 4th. The feptima chord appears in compofitions under various al¬ terations. \
1 Major jd. aMinorjds. 1 Minor 3d. iMajorjd. 3 Minor 3ds. J Major jds.
and and i Major 3d. i Minor 3d.
2 Minor 3ds. r Major 3d. x Minor 3d* 1 Major 3d.
Obf. $th. All kinds of feptima chords maybe ufed in harmony, except¬ ing a feptima chord in which the firlt 3d is minor, and the 7th major, (as C, E'j G, B.) Farther, a feptima chord that has the falfe 5th and a major 7th, is likewife inconfiftent with the principles of harmony, and inadmif- iible.
Section 3.
1 ABLES of Suppofed Chords made ufe of in Harmony.
Obfervation. Suppofmg an addition of the defcending 5th to the fun- damental note of the governing chord, tlie new chord will be (e. g. in C)
n fi V’ ?VD’ R, 01i ltt* Sth» 7*» 9th> ™d nth, (alias 4th.) The fup- po lul addmonal, defcending 5th to the governing note, is correfponding
tlon r ^reya,Iin,S Pitch- This new chord, by fuppolF
t.on.tscalled/^ow^^, and is marked in thorough bafs, *7, over
Te dhidin ’S Ufrl Mra frPPOfcd’ falll"g 5th . from thf governing note nofl i f > Pr‘nciples, make farther ufe of another f«p-
s£l i v™
VhT’f0f ?tl1’ Erlidihu, ofer he
11a. Wt mode of fuppof.Uon c„ be applied either to the govS£
or any bafs note in the pitch, that bears a feptima chord. By fuppofitions the chord is enriched with various diffonances of which fuch may be drop- ed, as cannot idiare in the fucceeding refolution. Obferve farther, that if the fuppofed, fundamental, bafs note is performed, it mud either be found¬ ed above the fuppofer, becaufe it wall not elfe have a fuificient vibration, or the fuppofer muff be omitted.
Ulliilll
tQ
The Chords of the Ninth. _ _7 _ _ di
X - 0-
When Inverted the Chord, of | ,
-©-
The Chord of the 4th and £.
::o©:
EEEEEj:
~zgz
This Chord is an Inverfion, of the following 9th.
o
3E
-e—
:eq:
The Chord of £
2
— e-
3-i
Fundamental Bafs.
Section 4.
1 HE ufe of the preceding tables is merely to (how, that all polhble chords originate, by inverfion, from the three fundamen¬ tal chords, which belong to the pitch ; and that even the fup¬ pofed chords cannot be excepted from this rule, their fun&ions eing either in a retarding operation of a preceding difeord , to which then the governing note was the fundamental bafs ; or in an anticipating operation of a fucceeding concord, to which th? Key note is the fundamental bafs.
Section
Section 5.
THE dimmilhed , or enharmonic chord is, by the heft wri¬ ters, called a mixture of the governing, and undergoverning chord , in a minor key ; hence the difficulty of afcertaining, precifely, the fundamental bafs note ; this mull, however, be the govern¬ ing note, which then is a chord of feptima minor, with the addition of a flat 9th, which 9th becomes the 5th inthechord of refolution.
Section 6.
THOROUGH Bafs , in its Ample fignification, denotes that a bafs note, with its marked, or fuppofed, additional notes, contains all what then belongs to the harmony.
Obfervation iff. Thorough Bafs, in a fcientific fenfe,fignifies the knowl¬ edge of the chords, the proportion of conjun&ed intervals, and the mode and time for preparing, and refolving fuch conjunftions.
Obf. ad. Thorough Bafs, farther confidered as a fcience, denotes a ha¬ bitual knowledge of what is meant and fuppofed by cyphers, fet under a bafs. This again implies the knowledge of affixing the right cyphers to the bafs, from a fcore of mufical parts ; or, from a cyphered bafs to appro¬ priate the right notes in the lcore,
Obf 3 d. Thorough Bafs, confidered as an art, denotes that the cyphers af¬ fixed to the bafs, arefkillfully executed on any inftrument, on which chords may be taken.
Section 7.
TABLES of the different chords, ufed in Thorough Bafs, as expreffed by figures.
N. B. Any Bafs note, to which no cypher is fet, has a common chord, viz. its major, or minor third, its diatonic fifth, and its 8th. When a * is fet to a bafs note, the fliarp concerns the third of that chord. When a is fet avainlt a bafs note, that flat concerns the third of that chord. And when a tl is fet to a bafs note, that natural concerns the third of that chord.
Obfervations .
A. In this chord, the intervals are diatonic.
B. This chord is the fundamental feptima chord, in its firit inverfion,and is, generally, called the great 6th. It is accompanied with a 3d and 5th, but its intervals are changeable. N.B.This chord isdiftinguiihedfroin the chord of the additional lixth, fxte ajoutee.
(Vide infra Cha. 8. Sec. 3. Obf. 2.)
|
With the chord |
is ufed |
different way |
|
of the |
the |
of figuring. |
|
6th, |
3 and 8 |
|
|
Great 6th. |
3 and 5 |
6 |
|
5 |
xv
|
With the chord |
is ufed |
different wav of figuring |
|
of the |
the |
|
|
6 . |
8 |
|
|
4 ' |
||
|
6 |
3 |
•5- |
|
5 |
Obfervations.
C. In this chord the intervals have their diatonic degrees.
D. In this chord the 3d is minor, the 5 th falfe, and the 6th minor. It is the fmdamental governing chord, m its firft inVerfion. It is always to be applied to the leading note, refolv- ed into a common chord, on the key note ; which common chord is frequentlyfucceededby another com¬ mon chord, in the next higher pitch.
Example.
4
3
6
6
4
3
|
— - - |
% £ : > tL |
: — a- - - # - |
|
xk) — |
: — |
|
|
0 .. |
||
|
... 1 |
||
|
Ub. |
r 4— |
- ' |
|
_ |
- 1 - |
L 1 |
E. In this chord the 3d is minor, the 4th diatonic, and the 6th major.
It is the fecond inverfon of die fun¬ damental governing chord. Its pur- pofe is to produce the common chord on the next defcending bafs note.
It is applied to the defcending 2d, and defcending 6th. In the laft cafe, the 6th in the chord muft be {harped, that it may become a juft leading note to the fucceeding chord, which, though being the diatonic 5th, is yet, adlually, by its eftab- liffied accompaniments, a new key note, for that moment.
N. B. This chord, when applied to the diatonic 6th, is the medium of raffing the harmony from its prefent key, to the next related, higher key, as from C to G, See.
The preceding chord is called the major 6th, in diftinftion from the
minor 6th, alfo figured but which
/
IS
%
XVI
|
With the chord |
is ufed |
different way |
|
of the |
the |
of figuring. |
|
6 |
||
|
4 |
6 |
2or4or4$ |
|
2 |
2 |
|
|
7 |
3 and 5 |
7 or 7 3 5 |
»
Obfervations.
is the fecond inverfton of the funda¬ mental, feptima chord, and which is refolved into a common chord, on the fame bafs note.
F. This chord has a diatonic 2d, the tritone, or lharp 4th, and a great 6th. It is the third inverfton of the governing chord. It is always to be applied to the defcending, diatonic 4th, and to be refolved into the chord of the 6th, on the diatonic 3d ; hence, it is the medium of leading the harmony from the higher, to the next related lower pitch ; as from G to C, or from C to F, &c.
This chord is to be diftinguiihed, particularly from another chord,
which is alfo marked 4, and which 2
is the third inverfton of the feptima chord, where there is no tritone, and in which the 6th is a minor 6th, and for which reafon, its refolution is on the fame bafs note.
G. The governing chord exhibits a feptima chord-, viz. a major 3d, a di¬ atonic 5th, and a minor 7th. This chord, when inverted, contains the abovementioned, three chords, viz.
5 or “5“> and +> which four chords comprehend the moll elTential con¬ trivances, in modulation.
fhc fundamental, feptima chord, in which the third is a minor one, and which chord, in its firft inverfion, is the undergoverning chord, produces, in its other inverfions, fuch chords, as have changeable modulations, be- caufe their intervals are changeable. The ufe of the feptima chord, and its inverfions, and in Ihort, of any
|
With the chord |
if ufed |
different way |
|
of the |
the |
of figuring. |
|
* |
||
|
9 |
3 and 5 |
' |
Obfervations.
fpecies of feptima chord, in which the 3d, 5th, and 7th, are not of fuch' proportions, as in the governing chord, is appropriated to the fludlu- ating circumfhnces of the minor mode, or the chromatic, and en¬ harmonic procefs, with this obfer- vation, that the feptima chord and its derivations are not to be ufed, where the governing chord, and its deriva¬ tions can effect the purpofes of har¬ mony.
It is a fa£t, that the folid, depend¬ ing, moll natural, and pleafing fteps in modulation, or change of pitches, originatefrom afeptima chord, fram¬ ed like the governing chord, and from the inverfions of fuch a chord ; thus e. g. in the key of C, by giving to the feptima chord D, F, A, C, a ma¬ jor third, that chord becomes a gov¬ erning chord to a new pitch, viz. the key of G. Thus alfo, by giving the common chord of C an addition of the minor 7th to C, that chord becomes a governing chord to a new pitch, viz. F, &c.
N. B. When the chord of the 6th follows the chord of the 7th, then the 5th in the chord of the 7th muii be omitted.
H* In tins chord the third is ar¬ bitrary, either major, or minor, the 5th is diatonic, and the 9th is a tone above the 8 th.
This chord is generally refolved into a common chord, on the fame bafs note, and fometines into the chord of the 6th, on the third bafs note above.
Hence its preparation is, either with* 3d and 5th, or with a 3d & 6th.
It
W ^4
With the chord of the
4
5
2
|
is ufei the |
different way of figuring. |
|
« |
|
|
4 |
^ 7 4 or ‘ 2 4 |
|
5 and 8 |
5 |
|
4 |
|
|
andther 2d. or another jth,or a 7th, or a4th. |
5 |
Obfe'r vat ions.
It is called a fuppofed chord, bccaufe it originates from a bafs note, that is a fuppofed addition to the note of the governing chord.
I. This chord confifts of a diato¬ nic 2d, a minor third, and a tritone.
It is called an inverfion of the 9th chord, when the 5th in the 9th chord is quinta falfa, and the third minor.
The chord of 7 ;8 ufe(j aruj re_ folved on the key note .• but its fun¬ damental bafs, is in the governing chord of the key note.
K. This chord confifts of a diato¬ nic 4th, 5th, and 8th, and is always refolved into a common chord, on the fame bafs note.
This chord is alfo called the chord of the 1 1 th, being the eleventh point in the governing chord ; when giving to its fundamental note, its fuppofed bafs, on the falling 5th.
In the chord of the 4th or 1 1 th, are all three fifth points of the key to the common chord, into which it is refolved. Hence, is abfolute power of making the ear anticipate its refolution.
Its fundamental bafs is in the gov¬ erning chord.
L. This chord is nothing but an inVerfiori of the preceding chord.
It has a diatonic 2d and 5th. It is always made upon abafs note that defcenas by a femitone, and is re¬ folved into the chord of 6th. Its fundamental bafs is in the gov¬ erning chord ; when this chord has an additional 7th, that 7th is major;
1
xvii
|
With theehord of the |
is ufcd the |
different way of figuring. |
|
9 |
5 |
|
|
4 |
||
|
9 7 |
3 |
Ohfervations .
and when it has an additional 4th, that 4th is a diatonic one.
M. This chord is the fame as the chord of the 4th, with this obferva- tion, that the additional 8th in the 4th is, in this chord, omitted ; and the diatonic 9th taken, in its place.
It is always refolved into a com¬ mon chord, on the fame bafs note ; i. e. the chord, |, when refolved, is f •
Its fundamental bafs is in the gov¬ erning chord. The chord of \, is frequently a repetition of the chord of 6.
N. The 3d of this chord maybe either major or minor. The 7th likewife may be either major or mi¬ nor.
The 9th is a tone higher than the 8th.
The chord of 7 is refolved into s
on the fame bafs.
Whenever this chord is ufed its 9th and 7th were prepared in a pre¬ ceding chord.
Its fundamental bafs is in the gov¬ erning chord, the fundamental bafs, to its refolution, is in the common chord of its pitch, as is the cafe with all chords of fixths.
Section 8.
A TABLE of all the chords, which may accompany each
XVIII
Minor of A.
,«U&J *5*
366** 65^1
JiliSii
6th, 7 th.
ISsiMli
I ft, 2d, 3
i
:0
3d, 4th, 5th,
Section 9.
TABLES of the eftablifhed accompaniments for a diatomc bafs, in the afcending, or defcending Major Mode.
- 0.^.0 o.e. - ~ 0 ‘ u ^
*6 o • 6, 6 6 , - ' ' 6 7 6* 4 V
5 v 6 < a 4
Section 10.
TABLE of the eftablifhed accompaniments for a diatonic bafs, in the afcending, or defcending Minor Mode.
- 1-
-t-t— r~
— i_
:=j-T;
■I - 1 — 1 - ! -
—I - 1 — I —
6*6 6*6 6
4 5 5
5 •
6 7 6*
4* 6 6* 2 1
APPENDIX to Chap. 6th.
IN the preceding, and more efpecially in the 2d Seftiop on the head 0 th e. feptima chord, and in Section 3d, in the obfervation on fuppofitions, re main certain appearances of problematical obfcurity, which might in form degree perplex the reader. b
I he editors of this work could not prefume to offer their opinion 01 .hole points in any ether way, than in an appendix to what they have com piled from the works, mentioned in the introduction.
„ 1 h,e>r h;’ye ^tempted an explanation in the following obfervations.whicl tliey huIIlbly prefent to the perufal and judgment of the reader ’ nervation if. It is evident, that the govern ing chord, and the febtim chords ’widely different in their qualifications/
and purpofes of harmony. The governing chord, by having a major third, has a leading note, which, whenever founded, contains a natural anticipa¬ tion, of the key note ; and the feptima, to the governing chord, is the fall¬ ing 5th to the key note. Thus the governing chord contains the two 5 th points, and the leading note of the pitch.
This chord, either in its fundamental ftate, or in any of its inverfions, firmly governs, and announces the pitch,becaufe inits refolution (excepting when ufed as a temporary clofe, or partly finiihed cadence) the yth falls by a femitone, and the 3d riles by a femitone, which, in conjunction with the remaining, fundamental note, gives the common chord of the pitch.
Neither of thefe qualifications are found in the feptima chord , or any of its inverfions.
In Section 2. Chap. vi. the three, exhibited, fundamental chords, viz. the common chord , the governing chord , and the feptima chord , are appropri¬ ated for the key of C major ; granting, therefore, that, in that pitch, no other note, than the 5 th, or G, can he the fundamental note to ths gov¬ erning chord, it remains yef, to afeertain, precifelv, why the fundamental, feptima chord, is fet on 1), or the 2d, of the pitch, when it is evident that in the fame key there may be four other feptima chords.
To this it may be anfwered :
1. That the fundamental, feptima chord, muft be laid on fuch a bafs note, as that its chord, and its refolutions may guard againft the lofs of the pitch, which is the main object in all fundamental chords.
2. 1 hat fuch a feptima chord (the intervals of which, as mentioned above, can be altered) may, whenever its third is altered to a major third, or a leading note, become a governing chord to a related pitch of the kev, in which it was, before, a feptima chord ; and, when ever its third is again flatted, return to its prior function in the preceding key.
3* I hat, in the pitch of C, the feptima chords of F, F, A, 13, have not the aforefaid qualifications.
4. 1 hat in the piten of C, the note D, being the diatonic fecond, has, next to the governing note and leading note, the ncareft accefc of refolu-
11011 ' 9 5 t.hat tJie1 faid D> 5n function, as a feptima chord, contains two fifth points of the pitch, viz. E and C, in addition to ks anticipated, tailing 5th point G, which is the third 5th point, in the pitch of C.
5. I hat the tranfa£\ions, with the fundamental chords, tend, perpetual- y, through all poffible changes of modulation, either, totheprelervation of .he pitch, or to a juft conftnnftion of a new pitch.
falhnJS in- t,he genfral COurfe of the chanse of pitches, the rif.ng, or n "g /w l°ahe Preceding keT note> will become the new key
tbe V thatm the firft cale,the preceding governing chord will then be or , oo on ohord’ a?d thf preceding feptima chord will have a lharP third cading note, and then be the governing chord; and the feccui d to the
new
■new pitch, will then be the fcptima chord ; and that when the falling ah point of a key /hall be the new key, the preceding common chord receives an additional minor 7th by which it becomes the new governing note, See.
7. That whenever a new related .pitch is, either diredtly, or indiredly introduced (and even on the moll fudden and unprepared tranfition) the compofer mull, in his harmony, llridlly notice the moment and period of the new pitch, that the three fundamental chords, and their inverfions may be made to operate, confiftent)y, as long as that pitch continues.
ObJ'. 2 d. Suppofitions, in a fcience, are painful to the arduous ftudent, but yet a number of the rudiments, in any fcience, are partly fuppolitions; e. g. our eye meafures diltances by arithmetical fuppofitions ; in a fimilar manner, our ear, or voice meafures mufical founds, and if it be done with Judgment, that judgment originated from memory, or imagination, and not from reafon.
In all diflonant chords, originating from a fuppofed bafs, there is a ma¬ jority of founds tending, amid the llrife of vibrations, into a refolution, which is a perfect, confonant chord, or a chord, in which all vibrations are reciproeall\4natural and harmonious.
If then a 9th or a 4th (which is the fame as the 1 ith) fhould receive a fundamental bafs, and that bafs fhould correlpond with the fundamental principles of the ltricteil rectitude in the pitch, it could not be done by raifing fuch a 9th or nth on, either, the governing, or feptima chord, be- caufe their 9th, and nth belong to other pitches, lienee it could only be done on the common chord of the pitch.
Farther, fince a fundamental, common chord fhall not, in reality, contain 3ny diffonance, it was contrived, that it fhould be dohe by fuppofition, viz. that the bafs note of the governing chord fhould fink either into the 3d, 'or the key note of tire pitch, of which two ways, the laft is the modern, and mod natural.
The effect of this fuppofition, under the governing chord, is not alone to produce the 9th and 1 ith, but alfo, at the fame time, to produce all three cth points of the pitch, by which the refolution, required, mult appear.
CHAPTER VII.
.Of Counter p 01 N'T.
Section i.
COUNTERPOINT fignifies, partly, that the different notes, which are comprehended in a chord, are diftributed into diT ferentinftruinental, orvocal parts, agreeably with t.h5ydl°”1“‘“J propriety of the parts, which are operating m higher or lower
XIX
octaves, and partly that the motions of the parts, which contain tne fpreaded notes of the chord, are fo direded, as to avoid any iaile inverfions, or forbidden fucceffions.
Section 2.
THE motion of counterpoint in general (and more efpecially wljen confidered between the two principal parts in a harmony, e. g. the air and the bafs) are, either 1 It oblique, i. e. when one part repeats the fame note, or holds on, wnile the other moves upward, or downward, from one note to another ; or 2dly, di- red, ox fimilar, i. e. when both parts move the fame way; or 3dly, contrary, i. e. when one part moves upward, while the oth¬ er moves downward.
Obfervation 1 ft. By the tables in Chap. vi. Section 9, it is evident, that to a bafs, continuing on the fame note, numerous, oblique motions can be fafely produced ; the cafe may be inverted, by judicioufly diftributing, in the bafs and other parts, the notes, which are comprehended in the chords of the quoted example, and by giving to one of the upper parts that note, which, in thefirft cafe, was taken by the bafs.
Obf 2d. In the dircEl, or fimilar motion of counterpoint, it is abfolutely forbidden to go from a perfect, or imperfedt confonant chord, to another perfect or imperfedt confonant chord, becaufe by fuch progreffions, the
XX1
is owin'' to a prejudice, that forbidden fucccfiions are to be examined, eith¬ er in the connection of the bafs, and air only, or in the connexion of two adjoining parts, as treble with counter, and counter with tenor.
Thus prejudice may beget errors, which afterward involve both genius and judgment in complete darknefs.
In the above fcore, the fecond bafs note has its $th in the counter, and the third bafs note has its 5th in the treble, confequently the three firft chords in the fcore, contain three following 5ths. The cafe is the fame with the two laft chords, in the third bar. <
Ob]. 4 tk. Y et let it be obferved, that ’the cafe is different, when all parts move in unifon, or oClaves. This is frequently and juftly done, in goodcom- pofitions, to introduce a good fubjeCt the more cOnlpicuoufly. Nor is it then abfolutely neceflary, that all parts fhould move in unifon, or oClaves, as may be proved from excellent modern compofitions, in which, while fome parts are moving in unifon, or octaves, other parts are engaged in folos, or iuges, &c. But it is to be noticed they never contain any of the forbid¬ den, open, or hidden fucceflioiis.
, 0l'f;Sth- The contrary motion, either afeending, or defeending, implies
irom its nature, greater freedoms in compofition; the intervals beintr ir a continuing Rate of preparation and refolution. Thus, in contrary mo
fm’nth h q nd,m'C’ flattCd fe.co"d» in the uPPer Part> may meet a fharpec uifnn iV A and their refolution perfectly coalelce in the u
ef" w’ . hu* in cont«ry motion, even the forbidden fucceffions (more efpcually the 5ths and 8ths) may be allowable. :
Ob/. 6th. In any of the motions, the procefs, by degrees, is more agree¬ able, than to move by leaps.
The choice of fimple intervals is very important ; thus, it is preferable to place the 5ths and 8ths in the bafs, and^the 3ds and 6ths in the upper parts.
In a chord, which has the tritone, and which, being inverted, would be the falfe 5th, it may be noticed, that the tritone feems to convey keen i- deas, and that its inverfion, viz. the falfe 5th, has a certain foftnefs. The common chord is majeftic ; the 6th is more pleafing and melodious ; the fixth and fourth feem to require fomething.
In general, the fuperfluous intervals will ferve in a bold and fierce fub- jeft, and the diminifhed in the tender and plaintive.
Obf. * ith . In founding conjuncted intervals, the higheft is mod perceiv¬ ed ; hence, in the performance of feveral vocal parts, that , which contains the air , is naturally to be performed by the finefl, or higheft voices. This rule is ftriffiy intended, apd obferved in all modern, European compofi¬ tions, and performances ; and generally at the following rate, viz. a fuffi- cient proportion of treble voices ting the air, or leading part, which is confidered as the primo ; a fimilar proportion of voices between bafs and alto fing the tenor, which is confidered as the fecundo ; a fimilar proportion of men’s voices perform the counter, which is confidered as the medio, be¬ tween treble and tenor ; and a double proportion to the primo. is engaged in performing the bafs ; thus allow in a piece of four parts,
4 voices for the primo.
I - - for the medio.
4 - - for the fecundo.
8 - - for the bafs.
In pei formances of two, or three parts, care muft be taken to compre¬ hend the intended arrangement of the compofer, if no direcTion for choice of part's is mentioned.
A number of pieces, in the Locke Hofpital collection, and other fimilar publications, though exhibited in three parts, were defigned as duettos, for two trebles, or ti»o tenors ; and fometimes for treble to the primo, and for ten¬ or to th 0 fecundo. The bafs, being cyphered, is intended for an inftrument. Buch pieces, in their prefent arrangement, cannot have the intended ’effeCt if performed as chorufes, more efpecially, when the tenor voices take the primo, and the treble voices the fecundo. ' * ‘
CHATTER
CHAPTER VIII.
Of Cadences.
Section r.
CADENCE figniffes the refolution of any preceding, eith¬ er attual, or fuppofed diffonance.
Olfervation \Jl. Suppofed diffonance is fuch a conjunction of intervals, as, (though being really confonant intervals, yet from their peculiar fitua- tion, with refpeCt to accenting, and fucceeding conjunction of intervals) are proved to want more finifhing, before the ear can realize, or enjoy their defign, e. g.
In this example, A- F, in the upper part, make a fuppofed diffonance, in connection with the following G, E.
There is a fimilar example in the well known Hallelujah Chorus, by Han¬ del, in the laft bar but one. Yet let it be obferved, that his fundamental bafs, in that bar in the original, is the fame note, as the bafs note, in the fucceeding bar, and that his treble, or primo, continuing on the 8th in both bars, caufes the moll harmonious effeeb from that lingular mode of doling.
Obf. 2d. All cadences are made by preparations, and refolutions. Their fundamental bafs notes ate the notes of the governing, and common chord to their refolution, which mult ftridly be the cafe, even when the diffonance is retarded, through a multiplicity of chromatic excurfions, or vhe different inverfions of the governing chord.
Sectiqn 2.
IT is an eftablifhed rule that the refolution of diffonances is to be on the accented places, or moments of a mulical period. (‘Vide Part 2d. Chap. ift. Sec. 2d.) This does not prevent the beginning, and the continuing of diifonances on the accente places, but it only fignifies, that they fhould not be felolved on
an unaccented place. , . , f
Obfervafton. The importance of the preceding rule, as it m general at- feels' the merit and effect of all juft modulation, ought, in a lpecial view, to caution vocal performers againft two common erroneous habits, viz o be¬ lieving, that an accented place, or moment in a mufical period, fhould re-
' D
1 xxi
eeive an additional ftrength, or degree of expreffon ; and of prefuminTw give a peculiar ftrength, or length, to an oocafional word, without the com- pofer s exprefs direction. Such errors originate from a want of know¬ ledge, and have a tendency to perpetuate the fatal habit of beating time, inftead of keeping it.
(Vide Part 2d. Chap. i. Sec. 3. Obf. 8. and Chap. ii. Sec. 1. Obf. 3.) Section 3.
THERE are different kinds of Cadences.
1. The Whole Cadence fignifies that the bafs defeends, or rifes from the governing note to the key note.
|
III m |
p- |
1 “t ’ |
— |
— |
1 (9 ^ |
— |
|
JL |
2 JL. |
i - |
a — - |
t |
Obfervation 1 fl. Agreeably with the word cadence (which originally figni¬ fies a fall) as well as with the effedl on the ear, the firft, of the above ex¬ amples, exhibits the whole cadence, in its moft perfect ftate.
Obf. 2 d. In the above example, the governing note is exhibited, as being the principal note for the perfect, whole cadence ; yet the notes, of the ma¬ jor 3d and 5th, in the governing chord, are, and maybe ufed, as proper bafs notes, in the cafe of a whole clofing cadence. It mull however be noticed that thofe two notes frequently precede the key note, for the pur- pofe of introducing a new key note.
1.
|
T |
— |
■ ~i ft |
- — |
|||
|
( )• |
* , - T |
... « |
- J EL— |
|||
|
- c |
r r . re |
^ L. L ^ |
. 4 |
|||
|
1 - 1_ 1 - j |
- 1 — 1 — 2: — — |
- - — |
2.
N. B. The note C, being on an unaccented place, cannot make a clofing cadence to the preceding notes, but introduces the following, half cadence.
2. The half cadence fignifies that the bafs rifes, or falls from the key note %o the governing note.
Obf. 3 d. Cadences in raufic are fimilar to Hops, in fpeaking, or uniting. They are terminations, either of a part, or of the whole piece of mufic, as flops are of a part, or of the whole fentence. The half cadences are like commas, and lemicolons, after which more is expected to follow ; but after a whole cadence, we are fenfible of a conclufion.
When,
XX li
“hen, e. g. in the key of C, a cadence is made by the rifing .of the bafs, from C toGlthe key then undergoes a modulation into another, related key, which modulation is an accidental, temporary c.rcumftance in the harmony, and which may be continued, and fucceededby fardier.Gmilarmo- dulations ; but the original pitch muft finally be reintroduced, and the laft comma of the period wiJ cbfe with a whole cadence, or with a governing
bafs note falling, or rifing to the key note. , , , ,
Obf 4th. When the key note of the bafs is fucceeded by the governing note, for making a half cadence, it is announced by giving to the chord of the key note, an addition of a great 6th. This chord is called the addition¬ al 6th (Sixte ajoutee) in diftin&ion from the chord of the fundamental, great 6th, which, though of a fimilar conftruftion, is ufed in a different cafe. (Vide fupra Chap. vi. Sec. 7. Letter B.)
Off. $th. The example', applied in this chapter, exhibit the fundamental baf: notes. Ey realizing the confident inverfions of the fundamental chords, (Vide fupra, Chap, vi.) the judicious reader will comprehend the nature of any occuring cadence, comma, or punttum, in the mufical peri¬ od, even in the midft of their numerous changes, or thofe different appear¬ ances, they may derive from the nature of the freedom of a continued bafs. In fa£f, the right, compofed cadences are equally as well felt, as compie- hended.
3. Die interrupted cadence takes place, when the diffonance, which ap¬ peared ready for rcfolution, is retarded, or fucceeded by a new diffonance.
-OZ
o
£i=
Oh/. 6th. The interrupted cadences give an additional tafte in the e prvii on, they> like the half cadences, may anfwer to .he marks of i terrogation and admiration in writing.
wC vh°rd °f,thc minor 7th ‘s frequently fet on an accent ^thout undergoing a farther refolution, and is c
vAkhTtLl l rCft’ °T * c*Prcffive continuance, aft
h fufpcnded time, and fubjeft is reaffumed. This chord, by lea
ing its diffonance, viz. the minor 7th, in the higheft part, has the effeck of be.n^ perceived as a medium between two related pitches, for which rea- lon, u may, at time >, be ufed with fervice,as mentioned. This chord, when thus ufed, is actually a half cadence, and the mufical period is fufpended, or interrupted. When the faid chord is to undergo a proccfs of resolu¬ tion, its diffonance muft rife, or fall a half tone.
Section 4.
In the Ad of Cadence , (more efpecialiy in final cadences) there are generally three moments, viz. the preparation, the dif-
Obfervation i ft. The preparation of a cadence includes two chords, v:z. the chcrd preceding the diffonance, and the chord of the diffonance. In the firft of thefe chords there muft always be a confonance, that is pro¬ longed in the chord of the difl'onance, and by die direction of the llur, continued as one found.
It is from this rule that the nature of fyncopation originates. (Vide Part zd. Chap. i. Sec. 3.) The bafs notes of thefe two chords, muft have a fundamental procefs, viz. rifing Or falling by 4ths or <jths, or rifing, but not falling by a diatonic degree. By obferving thefe rules, the diffonance introduced, is more tolerable, to the ear, and the diread of modula¬ tion preferved.
Obf. 2 d. By anticipation, a note is brought upon the unaccented part of the bar, in fucli a manner, as diat it has not yet its right harmony, bur, by keeping on, it acquires it Upon die next accented part of the bar, the* other part alio moving, to make that note harmony. Anticipation mav be, either rifing, or tailing ; and the upper parts, or the bafs mav, either of them, anticipate. '
XX1U
Obf. 3</. Retardation fignifies, that the diffonance is fet pirt, but not yet refolved.
on an accented part of the bar, and followed by a eonfonance, on the neat unaccented
fonance, are indifpenfably connected with the principles of acccr with the procefs of the fundamental bafs. This L farther cor by the meaning of the third part, in the a£t of cadence, viz. t tion.
Obf 6th. The refoiuticn of a cadence fignif.es, that the part, which bore the diffonance, rife, or fall diatonicai y, on an accen into a conjunction with tlie other parts, by which a perfect
chord is produced. '
Obf. -jth . When a diffonance is to receive its refolution, by : tonically, it is called the major diffonance ; but when it is nfolv feending diatonically, it is called the minor diffonance. A vjfJfr fometimes fignifies a fuperfiucus interval, and a minor dtffona minifhed interval. , _ _ _ __
be comprehended,
ration snd the £{•
\f eth. From ' the preceding obfervations, rt may the two parts, of the a cl of cadence,, viz. tire prep;
fecTieK
|
Ef-1 |
p |
||
|
c |
tzfcrt-tifzizzd |
XXIV
Section 5.
WHAT has been mentioned, in the preceding feftions in this chapter, has reference to all thole cadences, which imply the continual principles and procefs of modulation, in harmony at large. From thofe, the cadences, made ufe of, for expref- fion and performance, muff be diftinguifhed ; which cadences are, in general, indicated, either by appoggiaturas, or a charac¬ ter, marked called a hold . ,
ObJ'ervation if. Appoggiaturas are fmall, additional notes, which, as the bar is full without them, fhall receive their length from that note, againft which they are placed, and which note is then called the principal note.
1. e.
1 , The common appoggiatitra , when the principal note is fucceeded by another, or makes the laft note in the bar. The rule is then to divide the length of tire principal with the appog- giatura.
|
-Q - j | j I |
ft |
tf |
%— i — f — T |
nir
2. The large appoggiatitra, i. e. when a dot, or reft follows the principal note.
The rule is then to make the appoggiatu- ra as large as the whole principal, and fill the place of the dot, or reft, with the found of the principal.
Obf. 2 d. When the character m, called the hold, or cadence, is fet over a note, it either limply dictates a clofe of the period, or it indicates, that the meafure fhall be fufpended, fo as to give room for a peculiar expref- fion.
Obf. 3 d. When the mark m, (fignifying afufpenfion of the meafure) oc¬ curs in a vocal folo, the accompanying inftruments wait, until the finger, by a remarkable leading note, announces that he is doling the fufpended meafure, and is ready to join with the inftruments.
When the m occurs in a vocal harmony, the leader of the principal part mult direct its management, with thefe particular obfervations, that the marked note fhall, during the fufpended meafure, be fwelled, and then decreafed by degrees, and that the period, fucceeding the rn, fhall alw ays be piano, unlefs the compofer has given exp refs direction to the contrary.
PAR
THEORETICO PRACTI
T I(.
CAL OBSERVATIONS.
CHAPTER I.
Of Time, Accenting, and Syncopation. Section
1.
MEASURE notes are certain notes, reprefented by cy¬ phers, from which fhall be comprehended the amount,
W hen the bars meafure two crotchets, the time is marked 1
«w'hrfe“ked
of .he “rked *• Dnub,e b-
4 s «
Obfervatwn ijl. Allowing, that bars of « are double bars of ' and thofe ot 8, double bars of | (i. e. that the three laft parts, in fuch bars, fhall >e accented exadfly as the three fir ft parts in the bar, or as would e none m a new bar of three parts) it is plain, that all fpecies of time • y be divided into two clafles, viz. time of an even number of parts in ie bar ; and time of an odd nu mber of parts of a bar. The firft clafs is called t,me at tnuo, or equal time, and has two fpecies, marked C and ’ • m.ukedn> f afs J^aHed/^at/Wor unequal time, and has three fpecies, f‘ '■ 2’ 4 aiul and fwo fubfpeaes, marked* and * The two lift
ffimiS are.corr!monl7 c;l!icd impound time, beenufe, when fuch time is per¬ formed quick, it appears as if the bar confifted only of two parts but on
vlJcm'tSXaf,°ri’ b/ perf"rn,ne ,h:" find of time 1W, it will be e. 5 i f1 fpecies of time, tlmee, it ftrit .
mode of acctmtbvnUlbu<trj^^artS,^r^'Vll(0n^in|tl'e^;ir>,nn^ ^
■ o > but now quick, or flow, the piece is to be performed
mu ft
inuft be determined from the nature of the fubjea, or from the fignifica- tion of the technical terms prefixed to the piece.
Section 2.
ACCENT is the arithmetical order, by which the compofer, or performer divides and arranges the contents of the bars.
Obfer-vatlon I ft. Depriving a competition of its bars, will immediately deface its defigns, and even the performing the contents of the bars to the utmoft nicety of their charadleriftic length and expreffion, will without the guide and fcnlation of accenting, have an infipid and tedious effedl.
Obf. id. Any note or part of the bar, which is to be accented, {hall not receive more length, or ftrength, than its character requires ; nor mud a- ny note or part of the bar be performed Ihorter, or fofter, becaufe they were unaccented.
In a march of common time, the foldier’s right foot moves to the firft and third crotchets of the bar, but he is direfted to make equally lengthy, and folid fteps with the left foot, that moves to the fecond and fourth crotchet, or the unaccented places in the bar •, yet he cannot march to any mufic, that is compofed in time of three parts, in the bar, unlefs he takes a bar to a ftep. Good accenting implies a myfterious fympathy.
See a large auditorium, to which a fufficient number of capable per¬ formers deliver a good compofition, there is a general engagement in the effects of the time, viz. motion of heads, beating of feet, and many per- fons, who know nothing of mufic, are precifely remarking, and diftin- guilhing the accented, and unaccented moments in the compofition. Dur¬ ing all this continuing, accurate activity, the harmony in its reiterated frames, which are either fquares, or triangles, exhibits a variety of flow and pompous, fwift and bold, fwelling and decreafing founds the con¬ tents of the bars, in the piece, are various, but the frame and the order of the bar is conftant, as the effects on the hearers. That ordei and effect is accenting, but it is not expreffion, as is falfely luppofed by many perform¬ ers, who, being perhaps milled by fuch a wrong idea, irequently take 1 ie liberty, even in the middle of a vocal, mufical period, to make {tops on fome particular occurring word. This they call accenting or expreffion ; but if it be not the fpoiling of a compofition, it is at leaft to compofe, and not
XXV
|
■«— |
- |
Obf 3 d. The arithmetical order to he obferved ip accenting, concerns either the parts of the bars, which may be called the general accenting, or individual notes, in one, or more parts, in the bar, which may be called the J pedal acccenting
In an arithmetical line of units, there is no other mean of diftinffion, but only in the fucceffion, viz. that the beginning unit is the ill, and the fucceeding the 2d, &c. In all accented objects, the fuccellion is calcu¬ lated by pairs, of which t]ie firjl is the beginning, and the fecond the fuc¬ ceeding ■, and when a bar, or an object to be accented, contains three parts, the fame principle {hall prevail, viz. that, after the firft pair has been arranged, as mentioned, the third obje£t is conhdered as the firft of a new pair, as in the cafe of common time, but this firft having no fucceffor, a fimilar procefs is begun anew in the following bar, See.
The firft of the pair, is accented and the fecond unaccented, &c. hence
the ill and 3d part is accented, and ' the 2d and 4th, - - unaccented.
C the 1 ft part of the baris accented, l the 2d, - - - unaccented,
f the 1 ft part is - T accented,
< the 2d - - - - - unaccented,
l the 3d - - - - accented,
r the 1 ft and 3d part is accented,
\ the 2d - - - -
1 the 4th and 6th - -
Mhe 5th - - - -
Obf. At/:. Special accenting concerns individual notes among themfelves, being fubdivifions of one, or more parts of the bar. Their accenung is alfo arranged by fucceffions of pairs, and in every pair the firft note is
accented. . . That
In pairing of notes, it mull be noticed,
m common time ,
In time of
4>
In time of l and
In time of J
and £,
unaccented,
accented,
unaccented.
as
XXVI
I Tint If a part of the bar is fubdlvided, c. g. into four notes, thofe note's mull not be paired promifcuoufly, as the 2d with the 3d, &c, but they ftiall be paired thus, the 1 ft with the 2d, the 3d with the 4th, &c.
2. That hence no fubdivided note, belonging to one part of the bar,
can be paired with a fubdivided note, belonging to another part of the bar, Excepting in the cafe of fyncopation. _
3. That when three fubdivided notes occur, over which this mark 3 is placed, they fliall receive the fame mode of accenting as a bar of three parts.
Section 3.
STNCOPATION is an apparent exception in the general, or fpecial accenting, and originates from this circumflance, that in a pair, (which, as preferibed, contains the accented order, or fuccefiion) the firlt found is, by a half, fhorter than the fecond, and that the fecond contains the half of the regular length, be¬ longing to the firlt ; that, farther, the proportion of the fecond object, in the pair, is frequently finilhed in another following found, which irregular drvifion of proportion may be continued through a number of chords.
Ohfervatm I/?. From the bindings, in the two firlt bars above, it may be noticed, that this was the only contrivance, by which the fyncopation could be continued through feveral bars, without interruption, which is not the cafe in the 4th, 5th and 6th bars, where every bar begins with a frelh iyncopation 5 hence the compofition and performance of fuch bind¬ ings is ftriCtly implied in thereafons and rules of fyncopation.
Olf 2d. The compofer employs fyncopation, either, merely, to give his air a peculiar energy and expreftion, (Vide infra. Table I.) or, from a rea- fon for continuing a diffonam ftate, in one, or more parts of a harmony, c hl‘e M other parts are in a ftate of refolution, by which the final, per- ea, confonant ftate of the whole harmony is contrived, through a large cempafs of rich, gradual preparations. (Vide infra. Table II )
in the Oban l?nUndc)rftood» ^obferving, that diflbnanc.es, (as mentioned not be continued.6 ^ ^ 'hey
i mo.
2 do.
:e:
TABLE I.
-mzzTi,
iSHilHill
lear my cry and mark my tears, “ - /"-v —
1
T ABbE II.
Primo.
Medio.
Secundo.
BalTo.
0
?-P=£
Come let us prai
P— r
mm
fe the Lord,
|
©- |
gL- |
r |
||||
|
=E±EEE=[ |
Obf. 3 d. The vocal performer mud obferve the fame rules for fyncopat- cd nctes, as for other prolonged notes. The accented order and fuc- ceftion, either in the general-, or fpecial cafe, docs not imply any additional trength, or length to be given to the accented places, but only to di-eft the judgment of the performer of the contents of the bars, which con¬ tents, if poftible, fhould be arranged by pairs, of which the beginning part s lunarkec. as the ift, and the fucceeding part as the 2d ; but when fuch • or more pairs arc included in one, continuing found, or wh-m - V iyncopating purpoie interferes \/ith the common order cf pairing, or ac¬ centing, dm firigertnuft perform the continued, and fyncopated ftSnds a greeab,;- vrah their lengths,* nn<] other nn.fictl chmftefs, without Snd*. . v g’ w itn v ?lce» any divifions, or diferiminations. It is ar
tage t0 ,mnd and comprehend how the accented order, even ur.de; th .V
apparent
apparent exceptions, governs the fpirit and effeft of the harmony at large ; but it is his duty to perform no more, nor lefs, than the contents of his own agreeably with the directions, and meaning of the compofer.
CHAPTER II.
On Singing.
Section i.
NATURE has divided voices into foui' different claffes, which, in general, include three oftaves and a few addi¬ tional higher, or lower notes of the gamut.
-f:
lisuma
JDbf. i ft. Generally the bafs compafs is from bafs G, 1 2 notes upward.
the tenor compafs, from baft C, 1 2 notes upward, thecountercompafsfrom middle B, 8 notes upward.
the treble or 7 corr>pafsfrom middleD, i 2notesupward. principal 3
a.nd called the F cliff, from being -- placed on F in the bafs.
■ is called the C cliff, from the place
The Baft Cliff is thus marked ft
The Counter Cliff , marked thus -
! - of its mark. The counter C is the -tnt: middle C, on the gamut.
— are called the G cliffs, be-
The Treble and Tenor Cliffs, thus marked ing placed on the line,
U -W- which is called G, but
the tenor is an o£t ave lower than the treble, and the G of its cliff is the
fame, as G in the fourth fpace in the bafs. .
Obf. 2 d. Notwithftanding that a number of excellent voices, in their
refpective compafs, can, with eafe, produce higher, or lower oun s> 1 an thofe, above mentioned, it is yet advifable, in competitions of Wnrnjc, to notice, the above preferibed limits, more efpecially, as compaft of all four parts is fufficiently adequate to the purpofes of har-
W. No inffrument can produce true, and good tones, without n is fitted and tuned. The part fct for a baft viol, or tenor violin, is not
XXVll
be played by the primo violin, &c. which rule is the fame in the inverted cafe.
. The good inftrumental. performer produces the founds and periods of his part, without any of his own alterations, or additions. It is enough for him to produce the notes in their true tone, and length, in their right, ac¬ cented, or unaccented order, and with that emphafis, or expreffion, which they (hall receive from the particular directions of the compofer. The leader of an orcheftra beats the time, but generally only in the beginning, or when the time changes, or when a difficult paffage might imply a dan¬ ger of lofing it. Learners and bad performers, only, beat the time, from the fimple reafon that their exertions are labour and not mufic. The good, inftrumental performer avoids affeCted gefticulations, or motions of the body, as being out bf his province, and no object to the hearers. Thefe remarks the vocal performer ffiould notice as friendly, and reafonable hints.
Section 2.
TO found a note with tjbe voice is to give it a peculiar degree, relative to other higher, or lower founds.
(Vide Part I. Chap. i. and ii.)
Obfervation. By repeated exertions and habit, any capable voice can found all kind of intervals at fight ; but to obtain that habit, it is neceffa- ry to obferve, that the vocal divifion of tone, and half tones can never be precife, without the produced found is, either by the ear, or imagination, brought forth, as fome fpecies of natural vibration, either, to a founded, or fuppofed note ; thus, even diffonances, in the oCtave, become natural vibrations. The 2d is a 5 th to the 5 th of the pitch, in the next lower oc¬ tave ; e. g. in the key of G, A is a 5th to D, which is the 5th of the pitch. The oth is an oCtave to the 2d, or a 5 th to the 5 th of the pitch. Tne ma¬ jor 7th is a major 3d to the 5th of the pitch. The minor 7th is a minor 3d to the 5th of the pitch. The tritone, or Jharp 4th is, either, the 4m to the pitch, which, by being fharped, becomes a major 7th of a new related pitch, in which cafe, it vibrates a major 3d to the 2d of the former pitch; or, it makes a {harp 4th to the 4th of the pitch, in which cafe, it may be taken a major 3d to the 5th of the pitch. In either cafe, the {harp 4th is fimply to be confidered as a major 3 J to the 2d of the given note.
The inverted tritone, which makes the falfe 5th, changes the pitc into, the next related lower pitch, in courfe, the falfe 5th is a minor 3d to
minor ph, <*a of changing the pitch into the
next related lower one. /
Section
XX Vlll
, Section 3.
ALL relative degrees, by which notes are founded, are natu¬ ral vibrations, which, in general, or at leaft with but few excep¬ tions, originate from the key note or the fifth of the pitch.
Obfervation 1 ft. Daily experience proves that all true founding of notes depends, i ft, on an imaginary reference to a certain pitch, or 0 clave, which is f0 called, becaufe, it contains eight parts, and becau e, when riling by the eftablifhed degrees (Vide Parti. Chap. ii. Sec. 3.) die eighth part has the fame found as the firft in the pitch •, and 2diy, on attending to the moment, when the pitch is changed, which, if not indicated openly, by prefixed ^:s or ps, may always be dilcovered in a harmony, by fome of the following circumftances viz. «
A. If the 4th of the odftave be fharped in one of the parts, then that 4th becomes the major 7th, to a new odlave, in which the 5 th of the for¬ mer pitch is now the key note, and, the moment, the {harp, mentioned, is removed, the former odftave, or pitch is again prevailing.
B. If the major 7th is flatted in one of the parts, then that 7th becomes the 4th of a new oftave, in which the 4th of the former pitch is now the key note ; and when die flat, mentioned, is removed, the former odlave again prevails.
N. B. By flatting a major 7th, the produced note makes the falfe 5th to the major 3d of the former pitch ; this chord, as well as the chord of the lharp 4th, is of the utmoft importance in compofition, for the purpofe of changing the pitch gently.
C. When, in a harmony, the 2d is taken, in conjunction with the key note, either, as a 2d, or as a minor 7th, the prefent oCtave is changing into another octave, in which the 5th of the former pitch is now the key note.
D. The three preceding remarks are applicable to oCtaves of a major mode. In the minor mode, the changes of the oCtave are various, fudden, and lefs charaCteriftic. The eflential marks, which a vocal performer may notice, are, that when, in any part of the harmony, the 3d of the oCtave is a major third ; the minor oCtave is Amply changed into a major oCtave ; that when, in any part of the harmony, the 7th of the oftave has a 1), or is flatt-d, the oilave is changed into its related, major oflave ; (Vide Part I. Chap. ii. Sec. 6.) that when, in any part of the harmony, the af- cending 4th or 6th is fharped, the minor oCIavc is changed into another octave, either major or minor, in which the 5th of the prior oCIave then iceomes the key note ; that alfo the 4th, of a minor oftave, may become the key note of another minor, or major oftave, if die key note and minor ath o the prior octave are taken in conjun£Vion, and more efpecially, if a: the .a.ne time, die 3d of the prior odlave is fharped.
E. When, in one of the parts of a harmony, of a major odtavc, the 3d is flatted, the majqr oftave is Amply changed into a minor octave.
F. When, in one of the parts of a harmony of a major odbive, the 5th is fharped, that 5th becomes the riling 7th to a minor octave, in which the 6th of the prior oritave is now the key note, and the pitch is the related minor odlave to the prior, major octave.
Obf 2 d. To obtain a proper habit of founding the degrees of the oc¬ tave, it is neceflary for beginners to practife the natural vibrations in that courle and order, which they derive from nature. Thus, the firft: at¬ tempt fhould be to found a true odtave, which is the mod perfect of all natural vibrations, or conlonances. Next to the octave the 5th either rifing, or falling, has a peculiar tendency to aflift the imagination of the finger, in a number of leaping intervals, in which the idea of dividing by tones, or femitones, might be doubtful.
(Of the farther courfe and order of natural vibrations, vide fupra. Part I. Chap. i. Sec. 4.)
Obf 31/. The preceding principles, which are laid down as the ground¬ work in prefent European fchools, will be the more acceptable to American mufical ftudents, as they are, not alone, the only fcientific and depending means to produce the defired efFect, but as they aifo lead their j erufers to notice the peculiar tranfaclions, reafons, and merits in the harmony.
Obf 4 th. Formerly it was the method to name eight parts of the offave by four fyllables, in the following order, viz.
1 ft, 2d, 3d, 4th, 5 th, 6th, 7th, 8th.
Fa, Sol, La, Fa, Sol, La, Mi. Fa.
Fhe ancient gamut contained, originally, a tetrachord, or four notes, viz. B, C, D, E, afterwards the number of notes was gradually augmented, yet no improvement was attempted toward comprehending, or ^allowing the divifion of the lounds into femitones. When the augmentation reach¬ ed the compafs of an oflave, the prior habit of ufing the tetrachord ftill continued ; in other words, the oftave was divided into two tetrachords, as from Fa to Fa.
1 ft, and 4th. and from Sol to Fa.
5th, and 8th.
comnnfuinn a V g • jm'ouSh whlch the principles ot narmonv, or the , . , , 8 ".T 7 arrived at their prefent improvement and fuperiority,
tone, bei T”a TV °f ' divid,“8 ** <*«« equal femil
onlv g^ual, and confequently n difficult acquiiition, could
SdS.P?l8"nJ prejudices, and the former fuppofed advan- •ages of dividing the ortave by tetrachords, without an, idea of there be.
ing
u
g Oii.cr k initonesj in the oftavc, than only la, - fa. and mi - h.
3d, - 4th, 7th, -8th.
(faid to be written by Dr.
the 2d Edition of a treatife on harmon
lumlly /harp 9r flat. The (harp 'keys are C, G and F, and the flat keys are f. f flyenth fpecies of octave, which begins from B, cannot be con- jidered as a key, it not having a true flh, as the others have, and if in order to ufe it, we Jharpen F to give it a true cth, we in eflectdo but tranfpofe the krv of E a fifth lower , or a fifth higher .” } J
Since the principle of allowing thirteen, pofTible femitones, in any oc¬ tave, became an unexceptionable ftandard in compofition, the former fop- pcfed advantages, of the tetrachorded odlave, were miftrulted, and that method of folfeggio was finally left out, as falle and infufficient.
N. B. 1 hofe, who are yet in ravour of the old machine, might change their opinion from the painful conviction, that they never can fmg, any part of a compofition, where the odtave, or pitch is changing, unlefs they learn it habitually by hearing it fung, or played.
Ihe caie is, funply, that if juftice fhall be done to the principle and in¬ tention oi fa, fol, la, fa, fol, la, mi, no change of the odtave can be duly noticed, or etl'edted ; e. g. in the key of C, its 4th is F, and both notes are called fa ; but if F is accidentally lharped, the finger yet calls it fa, and the mailer calls it fa ; or elfe the falfity of the principle would be revealed ; hence, that note mull receive a doubtful and erroneous performance. But the juft gifts of nature are great, and the fprightly pupil will, by a good ear, frequently rectify a number of errors, contracted from falle principles.
Obf 5 th. In the newer method of denominating the different parts of an octave, either by leven different fyllables, letters, or cyphers, the effen- tial improvement, viz. of dividing the octave into thirteen femitones, and of knowing when, and, where one of thole femitones, in a harmony, is taking its rank or place, as a characteriftic part, in a new octave, is not, from thole feven characters, fo confpicuous as might be wilhed, yet one advantage is certainly obtained, viz. that of having feven different characters for feven different objects in the octave.
In the German fchools, the notes are named by feven different letters, viz. C, D, E, F, G, H, &c. The Italian fchools make ufe of feven fylla¬ bles, viz. do, re, mi, fa, fl, la, f. The French adopt the fame method, ex¬ cepting that in the place of do, they ule the iy 11 able ut.
The fact is, that the German method implies a chance for founding notes belonging to different oftaves : Thus when F is lharped, they call it F’.s, and always found it in the fame relation to G, as L is founded to F. T11 general, they give the kttcr of any lharped note, an addition of the
E
xxi x
fyllable /r. Their H, when flatted, is called B, yet they ufe the letter b, as a dneebon for flatting any note, whatever. The Italian, and French me¬ thod is, in common fchools, only ufed for comprehending the Hate of an octave ; but the moment, that the octave changes, (of which they, by an abituai acquaintance with good compofitions, are always in a due ftate of anticipation) the named, feven fyllables are immediately Ikipped into a re- lpechve order of a new odtave.
An additional circumftanee to be noticed is, that the mailers of the a- bove mentioned fchools generally undcrltand mulic ; and that a, part of the tuition implies an inltrumental alhltance.
In feveral, European fchools, the pupils are immediately taught to found • intervals by cyphers, which denote their order in the odtave. But even that excellent mode implies a deficiency, in cafe of the diminilhed, or fu- perfluous intervals.
Obf 6th. Whert a finging fchool can receive no inltrumental alfii- tance, or fuch advantages, as are derived from frequently hearing and comprehending good performances of excellent compofitions, it mult be confefled, that neither of the before mentioned methods can, without fac- rificing much time, anfwer the main purpofe, viz. to comprehend Iteadily the right ftate of the octave.
APPENDIX to Chap. 2d.
N. B. The following Sections, and Obfervations, correfpond with reafon and experience, and are, with few alterations, adopted at prefent, by a number of finging focieties, in Europe ; but, they being not directly com¬ piled from the works, quoted in the introduction, it was thought belt to in- lert them, as an Appendix to the chapter on finging.
Suction i.
SINCE mulic contains 12 femitones, (Vide Part I. Chap.i. Sec. 1 and 2.) and face thofe femitones, by the rules of the diatonic fcale, (Vide Part I. Chap. ii. Sec. 3.) are framed into feven different parts, which make the le¬ ven parts of an odtave ; fnce the principles of harmony require, that the o- riginal pitch, or octave ihould be frequently changed, undfuce thefe tliKs- importantcircumftances, eflentially affedt the fuccefs in fingihg,it is expedi¬ ent, in any fchool, to adopt fuch means, or contrivances, as may coiriift- ently guide, and allilt the judgment and habit of the fcholar in an cany
period of his learning. „ ,, f
Obfervatmi 1 it. It is an eflentia! obie-T to appropriate 11 different mono. vllablr-s f :r the 11 different femitones, and to choofie fuen monoiyi tables, wnich, w aac j> or fliarpind, m.tv readily convey to im igmatton a continue ulc ot .uher 01 t 1 e un letters C, D, E, F, O, A, B, by which the natural notes of the fcale are named. (\ iff m-
fia the example fuecteding die ?d Obfemtion of the firft Lefl'on.)
Of
XXX
tave, and the precife d.ffcrence between a major, and minor njode^ ^
nhr ,j Tt ;s advantageous to notice, that the natural vibrations contain the reafon, j ' * r foundine anv intervals, either confonance, or difTonance ; that from ob-
SnbgTfoM kbit of?. i natural vibrations, as 8ths, jths, 4tta, Stc. ongtnates the
f°r/“yitSfad™^
of the following table of inversions ot intervals.
jbV»3dmai°r tbya S"-1 6th-
j '1%, } bV a jd minor or | { by a finall 6th.
- 1 s-sn
N.B. Since the intention, in die prefent appendix, is to communicate precedents of fuccefsful attempts, in good, European fchools, it may be belt to exhibit them in an or¬ der of progreffive lelfons.
Lesson i.
NOTES are figures, fet down on a (lave, or on additional lines, and fpaces, above or below the ftave. As they are differently fituatcd, they will be differently named. Their difference, in duration, is known from their different fhape.
According to the prefent, eftablifhed principles, there are twelve differ¬ ent founds, which are named by thefe feven letters, C, D, E, F, G, A, B. Thofe letters indicate all natural founds of the fcale, but whenever a note is fharped,-or flatted, the mark, of fharp or flat is Amply added to the letter of the note : and when fuch a or 1? fhall be removed, it is done by a natural lj.
Obfervation i /?. The expreflion of natural founds denotes only, that the eye cannot find any mark of yfc or [i , in the faid notes. In faCt, one note, in abftraCt, is not more natural than another, which may be proved from this, Ample circumftance, that the notes, called natural, may be pitched one half, or one fourth part of atone higher, or lower, ad libitum.
Ohf. 2</. Sharps, flats, or naturals, prefixed to any mufical period, prevail during that period. If a note bears an accidental *, b, or fc, , that alteration fhall be unde£ itood to remain during one bar, unlefs there be a direction to the contrary.
The 12 different founds of the fcale may be named, as follows •
Obfervation i (l. When E is (harped, can it Es.
. - - B - - - Bcs.
alfo, when F is flatted, call it Feb . - - C - - - - Cel.
N.B. The notes, Es, Fel, Bes, Cel, frequently occur, (Vide Part I. Cnap. i. Sec.*. Obi. 2.1 They ferde to mark the true ftate in certain oCtaves, out they cannot be uled as key notes, becaufe they have other names and places, uv tire fcale ; viz. tire 7th to the key of Fis cannot be F, but it muft be Es ; but, when this laft note is the key, then it
is called F, and E is the 7th. . . . , , . ,
Obf. 2d. Every one, of the 12 named femitones, is computed, as being a hair ton- higher, than the preceding, and as a hail tone lower than the fucceeding tone. ^ Every one of them can be uied as a key note, and receive its regular fecond, third, fourtui, fifth,
flV.‘ 3d. The idea of tone and femitone may be comprehended from the three follow¬ ing circunrftances, viz. A
1 By the eftablifhed principles of founds, any given found belonging to the lowelt, or higheft oCtave, will be one of 12 named femitones.
2. Thofe 12 founds are, in their immediate fucceffion, called femitones, becaufe eve¬ ry one of them receives an exaCt, and equal addition of found, when riling, as when falling
■?. By the eftablifhed principles of an oCtave, 76 w? of the eight parts, in the oCtave, make, in their fucceffion, only one degree of the fcale ; thefe are called femitones, and fome include two degrees of the fcale, and are called tones.
The proportion of notes is known by their different fhape. The rejls, or marks of filence, fignify a ceflation of found to laft as long as the note, from which the reft has its name.
Notes-
.2.
i:=i
I i !
Ancient names, !> Semibreve, Minim, Crotchet, Quaver, Semiquaver, Demifemiquaver. Modernnames, one whole, a half, a fourth, an eighth, afixteenth, a two & thirtieth.
Refts.-
-r -
- 1,
Obfervation . The proportion of the bars, is known by various characters, prefixed
to the ftave, which may be comprehended from the leffon on time. - — j—
It is, however, neceffary here to obferve, that where tire character e or E? occurs,
it fignifies the amount of one 0, or two £3, or four
The character I means three and -3b denotes three ZpZ &c
:s: ±z :±:
(Vide Part II. Chap. i. Sec. 1.)
Lesson 2.
To keep time is to give to the. notes and refts their true length, and that order in the bar, which is eftablifhed by the principles of accenting.
, (Vide Part II. Chap. ii. Sec. 2.)
It is interefhng, that fcholars, at the carlieft period of tuition,
fhould
{heuld habituate the eye to comprehend, readily, the contents cf a bar, the amount of each part, and the precife arrangement of all occuring ob¬ jects in the bars ; and to judge whether thole objects are concerned in the general, or fipecial accenting. This arithmetical judgment can be per¬ formed without finging, and ought to be confidered as a part of the ground¬ work, to precede any attempt with the voice.
Obfervation. When fingers comprehend what it is to keep time, they muf! afterward contract a habit cf abftracting, entirely at the time of performance, their former me¬ thods, in the fchool, viz. to beat the time with the hand, or head, or to trouble the con¬ gregation with any uncouth appearance of affectation, or labour. In a difficult paflage, cr where the time changes, the leader may give a ffiort diredion with his hand.
Lesson 3.
JN Octave fignifies that fome one of the 12 mentioned pitches is ap¬ propriated as a principal found in a mufical period ; that during that period, the principle found is connedted with feven other peculiar, framed founds, called the feemd, third, fourth, fifth, fixth, fieventh and eighth ; that the principal note {hall, during that period, Iteadily, through all poffible, higher, or lower compafles of found, be a half degree higher than its 7th, and two femitones low er than its 2d ; that the third is the charac¬ terise mark of the mode of the odlave, and when containing two degrees of found, more than the fecond, it declares the odtave to be of a major mode, but, when it is only one degree higher, than the lecond, it (hows that the mode is minor 5 that the fourth fhall always be the 6th fern i tone in the oclave ; that the fifth fhall always be the eighth femitone, in the eftave, and is, next to the eighth, the mod perfect, natural vibration from the principal ; that th efixth is the 1 oth femitone, in a major octave, but gene- rally one degree fmaller in a minor octave •, that the fieventh is the 1 2th iemi- tooe in the major octave, but only the 1 ith in the defeending minor; that the eighth is the fame found, as the principal, and that the ninth, tenth, eleventh. See. are, with refpedt to their degrees, the fame founds, as the fecond, third,
' C Wervaticn if:. The preceding definition ffiould be fully comprehended and learned bv xe, t- fom anv attempts are made with the voice. Whatever note is founded r ,;:i be one of the eight parts in the oflave ; and if this be not precifely comprehended
and realized, the performance can never be good. , , . •
Obf. id. There are four parts of an oftave, which, when founded m J »
r- ffire *ffie moll perfect and conlonant chord ; and exhibit the oa»e, or f )
f. : puoty und pewer. Thole parts are the key note, or principal, the third, th e fifth
a>* The 'preceding conjunction of founds is called the common chord, in whatever inver-
£CTt’b founded in conjunction with its fourth, Jxth, . and eighth^ the cb2d b call iifiJfirit; This is the Tins
ranked among the
xxxi
cor.fonant chords of the oCtavc, having always a tendency to change the mode from major to minor, or from minor to major.
W hen the Second, fourth, fif to, and feventh of an odtave are founded, in conjunction, that great, dilionant chord is called the governing chord ; its diffonances governing the ear and voice into a neceffary refolution, which terminates in the common chord, in the following manner ; the feventh refolves into its eighth,* the fifth continues, the fourth refolves down on the third, and the. fecond naturally defeends on the principal.
Before any fuccefsful attempt can be made, in founding the aforefaid chords, (which yet contain only the general ftate cf the oCtave, abftraCf ed from its changes) it is necef¬ fary to comprehend and praCtife the principles for tuning the voice.
Lesson 4.
NO principle, for tuning the voice, can have the defired effeCf, without a perfevering and correcl pra&ice. But no practice can be fuccefsful, if it be deficient in principles. The natural vibrations, of produced founds, are the firlt patterns to be imitated, and are the only ftandard, by which the ear and voice can properly determine the degrees of founds.
The firft principal, natural vibrations, are 8ths and 5 tits ; thofe corref- pond, particularly, with the compafs of bafles ; and it anfwers many pur- pofes, in a fchool, to begin the practical part with the bafs voices, as their progrefs and confidence will afterwards in courfe of natural vibra¬ tions, afford great affiftance, in tuning the voices of the higher parts.
PRACTICES for the BASS.
1 ft Practice by ithsand gths rifing or falling.
■0-
The above example contains thole 5ths and 8ths, which naturally exift in the key of G, without the affiftance of other intervals. Any given key has a rifing, and falling 5 th, which, during the period of that key, cannot rife, or fail to farther 5ths.
2 d Practice by 8 ths, Kths and fhs, rifing, or falling.
mmw
I
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Olfervation if.
A rifing 4th is the 8th to the falling 5th of the given note.
A falling 4th is the 8th to the nlmg 5th of the given note.
m,r d TnthekevofG _ C is the 4th, and D the 5th. By examining the fca.e,
tL%iU higher thanC, confequently a 5th is a
whole tone high icr g jthe f^th. anJ a fourth> fucceffively, the ear or voice
mayinua^ahSoflftffiguIhing the extent of a tone, or two femitones.
\
f
XXXI 1
■yl Practice, iy Sths, $thf, fhs and 2cls-
;<aup
Ohfervatiir id. The interval of a ri'fing 5th contains a major and a minor 3d, or a minor and n ajor third. In the firji cafe, the chord is a major chord ; and in the loft cafe , the cl. id is a minor chord. The chord is then to be conhdered in the arrange¬ ment of the key note its third and fifth. ' Hence, fuch a defending major chord, con¬ tains a minor, and major third ; and fuch a defending, minor chord contains a major, and minor third. The third is, for thefe reaions, conhdered as a vibrating medium, between a note and its j th.
Obf. td. Any major, or minor, rifing third is vibrated from the fame note, which generates the vibration of the fifth and fourth, and vice verfa. The prafbfing of the rifing major third, will depend upon a confidential habit of founding the fifth and fourth, the riling third, being but a femitone lower than the fourth. Thus the inter¬ val of the fourth will not only guard againft making the third too (harp, but will alfo appriie the linger of what is intended by a diflance of a femitone, which will become an acquifition in die courfe of farther exertions.
The <e,th Practice of %ths, fks, t,ihs, 3 ds , and Cths.
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Ohfervation . A riling, minor 6th >s the rifing 8th to the falling major 3d A rifing major 6th is the riling 8th to the falling minor 3d.
The $th Practice oh the 2d and yth.
_ ^ ^ ^ ^ or
A nfing 2d, is the rifing 5th to the filling 4th of the given rote.
A aning 20, is the riling 4th to the falling 5 th of the given note.
O' r W m " 11 major 7th, is a jth, and a major 3d to the given note,
fcale of fo’„nrk \ I?rece<*inS example, G is the key note, and A is the fecond. By the
k,“,0“ th“ ° 1
milndv^maW1 ^ ffr°m a,nd the rtext ™derthe oftave O, confe-
•' y a major 7th is a half a tone lower than the 8th Hr in At hor ,TfAi*dn i. L_ n J ! Jl. _
nated accordingly.
proved tiler, It will L 'Tinfcufrllf ^at’beCrif rhre HfT d“,y C0TPrchendcd and im- 1 ' ' L0 ruca‘c tLe ruin8 ar4 tailing, gradual fuccejlions of the
TjF.sson 5;
IT is but feldom that oftaves are ufed in the higher parts, yet they rnufc be ftriclly comprehended, as the true generators of all fifths. The other intervals, mentioned in the preceding, five pradfices, fhould be feparateiy pradlifed with each of the higher voices, in conjundlion with the bafs voices, when the laft liave been lufficiently prepared.
if Praaice for TREBLE or TENOR on 5ths and efihs.
Obf nation. Let the higher voices be well informed of the courfe of vibration, by which, either ?ths or 4ths, are generated. Thus they will be early apprized of keep¬ ing tone with the bafs, which is the generator of all iHe founds in a hahnony.
2 d Practice for Treble or Tenor, on 3 ds and 6th s.
EJSiliiiEl
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isagtr
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finally all parts nuy
nr„ ri. -r a,e Pi f W in the preceding prafhees, thev may be -
V -d'h Y rnfng il"r V'\y» gradual fuccdfions of the odtavejand y, with advantage, rife and fail the otfayc together.
Lesson*
Lesson 6.
THE preceding praftices concern the date of an oftave, ab drafted from its changes into other oftaves, or pitches.
Before the attempting of the praftice of the direft change of an oftave, it may be ufeful to permit fome praftices on the principal chords of an oc¬ tave. (Vide Leffon 3. Obf. 2.)
Treble.
Tenor.
|
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Lesson 7.
AN octave may be changed into a higher, or lower oftave, of a fimilar mode'; as from major G to major D, or to major C, & c.
An octave may alfo be changed into an oftave of another mode : This change has two fpecies, viz. ift, the oftave may fmiply change its 3d, as from G major, to G minor, and vice verfa ; or 2dly, the mode is chang¬ ing by its diatonic relation, (Vide Part I. Chap. ii. Sec. 6.) as from G ma¬ jor toE minor, and vice verfa.
How to remark, when the harmony is changing its oftave, has been ful.y explained. (Vide Part. II. Chap. ii.Sec. 3. Obf. 1.) Howto proceed, when the oftave changes, may be comprehended from the following ideas.
There are three particular intervals, which principally ferve for the changes of the oftave, viz. the interval of the minor 7th, of the quinta faB a and the fliarp 4th. Since thofe intervals are not direct vibrations to either of the eight parts, in an oftave, it is necelTary to comprehend how the ear and voice may realize a confidence iq their vibrations.
xxxiii
When a note is founded in conjunftion with its major third and fifth, and minor 7th, as D, Fis, A, C, the chord is fuch a feptima chord, as con¬ tains the three mentioned intervals, viz. from 1) up to C is a minor 7th,
, . from Fis up to C is quinta falfa,
the mverlions of which, as from C up to Fis is a fliarp fourth.
Of thefe three intervals the firft is the moll eafy, being, either rifling or falling, only an additional, minor third to the fifth of the chord.
The quinta falfa contains a diftance of fever, femitones, or two minor thirds, it is therefore, generally, either when riling, or falling, flipped through the middle femitone, or performed as an extent of two minor thirds.
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The Jharp fourth is an inverted interval, contained in the chord of the minor feventh. Fiona its arrangement and operation in harmony, it always appears as the major third of the feptima, minor chord, joined to the 7th of that chord ; from that circumftance, it flaall, when afeending, be vibrat¬ ed as a fecond, and a major third, and, when defending, as a major third, and a fecond.
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Obfervation. From the preceding leffons and examples it will appear plain, that any interval whatever, may be produced as a natural vibration, and that the finger, placing hTs mugmation in ^different preferibed pofit ons may perform al kind of intern* either confonances or diflbnances with equal conhdence and fuccels This,- be, : f fkd gives the pleaflng conviction, that, allowing and comprehending the wondrous cades and connexions of confonances and diflonances, it will finally prote, that in good midic there cun be no inharmonic iounds.
I
DICTI
ADAGIO, a term ufed by the Italians for the 2d degree of flownefs.
Ad libitum, as you pleafe.
Affettuofo, ") terms applied to a ftyle of mufic, AJfcauofo, j- intended to exprefs affedtion.
Thefe words, let alone over a tune, imply a flow movement, being frequently ufed with the terms Largo, or Andante.
Air, generally means what the ear realizes from a melody, or harmony. In a fpecial fenfe it is the leading part.
Alla Breve, an Italian term for church mufle of four minims in a bar, to be performed quick.
Allegro, a brill: and fprightly movement ; accord¬ ing to RoulTeau it is the fourth degree in the move¬ ment.
Allegretto, not fo quick as allegro.
Alto, lignifies, in facred mufle, a part between Tenor and Treble.
Amorofo, nearly the lame as affettuofo.
Andante, is the third degree in the movements. It alfo frequently implies a diftindt mode of per¬ formance.
Andantino, fomewhat quicker than andante. Anthem, a compefition of different parts applied to facred profe.
Appoggiatura. (Vide Chap. viii. Sec. 5.)
The reafons why fuch notes are not fet down as they are played are contained in the purpofes of thorough bafs, viz. that tranflent and leading notes may be diftinguifhed from the note, which fhall receive the chords.
A tempo Giujlo, is anltalian expreffion, denoting jnjhhe time, which means the idiomatical coufiften- cy ofany of the degrees of the movements.
Ban, are lines interfering the (laves and con¬ taining the proportion of notes and reils, indicat¬ ed by the meafurc note.
ONARY of MUSICAL TERMS
Baft, either vocal, or indrumental, is the lowed part in a harmony.
Beat , formerly meant fuch a proportion of the bar, as the meafure note indicated. Hence the ex- , preflion to beat time. RoulTeau advifed his country¬ men to keep, rather than beat time.
Bemol, a term ufed by the Italians, French, and Germans, in the fame fenfe as the Englifli wfe the term Jlat.
Brace, indicates what number of parts move to¬ gether.
Breve, is a note containing the value of two fe- mibreves.
Canto, fong. In a harmony of vocal parts, it denotes the leading part.
Cantata implies that the poem as well as the rau¬ fic has a hidoric and dramatic dyle, comprehend¬ ing folos, recitatives, chorufles, &c.
Canto fermo plain fong, all parts moving in the fame time and proportion.
Chant, a fpecies of plalmody, ufed in cathedrals, in which the compolition of poetry and mufic is ar¬ ranged for alternate/o/o drains, and refponfesinoWo.
Cathedral, what belongs to the church.
Cathedral pfalm tunes, were compofed to favour the cudom of reading every line dngly, in which tunes the notes at the beginning and dole of every line were doubly the length of the others.
Choro Grando, grand chorus.
Con, with.
Con Dolce, with fweetnefs.
Con Affettuofo, with affedtion.
Con Faria, with boldnefs.
Concertante, fignifies that two, or more parts of a harmony are alternately engaged in the execution of the fubjedt, while the other parts are only ac¬ companying.
Crefcendo, cncreafing or fwelling.
Da Capo or D C, clofe with the fird drain.
Del Segno, from the flgn.
Diapente , the fifth.
Diapafon, the odtave, or eighth.
Diminuendo , decreafing or foftening the found.
Dirge, a piece compoied for funeral occafions.
Direft, a mark placed at the end of a dave, to di¬ rect the performer to the fird note in the next dave.
Divoto, in a folemn and devout manner.
Doxology, a fhort drain of harmony, the fubject of which is expredive of the Divine Glory, and is ufed in clofing anthems, &c.
Duetto, a piece of mulic confiding of two parts.
Dur, a term fignifying, in modern fchools, the major mode.
Expreffivo, expredively.
Figure a mark of diminution, and when fet over or under any three notes, denotes that thev are to have no more length than two notes of the fame kind
Forte, drong and loud.
Fortiffmo, the fuperlative degree of the preceding word. 6
Fuge, is that kind of compolition, in which a fubjedt is fucceflively repeated, or imitated in two, or more different parts.
Grave, 1 heavy. Thefe words have refer-
Gravemente, j ence both to the ftyle of the com- pofition and the execution, and are frequently ufed mdead of the term Largo.
Graociofo, graceful, frequently ufed with the term Andante.
H arpeggio, fignifi.es that the notes of a chord are not taken in conjunction, but feparatelv either from
XXXV
the lowed note upward, or from the higheft note downward.
Interlude, in ft ru mental paffag'es introduced be¬ tween die vocal paffages.
Infra,- below.
Largo , large, the flowed movement.
Larghctto , not fo flow as Largo.
Ledger lines, and [paces are ufed when notes ex¬ tend beyond die compafs of the dave.
Legato, tyed or flurred, this term fignifies a mode of performance* which {hall be frnooth, and not too didindl.
T/nt0' l flow.
Lenlemente, j
S*
-ith majefty.
Mceflofo, or
Mtejlufo,
Men, lefs.
Men Allegro, not fo quick as allegro.
Mezza voce, is an Italian term indicating the na¬ tural degree of voice, between the piano and forte.
Modrraio, is a term frequently ufed with allegro, denoting a degree between andante and allegro. .
Mo!, a term, which is ufed in modern fchools m the fame fenfe as we ufe the term minor mode.
Malta, much.
Movement, is that degree of quicknefs or flownefs, which the bars receive from the fignification of the terms, prefixed to the tune. Rondeau dates five principal degrees, viz. Largo, Adagio, Andante, A - le"ro, Freda. The numerous fublpecies are deter¬ mined by the words Poco and Malta, or by fubflitut- fcur the diminutives of the above terms, as AHe- tetto, Larghetto, &c. The proportion of the intend¬ ed quicknefs, or flownefs, mud be parti v compie- fct ded from the nature of the fubjedh Oofervmg this the performer may obtain a habitual certain- $ L du* propc.rdon. By avithmeucal^cu- L-icn' a demifemiquaver, m Largo, is equ duration, to a minim in Prefo, or a quaver m An-
dante, &c.
Non, not.
Nontroppo prejlo , not too quick.
Obligato, vide concertante.
Oratorio, a colledtion of facred vocal pieces com- pofed in a dramic dyle.
Overture is an iuftrumental drain, which introdu¬ ces the fucceeding fubjedl.
Orchejlra, the place, or band of mufical perform¬ ers.
Paffonate, with effedl.
Partition, vide fcore.
Pajlorale, a compofition of a tender dyle in the meafure of Jor J.
Piano, foft.
Piantjfmo, the fuperlative ef Piano.
Pin, a little more.
Plaintive, mournfully, fometimes indicated by Dolorofo , or Lamcntabile.
Poco, a little lefs.
Pcmpofo, a pompous dyle.
Prelude, is the fame in a fmall compafs, as over¬ ture is in a larger.
Prep, the fifth degree in the movements.
Preftiffimo, the fuperlative of prelto.
peartdlo, mude compofed in four parts, in which each part is concertante. _ .
Quintet to, mufic compofed in five parts, in which
each part is concertante.
Reeitativo, denotes a profe compofed fora folo voice, and accompanied in general only on. an m- drumental bafs. The air in the recitative is part¬ ly chanted, and partly fimply pronounced in dif¬ ferent, longer, or Ihorter commas. The notes are fet down in proportions, correfpondmg with the meafure of the bar. But the linger, though di¬ rected by thofe proportions, is yet at liberty to va- rv them agreeably with his feelings on the fubjedl. There are two fpecies of Reeitativo, viz. the ea- [ured, when the vocal periods are intermixed with instrumental drains ; and the Obligato, when the vo- ' cal periods are proceeding without interludes, ac¬ companied by the bafi, only, and at the finger s di-
redion of the meafijre. Generally, no #s, or |,s, are prefixed to the lad fpecies ; but the changes and refolutions, are continually indicated by ac¬ cidental $s, |/S, and tjs. There is, in both fpecies, a continuing preparation and refolution of all kinds of intervals and more Specially of the chromadc and enharmonic.
Refponfe, the anfwer, in Chants which is given to the folo part by the chorus.
Rippieno, full.
Rondeau, a tune in which the fird drain is re¬ peated.
Score, different parts connedled with a brace which directs what number of parts move togeth¬ er.
Senza, without.
Senza organo, without the organ.
Sicillano is a compofition of £ or f to be perform¬ ed flowly and gracefully.
Slur is fuch a mark drawn over, or under any numberof notes, defignedfor only cnefyllable. It is alfo ufed for the purpofes at fyncopation, vide Chap, on Syncopation. It is likewife ufed for a dyle of expreffion, the reverfe of Staccato-
Soave, agreeable or pleafing.
Soprano, the highed part.
Spiritofo, 1
Spiritucfo, a with fpirit.
or Con Spirito. J
Staccato, \ the reverfe of Legato. Notes, to be
Staccato, j daccated, mud not be flurred, but per¬ formed in a di llincl manner.
Stave, five lines with their {paces whereon the
notes are written.
Sub-ito, quick.
Supra, above. . . ,
Symphony , as far as concerns facred mufic, de¬ notes the lame as overture, prelude and inter¬ lude.
facet, be filent.
fardo, flowly. , , -
Ta/lo Solo, a term frequently fet under a bafs,
which continues upon the fame note, ^^the
XXXVI
other parts move through the confonances and diflonances in that pitch.
Tempo, time.
Tranfition, has reference to the hidden notes, •which are ufed for foftening the roughnefs of a leap, and rendering it more graceful.
Tranfpofition, is the changing of the pitch, but continuing the drain in its prior date.
Trill, or Shake, dignifies that a folo part clofes a cadence by an alternate, and quick repetition of the preparing note, and the note, which bears the didbnance. The Ihake begins on the preparing note, continues the length of the diflbnant note.
and ends with a retardation of the note, which bears the confonance of the cadence.
Trio, a compofttion of three parts.
Triple, aterm for the fpecies of time comprehend¬ ing three parts in a bar.
Urnfon, when two or more parts found the fame note of an odtave.
Veloce , quick.
Vigorofo, with energy.
Viola, the indrument between the bafs viol and the violin.
Violoncello, the inftrument on which the bafs parts are played, called bafs viol, the four firings of which when tuned are called C, G, D, A.
Vite, quick.
Vivace, in a lively ftyle, and played quick, hence' the term Allegro Vivace.
Volti, turn over.
Voluntary, an air played in the church without finging.
N. B. Words, defined in the work, are omitted in the Didionary.
I
ERRATA.
Page 4th in the mufic, 1 d bafs dave, 3d bar, for a pointed crotchet on Bb, infert a pointed crotchet on A the 5th line. — Page 6th, 1 (1 line, for fongs read fon <- _
Page 19 id bafs dave, 5th bar, for acrotchet on C$, infert a crotchet on E, 3d fpaee. — Page 20, 6th bar, in Treble and Tenor, for two quavers on D, C, in each
part infert two quavers onE, D, an odave with the bafs. — Page 31, fecond Tenor and Treble daves, id bar, infert a$ on G and C. _ ibid, third bafs ftave,.
id bar, for a on F infert a t> on B, 2d line.— Page 33, 2d bafs dave, lad bar, for a femibreve on A, infert a femibreve on F, 4th line. _ Page 46, 3d bafs dave*"
6th bar, for a quaver on C, infert a quaver onD, 3d line.— Page 48, 2d bafs dave, ill bar, for a \\ on B, infert a fr.— Page 59, 2d tenor dave, 6th bar, for a
minim on C, infert a minim on D, 4th line.— Page 64, 3d bafs dave, 6th bar, for a crotchet on C, infert a crotchet on Bfe, 2d line _ Page 68’ 3d tenor dave
7th bar, for a quaver on A, infert a crotchet. £> > j »
THE
iHaffacjjitfette Comptler, &c.
Doxology.
LARGO. [ Example of the Harmony to the afcending and defccnding diatonic Bafs, in the Major Modus, clofed with a common Cadence .]
^ ^~'rZQZizz~pz:
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Magnify
the Lord,
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blefs his name, P. ^
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Let all your works his praife proclaim.
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men.
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Doxology.
\_A Jtmilar' Example concerning the Minor Modus.
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Pardon all our fms bounteous Lord,
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To us thy gracious aid afford ;
men.
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Winchefier.
fate, Time yet is thine, but foon it is too late,
2. Lo midnight’s gloom invites the penfive mind. Pale is the feene, but fhadows there you’ll find ;
Rife immortal foul, fhun glooms, purfue thy flight. Left hence thy fate, be like the gloomy night.
3. Hark from the graves, oblivion’^ doleful tones. There fhall our names be moulder’d like our bones. Rile immortal foul, that hence thy fame may fhine. Time flies and ends, eternity is thine.
Air. ANDANTE.
Truro. L. M.
WILLIAMS’ Collect
ION.
4
B. MILGROVE.
Ingatejlone. P. M.
Pia. For.
Great diftributor of grace, Reft upon this congregatiopHear, O hear our Application, Reft upon this congregation, Hear, O hear our Application,
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Pia.
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ftores, The choiceft of her (lores.
Sss
5 HcLYVCLvd College . ^ ^uie adapted from a ConpofitiOn by W, SHIELD.
ALLEGRO. Meza Vocc. Poco. Forte. Forte..
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Nations join in facred
longs,
Tune with angels holy
throng,
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Time with angels holy- throng.
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Nations, join in facred
long,
Tune with angels holy throng, tune with angels holy throng.
Pia.
Two Vcrfes
Lambeth
C. LOCKHART.
ANDANTE
Keep filence, all ere at - ed things, And wait your maker’s nod, My foul /lands trembling while /he fings, The honors of her God
Life, death, and helljand worlds unknown, Hang on his firm decree; He .fits - on no precarious Throne, Nor borrows leave t# be.
ALLEGRO
WILLIAMS’ Collection
my tongue, fiprne heay’nly theme, And fpeak feme boundlefs thing. The Eighty w^ks, or mightier na^, Ofour eternal
D. Burney
ANDANTE.
Milbank. L. M,
9
reigns* the Lord the Saviour reigns, Praife him in evangelic ftrains, Let all the earth in fongs rejoice And diftant iflands join their voice,
Cornwall. C. M.
Handel:
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Till appears our mortal foe, Who his fatal dart doth throw. Then alarming feenes arife, Anxious doubts and llrange fur.
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k Prize, Trembling we await dur^ doom, Endlefs
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hndlefs joys or awful gW Mighty God, our hearts iufpire, Be «hy love our fohZ&rT
i=^sgigaa
The Dying Chrijlian
LARGO.
Rippon’s Coll.
Air. Mez. Pia
EssiiiiilpyiSiiiSiii
\ ital fparkof heav’nly flame, Quit,0 quit this mortal frame, Tremb'ling, hoping, ling’ring, flying, O the pain, tire blifs of dying, Ceafe, fond n
nature,
12
Cres.
For.
Pia.
Pia. ANDANTE.
Cres.
For. Dim.
W V-/ w w w foul, can this be death ? Tell me, my foul, can this be death ? The world recedes it
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Vivace For.
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grave where is thy victory, O grave where is thy vktery, O
«rs with found, feraphic^ ring. Lend, lend your wings, I mount, I fly, O
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where is
mount
Baltimore.
J. Walker.
/''"N
Air. The joyful mom, my God is come, That calls me to thy honor’d dome, Thy prefenceto adore. My feet the fummons fhall attend, With willing
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ilepsth ycourts afcend , And tread the hallow’d floor. My feet the fnmmons fhall attend, With willing fteps thy courts afeend, And tread the hallow’d floor.
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2- he peace implor’d, by each on thee,
0 Sion, while with bended knee,
To Jocob’s God we pray ;
How bleis’d, who calls himfelf thy friend. Juccefs his labours fhall attend,
Ar.d f.ifety guard his way,
mipiiiiii 'mm
3. Thou feat of friends and brethren, hail. How can my tongue, O Zion, fail,
To bleis thy lov’d abode ?
ITow ccafe the zeal, that in me glows,
Thy Good to feek, whofe walls indole The manflofts of niy God ?
VIVACE.
Pia.'
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For.
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Glory to God on high, Let earth and ikies reply, Praife ye hi? name ; His love and grace adore, Who all our forrov.’s bore, Sing aloud evermore,
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Worthy the Lamb, Worthy the Lamb, Worthy the Lamb,_
Sing aloud
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evermore, worthy the Lamb.
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2. Jefus, our Lord and God,
Bore fin’s tremendous load,
Praife' ye his name ;
Tell what his arm hath done :
What fpoils from death he won ; Sing liis great name alone ;
Worthy the Lamb, g. While they, around the throne, Cheerfully join in one,
Praiiing his name ;
Thofc who have felt his blood, Scaling their peace with God,
Sound his dear fame abroad.
Worthy the Lamb.
4. Join all ye ranfom’d race.
Our holy Lord to blefs,
Praife ye his name ;
In him we will rejoice.
And make a joyful noife,
Shouting with heart and voice.
Worthy the Lamb.
5. What, tho’ we change our place, Yet we fhall never ceal'e,
Praifmg his name ;
To him our fongs we bring,
Hail him our gracious King,
And without ceafing ling,
Worthy the Lamb.
6. Then let the hofts above, In realms of endlefs love, Praife his great name ;
To him aferibed be,
Honor and majefty.
Thro’ all eternity ;
Worthy the Lamb.
//
C. Lockhart.
, permit me not to be. A ft ranger
Amid a thouiand doubts I rove.
Forgetful
Peterborough
Williams’ Coll
Dr. WATTS,
ANDANTE
Not to our worthlefs names, is glory due.
Immortal honors to thy fov’reign name.
Nor let the heathen fay, & where*; your God,
Thy pow’r and grace, thy truth & juftice claim.
Not to our names,- thou only juft and true,
Shine thro’ the earth from heav’n thyblcft abode,
Pfalm 50th. Dr. WATTS
WainwrighT
For.
ANDANTE
His vengeance fleets no more, behold the day.
Thro’ diftant wdrlds and regions of the dead,
Calls the fouth nations and awakes the north,
No mare fliaU athellls mock his long delay,
From eaft to weft the founding orders fpread.
The I.ord, tlie fov’reign fends hisfummons forth,
Darwell
And offer notes divine, To your Creator’s Pra.fe
Ye tribes of Adam join,
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Creation , a Chorus. uj
\_Tht Words from Rippon s Collection, the Air and Harmony from a Comp f lion by the celebrated SCHWINDELL.j
faints, dtreft your To him who dwells abovo
univerfe;
praile rehearfe,
For.
v
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21
irton. C. M.
MODERATO.
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Dr. Arne.
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MODERATO.
Alton. C. M.
Pia.
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When God reveal’d his gracious name, And chang’d my mournful Rate, My rapture feem’d a pleafing dream, The grace appear’d fo great.
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• Who fliaU adjudge the faints to hell \ ’Tis Chrift, whofuffer’d in their head ; And the falvation to fulfil, Behold him rifing from the dead.
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ANDANTE. — h \r-i-+-\rz-r~zr
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allegro rioderato. 0, _
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Ye foils of men
with joy record, The various wonders of the Lord, And let his pow’r and goodnefs found, Thro’ all your tribes the earth around, let his pow’r and
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Thofe fpacious fields of brilliant light, Thofe fpacious fields of brilliant light, Where fun,& moon, Sc planets roll, And ftars that glow from pole to pole*
28
29
30
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fhall my pow’ts unite, • " ^
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2. Salvation I need, I want to be freed
From all my diftrefs.
And feel in my heart the rich bleffing of peace.
3. Take me as I am, thy property claim ;
My nature refine.
And form my affe&ions and temper divine.
Giardinj.
DoXology. For.
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I view. Praife God from whom all bleflings flow, Praife, praife him, praife him, Praife, praife him,praifc him, Praife him, all.
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Praife, praife him, Praife him, Praife, praife him,praile him, all.
Praife him above,
creatures
Praife Father Son and
Ghcft.
WlL LIAMS’ Coll
LARGO
my perpet
O ''S’ '
To heav’n I lift my waiting eyes, There all my hopes are
Williams’ Coll
ANDANTE
my tongue.
incenfe rife;
DrcuJ Sov ’reign, let my evening long
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MAESTOSO
Clapham. H. . M
C. Lokhart
37
Commiffion’d
mortals known,
Commiflion’d from his Father’s throne. To make his grace to
pardons in his hands,
Array’d in mortal flefh, Chrift,- like an angel (lands.
promifes, And pardons in his hands, And
»
38
ANDANTE.
Deptford.
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Father, Son, and Holy Ghoft, One in three and three in one;
As by the celellial
hoft. Let thy will on
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earth be done. Let thy will on earth be done. Praife by all to thee be
r^isz|b:}zqzjzz
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Glorious Lord of earth and lieav’n.
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Glorious Lord of earth and heav’n. Praife
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Glorious Lord of earth and heav’n.
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Penfance. C. M. Two Verfea,
H. Purcell
<
ANDANTE.
39
Milgrove
VIVACE
Brethren, let us join to blefs, Jefus Chrift, cur joy and peace, Let our praife to him be giv’n, High at God’s right hand inheav’n.
lujah, praife the Lord, Praife, praife, praife, praife.
LARGO
Williams’ Coll
Come holy fpiritheav’nlji dove, With all tbjr quietening pcnv'rs, Com* died abroad a Saviour’s love Come died abro J c ■ „
love, Come ftiej abroad a Sivioui 's-love.Come died abroad a Saviour's love, And that Ihiil kindle
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42
Broderip
Bromley. L. M.
German
Munich. L. M.
LARGO. Pia. For.
45
Tis finifh’d, ’tis finilh’d, So the Saviour cry’d, And meekly bow’d his head&dy’d. ’Tis finilh’d, yesthe raceis
The battle’s fought, the vid’ry
m
Brecknock. L. M
ANDANTE
So let our works and virtues fhinc, To prove the dodrine all divine.
So let our lives & lips exprefs. The holy gofpel
Milgrove
For.
Mount Eph
VIVACE
Down from the willow
Your harps, ye trembling faints,
Dr. Arne
A vrr\ a xrrr
For.
Dartjord.
Williams’ Coll.
Pia.
Praife the Lord, ye blefled ones, Your glorious Lord, your glorious Lord is ours, Principal - i - ties and thrones. Principal - i - ties and thrones, And
TTnr
Pia.
For.
/
Dr. Hayes
Kidderminfler.
plain. Then forth to laughter burft each tongue, And fongs of loudeft triumph rung,
The nations round, with fecret awe.
The mighty work admiring faw.
And “ great, they cry’d, the gift bellow’d On thefe the favour’d of their God.”
“ O great die gift,” our hearts rejoin.
And joyful Weis the hand divine.
ANDANTE.
Portugal L. M.
Thorley.
iacred courts appear ; Fain would my longing paflions meet,
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ones o;
Clements
ANDANTE. • • . - - - « — - -
Let the Bright Seraphim , &c.
\_A Song in the Oratorio of Sampfon , ly HANDEL.]
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res, touch their immortal harps with golden wires.
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contfort^Jn^ diftrefs, Did^aJl my griefs^ conth^Thy word, when troubles hemm’d me round, Reviv’d my fainting foul.
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333
ALLEGRO.
6o
6 1
✓
Wajhington. A Chorus.
Dr. Arnold
6 2
^3
H jiii iiniiiiiiiMii iiiiiniiini 'iirrifTrr
-e-H
day his praife praife proclaim, Who us
has with falvation crown’d, who us has with falvation crown’d, who us has crown’d, who us has with falvation crown’d.
igm
3 :
35
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. his name, Who us has with falvation crown’d. Who us has with falvation crown’d, who »s has crown'd,
S^HHP
with falvation crown’d.
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mo as has with falvation crown'd, who ns has crown'd, who us has crown'd, with falvanon crown'd.
and blefs his name, - ^ ^ ^ _ _ - -
his name,
Sacchini.
Italy . L. M. (Two Verfes.)
Praifethe Lord, all ye, who fear him, Praife his name with voice and mind ; Virtuous fplrits, all revere him, Speak his goodnefs to mankind.
E^iil
_
6;
Im-mor - tal crowns of
Crowns
Redeemer
And everlafting
crowns
mor
crowns,
Fortifs
Crowns of majefty, immortal crowns, and, &c,
wifdom and pow’r, and everlafting fongs belong to our Redeemer
crowns.
Crowns of majefty, immortal, crowns, and, &c.
P. M.
S. Holyoke
6S
Sandusky.
Air. MODERATO
Swell the triumphs.
Lo ! he comes, in clouds defcending. Once for favour’d finners' {lain ; Thoufand, thoufand faints attending.
fwell the triumphs of his train.
Thoufand, thoufand faints, attending, Swell the triumphs of his train,
e - lujah, Jefus now fhall ever
JtTus now fhall ever rei*Tn,
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lu - jah.
Halle
lujah,
ILuIgZljg
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»„« from „„ «„,« „».rw nwmMmio tho ««. «,T„ Tor. P— * *= — '*'
Alton
Arlington,
Alhbum,
Abridge,
Armley,
Adams,
Bright Seraphim,
Brentford,-
Bilney,
Biceftcr,
Bromley,
Bowe,
Brabrook,
Bexley,
Baltimore,
Bermondl'y,
Brecknock.
Berlin,
Cornwall,
Clements,
Creation,
Clapham,
California,
Doxology,
Doxology,
Dirge,
Dartford,
Darwells,
Deptford,
Durham,
Drummond,
Edmund,
Funeral Thought Futurity,
France,
Hark the Herald Hampton, Hancock, Harvard College,
G 7
C, M. Angels Sing, A Chorus.
A Chorus. C. M.
|
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D |
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A |
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A |
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|
An Example, |
C |
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An Example, |
A |
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A Face.
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Major,
Major,
Major,
Minor,
Major,
Major,
Major,
Major,
Major,
Major,
Major,
Major,
Major,
Major,
Major,
Major,
Major,
Minor,
Major,
Major,
Major,
Major,
Major,
Minor,
Major,
Major,
Major,
Major,
Major,
Major,
Major,
Minor,
Major,
Major,
Major,
Major,
Major,
Major,
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6
Ingatefton,
Italy,
Jehovah fpeaks, Kidderminfter,
Kew,
Keene,
Lambeth,
Ludlow,
Milbank,
Munich,
Mount Ephraim,
Mufic
Manning,
Marlborough,
Ofnaburgh,
Philadelphia,
Pcnfance,
Pelham,
Portugal,
Peterborough,
Richmond,
St. John’s,
St. Sebaftian’s, Surry,
Sandufky,
Saratoga,
Southwark,
Stratham,
Sheernefs,
Thankfgiving,
Tunbridge,
Truro,
The dying Chriftian, Uftic,
Wafhington,
Windfor,
Walworth,
Wilton,
Wincheftsr,
P. M. L. M. A Chorus. P. M. P. M. C. M. C. M. C. M. L. M. L. M.
S. M. L. M. L. M.
C. M.
L. M.
L. M.
C. M.
S. M.
L. M.
P. M.
L. M.
C. M.
C. M.
P. M.
P. M.
C. M.
P. M.
C. M.
L. M.
A Chorus. C. M.
L. M. An Ode.
S. M.
A Chorus. L. M.
P. M.
C. M.
L. M.
|
F |
Major, |
4 |
|
B b Major, |
64 |
|
|
C |
Major, |
22 |
|
F |
Major, |
48 |
|
F |
Major, |
55 |
|
F |
Major, |
56 |
|
A |
Major, |
8 |
|
G |
Minor, |
43 |
|
B b Major, |
9 |
|
|
B |
Minor, |
45 |
|
E b Major, |
45 |
|
|
E b Major, |
46 |
|
|
A |
Major, |
18 |
|
C |
Major, |
41 |
|
F |
Major, |
5 |
|
A |
Major, |
25 |
|
F |
Major, |
39 |
|
D |
Major, |
3 |
|
G |
Major, |
48 |
|
G |
Major, |
*7 |
|
F |
Major, |
55 |
|
F |
Major, |
33 |
|
B b Major, |
40 |
|
|
D |
Major, |
43 |
|
A |
Major, |
68 |
|
D |
Minor, |
7° |
|
G |
Major, |
7i |
|
D |
Major, |
16 |
|
G |
Minor, |
16 |
|
A |
Major, |
26 |
|
E b Major, |
4i |
|
|
F |
Major, |
3 |
|
F |
1 1 |
|
|
B |
Minor, |
57 |
|
G |
Major, |
62 |
|
A |
Minor, |
70 |
|
D |
Major. |
l7 |
|
F |
Major, |
3r |
|
D |
Major, |
2 |
-
.
|
’ |
|||
|
• |
|||
■
.
.
1
.