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MUSICAL GRAMMAR^
IN FOUR PARTS
I. NOTATION, I m. HARMONY,
II. MELODY, I IV. RHYTHM.
BY DR. CALLCOTT,
ORGANIST OF COVENT-GARDEN CHURCH.
" The better Music is known and understood, the more it will be valued and esteemed."
Simpson's compendium, 1678.
FIRST JMERJCJN, FROM THE LAST LONDON EDITION,
BOSTON :
PUBLISHED BY WEST ^ BLAKE, AND MANNING ^ LORING. Manning & Loringi Printers.
r C I-
The Author's Preface,
THE design of the following Work is, to compress in a small volume, the leading princi- ples of Practical Music. From the analogy which exists between Music and Language, the Author has presumed to adopt a classification first suggested by the German Theorists, and to entitle the whole a Musical Grammar,
He has endeavoured, by Examples selected from the best Authors, and intermixed with Musical Characters, to render the instructions more satisfactory than if they were merely verbal ; and he only regrets that, in many in- stances, they could not be made more exten- sive, without injuring the due proportion of the parts and the portable size of the book.
The Author takes this public method of an- nouncing, that he has not abandoned the design formed nine years ago, of compiling a Musical Dictionary. His original plan* merely pro- fessed to comprehend an abridgment of Wal- ther, Rousseau, &c, but, when the friendship of Mr. KoUman (Organist of the German Chapel at St. James) had assisted him with some valua- ble treatises, he found it necessary to relinquish the idea of immediate publication ; and, un- willing that many more years should elapse without shewing the world in what manner his
* March 1, 1798.
iy rSE author's preface.
researches had been conducted, he ventures to lay before the Public a specimen of what may- be expected from his labours.
He is very happy to avail himself of the present opportunity of returning his most grateful acknowledgment for the assistance he has obtained from public and private libraries of this kingdom, and for the great attention shewn him by persons not more distinguished by rank and birth, than by love of science and of literary pursuits.
To the Profession also, in general, he con- siders himself highly indebted, not only for the loan of scarce books, but also for occasional remarks and useful hints on various musical subjects, on which it was necessary to consult them.
The completion of a Dictionary from the ac- cumulated materials of nine years, will require no small portion of time and expense to render it worthy of the public patronage. The present small volume is, in the mean time, submitted by the Author to the world with a considerable degree of diffidence ; and he hopes that the various professional occupations in which he-has been incessantly engaged, will be an excuse for any small inaccuracies which may strike those who are conversant with the subject.
ADVERTISEMENT.
AS the present edition of the " Musical Grammar" has not received the advantage of being revised by its excellent Author, a short account may be necessary, of those Additions, and Alter- ations, which have been thought essential to its improvement.
The divisions of the Work, in the former edition, were consid- ered too minute. The same subject was frequently continued through several articles, by which means references were multi" plied, and the attention of the Student unnecessarily distracted. In the edition now offered to the Public, the Articles are consid- erably compressed ; according to the suggestions of Mr. Jousse, a Professor who has studied the Work with a degree of attention, which will always strongly recommend him to thofe who are in- terested in its success.
Complaints were also made, of the difficulties the Student en- countered, from the Examples of Harmony being given only by figured bases ; which presupposes a degree of knowledge, pos- sessed alone by those who have made a considerable progress in Musical Science. The principal of these Examples have, here, been illustrated by Mr. Horsley, who has long been in habits of the greatest intimacy and friendship with the Author, and who, from this circumstance, may be thought qualified to develop his intentions, in such passages as were before rather too concisely, and sometimes even obscurely expressed. But the most impor- tant alterations, in the present Edition, are those in the Fourth Part, on Rhythm,* which was probably undertaken by the inge-
* Animadverted uf on in the British Critic for April and 'Juntj 1807. A 2
«y ADVERTISEMENT.
nious Writer more hastily than a subject demanded, on which an exact comparison was professed to be drawn, between Musical Metre and Ancient Prosody, and which required a very close investigation of both. This less perfect part of the work has been carefully revised, and rendered correct in the erroneous passages, by Mr. S. Wesley ; and from this Gentleman's well- known learning, and great musical talents, the Work has, throughout the whole progress of reprinting, derived very con- siderable advantages.
No pains have been spared to render this Edition worthy of the very flattering reception with which the Public honoured the first. The Editors are most sincerely attached to the Author, not only by admiration of his talents and acquirements, but by the still more powerful ties of affection for his virtifes and benefi- cence : and they most fervently hope, that this will not prove his last effort to enrich the Musical Literature of England.
ADVERTISEMENT TO THE AMERICAN- EDITION
IN the cultivation of Music, two distinct objects are to be acquired ; Sci e n c e and Taste. Taste is improved by stud- ying tlie compositions of celebrated Masters, and by endeavouring, both in writing and performing, to adapt the melody to the subject.
While several pubhcations have lately made their appearance in this country, which have a tendency to refine the public Taste, it is a fact, that we have no work in circulation which is calculated to acquaint the learner with the principles of Music as a Science. Hence the indigenous productions of the United States, with a few exceptions, have been found very exceptionable, and have exposed the authors to the sneers of Eurcpean critics.
To remedy tliis evil, some elementary work of merit seemed to- be indispensably necessary; and tlie high reputation of Doctor Callcott's Musical Grammar satisfied the American Editors that its republication must, in all probability, be acceptable to the public. But few copies of this work, (v/hich indeed has but recently ap- peared in England) have reached tliis countrj^ and those could not \y^ purchased but at a price which has been considered dispropor- tionate to the size of the volume. The Publishers have sought to re- move this objection, and have spared no pains to secure elegance (^ typography, and, what is more essential, to preserve the corrections of the original edition.
By a due attention to this little volume, it is confidently believed, that the student may obtain all that is necessary to discriminate be- tween false and correct harmony, and to compose conformably to the established rules ; an acquisition which certainly must be desir- able to the votaries of Music ; and what, to every Christian, must be an object of consequence, it will tend to introduce dignity and purity into those native compositions, wliich are designed for the use of worshipping assemblies.
Maij^ 1810.
\
CONTENTS.
PART I. THE NOTATION OF MUSIC.
Chap. I. Of the Staff, 1
II. Of the Clef 5
Sect. 1. Of Clefs in general,
2. Of the G, or Treble Clef, 7
3. Of the F, or Base Clef, 8
4. Of the Counter Tenor Clef, 10
5. Of the Tenor Clef, 11
6. Of the Soprano Clef, 12
7. 'Of the Mezzo Soprano, the Baritono, and
high Treble Clefs, 13
m. Of the JVotes, 14
Sect. 1. Of Notes in general,
2. Of the Tune of Notes, 20
3. Of the Tune of Notes, 25
4. Of the Accent of Notes, 41
IV. Of the BestSy 46
V. Of the Sharps, Flats, Isfc 49
Sect. 1. Of the Sharps,
2. Of the Flats, 52
3. Of the Naturals, 56
4. Of the double Sharp, 58
5. Of the double Flat, 5^
VI. Of Graces, Characters, Marks of Exfiression,
and Abbreviations, 61
Sect. 1. Of Graces,
2. Of the Characters, 73
3. Of the Marks of Expression, 79
4. Of Abbreviations, 83
X CONTENTS.
PART II.
MELODY.
Pa^e
Chap, I. Of Intervals^ 85
Sect. 1. Of Intervals in general,
2. Of the Names of Intervals, QB
3. Of the fourteen Diatonic Intervals, ... 90
4. Inversion of Intervals, 100
II. Of Consonant and Dissonant Intervals, .... 104
III. Of the Genera, 109
Sect. 1. Of the three kinds of Melody,
2. Of the Chromatic Scale, and its Intervals, 111
3. Of the Enharmonic Scale, and its Interval,
the Quarter-tone, 119
IV. Of Keys or Scales, and their two Modes, Major
and Minor,. 123
Sect 1. Of Keys or Scales,
2. Of the Major Scales with Sharps, . . .124
3. Of the Major Scales with Flats, .... 126
4. Of the Signature, 127
5. Ofthe Minor Scale or Mode, 128
6. Of the relative Minor Scales, 131
-7. Ofthe Tonic Minor Scales, 132
8. Of Transposition, &c 133
V. Of the Qualities of the JVotes nvhich comfiose the
Scale, 136
Sect. 1. Of the Tonic, Dominant, &c
2. Of the characteristic Notes, 140
VI. Of Ancient Signatures, 142
Sect. 1. Of ancient Signatures in general, . . . .
2. Of ancient sharp Signatures, ...... 144
3. Of ancient flat Signature*, 145
CONTENTS. XI
PART III.
HARMONY.
Fage Chap. I. Of the Triad, 143
Sect. 1. Of the Consonant and Dissonant Triads, .
2. Inversions of the Triad, . 153
3. Of the Dh'ect and contrary Motions, and
the rules for their use in Harmony, . . 157
4. Of Harmonical Progression, 159
11. Of the DoTiiinant Seventh, its Inversions, Reso- lution, and of Modulation, . 165
Sect. 1. Of the Dominant Seventh,
2. Of the Inversions of the Dominant Seventh, 171
3. Of the Resolution of the Dominant Seventh, 174
4. Of Modulation, 179
HI. Of Discords, 186
Sect 1. Discords of Transition,
2. Discords of Suspension, 192
3. Discords of Syncopation, 200
4. Discords of Addition, 201
rV. Of Cadences, 216
Sect. 1. Of radical Cadences,
2. Of medial Cadences, 221
V. Of Sequences, . 225
Sect. 1. Of dominant Sequences, " .
2. Of mediant Sequences, 226
3. Of inverted Sequences, 227
4. Of simple Sequences, 229
5. Of compound Sequences, 231
6. Of irregular Sequences, 233
VI. Of Licenses, 235
Sect. 1. Of Pedal Harmonies,
2. Of the extreme shaip Sixth, 237
3. Of partial Modulation, 240
4. Of the inile of the Octave, 242
5. Of Chromatic Modulation, 245
6. Of Enharmonic Modulation, 247
301 COl^TENrs,
PART IV.
RHYTHM.
Page
Chap. L OfJccent, 251
Sect 1. Of simple Measures,
2. Of compound Measures, 256
3. Of mixed Measures, 258
4. Of Emphasis, 260
n. Of the Musical Footy 263
Sect. 1. Of simple Feet,
2. Of compound Feet, , 267
III. Of the Musical Casure, 269
IV. Of the Phrascy 274
Sect. 1. Of the regular Phrase,
2. Of the uregular Phrase, 279
3. Of interwoven Phrases, 283
V. Of the Section, 286
Sect. 1. Of the regular Section, ,
2. Of the irregular Section, 289
3. Of the interwoven Section, 291
4. Of the Codetta, 295
VI. Of the Period, . . . . , 298
Sect. 1. Of the Tonic Period,
2. Of the Dominant Period, 301
3. Of the interwoven Period, 304
4. Of the Coda, 308
MUSICAL GRAMMAR.
PART I.
THE NOTATION OF MUSIC.
CHAP. I.
OF THE STAFF.
Art. 1. Five lines drawn over each other, ^ form a Staffs* or support for the notes of Music j thus.
On these Lines, and in the Spaces between them, the heads of the Notes are placed.
2. The Lines and Spaces of the Staff are counted upwards, from the lowest to the highest,
LINES 13==^= SPACES if^^^^
* Sir John Hawkins (vol. i. p. 427) writes the word Stave for Staff— Dr. Burney, v. ii. p. 87 : " The regular Staff of four lines was not generally used in the church till the 13th centur5%"' B
2' I. NOTATION.
Every Line, or Space, is called a Degree :* thus the Staff includes nine Degrees, viz. five Lines, and four Spaces.
3. The Notes of Music consist generally of two parts, a Head and a Stem.
The Head is either open or close (that is, white or black ;) and must always be placed on a Line, or in a Space.
The Stem may turn up or down, without making any difference in the Music.
V^HITE NOTES. On Lines. In Spaces.
-8
BLACK NOTES. On Lines. In Spaces.
4. When more than nine Notes are wanted, the Spaces above and below the Staff are used, and two more Degrees are gained 5 thus.
* Christopher Simpson, Compendium of Practical Music, 1678, (3d edit) p. 2.
CHAP. I. STAFF.
3
5. If more Notes than these are required, then added Lines* are drawn above or below the Staff, and the Notes are placed on them ; thus.
Line above.
l^
Line S • below. > !
^
tg==l
:=p:
Efe
EpESEE^S^S*Et=
Any number of Lines may be added above or below ; thus the Degrees of the Staff are in- creased at pleasure.
6. In Music for Keyed Instruments, when a Staff is wanted for each hand, they are joined together by a Brace ; the upper Staff for the right hand part, and the lower Staff for the left.
* The added Lines were formerly called Ledger or Leger, short or hght lines. The latter term is adopted by Mr. Holdeni in his Essay (1770) p. 21, art 56.
4 I. NOTATION.
When more than two Staves are joined to- gether by the Brace, they contain Music for different voices, or instruments, to be perform- ed at the same time. This union of Staves is called the Score,*
* Dr. B. ii. 440 : ^' The word Score probably originated from the BaVy which, in its first use, was drawn through all the parts, as it should be still, of a piece of music in partition or fiarsiiura"
CHAP. 11.
OF THE CLEF.
SECT. I— OF CLEFS IN GENERAL.
Art. 7. The Notes of Music are named from the first seven letters of the alphabet,
A, B, C, D, E, F, G. When the Melody, or Tune, exceeds these sev- en, the same series of letters must be repeated.
8. A Clef* is a mark representing a letter, placed at the beginning of the Staff, to deter- mine the names of the Degrees, and is always situated on a Line. There are three Clefs :
The F. The C. The G.
These are commonly called the Base^ the Tenor^ and the Treble*
9. The sounds of Music are distinguished by their difference in respect of pitch, and di- vided into High and Low : the high sounds are
* Sir J. H. writes Clifjr, i. 431; ill. 51, 89; iv. 162.--Dr. B. ii. 90: " Clefs were originally nothing more than the letters cf the alpha- bet, placed opposite to notes of the same name/' B2
6 I. NOTATION.
placed in a Staff with the G Clef, and called Treble ; the low sounds are placed in a Staff with the F Clef, and called Base.
10. The upper sounds of the Base, and the lower ones of the Treble, are also called Teri" or^ and sometimes placed in a Staff with the C Clef.
11. These three Clefs are five Degrees dis- tant from each other ; the C or Tenor Clef, being the Note where the Base ends and the Treble begins. The G or Treble Clef, is five Degrees above ; and the F or Base^ is five Degrees below, both inclusive.
E3:
fgabcdef
1 2. All the Degrees of the Staff depend upon the Clef; and consequently take their names from that Line on which the Clef is placed. It must always be remembered, that these Clefs are representatives of the letters, f, c, and g.*
* The utility of Clefs, in respect of human voices, is explained by Dr. B. ii. 457.— See also Malcolm, p. 332; and Rolden, p.20. art. 54.
CHAP. II. CLEF. 7
SECT. n.--OF THE G OR TREBLE CLEF.
13. The G Clef* must turn on the second Line of th^ Staff; all the Notes on that Line are called g ; the other Degrees take theicl^ names from that, as the Clef Line..
g-
,.,0n the Clef Line.
The nine Degrees of the Treble Staff are.
egbdf face 14. The Degrees above and below the Staff
are,
The other added Degrees are reckoned from these, whether above or below.
* The G Clef is a compound character of the letters G and S, for the syllable Sol. In old Music, the two letters, g and s, are sometimes seen distinctly marked. — Turner's Essay (1724) p. 34; Dr. Pepusch, Treatise on Harmony {IT 31) ; Rameau, Treatise (1752.) — Sir J. H. iii. 105, ascribes the earliest use of our present character to Lampadiiis (1537) ii. 408 ; iii. 54.
t NOTATION.
SECT. III.— OF THE F OR BASE CLEF.
15. The F Clef* must be placed on the fourth Line of the Staff, so that the two dots are in the third and fourth Spaces : all the Notes on that Line are called f ; the other De- grees take their names from that, as the Clef Line.
f....r
„.On the Clef Line.
The nine Degrees of the Base Staff are.
^g^
e g
GB d f a Ac 16. The Degrees above and below the Staff,
are.
F b E
* The F Clef is a compound character, formed originally of three Notes, one placed on the Line, and two others in the adjoin- ing Spaces ; thus,
The C Clef was d^tinguished from the F, by ha^'ing only the two Notes in the Spaces ; and these Clefs were adopted in the Gregorian, while coloured lines were used for the more ancient Ambrosial!, Chant. Franchinus Gafurius, Praciica, lib. i. cap. o, fol. 4, b, edit. 1496 and 1502.
CHAP. n. CLEF.
If. The Note C, on the added Line* below the Treble, and on that above the Base, are exactly the same sound ; thus the lower Notes of the Treble may be expressed in the Base,
EpP
c d e
c d e
and the higher Notes of the Base may be ex- pressed in the Treble.
c b a
c b a
18. The same Notes mna^'ue thiib written in both the F and G Clefs,
g
ai:
b c d e f
i
* When the added lines between the Treble and Base fre- quently occur, it is usual in old Music to find the C Clefs in both upper and lower Staves,— See Scarlatti's Lessons, ii. 12.
10
I. NOTATION.
SECT. IV.— OF THE COUNTER TENOR CLEF, OR C ON THE THIRD LINE.
19. When the C Clef is placed so that the two cross strokes enclose the middle Line, it is called the Counter Tenor ^*- or Viola Clef.
i
.♦.On the third Line.
The nine Degrees of the Viola StaiBF are.
^
faceg gbdf
These correspond with the Notes in the Treble and Basf* Cipfs^ given in the Example of Art. 18.
20. The Counter Tenor Clef is used for the high voices of men in Vocal Music, and for the Viola or Tenor Violin in Instrumental Pieces.
* This is also called Alto and Contralto. It borrows the two lower lines of the Treble for its upper Degrees, and the two upper lines of the Base for its lower Degrees. The middle line is the added one between the Treble and Base. This Clef is used b Handel's 400 Songs, ii. No. 130 : **0 fahest of Ten Thousand;" iii. No. 192 : " See the conquering Hero comes ;" v. Na 379 : " Hide me from day's garish eye."
CHAP. n. CLEF. 11
SECT. \.—OF THE TENOR CLEF, OR C ON THE FOURTH LINE.
.21. When the C Clef is placed so that the two cross strokes enclose the fourth Line, it is called the Tenor Clef.*
@ ....On the fourth Line,
The nine Degrees of the Tenor Staff are.
dface egbd
These Notes are five Degrees above those in the Base Clef, Art. 15, p. 8.
22. The Te?2or Clef is used for the middle voices of men, and for the Violoncello or Base Violin, in Instrumental Music, when the pas- sage ascends above the Base Staff.
* The Tenor Clef borrows the lowest line of the Treble for its upper Degi-ee, and the three highest lines of the Base for its lower Degi-ees. The fourth hne is the added one between the Treble and Base. — Examples of this Clef may be found in Handel's Songs, L No. 49 . " How blest the Maid;" No. 57: " But ob, sad Virgin ;" ii. No. 148 : " What passion cannot."
12 I. NOTATION.
S^CT. VI.— OF THE SOPRANO CLEF, OR C ON THE FIRST LINE.
23. When the C Clef is placed so that the two cross strokes enclose the lowest Line, it is called the Soprano^* or Canto Clef.
....pEiB
,On the first Line.
The nine Degrees of the Soprano Staff are.
iSi^i
cegbd dfac
These Notes are three Degrees below those in the Treble Clef, Art. 13, p. 7.
24. The Soprano Clef is used for the voices of females and children. In Italy and Germany, no other Clef is in general use for the Harpsi- chord ; the G Clef being reserved for the Vio- lin, Flute, &c.
* Tlie Soprano Clef borrows tlie four lowest lines of the Treble for its upper Degrees ; and the first line is the added one between the Treble and Base. — These three C Clefs, the Soprano, Alto, Tenor, with the Base F Clef, form the four regular Clefs of Cho- ral Counterpoint — See Dr.Boyce's Catliedral Music, 3 vols. 1760; and new edition 1788. This Clef is also used in Handel's Sengs, iii. No. 176: " Hark he strikes the golden lyre;" and in his thir- teen Italian Duetts.
CHAP. IL CLEF.
15
SECT. Vn.— OF THE MEZZO SOPRANO, THE BARI- TONO, AND HIGH TREBLE CLEFS.
25. In old Vocal Music, the C Clef is placed on the second Line, and called the Mezzo So- prano.
acegb bdfa
26. In old Church Music, the F Clef is placed on the third Line, and called the Baritono.
Bdfac cegb
27. In old French Music, the G Clef is placed on the first Line, and called the Hig^Treble*
-w.:
gbdfa aceg
* These three Clefs are inserted here, chiefly to shew how entirely the other Degrees depend on the Clef Line, and to im- press on tlie mind, that the Clefs themselves are the letters C, F, and G. Examples of these two first Clefs are found in Padre Martini, Saggio di Contrappunto, 1774. The la&t G Clef is used by Betiiizy (Exposition de la Musique, 1764,) in some of tlie plates at tlie end of his work. C
14
CHAP. m.
OF THE JVOTES. SECT. I.— OF NOTES IN GENERAL.
Art. 28. The Notes of Music represent sounds, with their difference of pitch, and their duration in time.* These two qualities are called the Tune and Time of Notes. ^
29. When to any series of the seven letters the eighth is added, the whole number is term- ed an Octave ;t and the word is frequently used to express the two extreme Notes of the series, the first and the eighth.
30. That series of the seven letters which begins and ends with C, ascending or descend- ing, is most satisfactory to the ear.
cdefgabc
* Our present Notation was considerably improved (if not invented) by Guido of Arezzo, and Franco of Cologne. Sir J. H. i. 422 ; ii. 17, 140, 217, 237. Dr. B. ii. 35, 134, 152, 443.
t The seven letters were forrjierly called Sefitmaries ; but, as they are incomplete and imperfect in their melody or tune with- out the eighth, they are now termed Octaves. Butler's Princi- ples (1636,) p. 13.
CHAP. m. NOTES. 15
31. On keyed instruments, these Notes are performed by striking the long keys, whose names are known by their situation with respect to the short keys, which are generally black.
32. The black keys are placed in alternate divisions of two and three^ throughout the key- board ; and, as the long key between the two short ones is always D,* the other six letters may be readily found from that ; E being the next long key towards the right hand ; C the next towards the left, &c. &c.
S3. The Ct nearest the middle of the instru- ment, is the Tenor Clef Note ; the next G to- wards the right, is the Treble Clef Note ; and the nearest F towards the left, is the Base Clef Note,
34. To distinguish the different Notes of the same letter from each other, the Germans have adopted a literal Notation, called their Tabla- ture^l which, from its ingenuity and utility, de-
* The ke>s which enclose the divisions of two short ones, are C D E ; and the remaining four, F G A B, have the other di^ ision of three short ones between them.
t The number of Keys varies on different instruments ; but the C nearest to the middle is always the Tenor Clef Note.
X The German Tablature was invented in the 16th centuiy ; a specimen of it may be seen in the tract entitled Monochordum Andrea Reinhardi, Lipsiaj, 1604 (z, 23,) in the Saville Collection, Oxford. Dr.B. u. 121.
16 I. NOTATION.
serves to be more universally known than it is at present.
35. The lowest series of seven Notes, which includes both the divisions of short keys in the key-board (beginning with the two^) is called by the Germans the great Octave* being ex- pressed by capital letters ;t thus.
C D E F G A B
SQ, The next series of seven Notes is called the small Octave^ expressed with small letters j thus,
c d e r g a b
37. The next series commences with the C Clef Note, including the G Clef; and being
* On some old instruments, (particularly Organs,) the lowest Note on the left hand is the great C ; but, in general. Harpsi- chords, &c. extend downwa^'ds to F F. The six octave Grand Piano Fortes reach to C C below, and as far as C, four times marked in the Treble, on the right. It has been observed, p. 14, that these Octaves are in reality only Septenaries.
t In our old scales, the letters below the Base A were made double, and those above the Treble Staff termed in alt ; but the Septenai'ies were then reckoned from A, not from C ; and the. limits of Base, Tenor, and Treble, not accurately defined.
\
CHAP. TIL NOTES. 17
expressed by a small stroke over each letter, is called the once-marked Octave.
x: d e f g a 5
38» The last series in general use is called the twice-marked Octave,
"N
gyii
c d e f g a b
89. The few Notes below the great Octave are marked with double capitals, and called Contra Tones. Those above the Treble form an- other series, called the thrice-marked Octave.*
40. Any musical example, in which all the Notes are of equal length, may be expressed by this Tablature, without the assistance of the
* If these Notes were arranged by Septenariesircim G, on the first line of the Base, then the appellations of Base, Tenor, and Treble, might be more appropriate ; the Base Septenary would end with the F Clef; the Tenor C Clef would be the middle note of its own series ; and the Treble would begin with its own G Clef. This is the Gammut given by Butler, p. 13, 17. The more ancient Scales formed their Septenaries from A, and the Gammut at G was added below. Gkreanua Dodecachordon (1547,) lib. i. cap. 2, p. 3.
C2
18
I. NOTATION.
StafF or of the Clef. According to this Nota-
tion, we may observe,
The F Clef Note is the small £
The C Clef Note is the once- marked c.
The G Clef Note is the once-marked g.
41. The descending series of these Octaves is expressed in Notes, thus in the Treble,
cbagfedcbagfedc and thus' in the Base,
aiiE|esS£|
cbagfedcBAGFEDC
42. In vocal Music these Notes are sung with the syllables introduced, about the year 1022, by Guido^ a Monk of Arezzo, in Tuscany : UT, RE, MI, FA, SOL, LA f called by his followers the Hexachord,
The French retain the original six, with the addition of SI for the seventh.!
* A particular account of Guido may be found in Sir J. H. i. 422 ; Dr. B. ii. 72 ; M. La Borde (Essai 1780,) iii. 345.
j- The addition of the syllable Si was introduced by Le Mairc. Sir J. H. i. 435 ; Dr. B. ii. 98.
CHAP. III. NOTES. 19
UT, RE, MI, FA, SOL, LA, SI, UT. cdefg abc
43. The Italians, for the sake of a softer pro- nunciation, have changed the UT into DO.
DO, RE, MI, FA, SOL, LA, SI, DO.*
44. This general Scale of Notes was for- merly called the Gammut^\ from the Greek letter Gam?na^ placed on the lowest line of the Base Staff, or great G of the German Tabla- ture.
* The change of Ut to Do, is mentioned by Sir J. H. v. 197 ; Dr. B. ii. 93.
f This succession of syllables invented by Guido, was also applicable to the two other Notes, F and G (which form our Clefs,) and their following sounds. Hence arises the word Gam- mut, or Gamma Ut, it being the Ut, or first sound of the G Hexa- chord, denoted by the Greek letter T. Dr. B. ii. 87; Butler, p. 17 ; Ornithoparcus (Dowland's Translation, 1609, p. 10.)
The celebrated Pinissian Chapel-master, C. H. Graun, em- ployed the following syllables — da, me, ni, fio, tu, la, be, which are adopted by Hiller, in his Anweisung zum Gesange (2d edit. 1798 ;) not, like those of Gnido, to ascertain the intervals of the Sca.le, but merely to accustom the vocal student to sing upon all the vowels, intermixed with the principal consonants.
30 I. NOTATION.
SECT. II.— OF THE TUNE OF NOTES.
45. Tli€ Tune of Notes depends upon their relation to each other, and upon the distances between them. The intervals between the De- grees of the Scale are unequal ;* and, as some are nearly twice the distance of others, the words Tone, and Semitone, are employed t-o express them.
46. Those Notes which on the key-board are not separated by a short key, are said to be distant from each other one Semitone ;t those which have a short key inserted between them, are distant two Semitones, or one Tone, Thus, the distances between B C and between E F, are Semitones j and those between C D, D E, F G, G A, and A B, are Tones ; — therefore, every series of the eight regular Sounds, or of the Octave, contains five Tones, and two Semi- tones.
47. The greatest care must be taken not to misunderstand the words Note and Tone,\ A
* Holden, p. 2, art. 7; Malcolm, p. 229 (of Degrees,) chap, viii. §2.
t An exception to this rule is found in those organs which have what are called short Octaves, and in which the two lower Keys are tuned to G G and C C, although close together like B C.
X Even the accurate and learned Butler uses these terms in
CHAP. Iir. NOTES. 21
Note is the Sound which is heard, or the mark which represents it on the StafF; but a Tone is the distance between two Notes, which are called by the names o£ two adjoining letters, and separated by one single key of the instru- ment. Thus, the distance from A to B is a Tone ; and therefore A is a tone lower than B, and B a Tone higher than A.
48. The same observation must be applied to the Semitones, which are sometimes called, though improperly, half Notes, The distance from B to C is a Semitone ; therefore B is a Semitone lower than C, and C is a Semitone higher than B.
49. By comparing the sounds C D E F with the following sounds G A B C, we find that the distances of both these fourths* consist exactly
a vague manner (p. 22.) He first says : " From Mi to Fa, and from La to Pha, is but half a tone ; between any other two Notes there is a whole tone." Then he adds : " But in singing, how to tune each Mte and half Note to his fellow, cannot be declared by precept."
* The ancient term for the fourth was Tetrachord ; and since the theory of Rameau has been known, the old ideas on the subject have been, with some variation, revived. Most of the modern writers (particularly Holden) have thought it necessary to consider the Octave as composed of two fourths, which are disjoined or separated by a tone. As a Practical Introduction to Musical Science, this arrangement may be considered as correct ; although theoiy does not allow the perfect mathemut-
22
I. NOTATION,
of two Tones and a Semitone ; therefore any Tune formed by one, will be exactly similar to that of the other.
!^3=i^£iEf
i=g^
S0» These two fourths, taken in succession, form a Scale^ of which the chief sound being C, is from thence called the Key Note* The descending series of this Scale corresponds with the common tune of eight bells.
Scaie of C.
Ascending,
m
Descending.
§rzd
^=p
ical equality of the fourths, in respect to the places of the Tones which compose them.
* The term Key is used by Dr. Pepusch, in the sense of Church Tone, or Ecclesiastical Mode. In this species of Music, the chief Melody, or Plain Chant, was confined to tlie natural
CHAP. in. NOTES.
SI. The effect of these Notes to the ear, de- pends upon the position of the Semitones. This may be easily perceived by playing eight Notes, from d, or e, or any other part of the Scale, which will not produce the same melody.
ii^^i^^
^^m^
32, But if the same letters, in any Octave higher or lower, are taken, the same Tune will be heard.
In this series, the two Semitones of the Oc- tave are found between the third and fourth.
sounds of the Scale. Treatise on Harmony (1731,) p. 65 ; Sir J. H. i. 360. — A particular account of the eight Tones of Itali/, and the twelve Modes of Gcrmaiiy, mry be found in Mr. Koll- mann's Essay on Musical Harmony (1796,) chap, xviii. p. 124; also in Sir J. H. ii. 410—440.
24 I. NOTATION.
and between the seventh and eighth, of the ascending Scale.*
33, This series of sounds, which is performed on the Organ, &c. with the long keys, is called the Natural Scale, to distinguish it from that which employs the short keys intermixed with the others, called the Cbro??iatic, or Artificial.!
54. In the Vocal Scale of the Solfeggio, the place of the Semitone is ascertained by the syl- lables ??u fa and si do ; between all the others is the distance of a Tone. J
55. As the whole doctrine of Melody, or the Tune of Notes, must depend on a right concep- tion of the two Semitones, and their places in the Scale, great attention should be paid to this part of the subject by every Musical Student.
* The reason why the Semitones fall m these places, and in no other, may be foimd in the theoretical writers, Dr. Holder (1731,) p. 112 ; Malcolm, p. 229 ; Mr. Holden, p. 16, art. 43 ; Maxwell, Essay on I'une (1781,) p. 5.
f Malcolm calls this the Semitonic Scale, p. 291; and the shoft keys Artiticial Notes, p. 292. Its more usual name. Chromatic, will be explained hereafter. — Antoniotto (1760) terms the Minor Mode Artificial, p. 35.
X The word Tone will be used throughout this Grammar in this sense, and no other ; although it is applied also to the quality of sound in a voice or instrument. Thus it is sdd, " A fine Tone is produced from the Violoncello," &c.
CHAP. III. NOTES. 25
SECT, in.— OF THE TIME OF NOTES.
56. The duration of a Note, with respect to Time, is known by its particular form ; and the distinction between Notes in this respect, is shewn by making them white or blacky and by the Stem and the Hook, (See Art. 3, p. 2.)
The three principal Notes are, the Minim^ tTie Crotchety and the Quaver,"^
57. The Minim is a white Note with — j
a Stem, made thus, ^^d —
and is as long as two Crotchets, or four Quavers.
6%. The Crotchet is a black Note with '^^'X^ a Stem, made thus, ~f~
and is as long as two Quavers.
59. The Quaver is a black Note with
a Stem and a Hook, made thus, — [- — ■
and may be divided into two Semiquavers, or four Demisemiquavers.
60. The proportions of these three principal Notes to each other, are therefore as under,
One Two Four
Minim. Crotchets. Quavers.
* Butler, p. 27, 28, has given a long account of the origin of these Notes, from Gafurius, Glareanus, and Listenius. See also Sir J. H. ii. 146 ; Dr. B. ii. 167 ; Malcolm, p, 388 ; Holden, p. 34, «rt. 63.
D
26 I. NOTATION.
61. When the Quaver is divided into small- er portions, the two following Notes are em- ployed :
The Semiquaver^ which is made like f!{ — the Quaver, but with two Hooks, J
being half the length of the Quaver ; and the Demise?niquaver^ which has three Hooks, being one quarter the length of the Quaver.
Their proportions to the Crotchet are.
One Two Four Eight
Crotchet Quavers. Semiquavers. Demisemiquavers.*
62. In slow Music, especially that in the church style, two longer Notes are used j the Semibreve and the Breve.
The Semibreve \ is a round white ZHZZH Note, without a Stem, ^^e —
and is as long as two Minims, or four Crotchets.
* The Demisemiquaver also is divided in modem Music, and the Notes marked with four Hooks : these may be called half Demisemiqu avers ; and those which have five Hooks, quarter Demisemiquavers. Playford, Introduction (14th edit. 1700,) p. 8. calls the first of these a Demiquaver ; winch term is also used by some other writers. See Holden, p. 25, art. 64.
t The Breve and Semibreve are in daily use for our Choir Service. See Bovce's Cathedral Music.
CHAP. III. NOTES. 27
The Breve is a square white Note, z"^^^Z
and is as long as two Semibreves, four Minims, or eight Crotchets.
The proportions of the three white Notes are.
One Breve. Two Semibreves. Four Minims.
G3. The proportion of our modern Notes, both white and black, is, therefore,
One Two Four Eight
Semibreve. Minims. Crotchets. Quavers,
64. Those Notes which are made with Hooks, may be grouped* together by two, three, or four, &c.
Quavers.
Detached. Grouped.
* The term Grofifio^ or Group, is commonly limited to those passages of four Notes in which the first and third are on the same Degree, and the second with the fourth are a Degree higher and lower. Koch's Lexicon, p. 684, art. Grop^io, die Walze. Play ford (p. 20) calls these Hooks, when joined together, Tyes ; a term which, he also remarks (p. 19,) is used for what we now denominate a Slur. As the word Tye is also applicable to the Ligature or Mndy the term Group, has been preferred by tiie Author.
28
I. NOTATION.
Semiquavers*
Detached. Gi*ouped.
Demisemiquavers.
Detached. Grouped.
This method is not only convenient rn writing, but assists the eye in ascertaining the propor- tion of the Notes, and is of particular use in Vocal Music, to distinguish the Notes which are to be sung to each syllable.
65. Every Musical Piece is divided into equal portions of time, called Measures, These are ascertained by straight Lines, called Bars, drawn down the Staff. All the Notes, therefore, contained between two Bars, constitute one Measure.*
* In ccufimon language, tlie word Bar is used improperly for Measure. Dr. Burney (article Bar^ Dr. Rees' Cyclopaedia) ac- curately limits the signilication cf the term as above. Dr. B. ii. 191. The parts cf the Measure are called Ti?neSy by Mr, Kollmann, Essay on Hannony (1796,) p. 73.
CHAP. in. NOTES. 29
66. Every Measure must contain a certain number of Notes, according to the Time mark- ed at the beginning of the Movement. Thus, in Common Time, each Measure includes a Semibreve, or its value in Minims, Crotchets, or Quavers, intermixed as the Melody requires. The exact length of the Measure is known by regularly dividing the Time into equal por- tions, whether the Notes themselves are long or short ; as every Measure must be precisely equal in time, during the continuance of the Movement.
67. There are two chief species of Time,* Common or equal — and Triple or unequal Time. In the first, we count two, four, or eight, in every Measure j in the last, we count three or six.
68. I. Common or equal Time, contains one Semibreve, two Minims, four Crotchets, eight Quavers, or their value, in every Meas- ure. This Time is known by a Semicirclef
* The Germans adopt a third species of Time, containing four equal parts in a Measure ; which will be noticed hereafter^ in treating of Rhythm.
t The old doctrines of Ti7?ie, Alode, and Prolation, may be found in Morley, Ravenscroft, and Butler. See an account of them, and of the original signification of this mark, in Dr. B. ii. 183, 4j4 ; Sir J. K, ii, 155.
D2
3G
L NOTATION.
placed at the beginning of the Staff, after the Clef, thus :
(Handel : See the conquering.)
-e-
69, The barred Semicircle is used to denote a quicker Movement, and is called Alia Breve ; because it was formerly written with one Breve in a Measure, thus :
(Orlando Gibbons, Dr. Boyce, V. II. 59 :
0 clap your hands. )
i^'p^^^^i
This is now more commonly written with one Semibreve in a measure, by dividing those of the Alia Breve into halves.
(Handel, Saul^ Dr. Arnold's edition of Handel's Works, No. 1 12, p. ^Q : Our fainting courage.)
Il^^iiiiilllii
70. All other Measures are marked by figures, placed one over the other at the com- mencement of the StaiF.
CHAP. III. NOTES.
31
The figure 2 above the figure 4, indicates two Crotchets, or one Minim, in each Measure ; and is called half Time^ being the division of the Semibreve.
(German Hymn, Pleyel.)
71. The most usual Measures expressed by figures placed at the beginning of the Stafi*, are the following :*
9 \6
12
8
Of these Figures, the upper one shews how many parts are contained in the Measure j and the lower one represents a word, shewing how many of these Notes constitute a Semibreve. 2, signifies Minims ; 4, Crotchets ; 8, Quavers^ &c. ; as in the following Table :
|
C3 Three C2 Minims |
C3 Three C3 Three C 4 Crotchets C 8 Quavers |
|
C6 Six C4 Crotchets |
C6 Six C 9 Nine C 8 Quavers c 1 6 Semiquavers |
|
C 1 2 Twelve C 8 Quavers |
|
* Grassineau's Dictionaiy (1740,) p. 292, article Triple, contains a long dissertation, translated from Brossard^ on the ancient method of marking these Measures.
32 I. NOTATION.
72. When it is necessary to lengthen a Note by half its value, a dot* is placed after it. Thus, a dotted Minim is as long as a Minim and a Crotchet, or as three Crotchets.
A dotted Crotchet is as long as a Crotchet and a Quaver, or as three Quavers.f
73. 11. Triple, or unequal Time. Of this Time there are three different species in use ; namely,
1. Three Minms, "j
2. Three Crotchets^ > in a Measure. |
3. Three Quavers, J
* The dot is also used for other purposes, viz. to mark those Notes which are to be played distinctly; as also to shew tlie place of repetition, See. as will be explained hereafter.
■j- All the Notes of Music may also have a double dot after them, which makes them longer by three-fourths. Thus a Minim twice dotted, is equal to three Crotchets and a half, or to seven Quavers, &c.
% These three species are very similar, particularly if the two last are performed slowly ; the accents of all three being alike.
CHAP. III. NOTES.
33
(1.) One dotted Semibreve^ or three Minims^ in every Measure ; thus,
(Handel's Italian Songs, No. 64 : Verdi Prati —
-d— :;i:^-?i-^-^-§— O'-^-s:
(2.) One dotted Minim^ or three Crotchets^ in every Measure*
(H. S. I. No. 66 : Fell rage— Saul)
(3.) One dotted Crotchet:, or three Quavers^ in every Measure.
(H. S. 11. 128 : No^ let the guilty tremble — Saul.)
74. When two Measures of three Crotchets, or of three Quavers, are united in one, by the omission of a Bar, the Time is called Com- pound Common ; — Common, because every Meas- ure is equally divided ; and Compound, because each half is a single Measure of Triple.
S4f I. NOTATION.
in. Compound Common Time has three species, in general use :
1. Six Crotchets^ "^
2. Six Quavers^ > in every Measure.
3. Twelve Quavers^ J
(1.) Six Crotchets^ or two Measures, of three Crotchets each, joined in one.
(H. S. II. No. 1 24 : Every joy — Solomon.')
(2,) Six Quavers^ or two Measures, of three Quavers each, joined in one.
(H. S. IV. No. 287 : Sound an alarm — Judas Maccabaus.)
75. When two Measures of six Quavers are further united into one, they form a double Compound of twelve Quavers in each Measure, and are equal to four Measures of three Qua- vers. The omission of the Bars makes some difference in the appearance of the Music, and influences the counting, according to the de- gree of quickness in which the piece is per- formed. But, in other respects, the division of the Measure has no power of altering the
CHAP. m. NOTES.
35
6 3
8^^ 8
real nature of the Time or Tune j nor can the Auditor perceive whether the Triple Time performed be expressed by the figures
12
8
(3.) Twelve Quavers^ or one Measure of twice six Quavers^ or four times three Qua- vers.
(H. S. I. No. 54 : The peasant tastes — Joseph."^) The same Melody in six Quavers :
The same Melody in three Quavers :
It may perhaps be useful to those who do not perfectly understand the value of the Notes, to separate this double Compound into single Compound and into si?nple Triple ; and also to turn three Quaver Time into six and
* See also the Pastoral S}Tnphony in the Messiah, and tlie last Movement in CorelU*s 8th Concerto.
SB
I. NOTATION.
twelve Quavers, by striking out the interme- diate Bars which separate the Measures.
76. IV. Compound Triple Time.
Compound Triple Time is formed by divid- ing the Measures of simple Triple into nine parts, and by dotting the Measure Note * of the original Time. Of this there are three species :
J. Three Minims divided into w«^ Crotch- ets.
2. Three Crotchets divided into nine Qua- vers.
3. Three Quavers divided into nine Semi- quavers.
(1.) Nine Crotchets^ or three Minim Time, divided into Triplets.
(HandeFs Italian Duett, No. 5, p. 31 : Va Speme — Randall's edit.)
The commencement of this Movement, and its other Measures, are simple Triple ; thus,
;3;
g -^^ -.^..-
* By Measure J\'ote, is meant that which mcr.sures the Time m the lower of the two figures, Art. 71, p. 31.
CHAP. lU. NOTES.
37
By thus changing the Notation, the advan- tage is gained of presenting the siniple Meas- ures clear to the eye, without the incumbrance of a dot to each Minim.*
(2.) Nine Quavers, or three Crotchet Time, divided into Triplets,
(H. S. IV. No. 319 : Consider, fond shepherd — Acis and Galatea^
^=P^i^
The commencement of this Song, and the other parts, are In simple Triple ;* thus.
^^^^m
(3.) Kine Semiquavers, or three Quaver Time, divided into Triplets.
(Hr S. n. No. 156 : Hush, ye pretty ivarbling choir — Acis and Galatea,')
Malcolm, p. 401. E
S8
I. NOTATION.
The vocal part of this Song is in simple Triple ; thus,
77. From these two species of Compound Time (Common and Triple,) arise various kinds of mixt Measures, which are in some parts equally, and in others unequally divided.*
(H. S. IV. No. 315 : 77/ to the well-trod stage — VAllegro.)
^spli^pj
The Triplets! of Common Time, which are here found in the place of each Crotchet of the Measure, have sometimes the figure 3 placed over them ; but are generally known by being grouped together, and then form one of the single parts of the whole Measure.
The same use of the Triplet occurs in Triple Time, when the Measure Note is divided oc-
* Gio. Bat. Doni rem?i.rks, that our Morley placed in differ- ent parts, two Notes against three, and three against fcur, in the same Measure or Battuta (Annotationi sopra il Conripen- dio. Roma, 1640, p. 57.)— See Dr. Bm-ney (ait. Battuta, Dr. Rees' Cyclopedia.)
t Kollmann, Essay on Harm. p. 75 (chap. xi. § 11.)
CHAP. III. NOTES.
39
casionally into three parts instead of two ; thus,
(H. S. V. No. 328 : Far brighter than the 7jwrning.)
^^.^lipi
In slow Common Time, when the Quaver is the Measure Note^ and is divided into three Semiquavers, instead of two^ then the Time is really 24 Semiquavers.*
(H, S. III. No. 240 : Cease, 0 Judah— Deborah.)
5aE
A similar passage of Semiquavers is found in the Triple of Quavers.
(H. S. I. No. 14: The enemy said — Israel in Egypt.)
~^^^^^
i
When the Measure itself is compound, as
Holden, p. 20. art. 27.
40 I. NOTATION.
Sisc Quaversy then the Triple Subdivision is
18
Of this, an example may be seen in H. S»
in» No, 181 : The raptured soul — Theodora.
The same number of Triplets* (viz. six) is also found in the simple Triple of three Crot- chets^ and in the Compound Triple of site
18 Quavers, An example of ^ as derived from
may be found in Dr. Haydn*s 2d Sonata,
18 Op. 17, p. 10 J and another of^ as derived
from in the same author's 3d Sonata, Op. 1 3,
p. 16.
78. There is also a species of Time, called Quintuple^ which contains five Crotchets in a Bar J but it is very seldom used.
Tartini considered this Quintuple propor- tion as unfit for Melody, and impossible to be executed. Time has shewn, that neither of these judgments was well fovmded.f
* The Germans, in imitation ef these (which they term Trioies,) place sometimes 5, 7, &c. small Notes in the Time of 4, 6, &c, of the same denomination, and term them Quintoles, Septimoles, &c. Koch's l^exicon (1802,) art. Triole, &c.
t I'artini, Trattato (1754,) p. 114. Dr. B. i. 82. Mr. Reeves' Gypsey Glee: "O who has seen," contains a last Movement in five Crotchet Time — "Come stain your cheek'" — which produces a very good effect.
CHAP. III. NOTES. 41
SECT. IV.— OF THE ACCENT OF NOTES.
79. The Bars of Music are not only useful for dividing the Movement into equal Meas- ures, but also for shewing the Notes upon which the Accefit is to be laid.
The Measures of Common Time are divided into four parts ; of these, the first and third are accented ^ the second and fourth unac- cented. In the course of this Work, the ac- cented will be termed strong parts, and the unaccented, weak parts of the Measure,*
(H. S. 11. No. 119 t Praise the Lord— Esther.)
Strong weak S. w. S^ w. S. w.
80. The Measures of Triple Time consist of three parts ; the first strongs the two others weak ; although the last part is rather strongs in comparison of the middle part.f
* See Rousseau, Dictioniiaire (1768,) art. Temjis ; Sultzer's Theorie (1773,) art. Tact.
The author has translated the Temjis fort et foible of the French writers rather than the Temjio buono e cattivOy of the Italians, or the Gute und Schkchte Tactzeit of the Germans, See Koch's Lexicon (1802,) art. Tact.
t Dr. Burney (art. Accent^ Dr. Rees' Cyclopaedia.) E2
42
I. NOTATION.
(H. S. III. No. 233 : Up the dreadful sieep — Jephtha,)
ii^iiiiiiiiiE
S. w. s.
S. w. s.
S. w. s.
S. w. s.
81. In slow Common Time the Accents are more frequent ; but they are found in the same proportion on the first, third, fifth, and seventh Quavers, which are the strong parts, while the second, fourth, sixth, and eighth, are the weak parts.
In three Crotchet Time^ when divided into Quavers, the first, third, and fifth Quavers are strong ; the second, fourth, and sixth, weak.
In six Quaver Time^ the first and fourth Quavers are strong ; the others weak.*
82. From the nature of Accent arises the ne- cessity of beginning some Movements- with only part of a Measure ; thus,
(1.) With a single weak part.
(H. S. III. No. 163 : The smiling dawn — Jephtha.)
w. s.
* An example of the same Melody in these two different Measures, may be found in Dr. Arnold's Lessons, Op. XII. Lesson 2, p. 4.
CHAP. m. NOTES.
(2.) With a half Measure.
43
(H. S. III. No. 1 62 : Welcome as the cheerful day "^Jephtha,)
E=E
liii^
The following Melody, barred in two dif- ferent ways, produces two opposite effects, the Accents falling upon different Notes.
Scotch Air— C(?r« riggs*
Original Melody.
i^^smi
33i*=^2=
W.
The same, barred differently.
iipiii^^
83. When the Composer intends that the weak parts of the Measure should be made of more importance than the strong parts, such deviation from the regular Accent, in this Work, will be termed Emphasis,
In passages like the following, the Quavers are often grouped together according to the
44 I. NOTATION.
Emphasis, and not (as in general) according to the Accent.
(Haydn's Symphony, No. III. performed at Salomon's Concert.)
SiipSpipip
Accent Emphasis. Accent
In the two first Measures of this Example, the Quavers are grouped according to the Ac^ cent ; in the third, according to the Emphasis^ contrary to the Accent ; and in the fourth, the Accent again resumes its importance.
The Italian words, Rinforzando, Sforzato,\ or their contractions, Rinf. Rf. Sforz, Sf, are often used to mark the Emphasis, and sometimes are placed over accented Notes.
As every species of Measure may be subdi- vided by Accents, according to the degree of quickness in which it is performed ; so also the weak parts of every Measure may be' occa- sionally made emphatic at the pleasure of the Composer.
* The Germans divide Accent into two principal species — Grammatical and Rhetorical : the first is here termed Accent,
the last, Eviphasis. ^
t The difference between Rinf. and Sforz, is explained by Mr. Shield (introduction to Harmony, 1800,) p. BQ,
CHAP. in. NOTES.
4S
84. To this species of effect may be referred all syncopated or driving * Notes, which begin on the weak, and end on the strong part of the Measure.
(Vanhall's Overture in C — periodical. No. 42.)
i
In this Example, the Emphasis is on the syncopated Minims, which begin on the second, and end an the third part of the Measure.
(H. S, It- No. 6: How vain k man — Judas Maccahiieus,)
In this Example, the Emphasis is on the syncopated Crotchets, which begin on the second and sixth (or the weak,) and end on the third and seventh (or the strong) parts of the Measure.
* Morlev (edit. 159r,) p. 90 (edit. 1771,) p. lOa Butler, p. 64. Simpson, p. 19. Pepusch, p. 57. Rameau, p. 112. Holden, p. 34, art. 98. Kollmann, Essay on Harmonv, p. 96 (chap. xui. § 21.) Dr. R. i. 103.
46 CHAP. IV.
OF THE RESTS.
Art. 85. When, in the course of a Move- ment, silence is required for one or more parts of a Measure, that silence is denoted by a Rest, or Rests, which are counted exactly in the same time as their corresponding Notes would be, if performed.
The Rests of the white Notes are made in the middle of the Staff j thus.
Rest of the Breve. Semibreve. Minim.
( 1 .) The Breve Rest extends from Line to Line.
(2.) The Semibreve Rest is made below the Line.
(3.) The Minim Rest is made above the Line.*
The Semibreve Rest is also used in Triple and Compound Time, to express the silence of one whole Measure j and the Breve Rest is used for the silence of two Measures.
* The Rest of four Semibreves, or two Breves, passes through two Spaces. This is only used m the single parts of Instrumental Pieces. Rousseau, art. Baton.
CHAP. IV. RESTS. 47
In this last instance, the figure 2 is generally placed over the Rest ; thus.
::3=^SEp5=§EpS
86. The Rests of the black Notes are made thus.
=3=
(1.) The Crotchet Rest turns to the right,
(2.) The Quaver Rest turns to the left.
(3.) The Semiquaver Rest turns to the left, and has two marks.
(4.) The Demisemiquaver Rest has three marks, and turns to the left also.
As the Rests are inserted in the Measures, to fill up the Time when no Sounds are to be heard, the Performer should, of course, pay particular attention to the termination of the Notes which precede them.
In playing Keyed Instruments, the Rests are often much neglected ; and, unless the Player carefully raise the finger from the Key (but not too far) at the exact commencement of the Rest, the intended effect is destroyed.
48 I. NOTATION.
An instance of the great attention necessafy to be paid to these signs, is shewn in the fol- lowing Example, where the variety of these three Measures wholly depends on the Rests, the Music being exactly the same in every other respect of Tune^ Time^ and Accent,*
'sS=B^z^^
* The Author is induced to insert here, in addition to these i-emarks on the observance of Rests, the excellent ideas of C. P. Em. Bach (Versuch. edit. 17S7, p. 85, Vom Vortrage,) upon the time method of playing Keyed Instruments.
An abridgment of his system is thus attempted in a few lines.
" To form a clear ^ fileasing^ and exfiressive Performer, three things are requisite :
" 1. To play correctly^ by covering every Note with the finger before it is struck (when possible,) so that, in the most difficult passages, the motion of the hands may be scarcely perceived (p. 13.)
" 2. To make the Instrument sing-y by taking one finger off the Key at the instant the other strikes the following Note ; and by never playing the Notes short or detached, except when expressly marked (p. 88.)
" 3. To play ivith expression, by forcing the finger down upon the Key (already covered and lightly touched,) according to the Accent or Emphasis " (p. 93.)
On this subject see also Clementi's Introduction, p. 15. Dus- sek's Instructions, p. 8. Hulhnanders Principles, p. 19.
\ I
49 CHAP. V.
OF THE SHARPS, FLATS, IsTc.
Art. 87. In explaining the tune of Notes (Art. 45, p. 20,) the two different intervals of Tone and Semitone have been noticed. Every Tone in the Natural Scale, is divided into two Semitones, by an intermediate Sound. This Sound is produced, upon Keyed Instruments, by striking the short Key inserted between two long ones, which are consequently Tones to each other.
SECT. I.— OF THE SIL\RPS.
88. When the short Key is to be played, instead of the natural Note below it (on the left,) then the same letter is used, with the additional term sharp,*
* The character now used for the Shaip, was originally designed to represent, by its four cross lines, the four Com- 'mas of the Chromatic Semitone. Such is the signification of the mark given by Bontempi (1695,) p. 205, from the Recane- tum of Vanneo (Roma, 1533;) but Marcheto de Padua, who first employed it (1274,) does not mentioa tlus circumstance. See Gerbert, Scriptores Ecclesiastici (1784,) iii 73, 89. Dr. B. ii. 163,351. Sii' J. H. i. 78.
F
50
I. NOTATION.
S9. Thus, to make another fourth similar to the upper one of C (Art. 50, p. 22,) with two Tones and a Semitone, and placed imme- diately above it, at the distance of a Tone ; the F natural must be omitted, and the F sharp taken in its stead.
sHp^^gggj
The character placed before F is called a
Sharf,*
90. These two Fourths united, form a new Scale, of which G is the Key Note, exactly similar to C, but five degrees higher. Its de* scending series proves, by the Melody, that the Tones and Semitones are between the same Degrees of the Scale.
91. As the Scale of G is made complete by this alteration cf the F alone, F is reckoned the
first Sharp,
* The Germans consider this Character as an alteration of the letter B, and call it a Cross (Kreuz,) or latticed B (Gegit- tertes Be, B cancellatum,) Adlung (Hiller's edit. 1783,) p. 251. Sir J. H. iv. 163. They also add the syllable IS to the names of those letters of the Scale which are sharpened. Thus Fis, Cis, Gis, Dis, Ais, Eis and His, signify F, C, G, D, A, E, and B Sharp.
CHAP. V. SHARPS, FLATS, Sec. 51
For a similar reason (that of forming a new fourth above the upper one of G Scale,) C is termed the second Sharp, ^ Thus the series of Sharps ascends by fifths ; which, in respect of the Letters^ is the same as descending by- fourths.
F C G D A
12 3 4 5
These sharps are performed, on Keyed In» struments, with the five short Keys above ; that is, on the right hand of the long ones : the division of twof consists of C sharp and D sharp ; the remaining three are F sharp, G sharp, and A sharp.
92. But, since there are no short Keys be- tween E and F, nor between B and C, which are only Semitones to each other (Art. 46, 48, p. 20, 21,) F natural is employed to express E sharps and C natural to express B sharp.
When these Notes, E and B, become sharp- ened, their own long Keys are never used ; and, by their introduction, the series of Sharps is extended to all the seven Notes.
F C G D A E B
* The French use the term Diese, derived from the Gi-eek word Diesis, and annex it to the syllables oi Guide. T'hus, Fa-diese signifies F sharp ; Ut-diese, C sharp, &c.
t See Art. 32, p. 15.
52 I NOTATION.
SECT. II.— OF THK FLATS.
93. When the short Key is to be played, in- stead of the natural Note above it (on the right,) then th^ same letter is used, with the additional term flat*
Thus, to make another fourth^ similar to the lower one of C (Art. 50, p. 22,) with a Semitone and two Tones, placed also below it, (extending to the left,) at the distance of a Tone, the B natural must be omitted, and the Bflat taken in its stead.
i^
The character placed before B is called a
Flat.
* Tlie mark now used for the Flat, was originally the letter B, introduced to avoid the Tritone or ftharp. Fourth^ between F liiid B natural. By the ancient writers (Guido, &c.) it was termed B-?nollc' ; that is, the soft, or (according to some) the moveable B. See Gerbert (De Cantu, 17r4, ii. 72.)
Walther's Lexicon (1732) contains a long article, and an ex- tract, from Simon de Quercu (1509) on the subject. Before tlie literal Notation of the middle ages, and its present api^el- lation, B fiat was employed as the Trite or third sound (de- scending,) of the Synemmenon or conjunct Tetrachord of the Greek Scale.
CHAP. V. SHARPS, FLATS, &c. 53
94. These two fourths united, form a new- Scale, of which F is the Key Note \ exactly similar to C, but five Degrees lower. Its de- scending series proves, by the Melody, that the Tones and Semitones are between the same Degrees of the Scak.
95. As the Scale of F is made complete by this alteration of B alone, B is reckoned the first Flat,* For a similar reason (that of form- ing a new fourth below the lower one of the F Scale,) E is termed the second flat. Thus the series of Flats ascends by fourths, which, in respect to the letters, is the same as descend- ing by fifths.
B E A D G
12 3 4 5
* This character was formerly of such importance, that it is enumerated by Gafurius among the Clefs (see the Note, p. 8,) and was accounted the Clef of the F Hexachord, as the other two Clefs, now called Tenor and Base, were of the G and C Hexachords. These letters were selected from the seven, to shew the places of the three Semitones, in the three different Scales of Giddo, termed natiirale^ durum^ and molle ; and, being the highest sounds of the two which formed each Semitone, were always sung with tlie syllable Fa, F2
54 I. NOTATION.
These Flats are performed, on Keyed Instru- ments, with the five short Keys below ; that is, on the left of the long ones : the division of two consists of E flat and D flat ; and the other three are B flat, A flat, and G flat. For the reason given (Art. 9*2, p. 51,) concerning the Sharps, B natural is employed to express C fiat^ and E natural is employed to express JF Jiat. Thus the whole series of seven Flats is completed,
R E A D G C F*
1 2 S 4 5 6 7
This series is exactly the reverse of that given of the Sharps (Art. 92, p. 51.)
It must be recollected, that every one of the short Keys has two difierent letters for its name, according to the natural Note for which it is employed.
Thus, the middle Key of the three short ones is equally used as the third Sharp in the place
* The Germans add the syllable <fs to the names of the letters which are flat (except B, which retains its original signification;) and their series, B, Es, As, Des, Ges, Ces, ar.d Fes, correspond to the Scale given above. See also Dr. B. ii. 7^y 392, upon the subject of B flat.
The French use the term himol, from the Latin, and annex it to the Vocal Syllable: thus, ^i banol is B Hat; Mi bemol, % flat, &c.
aiAP. V, SHARPS, FLATS, &c B5
of G natural below it, and as the third Flat in the place of A natural above it.
96. When any number of Sharps or Flats are placed after the Clef,, at the beginning of the Staff, they affect all the Notes of the same letter in every Octave throughout the Move- ment, and are termed the Signature,
Those which occur in the course of the Movement, in addition to the others, are term- ed accidentals'^ to distinguish them from those of the Signature, which are essential to the Scale of the original Key Note.
The accidental Flats and Sharps only affect the Notes which they immediately precede, and those of the same letter which follow them in the same Measure ; but, if one Measure ends, and the next begins, with the same Note, the accidental Character which alters the first Note, is understood to affect the second.
* Naumberger (of Reading, Berkshire,) in his translation of Turk's Klavier Schule (1804,) p. 4, translates the German, term, Versetzung-zeichen, Marks of Transfiodtion. Kollmann,. Essay on Harmony, p. 8, calls them Acddentals. See also Malcolm, p. o&5. Holden, p. 21, art 57,
56 I. NOTATION.
SECT, ni.— OF THE NATURAL.
97. When any Note, which has been ele- vated by a Sharps or depressed by a Fiat^ is to be restored to its original place, the char- acter called a Natural* is employed ; which lowers the sharpened Note, or raises the flat- tened Note ; thus,
i
gE«^E3EiH
i^E!Hi
The Natural^ although a very ancient char- acter, was not used by Morley, Simpson, or Playford. They always employed the Flat to take away the Sharp, and the Sharp to take
* Gafarius (Practica, fol. 2,) asserts that the charactei' of the Natural, or B Quadrum (?. e. Quadratum,) is formed of two Greek Gammas joined invertedly {corwerdm conjuncta ;) but it is generally described as a Gothic or square B, made in that form to distinguish it from the round B, which expressed the Flat.
The ancient printers, not having a proper type cast to rep- resent this character, used the small letter h ; a specimen of which may be seen in the Dialogo of Vincentio Galilei (1581,) p. 4. Adlung (edit. 1783,) p. 196, attributes the German method of using the letter H, instead of B natural, to the same cause. See Kollmann, Essay on Composition (1799,) p. 52. Sir J. H. V. 254.
CHAP. V. SHARPS, FLATS, &c. S^
away the Flat^ in the same manner as we now use the Natural.*
Hence are found, in old Music, the Sharp before B, and the Flat before F ^ not, as now, to represent B Sharp and F Flat ; but merely to take away a preceding Flat or Sharp.
The Natural, although evidently an accidental Character, and a more general expression for the two others (the Sharp and the Flat,) is sometimes placed essentially at the beginning of a Strain, when a former part of the same Movement has had a Sharp or Flat in its Sig- nature. (See Steibelt's Sonatas, Op. 37, Tur- kish Rondo, p. 10.) According to its power, therefore, of raising or lowering any Note of the Scale, the Natural must be always consid- ered as representing a Sharp or a Flat.\
* The Germarv Scale of the natural Notes is A, H, C, D,.E, F, G; not A, B, C, &c.; the B is always reserved to express B Flat.
The French call the Natural Blquarre (Rousseau.)
f In Handel's Song of Pious Orgies, Judas Maccabaus (No. 1^) the Natural is frequently ennploycd ;. and, in one paiticulai' Measure, sharpens the Treble and flattens the Base. More con- cerning these characters may be found in Butler, p. 21 ; Simp- son, p. 5 ; and Holden, p. 16, art. 43. Turner (p. 51,) calls. the Natural a Mark of Restoration,
58 I. NOTATION.
SECT. IV.~OF THE DOUBLE SHARP.
98. After all the Notes of Music have been made sharps the same series of letters begins again, and F, being the first, takes the name of F double sharp*
It is performed, on Keyed Instruments, by- striking the long Key G natural -, which is not, however, to be reckoned then as a Tone from F natural, being placed on the same de- gree as F (Art. 47, p. 20,) and also consisting ®f two Chromatic (or Minor) Semitones.
* The Double Sharp is sometimes marked with a single cross, thus, -|-, which, according to Vanneo (see the Note, p. 49,) originally represented the twa Commas of the Quarter- tone, or enharmonic Diesis, and which properly represents the distance between the F double sharp and the G natural.
Keeble (Harmonics, 1784,) p. 196, censures Kircher and Zarlino for the improper use of this character. See Kircher, Musiirgia (.650,) i. 145, 659. Zarlino (1589,) i. 363. Salinas (1577,) p. 121. Padre Martini, Storia (1757,) i. 97, 100. Lemnie Rossi (1666,) p. 45. Sir J. 11. i. 110.
CHAP. V. SHARPS, FLATS, &c. 69
SECT. V.^OF THE DOUBLE FLAT.
99. In the same manner, after all the seven Notes of Music have been made Jlat^ the same series of letters begins again with B ; and that, being the first, takes the name of B double
It is performed by striking the long Key A natural two Chromatic Semitones lower. It is worthy notice, that, as the first Sharp is the lowest, and the first Flat the highest of the three short Keys which are near to each other ; ♦so the first Double Sharp and the first Double Flat (the only two in general use) are played with the two long Keys which are enclosed by F sharp and B flat. v
* ITie Germans have sometimes employed a large B, as the character of the Double Flat. The difficulties arising from this mark are stated by Turk (Klavier Schule, 1789,) p. 50. Dussek, in his Introduction, p. 36, unites the two B's with a kind of hook, similar to the gi'ouping of Quavers (Art. 64, p. 27.) The German names for the Double Sharps, are, Fisfis, Ciscis, &c. ; and for the Double Flats, Bebe, Eses, Asas, Desdes, Sec. Adlung, p. 251
60 I. NOTATION.
100. As these two Characters, viz. the Double Sharp and the Double Flat, seldom occur, the mode of restoring the single Sharp, or Flat, after the use of the double Character, varies with different authors.* Some use a single Sharp or Flat ; some employ a Natural, or else unite the single Sharp or Flat with the Natural ;t thus, fcq «, N b ; and others again ieave the passage to the ear and judgment of the performer, who ought (they suppose,) if able to play in seven Sharps, to know how to restore the altered Note to its proper situation, without any particular mark.
* Even in respect of the Double Sharp, instances are found in Handel, where it is not distinguished by any particular mark, but where only a common single Sharp is placed against F, already sharp in the ^gnature. See H. S. i. No. 9: Fly
from the threatening.
I Some of the writers in Germany are (as Turk, p. 52, ob- serves,) precipitate in their judgments, and therefore fre- quentlv erroneous. G. F. Wolfe (1783,) p. 22. Lohlein (1765,) p, XI. fubel (1767,) p. 9. Merbach (1782,) p. la
61
CHAP. VL
OF GRACES, CHARACTERS, MARKS OF EXPRES- SION AND ABBREVIATIONS,
SECT. L— OF GRACES.
Art. 101. As the German authors, C. P. Emanuel Bach, and G. D. Turk, have treated at large on the subject of Musical Graces {Ma- nieren^*) a short sketch of their doctrines will here be given.
102. The principal Graces of Melody are, the Appoggiatura, the Shake, the Turn, and the Beat ; vi^ith the Mordent, Beat, Slide, and Spring, peculiar to the Germans. The chi^ ornaments of Harmony are, the Arpeggio, Tre- mando, &c.t
* Bach, p. 45. Turk, p. 207.
t The old English Graces, published by Simpson (Division Viol, 1667,) as defined by Dr. Colman, are divided into two classes, — ^the smooth and the shaked Graces. In the first class are tlie Beat, Backfall, double Backfall, Elevation, ^ringer, and Cadent; in the second are the shaked Backfall, close Shake, shaked Beat, shaked Elevation, shaked Cadent, and double Rel- ish. (See also Playford, p. 100.) G
62
I. NOTATION.
103. I. The Appoggiatura* (Vorschlag) is a small Note placed before a large one of longer duration, from which it generally bor- rows half the value, and always occurs on the strong part of the Measure.
The Appoggiatura, as wiitten.
As performed.
i04. Sometimes, however, the Appoggiatura is only one quarter of the Note it precedes, as in the following Example ; thus,
-t-
l=l=ili
* Dr. Barney, art. Ajifioggiatura. Dr. Rees' Cyclopaedia. . '
CHAP, \l. GRACES, CHARACTERS, &c. G3
105. When a small Note follows a larger one, and depends upon that for its time, the name of After-Note {NachschlagY will be used in this Work, to distinguish it from the Appoggiatura.
This Grace always occurs on the weak part of the Measure.
SE^E~isppy=^=ii=]
106. The Germans divide these Notes, which do not constitute the essential^ but the ornamental parts of Melody, into two classes. I. Passing Notes {Durchgehende Noten ;) and II. Changing Notes QVechselnde No- ten ;) but the Appoggiatura, when it is a sus- pension of the large Note before it, as in the Example just adduced (Art. 103,) does not belong to either class. These will be explained in the Third Fart of this Work, upon Har- mony.
* The German word A^achschlag', is also used to express the turn of the Shake.
64
I. NOTATION.
107. 11. The Shake'' (Triller) consists of a quick alternate repetition of the Note above, with that over which the mark is placed ; and commonly ends with a turn from the Note be- low. It is usually defined thus*:
Written.
Performed.
1=^1
In this Example the upper Note is accented : there are, however, instances in which the Composer seems to have designed that the lower Note^ or that over which the Shake is placed, should be accented j thus,
(Handel's second Organ Concertos, Dr. Arnold*^ edit. No. 124, p. 9.)
Jgig^EgEiS
The principal or written Note of the Shake (over which the Character is placed,) is called by the Germans the Haupt-ton ; and the second- ary or superior Note, the Hiilfston,
* Bach, p. 51. Turk, p. 252. Sir J. H. iv. 469. Dr. B. iii. 528, 616. Clementi, p. 11. Dussek, p. 6. HuUmande!.
p. 2r.
CHAP. VI. GRAeES, GHAIL\CTERS, &c. 6^
108. The following method of practising the Vocal Shake, has been communicated to the Author of the present Work by his friend Mr. Greatorex, to whom it was given at Rome, in the year 1786^ by 5^«/jr^///V Chapel-Master to the Pope.
^ '
Hi'
«..And so descending through- out the Scale>
Performed' in practice thus :
^J^M.
f^-n=
109. A series of continued Shakes, on Notes rising or falling by Degrees, is called by the Germans Triller Kette^ and by the Italians Catena di Trilli^ both signifying a chain of Shakes,
G2
66
I. NOTATION.
110. The Passing Shake* (Prali Trillef) is expressed in Germany by a particular char- acter ; and its definition varies with different Masters, and in different passages. The ex- planation of Dr. Arnold (Op. XII. p. 38) is therefore given here, with the mark he adopted for it.
Written.
The Mordenie of the Italian School is used in similar passages, and performed thus :
Some remarks on the various methods of performing these Graces, are given by de- menti (Introduction,) p. 11.
* Turk, p. 272.
CHAP. VI. GRACES, CHARACTERS, 8cc. 67
111. III. The Turn* {Doppelschlag) employs the Note above and that below, in the follow- ing manner :
Written. Perfoimed.
Thus, or thns.
Thus, or thus.
112. The Inverted Turn begins from the Note below.
(Dr. Arnold, Op. XII. p. 38.)
Written. Performed.
The Turn on the dotted Note is in frequent
Written. CV) OO
iliii^il
* Bach, p. 61.
6S^
r. NOTATION,
113. IV. The Beat* is the reverse of the Shake (but without the Turn,) and made gen- erally at the distance of the Semitone below ; therefore all the Natural Notes, excepting C and F, require the Note below them to be ac* cidentally sharpened for the Beat.
Written.
'^m
The Beat upon B natural, however, is sel- dom made with A sharp, on account of the great harshness arising from the vicinity of the Semitone B G.
In some cases of regular ascent, it is recom- mended not to make the Beat with the Semi- tone, unless particularly marked. (See Cle- mentiy p. 11.)
Battement. Turk, p. 281.
CHAP. VI. GRACES, CHARACTERS, &c. 69
114. In the Half Beat (Zusammenschlag) the inferior Note is struck only once, and at the same time with the principal Note, but is immediately quitted. This is frequently used upon the Organ, and particularly in the Base.* It may be written by a small Note, like a short Appoggiatura, and is very similar to the Ac- daccatura\ of the Italians.
*-i^5^i
115. In the Third Part of this Work, upon Harmony, will be shewn how the Diatonic Suspensions and Transitions arise from the Appoggiatura and the After Note ; while the Chromatic Licenses are derived from the Ac-- ciaccatura or Half Beat* These Graces are therefore of very great theoretical importance^
* KoUmaD, Essay on Composition, p. 98, terms it a Base- Grace^ and shews how it is employed to strengthen the parts, and to supply the want of Pedals.
t Dr. Burney, art. Acciaccatura. Dr. Rees' Cyelopaedia^ Gasparini (Armonico Prattico, 1729, edit. Sd,) p. 63.
70
I. NOTx\TiaN.
116. V. The German Mordent* {Beisser) is a species of Beat, commencing with the Note itself, and is either long or short ; thus,
Lcng,
Short.
This differs considerably from the Mordenie before described (Art. 110, p. 6Q^) being made with the next Degree below. That of the Italian School always employs the next Degree above,
117. VI. The German Beat\ {Anschlag) consists of two small Notes, which form a Skip^ and descends one Degree upon the principal Note.
Written.
Perfoiined.
iip ii^&ii
In the Translation of Turk (p. 26^) Naum- berger calls this Grace a double Appoggiatura.
* Bcxh, 7Z. Turk, 275. t Bach, 77. Turk, 241.
^
CHAP. VI. GRACES, CHARACTERS, Sec. 71
118. VII. The German Slide'' {Schleiffer) consists of two small Notes, which move by Degrees ; thus,
Written.
Performed.
±-\
119. VIII. The German Spring\ {SchneU ler) consists of two small Notes, like the Italian Mordente, but very distinct \ thus,
Written. f » » 1
Performed. I t
120. All these Graces are liable to the occasional alteration of any of their Notes, by Sharps, Flats, or Naturals ; and, in that case, the Composer is expected to mark them as they are to be performed.
* Bach, ^Qi. Tm-k, 245. t Bach, 83. Turk, 251.
72 I. NOTATION.
121, To these Graces of Melody may be added those of Harmony ; the Tremolo (Be^ bungy) or reiteration of one Note of the Chord j the Tremando^ or general shake of the whole Chord ; and the Arpeggio (Brecbung,) or imita- tion of the Harp, by striking the Notes of the Chord in quick and repeated succession.
122. Clementi (Introduction,) p« 9, has given an explanation of two different characters used for a Chord (or combination of several sounds struck together,) upon Keyed Instruments.
(1.) When a Waving Line is placed verti- cally before the Chord, the Notes are played successively, from the lowest ascending to the highest, and retained down the full time of the Chord.
(2.) When an Oblique Line passes through the Chord, it is played as before, with the ad- dition of a Note* where the oblique Line is placed J but this added Note is not to be kept down*
Written. Played.
-^m
* This added Note is the Acciaccatura before described, (Art 114, p. 69,) and answers to the Zusa?nmenscMa§- of the Germans. Turk, 279.
CHAP. VI. GRACES, CHARACTERS, &c. 73
SECT, n.— OF THE CHARACTERS
123. Those Characters used in Music which do not form a part of any particular class, like the Clefs, Notes, Rests, Sharps, Flats, Natu- rals, or Graces, are the Tye or Ligature^ the Pause, the Repeat, the Direct, the Single Bar, and the Double Bar. But, as the Tye is similar in form to the Slur, it will be classed among the Marks of Expression in the next Section.
1 24. The Pause * is placed over a Note, to signify that the regular time of the Move- ment is to be delayed, and a long continu- ance of the Sound made on that part of the Measure.
(H. S. 11. No. 82 : Bless'd the day— Solomon.)
* Butler, p. 58, calls the Rests Pausen, and the Pause a Close. The Italian term is CoronatOy Zaccharia Tevo (1705,) p. 53; and the German, Fermate^ Petri, (Anleitung, 1782,) p. 145. Holden, p. 37, calls the Pause a Hold.
The Pause, when found on the last Note but one of a Mel- ody, is a sign for the Vocal or Instrumental Performer to introduce such extemporary passages, previous to the final Shake, as are generally temied a Cadenza, H
u
L NOTATION.
125. If the Pause is placed over a Rest, then a stop of considerable length is made 5 and the part must be silent.
(H. S. I, No. 31: Let festive jo f-'^Behha^zar,)
gisn^iiii
126. The same character is employed for another purpose in those Songs of Handel, Hasse, Vinci, &c. which have a second part, and are marked Da Capo.*
(H. S. II. No. 157 : As when the Dove^—Acis and Galatea.)
The Pause, m this Example, only shews the Note upon which the piece is finally to termi- nate ; but it is not always followed by the Double Bar.
* Da Capo are two Italian words, which signify from the be-. ginning, and are frequently joined with al Segno, which mean, that the Performer is to return, and to commence the Repeat at the sign.
CHAP. VI. GRACES, CHARACTERS, &c. 7^'
127. The Repeat* (S) is a sign employed to shew the place to which the Performer must return to repeat the passage. It is usually found in Rondos and Da Capo Airs ; and it marks that place, in the first strain, where the repetition is to commence. This mark is called in Italian, Segm, or the Sign,
(H. S. I. No. 153: War he sung — Alexander's Feast.)
128. The Direct f (w) is a sign employed at the end of the Staff, to shew upon what Degree the first Note of the following Staff is placed.
(Rameau, Treatise, p. 168.)
* Mark of Repetition. Morley, p. 74. Simpson, p. 19. Mal- colm, p. 411.
t The Direct is called by Morley (p. 22,) Index or Director. Butler, p. 37. Holden, p. 38, an. 113.
76 I. NOTATION.
129. The Single Bar * has been already- mentioned (Art. 65, p. 28) as dividing the movement into equal portions or Measures. It is considered in Germany as a mark of the grammatical Accent; since the first Timef of every Measure is always a strong part, and is distinguished by a particular pressure.
When the inner sides of two Bars are dotted, all the Measures between them are to be re- peated. See an instance of this kind of repe- tition,
(H. S. I. No. 68 : Sm not, 0 King— Saul.)
The word Bis (twice) is sometimes placed over passages of this kind, whether the Btrs are, or are not dotted.
* Butler, p. 33, terms the ancient thick single Bar the imfier- feet Close. Simpson, p. 19. Malcolm, p. 411.
t Tlie Author is induced to adopt the expression of the ancient authors, and to call the parts of the Measure, Times, Art. 65, p. 28. See also Malcolm, p. 399. The particular utility of the term will appear in the Fourth Part of this Work, upon Rhythm.
CHAP. VI. GRACES, CH.IRACTERS, ace. 77
ISO. The Double Bar^ is placed always at the end of a Movement, and is sometimes used at other parts, to shew the rhetorical termina- tion of a Strain.
If the Double Bar is dotted on one or both sides, all the Measures on the same side with the Dots are to be repeated from the begin- ning, or from the antecedent Double Bar.
131. When the rhetorical termination of a Strain does not coincide with the grammatical Accent, the Double Bar is then totally distinct from the Single Bar, and the Measures are only reckoned between the single Bars, although the Double Bar may intervene.
(H. S. V. 374 : Above Measure— Semele.)
This Double Bar does not affect the Measure in which it is placed, but the time is kept ex- actly as if it were not inserted.
* Ornithoparcus, p. 52, calls this a i^fs^ General; considers it as analogous to the other Rests described. Art. 85, p. 46,
and places it in the same class of characters; H 2
78 I. NOTATION.
132. As it appears, from the preceding ob- servations, that the Double Bar is very different and distinct from the Single Bar, the gram^ matical use of the latter must not be con- founded with the rhetorical employment of the former.
1 33. If every piece of Music ended with a complete Measure, and if the necessity of com- mencing with single Times (Art. 82, p. 42,) did not sometimes exist, the Double Bar might be neglected ; but, as it is important to mark the termination of those Strains which have their last Measures incomplete, this character is adopted, and the Double Bar bears the same relation to the Strain as the Single Bar does to the Measure,
134. Every Measure contains a certain number of Notes (Art. 66, p. 28,) which are terminated by the Single Bar ; and every Strain* includes a certain number of Measures, which are terminated by the Double Bar,
* The rhetorical division of the Strain into Phrases^ Sections^ and Periods^ with the utility of the Cxsure^ will be explained in the Fourth Part of this Work, upon Rhythm; and, as the Comma, Semicolon, and Full Stop of Elocution, have all their respective analogies in Musical Punctuation, by the Phrase, Section, and Period ; so also the Colon is found to resemble that final part of a Movement which is termed the Coda.
CHAP. VI. GRACES, CHARACTERS, &c. f9
SECT, m.— OF THE MARKS OF FJO'RESSION.
135. The chief Marks of Expression are, the Slur, and the Dash or Point ; to which may- be added the Tye, or Ligature.
1 36. The Tye * is an arch drawn over two Notes on the sa?Jie Degree, uniting them into one. Upon Keyed Instruments, the first only is struck ; but the finger is kept down during the time of both.
(H. S. IH. No. 180: Our fruits — Josepfj.
^isl^lpipi
137. The Tye is also used to express those syncopated Notes which, in ancient Music, were divided by the Bar,
(Corelli, Concerto I. Opera 6th.)
e^n^i^is
* See Ncte, p. 27, of this Work. Holden, p, 38, art 114,
80
I. NOTATION.
1S8, The Slur* is a similar arch, drawn over two or more Notes, upon different De- grees, and signifies that all the Notes are to be played as smoothly and as much united as possible. In Vocal Music, it is placed over or under all the Notes which are to be sung to the same syllable.
(H. S. III. No. 191 : Our limpid streams'-^ Joshua.)
eEEEEg
139. When the Slur is placed only over two Notes, the second is generally made shorter than its proper length. Formerly, this effect was produced by exact Notation.
(H. S. I. No. 1 : Fious Orgies^^ Judas,)
^ In the Translation of Turk (p. 26,) the term Slur is ap- plied to the Grace, Art. 118, p. n, called Schleiifer, or a Slide.
CHAP. VI. GRACES, CHARACTERS, &c. SI
140; The Dash * is a small stroke, placed over those Notes which are to be performed in a very short and distinct manner.
(H. S. in. No. 182: Descend^ kind pily — Theodora,')
141. The Point is a mark employed by many authors instead of the Dash ; but its principal use is to distinguish those Notes from which an intermediate effect, different from the Slur or the Dash, is required, and yet uniting both.
(H. S. I. No. 61 : Comfort ye— Messiah,)
-pr-S^ ^±.^-5. j«_»M.-,^ -^ii^^ 1 l-i^-.
When these passages are performed on Keyed Instruments, the finger is not kept close, as in the Slur^ nor raised, as in the Dash, but dropped gently on the Note, and taken off before the Time is wholly completed.
Holden, p. 39, art. 114.
82 !• NOTATION.
142. There are other Marks of Expression, which have been lately adopted, to express the effect of certain Italian terms.*
(1.) Crescendo^ or increasing the sound from soft to loud, is marked by an angle, <^ the lines extending to the right.
(2.) Diminuendo^ or diminishing the sound from loud to soft, by the contrary > sign.
The union of both,t indicates that the first part of the passage is to be softy the middle loud, and ^^
the last soft again, as the figure shews.
(3.) Rinforzando is denoted by smaller marks ©f the same kind, > < which are to increase or diminish the Not^ as marked.
* Clementi, p. 9. Dussek, p. 45.
t Mr, Shield (p. 14.) See also Art. 83, p. 44j of this Worfc»
CHAP. VI. GRACES, CHARACTERS, 6cc. Bi
SECT. IV.— OF ABBREVIATIONS.
143. When the same Note, or similar pas- sages, are to be repeated, much time is saved to the Composer and Copyist, by the use of Abbreviations.
A single stroke, over or under a Semibreve, or through the Stem of a Minim or Crotchet, divides them into Ouavers ; a double stroke into Semiquavers ; and a triple stroke into Demisemiquavers ; thus,
,(H. S. I. No. 18 : Let the bright Seraphm — Samson,^
?B^=^S^^
144. These passages, in Italian Music, had formerly the word Crome^ (Quavers,) or 5^- microme (Semiquavers,) annexed to them. At present we often use the term Segue^ to signify- that we must perform the following Notes in the manner in which the first are marked.
%4 I. NOTATION.
145. Another kind of Abbreviation is very frequently used in modern Music, viz. group- ing the Stems of Minims like those of Quavers (Art. 64, p. 27.)
(Pleyel's Duos, Viol, and Violonc. Op. 12, p. 2, Violino.)
Written. Performed.
Several other species of Abbreviation are given in Koch's Lexicon, art. Abkurzung ; and also in Clementi, p. 8. Shield, p. Ii24, ice.
KND OF TBE FIRST PART.
85
PART 11,
MELODY.
CHAP. I.
^F INTERVALS,
SECT. I.— OF INTERVALS IN GENERAL.
Art. 146. A particular succession of single sounds forms a Melody"^ or Tune ; as in the following Example :
..-_,-•...
iSiSp
(fiod save the King.)
* This simple and popular definition of Melody, only pre- sents an outline of the true idea annexed to the term. In a more extensive sense, Melody implies not only the progres- sion of one single part, but also that general result of the va- rious parts in Harmony which produce the effect of Melody by the proper distribution of their sounds. Prinz seems to have been the first who distinguished between the Monodic Style, in which the Melody is confined to one single part, and the Polyodic Style, in which the Theme, and its dependent subjects, are distributed among the different parts of the composition. These two epithets, Prinz appears to have taken from Kircher; and this profound and original view of
I
86
II. MELODY.
147. Melody has, in respect of Tune, two distinct Motions ; that of Degrees^ and that of Skips*
A Melody proceeds by Degrees^ when it moves to the next Line or Space above or be- low, as in the following Example :
(Lei ambition fire thy mindX)
148. A Melody proceeds by Skips ^ when it omits one or more Degrees, as in the following Example :
(Wben warlike ensigns. \)
feifpj^p|EiEpi5§£]
Melody has been very ably developed by Nichelman of Ber- lin, who clearly proves, that those pieces which are produced by the iV/o/zor/^c design of the Composer, are far inferior. to tlie Polyodic aiTar.gement of the same ideas. In this last class we may place the Motetts of Palestrina, the Choruses of Handel, and the Symphonies of Haydn. See Prinz (Satyrical Com- poser, Part. III. chap. xi. p. 97 ; chap, xviil p. 131,) 1696. Kircher (Musurgia, i. p. 531.) Nichelman (Melodie,) 1755.
* These expressions in Italian, are di grado and di salto.
t Composed by John Weldon (1699) in the Judgment of Paris, and afterwards introduced in the Comic Opera of Love in a ViUage. ^r J. H. v. 63. Dr. B. iv. 653.
% Occasional Oi-atono, 1745 (Handel's Songs, i. No. 13,) Dr. Arnold's edit. No. 104j p. 222.
V
CHAP. I. INTERVALS. 87
149. In general, Degrees and Skips are inter- mixed ; as in the Melody of the Easter Hymn,
(^ Jesus Christ is risen to-day,*)
1 50. The Degreest and Skips of Melody are both called by the general term Interval ; which is the distance between two Sounds, or their difference in respect of Pitch. Every Interval, therefore, implies two Sounds ; one acute^ the other grave ; in common language, high and low ; and as, in measuring, it is usual to con- sider the termination of distance more than the space contained ; so, in Music, the Notes which limit the Interval, are both called by the name of the Interval itself. Thus, from the F Clef to the C Clef, is contained the Interval of a fifth, both terms inclusive ; and C is said to be a fifth above F, and F a fifth below C.
* Printed by Walsh in IfOS, in a Collection of Divine Songs and Hymns, entitled Lyj-a Davidica, The Air is found at page 11, but written in Quavers.
t The word Degree has already been applied to the five Lilies and four Spaces of the Staff; but it is necessaiy to extend its signification fuither, and to comprehend in it the term Inter- val; since, in the Chromatic Semitone, B flat and B natural are on the same Degi-ee, and yet produce diiferent Sounds, forming thereby a distance or Intenal.
88 H. MELODY.
SECT, n.— OF THE NAMES OF INTERVALS.^
151. The names of Intervals are derived from the number of Degrees which are contained be- tween the two Sounds ; both extremes being reckoned inclusively. Thus the Interval of a Second consists of two Degrees j and as these may be distant from each other, either by one Tone, or by one Semitone, there are consequent- ly two kinds of Seconds, viz. a Major Second or Tone, and a Minor Second or Semitone.
352. The Natural Scale of Music, which, proceeding by Degrees, includes both Tones and Semitones, is called Diatonic ; a word compounded of Dia and Tonic, from the Greek Dia through, and Toms, a Tone ; because the greater number of Intervals in the Scale, viz. five out of seven, are Tones.
153. The Diatonic Scale includes all the dif-
* The inaccuracies, which sometimes occur in very respec- table Authors, concerning Intervals, arise from adopting the terms of common language witliout sufficient precaution. See KoUmann's Thorough Bass (1801,) p. 2. Shield, p. 4.— For example, the distance from one place to another may be two miles, as the Interval from the Note C to the Note D is formed of two Semitones ; and as, when we aiTive at either place, we say this is (the end of) tw'o miles ; so at D we say this is (from C) a Tone ; and at C, this is (from D) a Tone ; yet the two Sounds only form the Interval of two SemitoTies^
CHAP. I. INTERVALS. 89
ferent Intervals* formed by the Natural Notes, and also all those which are produced in trans- posing the Natural Scale higher or lower, by the employment of Sharps and Flats. Those Intervals which exceed the limits of the Oc- tave, as the ninth, tenth, eleventh, &c. being only replicates of the second, third, fourth, &c. are omitted here, but will be particularly noticed in treating of Harmony.
Those Intervals which are less than the Dia- tonic Semitone, as from F to F sharp, &c. will be distributed, with all other Intervals derived from them, into proper classes in the third Chapter of this Part, upon the Genera*
* It may not be improper to remark, that a considerable difficulty arises from the distribution of Intervals upon Keyed Instruments, and that the Student does not readily perceive how an Interval is to be found^ between two Keys, as B and C, or E and F, which are close together. The method of stop- ping the Violin, or the Frets on the Guitar and Lute, shews the nature of Intervals much more clearly. For instance, the third string of the Violii:i is tuned to tlie once-marked D (Art. 37, p. 17 ;) but when shortened by one-ninth of the space be- tween the Nut and tlie Bridge, will sound E, a Tone higher ; one-sixteenth of the remaining length being further taken, the sound F, a Semitone higher, is heard. A just idea of In- tervals is hereby obtained ; and, as the latter is nearly half the magnitude of the former, the Interval from D to E is called a Tone, and from E to F a Semitone, being real Spaces taken upon the length of the string. I 2
90 U. Mei^ODV.
SECT, m.— OF THE FOURTEEN DIATONIC- INTERVALS.
154. As the Intervals take their names from the number of included Degrees, so also their species are ascertained by the epithets. Major and Minor, given them, according to the num- ber of Tones or Semitones contained inclusively between their extremes. If the Intervals were all equal in the Scale, eight Degrees would form only seven Intervals ; but, as there are two dif- ferent distances of Semitone and Tone, for which the Notation by the Staff alone does not provide, there are consequently fourteen Diato- nic Intervals, These are distinguished by the term Major or Minor, greater or lesser, and, in some few cases, sharp or flat.
155. I. The Unison^ or the same identical sound, although it cannot properly be reckon- ed an Interval, is always considered as such, when employed in Harmony; it is therefore inserted here among the Intervals of Melody^ The present opportunity may be taken of im- proving the Student in the practice of the seven Clefs, and shewing their practical utility.
CHAP. I. INTERVALS.
91
Example of the Unison, or the same Sound being the once-marked C (Art. 37, p. 17) in aU the Clefs.
-e-
-e—
^^3
ilEi
m
-a- c
Example of the Descending Scale of the ence-marked Octave in the G and C Clefs.
gli=pliEi=liiiiil
CB "'AG FE DC
Descending Scale of the small Octave (Art. SQ, p. 16) in the C and F Clefs*
jiEi^E^^^ilEE;
Ei
^ZSlZ
C B
A G
F E
D C
156. II. The Minor Second is formed by two Sounds, at the distance of a Diatonic Se- mitone, as B C and E F. C is a Minor Se- cond higher than B, and B a Minor Second lower than C. The same is true with respect to E and F, This Interval is sometimes called the Flat Second ^ and the term is useful in
92 II. MELODY.
Harmony. It is found also in the other Scales, between F sharp and G, B flat and A, &c. as in the following Example :
$.
:e_a-.i 1: ~=r-ie
:zzi=zizqIi:qz±:iqzz§z:±:
All these are Diatonic Semitones, and form Minor or Flat Seconds.*
157. in. The Major Second or Tone, al- though composed of two Semitones, does not consist of two equal parts. This is evident from the Notation itself; for, if the Tone from F to G be divided by the Sound F sharp, then the Intervals between F sharp and G, or the Dia- tonic Semitone, will not be the same as that from F to F sharp, or the Chromatic Semi- tone. The former changes one Degree, the latter remains on the same Degree ; and hence the former is, according to" the theory of Zar-
* From this statement, the nature of Melody, when Sharps and Flats are emploj^ed, may be readily perceived ; for, after a Sharp, the part rises^ and after a Flat the part falls. Thus also E and B have the effect of Sharps, and the Melody in general ascends to F and C ; on the contrary, F and C have the effect of Flats, and the Melody in general descends to E and B. The importance of these remarks cannot be justly appreciated till the transposition of the Natural Scale into two Sliarps and into two Flats, and also the use of Uie SeiDitone la Harmony, is understood.
1
CHAP. I. INTERVALS.
9S
lino, Rameau, and Pepusch, something larger than the latter. The Tones and other Inter- vals of the Natural Scale are, in this Work, separated into Semitones, &c. by the character called a Direct*
m
m
:qZ±zdi:i55!zz§:z:
The other Tones introduced by transposi- tion, are.
:=±:i©Z3
TIIIQZ'^ZD
;:iizEE±~Ed
&c,
158. IV. The Minor Third is composed of three Degrees, and contains a Tone and a Diatonic Semitone between the two extremes j thus,
gE-:EEEEE|EEgEE|.-iEiEgE|:iE5EiE|
It is also divisible into three Semitones, two Diatonic and one Chromatic ; thus.
j~" — "^^"i-pg-f^-^^-^-]
94 II. MELODY.
159. V. The Major Third* is composed of three Degrees, and contains two Tones between the extremes ; thus.
It is also divisible into four Semitones, two Diatonic and two Chromatic ; thus,
^—-e^^-^-w^'^-^-^^ ^
160. VI. The Perfect Fourth is composed of four Degrees, and contains two Tones and a Semitone between the extremes 5 thus.
-e-
It is also divisible into five Semitones, three Diatonic and two Chromatic j thus.
— e-^A\A.
•^
"w^ — ^ — ^— j
* The Major and Minor Thirds were formerly called S/iar/t and Flat Thirds. These equivocal terms were justly rejected by Dr. Boyce (in his Cathedral Music,) and changed to greater and lesser.
i
CHAP. L INTERVALS. 95
161. VII. The Sharp* Fourth is composed of four Degrees, and contains three Tones be- tween the extremes, called by the Ancients, on that account, Tri-tone.
i
■j:nz^\
■w — e —
It is also divisible into six Semitones, three Diatonic and three Chromatic ; thus,
^ S""^^ — v/^i^Ji^T — '^=^^^^'
162. These seven Intervals (the Unison in- cluded) may be considered, in a practical point of view, as primary ; since, if they are rightly understood, all the remaining seven are easily known, being Only compounded of these. Thus, the Fifth is formed by uniting two of the Thirds ; the Sixth, by the Fourth and Third ; the Seventh, by the Fifth and Third ; and the Octave by the Fourth and Fifth. Compared with the Unison, Second, Third, and Fourth, as primary ; the Fifth, Sixth, Seventh, and Eighth, are secondary. This arrangement, however useful in the analysis of Melody, is
* The reason why the terais, Perfect and Sharfi^ are used to the Fourths, while Major and Minor are applied to the Sec- onds and Thirds, will appear in the next Chapter, upon Concords and Diseords.
96 n. MELODY.
imperfect with respect to Harmony, and the theoretical classification of the Diatonic In- tervals.* The true series comprehends the Unison, Octave, Fifth, Fourth, Thirds, Sixths, Seconds, and Sevenths, in the mathematical division of a musical string.
163. Vm. The Flat Fifth is composed of five Degrees, and contains two Tones and two Semitones (not three Tones :) it may be di- vided into two Minor Thirds.
^ — ^.
eeIIeIeeI
It is also (like the Sharp Fourth or Tri-tone) divisible into six Semitones ; and when joined with that Interval, completes the Octave.
164. IX. The Perfect Fifth is composed of five Degrees, and contains three Tones and one Semitone : it may be divided into a Major and a Minor Third,
'Zj — "^^ — ^ — grt^T — ^ — '- §i::
It is also divisible into seven Semitones ; and, when joined with the Fourth, complete* the Octave*
* Butler, p. 46. Malcolm, p. Ti. Holden, p. 44, art. 127.
CHAP. I. INTERVALS. 97
165. X. The Minor Sixth is composed of six Degrees, and contains three Tones and two Semitones : it may be divided into a Minor Third and a Fourth.
It is also divisible into eight Semitones ; and, when joined with the Major Third, com- pletes the Octave.
166. XL The Major Sixth* is composed of six Degrees, and contains four Tones and one Semitone : it may be divided into a Major Third and a Fourth.
i
•v/ ^ ^•-
•■Kjf -W"
••W-
It is also divisible into nine Semitones ; and, when joined with the Minor Third, completes the Octave.
* This Interval is that upon which the ancient system of the Hexachord is formed.
98 H. MELODY.
167. XII. The Minor Seventh"^ is com-' posed of seven Degrees, and contains four Tones and two Semitones : it may be divided into a Fifth and a Minor Third.
:e-:^-^:-
m.
It is also divisible into ten Semitones ; and, when joined with the Major Second, or Tone, F completes the Octave. ^
168. XIII. The Major Seventh is com- posed of seven Degrees, and contains five Tones and one Semitone ; and may be divided into a Fifth and a Major Third*
— HZ HZ — '^ — — i AN*-—— — j
.3. '^-^
It is also divisible into eleven Semitones ; and, when joined with the Minor Second, or Semitone, completes the Octave.
* Tikis Interval is also composed of two perfect Fourths ; ail example of which may be found in the subject of the last Chorus in Handel's Alexander's Feast, Let old Timotkem.
I
CHAP. I. INTERVALS. 99
169. XIV. The Octave is composed of eight Degrees, and contains five Tones and two Semitones : it may be divided into a Fifth and a Fourths
It is also divisible into twelve Semitones, and may be considered as the replicate of the Unison.
As the Octave consists of thirteen sounds, and therefore has only twelve Intervals, it must be recollected, that the fourteen Diato- nic Intervals, just described, are obtained by reckoning the Unison as one of them, and by distinguishing between the Sharp Fourth and Flat Fifth ; both which are, upon Keyed In- struments, performed with the same Keys. The seven Notes of the Scale form seven dif- ferent species of Octave, according to the places of the two Natural Semitones ; and from these species, divided each into two parts, by the Fifth or by the Fourth, arise the eight Tones of Italy, and the twelve Modes of Ger- many.*
See the Note^ p. 23, of this Work.
100 H. MELODY.
SECT. IV.— INVERSION OF INTERVALS.
170. When the lower Note of any Interval is placed an Octave higher^ or the higher Note an Octave lower, the change thereby produced is called Inversion,
Thus a Second — becomes a Seventh — —
-o — e- -e-
a Third ZZ---Z-. a Sixth —
a Fourth — - a Fifth
■e-
_ :§- --9:
171. The different Intervals (seven,) reckoned from each of the seven Natural Notes, form the following Series : . Five Major and two Minor Seconds.
Three Major 2Lr\dfour Minor Thirds.
Six Perfect and one Sharp Fourth.
To these may be added their Inversions : Two Major and^'y^ Minor Sevenths. Four Major and three Minor Sixths. Six Perfect and one Flat Fifth.
CHAP. I. INTERVALS. 101
172. All the Major* Intervals become Mi- nor^ by inversion, and all the Minor Intervals become Major ; the Sharp Fourth becomes the Flat Fifth, and the Unison inverted becomes the Octave.
173. The Major Seventh of the Key, from its resemblance to the Tritone (its higher Note being one of the tu^o Sounds which form the Sharp Fourth,) is sometimes called the Sharp Seventh.
174. Rameauf terms the Intervals of the Thirds Fifths and Seventh^ fundamental j and derives the others, viz. the Second^ Fourth^ and Sixths by inversion, reckoning them dovi^n- ward, from the Octave of the former, accord- ing to the following Scheme :
______^__ Seventh j
Fitth I
Third I
B C D E F G a
i Fourth Sixth
j Second
1 15, All these Intervals are found in the Dia- tonic or Natural Scale ; and, when this Scale is
* Tiie epithets, Sharp, and Flaty were alwa)^s used, instead of Major and MinoVy by the old writers, Simpson, Piayford, and also Pepusch. See Art. 159, p. 94.
t Principles of Composition^ p. 3. K 2
102 n. MELODY.
transposed to any other pitch, higher or lower, by the use of Sharps or Flats these Intervals remain the same, as will be more fully seen hereafter. The remaining Intervals, which are commonly intermixed with these in the general tables given by Authors, and which belong only to the Chromatic and Enharmonic Scales, are omitted here, but will be inserted in the third Chapter of this Part, on the Genera^ (p. 109.)
176. Of all the Diatonic Intervals, the two ^hirds^* Major and Minor, are by far the most important, and ought to be very per- fectly understood ; since upon them depends the Nature of the Scale or Mode ; and the Thirds give their own epithets to the whole series of the seven Notes, the Scale itself being called Major, when the Third is greater^ and Minor, when the Third is lesser,
177. There is another distinction, in respect of Melodies formed of Diatonic Intervals, which, although in some measure obsolete, is yet useful for the Student to understand. Those Melodies which have their principal Notes contained be-
* See Ramcaii, p. 6, and Simpson, p. 35. It may be ob- served, that the alteration of the Thirds, by sharpening the upper Note of the Minor, or fiatteniiif^ thai of the Mnjorj, does not change their Diatonic uaturc,.
CHAP. I. INTERVALS.
lOS
tween the Key-note and its Octave, are termed authentic^ direct^ or principal^ as in the fol- lowing Example :
(Waft her^ Angels*')
178. Those Melodies, on the contrary, whicli have their principal Notes contained between the Fifth of the Key and its Octave (or Twelfth,) are termed plagaly oblique^ or collateral^ as in the following Example :
(Streams ofpleasure.f)
feiisi^i=pi
By these two divisions of the Octave, au- thentic and plagal, are formed the arrange- ments of the eight Italian Tones, and twelve German modes before mentioned.
* Jephtha, 1751 (Handel's Songs, v. Na 367,) Dr. A.'s edit. No. 120, p. 170.
t Theodora, 1750 (Handel's Songs, iv. Na 268,) Dr. A." edit. No. 8, p. 18L
104
CHAP. IL
OF COJVSOJVAjYT AJVD DISS0A''AMT ln-tervals.
Art. 179. Although the terms Consonant and Dissonant are chiefly used in Harmony, yet they are applicable, in a great measure, to the classing of Intervals in Melody.
1 80. The Diatonic Intervals are therefore di- vided into Consonant and Dissonant. Those which are most agreeable to the ear, as, the Oc- tave, Fifth, Fourth, both the Thirds, and both the Sixths, are called Consonant ; those which, when compared with the others, are less agree- able to the ear, as both the Seconds, both the Sevenths, with the Sharp Fourth, are called Dissonant*
The term Dissonant is thought, by some Authors,* inapplicable to the Degrees of Me* lody which seem more natural to the human voice than the Skips* This, however, is a pre- judice, which a further consideration of Har- mony will remove.
181, The foregoing arrangement shews the propriety of distinguishing the species of Sec-
* Principes Elementaires de Musique, du Conservatoire, p. 16.
CHAP. n. CONSONANT INTERVALS, &c. 105
©nds. Thirds, Sixths, and Sevenths, by the epithets Major and Minor, according to the number of Semitones included between the ex- tremes ; while the appellation of Ferfed is reserved for the Fourth and Fifth, with the terms Sharp and Flat, when altered a Semi- tone higher or lower.
1 82. The Thirds and Sixths, whether Major or Minor, are always consonant ; the Seconds and Sevenths always dissonant ; but the Fourth and Fifth are consonant only when perfect j when sharp or flat, they are dissonant. The alteration of these two last Intervals, therefore, places them in different classes \ and, although the terms Major and Minor have sometimes been applied to the Fourth and Fifth, in the present Work those terms will not be used.
183. The Consonant Intervals are subdi^ vided into perfect and imperfect. The Unison (or Prime,) the Octave, Fifth, and Fourth, are called perfect, because they are immutable, never changing from Major to Minor (or the contrary,) but becoming dissonant whenever altered by a Sharp, Flat, or Natural.
184. The Thirds and Sixths are called im- perfect, because they are liable to change from Major to Minor (or the contrary,) still remain- ing con3onant.
106
II. MELODY
185. The Seconds, Sevenths, Sharp Fourth, Flat Fifth, with all the Chromatic and En- harmonic Intervals, are dissonant.
186. According to this classification, every passage of Melody which moves by Degrees, consists of dissonant Intervals ; but, as every other Note is, in general, a transient sound, placed between two consonant Notes, these Sec- onds have not that harshness which is found in the passages which move by Skips, as the Sharp Fourth, Flat Fifth, Minor and Major Sevenths, &c.
187. AH dissonant Seconds in Melody, are either passing or changing Notes j* and these are either regular, when found on the weak parts of the Measure, or irregular, when used on the strong parts. If, therefore, these orna- mental Notes are taken away, a series of con- sonant Intervals will remain.
(Thou didst blow.^)
^ipi^H
y— ftf^^ tg; E^fe I
t-zv-^jz
* Art 106, p. 63;
t Israel in Egvpt (Handel's Songs, iii. No. 230,) Dr. A.'s edit. No. 97, p. 214.
CHAP. n. CONSONAOT: rNTERV.\LS, &c. 107
The foregoing Melody may be reduced to Consonant Intervals, by taking away the alter- nate Semiquavers, where regular, and omitting two when irregular ; it will then appear thus :
i^^iiiifei
188. The concordant series of Thirds and Sixths, from the varied succession of Major and Minor Intervals, is extremely pleasing to the ear )* and most passages of Degrees (like that of the preceding Example,) are reducible into Thirds^ intermixed with Fourths^ by tak- ing away the passing and changing Notes.
189. A great part of every Duet is composed of Thirds or Sixths ; and these Intervals, with the occasional introduction of Fourths and Fifths, allow a double Melody to continue throughout a Movement.
190. A successive series of perfect Fifths is not to be found in Melody, and hence is forbid- den in Harmony. In Melody^ they would ex- ceed the limits of our regular Scale, as well as the compass of the voice ; and, in Harmony^ they would produce new and unconnected Scales, of which the species, Major or Minor, would be
* Shield, p. 65.
108
II. MELODY.
undetermined, through the omission of the Thirds and Sixths.
191. A more correct idea of passing Notes may be obtained, by considering the Scale as divided into three parts, the two first concor» jiantjy and the last discordant ; thus^
11.
ni.
S^^^^ipe
In the first part, or the Tonic Division, the passing Notes are, the 2d, 4th, 6th, and 7th of the Scale j thus.
In the second part, or the Subdominant Di« vision, the passing Notes are, the 2d, 3d, 5th, and 7th ; thus.
In the third part, or the Dominant Divi- sion, the 3d and 6th are the only passing Notes ^ thus,
i
•d-5— ^
:^zfci:^-=fc!d
109 CHAP. III.
OF THE GENERA. SECT. L— OF THE THREE KINDS OF MELODY.
Art. 192. That Scale of Music which pro- ceeds chiefly by Tones called Diatonic^ has been explained (Art. 152, p. 88,) and consti- tutes the principal part of every piece of Music.
193. When all the artificial Sounds are in- serted between the natural Sounds, a Scale is formed of Semitones alonCj and called Chro- mafic*
194. When a Scale yet smaller in its Inter- vals is formed, which contains in some places Quarter 'tones, it is called Enharmonic*
195. These three Scales, the Diatonic, the Chromatic, and the Enharmonic, form the three Genera or kinds of Melody now in use ; and, although the terms are borrowed from the Greek authors, yet the modern ideas annexed to them are considerably different from their ancient signification.
196. The origin of the term Diatonic Genus has been explained. The Chromatic takes its name from the Greek word Chroma^ colour^ be- cause the interspersed Semitones give an orna-
110 n. MELODY.
mental effect to the Diatonic or simple Melody ; and the Enharmonic was so called, from its supposed excellence, being En-harmonic, that is, extremely musical.
197. The two last Genera (Chromatic and Enharmonic) are never used alone, but always intermixed with the Diatonic. Hence it has been asserted, that all the Genera, except the Diatonic, are irretrievably lost.* That they are lost to us, in the precise sense of the ancient descriptions, is undoubtedly true ; but we still retain the term Chromatic, in a signification extremely analogous to its primitive meaning, and it seems proper also to retain the terms Diatonic and Enharmonic,
198. The French Theorists! mention two other compound Genera, the Diatonic-enhar- monic, and the Chromatic-enharmonic ; the first containing a succession of two Diatonic Semi- tones, and the last a succession of two Chro- matic Semitones. These terms and classifica- tions are more curious than useful, since, ac- cording to Dr. Pepusch, the Diatonic-enhar- monic is the same as the Toniceum Chromatic
* Sir J. H. i. 110, 128; ill 89, 153. Dr. B. i. 461; iii. 292.
t M. D'Alembert, Elemens de Musique, 1762, Part. I. Chap. XX. xxi. p. 112. M. Bethizy, Exposition, 6cc. 1764, p. 180.
I
CHAP. in. GENERA. 1 1 1
of the ancients ; and the two subsequent Minor Semitones are found in the soft Chromatic of the Grecian system.*
SECT. II.— OF THE CHROMATIC SCALE AND ITS INTERVALa
199. The Chromatic Scale generally ascends by Sharps, and descends by Flats, as in the following Example :
l^igliiSi
S^E^g^^ipi
200. From this Scale several Intervals, not yet described, arise, which are all discordant, and are chiefly used in Melody, although they appear sometimes, by license^ in harmonical combinations.
201. The Chromatic Scale consists of thir- teen Sounds, which contain twelve Intervals between them. Seven of these have been al- ready described, among the Diatonic Inter-
* See Dr. Pepusch's Letter to De Moi\Te, in the Philosoph- ical Transactions, 1746, No. 481.
^
112
II. MELODY.
vals y* the remaining five form another species of Intervals, called Extreme or Chromatic, Of these, the Chromatic Semitone, the extreme sharp Second, flat Third, and flat Fourth, are simple or primitive ; the extreme sharp Fifth, sharp Sixth, flat Seventh, and flat Eighth, are compound or derivative.
Chromatic Semitone.
Extreme Shaip Fifth.
|
— — . .^ — |
|
|
■ZZQ—EQZZ |
e |
|
Extreme Sharp Second. |
Extreme Shaip Sixth. |
|
■■■ ■ ■ ' ■"-——' |
^V/'^ |
|
_o_^§— |
|
|
— 0 |
|
|
Extreme Flat Third. |
Extreme Flat Seventh. |
|
^^Z—t^— |
|
|
"la ^ |
.. *0,. — |
|
Extreme Flat Fourth. |
Extreme Flat Eighth. |
|
,__„,„. , „ 1 _ ,„_ |
^e— |
|
OO |
• -n,^ ■ |
202. I. The Chromatic tance or interval between same Note elevated by a by a Flat.
Semitone is the dis- any Note, and that Sharp, or depressed
* Padre Martini (Saggio di Contrappunto, 1774, p. 17.) has enumerated another Interval, the extreme sharp Thu'd, •with its inversion : this will be noticed hereafter.
\^
CHAP. III. GENERA.
113
Example of the Chromatic Semitone ascending : (Sweet bird^ that shunn^st*)
iiiiisi
Example of the Chromatic Semitone descend- ing:
(Turn not, 0 Queen.'i)
mil
203. This Semitone was termed by the Py- thagoreans Apotome^X and the Diatonic Semi- tone was termed Limma. They contended, that the Apotome, or distance from B flat to B natural, was larger than the Limma, or dis- tance from A to B flat. It is now, however, demonstrated, by the experiments of Mersenne, &c. &c. that the theory of Zarlino and Salinas
* L'AUegro, 1739, Dr. A.'s edit. No. 150, p. 39, H. S. i. No. 58.
t Esther, 1732, Dr. A.*s edit. No. 138, p. 115, H. S. v. No. 360.
X Sir J. H. i. 73. Tiie temn Apotome was also used by Sa- lomon de Caus (Institution Harmonique, 1614,) and thence in- serted by D'Alembert and Rousseau in the French Encyclo- psedie. He terms the present Enharmonic Diesis Afiotome Ma- jor ^ and the present Minor Comma .dfiotome Minor (page 5 ) L2
114 n. MELODY.
is true ; namely, that the Interval from A to B flat, is the Major Semitone, and that from B flat to B natural, is the Minor Semitone, contrary to the Nomenclature of Boethius and the Pythagoreans.
204. In the Chromatic Scale, the Semitones are alternately Chromatic and Diatonic ; and, as there are only five of the former, while there are seven of the latter^ two Diatonic Semitones will be found in succession, at the place where the natural Semitone occurs.
Ascending. Descending.
205. From this important Interval (the Chromatic Semitone) arise all the other Chro- matic Intervals : they are all Diatonic Dis- tances, increased or diminished by this Inter- val; and hence they all take the additional Chromatic Epithet of Extreme.
206. IL The extreme sharp Second con- sists of a Tone and a Chromatic Semitone, be- ing composed of two Degrees. Upon Keyed Instruments, this is the same as the Minor Third \ which, however, consists of a Tone and a Diatonic Semitone, and therefore con- tains three Degrees.
€HAP. in. GENERA. (To vanity and earthly pride,*')
115
207. IIL The extreme flat Third consists of two Diatonic Semitones, being composed of three Degrees ; and is the Minor Third, dimin- ished by the Chromatic Semitone. Upon Keyed Instruments, this is the same as the Tone which contains only two Degrees.
This Interval being very harsh for Vocal Music, the intermediate Sound is generally in- serted, as in the following Example :
{Prophetic raptures A)
e
1=
ggifegi
In this passage the A, between B flat and G sharp, is only a transient or passing Note.
208. IV. The extreme flat Fourth consists of a Tone and two Diatonic Semitones, being composed of four Degrees ; and is the perfect Fourth, diminished by the Chromatic Semi- tone. Upon Keyed Instruments, this is the
* Joshua, 1747, Dr. A,'s edit No. 58, p. 86, H. S. L No. 25. t Joseph, 1746, Dr. A.'s edit No. 110, p. 161, H, S. i. Na SB.
116 II. MELODY.
same as the Major Third, which contains only three Degrees.
(0 mirror of our fickle state**)
The E natural here, is taken instead of E flat.
209. These three last Intervals, viz. The extreme sharp Second, The extreme flat Third, and The extreme flat Fourth,
When inverted, become the following : The extreme flat Seventh, The extreme sharp Sixth, The extreme sharp Fifth.
210. V. The extreme sharp Fifth is the per- fect Fifth, increased by the Chromatic Semi- tone, and consists of four Tones,t forming five Degrees. On Keyed Instruments it is the same as the Minor Sixth, which consists of six De- grees. This Interval is seldom found in Mel- ody ; but its inversion, the extreme flat Fourth, is generally taken in its place.
* Samson, 1742, Dr. A.'s edit. No. 50, p. 28, H. S. iv. No. 289.
t Called also Tetratonon,
CHAP. m. GENERA. 117
It is also divisible into two Major Thirds.
~=z:BE:^:iS*iEIzEE^iiEIzEE^E
211. VI. The extreme sharp Sixth is the Major Sixth, increased by the Chromatic Semi- tone, and consists of five Tones,* forming six Degrees. On Keyed Instruments it is the Mi- nor Seventh, which consists of seven Degrees.
It is also divisible into a Major Third and sharp Fourth.!
112. VII. The extreme flat Seventh is the Minor Seventh, diminished by the Chromatic Semitone, and consists of four Tones and two Diatonic Semitones, forming seven Degrees. On Keyed Instruments it is the Major Sixth, which only consists of six Degrees.
It is also divisible into three Minor Thirds.
:=z:=z:=:;;A=fe5=i===izQ=:
g=5Z^=I===^=3
* Called also Pentatonon. t Shield, p. 77,
118
11. MELODY.
Examples of this Interval in Melody are not uncommon.
(They loathed to drink.*')
(^And with his stripes.f)
213. Vni. The cKfreme flat Eighth is the Octave, diminished by the Chromatic Semi- tone : it is never used in Melody, but is some- times found in transient passages of Harmony.
:^
:z:sazrz=i:z=r=:
feq
^e-
* Israel in Eg>T)t, 1738, Dr. A.'s edit. No. 93, p. 20. t Messiah, 1741, Dr. A.'s edit No. 10, p. 94
CHAP. m. GENERA. 1 1 9
SECT, m.— OF THE ENHARMONIC SCALE AND ITS INTERVAL, THE QUARTER-TONT:.
2 1 4. When a series is formed by uniting the ascending with the descending Scale of the Chromatic Genus, a new kind of Music arises, by the use of the Interval formed between the sharpened Note and the Flat of the next suc- ceeding Note above. This Scale is called En- harmonic^ and contains Intervals smaller than the Semitone •, which, although not exactly half the Semitone, are, however, from their near approach to that quantity, called the Diesis* (that is, the Division^) or Quarter^ tone,
21 5. To form this Interval, it is necessary that, of any two Notes which are distant by the Tone, the highest should be depressed, and the lowest elevated, by the Chromatic Semi- tone. Thus, from G to A is a Tone. Now, if G sharp be taken instead of G, and A flat instead of A, the diflFerence between these ex- tremes of the two Chromatic Semitones, G sharp and A flat, will form the Enharmonic Diesis^ or Quarter-tone*
216. To understand this, it must be observ-
* This was also called Afiotome Major by SalonKHi de Caus. See before, Ait. 203, p. 113, of this Work. Sir J. H. i. 110 j ill. 142, 155. Dr. B. i. 29 ; iil 530.
120 II- MELODY.
ed, that the Interval of a Tone, in the theory of Harmonics, is not always the same. That Tone which is between the Fourth and Fifth of the Scale,* is supposed to be divided into nine small parts, termed Commas ; while tbat which is between the Fifth and Sixth of the Major Scale, is divided only into eight Commas. The Diatonic Semitone consists of five Commas, and the Chromatic Semitone of three, or four, according to the magnitude of the Tone.
217. The two Chromatic Semitones, there- fore, being taken from the Minor Tone (of eight Commas,) leave a residue of two Commas for the Diesis or Quarter-tone : hence on the Temple Organ,t and on some other Instru- ments, the Tones from G to A, and from D to E (which are naturally Minor, or of eight Com- mas,) are divided into three parts, by two dis- tinct Keys, one for G sharp, another for A flat j also one for D sharp, and another for E flat. But upon Keyed Instruments, in general, the Temperament, or method of tuning, is such, that the single short key between the two long- er keys serves for both purposes, that between G and A being tuned higher than G sharp, and lower than A flat.
* The Diazeuctic Tone of the ancient system* t Sir J. H. ill. 144; iv. 354. Dr. B. iii. 439.
CHAP. III. GENERA.
121
218. The Enharmonic Scale divides each Tone into two Chromatic Semitones and the Quarter-tone; thus.
i^^
-4-^-4
219. In some examples of the Enharmonic Scale,* the Intervals, F flat and E sharp, as also C flat and B sharp, are inserted ; but they do not belong to that Scale. This distance, as Dr. Pepusch observes, is smaller than the Quarter-tone.
^^^^^m
This arises from the division of the Diatonic Semitone into two Quarter-tones, and a smaller Interval, termed the Hyperoche^ which is found by theoretical calculation to be nearly a Comma and a half.
* Shield, p. Sr.
t This term was first adopted by M. Henfling in the Ber- lin Miscellanies, 1708. For a more particular account of the «mall Interv^als in Music, see the articles Esdiaton^ HyfierochCy and Interval, wliich first appeared in the Supplement to Cham- bers' Cyclopaedia, 1753, probably written by George Lewis Scott, Esq. the editor, and which were inserted afterwards in the edition published by Dr. Rees, in four folio volumes, 1788, 1789.
M
122
II. MELODY.
220. Such are tlie three modern Genera, the Diatonic^ Chromatic^ and Enharmonic : they are (as before observed. Art. J 95) derived from the ancient Grecian Scales, but are used in a manner extremely different. #
Dr. Pepusch,^ in defining the six Genera of Aristoxenus, namely, two Diatonics, three Chromatics, and one Enharmonic, observes, ^bat the Syntone or intense Diatonic, is in gene- ral use ; that enharmonic passages are some- times found ; and that two of the Chromatics might be brought into practice ; for instance,
The Sesquialter Chromatic ; thus, And the Tonioeum Chromatic ; thus,
But, he adds, that the soft Diatonic, and the soft Chromatic, are not to be found in any modern production*
* Sir J. H. i. 109. Dr. B. iv. 638. In the Dictionaiy of Chambers (just quoted,) at the artide Gcnei'a, an able analysis of Dr. Pepusch's ideas is given, probably written b}' the same Author, as it also first appeared in the Supplement.
12S
CHAP. IV.
OF KEYS OR SCALES, AXD OF THEIR TIVQ MODES, MAJOR AXD MLYOR,
SECT. I.— OF KEYS OR SCALES.
Art. 221. A Diatonic Scale, of which the Notes bear certain relations to one principal Note from which they are all, in some respects, derived, and upon which they all depend, is termed a Key; and the principal Note is called the Key Note^ or Tonic,
222. Every Scale in which the two Diatonic Semitones are found between the third and fourth Degrees, and between the seventh and eighth Degrees, ascending from the Tonic, is termed the Major Mode of that Key ; because the Interval between the Tonic and its Third (or Mediant,) consists of two Tones ;: that is, of the greater Third. The only series of this mode among the natural Notes, is that which commences with C ; and hence this Key must be taken as an example of all the Major Scales.
124 II. MELODY.
223. Every Scale in which the two Diatonic Semitones are found between the second and third Degrees, and between the Jifth and sixth Degrees, as ascending from the Tonic, is termed the Minor Mode of that Key ; because the Interval between the Tonic and its Third (or Mediant,) consists only of one Tone and one Semitone, that is, of the lesser Third. The only series of this mode among the natural Notes, is that which commences with A ; and hence this Key may be taken as an example of all the Minor Scales.*
=iiiliiiiigiri
SECT. II.~-OF THE MAJOR SCALES W^ITH SHARPS.
224. In the First Part of this Work (Art. 89, p. 50,) it has been shewn how the intro-
* The necessary variation of the ascending Scale, in the Minor Mode, from the descending Scale, will be explained hereafter. Malcolm, p. 265. Pepusch, p. 20. Holden (Part. I. Chap. ix. p. i.) art. 257, p. 90. Sir J. H. i. 163, has entered minutely into the subject of our two modern Scales, with their Transpositions ; and their extensions to three Flats ant^ ftnir Sharps, are noticed also by liim, iii. 144.
CHAP. IV. KEYS.
125
duction of Sharps changes the pitch of the Tone, without altering the relative Intervals of the Scale. All the other Major Keys with Sharps are constructed in the same manner, viz. by sharpening the Fourth of the former Key, to make a new sharp Seventh, or leading Note, to the following Scale j thus,
G, o?ie Sharp. D, two Sharps.
A, three Sharps.
E, four Sharps.
mm
;ii?ii
B, Jive Sharps
F sharp, six Sharps
rsliifcilgiii
225. In this last Scale^ the sixth Sharp E is, on Keyed Instruments, performed by means of F natural ; but it cannot be called by that name, nor situated on the same Degree ; for, in that case, only six letters would be used in- stead of seven ^ and, between D sharp and F natural, the Chromatic Interval of the extreme flat Third would be found, which does not belong to the Diatonic Series.
M 2
126
II. MELODY.
SECT, m.— OF THE MAJOR SCALES WITH FLATS.
226. It has been also shewn (Art. 93, p. 52,) that the introduction of a new flat takes place on the Seventh of the original Key, which then becomes the Subdominant or Fourth of the next Scale : hence are formed all the following Scales with Flats :
F, one Flat.
B flat, two Flats.
E flat, thi-ee Flats. A flat, four Flats.
E — m'z.'ZZ — t'tz i"^^"ZLl"lZZ!tZ — — —
D flat, Jve Flats. G flat, six Flats.
-^h^^^^f
■b-d
22Y. In this last Scale, the sixth Flat C is, on Keyed Instruments, performed by means of B natural ; but it cannot be called by that name, since, between B natural and the next Degree in the Scale (which is D flat,) the Chro- matic Interval of the extreme flat Third would be found, which does not belong to the Dia- tonic Series.
CHAP. IV. KEYS. 127
SECT. IV.— OF THE SIGNATURE.
228. When the whole number of Sharps and Flats are placed at the Clef, instead of being occasionally inserted before each Note as they occur, such collection of Sharps, or of Flats, is termed the Signature^ (Art. 96, p. 55.)
Signatures of Scales with Sharps,
^§=8^-1=] ^'
Signatures of Scales with Flats.
&C.
229. Two examples of the Signature ex- tended to the first double Sharp and to the first double Flat, may be seen. Art. 98, 99^ p. 58, 59.
230. The Scale of F sharp with six Sharps, being the same on Keyed Instruments as that of G fat with six Flats, all the Signatures be- yond six may be expressed by a smaller num- ber, by changing the name of the Tonic.
Thus C sharp with seven Sharps, is the same as D flat with five Flats ; and C flat with seven Flats, is the same as B with five Sharps, &c, &c. &c.
12S n. MELODV.
SECT, v.— OF THE MINOR SCALE OR MODE.
231. The Minor Scale not only differs from the Major, as before observed (Art. 223, p. 124,) in the place of its Semitones, but also in the variation of its Scale, of which the ascending series differs from the descending one.
232. The Minor Mode requires, that when- ever the Seventh of the Scale (which is natu- rally a tone below it) ascends to the Eighth, it should become sharp, as the proper leading Note or sharp Seventh to the Tonic. Now, the insertion of this essential Note in the Sig- nature, would appear irregular, as in the fol- lowing Examples :*
trz:
It is therefore always omitted in the Signature, and placed accidentally before the Seventh which it is to elevate, whenever the Melody requires its use.
* If this irregularity were adopted in the three first Exam- ples, the essential leading Note would appear as if it were in- serted by mistake one Degree too high.
CHAP. IV. KEVa 129
233. That this leading Note or sharp Sev- enth is essential to the Key, although not to its Signature, may be proved by performing the subsequent Melody, omitting the sharp F.
(Our fears are now*)
-4- _««.«sff»- f^ -,
In which instance, the harshness produced by F natural, if taken instead of F sharp, is ex- tremely perceptible.
234. As the Signature, therefore, does not decide the Key or Scale of the Movement, a careful observation must be made, whether any accidental Sharps or Naturals occur in the first Phrase or Section. If any such are found, the Tonic is on the next Degree above them ; but, if none are used, then the Signature itself deter- mines the Major Tonic, which is always the Note above the last Sharp, or the fourth Note below the last Flat.
235, The accidental Sharp used in the Mi- nor Mode, raises the Minor Seventh of the
* Deborah, 1738, Dr. A.*s edit. No. 145, p. 219, H. S. ii. Na 133.
130
n. MELODY.
Scale a Chromatic Semitone : hence the Minor Scale may be said to belong to the Chromatic Genus ; and its true essential Scale is thus formed :
^m-
236. In this series is found the harsh Chro- matic Interval of the extreme sharp Second (between F natural and G sharp;) to avoid which, the Sixth is made sharp, to accommo- date the Seventh : thus the accidental Scale of the Minor is formed with two Notes altered from the Signature.
p^^i^iii
237. But, in the descending Scale, the essen- tial leading Note is depressed, to accommodate the Sixth : thus the natural Scale of the Sig- nature remains unaltered.
liiilii^i
CHAP. IV. KEYS.
131
SECT. VI.— OF THE RELATIVE MINOR SCALES.
238. The Minor Scale whose Tonic is found on the sixth Note ascending of that Major Scale which has the same Signature, is termed the Relative Minor^ because its Signature is similar to that of the other.
Major*
G, one Sharp. D, two Sharps.
3:*=tejE:i:=~-'-'-^*—
in^irgiiii
Relative Minor.
E, one Sharp. B, i'u)o Sharps,
iHgiiiiiiili
These Tonics, it may be observed, are one Degree below the last Sharp of the Signature.
239. In the Signatures with Flats, the Rel- ative Minor (or Sixth of the Key) is always on the third Degree above the last Flat; thus,
Major.
F, one Fiat
B, two Flats.
Relative Minor,
D, one Flat. G, two Flats.
:~^™:q:d:q:3:rr^~t=f::fL-ff:i:r:i::rl:rJ:]
132
II. MELODY.
SECT. VII.— OF THE TONIC MINOR SCALES.
240. Every Major Scale, when its Third and Sixth are depressed by the Chromatic Semi- tone, becomes a Minor Scale on the same Key Note, and will be called, in this Work, the Tonic Minor.
241. But, as the Signature requires that the essential sharp Seventh should not be inserted at the Clef, the Tonic Minor must have in its Signature another Flat, making in all three Flats more, or three Sharps less, than the Major Scale of the same Key Note ; thus.
F Major.
F Minor.
j^-="-
^^m
te
*;
C Major. C Minor.
=i:---=3::fc~:z::
iPiiligjp^
G Major.
G Minor.
In the last Example, the F *, E fc?, and B ti, are all to be considered as Sharps, when contrasted with the F fc), E b» and B b, of the Minor Scale,
CHAP. IV. KEYS.
D Major.
D Minor.
■^m^^m
In this Example, the C fc|, F hj and B b> of the Minor Scale, are all to be considered as Flats, when contrasted with the C «, F «, and B fcj, of the Major Scale.
A Major. A Minor.
iiiiiim
In this Example, the G h, F iq, and C fcf, of the Minor, are all to be considered as Flats, when contrasted with G «, F «, and C «, of the Major Scale.
SECT. Vni.— OF TRANSPOSIl ION, &c.
242. That change which arises from the per- formance of the same Melody in a higher or lower pitch, is called Transpositi&n,
243. Every Melody in a Major Scale may be transposed into any other Major Scale, by altering the Signature according to the pitch of the new Tonic. The same alteration may take place in every Minor Melody. When, how-
N
1S4 II. MELODY.
ever, any tune is performed in the Relative, or in the Tonic Minora which tune was originally Major, such change is not called Transposi- tion, but Variation,
244. When, in the course of a Melody, the Tonic is changed, and the original Scale altered, by the introduction of a new Sharp or Flat, such change is called Modulation, This will be further explained in treating of Har- mony,
245. Every Scale has two others immedi- ately connected with it ; one on the Fifth above, which adds a new Sharp to the Signa- ture ; the other on the Fifth Mow (or Fourth above,) which adds a new Flat to the Signature. These two Scales will, in this Work, be called Attendant Keys ; an epithet given them by Dr. Boyce, in his Manuscripts.
246. As every Major Key has a Relative Minor, and as this Relative Minor has its two Attendant Keys, hence arise, from every Sig- nature, six Scales,^ nearly connected with each other ; three with Major Thirds, and three with Minor Thirds.
* Mr. Keeble (Harmonics, 1784) describes these Scales (p. 68, 71,) and terms them auxiliary. Padre Martini (Saggio> P. II. p. 37,) has given a Table of them.
CHAP. IV. KEYS. 135
247* Of these, two are principal, viz. the Major and Minor of the Signature itself; and four are subordinate, viz. the Attendant Keys, both of the Major and of the Minor : these require another Sharp or Flat, to complete their Scales, when a Modulation occurs.
248. Thus, in the Major Scale of C, its Jt- tendant Scales are G (its Fifth) with one Sharp, and F (its Fourth) with one Flat j to which are annexed the Relative Minor A, and its two Attendant Scales, viz. E Minor with one Sharp, and D Minor with one Flat.
249. The same arrangement takes place in every Key ; and it is necessary to observe, that when the Minor Key is first taken, the Major Key of the same Signature is called the Rela- tive Major, and is found on the Minor Third above the original Minor Key-note.
JS6
CHAP. V.
(9F THE QUALITIES OF THE NOTES WHICH COMPOSE THE SCALE.
SECT. I— OF THE TONIC, DOMINANT, &c.
Art. 250. Every one of the seven Notes which form the Scale of any Key, Major or Minor, has an effect peculiar to itself: from this effedl they derive particular names, which are these,
25 J. I. The Tonic^ or Key-note, before de- scribed (Art. 221, p. 12fJ,) is that chief sound upon which all regular Melodies depend, and with which they all terminate.* All its Octaves, above or below, are called by the same name.
252. II. The Dominant^ or Fifth above the Key-note, is that sound which, from its imme- diate connexion with the Tanic, is said to gov- em it ; that is, to require the Tonic to be heard after it, at the final perfect cadence in the Base.
253. III. The Subdominant^ or Fifth below the Key-note, is also a species of governing Note, as it requires the Tonic to be heard after it in the Plagal Cadence. It is the Fourth in the
* This only relates to the chief Melody, or to its Base ; the internal parts of Harmony, as will be hereafter s^hewn, con- clude upon the Mediant or Dominant.
CHAP. V. QUALITIES OF NOTES. 13?
regular ascending Scale of seven Notes, and is a Tone below the Dominant ; but the term arises from its relation to the Tonic, as the Fifth below.
254. These three principal Sounds, the To» nic. Dominant, and Subdo?ninant, are the radical parts of every Scale ; of the Minor, as well as of the Major. All Melodies whatever are de- rived from these Sounds, and are wholly de- pendent upon them.
255. IV. The leading Note, or sharp Seventh of the Scale, is called, in Germany, the Sub- semitone of the Mode* This is always the Major Third above the Dominant, and there- fore, in the Minor Scales, requires an accidental Sharp or Natural, whenever it occurs.
256. V. The Mediant, or middle Note be- tween the Tonic and Dominant ascending, varies according to the Mode ; being the greater Third in the Major Scale, and the lesser Third in the Minor Scale*
257. VI. The Submediant,* or middle Note between the Tonic and Subdominant descend* ing, varies also according to the Mode, being the greater Sixth in the Major Scale, and the lesser Sixth in the Minor Scale.
* The Submediant in tlie Major Mode, is the relative Minor Key-note ; and the Mediant in the Minor Mode, is the relative Major Key-note.
N2
138
n. MELODY.
258. VII. The Supertonic,* or Second above the Key-note, has seldom been distinguished in England by this or any other appellation. In theory it is considered as a variable Sound, be- ing a Comma higher in the Major Scale than when the Mode changes to the relative Minor.t
259* The effect of the principal Notes above- mentioned may be impressed on the mind by the following short phrases.,
I. Tonic and Dominant. (We praise thee^ 0 God.\)
EE53=
"9
iSSi
II. Tonic and SubdominanL (^Break bis bands of sleep asunder, ^^
igE|^P^J|^
* This is a translation of the French term Sutonique ; and it may be observed, that in the descending Rule of the Octave, the Sixth of the Key might be called Sufierdominant {Sudominante,) from its analogy to this Note. Bethizy, p. 15.
t This alteration is explained by Mr. Maxwell, in the Essay on Tune, p. 23, and by Rousseau, in his Dictionary, art. Dia- commadque.
% Dettingen Te Deum, 1743, No. 17, p. 1. § Alexander's Feast, 1736, Na 66, p. 85.
CHAP. V. QUALITIES OF NOTES.
139
III. Tonic and leading Note. (The people that walked*^
IV. Tonic and Mediant. (Softly sweet in Lydian measures,^)
V. Tonic and Submediant. (In the battle Fame pursuing.l)
m
260. The Signature of two Sharps has been chosen for these Examples, that the effect of the same Tonic (and of its relative Minor in the third Example from the Messiah) may be perceived in performing them all.§
* Messiah, No. 9, p. 43. Hi S. iv. No. 301.
t Alexander's Feast, No.. 66, p. .58. H. S. ii. Na 154;
:|: Deborah, 1733, No. 144, p. 173. H. S. L No. 70.
§ The further utility of these denominations will appear here- after. In Harmony, especially, the terms Tonicy Dominant^ Subdominant, and leading JVote^ -will frequently occur ; the two former, as the principal and governing Notes ; the two latter^, as 'he characteristic Notes cf the Key. (See Art. 191, p. 108.)
140 II. MELODY.
SECT, n.— OF THE CHARACTERISTIC NOTES OF THE SCALE.
261. The leading Note and the Subdomi- nant are the two characteristic Sounds, by one of which every Scale, whether Major or Minor, is known, and its Tonic immediately ascer- tained.
262. Thus, in sharp Signatures, the leading Note is a species of Index, which points inva- riably to the next Degree above, as its Major Tonic : this is always the last Sharp in the Major Mode.
263. In flat Signatures, the Subdominant is also a species of Index, which points to the fourth Degree below, as its Major Tonic : this is always the last Flat in the Major Mode.
264. In the Minor Modes whose Signatures have less than four Sharps or four Flats, the Subdominant, being always one of the natural Notes, is not apparently a characteristic of the Key ; and therefore, in those Modes, the lead- ing Note is the only certain Index from which the Key-note is to be found.
265. The great importance of these two Notes appears evident, when, in occasional Modula- tion, the new Key is required to be found by their assistance. In all flat Signatures (F Ma-
CHAP. V. QUALITIES OF NOTES. 141
jor, B flat Major, E flat Major, &€.) the lead- ing Note is a Natural ; and this is the sharp Seventh of the Key, as in the following Ex- ample :
(See the tall palm,*)
Here the Natural B is the leading Note of the new Key C.
266. In the sharp Signatures, on the con- trary, the Siibdominant is distinguished by a Natural^ and requires, in Modulation, the alteration of the Sharp in the Signature.
(When warlike ensigns,^)
Here the Natural F is the Subdo?ninant of the new Key C.
267. Hence it appears, that whenever the characteristic Note of the new Key is marked by a Natural^ that Natural always has the efiect of a Sharp, or of a Flat; of a Sharp, when it is a leading Note ; of a Flat, when it is a Siibdominant, \
* Solomon, 1749, No. 90, p. 216. H. S. iv. Na 294,
t Art 148, p. 86.
% See the remarks in Art, 97, p. 57, in Note.
142
CHAP. VI. OF AJVCIEMT SIGA^JTURES,
•^^^.^
SECT. L— OF ANCIENT SIGNATURES IN GENERAL.
Art. 268. In the Music of Corelli, Geminia- ni, Handel, &c. the general rules of finding the Tonic, either in the Major Mode, by the cha- racteristic Notes of the Signature, or in the Minor Mode, by the leading Note accidentally inserted, are not always sufficient.
269. When, instead of the complete series of Sharps or Flats of the Signature, the last Sharp or Flat is suppressed, and inserted acci- dentally when requisite (like the leading Note of the Minor Mode,) such deviation from the usual method of Notation, will, in this Work, be termed the Ancient Signature.
270. Thus, in the seventh and twelfth Sona- tas (or Violin Solos,) of Corelli, Opera quinta, the Signatures* appear to be either C Major, or A, its relative Minor ; but the Accidental Notes, C sharp and B fl^t, shew that the real Key is
* Although the term Signature is defined. Art. 228, p. 127» to be the number of Sharps or Flats at the Clef, yet the word will be also applied to the two natural Keys of C Major and A Minor.
CHAP. VI. ANCIENT SIGNATURES. 143
D Minor, and that the B flat, which is used in the modern Signature, is omitted at the Clef.
271. Examples of the ancient Signature of D Minor, may also be found in the third and fifth Concertos of Geminiani, Opera seconda, and in the fourth Concerto of Opera terza. For instance, the first Movement of his third Concerto begins thus :
iEliiiili^lta
Here the Key is known to be D, by the ac- cidental C sharp, and to be also D Minor, by the natural F, which remains unaltered, as in the Signature.
272. The same ancient method of Notation is sometimes found in the Key of G Major, where the Sharp of the leading Note F, is in- serted accidentally when requisite ; as in the following Example from the first Chorus of Handel's Oratorio of Saul, How excellent thy name, 0 Lord, One of the intermediate Movements commences thus :
(The youth inspired by thee, 0 Lord,)
144? II. MELODY.
Here the Key is known to be G by the Sharp before the F, which is used in the second Treble as a Third below the A : and the B natural of the Clef shews it to be G Major.
SECT. II.— OF ANCIENT SHARP SIGNATURES.
273. The ancient Signature of one Sharp, is applicable to the Keys of D Major and B Minor; but the sharp Signatures of this an- cient method are never found in the Minor Mode; for, as the Second (or Supertonic) of the Key would then require an accidental Sharp, the irregularity before-mentioned (Art, 232, p. 128,) would perpetually recur.
274. In the Solos of Corelli (Opera quinta,) however, several instances occur of the ancient sharp Signature in the Major Mode ; viz. the sixth and ninth Sonatas in two Sharps are in the Key of A Major ; and the G sharp is acci- dentally inserted.
275. The eleventh Sonata of the same work bears the Signature of three Sharps, and is in the Key of E Major,* the D sharp being in- serted accidentally.
* Handel's Diiett-, in the Oratorio of Athalia (Jjvs in gentld train ap^iearin^,) ib also In this Key, aiicl has thii> Sigiiature.
CHAP. VI. ANCIENT SIGNATURES. 145
276. The ancient Signature of four Sharps is found in Handers beautiful air, Re77di il sereno at cig/io, from the Opera Sosarmes,* This is in B Major, with the Sharp to its lead- ing Note A<f occasionally inserted*
SECT. III.— OF ANCIENT FLAT SIGNATURES.
277. The objection to the sharp Signatures (Art. 273, p. 144,) does not apply to the Flat, since the Second of their Minor Modes is not affected by the Flat. For this reason, and from the variable nature of the Sixth or Submediant in the Minor Scale (Art. 236, p. 130,) the an- cient flat Signatures are very frequently found.
278. I. The Signature of one Flat belongs to B flat Major and G Minor. The following Example, in the opening of Corelli's fifth Con- certo (Opera sesta,) is in B flat Major.f
iieESEfii
* Introduced by Dr. Arnold, 1786, in the Oratorio of Re- demption, to the words, Lord, remanber David.
t This will l3e mentioned hereafter, as a very striking instance of the use and effect of Harmony in deciding the Key and Mode, independent of the Signature. O
146
II. MELODY.
279. The eighth Concerto of Corelli opens with this Signature in G Minor, as in the fol- lowing Example :*
^mriiiiiip
280. II. The Signature of two Flats belongs to E flat Major.
(Cease thy anguish.^)
Erfiziz
281. The Signature of its relative Minor Mode C, is very common.
(Thejlocks shall leave the mountains, X)
iZTzzzzniw:
iS=MiE
282. III. The Signature of three Flats^ is unusual in the Major Mode of A Flat, hut ex- tremely frequent in the Minor of F. Handel,
* This also depends upon Hannony fcH' the decision of its Key and Mode. The Melody, as it here stands, might be equally in B flat Major or G Minor; but tlie F sharp, which accompanies the C in the second Measure, decides the Kej':.
t Athalia, 1733, No. 3, p. 125. H. S. ii. No. 93.
:j: Acis and Galatea. 1720, Na 30, p, 72. H. S. iv. No. 320.
V.
CHAP. VI. ANCIENT SIGNATURES. 147
indeed, has seldom (if ever) used the modern Signature in this Mode.
(Te sons of Israel.*)
283. In this Example, the E natural is the leading Note, and points to the Key-note F ; of which A flat is the lesser Third, and decides the Mode,
* Samson, 1742, No. 53, p. 172. H. S. L No. 19.
END OF THE SECOKD PART.
148
PART m.
HARMONY.
CHAP. L
OF THE TRIAD.
SECT. I-^OF THE CONSONANT A>ID DISSONANT TRIADS.
Art. 284. Two or more Melodies, heard at the same time, form Harmony ;* and the dif- ferent combinations of Notes in Harmony are termed Chords,
^1^5, The union of any Sound with its Third (Major or Minor) and its perfect Fifths forms the Harmonic Triad,! or common Chord.
* Dr. B. i. 136. Harmony was formerly (according to Tine- tor — see Dr. B. ii. 458) synonymous with Melody, and the term Counttrfioint was applied to what we call Harmony. This term is derived from the ancient Points or Notes, which were placed counter or opposite to each other on the Staff The Examples in this Third Part will be given in Counterpoint ; that is, heads of Notes, without their Stems, v/ill be used.
t Triad, in Music, signifies three different Sounds combined together^ at the dibtance of a Third and a Fifth from the lowest;
CHAP. I. TRIAD. 149
This is termed the Major or Minor Triads according to the nature of its Third.
Major Triad. Mmor Triad
13 5 13 5
286. When the Octave of the lowest Note is added, four Sounds are heard in the Har- mony.
Major commcn Chord. Minor.
287. There are alsa, besides these two Con- sonant Triads, two Dissonant Triads -,* one Diatonic, the other Chromatic.
I. The Diatonic Dissonant Triad, or dimin- ished Triad of the Germans (B, D, F) consists of two Minor Thirds.
* Marpurg (Handbuch, 1755) adopted this classification, which. Kiraberger rejected. KoUmann follows the system of this last ingenious Writer, and considers the diminished Triad 02
150 HL HARMONY.
II. The Chromatic Dissonant Triad, or super- fluous Triad of the Chromatic Scale (C, E, G sharp,) consists of two Major Thirds.
The Consonant Triads are formed of the two dissimilar Thirds, Major and Minor, united ; the Dissonant Triads are formed of two similar Thirds, both Minor or both Major.
288. In the Natural Diatonic Scale (Art. 50, p 22,) there are six Consonant Triads j* three Major and three Minor.
Major Triad. Minor.
All the Major Triads become Minor, by flattening their Thirds j and all the Minor
as a consonant Harmony. The Author of this Work prefers the arrangement of Marpurg, which seems most agreeable to the theoretical doctrine of Harmonics.
* From these Triads are derived the six Scales before-men- tioned. Art. 247, p. 135. The primary and secondary Scales of Mr. Keeble (p. 68,) are reckoned in the Major Mode, 1st, 4th, and 5th C, F, G, 2d, 3d, and 6th D, E, A, ascending, and are inverted in the Minor Mode (p. 71.)
CIL\P.I. TRL\D. 15:1
Triads become Major, by sharpening their Thirds ; thus.
289. The Diatonic Dissonant Triad has (by- license) its Third sometimes flattened and sometimes sharpened ; and thus are formed two altered Triads,* which are very seldom used.
These altered Triads consist of a Major and an extreme flat Third, and are consequently both Chromatic.
290. The Prime^ or lowest Note of the Triads was called by Rameau its fundamental Base.f
* See Heck (Thorough Base,) p. 20. The German Authors term these Triads anomalous. See also KoUmann (Essay on Harmony, 1796,) p. 34.
f The Root being placed one or two Octaves below the Chord of the Accompaniment, makes no difference in its derivation; the radical Base depending always on the three combined Sounds of the Triad, whether in dose or dispersed Harmony. For an account of Rameau and his system, see Dr. B. iv. 609. Sir J. H^ V. 384. See also a veiy satisfactory account of the discoveries of Galileo Galilei, by Dr. Bumey, art. Base fundamental^ in Dr. Rees' Cyclopedia, lately published.
152 III. HARMONY.
In this Work, the term Radical Base, or simply the Rooty will be adopted.
291. The Roots of the two Consonant Triads are easily understood, as every radical Base must have a perfect Fifth ; but the Roots of the two Dissonant Triads (Art. 287, p. 149,) and of the two altered Triads (Art. 289, p. 151,) cannot be explained till the nature of Discords is known.
292. When the three Sounds of the Triad are taken as an accompaniment, and the Root remains in the Base, the Chord assumes three different positions.
1st position. 2d position. 3d position.
e;
The first position is that of 3d, 5th, and 8th. The second, of 5th, 8th, and 3d, The third, of 8th, 3d, and 5th. It must be observed, that the second posi- tion, in reality, consists of the Fifth, Eighth,
CHAP. I. TRIAD. 153
and Tenths and the third position, of the Eighth, Tenth, and Twelfth of the Root; but, as the Tenth and Twelfth are Octaves of the Third and Fifth, and as they are repre- sented by the same letters, they are also called by the names of Third and Fifth, whateveE may be their distances above the Root.
SECT. II.— INVERSIONS OF THE TRIAD..
293. When the lowest Note, instead of be- ing the Root, is the Third or the Fifth of the Triad, such change is termed Inversion,*
294. The Inversions of the Triad differ from its Positions ; as the former relate to the whole Harmony, including the Base, and the latter to the Accompaniment alone, independent of the Base. Hence every Triad has three Positions, but only two Inversions ; for, when the Root is in the Base, the Chord is called Direct, what-
* Dr. Pepusch (p. 8,) calls the two Inversions sufiposed BaseSf and terms the Chord of the Sixth the unccmmon Chord ; not because it is unusual or improper, but in contradistinc- tion to the common Chord, or that of which tlie lowest Note is a fundamental Base (p. 16.)
354 ni. HARMONY.
ever may be the Positions of the Accompani- ment.
295. I. The Chord of the Sixths is the first Inversion of the Triad, when the Base Note becomes the Third of the Harmony, instead of the Root. This Chord, in the figures of Thor- ough Base, is expressed by a 6 : to which also belongs the Third of the lowest Note (or Fifth of the Root ;) and, in the practice of Counter- point, the Octave of the lowest Note is either omitted, or, if four parts are requisite, the Sixth or the Third may be doubled.
296* The same arrangement takes place in the Minor Triad,* and its first Inversion j in
* An ingenious Theorist, Pizzati (Scienza de' Suoni, 1782,) reckons the Minor Triad dissonant (p. 313,) because it does not produce the third Sound of Tartini, &c. On the con- trary, Kirnherger (1774) asserts, that the diminished Triad is consonant y because it is used in Harmoiiical Progression, like Uie other two Triads.
CHAP. I. TRIAD.
155
the first Inversion of the Diatonic Triad, B, D, F, however, the Sixth is never doubled, but the Octave preferred, when four parts are requisite.
iii
m
m
Root
297. A stroke through the figure six, thus g, elevates the Sixth Note from the Base, a Chro- matic Semitone j and, when used on a Minor Sixth, makes it the first Inversion of the Disso- nant Triad 5 thus,
m
When the same mark occurs on a Major
156
III. HARMONY.
Sixth, it makes it the first Inversion of the alter- ed Triad (Art. 289, p. 151 5) thus,
m
These two Chords, which are of great im- portance, will be hereafter distinguished by the names of the sharp Sixth and of the extreme sharp Sixth ; the first always accompanied by a Minor, and the second by a Major Third.
298. 11. The Chord of the Foiirth and Sixths* is the second Inversion of the Triad, when the Base Note is the Fifth of the Har- mony, instead of the Root. It is expressed, in Thorough Base, by a 4 under a 6, and, in four parts, the three positions! of the Triad
* Kirnberger considers this Harmony, when suspended, as dissonant (see Mr. Kollmann, Essay on Harmony, p. 31 ;) but Marpurg has, in the Appendix to his Essay on Temperament (1776,) shewn that the classification of his opponent is not well founded, and that the theory is not strictly true.
t Mr. Shield (p. 3) has given the Positions, without distin- guishing them bv this name ; the hiversions are described by him (p. 26) under the Titles oi* first and second Derivatives.
CHAP. I. TRL\D. 157
are used as its Accompaniment (Art. 292, p. 152,) without any regard (as in the Chord of the Sixth) tO the omission of one Note, or the doubling of another (Art. 295, p. 154.)
f^m^^
6 6 6 6
4 4 4 4
m=~^~<^=^^EEE=^=^
SECT. TIL— OF THE DIRECT AND CONTRARY MOTIONS, AND THE RULES FOR THEIR USE IN HARMONY.
299. Before the Harmonical succession of Triads can be rightly understood, it is neces- sary to explain the different Motions of the parts which constitute Harmony. Two of these are essential, viz. the direct Motion and the contrary Motion.
300. In the direct Motion^ the parts move the same way, ascending or descending.
158 ni. HARMONY.
301. In the contrary Motion ^ one part rises 5 while the other falls.
^=-i— F~^— ''—*— F— -i-^
302. By the knowledge of these two Mo- tions, the power of avoiding many harmonical irregularities may be obtained, and the fol- lowing rules* of Harmony correctly observed.
I. All consecutive Octaves and Fifths must be avoided in the direct Motion.
Octaves and Fifths by the The same avoided by the
direct Moticn. contrary Motion.
II. All unnecessary Skips are to be avoided, and all the Chords are to be taken as closely and as much connected as possible.
III. AW false Relations, (such as the extreme sharp Second, &c.) are disallowed, unless for the expression of some particular effect.
IV. All irregular Motions of the parts in Harmony are to be avoided. Every Major or
* The ten Rules of Pietro Aron (1523, Dr. B. iii. 155) wer^ afterwards extended to twelve. See Cerone (El Melopeo, 1613 p. sn,) and Lorente (El Poixjue, 1673, p. 293.)
CHAP. I. TRIAD. 15a
sharp Interval ought to ascend, and every Mi- nor or flat Interval ought to descend ; that is to say, the pari in which those Intervals are found in combination, is to rise after the Sharps and to fall after the Flat, This rule, however, is always subordinate to that of avoiding Octaves or Fifths,* and is not regarded when the Melody is to produce an effect opposite to the rule. The internal parts of Harmony, however, are to be regulated by these observations.
SECT. I\;— OF HARMONICAL PROGRESSION.
303. The term Fr agression^ will be used, 111 this Work, in contradistinction to the term Modidaiion^l to signify that succession of Triads or perfect Chords, which, by being con-
* Nicolas Burtius (Musices Opusculum, 1487,) the Guido nian adversary of Bartholomew Ramis, was a Pythagorean follower of Boetliius, and admitted no Conscnances but Oc- taves, Fifths, and Fourths. He calls the Thirds and Sixths allowable Dissonances {dissonantia compassibiles^) and has given (fol. e, 5) five Precepts, of Counterpoint, which will ever be classical, particularly that of avoiding Fii'ths and Octaves in succession.
t Tonfuhrung, Koch's Anleitung, ii. 139.
X Tonausweichiing, Koch's Anleitung, ii. 169.
160 HI. HARMONY.
fined to the Scale of the original Key, only admits the Tonic and its two attendant Har- monies, occasionally interspersed with the rela- tive Tonic and the two Harmonies attending on that Scale ; whether the original Mode be Major or Minor.
Although a change into the relative Scale implies a partial Modulation, yet in all cases, where the new Scale remains undecided,* by the omission of the leading Note^ and the origin- al Tonic still continues a predominant Sound, the term Progression will be retained.
304. As the Scale consists of seven different Notes, it is evident that two Triads, which only contain Jive Notes (one Note being common to both,) cannot decide the Key. Hence the fol- lov^dng Examples, although perfectly similar in Notes, appear, by means of the Accent, to be in two different Keys, and are therefore equivocal.
In the Key of G. In the Key of C.
ri^:|:^i:=p:zi^:I:|E=
305. If, however, three different Chords are taken, the Key may be decided : this is per-
* Particularl}^ in Sequences, as v/ill be explained Iiereafter.
CHAP. I. TRIAD.
61
formed by the Progression * of Tonic, Sub- dominant, and Dominant. ^ ,
5Ei;
islf^^E^Eg^Eg
^^Ef^EE3^^EEEE
=z?:±r-=zzz=i=^z=E?=3
306. Thus, in the Tonic Harmony,-j are found the 3d and the 5th
In the Subdominant, the 4th and . Root of
of the
6th
the Scale.t
And in the Dominant, the 2d and 7th
307. The Major Mode, with its relative Mi- nor, and the four attendant Harmonies, may be thus arranged :
Tonic. Dorat. Subdt. Rel.Min. ItsDt. ItsSubdt.
* The following excellent observation of Dr. Pepusch (p. 8) cannot be too often, or too strongly, impressed upon the miixl of tlie Student, viz. all melodies have the perfect
COKCORDS OF THE KEY THEY ARE IN FOR THEIR FUN- DAMENTAL BASES.
t This arrangement is like that before given (Art. 191, p. 108,) 'vhere the Chords are shewn detached in Minims.
1^^ III. HARMONY.
308. The Minor Mode, with its relative Major, and the four attendant Harmonies, may be thus arranged :
Tonic. Domt Subdt RelMaj. ItsSubdt. ItsDt
eE^^=i====T=— =^==^
309. The relative attendant Harmonies are very seldom used, particularly the relative Subdominant, or Second of the Major Mode (as D in C Major ;) but, in modern Music, this Harmony more frequently occurs, and will be further explained hereafter.*
310. The motions of the radical Bases or Roots of these Chords, are reducible to sixy divided into three classes.
I. The Dominant! Motion, or ascent of the 4th or 5th.
II. The Mediant Motion, or ascent of the 3d or bth.
* Dr. Pepusch, although he expressly allows the Harmo- Tiies of A, and of E, in C Major, makes no mention of D, p. 18.
t The Dominant Motion is tlie foundation of the perfect and impeifect Cadences, as the Gradual Motion is of the false and mixt Cadences : these will be explained in the Fourth Chapter of this Pait.
CKAP. I. TRIAD.
16;
III. The Gradual Motion, or ascent of the 2d or Tth.
These may, of course, be inverted, and be- come the same descending ; as the Directs to- wards the remoter distances shew in the Ex- ample.
m
I. Domii ant- Ascent of 4ih,
n. Mediant. 3d,
in. Gradual.
and Cd-
'\^'
^rrzzzrzz:
Descent oi 4th, 5 .,
and 2d.
l=?EE^El=^S=^EE?EHi^E
b^
311. Of these Motions, the Dominant and the Mediant are regular, having a Sound com- mon to both Chords ; but the Gradual is irreg- ular, as the Chords have no connexion with each other.
312. When the Melody moves regularly, by Degrees ascending or descending, the following Progressions* in the Base are often employed.
See Koch's Lexicon, art. Drey klang-, i 491.
164 HI. HARMONY.
I. Dominant Motion by Fourths.
Rising Fourths and falling Fifths.
Ascending Melody.
Rising Fifths and falling Fourths.
:p
II. Mediant Motion by Thirds.
Rising Thirds and falling Fourths, Descending Melody. ^ ^* F- •»- y — ^
Rising Fourths and falling Thirds.
Ascending Melody. ^^ y #• ^
m
IIL Gradual Motion by Seconds.
Rising Seconds and falling Thirds. Descending Melody.
mE^=~tEE=^
Rising Seconds and falling Fourths. Descending Melody.
^.g^gjgj
165^
CHAP. II.
(DF THE BOMIKA.YT SE VENTH, ITS IJ\/TERSIOjYS, RESOLUTIO.V- AjYD OF MQDVLATIOjY.
SECT. I.—OF THE DOMINANT SEVENTH.
313. When a Minor Seventh is joined to the Major Triad, a Chord of four different Sounds is formed, and, as this only occurs when the Fifth of the Key is the Base Note, the Harmony is -called the Dominant'^ Seventh.
The Note which forms the Discord in this Harmony, is the Subdominant or Fourth of the Scale ; and being a Minor Interval, re- quires the part in which it is heard, to descend one Degree.
* The Dominant before-mentioned (Art. 252, p. 136,) de- rives its name from the ancient Church Tones, in which it was the Fifth in the Authentic, and the Octave in the Plagal Scales, but always a Fifth above the final or modern Tonic. Mer- senne, in his leai'ned work, entitled, Traite de I'Harmonie TIniversellc, first published in 8vc. under the assumed name
166 in. HARMONY.
314. In the Major Mode, this descent is a Semitone, as in the following Example :
In the Minor Mode, the E becomes flat, and the descent is consequently that of a Tone.
315. The Major Third of the Dominant, which is also the Sharp Seventh or leading Note of the Scale, must ascend. Thus, in the Major Scale, the two characteristic Notes are united, and form, between themselves, the In- terval of the flat Fifth, of which the Root is the Dominant : thus.
$■
i===i
"W-
316. In all regular progression, the Domi- nant Seventh requires the Triad of the Tonic to succeed it ; and hence its Base-note is called, by Rameau, the governing Note or Dominant of the Key*
of Le Sieur de Sermes (Paris, 1627,) has given the following explication of the term :
" II faut remarquer que le Pseaume est dit se charter en fa, en la, Sec. non qu'il n'ait que cette seule note ; mais pjirce qu'clle est plus souvent repetee que les autres ; de la vient qu' on I'appeile Dominantey car elle s'entend plus souvent que les autres, et gouverne le ton." (P. 248, 249.)
CHAP. II. DOMINANT SEVENTH.
167
317. The Dominant Seventh is used, like all other Discords, either by Transition^ Addition^ or Suspension ;'^ and must in all cases be re- solved^ that is, taken away, by the descent of the part in which it is found. As a passing or added Note, it is employed without prepa- ration; thus.
I. By Transition.
n. By Addition.
318. But, as a suspended Note, it must be prepared^ that is, heard in the preceding Har- monv ; thus.
:E^i=l§j
m
7
-zw-—:
In this instance, the F prepares the Seventh in thejirst Harmony ; is heard as a Discord in the second^ and resolves, by descending to E, in the third.
* Every Discord of Suspension must be prepared, struck, and resolved ; hence arise the three terms, Prefiaradon, Percus- sion, and Resolution, described by Padre Martini, Saggio di Contrappunto, p. 27.
168 III. HARMONY.
S 1 9. There are several other Sevenths, used in Harmony, upon the different Triads of the Scale (whether Consonant or Dissonant,) in both Modes. These sevenths,* although not exactly Chords of the Dominant, are never- theless used in its place, to avoid Modula- tion 'y as will be hereafter explained in the fifth Chapter of this Part, on Sequences. They also preserve a uniform motion in the progression of their Roots, (Art. 312, p. 164,) and, at the same time, produce a Melody, descending by Degrees, in the original Key. These are,
320. I. The Minor Sevenths with Minor Thirds, on the Triads of A, D, and E, which belong to A Minor.f
* M. Framery (Encyclopedic Methodique, art, Dominante) controverts the Nomenclature of Rameau» Bethizy, &c. in ■which these Sevenths are called simfile Dorninants^ and the principal one Tonic Dominant ; and she\vs that the term ought to be confined to the Fifth of the Key: this arrangement is followed in the present V^'^ork.
t The first inversion of this Chord, taken on the Subdom- inant of the Major Key, is in the system of Bameau a fun- damental Chord with the added Sixth. It will hz shewn hereafter, that the Root depends upon the Key or Scale, and that Die Seventh, D, F, A, C, has D for its root in A Mmor, and F for its Root in C Major.
€HAP. II. DOMINANT SEVENTH. 169
321. n. The Major Sevenths with Major Thirds^ on the Triads of C and F, which be- long to C Major. These are often found in passages of Transition, as the Directs shew in the following Examples :
i^
322. III. The Minor Seventh with the Fiat Fifthy upon B.
In C Major. In A Minor.
This belongs either to C Major, or to A Minor, according to its Resolution, as shewn by the Directs. If, however, the Dominant on E should require G natural instead of G sharp (as shewn by the last Directs,) the Chord becomes part of a Sequence, and the Minor Mode of A changes.
323. IV. The extreme Flat Seventh* upon G sharp in A Minor, formed of three Minor Thirds.
q5:zzzzz|:zzzi:iZ!^z=zz
* Or equivc-cal Chord. Shield, p. 122. Q
170 HI. HARMONY.
324. The Seventh, consisting of four Sounds, zdmits of four different Positions ;* thus,
1st. 2d. 3d. 4th.
The first position is that of 3d, 5th, 7th, and 8th.
The second, of 5th, 7th, Sth, and 3d. The third, of 7th, Sth, Sd, and 5the The fourth, of Sth, 3d, 5th, and 7th.
These positions, like those of the Triad (Art. 292, p. 152,) contain the Tenths Twelfth, and Fourteenth of the Root, when the Third, Fifths and Seventh, are taken above the Octave.
* In general, the Octave to the Root is omitted, otherwise a Chord of Jive Sounds would be employed ; a combination seldom necessary. Pasquidi (Thorough Base, p. 20) has uni- formly given the Chord of the Seventh full, with four Notes in the Accompaniment; but this appears irregular, as three Notes are generally sufficient. At a final Cadence, indeed, the Doniinant may be taken thus, D, F, G, B, but then the following Tonic ought to consist of C, E, G, C.
CHAP. U. DOMINANT SEVENTH. 171
SECT, n,— OF THE INVERSIONS OF THE DOMINANT SEVENTH.
325. This Harmony, which consists of four different Sounds, has, consequently, three In- versions, besides its direct form of 3d, Jth, and 7th, just described.
326. I. The Chord of the Fifth and Shth, is the first Inversion of the Dominant Seventh, when the lowest Note becomes the Thirds of the Root. In Thorough Base, it is expressed by a 5* under a 6 (to which the Third is un- derstood,) and, in practice, the Octave of the Base Note is omitted.
=EfEgr=|Ep=E;|z=gEj
6 6 6 6
7 5 5 5 5
:t=±=:?:=z=rz?:=:=z:tz=]
* It is often usual to omit the six, and to express this Chord by a five singly, with the sti*oke throLigh it, thus i[, like the sharp ^ (Alt. 297, p. 155;) and, as this alv/ays implies the flat Fifth (Art. 163, p. 96,) the Sixth and the Third are con- sequently understood. This Inversion is employed in the Hailstone Chorus {Israel in Egypt,) and finishes the Sequence of Sixths, to the words, " ran along upon the ground"
172 HI. HARMONY.
327. II. The Chord of the Third and Fourth is the second Inversion of this Har- mony, when the lowest Note becomes the Fifth of the Root. It ought, according to its derivation, to be expressed by a 3 under a 4 (to which the Sixth is understood ;) but, as the Fourth* (or proper Root of the Harmony) is not pleasing to the ear, it is usually omitted. Thus, the Chord appears as a simple Sixth, and also as the first Inversion of the Diatonic Dissonant Triad, D, F, B.
zliEZ=i?^z=lp:iz:i=|==:l— r|— j
6 4
7 5 3 6 6
m
i — -in .g — :i — # ^ ^ — J
• 'b- ^ J
* Mattheson (Orch. i. 1713, p. 128,) rejects the Fourth from among the Concords, and asserts its dissonant nature. Handel, Corelli, &c. have uniformly omitted it in this Harmony. The theory of the one, and the practice of the others, seem to be, in this instance, justified, by the want of Melody in the in- termediate part, when the Fourth is inserted. In modem Music, however, this Inversion is used complete with consid- erable success, when the Tonic Base both precedes and fol- lows it See an admirable instance in the Opera of Mote- zuma, by Sacchini, at the Chorus, " JVeWorrory p. 62, 65.
CHAP. 11. DOMI>fANT SEVENTH. 173
328. III. The Chord of the Second and Fourth * is the third Inversion of this Har- mony, when the lowest Note becomes the Dis- cord, and the Triad commences on the next Degree above. It is expressed by a 2 under a 4 (to which the 6tb is understood,) sometimes by a 2 alone.
eEEEE=E;=E^Ep>EE>E;tEj
* As the third Inversion of the Dominant produces a very* great effect, the compositions of the best Masters afford fi'equent examples of its utihty. In the last Chorus of the Messiah {Amen,) before the final pause, this Inversion of the Dominant Harmony of A, upon the Base Note G, Is a remarkable instance of the sublimity of Handel
Q2
174 in. HARMONY.
SECT. Ill— OF THE RESOLUTION OF THE DOMI- NANT SEVENTH.
329. The descent of the part in which the Dominant Seventh is found, is called its Res' olution ; and, as before observed, (Art. 314, p 166,) that descent is either a Tone or a Semitone, according to the Mode.
330. This Resolution of the Seventh, occa- sions two apparent irregularities,* viz.
I. The four Sounds of the Dominant, fol- lowed by the three of the Triad ; in which the last Harmony is weakened by two parts be- coming Unison.^
^f=$^-
========i=3E3i3t
■=r?"H^^=^-
BE:?=~E:?EFEE?=:=E=E
* See the remarks cai Pasquali, in the Note, p. 170.
t The Unison parts are placed in the middle Staff, with Stems turning both ways.
CHAP. II. DOMINANT SEVENTH. 175
11. The omission of the Fifth in the Tonic Triad, when the antecedent Dominant is taken without the Octave to the Base ; thus.
►=E|=r=^==^^==g=y
^==g— =:dz=z=£^=^=zz=|E=zii:J;
33 1. When, however, instead of the Octave, the Fifth or Third of the Dominant itself is omitted, the subsequent Triad can be taken complete j thus,.
In all these Examples, the Minor Seventh (or Subdominant of the Scale) descends j and the Major Third of the Dominant (or leading Note of the Scale) ascends.* (See Art. 315, p. 166.)
* Rousseau, art. Sauver — Koch and Sulzer, art Aufibsung^ have written long and useful articles on this subject. See also Shield, p. 69.
176 III HARMONY.
S32. Two instances also occur, when this general rule of resolving the Seventh by the descent of the Melody, is apparently neglected.
I. When, by license, the Base itself takes the Resolution j*
Thiis, instead of
E^=#l^^
^EEgEEpE|=g;
6 4^
11. When, after the third Inversion (Art. 328, p. 173,) the Base, instead of descending a Semitone, descends a Fourth to the Tonic, and another part takes the Resolution ;
Thus, instead of
4 4
2 2 6
m^'Et^~~l^t^'E
■W-
* Kollmann, Essay qti Harmony, p. 38. Holden, p. 65.
CHAP. n. DOMINANT SEVENTH.
/ (
333. A more unusual license is taken in the following Example, from what are called Haydn's Sonatas, Op. 40,* where the Base descends to the Root by the contrary motion^ and the Seventh is resolved by the intermediate part, as shev/n by the Direct.
33;
i=i=Pi=i^3~fei— |:
S34. The same Base, in respect of the let- ters, but in the direct motion (which may be found in some attempts at Composition,) is decidedly false, and ungrammatical (as at A ;) although the very same Melody, on the Tonic Base continued (as at B,) is frequently and very properly employed.
CA)
(B)
-- — i=-
g:=|^:g~rr:
5~i— *--— i
* The two first of these three Scnatas were composed by Pleyel, and only the last in G by Haydn.
178 HI. HARMONY.
335. Not only the Positions of the Domlbant Seventh may be changed, but the Inversions also may succeed each other, previous to its Resolution.* Great care, however, must be taken, in the arrangement of the parts, to pre- vent transgressing tiie rules given, p. 15S.
SSQ, I. The Jirst Inversion, or Chord of the Fifth and Sixths resolves by the Base ascending a Semitone, as in the following Example (at A.)
II. The second^ or Chord of Third and Fourth^ resolves by the Base descending a Tone (as at B ;) and,
IIL The third, or Chord of Second and Fourth, resolves by the Base descending a Semitone (as at C.)
(A) (B) (C)
^=EEE:==Ei=E:^EE:i^=EyE:
664^
.5
337. The other Sevenths (p. 168,) when used in Sequences, have similar Inversions ; and the same method of Resolution is gene- rally applicable to them all.
' * Rameau, p. 84.
CHAP. II. DOMINANT SEVENTH. 179
SECT. IV.— OF MODULATION.
338. As all changes of Key are known de- cidedly by the use of the Dominant Seventh, the different Modulations from both Scales will be now explained.
Modulation from the Major Scale.
339. I. To the Scale of its Subdominant. The principal^ and most simple change of Key, is that which, by adding a Minor Seventh to the Tonic, makes it a new Dominant ; and hence the Subdominant becomes a new Tonic y thus,
b7
i=i=^;
P
340. This Modulation being continued, forms a circle of descending Fifths * (or as- cending Fourths,) of which the following series is part :
M7 ^1 ^1
^wjit—'z—^:z':z—z—^—W—-z^ _s::rzzz?:ii:_:xz:?:z=rzi_zz=zz=:pEzd
b? b7 b7
Shield, p. 46, 78.
180 III. HARMONY.
341. IL To the Scale of its Dominant. The second change is that which, by retaining the Octave of the Tonic itself, as a Seventh, and by making the Base ascend a Tone in grada- tion,* descends from the Supertonic to the original Dominant $ thus,
7
m
342. This Modulation being continued, forms a circle of descending Fifths (or ascend- ing Fourths,) of which the following series is part :
7 7 7
^ !_ ^ ^
'^'
?E=iE~iE='EE?E^EJ
7 7 7
« _ , _ « «
r^—fL—t—i
S^S, These two Modulations are in continual use ; the last, or Dominant change, in the for- mer part of a Movement ; and the first, or Subdominant change, towards the conclusion, to restore the original Tonic. The Subdomi-
■ - - -
> Hoklen, p. 72, art. 210=
CHAP. 11. DOMINANT SEVENTH. 181
nant Modulation only requires two Roots, but that of the Dominant requires three,
344. III. To the Scale of the Subdominant or Relative Minor.*= The third change is that in which the Base rises from the Tonic to the Mediant ; and, making that a new Do7ninant^ by the addition of the Seventh, descends to the Relative Minor Tonic.
345. A similar Modulation being continued, forms a circle of Keys, in which the Major and Relative Minor succeed each other alternately, and of which the following series is part.
|
7 |
t)7 |
7 |
b7 |
7 |
b7 |
|
|
%^ |
SZ^ |
|||||
|
— .— — — |
•_—._. |
This Modulation requires four Roots, pre- vious to the alteration of its Signature ; but the sudden addition of the Seventh (especially after the Minor Tonic,) is rather harsh and unexpected.
* Rameau, p. 67. R
Ig2 m. H,\RMON\^
846. IV. To the Scale of the Mediant^ or Relative Minor of the Dominant. The fourth change is that which, through a previous Mod- ulation into the Dominant, makes the origin^ Mediant a Tonic j thus.
|
TSL |
7 |
|||||
|
** V |
||||||
|
€ i. ■ - |
" |
I* |
||||
|
- ^~ |
■■"' w |
#-- |
||||
|
..... |
•■— |
— .— |
|
..J |
347. V. To the Scale of the SuperiGmc, or Relative Minor of the Subdominant. The fifth change is that which, by making the Submediant a Dominant, forms a new Scale on the Supertonic j thus.
■*7
348. This change, although apparently simple, is in reality very remote, as before ob- served, Art. 309, p. J 62, and will be hereafter more particularly considered.
CHAP. n. DOMINANT SE\EXTH. ISS
Modulation from the Minor Scale.
349. I. To the Scale of its Subdominant. The principal change, like that in the Major ^lode (Art. 339, p. 179,) is made by adding a Seventh to the Tonic, and sharpening its Third, to form a new Dominant j thus.
B
m
350. 11. To the Scale of its Dominant. The Hcond change requires an additional Harmony (borrowed from the Sequence of Sevenths*) to alter its Signature, previous to the use of the new Dominant j thus,
m
This vriil be mere iully esplaiiied hereafter.
184 III. HARMONY.
351. III. To the Scale of its Mediant or Relative Major. The third change is made by the reversed Gradation,* or the descent of a Tone J thus.
S52. IV. To the Scale of its Submediant. The fourth change adds a Seventh to the Me- diant, as in the Minor Modulation before given, Art. 345, p. 181.
hi
m
=^EF^
S53. V. To the Scale of its Seventh. The ffth change, which is very unusual, is made from the original Subdominant with a Major Third j thus,
* Shield, p. 20. Diatonic Succession of Chords. Holden, p. 72. Rameau, p. 116.
\
CHAP. n. DOMINANT SEVENTH. 185
354. Although no Modulation is complete without the use of the Dominant Harmony, which contains always one^ and in the Major Mode both^ of the characteristic Notes of the New Scale (see Articles 261, p. 140, and 3l5, p. 1 66 ;) yet the order in which this Harmony is given in the foregoing Examples, is not in all cases necessary to be observed.
S55. Modulations are continually formed from one Scale to another, by means of Tonic Harmonies alone ^ but, in those instances, it is proper to introduce the new Dominant as soon as possible, to decide the Key ; otherwise, the equivocal eflfect, before adduced (Art. 304, p. 160,) would frequently occur.
356. The limits of the present Work will not allow a more extensive consideration of this important branch of Harmony. The changes here given are the foundation of all regular Modulation ; and, in the Chapter of Licenses^ a more ample explanation of irregular Modulation will be found.
R2
186 CHAP. III.
OF DISCORDS.
Art. 357. Discords are used in Harmony, either by Transition, Suspension, Syncopa- tion,* or Addition.
SECT. I— DISCORDS OF TRANSITION.
358. Any Note which passes by one Degree between the other Notes of the Triad, forms a Discord of Transition ; and, if found on the weak part of the Measure, is termed a passing Note.
(Handel^ 4tb Sonata,^)
^=EcSESi
The following radical Base shews which are the Discords of regular Transition, and which are Concords, in the preceding Example.
e
fe:
BE
* The Discords of Suspension and Syncopation must be reg- ularly prepared, struck, and resolved (Art. 318, p. 167;) but those of Transition and Addition require, as their names infiply, 5iO preparation.
t Dr. A. No. 47, p. 29.
CHAP. III. DISCORDS.
187
359. The Notes of irregular Transition are found on the strong parts of the Measure, and are called by the Germans, Changing Notes, (Art. 106, p. 63.)
In the following Example, a particular in- stance of irregular Transition occurs.
'^^^^mm
{Overture to the Messiah.)
_^ J y^
3ioi=:pz=ii:zii=z=Ez3iizEzz:p:i:zjEz:]
«
The last Note but one (viz. the F sharp) is here taken as a Discord by irregular Transi- tion, which the radical Base placed below de- monstrates.
360. The Notes of regular and irregular Transition are intermixed in the following passage.
HI. HARMONY.
(Thus saith the Lord,*^
361. In modern Music, all the Discords of Transition may be reduced to Appoggiaturas or After-notes (Art. 105, p. 63.) Thus, the Quavers in the following Phrase may be turned into Crotchets preceded by Appoggiaturas.
(Pleyers Sonata 1 , to the Queen*)
Rondo.
i^iiii^iiJii
362. The reduction of this Phrase shews the real Notes of the Harmony, and explains the nature of irregular Transition,! in which Ap- poggiaturas are always employed.
-X ± i
-e-
* Messiah, Dr. A. No. 6, p. 19.
t Morley observes (p. 81) concerning Passing Notes, that it is impossible to ascend or descend in continual Deduction
CIL\P. III. DISCORDS.
189
363, When the Notes of Transition are pro- longed, they appear as integral parts of the Harmony, and are sometimes marked* with the figures of Thorough Base ; thus,
(Corelliy Concerto Stb, Dr, Pepusch^s edition.)
f I I
iHiiiEife^
se±:
=.'^—:
without a Discord;" but he seems to condemn (p. 79) those ■which are now teraied Discords of irregular Transition. See some excellent remarks on these Discords in Dr. Bumey, ii. 462.
* A stix)ke also drawn over the Notes, instead of the figures, is used as a mark, to shew the continuance of the first Harmony. Emanuel Bach (Versuch, 2d Part, p. 25) has pro- posed several methods of distinguishing the Notes of irregu- lar Transition from those of the Harn^ony. He prefers the oblique stroke ; a specimen of which may be seen in Heck, p. 12. Mr. Kollmann (Essay on Harmony, p. 50) has explained the two kinds of Transition in the class of Accidental Chords.
1^90
HI. HARMONY.
These two intermediate Notes between the Tonic and the Dominant descending, are Dis- cords of regular and irregular Transition. They are explained by an After-note and an Appoggiatura, as in the following Example :
=±h—^±=t^z±z
364f. The same Base Passage (a Semitone lower in D Major) is employed by Handel ; in which the Notes are not transient, but each bears its own proper Harmony, according to the reversed Gr^idMon from the Dominant.*
(Hallelujah — Messiah.)
^m
r r f ^
r-"-r
* The Hypotliatonic Cadence of Mercadier de Belesta (1776, p. 28;) a progression which will ever remain claasical^ notwithstanding the objection of M. La Borde, and his re- marks upon M. Levans, iii. 646, 654. (See also Lampe's Tho- rough Bass (1737,) p. 26.)
CHAP. ni. DISCORDS. If 1
365, In passages of double Transition, par- ticularly when regular, the slow time of the Note does not affect the Harmony of the Root, as in the second measure of the following Ex- ample :
(He was bruised — Messiah,^
:p=(t:
1 ^ 5 6 6*5 9 8 ^ 3 4 b3
3
4-k- — 13 J—
/7 5 u 9 8
^ 3 ^ b
366. in this passage, the Harmony of D flat is succeeded by that of F, and the transient Fourth and Sixth are unnoticed in the radical Baseo
192
III. HARMONY
SECT. IL— DISCORDS OF SUSPENSION.*
1. Of the Fourth,^
367. The Fourth^ accompanied with the Fifth and Eighth, is an Appoggiatura, con- tinued in the place of the Thirds on the strong part of the Measure. It is generally prepared, and is resolved by descending one Degree.
t'
(Corel! 1 9 Concerto 10, p. 140.) 43 43
§1111^1:11111
368. It has two Inversions, viz. the Second and Fiftby which suspends the Sixth (Art. 295,
* While Ramcaii, iii France (1722,) was confusiiig his Sys- tem "with a false Theory of these Discords, Fux^ at Vienna (1725,) explained them in a few words, as simple Retardations of the following Note: "Notas ligatas haud aliud esse, quam Notse sequentis Retardationem." P. 70.
t This Chord, under the title of eleventh Heterodite (that is, used only in part, or in an imperfect state,) makes a con- spicuous figure in the Theory of Rameau. P. 41, 96, 98, 8cc.
CHAP. III. DISCORDS.
193
p. 154,) and the Fourth and Seventh^ which suspends the Fourth and Sixth (Art. 298, p. 156,) the two Inversions of the Triad.
1st Inversion.
2d Inversion.
m
EIBg^g-eE^EEE^j
II. Of the Ninth. "^^
369. The Ninths accompanied with the Third and Fifth, is an Appoggiatura, conti- nued in the place of the Eighth. It is, like the Fourth, generally prepared, and always resolved.*
* The intermixture of the Discords of Supsension with those of Transition, is beautifully exemplified in the opening cf Pergolesi's Stabat Mater. (See Mr. Shield, p. 66.)
1^94
m. HARMONY.
(Corelli^ Concerto lOtb, p. 140.)
I J
1-^iS-
=pr:±=p:=:p=r^=
pi_?-E:^-:i- -i--^
"^>
9 8
9 8
370. The double Suspensions of the Fourth and Nintb, and of the Seventh and Ninth, fre- quently occur. An early exainple is found in €arissimi.*
K — !l-:H-i"P~-b»*--i —
* See his " Plorate filix Israel," pointed in Kircher, i. 604. This passage is also used by Corelli, and bv Hanc'el, in Sam- son, "Hear Jacob's God," ' Sec. Dr. B. iv. 146. Sir J. H. Jv. 92. La B. iv. 460. (See also Rameaii, p. 97.)
CHAP. IIL DISCORDa
Ids
371. The Chord of the Ninth has two In- versions ; one figured with a Seventh^ followed by its Resolution the Sixth, on the Third of the Root ; the other figured as Fifth and Sixths on the Fifth of the Root.
372. The following Tonic Pedal or Organ- point, is a very important study for the Chords of Suspension.*
(0 the pleasure of the plains. ^y
I I
'3:±z=i=ii:4:irJeri;ii-zi=fc
iliiiiiiiiii
5— 6 — 5 — 4 — 3 43 5443 32 1
7 — 9 8 4 3 6 5
\ Radical Base.
* The Abbe Roze (see La Borde, torn. iii. p. 476) shews clearly that these passages form a species cf Sufiiiosition^ in which the Holding Note is not considered in the Radical Base, art. 9, p. 482.
f Acis and Galatea. Dr. A. No. 28, p. 8. See a similar pas- sage in the celebrated air of Vinci — " Vo solcando im mar crudele." The remarks of Tarlini (p. 148) are also impoitant.
196 HI. HARMONY.
III. Of the Appoggiaturas of Suspension,
373. Although every Note of Suspension may be reduced to an Appoggiatura,* yet, in modern Music, some Notes are more particu- larly used as such than others, and differ from those just described by greater freedom in their resolution.
374. Any part of the Dominant Seventh may be retained on the Tonic Base, and afterward proceed according to its proper motion, (Art. 33], p. 175.)
375. The Ninth also may resolve by ascend- ing into the Tenth, and the sharp Seventh (or leading Note) must resolve by ascending into the Eighth.
* The opinion of Emanuel Bach is very decisive on this subject ; he even agrees with Fux, &c. that all Ligatures and Dissonances may be reduced to Appoggiaturas.
"Man kann alle Bindungen und Dissonantien auf diese Vorschlage zuruck-fiihren." — Fersuc/i, p. 45.
This is, however, extending the term somewhat too far, as the essential Sevenths of Kirnberger, which are used in the Sequence of descending Fifths (Art. 383, p. 200,) cannot be considered as Appoggiaturas {Verschlagc,) although they are bound by the Ligature {Bindung.)
CHAP. m. DISCORDS.
197
376. In this ascending Resolution of the Dominant Seventh, the figure of the suspended Ninth often becomes a Second ;* thus,
377. In Diatonic Sequences, as will be shewn hereafter, every Note of the Scale may- bear single or double Suspensions.
All these Notes are nothing more than the retardation or retention of a Sound, longer than the duration of its own Root, upon a new radical Base.f
* In modem Music, the whole H^nnony of the Dominant is often retained m the place of the Tonic, and the radical Base Note of the Tonic itself suspended tiU the latter part of the Measure. This will be further explained in treating of the ensure.
-j- That peculiar effect which is produced from an internal Melody by the employment of Suspension, has been well de- scribed by Rousseau, art. Unity of Melody. In this valuable ar- ticle, while he wishes to exalt his favourite branch of Music, Melody, at the expense of Harmony, he actually proves the superiority of the latter, and praises these beautiful effects which, without Harmony, could not exist. S 2
198
III. HARMONY.
IV. Of Anticipation^ &c.
S78. When a Note is diminished by half its value, and the following Degree . employed to fill up its time upon the former Base, such change is termed Anticipation. These antici- pated Notes are considered wholly as relating to Melody, and are not noticed by the figures of Thorough Base.
|^ESEi|E|E:3=3E±=|4=i=33
379, In the foregoing example, taken from the Lexicon of Kochf (article Vorausnahme^ the first Measure (A) contains the simple Notes ; the second (B) shews the Anticipation in**- Quavers; and the third (C) repeats the same Anticipation in syncopated Notes.
* The term Anticifiation is used in a different sense by Heck, p. 53.
t Anticipations are considered by Koch as After-notes, ■which may be tied on to the chief Note of the following Melody.
CHAP. III. DISCORDS.
199
380. The Postpositions of Dr. Pepusch,* are in reality nothing more than irregular Suspen- sions, being the reverse of the Anticipations^ and used in the following manner :
^=Piii^E^=i
m
381. Many other Chords of Suspension may be formed, by combining all the preceding in different ways. Hence arise the Second and Third,t the Sixth and Ninth, &c. &c. ; which may be found in Kirnberger, Kollmann, Shield, &c.
* Treatise on Harmony, IfSl, p. 49. '^Postposition^ or Retardation of Harmony, is the putting a Discord upon the accented part of the Bar, followed by a Concoixi on the next unaccented part, but net prepared and resolved according to the rules for Discords." Example 150, 131, 132.
t This Chord, which arises from a Suspension of the Base, is described by Emanuel Bach, p. 91 ; Heck, p. 54 ; and Shield, p. 50.
200 HI. HARMONY.
SECr. III.— DISCORDS OF SYNCOPATION.
S82. The Discords of Syncopation* only differ from those of Suspension! by constitut- ing part of the radical Harmony, and by not being merely Appoggiaturas.
383. The Diatonic Sequence of Sevenths, is one of the principal passages in which these Discords are used.
j/^^ I r^ . ./"^ . ,
7 7 7 7 7 7
384. The German Authors, previous to the writings of Kirnberger (1774,) seem to have classed the Discords of Suspension with those
* The term Synco/iCy or Syncopation, signifies the division or cutting through a Note by a Bar, or Accent expressed or un- derstood.
t The term Susfiension is used in its most extensive sense in a former article (p. 167, Art. 317,) for the purpose of shewing the difference between prepared and unprepared Discords.
CIL\P. m. DISCORDS. 201
of Syncopation ;* but his arrangement of Chords, into essential and accidental^ establishes that difference between them which is adopted in this Work.
SECT. IV.— DISCORDS OF ADDITION.
385. When any Discord which has not been heard in the preceding Harmony, is united to the perfect Triad, it is termed in this Work a Discord of Addition,^
386. The Discords of Addition are the Sev- enth^ the Ninths both on the Dominant j and the Sixth on the Subdominant ; these are par- ticularly useful in distinguishing those two Harmonies from that of the Tonic.
I. Of the added Seventh.
387. The whole Second Chapter of this Part^ from p. 165 to 185, relates to the Dominant
* Heck places them together, p. 13 ; and Heck was well versed in the Musical Literature of Germany.
f The Discords of Addition^ although implied in the writings of Morley, p. 143; Simpson, p. 67; Pepusch, p. 40, 168, Sec. were not fully established until IVIr. Holden's Essay appeared in 1770. The term Addition is now adopted in France by M. Langle (1801,.) but in a less extensive sense.
202 m. HARMONY.
Seventh, particularly Art. 317 r where the dif- ference between the added and the transient Seventh is shewn. The third Section, p. 174, treats of its Resolution ♦ which term is equally- applied to the descent of the Seventh, whether used by Transition, Suspension, Syncopation, or Addition.
IL Of the added Sixth.
388. As the Dominant Harmony is distin- guished from that of the Tonic by its added Seventh^ so the Subdominant is distinguished from the Tonic, and from the Dominant, by its added Sixth.*
389. Whenever the Melody of a single part (as at A,) or the Harmony of the whole (as at B,) requires it, the Subdominant may have its
* Theorists are divided m their opinions concerning the Root of this Chord; but a great majority of Authors are in favour of its derivation from the Second or Superionic of the Key. (See Shield, p. 21, 22, &c. 8cc.)
Rameau seems to haAe been the first who classed it as a theoretical Chord ; but Morley (p. 160, 2d edit.) gives a speci- men of its practical use, and even allows it in Count er/ioint^ where Concords are chieHy employed. Holdcn follows D'Alem- bert and Serre, and inclines to the doctrine of Double Funda- mentals. Marpurg and Kirnberger unite in rejecting this Chord as an addition, and both censure Rameau.
CHAP. m. DISCORDS.
20S
own Sixth (or Supertonic of the Scale) added to its Triad,
(A) (A)
^=z^:izz?zz?^:iz:^zz?;izztz:t±ri:zdJ
6 5
©-+-
Sixth added for the Melody.
(B)
'■B^ —
-e —
0
^^ilHI^I
Sixth added for tlie Harmoni/.
390. The Fifth and Sixth on the Subdomi- nant may be prepared by the Tonic, by the Submediant, or by the Dominant,* as radical Bases ; thus,
* The preparation of the added Sixth by the Dominant, is found in the final Cadence of Steffani's Motet, Qui diiigit
204
III. HARMONY.
S=ii^ eIPe ii=l^
'D 6
5
D 6 5
•a-
6
By the i on/c. By the Submediant. By the Dominant,
S91. This Discord may resolve two ways, VIZ. into the Tonic (on its second Inversiony) or into the Dominant Harmony.*
— rozziizzDzz::
) — p. ^ —
a— *~e —
6 6
5 4
lEpElilEJ
^EEiE|EgEj iEElEl^^
Added Sixth. Tonic.
Added Sixth. Dominant.
392. The Inversions of this Harmony are seldom used ; one instance, however, occurs in Handel's Overture to Esther.
* Rameau has resolved it also into the Tonic Base, as an irregular Cadence. (See also Playford (1700,) p. 163.)
CHAP. in. DISCORDS.
y r ■ I \.^^^
393. When this Harmony appears in the form of a Seventh on the Supertonic, it fre- quently constitutes part of the Diatonic Se- quence of Sevenths, and, as such, may be ac- counted radical^ like the diminished Triad of Kirnberger.
7 7
6 7 7
^IpHip^Hi
206 ni. HARMONY.
394. Rameau"^' estimates the Root of this Harmony by its Resolution, calling it D when followed by G, and F when followed by C. Heck t considers it as a compound of both the Harmonies of D and of F. Dr. Boyce (in his MSS.) and with him the Author of this Work, thinks, that the Root is decided by the Scale of the Key in which it is found ; thus.
._j^_j_g__g_^_^zjj=gz|-^=g:J=o=B
7 1
#
D in A Minor. F in C Major.
395. Koch, in his Lexicon (art. Verbindungs Accord,) has placed his accidental \ Harmonies
* Rousseau, Art. Double Emfiloi.
t Heck, p. 74, says, "The ascending Fourth of the Scale bears its own natural Harmony with an additional Sixth, in order to prepare the succeeding Fifth, and is thus compounded of two common Chords, tliat dL D and F."
X Koch terms the three Harmonies of the Key essentia^ and the thi-ee relatives accidental, (See before^ Art. 305, p. 160.)
CHAT. ffl. DISCORDS. 207
in a different point of view. He considers them as connecting Chords, and seems to agree with Kirnberger,* who asserts that, by a spe- cies of Transition, the Harmony of the Triad is thus united to another of its Inversions.
* r "P"
6 &
5 4
m
In these Examples, the middle Harmony is said to pass^ or to be wholly transient.
396. Which of these opinions is nearest the truth, the Author does not at present presume to decide ; but the consideration of the Minor Mode with the imperfect Fifth on its Super- tonic B, authorizes him to assert, that the sys-
* See Kirnberger (die wahren Grundsatze, p. 34.) Heck thinks that the Seventh used by Transition (as in this^ passage) does not resolve at all (p. 14.)
Keeble also (p. 90) has accounted for this Seventh in a imilar manner, under the name of Extaision.
208
III. HARMONY.
tern which makes that Note a radical Base, cannot be true.
A Minor.
S
izzzo:
--r
7 ^
m
:^.——z—ii
III. 0/ /Z'^ added Ninth*
397. "When to the Chord of the Dominant Seventh, the Ninth is also joined, a Chord of five Sounds is formed. It rises from the Root by regular Thirds,! in the following manner :
-Q- -Q-
Iii C Major. In A Minor.
* M. Langle (Nouvelle Methode pour chifFrer les Accords, Paris, 1801,) has completely overthrown the doctrine of Ra- meau concerning Supposition, and the absurdity of imagining Sounds wide?' a fundamental Base.
t The constmction of all Chords by uniting Thirds, was a favourite notion of Rameau's ; it has had some success ; but
CHAR itL DISCORDS. 209
398. This Harmony being generally used in four parts, the radical Base is commonly omit- ted ; for the leading Note is always sufficiently powerful to guide the ear to its proper Root. In this form, the two Chords have been already described, x^rt. 322, and 323, p. 169.
399. The added Ninth* of the Dominant is really the Submediant of the Scale, or Sixth from the Tonic ; it is consequently Major in the Major Mode, and Minor in the Minor Mode. Thus, although there is but one added Seventh^ there are two added Ninths.
400. The omission of the Root forms a Chord of the Seventh (Art. 322, p. 169) on
the simplicity of Kiraberger*s system of Suspension has evinced its fallacy, particularly in the Chords of the Fourth and Ninth. Marpurg extended it beyond the Chord of the Eleventh to that of the Thirteenth ; but it will not be easy to find examples to justify any addition after the Mnth.
* Mr. Kollmann (Essay on Harmon^-, p. 43) tei-ms this Ninth a Suspension of the original fundamental Note. Such is also the System of Kiruberger (p. 19 ;) but the Nomenclature is defective, since the above Harmony is used generally with- out preparation, and in some instances actually rises fron% the Dominant by thirds. See Handel's Chorus in Israel in Egypt. — '* The Jieofile shall hear,^^ at the words, " till thy fteofilc fiass over.'^ — See also the opening of Haydn's celebrated Overture in D, composed for Bach and Abel's Concerts; where, upon a Dominant Pedal Base, the Fourth is suspended, and the .Vinth added. ,,
T 2
210 III. HARMONY.
the Leading Note, which may be known from the other Sevenths (either of the Sequence or of Suspension) by its resolution into the Tonic. It may sometimes be prepared, but is generally used without preparation.
<H 1-
7 7 .
— a-+ — " — -H — ^ d
Prepared. Unprepared.
401. None of the Inversions of this Seventh are employed in the Major Scale, but all are used in that of the Minor.
402. This Chord has been considered as a combination of the Dominant and Subdomi- nant Harmonies, since it contains the B and D of the former, and the A and F of the latter, while the resolution of D and F falls on the same Note.*
* This explanation of tlie Chord corresponds with the sys- tem of M. Bemetzrieder, whose Calis (Appels) are precisely the four Sounds of this Harmony. Legons de Clavecin,
CHAP. UL DISCORDa 211
Dominant. Subdominant. Union. of both.
403. It is observable, that the above com- bination of Sounds includes every Note of the Scale, excepting the three Notes of the Triad on the Tonic, and that it also decides the Mode of the Scale, since the Sixth or Subme- diant is part of the Chord of the Subdominant, which is Major or Minor, according to the Key (Art. 399, p. 209.)
404. The same Chord in the Minor Mode, consists of three Minor Thirds ;* and its ex- treme Notes are the sharp Seventh and Minor Sixth of the Scale. It is of such great impor- tance in modern Music, that it is termed the di- minished Seventh (Art. 323, p. 169,) or Equiv- ocal Chord. In the resolution of its parts, it
p. 220, Paris, 1771. Translation by Bernard, 1778, (p. 317.) The union of these two Harmonies, G and F^ is a system far more plausible than the combination of D and F in the added Sixth (Art. 394, p. 206.)
* Rameau, p. 100, terms this Harmony a bor rowed Chord, because the Dominant " lends her Fundamental to the sixth Note of Minor Keys." This explanation is very obscure, although it is finally reducible to the theory of Kimberger. (See Art. 399, p. 209.)
212
III. HARMONY.
conforms to that of the Major Chord in the last Example (Art. 402, p. 2iO.)
:§:
}-m
405. This Harmony has a great advantage over the former (Art. 402,) since it decides the Key ; for the Harmony of B v^ith a Seventh, may be in A Minor or in C Major.
:5:=:-J:i;1:=q:i:
u:ct::3
It:
Added Sixth. Radical Base D.
Added Ninth. Radical Base G.
Added Ninth. Radical Base E.
But the Seventh of G sharp can only be found in the Key of A Minor.*
406. The radical Base of this Chord may be found in extreme Modulations by two methods.
I. By the Major Third below the last Sharp.
II. By the Semitone below the last Flat.
* J^ce the Note in the preceding page.
CHAP. in. DISCORDS. 2 1 3
When Naturals occur, the observations con- cerning them (Art. 97, p. 57) must be strictly regarded.
407. This Chord is not only considered as a direct Harmony, but all its three Inversions are occasionally employed.
"tSsCJ Vf!\
6 6
i§ 41- 4
7 5 3 ^2
m
Supposed First Second Third
Radical. Inversion. Inversion. Inversion.
408. In those Keys where the Clef does not agree with the Modulation, the second Inver- sion* requires a Flat or Natural under the sharp Fourth.
* The effect of this Harmony is truly sublime in HandeFs Deborah. See the first Chorus, "immortal Lord," at th-e words, " whose anger, when it awful glows,"
214
IH. HARMONY.
-m
- - - -y j- t-
4f « b 6
iaigEli^^g^^iisfl
409. These two Chords of the added Ninth have been termed Chords of Major and of Mi- nor Substitution ;* since they are considered as derived from 'the Dominant Seventh, by substituting the Ninth in the place of the Eighth,
They are also styled Chords of borrowed Harmony ; since the Seventh and Ninth are
* The Abbe Roussier (Traite des Accords, 1764, p. 158) seems to employ the terms Substitution and borrowed Harmony {Emprunt) as Synonymes. Neither term is found, as an ar- ticle in the Dictionary of Rousseau. (See Holden, p. 100.)
The principle of Supposition, from which Rameau has deduced these Chords, by placing Sounds below the Funda- mental, is now (except in Pedal Harmonies) deservedly foi'- gotten.
CHAP. m. DISCORDS. 21 S
supposed to be derived or borrowed from the Subdominant.*
4 1 0. All these Chords are liable to have any of their Sounds suspended on the following Tonic Harmony; and hence arise many fig- ured Bases, too numerous to be inserted within the limits of the present Work.
"^ Mrs. Gunn (Introduction to Music, 1803, p. 207, 209) h^s given this explanation ©f borrowed Hannony^ which differs from the original idea of Rameau, although it is not inapplicable te the combination. (See Art. 402, p. 210.)
216 CHAP. IV.
OF CADENCES.
Art. 411. A Cadence * in Harmony consists of two distinct Chords (the last of which is generally accented,) and is used to terminate the Sections and Periods of Musical Rhythm.
SEx3T. I.~OF RADICAL CADENCES.
412. When the Bases of both Chords are the Roots of their respective Triads, the Cadence is termed Radical; and, of these radical Ca- dences, there are four in general use, the Per- fect, Imperfect, False, and Mixt ;t to these may be added the Flagal or Church Cadence, which is only a variation of the Imperfect j and the Authentic^ which is only the ancient term for the Perfect,
* The term Cadence was formerly applied to the final Melody of a Musical Close. See Morley, p. 73, and Butler, p. 66. The Germans adopted the Latin word Clausula in the same sense. See Walther's Lexicon, 1732, p. 171.
t Sec the origin of the Cadences before explained. Art 310^ p. 162.
CHAP. IV. CADENCEa 21 V
413. I. The Perfect Cadence* consists of
the Dominant Harmony, followed by that of the Tonic j thus.
^ ^9 + 2=
B=^i
^3s^ \—a— ^ —
In C Major. In A Minor.
The first or leading Harmony is always Major.
414. II. The Imperfect Cadencef consists of the Tonic, followed by the Dominant with- out its added Seventh, and is the former Ca- dence revefsed,
* See Rameau, p. 38, of the perfect Cadence.
t This is tei-med by Rameau (p. 43,) the irregular Cadence, and he wishes extremely to have the Sixth added to tlie lead- ing Chord. This fancied impixDvement has been, with g^at propriety, rejected by subsequent Theorists. See Kimberger, Die Kunst, p. 97 ; and Kollmann, Essay on Harmoi^y, p. 59.
U
:218 in. HARMONY.
lEEfekp S=i=lii^
■o- _ ^
B=E=I^ ^^
i^
In C Major. In A Minor.
The second or final Harmony is always Major.
4 J 5. III. The False Cadence* consists of the Dominant, followed by the Submediant (in Diatonic Gradation) taken in the place of the Tonic. In the Major Mode, this Cadence forms the Interval of a Tone ; in the Minor Mode, only a Semitone; and it is used instead of the perfect Cadence, from which it is de- rived.
In C Major. In A Minor.
* The false or flying Cadence is placed by Rameau (p. 87) among the Licenses.
CHAP. IV. CADENCES. 219
416. IV. The Mixf Cadence* is the Direct Gradation of the Subdominant to the Domi- nant, and is used instead of the imperfect Ca- dence, from which it is derived.
yy^ Ie
eEEiE
^1^ OEEjEI^
111 C Major. In A Minor,
417. The Plagal Cadencef only differs from the Imperfect as to its place in the Scale, be- ing the progression of the Subdominant to the Tonic. This is used as a final Cadence in Church Music, particularly in the Hallelujah
* Tartini, p. 102. Rameau has also mentioned another Cadence, which he terms interrupted {biterromfiuey) from the Dominant to the Mediant. (Code de la Musique, 1760* p. 88.) — Of this progression at a RJiythmic Close there are few, if any, practical examples.
t This is tlie Cadenza Aritmetica of Tartini, p. 103. For the etymology of the terms Plagal 2l\\6. Authentic^ see Dr. Bumey, ii. 13. See also the Rev. Mr. Jones of Nayland's Treatise (ir84,) p. 20 ; and the Cadence he alludes to in Dr. B. ii. 484.
220
in. HARMONY
Chorus, Messiah, and in the Coronation An- them, Zadock the Priest.
—e
SEEi;
In A Minor.
In C Majca*.
The final Chord of this is always Major.*
418. The Authentic Cadence is the same as the Perfect (Art. 413, p. 217,) and is only so (See Art. 177, p. 102.)
termed in contradistinction to the Pla^al.
o
* Hence arises the necessity of varying the Third of the last Harmony in the Minor Mode, and of changing it to the Ma- jor Third. Dr. B. iii. 114. See also the observations of Mr. Shield, p. 40. Formerly it was usual to terminate eveiy piece of Music with the Major Third, whatever might be the CSi-
deiice. (See Pad:^ INlartini, Saggio 1, p. 14, 23.)
CHAP. IV. CADENC^ 221
^GT. IL-jOF medial CADENCES.
419. When the leading Harmony of any Cadence is not radical, but inverted, the Ca- dence is, in this Work, termed Medial^ and is used to express an incomplete Close.
420. L Cadence of the Leading Note.-^ This is the first Inversion of the Dominant, and is used instead of the perfect Cadence.*
^giiiSgg
6 5 4 6
5 6 3 2 5
421. II. Cadence of the Sharp Sixth. — This is the second Inversion of the Dominant, and is sometimes used as a final Cadence on
* See examples of all these Cadences in Handel's Judas Mac- cabsus, "We worship God." Dr. A, No. 42, p. 144.
U3
222 III. HARMONY.
the Tonic, as in No7i Nobis Domine ;* but more generally on the Sixth of the descending Scale, when it commonly bears a suspended Seventh.
s:=:dr:
6 6 6 1^
l^^Hi^iii
422. III. Cadence of the Major or Minor Sixth » — ^This is the first Inversion of the mixt Cadence, and is chiefly used in the Minor Mode. It is also liable to the antecedent Sus- pension of the Seventh.
* Dr. B. il 305. iii. 92. Sir J. H. iil 289.
CHAP. IV. CADENCES.
22S
-©- VC(0 I III
=i==i:^:=5j=dzi=dr=i=iri~o:=M -rg-rt— e:-ji — P-f-p g^-T:^§:Tfl
iiHieiiliiii
7 6
423. These Cadences may also become pro- tracted^ by using other Harmonies on the Dom- inant. Thus is formed what Dr. Pepusch calk the Grand Cadence.*
m
I
5 6 5 5 3 4 4 3
r
m
::ziz=q:
424. To these may be added those decep-
* Godfrey Keller (1731, p. 161) caUs the 5th and 4th Cadence, common; the 6th and 4th Cadence bears its own name; and that given in the Example above, is called the Great Cadence. (See Dr. Pepusch, p. 55.)
224
III. HARMONY.
iive^ Cadences, which, by varying the final Chord, avoid the final Close.
6 5
4 S 6
6 5 4 3 6
6 5 4 3 6
* Antoniotto, p. 99,
225
CHAP. V,
QF SEQUEJVCES.
Art. 425. Any similar succession of Chords in the same Scale, ascending or descending diatonically, is, in this Work, termed a Se- quence,*
426. All Sequences are particularly distin- guished by the irregularity of making the Leading Note a temporary Root, to avoid Mod- ulation out of the original Scale.
I. Of Dominant Sequences.
427. The principal descending Sequence is that of Sevenths ;t an example of which has been already given (Art. SS2^ p. 200,) derived from the progression of rising Fourths and falling Fifths in the Dominant Motion (Art, 312, p. 164.)
* The great distinction between a Sequence and a Modu- lation, consists in the Scale or Key remaining unaltered in the Sequence, and being changed in the Modulation. (See Art. 303, p. 160.)
t Dr. Bumey calls it a chain of Sevenths, ii. 217. Tlie term Sequence was probably fii'st employed by Pasquaii. It is found in Rameau (p. 10,) in. the more extensive sense of Pre- gi'ession.
226
III. HARMONY.
n. Of Mediant Sequences,
428. The principal ascending Sequence is that known by a 5 followed by a 6, on a grad- ual Progression of the Diatonic Scale. It is derived from the Mediant Progression (Art, 312, p. 164.)
In this, and the following Examples, the Directs shew the Radical Base.
-Q — i: — D — I — H — I 3
5 Q
5 6
?ES^^iiiSeg3E^^^
5 6
5 6
\v- —
g===d=I=cl=~^=T
E^iE?EiEEBEg
5 Q 5 6
3E~:E5riE^:!£t
-^-JA^.Q-,
111
CHAP. V. SEQUENCES. 227
This Sequence, like that of Sevenths, ad- mits of the Leading Note,* as a temporary- Root ;t and it seems to have been for the sake of elucidating these passages, that Kirnberger and Kollmann have admitted the diminished Triad among the consonant Harmonies.
III. Of Inverted Sequences.
429. The principal inverted Sequences are those derived from the Sequence of Sevenths \\ and of these, the most usual is that of a 7, followed by a 6 on the gradual descending Pro- gression of the Scale,
* Art. 255, p. 137.
t Nothing but the rhythmical arrangement of the passage, which divides every Semibreve into two Roots, permits this departure from the first principles of Harmony, viz. that every radical Base must bear a perfect Fifth (Art. 291, p. 152,) and that all Melodies belong to the three Chords of the Key (Art. 305, p. 160.) These two Rules are liable to no excep- tions, except what arise from the nature of the Sequences and the Licenses. Dr. Boyce, in his Air of " Softly rise," has used. this Sequence v^ith great effect. Shield, p. 74.
:j: This may also be considered as a simple Sequence of Sixths, v,'ith Suspensions of the Sevenths; and, iu Hke man- ner, the ascending Sequence of Fifth and Sixth may be ex- plained by Anticipation. (See Art. 378, p^ 198.) In Mr. Koiimann's Essay, p. 49, the Sequences are thus explained.
228
HI. HARMONY.
__^„:^-^:i:^J^-.,J_-^-,^d--^\
-e
:sz:
5 6
-e-
7 6 Y 6 7 6
.Q ^ ©
izzzE?— L~§?=y=a~zi==i-fl
7 6
7 6
7 6
'^ -^- -W- -—r
430. It is not unusual, in the first Inversion ef the Sequence of Sevenths (that of the Fifth and Sixth,) to leave every other Harmony as a simple Triad, in the following manner :
CHAP. V. SEQUENCES.
229
PSlii^igll
'=^*=F=F^=F
e
-P-P-T-S
I
^^^..
'-^•
-AV^
IV. Of Simple Sequences.
431. A descending Scale may also be ac- companied by a simple Sequence of Sixths alone. The Theory of this Progression is in- volved in some difEculty ;* but the uniform Practice of Authors, both ancient and modern, has established its use.
* Rameau observes of this Sequence (p. 90,) that Zarlino expressly forbids it (Istitu. Hannoniche, edit. \57o, p. 291 ;) but its high antiquity, and its great effect in Modem Music, render it classical, notwithstanding the defect of the false Har- mony on D, derived from the imperfect Triad of B (Art. 28T, p. 149.) See Dr. B. ii. 76. Lampe, p. 39. Shield, p. 66, &c.
w
230
in. HARMONY.
Q) — I — f-i 1 — -t--! P— {— -e — p-f Jj
6 6 6
^^m^^^m^
432. The same series may take place ascend- ing ; and the effect is nearly that of the Me- dial Sequence of 5 and 6, as the preceding series of the descending Scale resembles the inverted Sequence of 7 and 6.
6 6
, P :§:__
CHAP. V. SEQUENCES.
231
V. Of Compound Sequences.
4B3, Compound Sequences are those wliicli by employing the Chords of Suspension, change their Harmonies on the alternate Base. 0£ these there are various kinds : one of the prin- cipal is that of descending Thirds with alter- nate Ninths J* thus.
H— r-H I^T- H l-T-H i-T--H T '. ;-
434. These Sequences also may be doubly compounded, and then bear double Suspen-
sions.
Shield, p. 30.
232
IIL HARMONY.
I I
-MiTi^
i
9 5 9 5
4 3 4 3
9 5 9 5
7 3 7 3
435. To these may be added the partial Se- quences of two similar Harmonies, frequently found in Handel, &c. 5 thus.
6 6
5 5
4 4 2 2
eHii^gg^lP
CHAP. V. SEQUENCES.
2SS
VI. Of Irregular Sequetices.
436. It is not unusual to find an ascending
Scale accompanied with 7 and 6, with 9 and 8,
9 8
or with their Compounds ^ and . which form
irregular Sequences.* These Chords belong regularly to a descending Series.
7 6 7 6
^EEE
E?ElEpEE§EE
' 'w-v-j-i
=ZD=i=3ti:*=*:*
— e —
,^~r-=—
9 8 9 8
< /: iiniz^zzzzp :
* Lampe, p. 37, gives an example of these Sequences, in which, by the contran'- motion, the necessity of dividing the last Harmony is avoided.
\V 2
234 IW- HARMONY.
In these Sequences, the unaccented Harmony must be divided in half, after the Resolution of the Discord, to prepare the following one, as in the antecedent Example ; the 7th is then pre- pared by the 8th, and the 9th by the 10th.*
* That the present Classification cannot comprehend all the Sequences which have been or can be invented, is sufficiently obvious. (See Shield, p. 10, 6cc. &c.)
235 CHAP. VL
OF LICEJVSES, SECT. L—OF PEDAL HARMONIES.
Art. 437. When the Dominant Harmony is taken unprepared upon the Tonic Base as a holding Note, whether preceded by the Tonic or by the Subdominant Harmony, the passage is termed a Tonic Pedal Note or Organ Point.
~t— r — 1 i-T- T,
a 7
3 4
^=2z: J:^o=||=:d:^ J=o=:: '^=5-=^ j j
In the Chord of 4 the Dominant Note itself 2, is generally omitted, for reasons before given (Art. 327, p. 172;) and the Chord appears (independent of the holding Base) like that of the sharp Sixth on the Supertonic.
236 ni. HARMONY.
438. When also any Chords, or Sequences^ are taken upon the Dominant Base, as a hold- ing Note, a similar passage is formed ; and the Base then also becomes a Dominant Pedal Note or Organ Points
439. Not only the simple Dominant, but its compound derivative, the added Ninth (Art. 397, p. 203,) may be taken on a Tonic Pedal. Hence arises the Chord of the Sixth and Sev- enth^ or the Thirteenth of Marpurg.* This is used in the Minor Mode on the Tonic, and sometimes, by extreme License, on the Domi- nant.
m
m
8 ^7 8 8 §^7
5 6 5 5 6
3 4 3 $$4
* Marpurg's aiTangement of Chords, into the Consonant Triads, Dissonant Triads, and Sevenths, in i\\t, first class, and into the Nmth, Eleventh, and Thirteenth, in the second class, is clearly explained by Turk {General Base, 1791,) p. 98, 100.
CHAP. VI. LICENSES. 2S*r
440. Not only these, but any other Chords, whether of Suspension, Sequence, &c. &c. may be taken on the Tonic, or the Dominant, as a Pedal Base ; and some instances occur, in which these Sounds may be retained in a supe- rior part, as in the following Example from- Mozart, Op. 11.
SECT. II.— OF THE EXTREME SHARP SIXTH.
441. When, upon the first inversion of the mixt Cadence (Art. 422, p. 222,) the Sixth of the Submediant (or Fourth of the Scale) is ac- cidentally sharpened, the Chord of the extreme- sharp Sixths is formed.
* See Art. 297, p. 155. Rousseau asserts, that this Har- mony is never inverted. Framery (Art. Accord,) has shewn, from a Passione of Paisiello, that its inversion may be used : and we have an example in Weldon's x\nthem, "Hear mv cry i»g." Dr. Boyce, Cath. Music, U. 218.
238
HI. HARMONY.
This Harmony, when accompanied simply by the Third, has been termed the Italian Sixth,
i=f©— il
:dzz:
Root B.
By this alteration of the Fourth, the Species of Cadence is changed, from the first Inversion of the Mixt to the second Inversion of the Perfect (Art. 421, p. 221 5) and it is consid- ered as a License, because the Root bears a flat Fifth, while at the same time the Third continues Major.
The radical Base, therefore, of the extreme sharp Sixth, is the Supertonic of the Key ; and its Fifth is allowed to be defective, that the orig- inal Minor Mode may not be totally destroyed.
442. When to the simple combination of the Italian Sixth the Root itself is annexed, a Chord of Thirds Fourth^ and Sixth is formed ; and, as this Harmony is only found in the
CHAP. VI. LICENSES.
239
Theory of Rameau, it may be properly termed the French Sixth.
Root B,
443. A Harmony still more remote, but ex° tremely powerful, is formed upon this Chord, by inserting the added Ninth on the Root, as a supposed Dominant to the real one.
This occurs with great effect in the writings of Graun, &c.* and therefore may be called the German Sixth,
* See tlie example in Shield, p. 36. The Music of France, Italy, and Germany, cannot be illustrated in a smaller com- pass than by the use of these three Chords. The feebleness of the French Sixth, compared 'vvith the elegance of the Ital- ian, and the strength of tlie German, leaves no doubt of their superior excellence. The admirable genius of Graun knew %vhen to employ Italian sweetness, and when to change it for German force.
240
MI. HARMONY.
:=rig:ri~:a:rzM
6 5 4 §$
Root B.
It requires, however, a continuation of its Third and Fifth on the Dominant Base (as a new Fourth and Sixth,) to prevent the consecu- tive Fifths.
SECT. III.— OF PARTIAL MODULATION.
444, Whenever the Dominant and Tonic of a new Key are employed without the Subdomi- nant Harmony, such change constitutes a par-- iial Modulation.
445. One change of this kind arises when the Seventh of the Major Mode is flattened, and the Modulation returns again through the Leading Note to the Tonic j thus,
CHAP. VI. LICENSES.
241
8 7b 3 4t- 6 6 5
4 3
446. Another change towards the Dominant is also frequently used ; thus.
i^iiE|iiiliiii|
4^ 6
Many other changes occur, to the relative Minor (or Submediant,) to the Mediant, to the Supertonic, &c. some of which are peculiar to the Music of the last forty years.
X
242 III. HARMQNY.
SECT. IV—OF THE RULE OF THE OCT AVE.
447. It may appear singular to class this celebrated Progression among Musical Li- censes ;* but, as the descending Scale equally includes a partial Modulation, and rejects the original Subdominant Harmony, so essen- tial to the constituent parts of the Key (Art. 305, p. 160,) the propriety of the classifica- tion appears obvious to the Author of this Work.
448. When a Diatonic Scale in the Base is accompanied with Harmony according to this Rule, the Roots, and their Inversions,! are thus intermixed :
* Rousseau ascribes the invention of this Rule to de Laire, 1-710. See his Art. Regie de V Octave.
t In the Minor Mode, when the accidental Scale is em- ployed, the Sixth must be sharpened.
CHAP. VI. LICENSES. 24:
Ascending Scale.
r— e-
4 6 f
3 6 5 6 '^
3E=SEi^E!^^
iDzzHiziizizizmr:
'J Radical Base
.A^A aV^ Q — •
449. The descending Scale makes a partial Modulation into the Dominant, like that given m Art. 446, p. 241.
Descending Scale.
9 — e — e— 5g;n— e^^Q — e— e
6 g. 4 6 6
4 2 4
3 3
-e
-Q-
The Directs placed over F, on the Snpertonic, shew thf
244 KI. HARMONY..
450. In the Minor Mode, the Inversion of the mixt Cadence takes place, which, in modern Music, is generally varied by the Italian Sixth.
The Directs mark the Roots of the Chords.
6 6
I j^ — e — n — ;::: t-©"
-A*/- -A\^- '-A>^- -aV^-
The remainder of the Scale coincides with that of the Major Mode.
451. Although this Scale is given in the above form by most of the Theoretical Wri- ters, yet, in practical Music, such is the prev- alence of partial Modulations, varied Se- quences, &c. that the Rule is not often found complete.*
fimdamental Bases of the French Theorists. The Hyperdia- tonic Cadence of Mercadier de Belesta, p. 27, coincides with tlie under Notes.
* See a striking instance in the Scales of Emanuel Bach, p3iven by Mr. Shield, p. 82. Geminiani also (Art of Accomp. Op. 11) very strongly objects to these Rules, because " they are uncertain and precarious." The Example before adduced (Art. 363, p. 189,) shews that the descending Scale may be extremely varied, and that it may employ an Inversion of the Subdominant Harmony with great effect .
CHAP.Vr. LICENSES. 2^
SECT, v.— OF CHROMATIC MODULATION.
452, When the Chromatic Semitones are in- troduced between the Notes of the Diatonic Scale, Chromatic Modulation is formed, in which the Key is continually, although par- tially, changing,
453. As the Diatonic Sequence of Sevenths is used to avoid Modulation, so a Chromatic Sequence of Sevenths consists of Dominants alone, and the Scale changes at every Chord i thus,
fci7 fci7 lq7 bi7 $$ ^ « $$ ^7
This Sequence forms a descending Chromatic Scale.
X 2
246 m. HARMONY.
454. In a similar manner may be formed au ascending Chromatic Sequence, derived from that of 5 and 6 ; thus,
i3E5iE^EEiE?gE^
~a:
This also makes a partial change at every other Harmony.
455. In Modern Music, a species of Chro- matic Transition is employed, in which the Semitones occur, not as parts of the radical Harmony, but as Appoggiaturas, After-notes, or Acciaccaturas.*
456. The following Examples, from the celebrated Opera of Mosart^ the Zauberflote, are instances of Chromatic Appoggiaturas.
* Geminiani (Treatise on Good Tat e, 1749, p. 4,) asserts, that the Jcciaccature had been then in use above an hundred
CHAP. \X LICENSES.
(" Wie stark ist nicht")
247'
I _ J' ■ E.._
(" SchneUe Fusse.")
m X-- —
^pii^^a^^i:
457. The Acciaccaiura or Half Beat, is also used with great effect in a Terzett, from tHe- same piece.*
(" Seyd uns zum zweytenmal.")
SECT. VI.— OF ENHARMONIC MODULATION.
458. The last and most difficult branch of Harmony, is that which arises from the sud- den change of Key made by the Enharmonic Diesis (Art. 214, p. 119.)
459. When any one of the Sounds of the equivocal Chord (Art. 323, p. 169) is called by
* The Half Beat may also, in some few instances, I^e found on the Semitone above, taken- as a Flat. See Cleraenti, Op. 2, Sonata Ima, first Movement.
2*8 in. HARMONY.
a new name, and placed on a new Degree,* the Root, Scale, and Signature, all change at once.
:=s:±:r=r=i=r,-^
I^Eiife^
RtxDt E, Key A Minor. Root G, Key C Minor.
460. As this Harmonyt consists of four Sounds, each of which may be altered by the Diesis, the two following Modulations arise from the same Chord.
Root B flat, Key E flat Minor. Root C sharp. Key F sharp Minor.
* Although the temperament of Keyed Instruments autho- rizes the expressions here used, yet it must be upderstood that, in other Instruments, the difFerence between G sharp and A flat can be made, and is in theory always to be con- sidered as a real Interval.
j- The Harmony of the extreme Jiat Seventh has attracted the notice of all the Theorists who have written on the sub- ject of Chords in Modern times ; and its complete discussion would fill an ample treatise. The well known Air by Handel, in Samson, "Return, O God of hosts;" the "Alma del gran Pompeo," in Giulio Cesare (see Dr. Burney, Commemoration of Handel, p. 63;) "Vouchsafe, O Lord/' in the Dettingen Te Deum, &c. Sec. are all passages which might justify a par- ticular Analysis, and which the Author hopes, on a future occa- sion, to lay before the public, (See also SliiekVp. ^8:)
CHAP. VI. LICENSES. 248
461. As the Chromatic Octave upon Keyed Instruments consists of twelve different Sounds (exclusive of the Diatonic Eighth or Replicate of the first,) there are but three different Chords, in respect of the Keys themselves, on the Key-board. These, in their simplest forms, are the added Ninths of D, A, and E, Domi- nants of their respective Minors.
siillElElrSEJ
Each of these Chords, by the use of the Diesis, may change into three other Harmo- nies ; and thus an immediate step to any one of the twelve Minor Modes may be gained.*
462. These Chords may also, under certain limitations, succeed each other chromatically, descending or ascending.
'ZZlQZZtZ^
^l
fm]
Root B Root E Root A
(Descending.)
* Mr. Corfe, of Salisbury, in his Thorough Base simfilified, a work lately published, has given (p. 43, 8cc.) a Table of these Chords^ as used in the twelve Minor Keys, 6cc,
250
III. HARMONY.
Part of the ascending Series is the same in- verted, as before given, Art. 461, p. 249.
463. The last and most unusual species of Enharmonic Modulation,* is that which changes- the Dominant Seventh into the German Sixth.! A remarkable instance occurs in Handel's Solo- mon, at the Chorus, Draw the tear from hopeless love y thus.
M^^
m
hi
Radical Base. . >7 b b7 «
4 n
S=i=^l=i=y=^l
to express the words, full of death and wild:- despair.
* Rousseau, Art. Enharmonique^ does not mention this Modu- lation ; although it is extremely worthy of notice, being formetl upon a Chord so apparently pei'fect as the Dominant Seventh.
t Art. 443, p. 239.
END QF THE THIRD PART.
251
PART IV.
RHYTHM.
CHAP. L
OF ACCEjYT,
SECT. L— or SIMPLE MEASURES.
Art. 464. The disposition of Melody or Harmony, in respect of Time or Measure, is termed Rhythm.*
465. Those branches of Rhythm which are necessary to be considered in the present Work, are.
1. Accent.
2. The Musical Foot.
3. The Musical en-
sure.
4. The Phrase.
5. The Section.
6. The Period.
466. Accent has been already described |(Art. 80, p. 41) as part of Notation ; but it must be now examined more accurately, since
* Dr. B. I ri. Sir f. H. ii. 11. Malcolm, p. 385. Holden, t>. 25.
252
IV. RHYTHM.
upon this peculiar arrangement of Sound, all Rhythm depends.
467. The necessity of dividing the Notes of Music into equal portions of Time, called Measures (Art. 65, p. 28,) may be shewn, by considering the subsequent series of Notes.*
iEili^igiEii
468. The above cannot be performed, as Melody, without making certain points of di- vision, on which a pressure must be laid. It may, for instance, be accented two ways in equal Time ; thus.
"I'rochaic Rhythm.
— o — o
Or thus,
Iambic Rhythm.
liliSiii-lii
!:fc=E:ifcE=E
* Koch, Aft. TacU
CHAi^ I. ACCENT.
233
I. Dactylic Rhythm.
11. Anap^stic "Rhythm.
oo — oo — oo —
III. Amphibrachic Rhythm.
3!
S
469. These passages are also distinguished by the different Harmonies they bear in each variation of Rhythm.
I. Dactylic.
^ifsiiis^glp
II. Anapxstic.
:::i:=d:=d:
III. Amphibraclilc.
iiEiiii:iiiliiiB
254
IV. RH\nrfl:M.
470. The simple Measures of equal Time consist of two Parts^ and are subdivided into four Times : the Parts are Minims in com- mon Time, and Crotchets in two Crotchet Time; and the Times are Crotchets in com- mon Time, and Quavers in two Crotchet Time.*
i^=i^i^§
^i=g|iii^l
47 1 . The simple Measures of unequal Time, also consist of two Parts, one double the length of the other ; but the Times are only three : hence arises a varied expression, according to the value of the Notes in quantity.
;3E
;f3
~F-
* Koch terras a Part, Tacttheil, and a Time, Tactt;li«dcT.
CHAP. I. ACCENT.
25o
472» In the further division of simple Meas- ure, the Accents are known by the Groups, which are regulated by the Times of the Meas- ure, as before noticed (Art. 80, p. 41 j) thus,
473. In Triple Measure, the same arrange- ment of Groups is in general use j thus,
H. S. vol. ii. No. 92: '' Daughter cf Gods' * — Hercules *
A thousand pleasures reign
474. These inferior Accents, which belong to the Times of the Measure, do not, by any means, destroy that great and predominant Accent that belongs to the first Note which follows the Bar, and which is accompanied by the THESis,i or depression of the hand in beating Time. The JjiSis^l or elevation of the hand, always follows on the weak part of the Measure. (See Art. 81, p. 42.)
* Dr. A. No. 35, p. 60.
t The jXiederschlag of the Germans.
% The Aufschlag of the Germans.
256 IV. RHYTHM.
SECT. II.-OF COMPOUND MEASURES.
475. The Accents of compound Measures are exactly similar to those of simple Measures, which are only their halves, and which differ chiefly in their Notation, and their appear- ance to the eye.
476. The Germans and also the French,* consider the Measure of four Crotchets as a species different, not only from that of three, but even from that of two Crotchets (Art. 67, p. 29 ;) a distinction which arises from the nature of Accent, and which is thought of importance by those Authors. It is considered by somet of them as a simple Measure j but it really seems merely to differ from that of two Crotchets, by the omission of the alternate Bar.
* Principes de Musique du Conservatoire, p. 40. t Kollmann, Essay on Harmony, p. 73.
CHAP. I. ACCENT.
2S1
477. In compound Time, the difference be- tween six Crotchet and three Minim Measure, or between six Quaver and three Crotchet Measure (both of which contain an equal por- tion of Time between the Bars,) is only known by the Accent. The Groups, indeed, regulate the Accent to the eye, and shew the compound Time of six Quaver Measure by their equal division.
478. Thus, in the Example before-men- tioned (Art. 81, p. 42,) the simple Measure contains the Quavers grouped by Sixes, which have one strong Accent on the first, and two inferior ones on the third and fifth Notes ; thus.
479. In compound Time, the Accents are as under :
S w w S \v w S w w S w w S "W w S w w
480. The compound Triples of nine Crotch- ets, or nine Quaver^, take their Accents from the simple Measures, as before, Art. 76, p. 36.
Y 2
258 W. RHYTHM.
SECT, ni— OF MIXED MEASURES.
481. The mixt Measures before described (Art. 78, p. 38,) take their Accents from their Measure-notes ; and the Groups decide the al- teration made in the Time marked at the Clef.
482. Thus, in the Air, " Whither my love" (La Rachellina of Paisiello,) although the Mel- ody is written in two Crotchets, the Accom- paniment is in six Quavers j* thus,
^"4:"" t~^fci it""^t"i^ ^^^" ~bJ Hw ~CLL CJ -f\ I ^h\
483. If, however, any variation in the subor- dinate parts of these mixed Measures should be requisite, they must be changed to their
2 . f\
relative Compounds ; thus, - will become -
4 8,
3 9
- will become ~ ; and common Time will be-
4 8
come — 8.
* There is some doubt whether this Melody should be played as written, or as if it were compound ; tliat is, one dotted Crotchet, one Crotchet, and one Quaver, in the first Measure.
CHAP. I. ACCENT.
259
484. The following passages from Koch, will shew the necessity of using the compound, instead of the mixt Measure, in two Crotchet Time,
485. The same variation takes place when the compound is taken, instead of the mixt, in three Crotchet Time.
,_«..
^SigiS=
486. In a similar manner, Handel uses the compound twelve Quavers for the Accompa- niment of " Mirth admit me of thy crew,'' in G* (L'AUegro,) while the vocal part, and the Base, are written in simple common Time.
H. S. i. No. 59. Dr. A. No. 150. p. 26,
^60 IV. RHYTHM,
SECT. IV.-OF EMPHASIS.
487. The particular sense in which the term Emphasis is employed in the present Work, has been explained (Art. SSy p. 43,) with ap- propriate Examples.
488. The Emphasis is distinguished from the Accent (as before observed) by its occur- ring on the weak parts of the Measure ; by the different grouping of the Quavers, Semi- quavers, &c. ; and by the emphatic marks of Rf, &c. (Art. 142,. p. 82,) placed over the Notes.
489. In performing on the Piano Forte, a great difference seems to exist between them ; since Accent always requires pressure imme- diately after the Note is struck, and Emphasis requires force at the very time of striking the Note. Thus, Accent may be used in the most Piano passages ; but Emphasis always sup- poses a certain degree of Forte.
490. To the same species of effect which is derived from Emphasis, may be referred the Tempo d'lmbroglio (^della Confusione^ of modern Music, in which the Music, although written in one kind of Measure, is really per- formed in another.
CHAP. I. ACCENT.
261
49 1. Among the simplest instances of this nature, is that change of Time used by Corelii, Kandel, kc. &c. which forms one single Measure of three Minims, from two Measures of three Crotchets each, as in the following Example from the Passione of Graun :
iz^-p^:i=
P~-§
492. A more singular Example may be found in the final Chorus of the Pilgrim, by Hasse ;* in which the Time, though apparently three Crotchets, produces the effect of two Crotchets in a Measure.!
^^3ig
■^—
-9- -9-
* See Turk (Klavierschule,) p. 93.
I A very beautiful passage of this nature mav be found in the terzette " Conrade the Good." See Shield, p. 92, at the words, " Melting strains, ease his pains." This elegant and scientific com.posidon is the production of Sarti, and was originally set to' part*t of a Miserere iii the Russian language.
262 IV. RHYTHM.
493. In the last Movement of Haydn's In- strumental Passione, Op. 45, generally known by the name of the seven last words, several passages occur, in which, as in the preceding Example, the Time changes from three to two Crotchets, In the final Section, the Time changes to four Crotchets, &c. As that Movement is termed ii Terremoto, or the Earthquake, this con- fusion is particularly appropriate.
26B
CHAP. 11.
-OF THE MUSICAL FOO'I\ SECT. L^OF SIMPLE FEET.
Art. 494. A small portion of Melody, with one principal Accent, including the value of a Measure, is termed in this Work a Musical Foot.
The knowledge of this Rhythmic subdivision of Melody is of great importance in practical Music; as the Singer must not take breath, nor the Performer on Keyed Instruments sepa- rate the Notes, in the middle of a Foot.
495. It has been usual with some Authors* to apply the names of the ancient poetical Feet to corresponding musical passages ; but the difference between ancient and modern Quantity and Accent, leaves a doubt concern- ing the propriety of using the terms of Grecian Rhythm.
" Prinz, Sat. Comp. P. HI. p. 100. Mattheson. Volkom. X'apel. Meister, p. 164.
264
IV. RHYTHM.
496. An English Trochee^* as Actor^ hateful^ &c. may be represented in Musical Notation several ways, as in the following Example :
497. An English Iambus^ as Reject^ observe^ may be represented by the opposite Rhythm.
-4-
yiiiliiiila
498. The other two dissyllabic Feet of the ancients, viz. the Spondee^ both syllables long, as pale moon^ and the Pyrrhic^ both short, as level^ may, in respect of the Measure (which is guided by the Accent) be always considered as Trochaic in the English language, with some small occasional change in the value of the Notes.!
* Lindley Murray's English 'Grammar, 4ih edit. (1?'98,) p. 20'i.
t Dr. B. i. p. 7^.
X See Examples of this variation in the Cadences of the Glee, " Sigh no morc-^ icdia;" by R. J. S. Stevens, and the Madrigal, *' Hince, first I saw your face ^ by Ford,
i
CHAP. II. MUSICAL FOOT. 265
499. The difference between the two dissyl- labic Feet is well exemplified by the word £)£- SERT^ which, when set to Music as a Trochee (desert^*) signifies a lonely place. Thus, in the Messiah, " Comfort ye my peopleJ^
Make straight in the desert.
JOO. The same word, set to Music as an Iam- bus (desert^) signifies merit. Thus, in Judas Maccabaeus.
With honour let desert be crown'd.
The effect of these Feet, in respect of de- ciding the Key by means of the Accent, has been before exemplified. Art. 304, p. 1 60. An- other instance of Harmony and Rhythm being united to determine the Key, in contradistinc- tion to the Signature, may be seen, Art. 278, p. 145.
* The liberty of marking the accentual difference of Poet'
ical Feet by the signs of Quantity, is taken by Koch, Art. Me
iru?n, 6cc. &c.
Z
266
IV. RHYTHM.
501. The English Feet of three syllables may- be divided into three classes, answering to the Dactyl^ the Anapast^ and the Amphibrach of the ancients.
I. The Dactyl^ may be represented by the words labourer y possible ; and in Notes, thus,
pEgii^iigpli
11. The Anapast may be represented by the words contravene^ acquiesce ; and in Notes^ thus,
u u ~
o o —
o o —
liliiiiiiiiiil
III. The Amphibrach may be represented by the words delightful^ domestic; and in Notes, thusj
u —
gii^i
CHAP. II. MUSICAL FOOT.
267
SECT. II.— OF COMPOUND FEET.
502. As a Musical Foot is equal in value ta a Measure,* although it differs in i^ccent, on account of the place of the Bar ; so in the compound Measures the Feet are double, and may be resolved into two by dividing the Meas- ure. (See Art. 75, p. 34.)
503. The following Trochaic Example from Haydn, Op. 40, Sonata 3, might be resolved into single Feet of two Crotchets in a Measure,
iilsiHi^ES
504. The same may occur in the Iambic Measure, as in the following Example from Haydn's first Symphony (Salomon's Con- certs.)
iiB=S||5?^EJliSE§^i=
x-i a..—
* Kollmann, Essay on Harmony, p. 80, jnentioiis the simi- larity cf the Bar (Measure) in Music to the Foot in Poetry, but does not shev;- their accentual difference.
268 TV. RHYTHM.
505. An Example of the compound Foot in six Quaver Time divided by the Bar, is found in Haydn, Symphony 3d (Salomon^^ Concerts.)
Foot. Foot.
506. The difference between compound and simple Feet, may be further exemplified by the following extracts from the Messiah, in addition to the remarks given in the preceding page.
(" 0 tbou that tellestP*)
:iS.z:
Strengdi, lift it up, be net a - - fraid.
(" I know that my Redeemer J^^;')
P:::=i=^-±z^=:f:fz:?-3i:;^=t-Lr5-y
I know that vAy Re - - deem - - er.
The second Measure of both Examples is di- vided in the same manner ; but the Accent, and consequently the Feet, are entirely different.
* Dr. A. No. 9, p. 36. t Dr. A. Nc. 12, p. 183.
CHAP. III.
OF THE MUSICAL CMSURE,
Art. 507. The term Casure is used in this Work in the signification annexed to it by Koch, as the Rhythmic Termination of any passage which consists of more than one Mu- sical Foot. In other words, the Cassure is the last Accent of a Phrase, Section, or Period, and is distinguished in all the simple Measures by the place of the Bar.
508. The utility of this distinction will ap- pear, by considering the two methods in which the Music might be composed to the lines,
" Conquest is not to bestow *' In the spear or in the bow."
Dr. Arne's Judith.
^' -3- "" 3-
If these Measures were not divided as they are, the Caesure, which now is properly placed on a strong part *, would fall on the weak part tj contrary to the nature of Accent,
Z2
270 IV. RHYTHM.
509. The Caesure,! in ancient Music, most frequently occurs in the middle of the com- pound Measure, and thus appears to a modern view irregular and incorrect.
510. The exceptions to the Musical Caesure falling upon the last syllable of the line in Poetry, are few, but very important.
511. From the nature of Harmony,^it some- times occurs that the three last syllables may belong to a Melody derived from the same Chord y in that case, the Caesure is thrown back, as in the following Example :
•* So> shall the lute and hai*p awake,
'* And sprightly voice sweet descant run."
Handel's Judas Maccabcziis.
fei=ip^gp
Here the Caesure falls on the third Crotchet to the syllables descant run^ instead of being placed on the last syllable run.
I The term Casiira was used by Prinz (Sat. Comp. P. I. p. 33) in two senses ; the first of which con*esponds with that here given. See Dr. Burney, Art. Ca^surei. Rees' Cyclopsedia, vol. V. p. II.
CHAP. m. MUSICAL CiESURE.
271
312. It appears that the Caesure, or Rhyth- mic Termination, is not always the last Note of the passage. The Melody is often prolonged after the Csesure, by varying the Tonic Har- mony jt thus.
^i
513. The whole Chord of the Dominant is also often retained (see Art. 376, p. 197) upon the Caesura ; as in the following Example from Mozart's Duett in C, Op. 14, p. 11.
514. The Air by Handel in the Occasional Oratorio,J of which the subject is here given,, will be found an excellent study for the correct position of the Caesure.
pi^miipili
Pro - phet - ic visions strike mine eye.
t Koch, Art. Casiire. ± H. S. i. No. 11.
IV. RHYTHM.
515. In the following instance, Handel has not been so careful, since the Caesure comes in the wrong place, and the Bars are consequently- erroneous. It should begin, like the Example, Art. 508, p. 269, with the half Measure.
(H. S. L No. 47 : Alexander Balus.)
Strange re -verse of
hu - - man fate.
516. In the old arrangement of compound common Time, it was usual to change the place of the Caesure ; sometimes forming the Cadence at the beginning of a Measure, and afterwards repeating the same Caesure in the middle of a Measure. The Airs of Pergolesi, Jomelli, &c. are remarkable for this rhythmic variation. See a particular instance in the admirable Song by Haase, Paliido il Sole.*
First part.
Second part.
feiiiiiiiii
* Dclizie dell' Opere, torn. ii. p. 146. Dr. B. iv. 378, 5-46. Si- J. H. V. 325, 419.
CHAP. III. MUSICAL C.ESURE.
27S
J 17. In the National Dance Tune called Polonoise or Polacca, a considerable excep- tion to the Rule of the Caesure occurs, as it falls "there on the weak part of a Measure j. thus,
-^iSiiiip
318* An instance also of equivocal Caesure might occur in the Common Melody of Sally in our Alley * which is properly barred thus :
EfeiEliElEb-fet
519. This might be barred differently, for the sake of throwing the Caesure on the last syllable of the second line, contrary to the Ac-? cent of all the other Feet.
* This Air was composed by Harry Carey, and begins. Of all the girls that are so smart. See Sir. J. H. v. 184." Ur. B. iv. 300, 652. The style of Mel(xly which distinguishes this Tunev hias -been often imitated with considerable success^,
274-
CHAP. IV.
OF THE PHRASE,
SECT. L— OF THE REGULAR PHRASE.
Art. 520. A Phrase {Eimchnitt) is a short Melody, which contains no perfect nor satis- factory Musical idea.
521. The Phrase is generally formed of two Musical Feet in simple Time, and therefore contains the value of two Measures \ thus,
(Beethoven^ Op, 2.)
522. In the compound Time of the older Writers, a Phrase sometimes consists of a single Measure ; thus.
(« 0 had I JuhaVs lyrer)
Phrase.
Phrase.
y
CHAP. I\^ PHRx\SE.
275.
523. Koch has used the mark of a Triangle (a) to express the Phrase, and places it over the final Note.* In Musical Punctuation, this, sign seems analogous to that of the Comma (,) in language.
524. Riepel, of Ratisbon, in 1754,1 has ana- lyzed the rhythmical arrangement of Musical thoughts with great success.
525. He divides Musical Phrases into two species — Perfect^ when concluded by the Tonic Harmony ; and Imperfect^ when concluded by the Dominant.
:fcJz3zil±=^==3z^?EiiirE==d
Imperfect Phrase.
Perfect Phrase.
526. In the works of Kirnberger, the term Ccesure seems equivalent to the term Phrase ; and the rejection of the word Einschnitt is, as Koch observes, a defect in the tlieory of that able Contrapuntist, I
* Anleitung (1787,) vol. ii. p. 360.
t De Rhythmopoeia, Tactordnung, p. 23.
% Koch's Lexicon, Art. Absdtz,
276
IV. RHYTHM.
,527. The Phrase is subject to all tTie varie- ties of Accent that distinguish the Feet of which it is formed ; and the two Measures of the regular Phrase should always be complete.
(" Rasserena*^ — Sacchini*)
528. When the same Phrase is repeated per ionos^ that is, a Note higher or lower, a slight variation may occur.
(^Non vi turbate — Gluck^^^ A
:=jz=rqqi3r^rzr:
:i:zza:?zz
529. The too frequent repetition of the same passage in various Keys, particularly on the Chromatic Modulation (Art. 454, p. 246) ascending, as found in Corelli, Dr. Green, &c. is termed by the Italians Rosalia.\ See Koch, Art. Transposition*
* Corri's Select Collection, vol. i. p. 29. t Ditto, vol. i. p. 23. ± Dr. B. iii. 613, iv. A5,
CHAT. IV. PHRASE.
277
530. Koch makes three remarks upon the harmonical construction of the Phrase, which apply to what has been already observed from Riepel.
First, That the Phrase frequently terminates with the Subdominant Harmony.
21
wmm^^-
Secondly, That, as the Phrase is an incom- plete passage, the Caesure may be made on a Discord, particularly the Dominant Seventh.
^T ^~~
Thirdly, That the Caesure may also take place on the Inversion of a Chord.
A A
278 IV. RHYTHM.
531. Rousseau (Art. Phrase) has defined the term in a more extensive sense, very similar to that applied to the word Section in the following Chapter. He distinguishes between Phrases in Melody, and Phrases in Harmony. These last seem to correspond with the Dominant, and Mediant Sequences. See Art. 427, p. 225.
532. Heck, in his Musical Library (p. 11,) describes the Phrase, Section, and Period, un- der the terms Section, Period, and Paragraph., and considers the term Section as synonimous with Rhythmus.*
5SS, Holden also (p. S5) uses the term Phrase in a general sense, and appears to include all rhythmic varieties in its definition.
534. The Rev. Mr. Jones, of Nayland (p. 48,) calls the Phrases Clauses ; and considers two similar Phrases following and depending on each other, as antecedent and consequent ; upon which succession he makes some very just and useful remarks, referring to Corelli's 8th Con- certo at the close of the Adagio, Handel's Air in the Overture to Berenice, '&c. &c.
=*<" The comfiound Rhythm of Kollmann, Essay on Harmony, p. 80, and tiie term Bhyt-fnnuss in Shield, p. 89, seems to corres- pond with Phrase or Section,
CHAR IV. PHRASE.
279
SECT. II.— OF THE IRREGULAR PHRASE.
625, Whenever, by repeating one of the Feet, or by any other variation of the Mel- ody, three Measures are employed instead of two, the Phrase is termed extended or irreg- idar.
(Kreicsser, Op, xi. Waltz the 2d.) ^ A
-m
li^ESdEEB
tfl;
526, A beautiful Example of two extended Phrases, the latter of which contains a Measure of double Time (Art. 491, p. 261,) is found in Handel.
('^ He was brought as a lamb,^^*)
sni^siiiiiij
537. The contracted Section resembles the extended Phrase, in the number of its Meas-
* Redemption, p. 273.
280
IV. RHYTHM.
ures, both consisting of three Feet ; but the Phrase is always an imperfect Melody, whereas the Section always terminates with a Cadence.
53S. A Phrase is often extended by continu- ing the Harmony of its first Measure, as in the following Example ;
(Clementiy Op. 2, Sonata 4.)
539. A Phrase also becomes irregular, when a Measure foreign to its subject is introduced by way of prelude \ thus,
{Mozart, Op. S, Duetto,)
540. In some passages, the variation of the Csesure Note, by an Appoggiatura, or by other means, will give to a contracted Section the ef- fect of an extended Phrase,
CHAP. IV. PHRASE.
28i
541. The following Example from Haydn's Creation is of that nature, and is therefore equivocal ; as its Melody indicates an ex- tended Phrase, and its Harmony a contracted Section,
(" Now vanish J ^)
'm^^m^^.
542. The next passage is, however, more somplete, and really terminates the Section.
eeiesse:
— •«-^*-,
i:z:
:zirir:
Hence appears the propriety of terming the first an extended Phrase.
543. In Choral Music of the Ancient School, the contracted Phrase seems to be, in many cases, equivalent with the compound Foot. See an instance before adduced, in *' The fiocks shall leaver Art, 281, p, 146.
A A 2
282
IV. RHYTHM.
544. Thus also, in the sublime Chorus, *' For unto us a Child is horn^^ the first Phrase is little more than a compound Foot.
For unto us a Child is bom.
545. In Fugues by Augmentation^ Feet be- come Phrases, Phrases become Sections, &c. In Fugues by Diminution ^ on the contrary. Phrases become Feet, &c. as in the following Example :
(« Let all the angels of God.'''')
Subject in Phrases.
546. The Answer by Di?mnution changes Crotchets into QuaverSj Quavers into Semi- quavers, &c.
Answer in Feet.
* Messiah, No. XI. p. 127.
CHAP, IV. PHR.\SE.
28i
SECT, in.— OF INTERWOVEN PHRASES/
547. In Figurate Counterpoint, anciently termed Descant^ where Imitations, Fugues, and Canons are. employed, the Phrases, as they occur, are interwoven in the different parts.
Thus, the extended Phrase to the wordd, " shall be revealed^'' is interwoven in the vari- ous parts.
(" And the glory of the Lord*' — Messiah.)
548. The union of Phrases towards the end of a Fugue, &c. is sometimes even closer than a Foot, being at the distance of a Crotchet only. Many examples of this style may be found in the Madrigals of Wilbye, Weelks, &c. In Italy, this is called Lo Siretto Delia Fuga* the knot of the Fugue.
* P. Martini, Baggio, torn, it p. 39.
284
IV. RHYTHM.
549. The Accent of the words, however, will not always permit them to agree with so close a union of the Music, as the alteration in the following Example will shew :
(" Te sons of Israel***) A
i±^=tz=^zi
— ^-..
■^-i
550. A similar passage is introduced with great effect, at the end of " The flocks shall leave^* where the Violins re-echo the same Notes (in the Octave above) as are sung in the preceding Time^ to the words, " Z)/V, presumptu* ous Acts J*
ggiE^pg=i=^
* Joshua, p. 4. Redemptiorij p. 166.
CHAP. IV;. PHRASE.
285-
551. In those pieces of Music termed Can- &72s^ in which the same Melody is continually heard in the different parts, the Phrases are, of course, united throughout the whole composi-c tion.
Of this kind of Music, the finest specimen now extant is the celebrated Non Nobis Dcminey* by Bird ; which will ever remain a lasting or- nament to the taste and science of the country in which it was produced.
The Phrases of this Canon are as follow.
A
Non no - bis Do - mi - ne non no - bis
Sed nomini tu - o da glori - am -
A A
iliril^
Sed nomini tu - o da glori - am.
* See before, Art. 421, p. 221, and La Borde, tonfi. ii. p. 100, Dr, B. ii: p. 305, in a Note.
286
CHAP. V.
OF THE SECTIOM
SECT. I.— OF THE REGULAR SECTION.
Art. 352. A Section (Jbsaiz) is a portion of Melody, formed by two regular Phrases, the last of which is terminated by a Cadence.
353, The Section takes the name of Tonic, or of Dominant, according to its final Har- mony ; as in the two following Examples from Haydn's Creation.
(" T/je heavens are ielling,^^)
Dominant Section.
n
gg
Tonic Section
rf:T:gxz«:i.»_|
m
n
,zo:zz
=t:==
554. In Music of the older School, the Sec- tion often consists of two Measures only, as in
CHAP. V. SECTION.
287
the Example, « 0 had I Jubai's lyre,'' Art. 522, p. 274.
555. Koch has also adopted the mark of a Square (n) to express the Section, and places it, like the Triangle of the Phrase, over the final Note. This Sign seems analogous to that of the Semicolon (;) in language.
556. In the Arioso, or Legato style of Mu- sic, it is usual to find Sections which are rot subdivided into Phrases, as in the following Example.
(J. B. Cramer,'' Ex. 41.)
557. Koch makes also three remarks upon the Section t (Art. Absdtz^) as relating to its Punctuation, to its Rhythm, and to its Har- mony.
* Studio pel il Piano-forte, Op. 30, p. "2.
t Pmz, in 1696, used the Latin term Sectio, as signifying a part of Melody teriTiinated with a formal Cadence. *' Sectio istein Theil der Melodey, so sich endet mit einer Clausula for- ttmU:' Sat. Comp. P. I. chap. viii. p. 26.
288 IV. RHYTHM.
'Firsi^ Its conclusion, or the form and liar- monical disposition of the Cadence, termed by Koch, its inter pundal nature. Upon this de- pend the classification into Tonic, Dominant, or even Subdominant Sections, the variation of the Caesure Note, &c.
Secondly y Its extent in the number of Meas- ures and in the similarity of Feet (see Koch, Art. Metrum,} termed its rhythmical nature. By this the regular Section, or Rhythm* (Vierer) of four Measures, is distinguished from the irregular Section, whether extended or contracted, &c. &c.
Thirdly^ The extent and variation of its component Harmonies ; or the degree of its perfection as to being dependent or indepen- dent of the adjoining Sections, termed its logical nature.!
* See before, Art. 532, p. 27S.
t -Turk (Klavierschule, p. 336^) has entered fully ii\to the doctrine of Rhythm, and has invented a mark (similar to "that of our passing Shake, see Art 110, p. 66,) which he places over the final Note of a Foot, Phrase, Section, cr Period, to "fietach them from -each other.
CHAP. V. SECTION. 289
SECl'. II.— OF THE IRREGULAR SECTION.
5S8, Irregular Sections are of two classes, contracted of less than four Feet, and extended of more than four Feet.
I. The contracted Section differs from the extended Phrase by its terminating with a Ca- dence, as before observed (Art. 534, p. 278,) and generally consists of three Feet.
II. The extended Section may consist of five, six, seven, or more Feet ; and the Sec- tions are distinguished from each other by the similarity of Time or Modulation in their re- spective Feet.
III. The extended Section of five Feet* is formed by various methods. The following Example from Koch augments the two first Notes of the regular Section.
559. The Section of six Feet consists either
* See two Examples of tliis kind in Siiield, p. ?9. B B
;90
IV. RHYTHM.
of two extended Phrases of three Feet each ; thus,
{Mozart^ Duett^ Op. 3.)
Or of three regular Phrases of two Feet each ^ thus,
(.Avison^ Book iv. Concerto iv. />. 31.)
560. The limits of the present Work will not admit any further Examples of more -ex- tensive Sections.
CHAP. V. SECTION.
29-1
SECT, in.— OF THE INTERWOVEN SECTION.
561. When the regular Section is so united to the following one, that upon the Caesure Note of the first the second commences, the Section is not only contracted, but interwoven.
562. Thus the following Section, which is regular in a former part of the page, is inter- woven in this Example.
{Mozart, Op. 3, Duetto, p. 7.)
56S» When the subject of a Fugue consti- tutes a Section, the Answers are interwoven at the Caesure of the Melody. Thus, in the Overture to Esther,
i^JE^fl^Eflg^gliigSp-]
The second Section commences in the middle of the fifth Measure on the Caesure Note.
292 IV. RHYTHM,
564. In the ancient style of Music, great efFects are produced by interweaving Phrases, Sections, &c. ; and also by intermixing sub- jects of different Rhythms.
Thus, in the final Chorus of Steffani's Mo- tett, the original plain Song,* '^ Qui Diligit^'* is introduced with unexpected effect in the Base, while the other parts are singing the Descant, " Frangere Teiunu*'f
In the Chorusses of ?Iandel, these efFects con- tinually occur. A remarkable instance may be seen in that of " Wretched lovers'^ (in Acis and Galatea,) at the words, " Behold the
monster^ Polypheme.
* The Ca7iio Fermo of the Italians, cr Choral of the Germans.
t The " Qui dUigit" of the Abbate Steffani is at present
unpublished; but it would be a useful stu^y for Fuv^jiey &c. if printed with annotatiwis.
CHAP. V. SECTION. 293
563, In compound Time, the interwoven Sections commence at the half Measure, and consist of only a Measure and a half. The following Example is taken from the Duett in the same Motett of StefFani, Qui Diligit.
iM^^lii
566, From this union of the parts arises the custom before-mentioned (Art. 515, p. 272,) of placing the Caesura in the middle, instead of the beginning of the Measure.
567. It is also usual to protract the Harmo- nies of an interwoven Section, so that it shall appear regular in the number of Measures. Such is the following Section, in the last Cho- rus of Graun's Passione.*
4 6 6
2 5 5
^^
i£
* Der Tod Jesu, or the Death of Our Saviour. See Killer's edition (1785,) p. 68.
B B 2
294
IV. RHYTHM.
568. In this instance, the prolongation of the Tonic Harmony in the first Measure, makes the Section appear regular, although it is really interwoven.
569. In Vocal Music, the Harmony of a Section is also protracted for the sake of ex- pressing the words, as in the Glee of the " Red Cross Knight^'' by the Author of this Work ; the first Section of which, if regular, would have been expressed thus.
Blow, warder, blow thy sound - ing horn.
But to give greater effect to the words, " Blow, warder, blow,^' the two first Notes are augmented to Minims ; and the Section, as written in common Time, appears contracted, although it is really extended ;* thus.
^E=3^f
Blow, warder, blow thy sound - ing
horn.
* This Section is consequently similar to that exemplified before. Art 558, p. 2S9, being really five Measures of two Crotchet Time.
CHAP. V. SECTiON. 295
SECT. IV.— OF THE CODETTA.
570. A short Phrase, or any other passages which does not constitute part of a regular Section, but serves to connect one Section or Period to another, is termed in this Work a Codetta.
The term is used by Sabbatini, the successor to Vallotti at Padua, in his Trattato sopra k Fughcy* in a more limited sense.
571. In the Duett of Mozart, referred to (Art. 559, p. 290,) the following Phrase unites the minor Period to the original Theme.
-*#--
572. The extempore divisions made at a close by Singers or Solo Performers, and term- ed Cadenze or Cadences ad libitum, are all a spe- cies of Codetta.
573. In the repetition of a Strain, the pas- sages marked first Time and second Time, generally contain each a short Codetta ; one to
* Vinezia (1862,) tcm. ii. p. H9.
296 IV. RHYTHM.
lead back to the commencement, the other to lead forward to its continuation,
(WbelJII, Op. 25, />. 16.)
First Time. Second Time.
i^^iiiy^
574. In this example, the short Attacco* of each Time is not, as in general, a separate Codetta, but very ingeniously makes part of the original subject,
575. In the Da Capo Airs of Handel, &c. (Art. 126, p. 74,) a Codetta is generally in« serted, to lead back to the Theme. Thus, in " 0 the pleasure of the plains, ^'
m^
-^^w—
5^6. The most successful Composer in this style is Graun, who, in his celebrated Te De-
* Padre Martini, Saggio, torn. ii. p. S. Dr. Bumey (Art. AttaccOy Dr. Rees' Cyclopedia,) defines it, " a kind of short Subject or Point, net restricted to ail the laws of regular Fugue," 6cc.
CHAP, V. SECTION.
297
um,* has used the Codetta at the end of seve- ral Movements, to unite them to the next.
Thus, after the final Cadence of the Air,. " Tu^ ad liherandum^^ the following Codetta IS inserted in different Modulation.
With what great effect this passage leads into the following Theme, the adjoined Ex- ample will demonstrate.
se^iiiiiii
* Several of the best Movements from tliis excellent Com- position, are now printed in the Selection of Sacred Music publisliing at BirchaU's^ hy the Rev. Mr. La Trobe.
298'
CHAR VI.
QF THE PERIOD.
SECT. I— OF THE TONIC PERIOD.
Art. 577. A Period consists of one or more Sections, occasionally interspersed with inde- pendent Feet, Phrases, or Codettas.
Thus, the Air of God save the King (Art. 146, p. 85,) consists of two Periods; the first Period contains one extended Section (Art. 559, p. 290,) and the last, two regular Sec- tions.
578. When one or more Periods are termi- nated by a double Bar (Art. 130, p. 77,) they are termed Strains,
579i The Period always ends with a radical Cadence, like the Section (some few instances excepted. Art. 424, p. 223,) and answers to the full stop (.) in language.
580. Those Periods which terminate with the perfect Cadence, are, from their last Har- mony, termed Tonic Periods.
CHAP. VI. PERIOD. 299
581. The following Example of a Tonic Period, is taken from the third Sonata of Pleyel^ dedicated to the Oueen.
First and third Sections.
A
"^fffff ~E~'^r J
iiiiiiiij [^Hii
Cadence of the second Section. Cadence of the fourth Section.
This whole Period consists of four regular Sections, and is distributed into eight regular Phrases.
The third Section is a repetition of the first by the Violin, while the Piano Forte takes the Accompaniment. The fourth Section is similar to the second in respect of its leading Phrase, but differs in the final Phrase, by terminating with the perfect Cadence.
582. In the Example above given, all the transient Notes are omitted, and none but the chief Sounds of the Harmony retained. (See Art. 187, p. 1'07.)
:300
IV. RHYTHM.
583. As the Sonatas of Kozeliich are partic- ularly distinguished by the regularity and clearness of their Rhythm, another instance of a Tonic Period may be taken from his Opera 21, Sonata 2, in A Major.
^ggi^gg^i
584. The second Section consists of one regular Phrase repeated ; thus.
ig^iisiii
5S5, The third Section (with the omission of the passing Notes) concludes the Period; thus,
586. Many more Examples might be given from the works of the Bachs^ Vanhall, Hayd?7y Mozart, &c. &c. since the variety of Periods, I in respect of their component parts, is as great in Music as in any other language.
CHAP. V PERIOD.
301
SECT, n.— OF THE DOMINANT PERIOD.
587. When a Period concludes with an im- perfect Cadence (Art. 414, p. 2170 it is term- ed a Dominant Period.
An example of this Period may be found in Kozeluch, Op. 23, Sonata 1.
588. The second Section, being interwoven with the third, is contracted, and consists of three Measures only. (See Art. 562, p. 291.)
589. The third Section is formed of two ex- tended Phrases with one Measure repeated, and concludes on the Dominant ; thus.
C c
302 IV. RHYTHiM.
590. It is to be understood, that the terms Tonic and Dominant^ relate only to the na- ture of the Cadence, not to the Modulation of the Period.
591. It not unfrequently happens that a Pe- riod, after modulating from the original Tonic to its own Dominant, may terminate with an imperfect, or even with a mixt Cadence, in the new Key.
592. The final Chord, in this case, will be the Supertonic of the original Scale, made a new Dominant.*
593. As the knowledge of Feet and Phrases is very important, to prevent the bad Delivery (Vortrag) of vocal or instrumental pieces ; so also the distinction of Sections and Periods, gives the Performer an opportunity of length- ening or contracting his Performance at pleas- ure.
594. The following hints may be useful, till a more extensive Analysis of Rhythm can be given.
"* An instance of this termination of a Period, may be seen in the popular Sonatas of Clementi, Op. 22. The first Period of the first Soniita concludes on the original Supertoriic E, with the Major Third as a Dominant to the new Key A Ma- jor, as a Modulation from D Major.
CHAP. VI. PERIOD. SOa
f. Every Section and Period may be re- peated, provided the Codetta (if any) leads back to the original Note.
II. Every repetition of a Section or Period may be omitted, due care being taken to play the last Codetta (if any) instead of the first. .
III. Those Sections and Periods which con- tain Solos for the Violin, Flute, &c. when not practised with the Accompaniment, should be omitted ;* and the two sets of Sonatas by Ko- zeluch. Op. 21 and 23, w^ill admit of these omissions with great propriety.
IV. In ail omissions of Periods, great atten- tion must be paid, to make the harmonical conclusion of one Period agree with the har- monical commencement of the next, and to join the passages by their attendant Keys.
V. The difficult Modulations at the opening of the second strain of a Sonata, may be some- times omitted, for the sake of gaining time ; but every person who wishes to excel in Sci- ence or Execution, will practise those passages much oftener than any other in the Movement.
* Particularly where the Molin Melody is not inserted in small notes, or in a separate line. When they are inserted, the passages may be sometimes introduced on Keyed Instruments- with good effect.
304
IV, RHYTHM.
SECT. III.-- OF THE INTERWO\TEN PERIOD.
595. As the Periods of modern Music are distinguished by the accuracy of their phrase- ology (being for the most part regular ;) so those of the old School are generally inter- woven^ and the Caesure Note of one Period becomes the first Note of the next.
The Fugues of Sebastian Bach are highly celebrated throughout Europe, for union of Periods and closeness of Harmony.
596. The first Fugue of his twenty-four pieces,* entitled Das wohltemperirte Klavier^ is formed on the following subject.
^^^^m
The Jirst Period terminates in G Major, on the middle of the tenth Measure.
The second in A Minor, on the beginning of the fourteenth Measure.
The third in D Minor, on the middle of the nineteenth Measure.
* First set of Fugues in all the twenty-four Keys, Maj«a' and Minor.
CHAP. VI. PERIOD. 305
The fourth^ in G Major, on the middle of the twenty-first.
The Jifth^ in C Major, on the beginning of the twenty.fourth ; whence the sixth, and last four Measures conclude on the Tonic Pedal.*
597. The third Fugue by Handel (Op. 3,) of two subjects in B flat Major, contains a^ greater number of interwoven Periods.
i^:-g
The Jirst Dominant Period of two contracted* Sections ends on the Caesure Note of the sev- enth Measure.
The second on the fifteenth Measure.
The third on the Middle of the thirty-first.
The fourth on the middle of the thirty- fifth.
The ffth (a Tonic Period in D Minor) on the Cassure Note of the forty-fourth, &c.
598. Another instance of a Fugue on two subjects, much longer than this of Handel, is
* The Tonic Pedal of this Fugue is really a Coda. See a ropy printed by Mr. Diettenhoier, in the thii'd Set of his Fugues, published by Messrs. Goulding and Co. C c2
30* IV. RHYTHM.
that by Domenico Scarlatti^ vol. ii. p. 62, on the following Theme.
'1^^
^^
599. All the Fugues in Handel's Chorusses, in his Overtures, in his Lessons, in his Violin Sonatas or Trios, in the Symphonies to the Chandos Anthems, &c. &c. are master-pieces of learning and effect.
600. Among all the various methods of in- terweaving the Periods of the Fugue, none has more effect than that of making the Tonic Har- mony of the final Cadence a new Dominant.
This may be performed diatonkally* by flattening the Third of the leading Chord (Art. 424, p. 224,) or chroniatieaUy^ by the Modulation given in Art. 453, p. 245.
* This is the Clausula Ficta of the older School, in opposi- tion to the Clausula Formalisy or perfect Cadence. See Fux {Gradus ad Parnassum,) p. 155.
CHAP. VI.. PERIOD.
Sm
Diatonically.
^
r
iziziz3!!ili!iQ?Y?ii_izzizi^iz
5 7 6 5 —
4 b b 4 4 3 b7
^^H^
-AVJ-
Instead of
5— ■ 4 3
^im^
The same effected chromatically.
'^^^^m
w
^iHliiii;
308 iV. RHYTHM.
SECT. IV.— OF THE CODA.
60 1 . The concluding passage of many Move- ments, when it occurs after a protracted perfect Gadence (Art. 423, p. 223,) is termed the Coda^* or final Period.
602. The length of the Coda may be various ; in some pieces it contains several Sections, in others merely a single Phrase.
603. The following short Coda from Haydn , Op. 40, will serve as an Example :
g5:^zQ=i:z:z:z:r:s::z:z:ziE£Ef^ — lizzz™
In this passage, the two first Measures of the Coda might be omitted, without injuring the Harmony.
604. When the Coda consists wholly of the Tonic Harmony, the open or right Pedal of the Grand Piano Forte, which raises the Dampers, may be employed with good effect.
* In Modern Music, the Coda is generally preceded by a- long shake on one of the notes of the Dominant Harmony.
CHAP. VI. PERIOD. 309
605. Instances occur in Kozeluch, Op. 40, Sonata 1, in F Major, p. 11, and in Op. 41, Sonata 1, in B flat Major, p. 9, where he uses the term Aperto (open) for this purpose.
606. In foreign printing, the abbreviations C. S. con Sordini^ with Dampers (or Mutes,) S. S. senza Sordini^ without Dampers, are used for the same purpose. (See Woelfl's So- natas, Op. 27, Paris edition.)
607. In ancient Music, the Coda generally occurs on the Tonic Pedal ; and in Minor Movements it is used as leading to the Plagai Cadence (Art. 417, p. 219.)
608. There is a style of Coda peculiar to Italian Bravura Airs.* (See the conclusion of the Chorus in Haydn's Creation, The heavens are telling,')
609. In Rondeaus, &c. the Coda is placed as a separate Strain, with the term itself an- nexed. (See Shield, p. i05.)
610. But, to shew what great effects are de- rived from this addition, after the last perfect Cadence of the Movements has been heard, the
* The Harmonies of this Coda are five, the Tonic, Subir.e= diant, Subdominant, Dominant, and Tonic. The Siibdcmi*- nant generally bears its added Sixth. Art 589, p. 202.
310
IV, RHYTHM.
Hallelujah Chorus of Handel's Messiah may be adduced. The last Section before the Coda, closes the Period with the perfect or authentic Cadence (Art. 418, p. 220 j) thus.
2zP"zfzfii~+
m. ^^ffc-.#.-..#.-J
E*^
Ep^i
and he shall reign for ever and ever.
This is followed by a Coda on the Chords of Subdominant and Tonic, concluding with the Plagal Cadence.
Uliiiiiisa
Such were the simple, but sublime Notes, which occurred to the genius of this truly great- Composer ; and the Chorus in which they oc- cur, will ever remain a striking memorial of tlie immortal talents of Handel.
END OF THE FOURTH AND LAST PART.
INDEX.
N. B. The words or lines pi-inted in Italics, are references either to Musical Examples, or to their Titles.
A.
|
Page |
Page |
||
|
Abbreviations |
83 |
Alia Breve |
3G |
|
Abkiii'zung |
84 |
Abyia del gran |
248 |
|
Absatz |
287 |
Altered Triads |
151 |
|
Above Measure |
77 |
Alphabet |
5 |
|
Accent 41, |
251, 263 |
Al Segno |
74 |
|
Accentual difference |
265 |
Alto Clef |
10 |
|
Acciaccatura |
69, 246 |
Ambrosian Chant |
8 |
|
Accidental Chords |
189, 201 |
Amen Chorus |
173 |
|
Accidental Harmonies |
i 206 |
Amphibrach |
253, 266 |
|
Accidental Minor Scale 130 |
Anapsst |
25^, 266 |
|
|
Accidentals |
55 |
Ancient flat Signatures ^45 |
|
|
Acquiesce |
266 |
Ancient sharp Signatures 144 |
|
|
Actor |
264 |
Ancient Signature *■ |
142 |
|
Added Lines |
3 |
And he shall reign |
310 |
|
Added Ninth |
208 |
And the glory |
283 |
|
Added Note |
167 |
And with his strifies |
118 |
|
Added Seventh |
201 |
Anomalous Triads |
151 |
|
Added Sixth |
201, 211 |
Anschlag |
70 |
|
Addition 167, |
, 186, 201 |
Antecedent |
257 |
|
Adlung |
56,59 |
Anticipation |
198 |
|
After-notes 63, 188j |
, 198, 246 |
Aperto |
309 |
|
Ais |
5(} |
Appels |
210 |
312
INDEX.
|
Page |
Page |
||
|
Appoggiatura 62, 188, 200, 246 |
Beat |
68 |
|
|
Appoggiatura of suspen- |
Bebe |
59 |
|
|
sion |
196 |
Bebung |
72 |
|
Apotome |
113, 119 |
BeethoveUy Op. 2 |
274 |
|
Arioso |
287 |
:Bequarre |
57 |
|
Arpeggio |
72 |
Bemol |
54 |
|
Arsis |
255 |
Berenice, Overture in |
I 278 |
|
Artificial Scale |
24 |
B flat |
S2y55 |
|
As |
54 |
Bind |
27 |
|
Asas |
59 |
Bis |
76 |
|
As when the dove |
74 |
Black Keys |
15 |
|
Attacco |
296 |
Black Notes |
2 |
|
Attendant Keys |
134 |
Blow, warder |
294 |
|
Auflcisung |
175 |
B molle |
52 |
|
Aufschlag |
255 |
Borrowed Chords |
211 |
|
Augmentation |
282 |
Borrowed Harmony |
214 |
|
Authentic |
103 |
Brace |
3 |
|
Authentic Cadence |
215, 220 |
Bravura |
309 |
|
Authentic Scales |
165 |
Break his bands |
138 |
|
Auxiliary Scales |
134 |
Breve |
27 |
|
Avison, Concerto in |
G 290 |
Brechung |
72 |
|
B sharp |
51 |
||
|
But ohy sad virgin |
11 |
||
|
R |
|||
|
BackfaU |
61 |
C. |
|
|
Bar |
4, 28, 267 |
||
|
Baritono |
13 |
Cadences 216, |
221, 223 |
|
Barred Semicircle |
30 |
Cadenza |
73, 295 |
|
Base |
6,8 |
Caesura |
270 |
|
Base fundamental |
152 |
ensure 78, |
197, 269 |
|
Base Violin |
11 |
Csesural Cadence |
271 |
|
Base Grace |
69 |
Csesural Variation |
280 |
|
Baton |
46 |
Ccesures, remarks on |
272, 275, |
|
Battuta |
38 |
293 |
INDEX.
fil3
|
Page |
Page |
|
|
Capxellatuin 50 |
Chromatic Octave |
249 |
|
Canons 285 |
Chromatic Scale 24, 102, 109, |
|
|
Canto Clef 12 |
111 |
|
|
Canto Fermo 292 |
Chromatic Semitone |
92,112 |
|
Catena di trilii 65 |
Chromatic Sequence of |
|
|
CeasCy oh Judah 39 |
Sevenths |
245 |
|
Cease thy anguish 146 |
Chromatic Transition |
246 |
|
Ces, C flat 54 |
Cis |
50 |
|
Chain of Sevenths 225 |
Ciscis |
59 |
|
Chain of Shakes 65 |
Classes of Maipurg |
236 |
|
Change of ensure 272 |
Clauses |
278 |
|
Changing Notes 63, 107, 187 |
Clausula |
216 |
|
Characteristics 140 |
Clausula ficta |
306 |
|
Characters 73 |
Clausula fonnaUs |
287, 306 |
|
Choral 292 |
Clefs of C, F and G |
4 |
|
Choi-al Counterpdnt 12 |
Clef Line |
6 |
|
Choral Music 281 |
Close |
73 |
|
Choi-d 148 |
Close Harmony |
151 |
|
Chord of extreme sharp |
Coda 78, |
308, 310 |
|
Sixth 156 |
Codetta |
295 |
|
Chord of Fifth and Sixth 171 |
Codettas of Graim |
297 |
|
Chord of Fourth and Sixth 156 |
Collateral |
103 |
|
Chord of Second & Fourth 173 |
Comfort ije |
81, 265 |
|
Choixi of Second and Third 199 |
Commas in Music |
49, 120 |
|
Chord of Sixth 155 |
Common Cadence |
223 |
|
Chord of Sixth and Ninth 199 |
Common Chord |
148 |
|
Chord of Sixth and Seventh 236 |
Common Time |
29 |
|
Chord of Third and Fourth 172 |
Compound Common Time 34 |
|
|
Chroma 109 |
Compound Feet |
267 |
|
Chromatic Appoggiatura 246 |
Compound Measures |
256 |
|
Chromatic Dissonant Triad 150 |
Compound Sequences |
231 |
|
Chromatic Enharmonic 110 |
Compound Time |
33 |
|
Chromatic Modulation 245 |
Compouiid Triple Tin |
ae oG |
|
Dd |
3i4
INDEX.
|
Page |
Page |
||
|
Concords |
202 |
Delizie dell' Opere |
272 |
|
Connecting Chords |
207 |
Demisemiquaver |
26 |
|
Conrade the good |
261 |
Derivatives |
156 |
|
Consecutive Fifths |
158 |
Des |
54 |
|
Consecutive Octaves |
158 |
Descending Base Series |
17 |
|
Consider^ fond |
37 |
Descend, kind fiity |
81 |
|
Consonant |
104 |
Descending Scale |
243 |
|
Con Sordini |
309 |
Descending Treble Series |
; 18 |
|
Contracted Section |
279, 289 |
Desdes |
59 |
|
Contralto |
10 |
Diacommatique |
138 |
|
Contrary Motion |
157 |
Diatonic |
88 |
|
Contra-tones |
17 |
Diatonic Dissonant Triad |
14« |
|
Contravene |
266 |
Diatonic Enharmonic |
110 |
|
CorellU Concerto 1st |
79 |
Diatonic Genus |
109 |
|
Corelli, Concerto 8th |
35, 189, |
Diatonic Intervals |
90 |
|
278 |
Diatonic interweaving |
306 |
|
|
Corn Biggs |
43 |
Diatonic Scale 88, 101, 109 |
|
|
Coronata |
73 |
Diatonic Sequence 197, 200 |
|
|
Counterpoint |
148, 202 |
Diatonic Succession |
184 |
|
Counter-tenor Clef |
10 |
Diazeuctic Tone |
120 |
|
Crescendo |
82 |
Die, presumptuous Jicis |
284 |
|
Crotchet |
24 |
Diesis 51, 120 |
|
|
Di grado |
86 |
||
|
Diminished Seventh |
211 |
||
|
D. |
Diminished Triad |
149 |
|
|
Diminuendo |
82 |
||
|
Da Capo |
74 |
Diminution |
282 |
|
Dactyl |
253, 266 |
Direct |
75,93 |
|
Da, me, ni |
19 |
Direct Chord |
153 |
|
Dash |
81 |
Direct Gradation |
219 |
|
Deceptive Cadences |
223 |
Direct Motion |
153 |
|
Defective Fifth |
238 |
Director |
75 |
|
Degrees 2, |
5, 86, 106 |
Disalto |
86 |
INDEX.
31.^
Page
Dis 50
Discords of Addition 201
Discord of Fourth 192
Discord of Ninth 201
Discords of Suspension 192
Discords of Syncopation 200
Discords 186
Dispersed Harmony 151
Dissonant 104
Dodecachordon 17 Dominant 134, 165, 168
Dominant Caesure 271
Dominant DivisiMi 108
Dominant Motion 162
Dominant Pedal Note 236
Dominant Period 301
Dominant Progression 163
Dominant Section 286 Dominant Sequence 225, 278 Dominant Seventh 165, 250
Doppelschlag 67
Do, re, mi 19
Dot of Expression 81
Dot of Repetition 76
Dot of Time 32
Double Appoggiatura 70
Double Bar 77
Double Compound 34
Double Dot 32
Double Emploi 206
Double Flat 59
Double Fundamentals 202
Page Double Shaip 58
Double Suspension 194, 231 Double I'l'ansition 191
Doubling of the Sixth or
Third 154
Draiv the tear 250-
Dreyklang 163
Driving Notes 45
Durchgehende 63
Durum 53
E.
Ecclesiastical Mode 22
E flat 53
Eight Tones 21, 103
Einschnitt 274, 275
Eis 50
Elevation 61
Eleventh 89, 209
Emphasis 43, 260
Enharmonic 58, 110
Enharmonic Diesis 118
EnhaiTOonic Modulation 247 Enharmonic Scale 102, 109, 118 Equal Time 29
Equivocal Csesure 273
Equivocal Chord 169, 211, 247 Equivocal Harmonies 160
Eschaton 121
Es 54
J16
INDEX.
|
Page |
Fagt |
||
|
Eses |
59 |
F Clef |
8 |
|
E sharp |
51 |
Fell rage |
33 |
|
Essay on Tune |
.138 |
Fermate |
73 |
|
Essential |
55 |
Fes, F flat |
54 |
|
Essential Chords |
201 |
Figurate Counterpoint |
283 |
|
Essential Leading Note |
128 |
Figures of Time |
31 |
|
Essential Minor Scale |
130 |
Final Notes |
287 |
|
Essential Sevenths |
196 |
First Flat |
53 |
|
Hvery joy |
34 |
First Sharp |
50 |
|
Exception to Casure |
273 |
First Time |
296 |
|
Expression |
79 |
Fis |
50 |
|
Extended Phrase |
279 |
Fisfis |
59 |
|
Extended Section |
289 |
Five-feet Sections |
289 |
|
Extension |
207 |
Five Sounds |
170 |
|
Extreme flat Eighth |
118 |
Flat |
52 |
|
Extreme flat Fourth |
115 |
Flat Fifth |
96,99 |
|
Extreme flat Seventh X17, 169 |
Flat Second |
91 |
|
|
Extreme flat Third |
115 |
Flat Third |
94 |
|
Extreme Interval |
112 |
Flute Sections |
303 |
|
Extreme License |
236 |
Foot |
263 |
|
Extreme sharp Fifth |
116 |
Force |
260 |
|
Extreme sharp Second |
114 |
For unto us |
282 |
|
Extreme shai-p Sixth : |
117,237 |
Fourth |
21,22 |
|
Fourth and Nintii |
194 |
F.
Fa-di^se 51
False and mixt Cadences 162
False Cadence 218
False Relations 158
Far brighter 39
Four positions of the Sev- enth 1^0 Fra7igere telum 292 French Sixth. 239 Frets 89 F shai-p 50 Fundamental Base 153 Fundamental Intervals 101
INDEX.
31?
G.
Page
Gammut 17, 1&
G Clef 7 Genera 102, 109, 121
German Hymn 31
German Scale 57
German Sixth 239
Ges 54
Gipsey Glee 40
Gis 50
Glareanus 16, 24
God save the King 85, 298
Gothic B 56
Governing Note 139
Graces 61 Gradation 154, 190, 219
Gradual Ascent. 226
Gradual Descent 228
Gradual Motion 163
Gradual Progression 163
Grammatical Accent 44, 76
Great Cadence 223
Great Octave 16
Greater Scale 102
Grecian Rhythm 263
Gregorian Chant 8
Groppo 27
Grouped Stems 84
Grouping 38
Groups of Quavers, &c. 27
Groups of six 257
Groups of three 257
Gxcups and Times 255 Dd2
H.
Page
Hailstone Chorus 171 Half Beat 69, 247
Half Demisemiquavcr 26
Half Note 21
Half Time 31 Hallelujah Chorus 190, 310 Handel's 2d OrganConcerto 64
HandeVs Fugue 305
Harky he strikes 12
Harmonic Triad 148
Harmonie universelle 165
Harmony 148
Haupt-ton 64
Haydn's Creation 281 Haydn's Overture in D 209
Haydn, Op. 13, Op. 17 4a
Haydn, Op. 40 177
Haydn's 3d Symphony 44
Heads of Notes 2
Hear Jacob's God 195
Hear my crying 237
Heteroclite 193
He was brought 27^-
He was bruised 191
Hexachord - 18, 97
Hide me from. y^
High Treble^ 13
His 50
Hold 73-
Hooks of Quavei^, 8cc. 24
H(nv blest the maid It
Ho^v exQclkm 143
|
318 |
INDEX. |
||
|
Page |
Page: |
||
|
Jfoiv "tain is viaii |
45 |
Inversion of Dominant |
|
|
Hiilfs-ton |
64 |
Seventh |
171 |
|
Hush, ye pretty |
37 |
Inversion of Triad |
153 |
|
Hyperdiatonic |
244 |
Inverted Intervals |
101 |
|
Hyperoche |
121 |
Inverted Sequence |
227 |
|
Hypodiatonic |
190 |
Inverted Turn |
GT |
|
Irregular Seconds |
106 |
||
|
L |
Irregular Cadence |
217 |
|
|
Irregular Cxsure |
270 |
||
|
Iambic Example |
267 |
In-egular Modulation |
185 |
|
Iambic Rhythm |
252 |
In-egular Motions |
158, 163 |
|
Iambus |
264 |
Irregular Phrase |
279 |
|
I knonv that my |
268 |
Irregular Sequence |
233 |
|
ril to the well-trod |
38 |
Irregular Transition |
187 |
|
Imbroglio |
260 |
Is |
50 |
|
Immortal Lord |
213 |
Italian Coda |
309- |
|
Imperfect Cadence |
217 |
Italian Sixth |
23a |
|
Imperfect Close |
76 |
||
|
Imperfect Concords |
105 |
J; |
|
|
Imperfect Phrase |
275 |
||
|
Important Intervals |
102 |
Jesus Christ is risen |
ST |
|
Index |
75 |
Joys in gentle |
144 |
|
Intense Diatonic |
122 |
||
|
Interpunctal |
288 |
K. |
|
|
Interrupted Cadence *. • |
219 |
||
|
Interspersed Semitones |
109 |
Key-board |
15 |
|
Intervals |
85, 121 |
Key-note |
22 |
|
Interwoven Period |
304 |
Keys |
li?S |
|
Interwoven Phrases |
283 |
Knot of the Fugue |
283 |
|
Interwoven Sections |
291 |
Koch's marks |
275, 287 |
|
Jn the battle |
139 |
Koch's remarks |
277 |
|
Inversion |
100 |
Kozeluch, Op. 21 |
300 |
|
Inversion of added Sixth 202 |
Kozeluch, Op. 23 |
301 |
|
|
Inversion of Dominant |
214 |
Kozeluch, Op. 40, 41 |
308 |
INDEX.
119
|
Page |
|
|
La Rachellina |
258 |
|
Large B |
59 |
|
Last Accent |
269 |
|
Last Flat |
140 |
|
Last Sharp |
140 |
|
Latticed B |
50 |
Leading Note 125, 140, 160
Ledger Line 3
Legato 287
Lesser Scale 102
Let all the angels 282
L.et ambition SS
Let festive joy 74
Letter H 57
Letter h 56
Let the bright 83
Licenses 235
Ligature 27
Limma 113
Lines beyond the Staff 3
Long Keys 15 Lordy remember David. 145
M.
|
Major and Minor |
90 |
|
Major Mode |
123 |
|
Major Second |
92 |
|
Major Seventh |
98 |
|
Major Seventh with Ma- |
|
|
jor Thii-d |
169 |
Page
Major Sixth 97
Major Third 94 Major Third at a Close 220
Major Triad 149
Make straight 265
Mark of Repetition 75
Mark of Restoration 57
Mark of Transposition 55
Measures 28
Medial Cadence 221
Mediant 126
Mediant Motion 162
Mediant Progression 163 Mediant Sequence. 226, 257
Melody 85
Melting Strains 261
Mezzo Soprano 1 3
Mi Bemol 54
Mi, fa 24
Minim 24
Minor Mode- 124
Minor Scale 128
Minor Second 91
Minor Seventh 98 Minor Seventh -with fiat
Fifth 169 Minor Seventh with Mi- nor Third 168 Minor Sixth 97 Minor Third 93 Minor Triad 149 Mirth admit me 259 Mixt Cadence 219
320
index:
Page Mixt Measure 38, 258
Modes, Minor and Major 123 Modulation 134, 159
Modulation from Major
Scale 179
Modulation from Minor
Scale 183
Mordente 66, 70
Morley's Fifth and Sixth 202 Mozart's Duet in C 271
Mozart's Duet in D 290
Mozart's Op. 11 239
Musical Czesure 269
Musical Close 216
Musical Foot 263, 267
Musical Punctuation 275
N»
Natural 56
Naturale 53
Natural Minor Scale 130 Natural Scale 24, 101
NelVorror 172
Nine Crotchet Time 36
Nine Quaver Time 37 Nine Semiquaver Time 37
M, let the guilty 33 Mn nobis Domine 222, 285
Won vi turbate 276
Notes 73
Wow vanish 281
O.
Page
Oblique 103
Oblique Line 72
O clap- your hanck 30
Octave 14, 99
O fairest often 10
Of all the girls 273
O had I Jubal's 274
Old Graces 6l
O mirror of our 116
Omission of Periods 303
Omission of Roots 209"
Omission of the Fourth 172
Omission of the Octave 175
Open Pedal 309 Organ Point 195, 235
Ornamental 63 O the pleasures 195, 296
0 thou that tellest 268
Our fainting courage 30
Our fears are notu 129
Our fruits^ while yet 79
Our limpid streams 80
Overture to Esther 291
Overture to Messiah 187
P.
Pallido il Sole 272
Paragraph 278
Partial Modulation 240
Partial Sequence 232
Partition, or Partituta 4
INDEX.
321
Page
Parts of Measui'es 254 Passing Notes 63, 106, 186
Passing Shake 66, 288
Passione of Graun 261, 293
Passione of Haydn 262
Passione of Paisiello 237
Pause 7o
Pedal Harmonies 235
Pedals 69 Perfect and Imperfect
Cadence 162
Perfect and Sharp 95
Perfect Cadence 217
Perfect Concords 105
Perfect Fifth 96
Perfect Fourth 94
Perfect Phrase 275
Period 78, 298
Pha 21
Phrase 7^, 129, 274
Phrases in Harmony 277
Phrases in Melaiy 277
Phrases of Rousseau 278
Piano passages 260
Pilgrim, by Basse 261
Pious Orgies 57 ^ 80
Pitch ^
Plagal 103
Plagal Cadence 216, 219
Plagal Coda 310
Plagal Scales 165
Plain Chant 22
Page
Pleyel, Op. 12 84
Pleyel, Igt Sonata 188
Pleyel, 3d Sonata 299
Point 81
Points 148
Points of Division 252
Point of Em. Bach 296
Polacca 273
Polonoise 273
Polyodic ^5
Positions of a Chord 152
Postpositions 199
Prsell-triller 66
Praise the Lord 41
Prelude 280
Preparation 167 Preparation of added Sixth 203
Primary Intervals 95
Primary Scales 150
Principal 103 Principal goveniing Note 139
Progression 1^9
Progression of Rameau 225
Prophetic raptures 11-5
Prophetic visions 271
Proportion of the Breve 27 Proportions of white
Notes, 8cc. 27
Protracted Cadences 223 Punctuation 7&y 275
Pyrrhic 264
Pythagoreans 1^3
322
INDEX.
|
Q. |
Page |
|||
|
Page |
Replicate |
249 |
||
|
Quadrum |
56 |
Resolution |
174 |
|
|
Qualities of Notes |
136 |
Resolution of added Sixth |
203 |
|
|
Quantity |
263 |
Resolution of Dominant |
||
|
Quarter-tone 58, |
109, |
,119 |
Inversions |
178 |
|
Quaver |
24 |
Rest, general |
77 |
|
|
Qui diligit 203, |
292, 293 |
Restoration . |
60 |
|
|
Quintoles |
40 |
Rests |
46 |
|
|
Quintuple |
40 |
Retardations Return, 0 God Rhetorical Accent |
19S 248 44 |
|
|
R. |
Rhetorical Termination Rhythm |
77 251 |
||
|
Radical Base |
151 |
Rhythmical |
288 |
|
|
Radical Cadence |
216, |
298 |
Rhythmical arrangement |
227 |
|
Radical Harmony |
200 |
Rhythmical close |
219 |
|
|
Radical parts of the |
Rhythmical termination |
269 |
||
|
Scale |
137 |
Rinforzando 44, 82 |
,260 |
|
|
Rameau's added Sixth |
I |
202 |
Rondo |
75 |
|
Rameau's System |
151 |
Root |
151 |
|
|
Rasserena |
276 |
Root with flat Fifth |
238- |
|
|
Red Cross Knight |
294 |
Round B |
56 |
|
|
Regular Clefs |
12 |
Rule of the Octave |
242 |
|
|
Regular Motion |
163 |
|||
|
Regular Phrase |
274 |
|||
|
Regular Section |
286 |
s; |
||
|
Relative Attendant |
162 |
|||
|
Relative Major |
134 |
Sally in mcr alley |
275 |
|
|
Relative Major Key Note |
137 |
Scale of C |
22 |
|
|
Relative Minor Key Note |
137 |
Scale of F |
53 |
|
|
Relative Minor Scale |
131 |
Scale of F sharp |
127 |
|
|
Rendi 7 sereno |
145 |
Scale of G |
50 |
|
|
Repeat |
75 |
Scale of G flat |
127 |
|
|
Repetition of Sections |
303 |
Scales |
123 |
IKDEX.
523
|
Page |
Page |
||
|
Scales with Flats |
126 |
Sforzato |
44 |
|
Scales with Sharps |
124 |
Shake |
64 |
|
Schnelle Fusse |
247 |
Shaked Graces |
61 |
|
Score |
4 |
Shaked on Dominant |
308 |
|
Second |
88 |
Shaip |
49 |
|
Secondary Intervals |
95 |
Sharp Fourth |
95, 99 |
|
Secondary Scales |
150 |
Sharp Thu-d |
94 |
|
Second Flat |
53 |
Si-Bemol |
-54 |
|
Second Sharp |
51 |
Si Do |
24 |
|
Second Time |
296 |
Sigh no more |
264 |
|
Section 78, 129, |
286, 278 |
Signature |
53, 127 |
|
See the conquering |
10,30 |
Signs of Quantity |
265 |
|
See the tall palm |
-141 |
Similar Notes |
9 |
|
Segno |
75 |
Simple Feet |
26S |
|
Segue |
83 |
Simple Measures |
251 |
|
Semibreve |
27 |
Simple Sequences |
229 |
|
Semicircle |
30 |
Since ^r St Isaiv |
264 |
|
Semicolon |
287 |
Single Bar |
76 |
|
Semicrome |
83 |
Single Cross |
58 |
|
Semiquaver |
26 |
Sin noty 0 king |
76 |
|
Semitone |
20 |
Six connected Scales |
134 |
|
Senza Sordini |
309 |
Six Crotchet Time |
34 |
|
Septenaries |
14 |
Six Feet Sections |
289 |
|
Septimoles |
40 |
Six Quaver Feet |
268 |
|
Sequences |
225 |
Six Quaver Time |
34, 257 |
|
Sequence of Sevenths |
200,225 |
Sixth Flat |
126 |
|
Sequence of Sixths |
171 |
Sixth Sharp |
125 |
|
Series of C |
14 |
Skips |
104 |
|
Sesquialter Chromatic |
122 |
Skips of Melody |
86 |
|
Seven Clefs |
9C |
Slide |
71 |
|
Seven Letters |
5 |
Slur |
27,80 |
|
Seventh and Ninth |
194 |
Small Octave |
15 |
324
INDEX.
|
Page |
Page |
||
|
Smooth Graces |
61 |
Supposition |
195 |
|
SoftB |
52 |
Suspended Notes |
167 |
|
Soft Chromatic ni, 122 |
Suspension 167, |
186, 199 |
|
|
Soft Diatonic |
122 |
Sutonique |
138 |
|
Softly rise |
227 |
Sweet bird |
113 |
|
Softly sweet |
139 |
Syllable Si |
18 |
|
Solfeggio |
24 |
Syncopation 45, |
186, 200 |
|
Soprano Clef |
12 |
Syntone Diatonic |
122 |
|
So sliall the lute |
270 |
||
|
Sound an alarm |
34 |
||
|
Space |
o |
T. |
|
|
Spondee |
264 |
||
|
Spring |
71 |
Tablature |
15 |
|
Square B |
56 |
Temperament |
120 |
|
Staff |
1 |
Tempo Buono |
41 |
|
Stem |
2 |
Tempo d'imbroglio |
260 |
|
"Streams of pleasure |
103 |
Tenor |
6 |
|
Strong parts of the Bar |
41 |
Tenor Clef |
11 |
|
Stroke through a figure |
155, |
Tenor Violin |
10 |
|
171 |
Tenth |
89 |
|
|
Subdominant 136, 140 |
Tetrachord |
21 |
|
|
Subdominant division |
108 |
The eiiemy said |
39 |
Subject in Phrases 282
Submediant 137
Subordinate Scales 135
Subsemitone 137
Substitution 214
Successive Fifths 107
Superdominant 138
Supeitonic , 138
Supertonic Root 205
Supertonic S^^'enths 205
Supposed Bases 153
The flocks shall leave 146, 281, 284 The heavens are telling 309 The people that 139
The fieofde shall 209
The raptur'd soul 40
Thesis 255
The smiling dawn 42
They loathed 118
The youth inspird ' 143 Thirteentii 209, 236
INDEX,
525
|
Page |
Page |
||
|
Thou didst blow |
106 |
Triplets |
38 |
|
Three Crotchet Time, |
33, 257 |
Trioles |
40 |
|
Three Inversions |
171 |
Trite |
52 |
|
Three Minim Time |
36 |
Tritone |
52,95 |
|
Jhree Motions of RacU- |
Trochaic Example |
267 |
|
|
cal Base |
163 |
Trochaic Rhythm |
252 |
|
Three Positions |
153 |
Trochee |
264 |
|
Three Quaver Time |
33 |
Tu ad liberandum |
297 |
|
ThiLs saith the Lord |
188 |
Tune |
20,85 |
|
Jime |
25 |
Tuning |
120 |
|
Times |
29,76 |
Turk's Mark |
288 |
|
Times of Measures |
256 |
Turn |
67 |
|
Tone, Interval |
20 |
Turn not^ 0 queen |
lis |
|
Tonioeum Chromatic |
110, 122 |
Twelve Modes |
23, 103 |
|
Tonic |
136 |
Twelve Quaver Time |
34 |
|
Tonic Division |
108 |
Twelve Rules |
157 |
|
Tonic Minor Scales |
132 |
Twice marked Octave |
17 |
|
Tonic Pedal |
195 |
Tw^o Crotchet Time |
31, 259 |
|
Tonic Pedal Note |
235 |
Two Liversions of Triad, 153 |
|
|
Tonic Period |
298 |
Tye |
27,79 |
|
Tonic Section |
286 |
||
|
To vanity |
115 |
U. |
|
|
Transition |
167, 186 |
||
|
Transposition |
133 |
Uncommon Chord |
153 |
|
Treble |
5 |
Unequal Time |
82 |
|
Tremando |
72 |
Union of Phrases |
283 |
|
Tremok) |
72 |
Union of Thirds |
208 |
|
Triad |
148 |
Unison |
90, 174 |
|
Triller |
64 |
Unity of Melody |
197 |
|
Triller, Kette |
65 |
Unnecessary Skips |
158 |
|
Triple |
32 |
Uji the dreadful |
42 |
|
Triple Subdivision |
40 |
Ut diese |
51 |
|
Triple Time |
32 |
Ut, re, mi |
18 |
|
Ee |
* |
326
INDEX.
|
V. |
Page |
||
|
Page |
Walze |
27 |
|
|
Variation |
134 |
War he sung |
7S |
|
Variation of the Tonic |
Waving Line |
72 |
|
|
Harmony |
271 |
Weak parts of the Bar |
41 |
|
Va speme |
36 |
Welcome as |
43 |
|
Verdi firati |
33 |
We firaise thee |
138 |
|
ViQla,Clef |
9 |
What passion |
11 |
|
Vioifii |
89 |
When warlike |
80, 141 |
|
Violin Sections |
303 |
White Keys |
15 |
|
Violoncello Clef |
11 |
White Notes |
2 |
|
Vocal Music |
18 |
JVhither, my love |
258 |
|
Vo solcando |
196 |
Wie stark |
247 |
|
Voudisafe, 0 Lord |
248 |
Wretched lovers |
292 |
w.
Waft heVy angels Waltz
103
279
Zadock the priest Zusammenschlag
220 69
LIST OF TREATISES
QUOTED IN THE PRECEDING WORK,
With References to the Histories of Sir John Hawkins,
Dr. Burney, and the Essay of M. La Borde^
for a more particular Description.
Iftbe Pages in Parentheses refer to the present fVori^]
ADLUNG (M.Jacob,) Anleitung zu der Musikalischer Gelahr- theit, 8x0. Erfurt, 1758 ; new edition, 1783, by Hilier, (p. 56, 59.)
.\LEMBERT (Jean le Rond d',) Elemens de Musique, Paris, 1752, Lyons, 1762, (p. 130.) Dr. B. iv. 612, 626. La B. iii. 541.
ANTONIOTTO (Giorgio,) I'Arte Armonica, fol. London, 1761, (p. 24, 224.) Sir J. H. v. 393. Sec also the Monthly Re\1ev.% 1761, vol. xxiv. p. 293, 299.
ARON (Pietro,) Inslitutio Haitnonica, Bononise, 1516, &:c. (p. 158.) Sir J. H. ii. 341. Dr. B. iii. 154. La B. uL 33L
BACH (Charles Piiihp Emanuel,) Versuch iiber die wahre Art das Clavier zu spielen, 1753, 1759, 1780, &c. (p. 48, 61, 189, 19^, 199.) Dr. B. iv. 595. German Tour, vol. ii. 244, 263.
BETHIZY (M.de,) Exposition de la Theorie, &c. 8vo. 1754, 1762, (p. 13, 110, 138.) Dr. B. iv. 626. La B. iii. 575.
BONTEMPI (Gio. And. Ang.) Historia Musica, fol. Perugia, 1695, (p. 49.) Sir J. H. iv. 255. Dr. B. iii. 542. La B. iii. 336.
BORDE (M. de ki,) Essai sur la Musique, 4 vols. 4to. Paris, 1780, (p. 17, 190, 195, 285.) Dr. B. iv. 628. Monthly Review, voL Ixii p. .376.
328
LIST OF TREATISES QUOTED.
BURNEY (Charles, Mus. Doc. Oxon,) A General History ct Music, 4to. London, vol. i. 1776 ; ii. 1782 ; iii. iv. 1789. Monthly Review, vol. liv. p. 203, 438 ; vol. Ixvii. p. 177; vol. Ixviii. p. 30; vol. Ixxxi. p. 289, 426, 537; N. S. vol. i. p. 121, 265.
BURNEY (Charles, Mus. Doc. Oxon,) The Articles in the New Cyclopaedia of Dr. Rees, 1803, 1806, 4to. Accent (p. 41,) Jcciac- cai:tra (p. 69,) Apjioggiatura (p. 62,) Attacco (p. 296,) Base fundamental (p. 152,) Battuta (p. 38,) Caesura (p. 270.)
BUR11U3 (Nicolas,) Musices Opusculum, Bononize, 1487, 4to. (p. 159.) Dr. B. iii. 155. La B. iii. 337.
BUTLER (Charles,) Principles of Music, 1636, (p. 14, 17, 19, 20,
25,45,57,73,75,76,96,216.) Sir J: H. iv. 38. Dr. B. iii. 365, 403. CERONE (R. D. Petro,) El Melopeo y Maestro, Napoles, 1613,
(p. 158.) Sir J. H. iv. 70. Dr. B. ii. 96, iii. 537. La B. iii. 337. DONI (Gio. Battista,) Annotazioni sopra il Compendio, 4to. Roma,
1648, (p. 38.) Sir J. H. iv. 185. Dr. B. i. 72, 116, 459, iii. 1731-
La B. iii. 338.
FRAMERY (Nicholas Etienne,) Encyclopedie Methodique, 4to. 1791, A. to C. (p. 168, 237.)
FUX (John Joseph,) Gradus ad Parnassum, fol. Vienna, 1725, (p. 192, 306.) Sir J. H. v. 32. Dr. B. iv. 5^5. La B. iii. 341.
GAFURIUS (Franchinus,) Theoricum Opus, 1480, 1492. Prac- tica Musica, 1496, Sec. Harmonica, 1500, &c. (p. 7, 53, 56.) Sir J. H. ii. 307. Dr. B. iii. 152. La B. iii. 341.
GASPARINI (Francesco,) I'Armonico Prattico al Cimbalo. Ven. 1708, 1715, 1729, &c. (p. 69.) Sh- J. H. iv. 320, v. 226. Dr. B. iv. 574. La B. iii. 344.
GEMINIANI (Francesco,) Treatise on Good Taste, fol. 1749, (p. 244, 246.) Sir J. H.v. 238, 389. Dr. B. iv.461. La B. iii. 627.
GERBERT (Martin,) Prince Abbot of St. Blaise, De Cantu et Musica Sacra, 4to. 2 vols. 1774; Scriptores Ecclesiastici, 4to. 3 vols. 1784, (p. 49, 52.) Sir J. H. i. 21. Dr. B. German Tour, ii. 318. La B. iii. 629. Monthly Review, vol. Ixxiii. p. 454.
GLAREANUS (Hen. Lor.) Dodecachordon, Basil, 1547, (p. ir.) Sir J. H, il 410, ill 123. Dr. B. iii 249. La B. iii. 345.
LIST OF TREATISES QUOTED. 329
GRASSINEAU (James,) a Musical Dictionaiy, 8vo. 1740, (p. 51.) Sir J. H. i. 86.
GUNN (Mrs. Anne, late Miss Young,) Introduction to Music, Ed- inburgh, Svo. 1803, (p. 215.) British Critic, vol xxv. p. 64.
HAWKINS (Sir John, Knight,) A General History of the Science and Pi-actice of Music, 5 vols. 4to. 1776. Montlily Review, vc;). Ivi. p. 137, 270 ; vol. h ii. p. 149. ,
HENFLING (Conrad,) Specimen de novo suo Systemate Musico.
In the Berlin Miscellanies, vol. i. part 3d, p. 265—294, 4to. 1710,
(p. 121.) HILLER (John Adam,) Anweisung zur Gesang,. 4tc. Leipzig,
(p. 19, 50, 293.)
HOLDEN (John,) An Essay towards a rational System of Music, oblong quarto, Glasgow, 1770, (p. 3, 6, 8cc. 201, &c.) Monthly Review, vol. xlvi. p. 121.
HOLDER (Dr. William,) A. Treatise on the Natural Grounds and Principles of Harmony, Svo. 1694, (p. 24.) Sir J. H. i. 309, iv. 541. Dr. B. iii. 598.
JONES (Rev. William, of Nayland,) A Treatise on the Art of Music, Colchester, 1784, (p. 219, 278.) Monthly Review, vol. Ixxv. p. 105, 174.
KEEBLE (John,) The Theory of Harmonics, 4to. 1784, (p. 58, 134, 150, 207.) Dr. B. iv. 265, 663. European Magazine, vol. vij. Monthly Review, vol. Ixxiii. p. 186, 353, 431.
KIRCHER (Athanasius,) Musurgia Universalis, foL Roma, 1650, (p. 58, 86.) Sir J. H. iv. 204. Dr. B. iii. 576, La B. iii. 353.
KIRNBERGER (John Philip,) Die Kimste des reinen Satzes, 4ta Berlin, 1774, (p. 154, 207, 209, 211, 217.) Dr. B. iv. 598.
KOCH (Hen. Christ.) Musikalisches Lexicon, 2 vols, large 8vo. Frankfort, 1802, (p. 27, 40, 6cc. Sec.)
KOLLMANN (A. C. F.) Essay on Musical Harmony, fol. 1796, (p. 23, 28, &c. &c. &c.) Monthly Re^•iew, N. S. vol. xxi. p. 27. Critical Review, vol. xviii. p. 88, British Critic, vol. xvi. p, 169, 393.
Ee 2.
330 LIST OF TREATISES QUOTED.
KOLLMANN (A. C. F.) Essay on Musical Composition, fol. 1799, (p. 56, 69.) Monthly Review, N. S, vol. xxxi. p. 127. Critical Review, vol. xviii. p. 219. British Critic, vol. xvii. p. 399.
LAMPE (John Fred.) Method of teaching Thorough Bass, 4to. 1737, (p. 190, 229, 233.) Sir J. H. v. 371. Dr. B. iv. 655, 672.
LANGLE (H. F. M.) Nouvelle Methode pour chifiVer les accords, 8vo. Paris, 1801, (p. 201.) La B. iiL 441.
LORENTE (Andrea,) El Porque de la Musiea,. foL Alcala, 1672, (p. 158.) Sir J. H. iv. 265. La B. iii. 354.
MALCOLM (Alex.) a Ti-eatise of Music, &c. 8vo. Edinburgh, 1721, (p. 6, 20, &c. &c.) Sir J. Hi v. 215.
MARPURG (Fred. William,) Kandbuch bey dem General Bass, &c 1755, 1757, 1762, &c. &c. (p. 150, 156, 236.) Sir J; H. i. 15. Dr. B. iv. 518. La B. iii. 355..
MARTINI (II Padre Giambattista,) Saggio di Contrappunto, &c Bologna, 2 vols. 4to. 1774, 1775, (p. 13, 58, 112, 167, 220, 283, 296.) Dr. B. iv. 575. La B. iii. 355.
MATTHESON (John,) Orchestre, 1713. Der Vollkommene Kapellmeister, fol. Hamburg, 1739, (p. 172, 263.) Sir J. H. V. 25L Dr. B. iv. 66.
MAXWELL (Mr.) Essay on Tune, 8vo. 1782, (p. 24, 138.) Dr. B. iiL 164. Monthly Reviev/, vol. Ixv, p. 437.
MERCADIER (de Belesta,) Nouveau Systeme de Musique, 8vo. Paris, 1776, (p. 190.) La B. ill 653. Monthly Review, vol. Ivi. p. 386.
MERSENNE (Marin,) under the name of De Sermes, Harmonic Univei selle, 8vo. 1627, (p. 165.) Sir J. H. iv. 104. Dr. B. iii. 583. La B. 111. 357.
MORLEY (Thomas,) Introduction, 1597, foL (p. 45, 75, 188, 201, 202, 216.) Sir J. H. iii. 334. Dr. B. iii. 99.
KICHELMAN (Christopher,) Die Melodie, 4to. Danzig, 1755, (p. 86.)
ORNITHOPARCUS (Andreas,) Micrologus, translated by Dow- land, 1609, (p. 19.) Su- J. H. u. 391. Dr.B.iU.247. La B. iii. 361.
tIST OF TREATISES QUOTEB. 3^1
PEPUSCH (John Christ.) a Short Treatise on Harmony, 1730i 1731, (p. 7, 22, 45, 101, 111, 124, 153, 161, 199, 201, 223.) Sir J. H. V. 194, 344. Dr. B. iv. 636.
PETRI (John Sam.) Anleitung zur praktischen Musik, second edi- tion, 4to. Leipzig, 1782, (p. 73.)
PIZZATTI (Giuseppe,) La Scienza dei Suoni, small fol. Venez. 1782, (p. 154.) Dr. B. iv. 576,
PLAYFORD (John,) Introduction to the Skill of Music, 8va edi- tion 14th, 1700, (p. 26, 27, 101, 204.) Sir J. H. iv. 468. Dr. B. iii. 59, 417.
PRINCIPES Elementaires de la Musique, par Cherubini, Gossec, &:c. &c. Paris fol. (p. 104, 256.) British Critic, voL xxv. p. 369 ;. vol. xxvi. p. 361.
PRINZ (W. C.) Satyrischer Componist, 4to. Dresden, 1696, (p. 86, 263,270,287.) Sir J. H. iv. 246. Dr. B. iii. 576.
RAMEAU (Jean Phil.) Traite de I'Harmonie, 4to. Paris, 1722, (p. 7, 45, 102, &c. ace.) Sir 1 H. v. 384. Dr. B. iv. 609. La B. iii. 464.
REINHARD (Andreas,) Musica, Lipsis;, 1604, small 8vo. (p. 15.) Dr. B. ii. 121.
RIEPEL (Joseph,) Anfangsgriinde, &c. fol. Ratisbon, 1754, (p. 275.) Dr. B. German Tour, vol. ii. p. 318.
ROSSI (Lemme,) Sistema Musico, 4to. Perugia, 1666, (p. 58.) Dr. B. iii. 539. La B. iii. 362.
ROUSSEAU (Jean Jaques,) Dictionaire de Musique, 176S, Art Baton (p. 46,J Beguarre (p. 57,) Diacommatique (p. 138,) Double Emfiloi (p. 206,) Enharmonique (p. 250,) Regie de l^ Octave (p. 2^2,) Sauver (p. 175,) Temfis (p. 41,) Uiiite (p. 197.) Dr. B. iv. 628. La B. iii. 667. Monthly Review, vol. xxxviL p. 547.
ROUSSIER (M. I'Abbe,) Traite des Accords, 8vo. Paris, 1764, (p. 214.) Dr. B.iv. 627. La B. iii. 678.
SABBATINI (Luigi Ant.) ^rattato sopra le Fiighe Musicali, 2 vols. 4to. Venezia, 1802, (p. 295.)
332 LIST OF TREATISES qUOTED.
SALINAS (Franciscus,) De Musica, 1577, fol. (p. 58.) Sii- J. H. iii, 123. Dr. B. iii. 291. La. B. iii. 366.
SHIELD (William,) Introduction to Harmony, 4to. 1800, (p. 44, 82, &c. &c.) Monthly Review, New Series, vol. xxxiii. p. 154 ; Critical Review, N. A. vol. xxx. p. 133; British Critic, vol. xviii. p. 46, 157.
SIMPSON (Christopher,) a Compendium of Practical IVIusic, 8vo. &c. 1667, (p. 2, 45, S7y 61, 75, 101, 201.) Sir J. H. iv. 398, 405. Dr. B. iii. 421.
SULZER (John George,) Allgemeine Theorie der Schonen Kunste, large 8va 2 vols. Leipzig, 1773, (p. 41, 175.) Dr. B. German Tour, vol. ii. 208.
TARTINI (Giuseppe,) Trattato di Musica, 4to. Padua, 1754, (p. 40, 219.) Sir J. H. v. 375. Dr. B. iv. 562, 575. La B. iii. 368.
TEVO (Zacharia,) 11 Musico Testore, 4to. Venezia, 1706, (p. 73.) SirJ.H. V. 27. Dr. B. i. 114. La B. iii. 369.
TURK (Dan Gottlob,) Klavierschule, Leipzig, 1789, (p. 59, 61, &c. &c. &c.)
TURNER (William,) Sound Anatomiz'd, in a Philosophical Es- say on Music, 4to. 1724, (p. 7, 57^
"VANNED (Steffano,) Recanetum de Musica Aurea, Roma 1533, (p. 49.) Sir J. H. ii. 408. Dr. B. iii. 158. La.B.iu.370.
W'ALTHER (John Gottfried,) Musikalische Lexicon, 8va Leip- zig, 1732, (p. 52, 216.) Sir J. H. v. 260. Dr. B. iv. 585.
ZARLINO (Gioseffo,) Institutioni Harmoniche, Venez. 1558, 1562, 1573, 1589, fol. Dimostrazioni, 1571, 1589. Sopplementi 1589, (p. 58, 229.) Sir J. H. iii 106, 232, iv. 287. Dr. B. iii. 162. La B. iii. 372.
%ot1x ^osjrital CoUectiott.
JUST PUBLISHED,
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{In one volume, royal quarto, iirice three dollan,')
THE COLLECTION
OF
PSALM AND HYMN TUNES,
SUNG AT THE CHAPEL OF THE LOCK HOSPITAL. From the last London Edition.
Lock Hosfiltaly near Hyde-Park Corner y May o, 1792.
THE music which is adapted to the hymns that are used in the chapel of this hospital, hath been generally ali lowed, by competent judges, to contain a great variety of the finest specimens of sacred harmony that have ever been introduced into public worship.
For the first edition of these hymn tunes, we are princi- pally indebted to the musical talents and benevolent exer- tions of the late Rev. Mr. Madan, who proposed, by pub- lishing this collection, to assist the devotions of the pious Christian, and by its sale to contribute towards the support of this charitable institution.
But it is not v^-ithout concern, that the governors of this hospital complain before the public, that this little source of profit (the portion of the pitiable objects of this charity) hath been repeatedly plundered by the lawless invaders of literary property.
Many of the tunes have been published in a complete form, by piratical printers of music ; while another class of nien^ actuated alike by vanity and avarice, by altering and
mutilating the music, have attempted at once to defraud the several composers of their honour, and the indigent of their subsistence. To preserve the public, therefore, from the imposition of surreptitious editions, and to secure, as far as possible, the profits arising from the sale of this work, to those for whose benefit they were primarily designed, a new and correct edition of the music is now published, by the direction of the governors of the hospital. By order of the committee^
JABEZ FISHER, Secretary.
Advertisement to the American Edition,
WE have now the satisfaction of presenting to the lovers of classical sacred harmony, a work of the first celebrity ; to the acknowledged merit of which few musicians are stran- gers, though scarcely a copy has lately been found for sale, even in London. The avidity with which many good judges seized the occasion of promoting the republication of this collection, induced us to hazard an ample edition ; trusting for our remuneration to the taste and liberality of a discriminating public.
There is a character or style peculiar to every writer of music, however distinguished : but the Lock Hospital Col- lection displays all the variety that can be desired ; being selected from the most approved productions of the greatest masters in Europe. In this compilation will be found beauties from the pen of the Rev. Dr. Madan, the original Editor ; from Dr. Worgan, Dr. Heighington, Dr. Burney, Dr. Arnold, F. Giardini, M. Vento, C. Lockhart, F. Ales- sandri, and many others of the first rank in the science.
As to die style of the mechanical execution, we feel a confidence of having completely fulfilled our engagements, and an assurance of meeting the expectations of our patrons.
The performer wull observe, that through the whole work, the air or principal is placed next above the bass.
That this publication may prove useful in diffusing a taste for correct and refined composition, and by its animat- ing and pathetic melodies promote the fervour of Christian devotion, is the sincere desire of
THE AMERICAN PUBLISHERS.
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