Full text of "Dictionary of Music"

V 0 C A B U
0 R,
EXP LANAT I O N o.v TH:F.. T E'R MS;
._FREQUENTLY MADE USE OF'
M US IC A L PER F O KM, A.N C ES.
,fiD','/G ś0; at leiffire; expreffes an
.z, eafy flow move,nent.
,4dLibitum, at plealure; left to your own
will or fancy.
,//2e7u0, affectionately; a moderate
movement,. with frequent fwells and
foftnings.
'lllegro, gay; a pretty brlfk and: śprlghtly
moi, emenl:,
,4liegrotto, the dimihutive of 11legro,
and' not quite fo faff.
m0roj3; amor. oufly., nearly as affeuofo.
tndante, a regular dittint'q and mo-
derate. movement.
xtndanlino, the diminutive of ,,Indante.
and romewhat quicker.
,,Inimato, animated, bold.
lria, an air.
irio, airy., a ttile and' manner fefern-
bling fining.' '
,4ff_ai, 'enough, a ,,lllegro /lai, a fuf-
ficient deg?ee of bri/kneli but not
tOO much.
Bria, vivacity.
Brillante, brilliant.
Gantab;le in a tinging ile, nearly as
n, with; as Ovn Brlo, with vivacitg;
n 8irito,.with fpfirit.
Cbncerto, a piece of muffc, contilting ofF'
three or four movements, executed by'
feveral'differen t inffrument$.
Oreendo, encreang,. fwelling..
Z)'-al 8?gno, fignifies to return to rome:
mark or fign that you have already'
paffd.
Dil/genza, are.
Diminuendo, decrearing, foftenlng.
Dolce, fweet. '"
JDutt, a liece of'mufi˝ to be performed:
By two int}ruments, or two voices.
E,, e4 et,. and, as Dolce.e Piano fweet,,
and'fort.
Echo, ech% i,nltating an Echo.
Fine, the end.
Forte,. firon'g, loud.
Fortfime, the greateft degree of'f[rength;:
Fuga; flight: a movement, wherein th e
dif}rent parts 'fly from, and purfu'
each other, by repeating.the 'fame tbrr
of paffages. ' '
Fu.ria, fury; as Con Furia, with fury,
or in a violent and rapid manner.
Gavotta, an air in common time, equall y'
divided, dittin&ly accented,. and
netally pretty quick.
Giga, a.movement generally marked
arid tol be play. ed with fpirit. mad live,.-
liners..
c
e(ravt, a flow and roleran manner.
Langttente, languithing: a flow, plain-'
"'.I, anguido, } ttve manner,
.Largo, large, imple, a flow m6vemen't:;
rome .explain this a flower, rome .a
fwifter movement than ./ldaglo.
Larghetto, the dimin/tire of Largo, and
not quite fo fl0w.
Lento, flow, a movement nearly...th e
fame as śargol
d7ga, but.
./aeaflo, 'majeflie: . flow movement:,
with a bold and lofty manner.
.Men. lefsl as /renjSrte, lefs fDong.;
.]geno, 3 or not-fo loud.
.,4ezzo, hilfl as rezzo./brte, a middling
degree of tDength.
.inuetto, a movement in tripple time.
dYIoderatd, moderate
_/rujtte, an air, in a peculiar flile, fo
called from the French, Lrne Mttte,
which is an initrument of the fame
fort as our bag-pipe; the movement
is moderat% and ßgenerally in .com-
mon time.
Von, not.
-;Piano, /oft.
Pianiflimo, extremely/oft.
..Piu, more, as P;u iana, more fort;
Pitt lllegra, fwifter.
aoco, un aqo, a little; as un oca 41legra,
a little gay ßmuch .the fame as .41le-
gretro.
Prefliffrno .extremely quick.
JreJto, quick.
.artett. o, a.piece fo' four inltruments
or voices.
.ufntet.to, a piece for five inttruments
ß Or .01CC$,
U, L' AtR. ľ .
Recltitaz%. expreffes a particular ttile of
mufie; nearly. r slated to the manner
.of fpeaking.x. and may be called a
kind of touRcol &clamat&on.
.Rinrga, to reinforce o, entreale the
ltrength.
Rendo, t a piece which conclude
with a repetition of thc
Rondeau, . firR part.
8empre, always.
eUza, without; as $enza F/of/no, with-'
out violins.
8erenata, a fetenode, or' nighe.mufic.
Bidliana, Sicilian: of or belonging to
8icily: 'a par˝icular movement, gene-
rally.marked - or ?, in a flow pal-'
total or rural manner.ß
Staccatiflimo, the fuperlative degree of
aflaccato. ,...
Staccato, an exprefllon which indicat'
the notes to be articulated .in.a more
particularly difinE manner.
8tentato painful.
8o/o, alone, or when rome one infDu-.
ment is more,particularLy ergaged.'
.ymit.oiia,":ometirfi'es";mans a whol
concerto; when applied in longs, it
fignifies thole,parts here the inttrU. '-
rnents play'.without the voide. ..
Wardo, lazy, negligenro flow.
Tempo, time. ' '
5r'empo de .3Iinuetto,. in minuet time.
empo Ordinarlo, .in a moderate degree
of time.
l'rio, a piece, or performant% of three
vcice or inttrument.
Wroppo, too much, as llegro 'ma non
ß troppo,. gay, but not. too' much fo.
l/olti $ubito or/7. 8. Turn over quickly.
! N
! $.
THE
Complete
Diecionary
o F
M U s I C.
T H E
Complete Di&ionary
o F
M U S I C.
CONSISTING OF
A Copious Explanation of all Words
neceffary
to a true-Knowledge and Undertkanding of
M U $ I C.
Tranflated fi'om the origi,ml FRENCH of
Monf. J. J. R. O U S S E. A U.
By W I LL I A M W A R IN G.
S E'C O N D E D I T I O N.
LONDON:
Printed for J. Fnrqcn, No. 47, ,ppofite Itatto,:-Ga,'den
Holborn; and FIELDING it,ld ,x,r.g,iElt, Pa:cr-notler Row.
MUSICAL DICTIONARY.
A BATTUTA. Vide
A MI LA, or, A LA Nit RE, orfimoly A, the fixth
note of the natural and diatonic Gamut, whi[h is altb indif.
fcrendy called
A TEMPO, This cxprcffion is of a timilar fignification to a
Battuta, and is ulcl whcn following a Recitative to denote the
place where one flaauld begin to ting in time.
ACADEMY OF MUSIC, or MUSICAL ACADEMY,
By this name, formerly in France, and fiitl in Italy, were called
an affgmbly of {uficians, or of Dilettantes, that is to fay, thofe
who frequented Concerts for pleafin-e oaly, to whh the French
lmvc fince x'en the name of Concertos. Vide
ROYAL MUSICAL ACADEMY, Is a title which is itl
borne by the Opera of Paris. I will not here make any mentioa
of this celbrated eabliflunent unlefs, that among all the Aca-
demies of that kingdom, or of the world in vestal, that may
a[redly lay the greate claim to fame. Vide O..
ACCENT By this name is calll, according to the mo
general acccptation every modulation of the voice, while fak-
iag, during its continuance, or in fle found of the fyllables
ß nd words of which the cliikou, rl is comlfed which deote
an exa& uni10n between the two variations of tle Accents and
the two diviiions of Melocty.
AC, That is to tXy, tlm Rhyme, and the Mufical Harmony.
CCClltUS thys the (irammarian Sergius in Donatus, is aa
were, ad Cantu. There are as many different Accents, as there
are mctlods of molulating the voice thereunto, and tlmre are
many various kinds of /[cccnts as there are general caulks for
fucl'modulatioas. i cotlllnotl dilkourl}, tlere are dilngfled
th,-ec of thcl kinds, to wit,. the Grammatical Accent which
can/iae the ride of Accents, prol)erly fo called, hy which tlie
tbua.[ of the l11ablcs i grav o at'hte and tlmt of the
tit/, by wtfich-eacl t)lla-'te s lhrt or 1otl.: Secoadly,-'I'l
Logxc or Ra,,on:tt Accet, whiclh by many, is coarufe.iy
tcrmtxcd wc.x tim /ox'comg: I hts lecolld Rind of Accotit,
noting the relation s the lefl-er or reater con,ned;on, tl.r
tirioaa or Ideas have between themfclvcs, is marke.:l cct] v by
Pun&uarion. LaXly, The Pathetic, or ccenr of Oratory,
which, by different variations of the voJcc, hy a tone more or
lefs ex'ared by a nethoct of dllourfe quicker, or more
expretles thole fcmtimenrs which agitate the teakcr, am]
icates them to r!e audience. A xdy of thet various
and ,f their uFs in languaze, ould be the main buel
a muticJan; and {)enn{s of Halicarnau% look% with juRice,
ccenr in gcner;!, as the 6mmlatiot of every branch' in mufic:
For which respire, we alG oglt to admit as an inconrciblz
m:xi that a g::ater or legs {le%ree o' Accent, is the ral caul
which renders language more orle} mufical; for what relation
could muffc be:r ro clilour:, we,e not the modulations of the
fingcranimlration of the vcrlml Accents. From whence ir fol-
Iows that the lcl} quantity a language has of' thch like Jccen;s,
more the harmony thercof mu be mono'onized, lanzuilhing,
and diluful, unlel ;r teks, in the height and force of foandss
tho' charms hich cannot be fund in their variety.
I regnr,.l to the '
athetm and Oratorical Accent which is tim
mo principal obk'& of the imitative mufic of the theatre, no one
can oppoCe the maxim which I have .ut l,fin down, that every
.man bein fubje& to the thme paffions, ought to haw a fini}ar
exprco .{ theml for the univcrti Acccnrofnatur% which
draxv5 from every man inarticulate tounds is one thin, and
cc'eat of langdag% which produces an harmony FCcuiiar to a
ation is another. The difference of a reter or lc:k imaei'-
nation or lbntibility wch may be dmothcl bctveen one
pyopl and anol;e:-, ought of ittif to introduce an infinite
.rxetyn the accented idioms of a tongue, if' I have Iiberty to
expre/ myself thus. The German, for cxampe railcs equally
anti roughly his voice when in a r:,g% he cries ever in the three
tone; the ltalian wixmn a thonit;d different motions agitate
quick and fu, c,'tfivelv trom the tme cnt, varies his voice in a
ti:utan,.t ',i,'er,::,t i'ains. The lame foun&tion of pattion
'o&s ,OJ tbul; buc what a variety of cxprclfion in his Accents
*p= , ;tguagc Moreover, 't)s to this vircty alone, when
the malcan kncws l".e ilirat'ion o r that I' owes the encrge
an l bcauty of lxis n?ta. Ua.uci, i,y art ttlct dil}rcat Ac-
tb r'Rrx'mA 'ly tl,e I)arrlcU.ir ru}ca of lis art, '1 here is ua
dd!..u't, ,.' t.:,: tcu mi{y ulc ia tllis art arc illicit to a
trail
AC 6
tual contrariety, n,I are Fo muc! the more contrary, as the
lau,uae is leg mufical, For none is perfe&[y Fo, otherwife thoih
who tll it would fluX, ine-td of eakin.
Th;s great difficulty in following, upon true, tte rules of all
he Accents, obliges then often the comffer to give the pfer-
ence to one or the other according to the diffe. ent kinds of
muffcol which he is beating. For example, the airs of dane-
ing require ?artlcularly an Accent of rlyme antl cadence, the'
nrore of which is in every nation determined by the language.
The Grammatical Accent ought to be the fir conthlted in the
ecitative, torender the pronunciation of the words more atti-
calate, which is ufd to be 1o. through the volubility o' the
courlb, ia the lmrmonic lbuntl; but that Accent wlxich exprees
the patfion claims the ?rece3ence in its turn in dramatic airs;
an,1 both are lhbordinate, particularly in fymphony, to a third
kind of Accent, which might be dcd mufical, and'is in Gme
t])e&s determined by the nature of that melody whic! the
clan wilhes to appropriate to the words.
In fine, the fir anti elder defign of every kind of mufic,
to pleit the ear, wherefore eve,y air flmuld have an agrexabte
note: herein lies the tit2 laxv, whick is never fuffered to
o;ated.It is necefihry then, fir to cont!t the harmony and
the mufical Accent in the com:ofirion of any air wbatfoever;
then, lhould our defign boa dram'trio and imitative Oantata, we
muPr tkek the Patherin Accent, which gives to each Fentiment its
proper expretfion, and the rational Accent, by the a2ance of
which, tie mufician enters with ju2ice into the idens of the
poet; for to in'flame others with that warmth, wherewith Our-
lblves are anhnated in f['aking to tlem, we mu make t,em com-
prehend what is the MtZi=& of ore- ditbourl. 'Fhe Grammatical
ccent is nccellhrv fbr the tme realbn; and this rue, though
placed here the }a in order, ia not lel indiqenCablc than tie
two forther, finco t[xe tEnth of propofitions and phrals depcnd
entirely on 'that of ',vorls. But the mifician who underand
. hl; Inngang% has lldom occdion to be attentive to this Accent;
he .cannot 'ia.g his air without perceiving if he lpeaks ill or
wcli; an:t it ;s lhffi:icnt that he know's that it is always necetL
t;-y to t}cak v:lt. Happy is it atways, when a flol˝ing and
flexible meod g never ceases to unite itttf to the natural exi-
gencies of language. '['hc Frcm:h mulicians in particular, h.ve
alii0:anccs wluch in this cat render t::cir errors unimrdonal)Ic
ahd above al. the Ireattic on the ['ench I,o,odv by Ionf
L Abb, d'Oa,:er, whxch every. one tho,d conlult. I ho.e, who
will b0 in a conditio,'o'ra;= them:elves to a highc.r lpherc,
note:;of the i)hilo,bi)ixct: who h;s co,nmnted oa it: thu,, by
bui:ding tl:z cxic:':m:nts o:t t!:c ralcs and the r[:cs on
[,l',;x, 'i'
p,'in˝iples, they w';11 be always certain of what they fiould de
in the management of tle Grammatical Accent in every flape.
In regard to the txvo otlmr kind, o'f Accents, they can be re-
.duced into a letFur number of rules and the pra&ice of them
xequiees lefs Rud% and more genius. 'l"here cannot be found
any kind of Sang-froid in the language of the pailions; and it
is a well known truth, that to inlire another with keling, we
mu feel ourfelvcs. Nothing then can, in the (earch of the
thetie ccent ful)ply the place of that natural fire, which
4wakens at p[eafire every tbntiment; and there is no othcr art
in this ca necery, imt to light up in one's own foul, that
flare% xq2clx we xvifi to convey into the hearts of others. (Vide
Fv:.) Is the rational Accent the ol'{ie& of our concerns
l't haq lut little to do n the acquiring of it, for this rcabn, that
the deaf cannot be taught to hear. It mu be confeffed al(o
.that this Accent is in a lefs dcgree tl}an the orb0rs, the refult
.muff% becaufe ranfie is tnuch more the language of the
than of the mind.' Give then a number of images, or tntiment%
and tkw tim fie ideas, to he dirkaged by the mufician, for it is the
} .
nailions alone that fin, the underaadm confis but m the fpeech.
- ACCENT, A ki, of mark in tlx Frenclx tinging, which
was formerly affixed to the muff% but which at pretnt the
maRers of the (3out du Chant, or Parte in tinging, mark witlx
pencil only, until the tbholars undert}and themlelvcs tlxe method
of placing it. This Aco'nt is only ufed on a long fyllable, and
rves as a con'eyance frown one note thus marked to another
ote without this mark placed upon tlm Ikme degree. It coa-
fis in an elc'ation of the throat whiclx railbs the found a de-
gree, to give, in that in2ant, the following note the tme ibmrid
which ithas left. Many have given the name of Plmnte
tlis Acccnt. Vide tlm Sign and EH& of tlxc AccT.
q ,q't'c,qt. 5/1 Gt,5'nce. ro,{.en Cadence.
r[ ..... _ r .[ _ .
throutt out,
AC
ACCE'TS, T!c poets often ufo th: word in the phirat to
%nlfy the bn it%if, and ordlnarily adoln to it an epithet, as
fx'veet, ten.let, mournful Accemts. In this ca, this word receives
exay the fcnth of its root, from whence ari;s the derivation
f,r it is formed from Cane?e, Cantus, whence is derlved
CCllttl% S well a Concenlus.
ACCIDENT, ACCIDENTAI, We call accident, ov acc
dental figns, the B mollare's, the Dcfis's, or B wlrato's, which
are mt with by accident in thc courth of an air, and which,
confrequently not being at the key, have no relation to the mode
or p-incipal tRetn. (Vide Diefi, B mollare, Mode, Ceff or
Key.) We call alb acciklental or ledger lines, thol which are
added abore or below tle ulhal horizontal five, to fix the notes
which are beyond their limits. Vide Lm.
ACCONiPANIST, He, who in a Concert, accompanies the
band ith the organ, the harpfichord , or any other accompanying
inRrument. Vide Accovavto.
It is abfolutel neceffarV, that a good accompaniR be ilful
mufician; that'he be ac(luainted with the foundatlo of har-
mony; that he know erfe&l his tRem of muffet that he
. P Y
hve a tnfible ear, phant fingers, and a well founded tare.
'Tis the buffneff of the accompan;R to fix the key for the
voices, and to give the change of motion to the orcheRra. The
fir of there oces requires him to have always under the fin-
ger the note of mufic, to reRrike it when neceffary, and to raife
or let right the 'o,ce when it weakens, or is bewildered. The
lbcond requires him to rike the bars; and his ccompanying
with a firm roke, equal lain out, ,nd well regulated on each
fide, for the pux'pofe of rendering the muficians tnfible of the
time, particularly in the beginng of airs.
In the three folloxving articles may be found thole detai!
which are wantinff in the prefent.
ACCOMPANING Is the execution of a complete and
regular harmony on an inRrment proper for rendering it
viz. the organ, the harpfichord, the theorbo, the guittar, &c. &c.
Ve will take here, as an example, the harpfichord, a it is th:
only inrument continued in ulb for accompanying.
There is given, as a' direrion, one of the part of mufic,
hich is ortfinarly the bari. qhat baff muR be touched with
the left-hand, and with the right the harmony expreffed by th
tone of the bari, by the melody of the other parts, which are
playing the three time, by he partition which is placed
fore the eyes, or by the cyphers which are found added to the
hals. Th ltalian-hold tl-xb cyphers in contempt, the patio
ittelf is of little tbrvice to theM; the quickneff and nicety of th
ea fupplie tleir plac and .tle .acc etely w11
ithou
AC
alone that tkcy are imll'cd %r thia facility; :nd an([hcr pco
pc, n,r born to mufic like ti:m'.Dive% find in the exocuto:l
be accomlanyinfr , lbvcral difficulties r:Imoff Jnthrnnot;ntabc.
to:c'able degrcc. XVhat then can be the citltbs tat retard,
t};is manne:-, tle advancement of ľoun'5 pra&itioncrs, and cm-
barrat˝ rbr lb Ion. a time, the mi}crs uneli the difficulty oF
the art none is the occ:tficm of it } There are two l>rlncipal
rcabas: the one lies in the metlxod tff marking the cyphers on the
.1}; the other, in the manner of the companhnent. Let
g:'t treat of the fbrmer.
Tie figns which are made ufe of for the purpo:b of
the cypicrs on the ba/, are far too nu,ncrouq. Since there are
fi few f:mdamental concords, why are lb nlanv cyphcrs necetry
t, ex/,.'mi them } Thct three figns are cc/ui'vocal, oblbure, in-
th/c;cnt: for example, they very' feldom determine the nature
of the interva!a which they expre! or what is worlD, they
note tho: rf another nature. We fix a bar to tlte one to mark
Ixe I)icfis's, and to others, to mark the B :nollare's. The major
=ncl [q3erfluous intervalg, and evcn the deminificd, are often
prcflbd in the Gme manner. When the cyphers are double, they
arc too confud when fingl% they very i]dom expre more
thnn the idea of one interval aione; t0 rharwe have always a
fro'at number to unde2and and to determine. But how caa
we remedy thel i:conrenienccs? ,lu2 it be neccfiitrv to
creal the number of tigns to exp,'cl each part? Ilar t[e com-
pl.aint is that there are already too many. Should we reduce
them ? In that ca/% we flall leave more things for the accom-
p:tni to gueti a% wl:o is alread)r t,,o muclz embarratFcd; antl
provided we go' lb far as to make u.b oF cyphers :ley fbould
[ of fuclt a natm-e as to exprel every thing. 'Vltat then is to
te dm.e } bhoukl we invent new tig::, render the method of
piacing the finger more pcrfc& and from thol fi3,n% and that
pofition of the fingcr compo'. two unitcol methods which com-
hinein affiXing the accompani? That is what Mont;Rameau
haq attempted with g;'cat txg::city, in his l)ifih:'tation on the.
ditii'rcnt Nletltcds of 2[ccompanying. We will point out undce
the words cyphcr and to fingec, the means which he
Let us pat on to the tnctiods.
2Xs the ancient mufic was not cornpored on the fime plan aa
ours, neither tbr the tbng nor its harmony, and as there was no
other ba/ but the fundatnental the whole accoxpaniment con-
fied only in a lk:'ies of perG& accords; in the whicI b the ac-
compani tfi)ituted from time to tim% tbme tixtlx to the fifth
ccortling aa th. gay rcttirgd: .they knew no fartlcr, t pro-
^ c
tent, flnce they h;,ve cha. ngd. the /od'ulatlor/.4, overturned each
feparate party,-furcharged, perhaJ"oiled th liarmy by ff
quantity of ditcords, we are obliged 'to putrue a different rule.
Campion gave the preference, it is aid, to t13e r.ule.of th e oave,..
Vide ule of the OeTAv)ahd, acaording to this method,'
any mars ill:teach at p.ree the?ac0mpanimcfit. Tile: .-
concords are determ, ined by the.ruie of' the' oa{re acedrding
dxe lank which is held2 b'fhe notes 'of' tfi bkfi, .and to the'
x'vhich tk'y tbllow i'n a. giveh' eofiel The)dfore' the tone.bein
known, tt:c note of'tfie'baf d6fit;nfies.fifin' lfo' Thfi'rank
this note i: the tone, the rank of the no that imdiately pre-
cedes t, aad the rank oF tle note tfiat.follows t, ff accompamed
by the rule ot the offave, cannot lead us into any grea error,
provided that th'e e6mpolr lihs follov&l' t'he moil fimple arid tooif'
hatural harmony; bfi tliat' is xefiat w4 ougJxt raxely io' bxpe'
tlie prevent muff'c,'as' hrdly in It/I iffelf does e harmony ap,.
pear to increatb' its fimplicity, in'propdrti0n as ii !b-ffdns it eltb-'
Where. More tlxan this, xvqxat,.metlod muff xk' f011o?.o.hve
flefe thlngs co'ntinhlly p?efefit ? "And Whilfi tfi accompafiiR- i'
infiruing .himtblf, whak bdoe 6f ta. fing4ra " Hardiy have'
xg'e' formed an idea of ona Accord',' hue ihe4preents'.i'tf4f ano- ß"
the?, arid the infiant of 6hr ?effeion i 'prifely 'that .of: eXe-f
cutton. . '.
There' is' BUt 6nb-defermined; inbhd" ih' mufied 'rifle 'ee d"'
experience, i.e. the facility of readin line of mufic in
carl of the eye, Which can be.of feryce a ths tme. ' And fiHI
ihe ' mo 1tfil ira' 6ften 4edfi'dd it'th] a'fiance.. What' '
numb ? of-faults efcfipe t5em ' dfirlng th 46eniion even.'letthe
a.ccompaniff be evbf f0 xx;61I'expdfieheed' Can we expe .even.
fbr te acd0m'p5fi tliat ttie"ekF 'be' fGrmfid; thaf th ufician' .:
be ably tb 'fad' wi ek ahd rapidiy'e4e?y' ind 6f mfie, that'
hc can au' the infiant the book is op'ened. unravel a' artitibn ?' ß
nd fiill;. Wr% t]is' oI., 'xx%,'gd Wah a' bn' o' le.
finhrs' fofih'dcd oh: dffrdfi' b?inlfies of aeom"nimekt. than
tIxf adb' urC of''fitil M6hif'Rau. ' ' p " ß .- ' ß ,.':
Zealous: makers have kery.cleaOly Cebfi' t in'ucigncv' fieir'-,5..': ß
rules. To ffippJ9 khe defer,' they hľe 'l;fi .ecdbo tb th '."=' :.' ."": '
enumeration and efcnpton of cofifdnahes every dffonee:-of ..... .': ..
which s exendd accomaneS and urevented..n all .ts t}jf-.- .' ....
fnt caFds. proflgous deraft. wlueh the qba'ntty of
fiahb4ľ a'nkl' 6 thdil- cmnbifiitions fucinfiy evinc% and winix'
Whicli' tli' fimff rikih Ibaddd
any advCd the compo{mon to be uded before we pail to
flxe iccopaniinet, a's' t' fixd aceotnaniinent was' not co'npofi-
ton tlcl ecept n regard to tlxe nVent6n tha't more s necet- '
ry to the compoler. It s a f t wns pi'opoled to begn
lki:11 to 'd' by mZifig oe' tIf a'ff orarlc ' On tlt˝ cOnSrary
A C
how many ,6 on leglnning by the aceom?nnlment to learn
compofitlon and this plan is ermlny more realunable and more
fia tural.
' Tl{'c courFc g the ba th ruIe og the oave, the method
extdng and preventing 'th diflbnances compotlon iifelf in
general, 1t this concurs to no' other tmfpof% than m fllew the
fUccffion'of one accoid to another; fo tat in every ,accord
there re frgfl obje&s, hexv fule& for refle&ion Wl,at a con-
tinual Iabour! When'will the mind be fuciend inflru&cd,
a xvlen the ear fuciently 'exercifed. fo that the fingers be no
19Bger opt ?
Thefie ar.e' the diculties which Monf. Rame has proposed
fo ?ymedy b his new [yphers, antl by big new rules for accom-
ammcnt. will' endcavour o point out, i few words, the
rJciples upon which his methods are founded.
' In harm'onv there am but confonances and dimances. Con-
ffec'ntly" thee re only confonant 'accords and cliftonant.
. Eacl; oe of diefe a&rds is fundamentally divided by tiercc$
6 thirds (this is M6nf. Rameau's fyem). The eoncinnos
{ceord is compog-d of 13ree oyes, vlz. ut mi, fol, and the dif-
naht of four, vlz. f; fi, re, fa, laying aftde the Cupportion and
ufEenfion , which in xe place of tlaotb 'notes, wh01 removal
requlr6d 'intFoduce other'as it wet% by licence; 'but the
compliment. ars never more flaan four. (Vide
Where concinnous accords fuceeed each other where dionane
ß fiecords a?e followed by others diffoant alt% and where the con-
cinous a the diffonant ar intermixt.
' ' $Vhereas the perle& conclnnous accord agrees only to the
"t'nlc'th fucclfion of conclnnous accords fumings fo many
t0nlc and ontkquently an.equgI number of changes the
ß tone. '
'The diXonant accords fuecedd each Other commonly in the
fme tone, i? .the fofin&s therein are 'not greatly varle.
[anc uhltes togethe? the harmonic fenf% one accord thereof
ecitcs the dtfir ß of another.
.' If.tl;e tone be chan'ged in this fUeeeon, this change 'is al-
xYays denoted by a diefi$ or a B nollare. In rgard to the third'
ce'0n, 'tliat is to' fay;' the intermixture of c0nfonant and
4iffon.ant'a&cords, 9n.'Rameau reduces' it to two cafes 0nly
ald he 'gives it as hlg opinion'in genefal that a conlbnant ac-
eb? cn'n0t immediately' preceded by any other diffOnafit ac-
cord, than tIlat of tlio fevertirol the do'inan toni%' fir liat of
z]e tixte quinte of zhe fou dominant except in the broken ca-
. ence and th e' fuqnfions ;.' ahd farther he' ad'vanecs .fiat there
ae no exceptions m gfirLl'to"tli omidation. ' ]t :tpears evi-
dent tO' me, that'a perle& acc6rd may yet-$e Pr; by the
' ' ........ . ; ' ' accord
AC ß
accord of the diminifhe,l fevcnih',' fikil"e'dn by that bf the
perfluotts fixth, two original. accords the. lattur.of whick thff'exs
no alteration.
Herein then we fee three dlflVerent te'xtm'es'.Of h.armonic
l'irPr, the tonlcq, which fucceed each other,' and folqn an eqtml
number of new modulations. Secorally, the dillbnance.s whlclt
tcceed e.'ch other ordlnarilv' in the titme tone. Thtrdly and[
lafily, the conIbnanc˝s and dlgonances wh[c1 are intcrmixt anll
whcre the confonahce is, according to Montl Rameau, prec˝lcd
by the t'evcnth of the dominan,"or by the lixte uluinte of
f(ua dominant. What then remains to be done foe the śncilit-
of the accompaniment, except to polnt out, to the a˝compan'/f.
whick it is of there textures that is predomlnaat in whatever h
-ccompanies. Moreover, tb. ls is what Monl; Rameau, wul
hay. e. executed by clmra&eys of his invention.
One fign alone can eatily denote th= tone, the tonic, and
accord. From thence is derived the knowledge of the
and B mollitre's which mutt enter into the compofitlon oś ac-
cords tľom one tonic to another.
The fundamental śucce:ition b thirds, or by' fifth.% a w61i in
rifing as' in deftending, gives the firt texture of harmo'i: phrais,
entirely tempofed of contbnant accords : '
The-fundamental thccettipn by fit'ths or by third% in
fcending, gives the fecond texture compo!kd of cliftonant ac-
cords, thzt is to fay, of accords of the tve-.ntl b and thi fuccef-
tlon gives a detending harmony. ' ' ' '
The afcendant hrmony e f:Uerlnliflt'ed bira fucceffion'of fiftt'
in rifin or of fourths in fc nd'ng accom anied b a
g, .... . 17. .Y .. .
nance appropriated to thts fuccefllo% wlnch ts Ia fixte ,ajoute%
or the fixth idded anti this is the thi/'l text{re Of.h}irmonii:
phrafes. This IaPc had no till this time been direevicted by
any on% not even by Menlo Rameini,'though he litkotered the
principle of it'in tha{ cadence, which he eftlied irregular.
Therefore, by the ordinary rules, 'the'hai'monyWhlch' aril'fi-0m
a fueceffion of di'ffonances alwaya defcends although aceor,ling
to the true prineiples and according tO reafon it ought t*o hive,
in its rife 'a progrelfI0n equally as regular, as in'its deftlent, '
The fuladhmental i:adences g,'ve the fourth texture.o lumnli::
cadences where 'the confonanceu 'and diffonance are inter-
united.
All there texttireamay 'be denoted by eharderu, fimple, .fear
in numbet' eľden wMch can at the tiime tlmi point re;t,
it is neeciliary, ' the diffonhnce in ueneral. for tile nattire 0f'it ia
a ways detenmned 'by the txture tfelfl We .mnft be'lm bY
erclfmg oul'fe}ve' on 'ihefe textures taken feparately tha we'muft
make thin: .thce˝d'etch other on every. ten% auden every mot
fuccefllvely.
2
,V;th the,ec precautlonq, iMronf. Rnm-..u pretends .that we may
learn more of accompan[nent in fix Inontb% than could be
learned before in fix years, and he has experience on his tide (V
U'rs). In regard to the method of accompanying with
intelligence, as it dpends mo'e frmn the .ul and tae, than fro m
:,ny :ues which can be given, [ flall content royfell t0 make
lere Gme'Gw general oblkrvation of which no accompani
ouIxt to be ignorant.
. '-"FiS1 AltI.ouh' inthe prln6ples of.'of. Ramearn, it
ß Sckffry'to .;e-evev tbund 'of each accord, we md''he 'cy
cardfill always to ohrve tl[s rule literally. There ar'accords
.-.wflch o[8-be infupPorthb 5Gth alI this .coalition. In
: .rea, pre of diffdnanr ffcg6rk, 'articula -I , in the accords b
.::- ppqflt'in'; e ni6 a!ra fone. tpuud for t. he pu3'po/ of di-
'-:mini'ng'its 'dukati6h. This thuml i Gmcthues the tvnrh',
,fqt'etme'% the fth":' .nos"afi then; bot'h I 0n a9') th brhr
.'re'.eut Off, 'We c'fit Off altb wry otken Ie fifth, or the oav
ß of t13e.' bars in 'the diFonant'cco:ds, ,to avoid the aves or
s 'that' fol16xv; hcfi 'ma 7 crMe an. ill ee, particularly at tl
'emity of 'the piece.' For the thn retbn, wlicn th'e
'note' i.in theTEal˝, i' s never placd in hc accompanlment
to thpp!y"i'ts pianO,: we toubJe the third or the fixth, qn. tlxe right
hand. -e ougkt'ahb to avoid Yhe intervaN of-the fith and to
'kep the tWo'finses joined} fo' Imt renders the ditFonance erv
rfhgh, which '(v'ouht 0 prferve' for Pbme 0caiions, where tte
exp're0fi requ..s 't. In oenerl, we ought to ree m ac-
companying, that when tonf. aihu xwflies every 'accord' to
be filled' up,"le.ha a"greamrSntifiion't0 the.mchifm of the
$n'] and to hls t, abtrc61a f>'c' 6 acmnp. anim0nt,
tIe purity of the Imr[ndg. lh'ffc;d. of at confuted f0ucd
'wineli 's made b} a' hke ˝ccolnpamment we fliould .leek to
ienfi)'. agreeable "anal' fml&-bus, 'and .lnak it houfifli and
trenffthen the baCs mead of confehng and RfllOg t..
'"' lri.i:ih,hkl be tcl. 1o3v his abaraO.ion of founds can ag:re
i.t.flie .dfiiti6n gf the hc{on0an[ment by a.epmplet harmonv
l',vtt!nn the fvctn of 'OOf. ga˝au; that accor.
.' gure 'ele accoiIs, tlus' 13gla[ed m .appearo% no.left
_qO01plet.˝ tln the oilmrs.; hgge tile .ngs lg.l O e
heVdi'FOid 'eut 'bee;" Cld enddf them 'all[agreeable;
,n '.are C'l,ltel '0 xhe otlter; .tt m n, a ntc D
13
t%,nidon ought to fi,x the ru}e, and cullom teach when wo qught
to differ from t.
Skondlv, %V ought always to proportionate the found of the
acc6mpanlment to he charaer of the tuufi% and to that
the inruments or voices which we are to accpany. Vhere-
fore in a chol% we rke wth he .right had the full acord%
Wih the le'ft we redouble df 9aye or tle 'fifth;' fq:tlm the
' who accords ....
' We 'ought to follow the ame lan in the 'talla n reciafiye,
for the tbunds of the bars not being maintained therein, flould
"not tnake 'ihemfelvei undero6d, unlefs'x41h their whol ilar-
in6n), 'and 'for' the purpofe of r6allin forcigl, 'ah'a for a
long durion of thb id'a of the modutliion.' Off the' cOnt'ry,
ida ]owand tivet air, xvken there i's b'fit'a Weak' voice, ora
finle'idrumet for'the acc6mpani'mnt, we cut off the tbunds
we'flacken flOw}y we touch the (mad key. - In a D'ord, attenuon
' flaohlfi"be'alwiyi pkld, le the aeompfinlment,'wtfid is form(d
'E[.t9 fu3ih hnO 'embeltim .the fgt}bil, an 0 eti.reJy
' Thlrdly .When we rike the fame rings to pFolong the
'f0fi9d'in" a long h0te, or in a feofi; let it be rather at'khe
:'ginning of ih'meafure, or 'tke rong time, thhn at in&her'mo-
-entl "We 0utit'ot to repeat throke kill we bari'a-ell
amined !he meure. In .tle Italian recitative; how Iong''du-
'ratioToe; a'nb[e of tie bari' ay c0ntaih We'.ohld:hever
'fi}ike i{ h't'0nce,' and fixat foribly with its.whole. a6coM.
're'tike .the accord onIy when'it changes on'ihe
'but' when an' accbmpqnlmcnt 6f 'violin is' tienda 6h' he reci-
'tatiqe, then we 0uld fUain ihe haft and ffc[en iti accord.'
.... 9'ur.ly, 'Wen .We iccopany Vocal 'mufic, wi'.ofigh'i, by
:the a&0Npani4eu , t0 fald th voi˝T t0 gqie it, 'e' it it
'tndin' 1 i taklgs 'in, 'iha Corr it wlgnver it'is out 0f
tuue. The accopani always havig fle' ani,ta boFor
ge,, and' till" hin&dy p')deht 'in' h,q me-moey, i efpeciatlv
'} a}zed t be Caredfir {hat the v61ce"' 1o)e n6t itfelf
'' Ff{hD"'' 8fig; riot to accompany in the 'faMe manner
tlxe tl' and 'inh"mufi. In' klfe'lttr, 'ye fltould
.e 'fq6hd?, 'fieh" teni kontinall w,Sfi'grac'e in 'a graduil
rife.' iI/a 'flYt '' the haimdnv" hi much 'a[' tidbl, ,la'v" the
..b$( Xytt roptiety, in a word, lall m' wnh 'every 'thin that tie
Iafian jgufic w'mdR fi'pl' I ne, ind ˝ithdraw
d'bifi;':he 'fidifi'r 'fl nfr'' aces bat""rirervi :ig' i'i thai
ß . '..',.,.,t .... . ............ ..... .... , , . .,.. ' ..
e.} lve cgurfe wncn appertains 'to g. wh accomvaa
I4 A C
in, or points d'orgue.: .-5.e may therein, wSthout letup:e,
dil'h the lbund, .but. ln th'at.:cat:,- xv muR. carefully choofe thol-
which are ulderfood, for this purpoIh, tha/: they mv be founded
m harmony, and be'a10nhcablľ adapted' to the voice. The ita-
h tns h0.1d t as their. opinion, .that nothing is. heartl in the ac-
comparemeat, or in the bars, whlclx can abRra the ear for one
moment from the air; and their, accompaniments are aIwa}'
direc%d on this principle, tha tke plealure and'attention eva-
porate in a dlvifion of each..
$ixthly, Though the accompaniment of' the organ be the
fame with that of the harpfichord, the tafe of it is very dif-
ferent: as the founds of the ogan are fuRalned, the courfe of
it ought to be more bounded and !els changeable. We fhould
raiśe the hand entire as little as poflil)le, flide the f/ngers froin
one flop to another without removing thoih, wtfich, in the pIade
where they are fixś, may be neceffary to the accord wherein*we
are intereied. There 'is nothing fo dilhgreeable as to 'hear
rate on the oread, that kind of dry flackenlng acconpanimert,
'3hich we. are c;lige?J .a;0 pracqlce on'the harpśchord. In generfil
the orffan, that'i'dument, ib fonorous and majePdc, has no
affociaton with any 0tler, and makes but an ill effect in the
'accompaniment if it is not, at 'the mof, to f[rengthen the
peano's and the choirs..
Monf. Rameau, in !is..Err.6.rsl in Mufic, has lately etablifhed
or at leaf advanced, a fiev. 15binciple, for the omifiion of which,
in my Encycopledie, he cenfures me highly i.e. tha the accom-
p/mlment is a reprefentatlon of the tbnorous body. As I exa-
mine this princip!e 'in another w'iting, I fhall dilen/ menti-
oning it in this article which is already tOO long. My dif-
pute with Mont'. Rameau are the mof ufelefs circumtance. in
the world tow. ards the advancement of art, an d confequently tO-
vards the plan of this Diionary. ß
COOx%iP'NIlIENT, [* moreover 'every part:" of th6 bafs
or any other infh-ument, whiclx is compofect u'nder an air to
render a harmony tlierein. On tiffs method a rolo of the
violin i accompanied by the vi01incello, or harpfichord, and an
acco,npanimcnt of the flut% is very. well adapted to 'the volce
The harmony 6f the accompanimimt is an addition to'the agree-
ments of the air, by -rendering its founds more furel th64r
more fiveet the modulation more fenfible, and by conveying tO
the ear a tefimonr ofjufnefs whlct, gives 'plealure. In the time '
manneri in reara to 'the voice there is a śolid reafon for it
being alway accompanied witlx tbme inxrument, Whether it' be
iu art, or in unlfon for thoulh' number that in tinging the
voice modeflea tśelf naturally according, to the laws of ,n0dlca-
tion (V,de Movex'ro/) Iwgever, exper,ence teach˝
that the mot jutt and' bef exertired voie$ have a grt trouble
AC
in mahtalnhg them[cl''cs any long tme in the iuR,e{. of
tone, when there is nothing to lhain them thereln l)y
o[' iining we rife and fall ininfibly, and it is very uncommon
float e find our[elves exa&ly at the eonclufion in the ihfie tone
;"- -.. ......... let o 'Tis for the ur)oih of rcventlnr
w ....... .,, ..... ß ß . P I P -. g
hce variations, that the harmony o an ;nnrument s em-
ployed. It' maintains the voice in the fame dlapalbn and vhe
xt lores itfblf we recall it'in'an in,ant. The bars is of'all the
parts, the mo neceffary for the accompaniment, bei'ng that
which bei} fuRa;ns the voic% and gives a greater plealure to the
ear, becaufe there are none whol vibrations are fo 'rong,
determinant, or which leave a lefs equivocation in the judg-
ment of fundamental harmony.
To ACCOMPANY, Is in general to play thearts of ac-
ompaniment in the execution of a piece of mulc; or more
particularly on a fuitble .inR.ment to Rri.ke with ach note of
fle bars the accords' which it ought to bear and 'whi ar.
called the &ompanimt; I have fuciently explain&d, in the
precedent articles, in what confiRs this acc0mpanieht; 'I will-
only add, that .this word alfo points out to thd-compini
a concert that he is employed'only in an acceary'par ;7that
ought but to be.diligent in giving .a eater weight to' the part
of others; that the moment he has the'leaR pretenfions'for' him-
fell, he qoil the.execution, and tires out at the fame time, the
muffclans, and the audience. The more he thinks to mak him-.
felf admired, the more ridiculous l'appears; and as fn
b the rength of his notes, or mlfplAced flouries, he fixes on
hmfelfthat attention due to the principal parts Whatever ta-
lents' or execution hem may difplay, he difplays At the fame time,
his vanity and ill. judgment. To accompany with merit and
with alaufe. our nly attention flouM 'be to fuain and
weigho th eentia[parts; and he 'executes very ingenioufly
his own, who eaures its ewe& to be preferved without Petit-
ting the part to be remarked. '
ACOUSTIC, The drine or theory of founds. (Vide
$ouND) This word is from the invgntion of Monf. Sauveu G
and is deri'cd .fi'om the Greek mx0, I hear The acouie
properly the theoretle part of mufic; 'tis that which gives, or
ught o give, the eaures for that pledure whigh we .recei
from harmony and finging which detemnines the refereea of
'd;e. harmonic-inevala, and. whicit difc0vera the bearings. and
nieetles of khe'vihrations in the chors.'(Vide CHogm) Har-
mony acouRie fo .fmctime dfcd adje&ity'We fay the
oui oan an aeouRie phmnomenofi, &e.' &c. '.
ACT,That part of dn opera 'which ia fepamed fro.. any
other in renrefentation by a'fpace c&!led 'interlud or entr
(Vide Idzggu.x) ;he' unity o'f time and place ould
' ' ' '' ' '
be ob(crv6d wltli ,as nmh Caution in th a& of an opcr,'i,
An ntii-e iragdy 'J:' .n ofdinar M kind, and-e:e in'ord fo,
.r?n ,poiny ;.f6 F the.' port oupl, t not, to.g,ye o ap. a& of th e
Opera, a' 'fuppotd duranon longer than flint wllm] It really has,
e;cauf' dfinno tpofe tha {vhat'is traoa&ed bfo:'e
˝ye fakes h g?eter dhriidfi tlin th'at which we fee' it
nd i'fi ffi''; bu't if de>'ndi on th muficiaff to 'ha'en
rard' the &iOh to' a ceiraiff p'0ifit; tb bn6rafe th6 haturl.
tbtance' fir' fin intFfi, a liberty :t/ich' oblig& him to udf
Well th'gr'iffaigd'6f tli'eai3kal' itons, tlie time that is
fary fo3' th egtffnfiBfi of,them ta? hebin ihe Pr0gfefs
s higlf ptch, afiff thatw[e? i'( is inumbkht on iim t6
to prevent the inattentio% the lgou?, and drowfifs of thd
%nfpo the' rhdgtFe frm6n' fB 6 nother i'n t)h' h[d'dle' 6f
muhh ein -nmflier tell ho he oula be prepared for them
fi'or ht fie' ouglit t db' i hii 6rkMa dnrin tlielr'cbnilnu-'
ee, un}e' it' be' t6 :3ffne- th'e fiche' chg0s that th reigns'
' 8ometimei t fivi' a o $ra' fi'ag t}tfl r$feiene' io
' C' OF CA'bg'Og, I' moVMht in 6fie' 6 the'
aria iefly n, te Bag vluch obhges all te oder parts to,con-
cfiV i min a dadOdee, or' ifi' 6}e'y a˝0iain it.. (Vidi
ACTORz A finge who pl at ifi thi
lar Ohm' to'Tu&eed' m' ins art ;' r s 'raF6nl t is nb
Ofie r riffling, fdr'fi}jrd ig;.nbi: ffdh: ah um
himfell for the age i' hO' dt' o 'e nkm:,'qalieg
AC 7
w;fh that the Theatre; whoe plan is to tou'ch t4-i& heart by'
tinging, fhould be forbid to thole rough roaring voices which but
lun the ear; and that, how little voice śoever an a&or
pOffeśs, if it Be juft, ftriking, eafy, and fufficiently dilated, l,e
has every thing necefl'ary; for he vill very eerily make himfell
undert}ood, if he can g,41n the attention of his hearers. With a
fuitable voide, the acqor ould be attentive to imirove it by
art' and thouGh his voice tlav not require. it, he will himśelf
vagt it to cth, and render wht! nicety, the ufical parts of hi
fl,ecches. Nothifig i more ihfupp6rtab! am{ difguing, than to.
ee a her% in the mo lively tranCports of his pa0n con,rained
and retarded in his part, Kraining and imitating a fchool-bo7
who blunders in his ta, ewingi infiead of the opptlon b-
tween Love and 'Vista% tlia of a bad finger beveen the Mea-
lure and the O?chera; and more dubious on ire. tone of bi
voice, than on the fide which he ought to take. Theft is nei-
ther warmth nor gace withou{ ear%. and that a&0r wh6
bours in his part will afford neither the 0n'e 0r the other.
It is not fucient that the aor in an opePa be an excellent
finer unle he is an ingenious mimic; for h ought not
to caufe What he fpeaks to be fel.t Ut all9 Wha he leaves to be
ioken by the lymphbuy. The orehera dock' not deliv4r
fentimentk but What ould atilt fro m ht foul; his ˝p% his
eyes his gettur% all ould inceffantly ague With the muff%
and een without his apear'i t6 notice it. He ought ahmys
'to intercO, even when he is filent; and tho"bed in a dicult
hart; if he forgets o inant the perfona% to pay attention o
e finger, he is but a muffclan 0n the' Rage, he 'is n0 !ong0r
a&or. Many a one hi's ecell'ed iri 4very other particulae, who
has got himf&lf hiffed f6r negle&i'ng this.- There is no a&or to
whom, ia this reft&, we may riot give the celebraied Chaffl
as a model. This excellent mhnie, always placing his air above.
him, and con,raining himtlf to excell in if, by tha m'ean
placed himllf very mch ab6v hi companions; Inimitable
a&or and excellent man ! .He will' leave the adiniration and re-
gret of his ta!fif/ to th4 10Ver of his flxeatre, and an honour-
able memory of liifelf 0' every hne man.
ACUTE, Is fo laid ot a tbuid piercing, or. elevated titrough
referent4 to fote ozhe6 founff. (Vide Sou.)
' }n this' fnt, tle otd Acute is oppofed t0 the x7ord flat.
The more the vibrati'6fig of the co'rpo tbnoro' are numerous die
more ihe fnd is acute. The founds confidered under the re-
f6renes' of acute h fiats, af the ibjc& of harmony. (Vide
ADAGIO,. Titis wOiffiwritten at xe beginni;,g of an air, &notca
th icoada h-ore. flow to quick 6f the five principal degrees
C nlov˝lBest
/f ' ' '',x
.x,8 A D
ß io.:ement,' dfftinguiflmd in the lta.i:m mufic'. (Vide lM'ov-
zaa,.) _Adagio is :tr Italian adverb, which fignifies a l'Aiśe,
ß or gradually; and it is alIb by this 1Method, that we fhouM
'{r;ke the mcafin'e of thoi airs to which it is applied. The word
.Adagio is fometimes ufed ffubftantively, and is-applied metapho-
tically to thole p;eces of mufic vhoCe mvement it determines.
Other words of a like nature are fimilarly ufed. So we tity, an
. _Adagio: of Partifi an 2kndante of Martino, and an Allegro of
LocateIll,. &c..
.ADQ_UISITA, This was in the Greek mufic that chord or
.śound which they called Proflambanomenos. (Vide this Word.)
2k fixte .io.ut&, or a fixth ad quifita, is a fixth added to
'perfe a.ccord, and whole name, an accord thus augmented
ordinaril takes. (Vide CovcoItz and Sx'rvx.)
AFFETUOSO, An adjecetive taken as an adverb.
This word, written at the beginning of an air, denotes a move-
ment, romething between the Andante and the Andagio, and in
the character of the air itfeif, an expreffion affee"cing and tveet.
JkGOGg, One of the śub-divifions of the ancient Melopeia
which gives the rules for the courfe of an air by degrees alterna-
tively, conjoint or disjoint, whether in arifing or defcending,
(V. ide Movo,.) Martianus Capella gives, after Atilt;des
Qi!tilian, to the xyord Agog another fenf xvhich I fixall treat
of under the word Tirat.
.AIR 2/ piece of mufic which is adapted tO the words of
śong, or of a piece of poetry proper for tinging; and in an ex-
tenve inh, the Ibng itfelf is' called Air. In the opera, the
ß name of Air is g!'en to 11 the meafured chants, to di,fiing.uiflx
them fi'om the recitative; and in eneral, every complete pece
, of vocal and inftrunwntal mufic which forms a Tune, is called
Air whether this compofitlon makes of itfelf an entire piece, or
that it can be detached from that.whole, of which it is a part
arad executed fcparately. ..
If the fub. jecct or air be'divided into two parts it is called
Duo, or Duct; if into three, Trio. '
ß Saumai'lb imagines, that this word comes from th.e Latin
Barctti is of his Ol.inion: tho' Menage oppofes them in his Ety.-'
: toologics of the French la. nguage.
The Romans had their figns for the rhyme, in' the fame man-
ner as the Greeks had theirs, and there figns,.drawn alfo from
their Characřters, were not only callel numerus, but aara; that
is to lhy rlumber or the marks of the number, humeri nota,
flays Nominus Marcellus, 'Tis in this fenfe that the word
is found /a/ixd in this verfe of Lucillus, "
Hage eft r:ttio: 'Perverfa'agra ! Summa fibdu&,x.impro13t3 !
-d Sextus Rufus uts it in the fame manner,
Moreover s
i'vloreover, tho2gl. this word was o,'iglnally takan only foe the
number or meafu?e of the chant, in the end it was made ufe of
in the fame manner as in the word humerus; and zeta was'ufed
to denor: the fonz% itfelf; from whence is derived, according to
the two authors I have cite.q the French word Air, and the
Italian Aria taken in the fame fen!h.
The Greeks had a number of different air, which they'called
Nomes: the homes had each their chara&er and their ufe, atari
many wetle appropriated to rome particular int!rument, ahnof{
the three thing as xvhat we now call pieces or fonatas.
fodern mufic has divers kinds of airs, each of whleh hits fez
fcrence to rome fort of dance, whole name there airs. generally
bear, (Vide Mu'r, &c. &c.) The airs of our operas are
(if I m. ay. ufe the expr. efllon) the can. vas, or foundation, on wldch
the pamttngs of imitattve mufic are coloured. The melody is tle
defi-n, the harmony the colouring,--all the pic"turefqu objei
of nature s beauty, all tle reflexed fenttments of the. humnn
heart, are the models which are imitated by the ar.tifr. Atten-
tion, intereft, the charms of the ear, and the emotion of the
heart, are the refult of there imitations. (.Vide I'rao)
An ingenious and agreeable air, an air cornpored with taffe and dlf-
covered genius, is the chef d'auvre of muflc. 'Tii there thaf a fln
voice dilates itf=lf, that a noble fymphony fhlnes with luffre; 'tN
there, that the paffion infenfibly frrikes the foul by the fenFe. fter
a fine air we are fatisfied, the ear dellres nothing mor.e. It feets
in our imagination, we convey it away with Us, we. repeat ii at
our plathre. Without being-able to render'.a śrigle note, We
prefer-e it in our minds as we heard it in the performance; we
view tie fcene, the a&or, the theatre; we heaf the accompani-
ment and the applaufe. A true lover of muflc never' lofes.tli
fine air. which he has heard during. life, but makes the opera
re-commence whenever he choofes. The words of 'airs do not
always follow in a regular fuit, neither are they śpoken ai thof
of the recitative, thd' they are generally'fiort, they' divide, tliiy
are repe. ated, and are extended to fuch a length as it plaśes th
compotr; they do not form a part of th narration, but alnt,
either a pi&ue, which mufr be iben from diff'er&nt poi{s 'of
fighti or a'tkntiment, in the which the heart {s interefred, and
from which it cannot' (to ufe the ˝xpr˝filon) detach itFelf; and
the different variationu' of the air, ae but fo many' methods of
viewing tKe 'fame image. 'Tis for thiu reafon tha'i th fubje&
flould be one and the"tkme; /ti by, there well un'derfrooa'itepe-
titions, by there redoubled frrokes'that an expefiin; tliat at
tirfr mi ht efca e our notice in fine a itates 'ou, imcl
g P Y , .g .Y.
tranflorts you from yourfell; and it is frill throulh the fame
pzinct'pl.e t[aat the fi{akes, whlck. in. Path6ti˝ alru irn fo mif-
C 2 pla&ed
placeJ, are not śo always: the heart, impfelled with a .v.ery
livclr tEnti'ment, often xprees it more &elingly by inarticulate
founs than by words.
' The fobm of airs is of two kinds: th ]eer airs arc often
c9mpod of two divifions each of which is 'gun; tWlC; but
the grearr airs of the opera are mor frequently in Rondoauks;
(id Ron.) . '
AL SEGNO, or DA CAPO, There words written at th
end df an air denote, that the firff part 'muff be re-cgmmenced
not entirely at the beginning, but at that place where the
ra is.marked. '
ALLA BRV, An Italian term, x4fich denotes a kind of
mealhre of two times'very qutck and whi'eh however is marked'
{i'ith a rofide'or. fe:mibrv&per telvpo. It is no longer'made ufe
of in Ifad, and only in Church-mufic. It anfwers altooff to
what' the-call in France the Gros-fa.
ALL ZOPP, An !thlian term, vhich makes a cOnffrained
ovelper tc0pting between tWO time;, without f,ncopatln
btween tx'o meatures which gives to the notes .an irregular;
'gnd } i xre, a lme dire&ion. 'Tis. a notice all% that
me courfe continues to the end of the air'. "
ALLErRO hdjeOive taken adverbl'y.
Thls' Iialihn word vHtten at the beginn;h; of an air, den'otes from'
q9ic'io fl0W tl/4'lhdond of the five principal derees 'of tooveX
ent, difflngui'd in the Italian muc. Allezrořggnifiea lively;
arid-it is alt' h indication of a lively movement, the moff fo
f anv'aftr'pe6. 'Bht xv muff hot 'tliink on that accounti
that s movement s oper for gay fuble&s only it Is often
appc to trentports'of paon,'dtffra&mn, or defpa% whlclx
ghk'b nbi' lel O/an 'dr gaieiy.' 'The diminutive
gc[t "3t' inore mlbratdd gaiety, and a little lefs vivacitE .'
f the. fih'. '" [ide' Movzt) ' '
"" LE}.D, '' kifid of' air 0r piece of' mufic, the inca-
lure /'kvlfifi"is'i qufit3d' t'bmps,' and 'is'firufk With a fiat.
fipbehr b3'iu"fie/'ihat this kind 0f air fi cme from Get-'
.fitahy trio"* ihe7 kh'rw no the leaff of it in'that c6uhtr 7. The
11fi4 ifi-aJfon'&a i8'quite abfolcte, 'nd' the mfieians ver
z{rel'f'ke fe of ii"at 'p[fent; .' thof'alfo Who 'ffill. emp10y it,'
MA'i)E' I'lf6 the hi df dance ery combo;
'AMBI ts 'a name which as fo?merlv iven to the
tent.,ot'c 'to ot e.'from flat. to fillir E; . for tho .the ex-
(e).iyreguhr '0ds' tlte2mbitus' 6f: Which exceeded thb
n b'and others imperfe where' it 'did not reach it.
In the plain chant, this word is agai u'cd, btt. ttm Agnbituu
of perfect modes is only of one o&ave th.erein; thole thit eee
it, are called fuperfluous modes; thotk that do not }each it.
lliminied modes. (Vide Mozs)
AMOROSO. (Vide
ANACAMPTOS, A term of the Greek ufic, which figni
tics a colleion of retrograde notes, or of notes proceeding from
the arp to'the flat. 'Tis the contrary to Euthia. ne
the parts of the ancient mlopmia had aifo the name of Aacamp-
tofa. (Vide ZLOPORIA)
ANDANTE, This word xvritten at the beginning of an air, de-
notes from flow to quick t!xe third of the five principal degrees
of movement, diinguied in the Italian mufic. findante
the participle of the Italian verb findare, o g0..It denotes
movement marked, without being gay, and anfwers very near!,
to that which is defcribed by. fle word Gracieuement..' (Vi
Mov tr) . . . . .
The diminutive Andantino. deotes a lttle lefs gaety m thq
meafure, Which muff be particularly obferved, as the word
hetto fighides exal the contrary. (ide
ANTI.PHONA Is a kind. of chant made ufe of in the catholiq
'clurch.
The Anfiphonm were fo named,becaufe in their ori they
were lung with two ehoruffes, which anfwered each other altef
natel ;'and the falms and h mns fun in the church wer
Y P . Y . g . . -
comprehended under th.$ name, Ignatius, &fmp!e of the apofa
tls, ws, according to ocrts, the inventor of this method of
tinging am0n the Greeks; a Ambrofius introduced it int
the latin church: Theodore attributes the Invention to Diodoru
and FlayJam
At prefent, the figaification. of this term is confined to certain
fiort paffages drawn from &riplure, which age a!ib to th
fea wl{ich is celebrating, and which. preceding fie, plm an
ntics, di3e& their intonation: ' the nwe of lfiphona is alf
prellfred in rome hymns f hnour. of the gin ick
egin Ci, Satv Kna. ' ' ' ' '
ANT[PONY,. A a wkih,the Ge ve. to that kln
of fymphn',' 'which was rforme4 by divers .vaic, at by
n iumeat t e. cave. or. dbble o*ve, i0
that. whjC ,s. eet. in, fl uo an w.
led, HOoi '- (Vi' u.e'..) '
. NTIAKY, A bo g9ntn. in.ns th
,phoy, and , cat' ch. ar f i the, c,t[i
ue ancient lmmc ot th rg. '
:2 A P
' "'APO TOME,'That wIich remains of a tone mior, ,eter that
a limma has been abfraed,' which is an interval, Ie by
comma than the remitone major, conCcquently the Apotome is
greater by a comma than the middle fetaltone. (Vide Co,
Sao.) .The .Greeks, who knew perfelly well that the
one major cannot, by reatbnable divifions, be divided into two
equal part% .divided it unequally b many methods. (Vide
TERVAL )
' From one of there divifions, invented b Pythagoras, or rather
by Philolaus his fcholar, refultcfi the dieils or limma on one fide,
&nd the Apotome on the other the andard of which is from
o48'to x87. The derivation of this Apotome is found at the
Septieme inte, ut Dieils, beginning by ut Natural, for the
quantit b which this ur Dieils thr aths the ut Natnral drawn
neare, s precfel the reference which I have ju obferved.
The ancients gae alfo the fame name to other intervals.
The called Apotome major a little Interval, which MonJ
meau calls the inharmonic at de ton, the which is formed of
two founds in the andard of x25 to 8.
And they chlled minor Apotmne, the interval of two founds,
'hofe diinion was from o2 5 to zo4 8, an interva[-Ril[ lefs
enfibleto the ear than.the precedpg.
. Jean de Muris and his contemporaries [vb the name ofpo-
ome chiefly 'to the minor tmiton and-thae'0f dieils to the
emitone m}or.:
PYCNI, plural The ancient/called by 'this 'name in'their
fcale three of e?=ht folid founds of their f em 0r diagramma
he which touched not on any fide the compa& ntervals that
o the poflambanomeno% the note fynnemenon' 'and the note
hyperboleon.. .
They called alfo Xpycnos, or not crouded the diatonic genus
beeaufe in the tetrachords of that genus the thin of the two
intervals was greater than the third. (Vide Ca'ouD'
R'BITRIO. (Vide
CO, A Bo ß There Italian Words Cbn l'rco denoe
that after haffing flipped off the ch6rds; we replace. the bow
fo the part where theg are wtitt. , '
' A[ETTA This'diminutive, derlqed from the Italian, fignl-
es properly a little air; but the tnfe of t'his wo.is altered' in
France ad the name of Arietta'a is givefi to greater pieces of
mfi% of a movement generally ra{her gays'which re fu witIt
accompa'niment, an4 tmphmaY, and witlob' am co--only. ia
rondeau.-(Vide A&, Roozu) '
ß RIOSO, This Italian Word i' th beginning o an alr ß de-
hu a kind of finglng.ell fu.aigedj open 3 and appropriated to
e greater ai. ' " fiRIS rOxENIAN8
$
AR
ARISTOXENIANS, A re& that had for their chief Arif-
toxenes, of Tarcntum, Scholar of .A. rifiotle, and which was re-
pugnant to the Pythagoreans, in regard to the menlure of inter-
,vals, and on the method of determining the references of the
founds; fo that the rioxenians made ap[.lication folely to the
judgment of the. ear, and. the Pythagoreans to the precifion
calculations. (Vide PT,oaxs) '
RPEGG[O, The methed of caufing the different founds
an accord to be heard fucccffively and rapidly, in'cad of riking
them all at a time. There are inruments on which there can-
not be formed a full accord but thro' the rpegglo. Such are
the violin, the violincello, the viol, and all there which are played
with the bow; for the convexity of the bridge hinders the bow
from fixlog itfelf at once on all the rings. For the formation
then of accords on there inRrumets, we are obliged to ufe the
Arpeggio, and as we cannot draw more founds than there ar
rings, the rpegg[o of the violincello, or of the violin, cannot
be cornpored of more than four founds. In the Arpeggio each
of the fingers mu be arranged on its chord, and the Arpeggio
mu be drawn from a tingle and forcible.roke of the bow or
fiddle-ick, which mu begin rongly on the lare ring, and
conclude by turning and fotening o' the leffer raduall. If
he finers were only arranged fucceffively on the rn, or that
nany rokes of thfiddle-ick Were gi3en, it would no longer
be rpeggi% but only a very quick paffage on feveral notes
OlltlBuaDce.
What is done on the violin thro' neceffity, is pra&ifed by taffe
ß on the harpchord. s we can only daw from that inffrument
founds of a ort continuances'we are obliged to re-ffrlke them
m notes. of a long duration. To make an accord of a longer
.duration, we ffrike by the eggio, beginning with the lower
founds, and'remarking, that the finge-whiclx have fir ffruck
qmt not their fireke until all the Arpego be finied for the
putpole of hearing at .once every found of the accord. (Vide
, Arpeggio is an Italian word which is Frenchfried int that
ß Arpege. It i d?ived from the word Arpa bcufe tls from
the 'laylnK of tn harp that we hv taken the id of the
AIS and THESIS Terms of mufic and profody.--Thefe
two words are Greek. Ams comes from the verb g,p tollo,
fall% and denotes the elevation of the voice or of the hand: the
hlling which follow thi elevatlon i what i called
depottie. Remiffio.
Ia regard then to the menlute, per affin fignifies in ramng
or continulng the higlie time; per thefin .in 1owering o[
tnmng
'tinning the Iowei tim2: in which eai w oht k'
fic, that onr method of ma;ng the measure is very
from ha of tlm artdents, or w fike th6 hi fim ann
elevate he low.. To m ry quivocal'tem we my
ray, that Aefis gnies he M and rg tim; and
he fait and 'weak. (Vie Msuug, Ti, to
In regard to 'he voice; x ; that a chant, a cOUnterpoint,
'ane, ar see hn, wen the n0t rife f flat to arn;
Pc7 an ' w'hen hey deFcnd f arp to flat. Fugn
an'and hefins is what s now eatled counter fone in the
which the aLYe is mad n a contrary fenfe, that is o fay in
dercening i 'th gnma ha fn, and ia eifinif th guia has
alefern'deal. (ide Foovr.)' ß . '
S8I, n augmtative advetD,.whieh is 0˝n ?nnd jolnod
' e word whie'dees.t'ovemant 'o air. wherefore
reR8 , !go'affai,-gfy ve quiei very flow, The
bb Bra has ade '0f this .Word' one f 'his rdinary
'dab feRls, b' fi{uting: inead 'Of is. trne and only
']h, t o an is dir} risings' and qie'aef,.
. belieed .that ffa] fi6 .aff . e.' eqough: for which
au we O'hl to' atr˝ he fifitr fay' that this autho had
.Ofp] iffh{' !o'k 'arYg'to his ther'oei a forei
' A;' A 'nfly, eert' he e'n air,- under the
' 4UTHEC, Whe'' he' ove' is fnd harmsrotaRy
'1&d, as in'tMs pro'i6, . 6. 4, 3, that.s' to fay, when t
tN r i& eke flat and h fOUrth in a the mode or tone
Ahente; effee} rgad to the tone p!al whe the
Te tlg exai; adored By all the arebors,' t wMch
t O pa. I i! ad e Oll*ag: th rader may take
.his choice. When th finale of a chant is airs i'ti% and the
a' not d ,'. as 'r tli˝ ' n au
a"th dn, to .paga,'. I hrc take
words tonic and ominnt in their muffca[ acceptatlom .
'ffees a"laff aP ohiored' bur in, th plain
e!).'xh tl' e b 'a at the' bottom. of tM
ir i .mile:. h ,hs, .h }al. pmvide: that m!'
Whole, the mulation be regular. Moflrn, m' admits all
pa/bu 1 a , c o faa ,(Vide Mov'g.) Tliee
A U
;ire in t.e eight tones oF the Roman church four authentic, to
wit, the firit, the third, the fifth, and the feventh. (Vide
'I'ozs of the CHef, oH) Formerly, the name of authentic fit'ue
Was eiven to that whole fabie& proceeded in a gradual rif but
that])enomination is no 1orger in ufe.
tai FA SI, or ]3 FA B MI, or timply B, The name of the
tventh found of the gatnut of.Aretin, for the which the
ans and other Europeans repeat the B, faylng B MI, .when
it is natural; B F.A, when it is a ]3 Fiat; but the French call it
SI. (Vide S.) '
ß B FL.AT, Charaer of mufic, to which is given nearly the
fizure of a , ad which leffens the note to which it is join'd
aemitone minor. (Vide .Szxroz.) ' . '-
ß Guy d'.Arezzo, having formerly given names to fix of the
foundiof the oav.e, from the which he compofed his celebrated
Hexacord, le& the feventh without any other name than that
of the letter B which is proper to it, as the C to ur, and the
D to re, &c. Moreover this B was lung in two methods, that
is to fay in a tone below la, according to the natural order of
the gamut, or only in a remitone of the famo 1% when they
wifhed to unite the-tetrachords, for at that time they knew
thing of our modes or moi-rn tones. In the firit care, the
founding very roughly, on account of the three confecutive
tones, it was judged that it caufed to the ear an effe timilar to
that which angulated and hard bodies caufe to the hand, for which
reatbn it was called B hard, or B fharp, in Italian B quadro. In
tlm feeend car% on the contrary, it was found that the fi was
extremely left, therefore they called it B flat. By the .fame
analogy -it might have alfo been called B round and eWe&ualllf
the Italians called it often B rondo.
There are ttvo methods of making ufe of the B flat the 'one
accidental, When in ihe courl of an air it is placed on the left.
of a note. This note is' aimoPt always the.fenfible note in the
major tones, and rometimes the fixtlx in the minor tones when
tle .clew ..is not' covre&ly_ numbered. The accidental B flat
c. hanges only the note which it touches, and there which in/ne-
tfiatcly anfwer to it or at the molt thol wMehf in the fame
bar or fieafure, are found on the fame deere% without any
contrary
D Th
z6 B
The other method is to employ the B fiat hi tim clefF, and in
that cat it modifies it, it a&s in the ;X'hole courfe of the air,
and upon all the notes placed upo n the three degree, unlefs this
B flat be accidentally deCroved by rome dieils or B a or
that the cleft undergoes rome hange. .. ,
The potition of"the B flat 6 the clff is by no means arbi-
trary; herein lies the reatbn: it is intended to change the place
of t[: remitones of the fcale; moreover, tho/ two remitones
ought always to preferve between them pretkribed intervals, i.e.
that of a fourth on one tlde, and of a fiftlt on the other.
Wherefore the note mi, inferice.to its fernitoh% makes in the
flat the fifth of fi, which is its homologue in the other remitone;
and in the flarp, the fourth of the fame fi, and the note fi, re-
ciproeally make ia the flat the fourth of ml, and in the flarp,
the fifth of the fame mi. If then as in example, leaving out.
the naturM fi, a B flat was given to mid the remitone would
change its plac% and e found a &gree 1oweri between the re
and he mi B flat. Moreover, in this pofition, we fee that the
to fe'tones would no longer prellrye the prefcribed diance
tween each other for the re, which would be the inferior
note of tim one, would mak in the flat the fixth of fi, its ho-
m0togne in th* other, and in the flmrp, the third of the fame fi;
a:nd this fi would mae in the flat the tl}ird of re, and in the
thatp, the fixth of the fame re. Wherefore the two remitones
would Be placed too near on the one fid% and t grea a
aliirance on the other..
The der of B's flat ooght not tln to begin by mi, nor by
a'nyother note of the oOave but fi, the only one which has not
the fame [ncoavcnience4-for as much as the tmitone changes its
place therein, and ceafing to be be.' ten the fi and the nt, de-
lkends between the fi B flat, and the Is, ill the prefm'ibed order
is not demotiihed, The la, in this new arrangement, being
tound on one fide at the tBurth and 6n the Other at the fifth of'
mi. its homologue and tlat rcciprocall-y.
ß Th me r/bn which fixes he fiv B flat on the fi, fixes
the tbeond on the mi, and tb in eoatinuanc% in elkend'lug a
fntt, h o˝ deleondine fifth as far as b[ i t which is commonly
made a o, bccaufe the B.flaV of u% iVhich will be found
herentice, dio a6t' from h, fi in pratice. That cauts then
a cotleion Of live flat's in thi's order
: I. 2.
, gi,. i. e.
y tb faint ttafoa alt,. we aaufio ue the ltter B's flat n
th cI'e. wtla utig,all tho which precede them; whre-
ft th ß aof mľs avet placed but with tha of fi, and
that of la,. but with tlm tw6 predhi and .each of the oHowng,
but wir[ all thole which precede it. '
Ia
B 7
t'n the artlclc clcff may be found a 'vrtn,':, to kncw hnme.-
diately if a tone or a nfode given ought to bed?'B's flat within
the clcff, and how many.
B SHARP, A charaer of mufic which is written thus, ;
and which, being placed on the left of the note, denotes that that
note, having been precedenfiy cleYated by a dieds, or lowered
by a B flat, ought to be replaced in its natural and diatonic
elevation.
The B/h/qrp was invented by Guy d'Arezzo. This authol',
who gve names to the fix firft notes of the oave, left none but
the letter B to expret the natural 5: For every note had,
that tlm% its correiondent letter; nd as the diatonic chant of
this fi is rough, w. hen we arcend to it froin the śa lie called it
timply B dur, or hard, B quarr by an allufion w/rich I have
mentioned in the preceding article.
ß The B /harp fervcd in the end to deftroy the eff'e of the
anterior B flat, on the note which followed the B /harp, that
that the B flat being generally placed on the d, the ]3 /harp
which followed direly after, by deftroying this B flat, produced
only its natural. eWe, which was to repreiEnt the note fi with-
out alteration. In the end, it was ufed for extendon, and-in
default of another riga, to deftroy alib the eff'eEt of the diefs
and 'tis in this mann6r that it is employed till this time. The.'
]3 /harp effaces equally the B fla b or the diefis which have
pYeceded it.
There is, however, a diffin&ion to be made. If the dieds or
the ]3 flat were accidental, they are defttoyed withgut return. by
the ]3 /harp, in all the notes which follow it mediarely or im-
mediately on the fame degree, until there prethnts ittlf a neur
B flat or a ndw dieds. Bat if the ]3 flat or the dieds are or
.the cle.ff', .the B fiarp eft.aces them only for the note which i.t
immediately precedes, or at the m9ff for all thot which folloxr
in the fame meafure and on the game degree; and in every note
changed at the cleW[ whośe alteration we wifix to deftroy, f
many nexv B/harp's are ncetTay. All this is very poorly under
fcood, but. fuch i tle. cuffom.." - '
Some lave given anotler fenfe t6 B lharp, and granting it
only the right 'of eft.acing. tle accidental diefis's or B at's, deny
it that of changing any thing in the Ponte of the cleft; 'fo that
in this fcnf, '.ot'a fa dieils'd, or a fi marked with B flat on th
cleW, the B fllara would ferve but to deCroy an accidental
hefts on tins fi, or ;t B flat on this fa and would always figmfr
the fa dieils, or the fi B tlat,' jutt a iti on the cleft.' '
Others nifo ,ha.de fe of thv B lharp to ffae the' B flat anl
even that of the ie'fl =, but never to efface th ctiefu... :Tin the.
3 flat only which fi,'ey e'mpl) in this latt cat.
l B A
The tirft cuftom has entirely prevailed; rh: latter become
more uncommon, anti are abolifhed day by day; btt it is nc-
ceffary to give attention to it in the rentling f ancient mufic,
without which we lhould often be deceived.
BALLET, A theatrical aion which is reD-efe,ted by the
dance directed by the muśc :. 'I'llis word is de,'ived from tlle od
French Ballet, to dance, to ting, to amufe one's tblf. The mu-
'tic of a ballet ought to have fiill more cadence and accen than
that of the vocal, hecauśe it is changeel to exp-ctk a greater
number of things; and 'tis in it alone to into!re the dancer witlx
the warmth and expreffion that the finger may receive from the
words; and what is ftill more, it muff fupply, in the languago
of the foul and of the pallions, every thing that the d;mce cad,-
not exprefs to the eyes of the fpe&ators.
Ballet is alfo the name-that is given in France to a conlured
kind. of opera, wherein the dance is not in the leaft better regu-
lated than in the reft, and cautks no bettel' effect. In the great-
eft part of there operas, the acts form Ib many different fubjeets,
lmted together only by rome general fyftems, fol'elgn to the
aetlon, and which the t]eetator-could never perceive, had not
the author given him a hint in tle prologue. Thetb ballets con-
tain other ballets, which are generally called Ftes. They are
a collection of dances which thcceed each other without plot,
without an union in themfelves, or with the principal action, and
Where the beft dancers inform you of nothing but that they'
dance well. This condu&, fo little theatrical, "ffice for a ball,
Where ever ator fatisfies his defir% rovided that lc ainures
ß . Y . . P . .
hun/elf, and where the intereft which the tpe&ator takes in the
perfonages, difpenfes with an attention to things; but fuch a
deficiency in ftbje&s and union, flould never b fuff'ered on the
age, not even in the reprefeltation of a ball, where the vhole
ought to be united together by rome tEcret a&iow, vhlch awakens
the attention, and interefts tlie fpectator. This plan in cmnpo-
fition is not without example, evm in the French opera; and
there may be ten a very agreeable proof of it in .the F&es
/'enetiennes. .'
In general every dance that defcrlbes itfelf alone, and every
'ballet, which is orilv a ball,' fhould be banifhed entirely from the
lyric theatre. In.fhort, the a&ion of the fcene is always tlc re-
lreśentation of another a&ion, and what we fee therein, is but
the image'of what ftrikes our ideas; fo that it oug!t not to be
this, or that dancer, vho prefcnts himfell before you, but th
chara&er itfelf which. he repretEnts. Therefore, alt-l,o' a private
dance reprcfents nothing more tha'n itfelf, that of the theatre
ß Jh'0uld neceiarily be tlxc-imitation of romething elfe, as well a
'the acqor, who, in his chara&er, reprefcntu a pcrlbn in difcourfe,
and
B A
.,nd the fcenes which exhibit a .dilrerent place fi'om tIat whercia
they ttand.
The worf kind of ballets, is that which treats of allegorical
fabje.]:s, and wherein, in contbquence, there is but imitation on
imitation. Tke whole art of there tbrts of dramns contiffs, in
reprefcnting under fenfible images, a reference purely intellc&ual,
and in maffing the tpe&ator refleCt on things quite ditekrent from
-ho/i he t[.es, as ig inecead of drawing his attention to tim
tkence, itwere a merit to divert it from its objeOs. There kinds
e}' ballets, be/ides, demand fo great an ingenuity in the dialogue,
that the mufician rambles, as it were, in an unknown country,
bctween the points, the allufions, aml eplg'ams, whil the fl)ec-
ator doeg not forget himtlf for an infOant. According to fuclt
a proceeding, there will never be any thing but the fentiment
which can introduce this on the ttage, and identify it with the
a&ors; every thing that is only intelleCtual bears it away to the
piece, and reitores it to itfelf. As a proof, we ti:e that thole
perfons, who with to pl'ace the mot'c wit in the theatre, are
very men that leapt regard the illufion... 5Vhat then can the
mufftiaa do in thole dramas which pay no refpe& or value to
his art ? If mufie expreffes but fentlments or images, how caa
it render ideas purely metapbyfic, fueh as allegories, vhere the
mind is incerrantly employed With the reference which the ob-
jeCts which are prefented io it bear to thoti: whiclt it mutt re-
colle& in itfelf. ß '
Would the comPofers but refie& on the true principles of their
art, they would ufe greater caution in the dramas which they
receive, as well as more truth in the expreffion of their fubje&s
and when the words of an opera will but give rome ideas, the
mufie will loon be taught to fpeak.
BARCAROLLES, ř A kind of longs in the Venetian language
which are fun bt the Gondoliers in Venice. Though the airs
of there Barcar'olls are chiefly formed for the people, and often
cornpored by the Gondolleri themfelves; they have tb great
a. melody, and fo pleating an accent, that there is no muffelan
in Italy but piques himfe, lf on knowing and tinging them. 'The
liberty that tl'e'Gondoliers have of vifit-ng all the theatres gratis,
gives them an opportunity of forming the ear' and tare ivithout
any Expenee, ś that they cornpole and ting their airs, as. per-
ns, who, though conyerrant in the niceties of mufie, will not
vary the timpie and natural difpofition of their Barearolles. The
words of there longs are gene-rally more than natural, llke the
˝onverfation of thof$ who 6ng'.the; but thole who aredelighted
ith the faithful i&are of a eolle's manners, and who, betides,
love the Vneuan diale&, are eatfly led into a fondneśs for.them,
śedueed by th beafity of the. air, fo that many curiolos have
very large eoll. e.&in of their'piece. We
$o B A
%Ve cannot in confc;ence omit remarking, to tile g,'ory of'
Taft'o, that tile greatef part of the Gondoliers can recite by
heart, the chief part of his JeruthIem Delivered; th.at many kno(v
it entirely, and fpend tile nights in their boats, tinging it
ternativet from one veffel to another, that it is afibredly a
ammtable Barclrolle. Homer alone had the honour before
himfell of being thus celebrated, and no other epic poem has
fince met with any timilar renown.
BARDS, A kind of men, very ngular, and to this time
much refpeed among the Gauls, which were at the fame tlm˝
rophets, poets, and tauficians. Bochard derives tile word fi-om
arat, to ting; and Camden agrees with Fcus, that Bard fig-
nifies a finger, in the Celtic Ianguag% B_vr.
BARIPYCNI, Tile ancients called fly this term, fire of tile
eight founds, or ftable chords of their fyem, or diagram,. that is
to fay, the Hypat-Hypaton, the Hypat-Mefon, tile Met, tile
paramefe, and the Ne4, /)iazeugmenon. (Vide Pľcr .
T/ AC HOR D.)
BARITONO, A kind of note betveen tenor and bars. (Vide
Cocova,.)
BAROQ..UE, A Baroque, or rough. mufic, is that, whole
harmony is conlured, filled with modulations and diffonances, its
notes hard and unnatural, the intonation dicult, and the move-
ment conicrained.
It appears evidently that this term mu be derived from the
13aroco of the logicians.
' .RRE, C ]rr4, A kind of meafure. (Vide C.)
B.a. RS, Lines drawn perpendicularly at the end of each inca-
lure, on the five lines of the fcale, to feparate the meafure
which finifhes from that which begins. For which veafou, thole
notes contained between two bars always form a complete mea-.
fur% equal in quafitity and duration to each of the other inca-
fures comprifed between two other bar% provided the movement
does not change; but as there are many tbrts of meafures which
greatly differ in their duration, the fame differences are perceived
in the quantities contained between two bars of each of there
kinds of meafure.s. So in the great triple which is marked by'
this fign- and which is fcruck deliberately s the śum of the
notes comprifed between two bars ought to make a circular
and a half s and in the finall triple which is 'ruck quick, the'
8
two Bars inclore olaly three crotchets, Or their quantity;
śo thateight times the cuaritity contained between thetwo bars
ß of
B A
of this IaPc meafu,'e, compo.Ces only once the quantity contained
between two bars of the other.
The chief fervlce of bars is to difiingui the meafures, and
to expres their time which is always fixed on that note which
immediately fbllows the bar. They are altb ufed in partitions
to dcaotc the corretondcnt meathres within each divifion.
Sme hundred years ag, a plan was laid dovn or drawing
bars from mcatre o maire: The muc befbrc-hand wa
timpie. There was nothing ten thercn bu ronnds rainurns,
and black nos, exg crotchets, and hardly ever double crotchets.
.s ]m div6ons were more equal, the measure w3s more easy
be (bIlowcd. However, have een olne o our bc mucian
crabattained to execute tlc ancicn muc o Orlando and laud]n.
They were Io hi he mcalres, thro' an omion o thoe bars
to x:hich they had been accuomcd, and gollowed, with
tch parts as had been (ormerly Fung wifix rapidity by the
clans o Henry I[I. and Charles IX.
BxkSS, That of the four parts of mufic which is below the
re, the 1owe of all whence is derived its appellation of bars.
(Vide PARTITIOn.)
The bars is the mo neceffary of all the parts 'tis on that
the whole of harmony is eablied; and 'tisa general maxim
among muficians that when the bat is. good tlxe harmony is
rarely contrary.
There are a eat number of diff'erent kinds of the bafs .vlz.
The ffundamental 3 which we all treat of in the following
article.
The Continued, or horough BO, fo called becaufe it
aroughout the whole pece: its chief ufe, omitting that of
rc&ing the harmony, is to fuain the voice, and preferve tho
tone. It is believed, that it was one Lodovico Viana, one of
whole treatit$s is extant, who, about the beginning of the la
century, fir brought it into ut.
Tl? Figured Bqfi which in lieu of a tingle note, divides its
quannty in feveral other notes under the fame concord. ' (Vide
'IGUED HARMONY.)
The ot]ra[cdfi whoFe air or fid)je&, bounded to a finall
number ofmeafures, as four or eight, begins afrefh inceffatly
whil the tperior parts purlhe their air and harmonyx' and vary
them b 7 different m'ethods. This bars belongs originally to th
c upIcts of the cbacon, a kind of tune but at prelent t : no
lcnger ufed. The con,rained bars detkending diatonically or
cnromatically and xvith flowne fi'om the tonic, or from the
dominant, is admirable for pathetic pieces.. Tholb frequent and
periodical returns touch inlnfibly the foul, and .infpire it with
a dil]*otltion of hmguor and mckmcholy. Examples may be
3z BA
in ścveral fccnes of the F,'cnch opera. But tho' there kinds of
the balk hav a good effe to the ear, it is feltloin the tilme in
rega. rd to the airs that they are adapted to, which generally con-
tute only a fimple accdmpaniment, Betide the rough and ill
conduPed modulations, which can be fcarcely avoided, there
airs varied in a .thourand methods, and frill monotonic, produce
a confufion by no means harmonious; and as they have but
little mufic in themfelves the parts above are greatly detained
thru' the conftralnt of the bars.
The Sin2ing .BaJ.;, is that kind of voir3e which tings the part of
:tile bai. There are the hal's recitative, and the ba1 in chorus
oncordants, or bars tenor, which have their place between the
tmor and the baFs; bali's diftingmifhcd properly by that name
alone, to which culture has given the name of bars tenor; and
laftly, counter bars, the mort fo of all the notes which ting the
bars below the bat itlelf, and which we muff not confound with
a kind of inftrt, mcnt that bears a timilar name..
FUNDAMENTAL BASS Is that which is formed only
from te fundamental founds of harmony, fo that below every
concord it gives the true fundamental tbund of that concord,
L e. the Found from whence it is dcrlved by the laws of har-
tootry. 5/v'herein we fee that the fundamental bars can have no
other texture than that of a regular and fundamental fucceffion
uSthout which, the order of the fuperlor parts would be dif-
cordaut. To underftafid this well it muff be premifed, that
aording to the fyftem of Monś Rameau, which I have con-
ormed to in this work, every concord tho' formed of fevera!
tbunds, has but one fundamental to it, that is to ihy, that which
has produced this concord, and which ferves as a bars to it, in
dire& and natural order. Moreover, the bat which reigns under
all the other parts, does not alwa s exprefs the fundamental
Y .
śounds of the concords; for alnongft all the tounds that form a
concord, the cornpurer may appropriate to the bars whichever
he thinks prefe,'able, with a view to the order of this bars, to
the beauty of his air, and above all, to the exprefllon, as I /hall
explain it in the future pages. In this cal, the true funda-
mental tbund, initearl of hcing in its natural plac% which is the
baIi, is tranti, orted ilxto tile other parts, or perhaps is not
protied at all; ad fitch a concord is ftiled a thbverted concortL
In its foundation, a tubverted concord differs not fi'om the
re& accord which has produced it, for they are fill the fame
tbunds, but the/i: tbunds. forming a different combination, all'
thotb combin;ttlons have Been long taken for to many different
ftmdamental concords and they have received different names
which may be feen under the'word Concord; and which have
cominned to diitingt, ilh them, as if the difference of names
could produce any variatlen in their nature.
Monf.
A
Vonf. ameau has flewn in his Treatire of Harmony, an?l
VI; d'Alembert, in his Elements of Mufic, hns given a ill
learer evidence that many of thet pretended concords were
only the fubvertions .of a tingle one; S%. the coucord of tte
flxth is only- a perle& concord, whole third is tranllorted to the
b=a - i 'conveying to it the fifth' we all have the concord of
the fixt fourih. Herein then we te three combinations of
concord which has but three founds; thot ivhich have four ar
capable Of four comhiations as every foufid may be conveyed
to the bari. But by. introducing, unde[ this, another baIi, which
under all the combinations of the time concord, prevents us al-
ways a fundamental found; it is evident, that the number of
eonfonant concoMs is ?educed t6 a third, and the number of dif-
fortant to a fourth. dd to. that; all the concords by fuppofition
which are ill reduced t8 the fame fundamentals, nod yo'u will
find the ony. fimpIified to a dree that one could not have
xpe&ed, cfidering the conlured ate in which its rules were
founded-before the time of M. Rameau. It ii Certainly, as that
author ob'lhrves i an aoniinz thing that it has been hobble
Ie praice of'that aft to be crtied t6 he height t6 Wl'fich it
has arrived wigout knowing its f6undatio% and that we have
found exa4ly every rul% without being able to difcover the prin-
ciples fr6m Wenee it is derived.
After having e(vn what is thd fundamental bari finder the
accord let us'now fpeak of its dreion and of the method
by whidh it unites the concords together. The precepts of art
on this head may be reduced to the fix followiffg rules.
I. The fundamental bars ould never found any o'ther notes
than th0fe of the Gamut of tliat ton% in which we ate em-
1oyed or of that flro' which we iraend to pals... Tiffs is the
rff and moff indifpeble of all its rules.
II. In the fec0nd plac% its .courfe flould be fo filbmitted to
the laws of mfdulation that it flaould never fuffer tlie idea of
note to be loff but in taking up that of another that is to
the fundamental bari oold never vander or fuffer the tone
hich is, before us i to be forgot an inffant.
III. In the third pine% it is fukjeed to the union of con-
eords and to the preparation of diffonance% a preparation which
as I vill e% is only one of the cafes of urea% and which
-
ontEquently is never neeeary when the union can exiff Wiflx-
but it. (Vid Uxo, to
IV. By the fouith rule it ougt after every cliftonante, to
follb the progrefi which is prefcribed.to it thro' the necety
f prefervln :, ' .
V. By th% fifth hih is only a rummary ot the precedcnt
the funffamental bari ought only to move in conlbnant intervals;
as it is only in a care oF broken cadence or after a concord of
34 B A
the dlmnifhed śeventh, that it aścends diatonically. Every
other movcmcnt of the śundamental bafs is erroncous.
VI. Finally, by the fixth, the fundamental bat or harmony,
fhould undergo no fyncope, but fhould denote the meathre and
time by a well cedeneed change of concords; for the purpofe
that the diffonances, which ought to be prepared, thould be fo
on a weak time, but particularly that all the ops fhould be
found on a fh-ong time. This xth rule meets with a great
number of exceptions, but the compofer flmuld frill be attentive
to it if he wiflms to form a piece, wherein the movement may
be well pointed and ;vhofe meathre may fall with grace.
Wherever there rules are obferved, the harmony will be re-
gular, and without error, which will not however prevent the
mufic from being difpleafing. (Vide Corosz';or.)
One word of di/kuffion on the fifth rule will not be by any
means ufelefs. Let the fundamental bars be fhifted as we pleafe
if it be well formed, ve fhall find therein but there two things,
either perle& concords or confonant movements, without which
there concords could have no union, or diffonant accords in the
a&s of cadence; in every other care, the diffonance can neither
be well placed, or well preferred.
Thence it follows, that the fundamental bats can have no
recular courfe, but by one of thet three methods. Pt. 'o af-
ced or deft:end from a. thir. d or fixth. adly. Fro TM a fourth or
fth. 3dty. To arcend diatonically to the method of the diffo-
hence, which. forms .the union, or by courlery, on a perfeCt
concord. tn regard to the diatonic defcen t, .it is a plan entirely
abolifhed in the fundamental bars, or at the ..moPe tolerated in
cat of two con'cutive perle& concords, fepa,'ated by a ftop
expre or underwood therein. This rule has no other excep-
tion; and 'tis thro' not having difcovered tile true foundation
of certain paflhgcs, that M. Rameau has made the fundamental
bars detkend diatonically on the concords of the fcventh, which
c.mnot be thffcrcd in a complete harmony. (Vide
Dsso^vcz.)
The fundamental be/5, which is added only as a proof of har-
mony, is cut off in the execution, and often it would form a
very ill effect; for it is according to M. Rameau, for the judg-
ment and not 'the ear:It would at leaf} produce a very
uPein monotony by the frequent returns of the fame concord,
.hich?is diluild .4nd Varied more agreeably in a combinatlon
by different ethods on ttie thorough bars, without reckoning
that the diffc,'cnt revolutions of harmon. y turnifl a thoufired
methods o dding frefh beauties'to th'e ar and a new energy
to the cxpreitlon. (Vide Cocortn.) '
' If tile fundamental' bat does not tkr've for the compofition of
good muff% if cvcn it ought to b rctrenchcd in the execution,
B A 35
I fhall be afkcd in what particular it is of forvice ? ! ant'wet,
that in the firPt place it trves as a rule for fcholars to learn the
methods of forming a regular harmony, and giving to every part
the diatonic and elementary courfe which is prefcrlbed to them
by this fundamental bat. It foryes, fecondly, ts I have already
f,,id, to dilkover if an harmony already cofnpośed be good and
regular; for every harmony which cannot be śubmitted to a
fundamental baśs, is regularly incorre&. It is of uśe laPtly, to
find a thorough baśs under a given ar; although, in fa, he
who is not able to compofe dire&ly a thorough bars, will not
be śuperior in the eompofition of a fundamental; and much leśs
will he know the art of transforming this fundamental bars into
a good thorough baśs. Herein then li the principal rules that M.
Rameau l. ays down for the difcovering the fundamental bars in
a given ar.
I. To be certain of the tone or mode by which the air is
begun, and of all thole thro' which we pals. There are alfo
rules for this difcovery of the ton% but fo long, fo vague, and
incomplet% that the ear is formed a long time before the rules
are learned; and the fool who would endearour o make ut˝
of them, will only gain the habit of procedlng note by not%
without ever knowing where he is.
IL To try fuccetilvely on each not th principal chords oś
the tone, beginning by the mo analogous, and continuing to the
moec diecant, if we lle under that neceflitľo
III. To be attentive if the chośen chord can time with. the
inferior parts in what precedes, and what follows, by a good fun-
damental fucceffion; and when that cannot be dřn% to return
to our former nlan.
IV. Never 'to vary the note of the fundamental bars till we
'have exhaupted all the confequent notes of the parts below
which can enter into i'ts accord, or till śome fyncopating note in
the air, may receive two or more notes of the bafs to prepare
the pretrved diffonances in a regular continuance.
ľ. To ptudy well the inter-union of phrafes, the potllble fuc-
ceilion of cadence% whether full, whether avoided and particu-
larly the Poops which come generally every four or two mealhres
for the purpośe of making thm aliirays fall on perle& or on ir-
regular cadences.
VI. LaPely, to obferve all the foregoing rules for the ˝ompo-
tltion of the fundamental bars, Here then, are the chief oblr-
vations to b0 made for finding one under a given air, fo ther
are often feveral to be found; but whatever may b fatd if the
air has accent and charaEter, there is one fundamental bars only
which we ca, adapt to it.
Alger having given a clear rummary of the method of co m-
poring a fundameixtal bal there would'l'cmain alfo to fhew the
E Inethod
Method of; transforming it into a thorough bafs i and that wouki
be eafy if it were neceu-y to look only at the diatonic courlh,
and tire pleating notes of this ba; but let ui not think, that
the bar% wich is the.guide and fuort of harmbny the foul,'
and to' ufe the expreo% the interpreter the gi, is co'nfined
to ruins fo mple; There are others which arith' from a more
fm'e and .radical pHaclple, a pNneiple ingenious, tho' concealed,
whiclhas beefi felt by all the a't s of eniu wkhout havinff
been ever unravelled by an z one i thn I h;'e hit ou the bua
of it.in y Letter on tPe French Muc: I hard have fpoken
fclently for thole who comprehend e --I atl never
ain it clearly. to tholh who do aot (.Vide trougli the whole,
UNITY.Of MZLOnľ..)
[ make no mcntion hgre df fh6 ingenious Syem' 0f
, oE Oeneva or. of his dSable fundmental bal} bcaufe the
W/nciples which he had examinca with u acity ;vordsy
raife, hae been 'fince expofed to ie, .by Mont; TartinS,
a wo? Which I ;rill treat of before he coneluon of tl6 pre-
BEATING particularity o gfaC'e i tile F'rene airs'
which Confis in elevating and tiking a qver, on. a note in-
nteoufly-begn, ß There 'i thls.diffe'refice between tile ca-
alenee and tlw. beatlng˝ that. the caden'c.e bdgins by ilxe note fuX
perior 'to that' Wle'eon it is mked. after which i'e rike
rad,vey the fupeNor'nate,.and the, true on% hereas the beat:
ing' begins D the found itfdf of th'e 'note fh bears lb" after
%iC e rrke alrnativelv that fiote, and at whid is above
}i, ,': there tones of thgthoogt,. mi,' 5%. mi, re˝ mi.. rs, nt,
are a. ceace.;. and .the..follog r%'mb i:.mi, r% ml ?e ut
v% mi, e.a be:ating. '
. ETINGN.in the-pl.ufal, Whoever two rong and well
?aaMnd noteg like tofe of tlxe organ, 'are.haifix and cliftonant
'tOgether, on the approach of a contbnan't terval,. they forms.
.by'lmore, or N. fie4uent. &e˝. in irgnladty of found whidh
it'prgffVs. on ihq e,.' an effe& nearly. filar to 'the. heating
the pe. 'on the hand, for .Which rafo,' M0af. Sauveur has
iv.en them. aWo. the leto . of: beats:: '.thefg' :rokcs. become. fo'
much the 'mOre frequent; is' tl' infeigal draws nearer.' to'
i"$,. ad wheue.ver .tlxey relt lb... fiey a're]coafounded. tN
.t ybzatiom. af. t!Xe found.
. . '$.irm.petends. in Iris. y. on the pfineiple. of Har.
' '.'that here bein , pr08ucd 'thtglx fiie cohcurrance of
,moay,. . - . g.. . . . .... .. . . ß
.g ud% ar. only an. acouRac.9ppearancei occafioned by .the
kib}atio'ns of theii iwo. 'lorn&.' Thfe .hea'fing, eoMing'to
im, .have equMl.y.a.. plm hea fixe'.iheral ii. 'contonant, but
[the rapidltff, 5n which they are flxbn counfounded not fuffering
fiem.to be &inguifiicd hy the/ca6 theie ofight'to follow not
kin abfolute ceffation of the itrokes, but :in apearanee of a flat
and thorough tbund, a kind of lcti }5:rceptible humrning, fuch
an one p-ecifely as refults in the proofs cltcd by /ion2. Serrc,
and fince expanded by Ionf. Tartin, from the concurrence of
two flxarp and cOnfonafit 8unds, (under the word i5'fiem may
be thenj that the ditYonances allb produce thcm).
' very certain" continues 3Iont] 8erre, "is, that rl:eir beat-
ings their co-incipient vibrations, which are t1!owed witix
* more or lefs rapidity are exaly timilar in menlure to the
"vibrations which the fundamenta. l tbund would really pro-
duce if thro' roeann Of a third corpo lbnor% it was aually
made to refound?
This very teciou ekplanation is not perhaps xvithout its dif-
ficulties; ibe the connexion of two tbunds is never more com-
potkd than when it approaches to the flmplicity which iroduces
from i a conlbnancc; and the vibrations ought never t6 coin-
cide more rarely than when they reach almo to an ilcl?onifin
from whence it tour follow in my opinion, that tle eatings
ought to flacken, in proportion ;rs they become more quick,
then in an iaant reufiit% in the moment tlxat the concord
ju.
Tlxe obfervatlon of the beatings is an excellent rule to be c'on-
fulted on the be fvem of mification. (Vide
o) For it is e(ideni, that among all poble modifications
that xvhich leaves the fewet beatings in the organ, is mo'
to nature and the ear. Moreover, it is a con'ant an weIl-
kn?vn circumance among organis that the ch6nges qf thirds
major, produce beatings more tbrcible and more dithgeeeable than
thole of the Fifths. In this care nature hertIf has chofen
BATTERY The method of Rriking and repeating fuccef-
firely on differcnt rings of an inrument, the various founds
which cornpole a concord and o'f pang in tMs nianne' from
concord to concord by khe three variatio'n of notes. Thi bat-
tery is but a continued arpggi% but the whole of its notes are
&tatched inead of being conjoined as in the arvegio.
. BEATER OF TIMe, One whole oce i; ibeating time
m a concert. (Vide the following rticle,) ,
TO BEAT TIME Is to fpecffy the variety of time, by
motions of the hand or foot which denote its duration, and by
hicl aI timilar menlures are rendered exaaly equal in hei
cnroncai owe ' '
I ' t P rs or tme m the execution. Therc are meafures'
rich a'9 ruck by one time only, others by two three 0.
our which is the greate number of times fpecified, that ca
be contained within a meafure, A four timSd meafure alto can
always he divided into two menlures of two times each. In all
their different meafures fie beaten time is always on the note
F whicl
lt/ethod of transforming it into a thorough bars; and that would
be eafy, if it were nece.-y to look only at the diatonic courIh,
and tte pleating notes of this bali; but let u not think, that
the bars, wl-ilch is the.guide and fupport of harmony the foul,'
and, to ufe the cxpreffion, the interpreter of the ni, is co'nflned
to rui˝s fo thnple. Tilere are ohers which arith' from a more
fre and .radical prirlcipte, a principle ingenious. tho' concealed,
whxclt h.as been felt by all the a,'txfs of _cniu% wkhout havin
been ever unravelled 13y any one I thirl I h/re hit on the bu
of it.in my Le'tter on te French 1V/7ufic: I have' have fpoken
fufficiently for thośe who comprehend me :-I fhatl never
plain it clearly to tholh who do notg (Vide tkrougli the whole s
I make no mention hre 0f the ingenious Syttem' of 1Vronf;
Serre, of Genev% or. of his double fnnd. amental bali, becauśe tle
principles, which he had examined with a fagacity worthy of
raife have been lince expofed to view, .by Monti Tart. ins, in
ß woi'k, which I will treat of before the conclufion of tle pre-
tent. (Vide SľsTg,.)
BEi. TING, A particularit o? grace it/ te French' airs
which conflits in elevating and ttriking a quaver, on a note in-
aetantaneoufly beg.un, There 'iS this differefice between the ca-
dence and th'e beatlng i that.the cadence begins by tile note fuZ
perior 'to that whereon it is marked,. after which x-e rike al-
terad.vely the. fuperior' note, and the. true One, rhereas the beat:
ing begins b. the found itfelf of the note tlha bears it,' after
wtiCh e xn'ke alternatively that note, and that which is above
it, G: there tones of thdth?oat, mi, re,. mi, re i mi, r.e, ut, ut
are a cadence; and .the following r%. mi, rej mi, re, m b te ut i
r.˝ mi, axe. a be.ating.
BEATINGS in the plural, Whenever two firong and
fullfined notes'i like tlxofe of tile organ, are harflx an] diffonant
together, on the approach of a contbnant interval,. they form,-
bv'ure' or leti. freq.uent-fiakes,' an irregularity of found which
ih=reffes. on iha ear, an effe nearly timilar to ttxe. beating of
the puL('e. on tle hand, for which realon, Monś, Sauveur ha
given them. alfo the term of:beati_s: there firokcs become fo
much the me frequent, as the interval draws nearer to"
jne.f, and whecver they reach it, they arelconfounded witl
rite, vibrations of the toun'd.
Mctaś. Serre. pretends, in hi F_Sfy on the principlea of Har-
mon , hat hefe beatin , produced throiagh flxe concurt*race of
:t"o onds ar only angacouttic appearance, occafioned by the
'itibrations of their iwo foundg. 'Wheth beltings, according to
idn,,'havcequMly a place.the the.i'nterval is 'conlonant, but
ß the rapidity, in, which they are then counfounded, not fuffcriug
ß ,ihem to be dffiinguiflcd lxy the .e,ar there ought'to follow not
I3 E
i abfolute cefl'atlon of the ftrokes but in aplBearanee of a flat
and thorough lbund a kind of let} 'rc-ptible lumminff, śuclx
an one precśely as refults m the proofs c;tcd by 'l,!. Serrc,
and fince expanded by 5Ionś. Tartin.% from the 'concurrence o'
ttvo fha;'p anti conl-onatit tiunds, (under the word i5'ttem may'
be ten i tidal the diffnances alb produce them). ".'hat
; very certain," continues Nlont Serre, "is, that tl:eir beat-
'˝ ings, their co-incklent vibrations, which are followed witix
more or lef's rapidity are exa&ly timilar in meafure to the
vibrations which the fundamenta. l tYund would really pro-
˝ duce if, thro' means 0f a third corpo lbnoro, it was auatty
made to retbund. '
This very teciou explanation is not perhaps without its dif-
ficulties; the the connee'tion of tvo lbunds is never more corn~
pold than when it approaches to the flmplicity which produces
śrom it a conlbnance; and the vibrations ought never tO coin-
cide more rarely than when theft reach altooft to an ilbchronifin;
from whence it murk follow, my opinion, that the 13eatings
ought to tlacken, in proportion a they become more quick,
then in an iaftant reurfite in the moment tlat the concord is
juft.
The obfervation of the beatings is an excellent rule to be con-
fulted on the belt fvttem of modification. (Vide
ror) For it is e(ideni, that amongft all pofllble modifications
that which leaves the feweli beatings in the organ, is molt leafing
to nature and the ear. Moreover, it is a confiant an8 well-
knovn circumftancc among organis that the chringes of thirds
major, produce beatings more forcible and more dilhgfeeable than
tholi: of the Fifths. In this cate nature herfiAf bas chofen,
BATTERľ The method of fh'iking and repeating fuccef-
firely on different ftrings of an inttrument, the various tbunds
which compote a concord and of palling in this lnanner from
concord to concord by the titme variatio'n of notes. This bat-
tery is but a conti,ued arpeffffio but the whole of its notes are
detatched inttead of being con'ined as in the arpelzio.
ß BEATER OF' TIME, One whole office i i-i'beating time
m a concert. (Vide the following Article,)
TO BEAT TIME Is to fpeclfy the variety of time, by
motions of the hand or foot which denote it duration, and by
which all timilar meafures are rendered exa&ly equal in their
chronical powers or time in the execution. There are meafure'a'
which are tlruek by one time onl,, others br two three or
. . .1 J, J ß
four wh?h s the greateft number of times. ecfied that can.
be contained within a meafure. A four tim'd meathre allo can
always be divided into two meafurc of two times each. In
their different rneafure$ the beaten tin˝ i alvaya on the note
F whlct
which immcdlatelv follows tlie bar: the raili:d ti,ne i. altva. ys
that which' precedgs, t, nleti it bap?ens that the meaśure conta,ns
b,t one ti,n%'and even in that care we mt, i ahvays ft, ppoli:
weaker time, fince ve cannot beat without havi,,g ,-alined.
'].'he degrees of t]owne or' of quickhers whikh are given to
meafure, depend on many circu,nf'cances, xft From the powers
oF the notes which compoF the meafia,'e we m.y ve,'y painly
śc% that a meatre vhich contains a circle viz. O thould be
fr,'uck more fo,'clbly and have a longer du,.atlon than that which
contains a crotchet viz. [' .2dly F,'om the movement exprefFd
b the Fr.nch or It.alian xvord which is often p!aced at the be-
g,nning, Gai fl'-itc, f.e,t g4c. All theFe words denote an eq,aI
nmnber of modulations irt the movement of a ti,fiIar kind of
meafure. $dly and lafily From the chara&er of the ai,- itlIf
.which, if well executed ,vill necetFariIy ttrike us with its true
movement.
The French muficians beat time differently from the Italians,
.The one in a tiur timed meafur% ftrlkes the .two firf'c fuccef-
firely, and raiFes the others. They ftrike altb the two firfi: in
three tim'd meaFure and faire the thi,'d. The French rike
firft time. onIľ and śvecifv the others by different motions of
i-'he land on the right and left. However the French mutle
would be in want o' a well-marked meaśur% much more than
the Italia% for it does not convey its cadence within ifelf;'
its mo'ements have no natural precifion: the meafure is ex-
tended or diminithed at the option of the finger. How greatly'
nre o,r ears ditituced at the French opera with the difagreeable
and cont, nt, al noli: which s made by the ft'okes o. Into who
beats the time, and who las been inffenioufly compared to
wood-cutte,' felling a tree ! But 'tis arT. inevitable evil. rith-
out that noire the meafi,,'e cou/d not be felt. The mufic itfelf
(foes not exprefs it. On which account foreigners can perceive
no movements in the French airs. If we pay attention to thiss
we fhall td, tlat herein lies one of the fpecific differences
txx'een the F,'ench and Italian ,nufic. In Italy, the meafure.is
the whole t]oirit of tl,e mufic; .'tis a well bxpreffed meafure
whk'h gives it that accent which renders it fo delightful.
tle meati,,'e aft0 which direc"ts the muffclan in the execution.
In I;ranc% on the cont,'ary, 'tls the mt,ficlan who dl,'eSs tlm
meafure': He enervates and dls{igurcs it wltlout hefitation or
t:cttlple. Btt what am I thylng ? The excellence of tafie itfelf
elift in not thffering.'i to be perceived; a prec,-tution of which
('[,o the bargain) it crtnds in no great xeed. The opera of
F'is is. the only F. uropein the:,t,'e he,'e tl,e meafure is ilruck
without bing 1k/llovcd. In ˝ve,'y other part they follow it
without beating.' .
.. ' ' Ttere
B E
There reigns herein a general error, which a llttle
will eerily abolifh. It is imagined that a hearer beats the time
of an air which he hears only becaut he feels it forcibly; and
'rs on the conrrary beesure it is not fuciently fenfibl% or
he does not well enter into its fpirit that he endearour% by the
addition of motions of the hand or foot to make amends for
what is mnting in this particular to the ear. As little as
piece of mutic regards its cadence, we may fee the generality of
the French, in attending to it, make a thouCand contortions, and
you will not perceive the lea noife or fee the mo minute
lure that has any conne&ion with the meafure'. Is it, poffibly,
that the Germans and Italians were lefs thnfible of the meafure
than the French ? There are feveral of my readers who,would
not in the lea truple in hying G; but would they nifo ad-
vane% that the mo ingcnibus muffclans are thofe who enter
lea into the Cpirit of the mufic. It is inconteable that they
are thoCe who heat the leafi and when y dint of exercifh they
have gained tle habit of always.feeling :t they do not beat at
all: this is a proof of experrance that may be feen daily
throughout the world. It may be Cald elf% that the fame per-.
fons, whom Iaccufe of beating time only thro' an infufficient
feeling, do not beat in the airs where it is not to be felt; and
angver, that in that cate 'tis becauCe they do not feel it at all.
The ear mu be firuck at lea with fome kind of conne&i0n
with the menfur% that infiin& may endearour to rengthen
it,
The ancients, qys Monf. Burette, beat time in many dif-
ferent methods. The mo general confied in the motion. of
the foot vhich was railed from the ground and Kruck it alter-
natively, according to the meafure of the two equal or unequal'
times Vide Rya:E This vas commonl the office of the
.( .) y .
mufic-maer who was called Kopu&'oc becaute he wa titu-
sted in the mid of the choir of muffclans, and in an elevated
tituatlon, that he might be more eerily fhen and heard by all the
company. Thel tired bcaters were called in Greek
and =0&$d$0, on account of the noit of their feet
on account of the uniformity of their geures and, if I may b=
alloved the expreffion. of fhe monotony of the rhyme, which
they always beat fi'deux terns. They were called in Latin
'pedarii, podarii, pediculafii. They beat time not only wlth.tho
foot but allb with the right hand, and conjoined all the tingera
to rike vithin the hollow of the left, antl he who expreltd the
harmony in this manner, was called Manudu&or. Befid this
beating of han2s and noith of tlippers the ancients had ill, far
1"2 rildng
rikng the tm, that oF ockel!-fhells oyfter-thells and th
final! ons of animals, which tlmy 'ruck aan on nother
as w at preent pform wth caants and other fimlr
mnts. All this tb d[grabl and fuprfiuous no among'us
on account of t e quafi- oF the mear was not th
th0e nines, where the frequent changes of ft and rhyme re-
quiteft a concord much more' dicult, and g;;e to the nolte itlElf
a eartory much pore harmoniou% and more ffriking. We may
noreovr h
. . , y, t, the cuom of bfin in this me ws in-
and lhould Ioe its accent and ener The hhe we rife, th
fewer amples we'fiud of there beaters of tm% and in mufic
of the remote antiquitv we cannot difcover any.
TO BAVL, Is to eert the voice in finsing in tach a man-
he% as that the founds can be no Ionffer ivifible, and have
grt ?femblance to cries than fining. The French mu˝
J e bawled: 'tis in that that its ff forcible expreon
BI, fyllable which feveral foreign mclans nf formerl
for th'e [ronunciatlon of the found of e gam which is cMle
b7 the keoch . (Vide
BISCHROMA, n Italian word which prees triple
crotch's. Whenever this word is written under a otl'ion
note% canal. and of a eater power the tdple'crotchs it
denots,'ildr the powers of ofe hotes ould be divided into
triple crotchets according to the real divifion wh'ich is nerall
found n'xhe firff time. 'Tis an invention'of authors adopted b
imitator,s particularIv in the pgrtitions, to fpare palm ad paper
'(Vide
BOEE, A kind of air; appropriated to die danes which.
gocs under the tme name as that which is generally fuppoed
ra'e.its m-igin from Auvergne, and which s ill i ufe in'that
provpce. The bofee has two lively times and Begins with
crotchet before i[ is ruck. It ould hay% as the genelity of
dances two pas an four meafures or a multiple of four to
each. In thel kinds of airs we frequently join the latter half of
the fir time to the forer of the fecond by a fyncopated
BOU'FADEI An ancient kind of letrer balle, which was exe-
cuted, or appeared .to b% impromptu. The muticians hay,.
fomethn;s gtvcn this name to pieces or ideas which they exe-
cuted in th, hme m'nner on theie inruments and which are
etherwil iled carices or f'mtaiics de ht
TO ...... " ' ". ( ' t Words.)
i{A}VI. Is to outdo the natural extent of the' voit%
a,d ting with all our pol/iblc violence, as the church-wardens
in the villages of Lutri% and tveral muficiaus ellh'here.
BRAWL,
, BRAWL, A kind of dance xry lively, which i pefforrne&
m a circle, vith a thort tune in rondeau, that is to fay, with.
the'fame conclufion at the end of every couplet,
BREF, An adverb which we often find in ancient
written above the note which conclude a phrafe or an air, to
lenote that this finale thould be leffened by a quick and fhort:
found, inf[ead of ?referring its entire force. (Vide To
This word is however ufelefs, as we have a fign which may
prefs it.
BREVE, A note which paffes with double the quickhers oś
the preced. ing; for which reafon the crotchet is thort after
pricked mmum, and the quaver after a pricked crotchet. We
could not call a note that i equal to the half of the preceding
a brev% wherefore a crotchet is not breve after a fimpl
inum, nor a quaver atcr ß crotchet, unlefs we make ufc
a fyncope.
In church mufic it i quite different. To anśwer exaly to
the quantity of fyllables, the breve is equal to the half of' a long
ś11able. Moreover, a long note has often a tail to diRingui
it from a ort, which never has any, which cireumfance is
dire& oppofidon to mtfi% where the round which .has no tail
is the double of the rainurn which has one. (Vide
Powxts of the
BREVE, Is alfo a Zame which our ancient muffclam
and the Italian frill give to 'that old kind of hote that we ex
profs by the term -quarr6e. There were two forts of Breve's
for initanco, the -true and perle&, which is divided into three
equal parts, and is equal to three rounds, or feml-brcve
triple menlure; and the changed or imperfe& breve, which we
divide into two equal pmxs, and which is equal to two femi-
breves only in a double meafure. This laR kind of breve,
that whichis marked by the den of (2 barrY, and the Italiang
call fill by the name of alia br've, the menlure of tW qiek
times, which they make ufo of in pieces of muff% da
(Vide AX..A Bazvz.)
BUZZING, A thorough bari which is always continuing
the fame found, as are thole generally from the inftruments
Which we call Bag-pipes.
BUCOLIASM;'An ancient ruitlc long.. (Vide So.)
4z C
C Thiz letter, in our anc.;ent mull% xva the fi..;n of the minor
im?erfc& extent, froln whence the lhme letter has continued
among us, as that of a four timed meaśure, which in/:ludes cx-
a]' an equal power of notes. (Vide Morl.)
C} BAR RE, The tign of a quick four timed meafure or a
let two timed. It is marked by a perpendicular line which
pall'es from the top to the bottom of theC within the ave. thus
C SOL UT, (2 SOL FA IJT, or timply C, A charaer
or term of mufic, xvhich indicates the firft Note of the gamut_
.which we call ut, (Vide G.SiUT.) ....
It Is allo the ancient fign
of one of the three keys of mutic. (Vide
CACOPHONY A difcordant unifon of feveral ill church,
or diligreing founds.This word is derived from x=x0r, ill and
qun, a found. For which reafon it is called cacaphon 7 b 7 the
generality of muffclans in an improper'pronunciation.
CADENCE, Th.e terminat. ion of an harmonic phrafe, either
on a ftop, or a perle& concord, or, to fpeak in a more extenfive
fen/e, it i every paffage from a diflbnant accord to any' other
hatśoever, for we can never remove froin a cliffchant accord
But by an a of cadence. Moreover, as every harmonic phrafe is
by necettqty conjoined by ditTonantes expretTed or underftood it:
thllows, that harmony in general is properly - colletion of ca-
dentes onS. y.
That which we call a& of cadence, takes it origin always frets
two fundamental founds, one of which denotes the cadence and
the other its termination.
As there can be no diffonance without a cadencc neither can
there be any cadence without its dilTonance expreffed or under-
fl:ood; for to give expreffion to a t'co13 , fumething anterior muff:
fullend it, and this tbmething can be nothing, unlel a diffonanc%
m' the implicit fentiment of that difibuance: were it otherwif%
the two concords, being equally peril:&, we might make a panic
on the firt; the fecund would not diścover ittll, and therefore
mvfk become urmece'flhry. The concord formed on the firft
found of a cadence, flmuld, confequently, be always diffonant
Cleat is to lkľ, fhould fuftain or fippol a dillbnance.
In rcg:trd'to the Icond, it may-)3e conlonant or diffonant, jufi:
as we chute, either to preferve or to elude the fops. If it be
con/bnant, the cadence is full i if diffonant the cadence is avoid-
ed or imitated.
V% gcn','ally .reckon four klnd' of cadences, that is to
perfc& cadence, mperf˝& m' irregular ('adence) cadence into.'-
rul)Ccd and broken cadnce. Theft: are the denominations whi˝
A 43
l,ionf. Rameau I',a; given to them, and the realohs w!,-ereof flall
b= lien hereafter.
I. x. Vhenfbevcr after a concord of the feventh, the ft, ndamental
bat5 dcśccnds from the fifth on a perle& concord, 'tis a full
purfc& cadence, which proceeds always frt:m a dominant tonic
to a tonic; but if the perfe cadence be avoided I,y a diltb
nance added to the fecond note, ve may begin a fccond cadence;
in avoiding the iiret on that fecond note, avoid this li:cond ca
alenee, and b%in a third on the third note; then go on in tlze
tSme plan as far as we pleak, by alending from the fourth, or
delkending from the fifth on all the chords of the tun% and
this forms a thccet'fion of avoided perfeCt cadences. In this fuc
celllon, which is without a doubt, the molt harmonious,
parts, viz. thol which form the feventh and the fifth def'ccnd on
the third and eighth of the following concord whereas the two
other parts, viz. tholk which form the third and eighth, re,hain
to compotk in their turn, the feventh and the fifth, and defcend
immediately in an alternate direction with the txvo others. In
this manner fuch a fucceffion promotes a defcendant harmony.
It l'houtd never econo bnt on a dominant tonic, to fall immediately
on the tonic by a full cadence.
2:' e5./3't śadcnces
II. If th6 fundamental bari, in{lead of defcendlng from the
śfth aletel a' coicord of the feventh, defcends oniy on the th{rd
the cadence is called lnieripi:d. 'tiis c,'ln nei,'er be ull, but it
mutt neceffarily fall out, that the fecond not of this cadence
futta!,s another diffonant accord. We may in the fame manner
continue to deftend from the third or arcend from the fixtl b by
concords of the lventh, which makes a fecond fucceffion of a-
voided cadences, but much lefs perle& than the preceding, for
the fevntlb which unites with the third in the perle& cadence,
unite
nlrcs here with tile elglth, whence proceeds a icffer harnony,
and which makes alśo two eighths tb bc undcrftood fo rhar to
avoid them, wc mu'c either remove the diffonanee or deftroy the
harmony.
Whereas the interrupted cadence can never be full, it follows
thence that a phrat can never bc concluded by it s bur we muc
have recourfe to the perfe cadence to make tJc concord domi-
nant bc undcr/ood.
.rnterru?ed Cidence$ awoided.
-
7 7 ,7 , 7, q .
he interpted cadence forms alfo, by its fucccon, a
fccndant hrny, bur there is one fou Only wich defcends,
he three others rcmn in order to decnd, eh in is turn
n a milat dirc,
There arc fomc who erronezuy miake an overhrow of
erfe& cdence for an interrupted cadence, wherein the ba,
after a concord of the feventh, dcfcends from he third funairi-
ng a concord o the fixh, bu every one mu
eourfc, not bcinff fundaments can by no means c0Ritutc a ca-
alenee proper ot.
III. Broken ence is whrcln the fundamental baf,
ead of arcending from e fourth af a con the fevcnth,
as in the perle& cadence, afceds only a dc. Thls cadence
s ohenc avoided bg 'a fevea on te fecond note; . It is ccr
rain that it cannot 'be rendered full but by llcenc% for fuc
a ev there is ncccffarily a waa of unif
CA
.Broken Cadence,
Fdl with a r7e A,
voidcd with a ie B.
A fucceflion of broken cadences avoided is ill descendant,
Three founds therein defcend the eig]xth remains alone to pre-
pare the diffonance; but fucha iEcceffion is rough: badly modu-
lated, and is feldom put in pro&ice.-
IV. When the Baśs derfends by an interval of the fifth, from
the dominant on the toni% it is as I have f, tid, an a& of perfe&
cadence, If, on the cont, ary the bars aścends by a fifth from
the tonic to the domlnan b 'tis an a& of irregular-and imperfeCt
cadence. To difcover it, we add to the concord of the tonic
fixth maior whence this concord takes the uame of fixth added,
(Xride Cbzeeotl.) This fixtl b which forms a diffonance on
the fifth is alśo healed as a diffonance on the fundamental baśs
and as fucl b obliged to extend itfelf by aft:ending diatonically'
on the third of the following conc. ord.
The imperfe& cadence forths altooft an abfolute oIpo(ition to
t_he perfe& cadence. In the tiff[ concord of each w divide the
o.urth, which is placed between the Fifth and tlte eighth by a
oreononce, which forms therein a near third, and this diffonance
ought to be reduced on the following concord; therein lies what
there two cadences have in common with each other, but here'-
after the contrariety which they maintain,
In the - '
perle& cadence the found which xs added fixes itfelf at
the top of the interval of the' fourth, near to the eighth form-
ivg a thi,'d' before the fifth, and produces a diffonance minob
which is avoided by de/kendine: whereas the fundamental bah
afce.nds from the fou'rths ot deiends from the fifth of the domio
nant to the tonic, to maintain a perle& paufe. In the iraperle&
'.cadence, the found which is added is fied at the bottom of the '
anterrol of tl{e fourth, near to the fifth, aad forming a third
O witlz
4 &
with the eightl,, it produces a m.ior diffonance, which is avoids8
by arcending; whereas the fundamental bars defcends from the
fourth, or arcends fi-om the fifth of the tonic to the dominant,
to efablifh an impe.rfe& paufe.--Monf..Rameau, who firPc made
mention of this cadence;and 'who admit many exceptions from
it, forbids us in his TreatWe on Harmon,(, page xxT, to admit
that wherein the added found is in the flt, śupcaining a concord
of the feventh, and that with a very weak argument, which
have ade mention of under the word concord, lie has taken
this concord of the feventh as fundamental fo that we mupc.pre?
śerve a feventh by another feventh. a diffonance by an equal
diffonance, by a timilar movement on the fundamental bars. If
śuch a method of treating; the diffonances could be fuffered, we
had as well flut our ears, and throw our rules into the flames.
But the harmony , under which thi author has placed fo ftrang
a fundamental ba, is clearly o.(erthrown by an imperf˝6t
dec% avoided by a feventh added Upon the śe˝ond note,
Reverfion of the Sixtl added.
7 7 7 5 7 7
' F, 0 Rameau, e true a. F.
And thi is fo true that the thorough bars, which rlkes
dionance, is nedeqrily obliged to arcend diatonically to pre-
fetve it, witho 'hich the paffage could be of no avail.
cofiffs, that in the fae work, page =7=; Monf. Rameau givei
m timilar example with the fundamental bats; 'and fince he
app.?vcs in form. al terms, the overthrow 'whleh refults from this
'ha$;',fich a paag ferves only 'to difdover, in his book One
c.di&ion mre. And as much as .this' une author in a fu-
ture 'WOrk (Geur. Harmon, page I86) feems to recolle& th 0
true figln of-this 'fiEae; he tbeaks of it fo obfcurely and
again. to pofitlvely titat' one feventh"is preferred by a9other
t}at w may ike'c/erly,, that he only tak? yhereln a' coippar
ttve.vew and that at the bottom his ientments rein'am
faro% tb that we have the privilege.of'retorting againt[ him the
rep roaclx
c A 47
reproach which he confers on MatTon,. not to have known how
to fee the imperfect cadence in one of his perverfions.
This fame imperfect cadence extends itfelf alfo from the fub-
dominant to the tonic. W'e may alib avoid it, arid give it, by'
this method, a fucceffon of feveral notes, whole concords wiI!
compośe an afcendant harmony, in the which the fixth and
eighth arcend on the third and fifth of the concord, whereas the
the third and !ifth remain to form the eighth and prepare the
fixth.
No author that.I know of, before Monf. 1Zameau has fi, oken
of this harmonic rife, himfelf has only given us a view of it
and it is certain that we could neither pra&ife a long continu-
ance of timilar cadences, on account of the major fixths which
would remove the modulation, nor even fitl the whole of its har-
mony without a precaution. ß
_After having laid open the rules and conffitution of the differ.
ent cadences, let Us take a mew of the reafons which Monf.
D'Alembert gives, from Monf. 1Zameau, of their denomina-
tions.
The perle& cadence conrifts in a courfe of the fifth, by de-
fcendlng; and, on the contrary the impdrfe& conrifts in a courfe
of the fifth in arcending. liereln lies th reafon :' .When i fay
ut fol, fol is 'already enclofed within ut, fince every found, as
ut, Carries its twetfth ' with it, the fi, fth of which, vlz. fol, is
the eighth; fo when we go from ut to fol 'tis the generating
found which paffes to its produ&, in fuch a manner thougl b that
the ear always wlfhes to rct..urn to ths firft generator; on the
contrary,. when we fay fol ut, 'rig the produ& which returns to
its generator, the ear is fatlsfied, and wifhes nothing more.
Moreover m this courf% fol let, the fol makes tfelf aoan under-
ftood' in ut; br this means the ear hears' at once'the 'generator
and its prodUcts'whereas, in the courfe ut fol 'the 'car, whi.ch in
the' firPc found had heard ut a'nd fol, hears nothing more in the
fecond than fol without ut. Wherefore the ftop or cadence from
śoi to, ut, has a greater perfection than the cadence or ftop from
Ut 'to fol.
I't foetus, Continues Monf. D'Alembert, that in the principles
of Monf. Rameau; *'we mawr furthermore explain the cftc& of the
brbkhn eadenc% and tiae fnterrupted. Let us fuppof% for thi
purpoi, :that after it 'concord of the feventh, fol, fi, re, fa, we
hffend dlatOnicallr,'by a 'broke n cadence to. the concord la, ut,
ml;"fol':"'It i vitgle tha this Concord is defttoyed by the con-
Cord :of' t!,le ftib-domlnant ut, mi, fol ta; whc'cfor% the courl
Of broken cadenc is equivocal to this fucceffion' tbl, fi, re, fin,
ui,' mi, 'tbt,. is', 'whieh:ii nothing' different from a 'perle& cadence,
}.in the wlfich.ut inffcad of being hd as tOniC is reiddoted rub-
....... dominant,
48 C A
dominant. Ererr tom, fys Monf. D'Alembert, can always.be
rendered thb-dmJinant by changing its mode. I will add, tl,at
it can even bear the c0acord of a fixth added without undergo-
ing any change.
In regard to the interrupted cadence, which conrifts in derrend~
In from one uomnant on another by the mcrval of t,m third
in this method, fol fi re fami tbl fi, re, it ś˝˝ms that
may fiiIl explain it. In el%&, tlxe lcon˝l concord, mi, tb!, iJ :'%
is overthrown by the concord of the tb-dominant fcr{ t1, re, mi;
{or whirl: reafon the interrupted cadence is equivocal to this
fuccet'fion, fol, ti re, fafol, .ti re, mi, where the note
after having been uld as doralhUnt, is rendered śub-dominant by
changing the rood% which is permltted and left to the option
of the compofer.
Thet explanations are ingeniou and i'hew what ufe we may
- make of the double employ in thole puffages, which feem to have
the leait conne&ion with it. However the in.ention of.Monś.
D'Alembert, is not furely that we t'hould make uśe of them in
reality in theśe puffages for p.ra&ice, but only for the compre-
henfion of the chanes. For mt.ance the double employ of the
interrupted cadenceS'would prevent the diffonance fa by the
diffonance mi xvhich is contrary to rules to the utility of rules
and particularly to the judgmen't of the ear; for in the fenration
of the fecond eoncord tbl ti re mi at the continuance of the
fir tbl fi re fa the ear is more attached towards the removal
of the re, than to admit the mi as diffonant. Beginners in ge-
neral, flould be acquainte that the double employ may be
admitted on a concord of the feventh in the continuance of a
-confonant accord; but that aa loon as the concord of the feventh
follows one timilar to itfelf the double employ can have no ado
mifflon. It is neceirary that they know alfo that the tone ought:
not to be changed by any othediffonant accord than the fen-
fible; whence it follows that in the broken cadence we cannot
fuppofe any variation of tone.
There is another kind of cadence which the mufieians do not
look upon as fuch, and which according to its definition is
however a true one: 'Tia the puffage of the concord of the
venth diminlfhed on the fentible note to the concord of the
tonic. In this puffage, there is found no harmonic union and
it is the fecond example of this default in what i called
alenee. One might regard the harmonlou tranfltiona aa me-
thods of avoiding-this tme cadence in the fame manner a we
avoid the perle& cadence of a dominant to its tonic by a chro-
matic tranlition, but I confine royfell le˝ to the explanation of
eftablifl˝d dcnominationa.onlľ0
CADEl,ICE,
c A 49
CADENCE, I, in terms of tinging, that motion oś the
throat which the Italan call trillo, and whicll we call warlling
which is generally on the lair note but one of a mufical ph,'a!e,
from whence it has, doubtlet, taken the nn,ne of Cadence. x, Ve
tky, ' That acřcret has a fine cadence." Such a finger
frrikes the cadence ill."
There are two kinds of cadences. The one,' ia the fu!l ca-
dence, which contiffs in nor beginning the wa,-bling of the voice,
until we have refted on the higher note: The orhe,' i
broken cadence, and in that we begin the trill of the voice.
withou4: any preparati0h.
The CADENCE, Is a quality of good muśc, which gives
to thol who execute it, or who lillen to it, a liyely feeling of
the me'afure, fo that they remark it, and perceive it fall julfly,.
without reflecq:ing on it as it were thro' inllin,_Ct. Tl.ais quality,-
is particularly requifite ih t;le.airs for dancing. Th minuet
has an agreeable Cadence." Tidal chacoa wants a cadehce."
TI .cadence being, in that. fenfe a quality, is'generally preceded
by the definite article the, whereas the 'harmonic cadence bears
as indiviclual,' the namericat article iz. A perfec"t cadence.
lhree cadences avoided.
Cadence fignifies alfo the conformity of' tle dancei"s ffeps,
ith the menfur% expreffed by .the inllrument. He goes out'of
cademe or tune.---He keeps well the cadence or time. For this
/'eafon, the mufic'maer denotes the mov. ement of the minuet,
b beatin ' ß ' '
y tame, at the ,begunrang of each menlure; whereas
te dancing mailer beats time only every two menlures; bccauf˝
śo much is requitlte to form.the four teps of the minuet.
:. C2DENCED A well cadenced mtrllc i$ that wherein the ca-
&nee is moll fenfible wherein the rhime and harmony
peffe&l. concur in giving life as it were to the movement; for
the choice. of concords[ i$ by no means indifferent to denote the
time and 'menlure; and we ought not to pra&ifo inlifferently the
fame harmony on the ftroke a'd its rife,' Neither is it fufficient
to di.vde thmeafures into equal powers to make their equal
returns be felt finqe the rhime does not depend lefa from the
accent .which is given to the melody, than from the powers.
which are given to th* note's,' for we may have times very'
erpaal.and y0t eery ill cadenced. 'Tis not ftiflicient that there
an erualii but it mutt be of 'uch a nature as to be flt. m
CA.śNtA, An Italian word, by which we denote p 'nt
l'orgue, or fign of a Iufes not written and which the author
leaves to the will of hlan who performs th principle part for
the pur.ofe of his making, relatveIľ to the charaer of the air
:,e pallage m0ft fuitable to hi..v'oice, his inftrUment, or his
5 c A
made on the firlk note of' a tinal cadence; and it is alfo called
arbitrio, on account of the liberty which we learn therein to the'
,erformer to ihit his 6wn ideas and follow his particular taece.
'he French mufic, partic. ularly the vocaJ, which is extremely'
ftJ'ic't leaves no timilar liberty to the finger, which were it re,
he wouqd with difficulty now how to fe, ' ' ,
The CANARIES, A kiod of gigue, the air of which is even
of a more tivdly moľ6mgnt .than that of the ordinary giőu% fo
which teafen, it is rometimes marked by 7; Thi dance is at:
reścnt no'Ionebr in fife- (Vide Gc,u.) ß
' CANEVAS It is br this name that, in the opera of Paris,'
there xvord are called, which tlie muffclan adjuPts to the notes
of an air, as a parody. From there words, which have no fig-
hidcation', the poet adiuPcs others, whiclx exprefs little met%
wherein in general we'find no more ingenuity than fenfe, whera
the French' profody i infamot/fly murdered and which are'
therefore with great reafon iled . -.
(2ANON, Th.is .wa, in .the ancient mufic, a rule or method
to determine the reference and conne&ion of intervals. They:
gave 'alśo the ham' o'f 'Cation ko'the ihrhment, by which they
difcovered thefe conne&ions, and Ptolemy has .given this fame'
name to the book which we have of his 'on the reference of all,
the harmonic intervals. They called in 'general the divifion of
the monochord by all thet-intervals, .fetis: canoiiis; and .the
monochord, thus 3ivided, o the Table which reprefented it;
Cnncm univerfalis. (Vide MoloelogI).) . ':
CA. NON, In modern mufic, is a. kind of fugue, which i
called perpetual, beeauśe the parts.fucceedin'g each. other, conti-,.
ually repeat thc'felf-thme air-.. '.' ß .. ': . ' :
Formerly, fays Zarlln,' there xvere 'vla˝&d at the head of the.
perpetual fugues, wtuch he calls Ftghe in.co./bquenzaz, certaan note,'
which directed the method of tinging. thofg ki'nds of fugues. and:
tbeśc dr. eOm.ns, being.properly the rules of thef. e fugues., were'
called Canore,Rules---Canons.--From thence, taking the title for:
the thing, that k. ind of fugue,"by Metonymy, has been filled
ß The canons, eafief to' le tnade, and mof general, fix them at:
the unitbn, or 'at the .Sth; that is to fay that every part repeats,.
tin'the three tone, the air of that uh]ch prccedeit .For the
˝ompofitio n of tiffs kind of canon,. we 12ave: only to' ctmfe an.
ß ir' to' o?r. liking; add thereto a partition as many parts .an we.
lfieat xwth equal notes, .then, from all 'there parts lung in rue~
eeflior, to tbrm a finglq:air; Uling our en)eavonrs that thlsl
tbcccfllon may produce a tbmcthing completely agrcegble, whe-,
ß li'it bc ia th harmony or in the canto. -
c A
TO execute a tingle canon,. he, who is tp ting the firi, begin
1one, 'fiagimg the air throt3ghout, and then again beginning.it
without interrupting the meafure. As loon as he has {]ni[hed th
firft couplet, which ought to ferve as a continual rubieS, and oa
which the whole of the canon has been cornpored, the t%cond en-
ters, ak't begins this fame firf couplet, whitit he who entered
lirft contin/es the' feco!ad :' The. others 'lrfe the fa!ne
fueceffively,' as loon as he who precedes them is at the end of
the firit couplet; in re,beginning after this method, continually,
there can be found no general conctufion, and they extend thg
canon to %hatfoever length they pleafe
We may alfo ak a peri)etual fugue in the fifth or fourth
hat is to fy, hat every part fhall repeat the air of the fore,
going, a fifth or a fourth higher or lower. But in that care tle
canon murk be fuppofed quite entire, dl prima intcnzione; as the
Itaiih~s (ay, and B tharp's. or .djefis's mui be added tO the n?tes
vhofe natural degrees could not exaly render, in the fifttx or
-fourth, the air of l:he prcedir{g part. We ought not here 't
pay the leait regard to any modulation, but only to the identity'
of the air, which renders the compofifion of the canon mor.e
difficult; for every time that a part receives its fugue it enter
into a different tone: it has variations in aimoft every note, and
what is woH'.e',' no' o.n..e part is f0unkl at th śalne t.irn'e in';he fame
ton as' aother i which 0ccafions that there kinds of can0nsj
betides being difficult to follow, neyer'form an agreeable effe&
howeve? good its harmony may be, and hbwever well they may
be lung/' ....... :
Tliere is third kind of canons'very fcaree, as much on ac-
count 'of tleir exceeding difficilty,' a beeaufe being generally
bereft of arguments, they have no other merit than having.coil:
a great.del'f trou61e to'compofe them. This is what might be
called' double canon-varied; as .much through. the inverlioa which
ts placed theren n the-tinging'of-the parts, as thro th which
we find amongtk the parti'-themfelves in tinging the'm. The.
s fuch an art[flee n ttus kind of canons, that whether we-ting
the.parts. in their natural order, or change the paper to ting them
in ' retrogade' direrlob 'by: bg[nning"hi thd ehd,' and placing
the bars abov% We alwayffi'n.d a good harmony, and a regula[
sanon.
C A
)Double. Canon prvn'teJ..
Counter.
aftnether aDouble Canon perverted.
{ unter. - - - --
The above examples of there kinds of canons are taken from
Botempi who allb gives rulea for the competition of them. But
we 1 find the true principle of there rules under the word
$.e in the exofition of that Monf. Tartins.
C A 53
'ro compośe a canon where harmony may be a little varietY,
tte pa:ts muff not follow each other too furlrichly, anti one
lnuff not enter till rometime after the other. x, Vheh they fol-
low one. another with thch velocity, as, at a paufe, or demi-
paufe, there is no time ,for making feveml concords pale, and tile
canon cannot fail of being monotonous. But it is a m:'thod, d
making.'witKohr mucll'. trouble, a 'callon_ at whatver part .w.e
pleatE, for a canon of.four..meafures only will be inffantly of
eight, if-they ollow-each off,or.at the demi-paufe. .and in every
meatm'e which is added, two. other parts will bq aib galnd.
Tile crape?or. Charles V[. who was a great mfi'flcian, and art
excellent :compotEr, took grdat' peatre. in makin'b.and' fraying
canons. Ita13$ is till Full of Very 'line- carlone, which habeea
made for th.t prince, by the belt maRers of the country.
CANTABILE,' An. Ita-lin adjeOive, xhicl fign'ifies, crYave-
nient for tinging.. It is p:oper to extery air, 'whLqb.. interval in
whatfoehr meaf'ure they may Ix:, are not too lar,,b- nor
notes too. precqltate fo 'that tlmy can be eafily fungrv,'lthout
forcing -0 r .injui'ing the voice, ' ..he word cantabire is b degree,
alfo paff into the French tanga'
- CANTATA, A kind oś h'ttI lyric poem,.whk: i's: fing With
accompaniments, and which, though Compofed.f6r . private.
.room,.ought :to receive from'the:mfician .the 'fzr and graces of
mutanve and theatrical mufic. Ganliras are eneraltv corotruled
of three recitatives, and as many .airs. Thole whmb are a .re,,,
cital, and the airs, their maxims are always cold -and tiagre'-
. abli.: The m.ufician ought i,o abolifl-t the/fl, TIe'b˝t are.hof
wherein. la principM perfon 'fpeaks him?elf"in. a.fituaton'live4y4 '
and affd&in,,; for .our caht.tas: are 2ri ,general' calm red' fo'r One'
voice. There are however, foae far two voice% n fom
,alooue, and. thole are fomewh0t agree,able xvhen. the eompofe;.
knmvs the art of .introducing fomething in thln of an' i'aterdff}n
nature. But a ,a few preambles are alwa3..neeffiu'y to*mak
a kind:of expo;fition and'give tlte hea'ter' rome ideas '[is .n0t
xvithout'rekfon that cnmtas have chin'yeA tEeir form'and'.that.
even in concerts they have fubftituted opera feenes in .their"
place. The mode of cantatas.takes its origin from ltaly 'as'we
may fee by iheir name in Italian, and 'tis Italy alth' vhiclt'tirPc
placed lounds to them. The 'cantatas made (here a[prcfint;'
are abIhlu.telv'd?ama.tic pieces to'many. a&0rs,. which. differ fronx
opera.s. only'in what the one rcprcfimte on the fag% nd .the
othcr,cxccates in concert, tb thTxt. the cantata: is, on ;t' Pr0fano.
tub. jeO., .w. hat the .oratorio. is .o n one that is
CAN'I'ATILLE Is a dhninutive'of car}[ata, '.and in ralitľ
only a vcr.y. flort. cahtata, ,.wholE'.'fibje& .b. united bt
vcrli: in rcctatlve in wo or .threi; 3ir in ro. adau [0r.,the mo t
, .'.
Fay b With Forde.accompaniments'. oC,ľymplionv, .'The natur'of'
ne cantattila Is ffiit more.trifling. thaa that' of tlie cantata, ifi.
5vhote:ptace t bus been fubffted amon Us;' But as'we can.
eith=r. diiEoxer-patEo,s'or paintin therein, and 'as 'it' is (u/Eep..
tible of ntilit F onl :tris a retbnrc6 for'the inferior Veffe fcrib
leri, and (r: m,-gyithur gemus':..' '
ANTIC, ...hymn..ihX'in honoue oF the-divinky,
r and moff.nclaht canticwere cgmpofd' on account 0f rome..
nemorble 5'ent, a may wetl'le rekon"m' tho m'qff an-
gient hifiorical moamnts. ' ß '.' ':
There cntic.wete"frng b ch01is of tnuficmns, and often'ac-
ompadi. wkh dan,' as t :appears' b writings, T.h m
difigU pie -fiat .we meet'wtth '6f tins natpr% is ttte can-
ic of cantic -:.-a brk attribt'd 't0"S0Iofi0n'-ad 'which
anthoes ptend to be his cpith=lamium only, 0n his marriae.wifi '
ihe dau]ahter--of de-,king of gpt. '=t tho The61ogicians
daeov:under .tlff, emblem, th tfilon of Jefus Chn ana
Church, .; The 8iiur fie Cahuthc law i. in 'tlijs' cantic 0f cantlcs, .
nothing moe *han .*wIt emd opera, the fc'e fle die
iogUe, th duo the choirs, veee itir ".perk&i 'notbin=- wa '
wantng and he .ma'no' fionbt BUt thak the Opera had en
5refented. . . - ..... :' ' ' ' ß ' '
do:not'now.ay O.tlle pietro me in thg Rom church,] .
high h'ae yet m. tainefl- the- nai of Cantlc unlef, it b$ the
e of Simons. that' 0 Zachai and 1 Magnificat, ited the
ntic 9f the. Virginr-. ß Bat.mon u re}y ing fang 'in OUr ..
tmpi 'i; e11 .canti% exeet '5h pfatms whiclx retain .theD
pi'oper.nlme'a.-' ;'"': ' ' '. ' ' . " ' ' .
' 'h6 Greesye'the name' of eamk 'alfa to everal paoaate
lilo hie5 ? their tra 9riles'.' Which. ' e luna in the hvvo d0biaa
p hypkrygian ile, 'aS'fiofie.'teaches's i Ills nineteenth
robem. ' ';- .........
CANTO Thi' lt}iaa Wordi itten in a rtition, on
fcaic iged ffir {e fir violin,' fiiews' that i'.fl01d pliy in.unlfon
pn the .filfig part, ' "ß
'CPRICIO( &"kind of irregular piece of mtfie, in. th
tVhicli g.h a'th0r, without confining'himif t0 ny iifije, giv
copc to. his gcni,i and'inSulges the 'lie fire of compolition,.
ge'eapricio of Rebel wa,'cfiee} i'n i day.' 'At prefeht
Vpricio df L'oeatelii are beeoine the e'xel.cil of our
'CARRILLON-A kind of air made {o be 'perPormed by a
lmnbef of ells, tuned in diffu?en.t harmoay.. 'As the cirril .
10n is'raihcfmade 'foV..the I11 tl];in file "cllg ffir hc carrl!loni
ther are 0. havre tlzl?rt5ed' therein 'than ttere are b, ellsl
We {fi moreowe:afl'iie; "that all 'ilieir mnds, havlng.fom
.at$on, eac.,oe of. th9f 9 whid ,57c 'rue h' flsould fprm a ha!
-/onSr with thai wh.lcfi prect;d'˝s it, and that whjc follows;
fubje&ion"xvhich, 'ia a lively'mo.emct , 'o3gh.t to_ extend ilblf
throh a whble. menlure, ..and even f;rther, f .that the founds
wIfich continne 'togil{r inky. m;kz .no diffonance to. t[. ear,
There are.tvra! &hbr.obfervatjons o Ie made for the compofic
'tion of a good cqn'i!lon,. which rende.[fia .%,ok more laborious
thhn fatl.sfa&bry .fdr.the mufic 'of. baits is filjy: ;t.the
lho' all' h'.ir C.finds. be. exa&y .tru% 'w]ficlx n˝'er hataens,
nedj"hat the exceedn 'cule ff wfie h armonic fuc-
mig &n thln'Voal'in &n air o'f this nature.
.:9 ,T, a met, of Wevin prepared fo'r the pur-
e} '' hj a r the li of the fcal% for the benefit
-'-"-.at'j_' b--. ery ing neieffay for compifition,
bbing iS, ou:t at'}e .with a fpunge'= The other fide, which
'.,.. '.int:c0 .fe 'mg be (uvplied for e.crl and q)are
the . .'iit3 off' the nff.}aved lines, eatil wcara'
ue' .'m5' 'hii"e %arttin to heir rife from Kome or
.. S CA.$TRATO 3
CASTR, e(Toj A muSic!an, wh' in hi ik'ancy had been
prived of the organs of generation, for' t'l(e i3ke of'pecferving
a thrill voice, who ,tings that prt c411ed 'tiphrano.' Howcvee
froall the'conneiou may f?pcar l,ctween two hch different
gans it is a certain fat th't the 'nutilatlon o' the one prcvents
ß nnd hinders in tlie oher that 'change which i perceptible
mankiud ncar t[ie acevance 0'f mauhood, and 'whicb on a thd-
den,-lowe--their voice an .izhth. There exi i !taly tboe
xnhumgn. fathers, who. facrficnz nature to rtu'ne, .ve up thc
chfi/i'6n .to tln operation, :the afem'nt ot. oluEtuou and
cruel perforts, who lidve tlie barba. rity to' ?equire tI exertibn of
voice. 'hich te unhappy svretches. pffelSs. Leg us jeavc o the
roodeft ladies of great cities,. tlie ffiflcd .raughs, the ditainfu!
.nir and the 5ulat.fneers, s,tfe eternal 'oldjeW"they' are-; but
let us'fixplai3, if we atC. al!,'the 'voe 6f m'dfiv 'and-of
manlrs', which vociferates loudly azainff his horrid'cuffom; and
-..xhole prs who encouraffe it by thei'r endoouek, bluth
'prefefvatioh'6f he hfimn rce'!" ' ' :.'": - ' ...... -.
In the next place, th idvantage 6f'v016'in there cati
amply recbpenfed by.any other .tott,s.---There men who
ting fo wall,:. but withou fire or pavn,. becole .o 'the ,ffae the
.mo rain.able ao in... -world: ZTkey ve.
earl eriod ahd' ain.-ifiveturn :ff&afion"ver difffing.
YP , g . . .. - y .
They ieak and' pronounce wor an me) thetes and there
.are 11b tEveral letters, ihcl.. the rs wMch ttxey cannot'pro-
nounce at all.
Tltough the word cffra'to:nn end the moff delicate
'ris nor the. thme thing'in 'rard. t6 'its French 'fynonymľ. An
evident p. rboP, thfit.Tvfit' rendtits. wotd 'ihdecent. of immodff,
depends let tom'. th ideas attached-tO theta, 'than'&om the
pratice of genteel company, in regard tO tl:eir tleratioh or
alolition of thcm.
CATABAUCALESIO, A nuffe's humdrmfi ditty. am:6ff
the ancients. ' ' : '"
CATAC'OUST!C fciefice whole chief ob cofifi
reflexed ibunds, or that par of the aufflc wlfich c0nfider-'he
propriety 'of the ehcho. Fbr'whicll i'ea the catacouffic'is to'
the acouffi whafthe catoptric is ta th optic.' '" ' ' .
' CAVATINA, A kind 'oF ah" in'general rather' fl'ort, .which
neither hag a rctuni nor tEcond part and which i often found
in confined recitatives. This thdden change from recitative' to
a meatbred hnrmony and the unexpeed -eturn of fle meafurd
harmon to the recitative produce an admirable effe in rub-
lime exprclons as are always thole of the confined recita-
tive. The
The Word.'cvatlna' i [titin and th*?' I' vi ot'ifi 'this dic-
tionary atI the techr:ic Ialin Worda, partlcdlart vhen thb
words are tnonvmrxs to another langtagc, yt I tlfink mvtlf
)lid to explaih ttb of loch xxords which are-etnp!oycd it{-th
marked mufiC; becauf% th:t in executing 1his mc, it 'is'
ceffary to.undcrfiand the temns which therein', and which
atthor has t placed without areaibm ß -
CTONIZARE, 'A term in chm.:l-mufic. 'Tis to com
' ofc an air with backward lines, properlY arranged for. the me-
lody in quedion. This method of c0pofiti'o. is not the
,ention of the modern mphonis, fince, according to Monl;
L%bb6 de Buf, Saint Gregory himfoil was converfant..in .the
rt. ' ' '- ': ' ' '
CHACON, A kind of muffeel pie4 formed for the dance i
the meathre of whiclx is Well marked, and the movmnent mode-
verb, ' Forme?Iy' theie we':chhcons 'of.two and three times, bug
at prcfept they.compofe them'only' of three. They are in
mere[ arts, which are called couplets, comf a varied
different mgne on'a coniad.baf%: from four to four
fas, be inninm elinor'always by the fecd xlm to prevent -an
nterpdon. We have by de'ees alified th s conraint
h8 '; pay fittk br do atteatin tb it. . .
Theauty of the'chh cones. in finding tes which-ex
nfS 'tl' movement Well, and,-as it is o'ften very long, in vary-
g'the Uplets in 'ruth,a.- manner .that' they my makea .mu-
,tual cont, and con(inuatly endyen the atten[ion of the
For.this purpo we pals and repels at pleathre from th major
to the mlno% wltho'ft quitting, however greatly, 'the princi'pat
one; and fr the rave to the aq .of from e en&r to the
livelye' without everxceeding orYle'ffening tlm meafure.' . ..
- The "chacon' Was firR iced in Italy,. a ormerly-
grot eReem-the. a welt:as in Spaira. But' .at. prefent it.
ABROSIAN. CHTg . kin f church-muff, the
vennon of which i˝ atriied to Mr,' mbrof% archbiop of
' GEGOAN' CHANT, A ktd: of ehrch-mufic˝ the
ß entmn f;which- ha en attributed to Ppe $t Geory˝
which'. lfa::n tubfiituted of preferred in mo churches to the
ß b/ofian cha., :' (Vide' Ctc-Mu s It.)
C'HNT .en,'ISNi. By thi name ia 'called aft air.. or
.my which Vries only in. two found and 'confequontly, forms
,,on mtervl only. Some refiZiou, ordera 'have',no othr.hant
ß in their chrche an e Ght en Iiba, .
CttANT
CH
ß CHA.NT '$UR L'E LtVRE,
9terint jn'-fo.r .parts ,wficx :Oe molam opofe.a'd ting
Xt.o on one řny',, L .e. he oo.of"chm'uffea :Ut tfi .LuteM,
b"tit, e<ept &'he Pd''pav,.. whi' N norall'y pet 0n t
mor' te ai.acint'bifi.'at'tenfis'e
have'hat only .f fi'hir. uM% and .each- &mofea ß h.s feurte'
part Whil fihin.. '7, :'. :'..-.,..:" ' :' ' -
he .Ohnt ';ur [e 'Ervve requ ,gt nmledg% .pra&lee
and a g ear &n thofe.vho eico
g' not alwav..eal'.to 'eader i" f.ha-chrchamufic"fimi:tax:'
to .well .er in' rs kiM .6 ngig,'}that;'d,6anLbegifi'
m-en o-through the td whenever-'dlo-bie& ean permi%
zthout'eonfoundmg or cflnng :the .ts; or mmg an7 er-
rors in .the harmony, ß.,
' CHNTRL, Whaf. of the.'ri ,thvin .d timilar
rumouj wh0fe TouM i's 'a'rR, ß
th it do0s n quit t ,crel..u: it aues .only: be
en to founds, tht'dfi$; ;n.thofe'.whle .a ne
it, 'aa' ae almo all ihe vfj:.,-t
ympi0s of.Kis time. : ' - . . . .- .. ' .,-, .u: ,q ..:-'"
e$gAU,' '6r TiE, ; elmtar
e 'fd t6 rrefent a $1, undsf.Io&y,.,an.aH'
(yi&' No4;) . :' . .... ' ',
a of .Wting t!ir.mnm.. ]?/iJh
qId eve' ople h,its own:, :,:jt.n*t
nbins 'r'CMnfe;. the vofiga'pw
con ß tt. Ore 'ffian':give',
&t. 'aa read on'tlte Crone n'e,
C H ..... fi ..
The.aficient Grc0ks.m' the}r mufc as in thear arithmetics madt
fe of' the. 1.etters 'of their alphabet but' inftea of givihg .theha.in
mufic-g..n. ume. r.0u* power,' which mg0af'mark the i.ntervdld, ,they
were c.3.tenteed. with ufing' them 'as 'fign'g ombininl thom. in.
liffer˝.nt :wy .clipping .them,' coupllng remlering .th'em ffien .
and changing. them differently according to their: kinds. antl .
modes as-. we may te in the n4ifcellany of Alypius ..... Tiao
Latins .imitated them .in making'ufe of the letters of the al-, -
phabet b t, keir. exarpple; and there frill rem'ains am0ng us tho.
letter }oind t$ .the name of eve'y note of our diatonic and
tural .tkt. ' .... ' - ' '
Guy' Abetin 'invented.the lihe and 'particular figns,' which
have remained. to 'us under .the.name of nbtes, and ľhich a r
at pretEnt .the muffcal-and .univerfal language Of all Earope
.As thefelaff figns, though unanimoufly admitted and pere- ' '
onated fince the time. of 'Aretin,. have y fdme 'gat faults;
many iaavg eleavoured to fubffltate oti6r'riotes in tleir. place;.
Of this' number have been Patran $ouhaiti', Saul;cur, Dumas
and myfetf.. But as at bottom, all there fyftems in col'retting
old faults to whicll we were-accuffomed, orilľ fubxerituted ther;
which cuffore is yet to make familiar to us] I think that the
lubtic-g&e.d. very-wifely in leaving things a they were ancl.
Ending us. and our f.yfem .back into the country of' vain śp-
culations .... : .
HoKIS:TER, There vho lug. in the choir of C.dtholi˝'
churches are. catted chorifter. We do not ty finger in
church, or ˝horiffcr in a concert.
Among the reformed they call ehoriffer, him who gves th
tone and furrains the ar of the pfalnia in their temple: He is
feared below the. minifi:er's choir forwards; his office requires
very itrong. vole% capable '9f exseeding that ,of the congregtion
and oś.making himtEll' heard to the very extremity of tho
temple. Though thee be neither profody nor meafure in the
Frenchl method of fining pfahns. and' tho" the tune is fo flow
that every one may eafity .follow l't, yet it feems to me that
muff b..neceffary for the chorifter to mark kind of meafure.
'i'he rea(o of. it-is, that the chorifter being xtery dirtant fro
feveral parts.of.the cliurch, and:,the found pfling fiowly thro
the greater itervals,.his Voice can hardly be heard at the.
tremities. till it .has tdkn another tone, and began a differ:nt
note, which bcomes fo much the more fenfible in certain places t
as the found pafiing frill nore fiowly from one extremity ta
the'or]act, than from the middle, where th cllorlfler i, the marl;
Of air lfich filt the temple becomes at once divided into fevcra/
ß .cry !iiordar}t lb9nds whicl in.ce .{r}tl prefs orc on the othc,'
.nd rl[a{ őreatly ' nice er; fa[r that the orn kFclf only
mcatbs, beeaul inead of being in the middle of the edi/ic%
as th} chorier, it gives the tone only from one end.
. The ,nedy ofthch an ionvenience
ingly.fimple.; for as the viihat rays are appears to me exceed-
try, the. obje& to the eye, -or ,a} lea, inantly communicated
vith a velocity much
greater than that with which the fohnd is anfinitted from a
lbnorous body to the ear, it is fufficient' to fubitute one for the
other, to have in the whole compatk of tlie temp'e, a tune wII
hainecl, and of a perle& conco-d. For this purpotk, we have
notliing to do but to place the chorier, or )me one who dit;
charges that part o .his bce, fo ,at he may be in view of tle
whole congregation, and let him make ufe of a time-flick, th
motion of which may le eafily perceived at a dia
ance, a roll of aner- fBr .t._ .._. . .nee; for
a fucient dur-': . .L '' wm the'precaunon of vivln
......... ,u. nnt not% that the intonatioffof
ma.y. be extended on all fides before it's followed: all the re of
the tune. will proceed perfelly xvell t,ether. "
which I mentioned_ m ' ; ' . . nd the dxcord
. ., ul[ --falhbl dfa e '
npad of a man make ..r _, y . at. We mght even,
. .. ._ ,. . , or a. ronometre, the m6tion of '
wmcn woulu be Rdl more equal in fo flow a menlure
ß ' m g. ar o. the fahns
be eafy to introduce there, n a IIttte'profody an a 1'
io.g. n, or; 'f.--ta7 ř- oS-
languor and Inonotony there might be in .the tune, might, ac-
cording to the firff intention of the author, be extirpated by the
bari'and other parts, who'.k harmony is certainly the moff ma-
jeffic and fonorous that can be heard.
CHORUS, A piece of mufic, com-lete in fou ' .
parts, funz at the lb,n- :.- u. -- -, v. r oa more
. ,, ,,c ce or an agreeable and harmo-
mous melody, whlcfi may charm and thtisfy th ear. .A pleating
chorus is the maffer-piece of a beginner, and tis b
?? kid. that he filews himfell thfficio---:- ' ? wk pf
u[es o harmony. The French in France
cxllent in that .... ' ..... - p for the mo
' Fnrucmar Dl'ancll of ay OFO '
Th ß '
. e .chorus m the French re,fie : _ (. p,' nanon.
...... a olc[Ims called grand-
chur, in oppofition to the Fetitchur, which i
three artso . -. - corn otd of
rve. .... l,,.tha .to GF, two treble and the teno Which
;5.,ar/.5,,[l,r ,,)t,g._ :l_petit:ch,et,r is now and then'olaved
, , y, e nveetnes of wlnch makes an agrcuable conraffto
the loud harmo,v of the greater.
They give the'native of petit-chur nifo, in " '
a crta;n numl,e,-oF ,he hc in,'t,,nnts the op:ra of Paris,
in every kind, which
' ' a I arucular o:'chclfra are placed nc:ct o th: harpfizhord, nd -
him who beats the time. This petit-ch0eui- is deifYned for the
accompaniments, which requires a greater delicacy and preci-
There are rome pieces of muc of wo or ore choruffes)
which antkver eacli other and fometimes are all fung together.
We may find an example of this in the opera of Ieplttla.
this plurality of cl?oruffes, which is very often praiid in Italv
is feldom utkd in France. They fin tha {t does not produce
a very pleating effe, that its copofitioa is not very eafy, and
that too great a number of muffclans are wanted for the execu;
tion of
CHORIO, piece of Greek mu% wMch Was lung
hour ''flxe mother of the gods, and which i faid to havd
been invented by Olymvus of Phrv-ia '
CHRESES or CHKSIS, One tle parts or ihe ancient me;
lopea, which teaches the compoikr to place fuch an arrangement
in' the diatonic direrion of founds a to form from them a goo
modulation and an agreeable melody. Thi part is applicable
to different fucceon of lbunds called, by te ancients agog%
euhia, anacampe.
' CHKOMATIC A hind of mufie Wkich proceeds in feveral
eonfecutive femi-tone. This word is derived from th Greek
Zp, which fignie color either becaufe tke Greeks marked
thetk notes wkh red charaers or differently coloured; 'or
cording to authors bocaufo the chromatic kind is a medium
tween the two other, a colour is between black and wliite; or'
according to hers becaufe this kind varies and embellies the
diatonic by its fetal-tones. which- i c produces the rayne
_ . , n mu,c,
effe& as the 1oura in painting.
. Boetius attributes the invention o this chromatic mufic to
Thnotheus of Milet but Athen2us to Epigonus.
Arioxenes divides this kind into trce I6rts, which he call
molle, hemiolion, and tonicurn; the conne&ions of which w6
may here find, the tetrachord being fuppofed to be divMed in 6o
equal porto,
According to' Arlxoxene.
Diatonic.
'he tender or loft t 2 + J 8 + 3o_'6o
$yntonic or hard 2+24+24'60
la'rmO'n;c:
6+6+4116c
Ptolommus dlv;des th;s fame klnd into two śort on[y, molle
or anticurn, which-proceeds by-lcffer intervals; and intentbin:
intervals of which are greater.
According to Ptolomaus, ß
.Diatonic.
256 9 9' 4
'Diatonlc --- + --+ -- -"-- '
243 8 8 3
]VIolle
Chromatic.
S 5 '6 4
7 4 5 3
'Intenge == = 7 4
or -,-+ --+' --
Syntonic :. x 6 3
At preśent the chromatic kind conrifts in giviig fueh a'conrfe
to the fundamental bars, that the parts of the harmony; or at
leaft tbmc one of them, may pr4eed by fetal-tones, as much in
albending as defcending, Which i rho'f frequently. fot,r/d 'in the
minor mede, ou 'account of' the-alterations to which the 6th and
7th notes are ile&, by the very nature of the mode.
The thccefllve fetal-tones p'a&ifed'in the chromatic, are n6t
all of the thm kind, but almofk' alternately minors and majors
that is to thy,' chromatics arm .aliatonics
minor tone contains a fernitone minor or chromatic, and a fetal.,
tone major o,- diatonic, a rnafure which 'its government makes
co,nmou to:all 'the'tones;' forhat We cannot proceed by two con
joint and t%cccfllve femi-tones'minor; without entering on the
harmonic; but two major tkmi-tones'foilow each other twice ir
the chrbmatic.0rder'of the gamut.' -
The elemcnta/'y route of.the fundamental baśs, to'produce an
afcendant chromatic, is to deftend fi'om the third, antl afcehd to
the fourth alternately, all the concords theraining the major thirdř
If the funda,nental bali proceeds.. fr6m dominant to domlnant
br pex'fe& cadences avoided, it produces a 'd˝'fcendant chromatic.
o produce at the titme. time the one'.and the oth. or we intermi
the perle& cadence, and" the interruption by avoiding them.
As in every note the tone is changed in the chromatic, w
muff: tt bounds and regulate thefe, thcceflions' for fear of luring
our/hives; and for this-p.u,rp0fe, it mfift .be zernembered, that the
/face which is moil: fuitable for the.chro. matic movement% is
tween the dominant and tonic in afcendiixg and.between the to,-
c H 6 3
ale and dominant i-n defcending. .n the major mode we may
alfo deścend chromatically from the dominant on the econd
note. Whis paffage is yery common in Italy and tho' beau-
iful is rather too much fo in France.
This chromatic is admirable for expreng forrow and ai&ion,
its forcible founds in tiring Rrike the tbul. Itls not lefs energic in
descending: We eem then even to hear the identical groans.
;Vhen accompanied by its harmony, this kind becomes proper
for every thing; but it fulnefs, by Rifling the air takes away a
part of its expreffion, and 'tis then the oce of the movement to
re,ore to it that which it is deprived of by the plenitude of its
armony. Moreover, the greater energy this kind poffeffes, the
leti ould it be augmented > Like thole del.icate difii's whole a-
bundances loon difgu, fo it charms hen rudentt 'c6ndu&ed
fo it becomes auated when overdone. . .
CHRONOMETRE. The general name of inRruments
which ferve t0 meafu.re the time. This word is co'pored of
0;, time, and &0, meafure,
In this -fenfe.we call watches ov clocks by'the. name.of chro-
mometres. There,are however rome inRruments.which are par-
ticularly called..chronometces, and one in chief.which onf.
Sauveur defcribes in his. prciples of the acouRic..This was a
ß particular. pendulum, which he intended .to determine exaly the
movements of mufic.. L'AlaM, in his principles dedicated to
a convent of nuns, placed at the head'of' all his airs,' cyphers,
which expreWe the number of the vibrations of thN pendul,
during the continuation of'each meafure. '
About thirty. years ago there appeared a plan of a timHat in-
'rument under.the name of Metrometre, which beat time alone,
but it neither fucceeded in one or the other.. Iany' pretend ß
however, that it were much to be wied, that fuch n inru-
merit might be had, to fix xvith precifion the,time of each mea-
lure in- a piece of'mufic: by this means We might eafily pre-
(eryc the true movement of the ars, wthout,hch they lore
their value, and which. one cannot know aftor.tRe death of th
uthors, but, by a.klnd of tradition, very fubje to change or
9bfcurity. It is already a complaint,,tbat we have (9rgot tle
movements of a great humber of airs, and jr, is to he.lieved,
that all have underzone a chune. If thev had had the precau-
tion which I have entioned, ad in vhil' I te .nothmg incon-
venient, we Hxoutd at prefent..have. ha the pleifvre.' hearing
thole.fame ai. rs, fucl as tle author intended them to he exe-
cuted. ,. ... :.
To this the connoiffeurs , ufic d0 not remain without an
.nfwer.: 3'hey will 'ohio&, ys.Monf.. DiCerob .in. his Memoirs.
ß u different Subje&i of .fixe Matlematigi aain all chromey'
c H
?res in geeera], that there is not, perhaps, tn an air two mea,
:ureq which are exaOly of the fame duration: two things con
(,-;buting tl,.ro' ncccffity, io flacen the one arid halten thi other,
t-.0. e and hatrosiny in pieces of many parts, taPre and a preśenti4
111cht the harmo.ny in the't7010. :A muffclan who Underpranda
his art has not played four meafures of an ar but he enters in
.to the chcrg&er clot, anti is intirely wrapt up in it: 'l'!e plea,
lure of the harmony only fuśpends him. lie wifhes the con,
i:ords to I've fruck her and t]Jerc, 'that they lhould be omitted
that i ta Gy, that he .fhould ting or play more or lefs flowly,,
.from one m,eafure to anot!er, and even from a time or quarter
.time , to him who fc;llows. '
"In fa&,' this .obje.Ctior b whigh is ś great weight in the French
mufic, is of no kind of confequenge in the Ital{an, it being mof
Ptri&ly conrived to the mope exa& meal, re: ,,1Nothing even can
nore pl'in'ly' fhe{v the oplofition of there two muffcs; fince,
ivhat iS 'bati}y"in"the 6he, would be a capital fault in th
pther. If the Italian mufic draws its energy from that fidvery to
the ngotir o.f the 'meafu% the Frefich i'ee[' her's by modulating
this fame meafure at her plealure; by au.menting or diminifhing
it, acc6riting' to What the nature of ihe 'ir requires or the de-
gree of flexibility 'in tti voice of the finger. '
' Bu't' fimuld we. admit the utility of'a chronometre, we muff:
atways,"i'hys'Monf. Diderot, be in b rejee'tinz alt thole which.
g Y
we hg;,:e pr6pot3 to'%llbw, becauśe' we form, from the muff7
clan and the'chronometre, tWO śarate machines, the one of
vhich car neyer be aptly fubje& to the other: Thi hardly can
require a' p'roof. ' _It is inpo'ffble that 'the ,roufigia'n can hay%
hroughout the whol of his piece,'his eve on the movementi
and hs ear attentive t9 the found of the pendulum; 'and if
s loit bt/t one moment, Iopr is ,the rein ..alfo .w. hl,ch hey have
prete,d.ed t8 have given him.
' i ill add, that'whateve3 inprrument may bc found to regu.-
latg h'e dfiraion of the meafure, it muff be inpoffible, tho ? th
kectioh' 0UI't be' of fi,er f6 great hcility , that it can evei
havh' i"ll,56 in pbh&icc. 'The muficians confident, and, like
any btheri, forro. ing' the'rule of a ebod"iaf{e from their own
{;dotild '.n..e96r'tlpl{ ft i' ' 'Thgy' woul d 'eav e thd chron0met.re, and
would apply to themfelves only'the 'true chara&er and true
,ovenerk if die 'hif.: ",Far ,i. hfch }cat'on, the 6nl; good clare-
hometre We'mn'have; 'is an irireniom muffclan..ho has tapre',
tvho has well read the mufic he .q tO execute, and who s firfiled
iq ??ti,lg it um.' /kmoo[ff thp vari?ty f m,achi.n, es, thi 4
certfilnly'is the 'faNft to"coii'fia in'. "' ' ...... ' '
' 'CHL'!'CH' 1M[JSIC', ' or 'PL.7tlN CHANT, Wa a nam
g;:t'.n'ih ihc'Roh;,&r/'church td the .ccltialic air. ' This' elYant;
ft as it rerralns to this tlme, is an antiquity very ranch disfi-
gured, but ver, y precious of the reek mfi% which after hav-
ing paffed thro the hands of barbarians, has no however beea
able to Ioe all its primitive beauties. There remains yet enough of
it to render it much preferabl% even in its prefent condltio%
for the e to which it is intended to thot effeminate and thea-
trical piece% wblch in rome churches are fubitutd in its plac%
without gravity without ta% without agreement ad without
eFpe for the place which the dare thus to prohne.
The time when the chriSlens began to have churches and to
phims and hymns there wa that wherein mufic had
ready lo all its ancient energy, by a progrefs the eaures of
'hich I have mentioned elfewhere. Tle chriians entering
upon mufic in the condition whiclt they found it in, took from
it even the greate rength that -had remained to it, that is to
qy that of the rhyme and metre; when, inead of the vetres,
to which it had Been always applied, they'changed it into the
profe of their feered writings, or rome range kind of barbarous
poetry, worfe for mufic than the profe itfelL In that care,
of the two confecutive parts vaoies, and the air extending it-
felf uni(ormly, and without any kind of meafure, from notes to
notes almo $quat, lores, with its rhymlc and cenced form all
the energy whkh it received from it. There were but a few
hymns, in the which the profody and quantity of feet being
preferred, we ill felt, in a leffer degree, the cadence of the
verfe, but it was no longer the general chara&ers of the plain-
ehant m gnerally degenerated in a pfalmody, always mono-
tonous, and IBmcrimes filly, in a language fuch as the latin
much lefs h3rmonious and accented than the Greek..
In fpite of all there fo great and fo effential loftes, the plain-
chant preferred elfewhere by the priers in its primitive chara&er
as well as all the exterior and ceremonious parts of their church
ill pfes rome precious fragments of the ancient melody
and its different modes to connoiffeurs, as much as it can make
itfelf felt without meafure, and without rhyme, and in the only
diatonic kind, which we can attribut in its purity to the plain-
chant. The different modes therein preferve their two principat
diinOions; the one thro' the diffgrence of the fimdamentals or
the tooics ad the other by the diffct'ent petition of the tw
fetal-tones, according to the degree of the diatonic natural fyf-
tern, wheri˝ the fundamental is 'found and according to what
the mode authcntico, or pla el, re)rcldnts the two tetrachord's
onjpint or di!ioint , (Vide STzs Tg'rgacnotgo, To,as
f the Church4, ' ' ' '
There modes, lch as they have been tranfmltted to ua in the
cie˝ cgclefa˝ ctbllt pre˝rv gllereil i beauty of clara&er
66 c H
and a Variety of afl'etio,s, very fenfiNe tO an impartial eonnof-
feur and which have preirved re,he }udRment of the ear for the
melodious fyttems, efabtifled on pri'nciles different from ours:
but we may well fay, that there is nothing mo,'e ridiculous and
more flat, than there plain-chants fuited to our modern mufic,
embellifhed with the ornaments of our melody, and modulated
on the chords of our modes; as if our harmonic fyitem could at
an)' time be united to that of the ancient modes, which is etSa-
blifhed on principles ex;,t.%ly oppofite. We ought to thank the
biflops, p,'evotts, and choritSers, who have oppofed this barba-
rous mixture, and ufe our utnloit endearours for the progre and
}3erfc&ion of an art, which is very far from the point at vhich
t has been placed, that there valuable remains of antiquity may
be faithfully tranfinitted to there who have fufficieht talents and
authority to enrich the modern fytlem by the addition of them.
How far foever our mufic may have been extended into that of
the church, I am perfuaded that it would be preferable to convey
he church mufic into ours; but for that, much tafte is neceffary,
frill more knowledge, and above all, an exemption from every'
kind of prejudice.
The church' muśc 'is .pricked on four lines only, and there are
but ttvo clefts ufed in at, i.e. that of ut, and the cleft of fa;
one tranfpofition only, that is to fay, a B flat, and but two re-
pr*fentations of notes, which are the long or t'harp, to which
is rometimes added,'a tail, and the fhort which is formed as a
lozenge.
2kmbrofius, archbiflaop of Milan, is laid to have been the in-
ventor oś the plain-chant; that is to fay, that he was'the firfl:
Who gave a form and rules to the ecclefiaftic chant, to fuit it
better to its obje, and to defend it from the barbarity and ob-
fcurity into'which mu/i˝ was fallen'in his time. Pope Gregory
perfe,fted it, and gave'it the'form which it preferyes at prelnt
in Rome and the other churches, in which' the Roman melody
is praetilid. The French church allows the' Gregorian chant
but in part, with much ill-will and altooft thro' neceffity.
The following extra froin a work about that time, printed at
.Francfort in 59', contains the account of an ancient quarrel
on account of the plain chant, which was renewed in 'our day,
on mufic but which had not, God and king Charlemagne be
praifed the lhme iffue.
The pious king Charles being returned to celobrate the
{ feftival of gal'cer with our apefrolic lord at Rome, there
afore, dm%g the feaft,. a quarrel between the French and
Italian choristers. The Freach'prtended to ting better and
"mo:e 'agree'..abl);. :titan tle 'lrialians." /'he laiter declaring them-
' 'feDes ftlpenor m the e˝clefiaftic mu. fie,. which flley h;d learned
frot
˝˝ from Pope St. Gregory, accufed the French of corruptlng and
ß 6 disfiguring the true melody.. This difpute being laid lfor˝
"his majefy, the French, who relied greatly on his partlallty
"infhlted the.Italian fingers. 7'he.,v, proud. of their fuperior
'" knowlcdee, and comparing the learning of St. Gregory to
aa the uiicty of the others, treated them as clowns śools and
a filly pretenders. As this alter.cation iill continued, the
"ous monarch śaid.to lxis choriers, Tell.us, which is the pure
at and mo/'t excel!cnt water, that dravn from the fountain head
"or thdt of the ireams which flow at an extenfive diiance
a śrom it. All contented in pronouncing that of 'the fountdin
a head the mo pure, anc that of the rivulets fo much inferior
aa as the dftance vhence it .fioved. Have recouri then, re-
plied'Charles, to the fountain of St. Gregory, whole mufic
"you have undoubtedly.corrupted. The kinthen deftred of?ope
' _Adrian rome chorRers to corre the French chant, and his
"bolinefs gave him Theodorus and Benoit, two very ingeniotm
"fingers,. and inftru&ed by St. Gregory himfelf; he gave him
"alIb ibme Antiphonarics of St. Greg0ry which he had himfelś
"let dmvn in Italian Notes. Of'.theIE two chorifters, the king
"on his .return into France, lent one to Metz and the other
ß ' to Soiffons, giving all the mufic-mafters in the cities of France
ß orders to. give them.their Antiphonaries to correeq:, and learn
' from them to .frog. Thus were the French :Antiphonarie
"correed, which every one had changed by'additions and re-
trenchments a-śter his fancy; .and all the chorifters of France
e˝ learned .the,Roman chant, tho' they have now given it
"name of French: but in regard to the trembling, broken, anti
clipp'd not.es .in this .kind of mufic, .the French could neve
"render them making rather an uncouth noire than a trill,
account of the natural and barbarous .roughhers of their
' throats. As for.the remainder the princ!pal tkhool was al-
˝ ways. kept at Metz; and as much as the Roman clxant fur-
paWes that.of Metz, fo muck that of Metz excelIs the other
fchools of .France. : The Roman choriffers taught the French.
altb the accc.mpanlm'ent of inftrumcnts; and the king having
˝ at the 'ame time taken wltli him into France grammarians
and arithmetlcians ordered that tle' ttUdy of. letters fnould
be eftablifli'dd ,throughout; fro: before this fald king Charles
the knowledge of the:liberal arts was.intircl]f unknown ia
France."
ClKCUMVOLUTION, 2 term' i church-muc. ,.Ti,
kind of perlelefts, which is made by inferling bewe'n the pe-
aultimate and the lark note of the intonation of a piece oś
mUSic, three other notes, viz. one above and two below the lai
llotc, which thrcc arc u.aitcd with it, and !orga tJlc c0mpatő of
thirl
c !
third before meeting with i, as if you were to have there th'ee
notes, mi, fa, mi, to terminate the intonation, you would intet~
mix there other three, fa, res re, and in that care you,.in-
tonalion muf be finitlxed in this manner, mi, fa fas re, re
mi &c.
CITHARISTIC, kind of mufic and of poetry appropri-
ated to the accompaniment of the harp. This kind, of whic?t
amphion, fort of Jupiter and akntiope, wa the inventors has
fince taken the name of lyric.
CLEFF characřcer of muff% which is placed at the
inning of a fave to determine the degree of elevation of th
ave in the general key and to exnrefs the names of all the
notes which t contains wtlan the line of that cleft.
Formerly the name of cleft was given to the letter br which
the figns of the gamut were denoted. Thus the letter 2. wm
the cleft of the note la; C the cleft of ut; E the cleftof mi,
In proportion as the fyftem was extended they found the diffi-
culty and the inutility of this quantity of clefts. Gui d'Arrezz,
who had invented them, marked a letter of cleft a: the beginning
of each llne of the fcale, for he had not yet placed the note
within the fpaces. In iome little time, they marked only one
the revert cteff at the beginning of one line only, that being
Iufficient to fix the pofition of all the rope, according to their
natural order. _At laft, from there revert lines or clefts, four
were chofen, which they called claves fignate becaufe they were
fatified with marking one on one of there lines to give the idea
of all the others; in time, one of the four was removed; that
is, the gamtna which they made ufo of to denote the fol
vaz. the hypoprotlambanomenos added to the fyf'cem of the
Greeks.
Kiteher effeaually pretends that if we were acqalnted with
the anci, ent writings, and urere to examine the figure of our
clefts, e thould find that each one has a connexion with the
letter a little varied of the note which it reprefents. For in-
aance, the cleft ot: lbl was originally a G; the cleft of ut a 12
and that of fa an F.
We find then in the fifth three clef, one after the other.
'rhe cleft of Fs ut, fa, or of fa, which is the Iowcf th'e cleft
of ut, or of C fol, ut which ia a fifth above the fir; and
the cleft of fol, or of G re lbl which i a fifth above that of
t in the order marked as fol10ws
C'I
._._Cleft of fol, or of G re, fol.
-_----CIeF of ut, or of (2, śol, Uto
9
In regard to which we flaould remark that by a remain of an-
cient cuttom the cleft is always plac d on one lin, and never
in the fpace. 5,Ve thould know alb that the cleft of fa is made
in three' different manners; the one in. printed mufic another
in the written or engraved, and the la n church-mutic.
he three dfafbrent re2refenta:ions oda the Cle fla.
rinted
l lV'r i t t e n .lru. fi'a o
By 'adding four lines above the cleft' oś f'ol, anti three belo
the cleft of f% which gives, on each title, the greater extent of
f[&ble iines, we may fee, that the. whole fyfem of notes which
can be placed on the relative degrees of thfe clefts, amounts to
=4'; that is to fay, .q eihtha and a fourth from the f% which
placed belov the:fir !ifie to the fi, which is found above the
lif, and all this together form*, what is ˝alled the general key
by which we may judge, that this extent has for rome time tm,d
that of the fvfem )it trefent, whilf new detzrees are inceffantD'
forming, aswell.'in fh.4r'p as flat, thof degr%es are marked
lines added o n the top or bottom, juf as requiredř
IIead of ioining together all tile line ,as I have don% to
prefi tile coffne&ion of-the cleffs they are feparated into fives,
L becaufe
70 C L
]eca.uf the extent of the voice in general is [undecl near{},
he derees cona}ncd wihln thS tace. This colicSion o v
]acs is called. flay% ad a cleC.is t}ere placed to determine
name of the notes, the place of the femlton% and to.v what
part the Wave i-equires within th9 key
7 xx'hatlbever racyhod we take five conCecative lines, within
t},e amut we lways find'a Slew cmprithd therein, and tbmez
timc two, in which cat9 we cut off one as tffeles. Cuffore has
even pre/kril,ed xv1;ich of he two old be eWacegJ and wck
'hotfid Jnd, whicl has alfo gse th n9mbr of lOtidogs a.gneg
to each cleW.
If I make a ave of the fi'e firff lines 0f the m9, beg[n
ning at the bottom, I find the c'leff 6f fa 0n the f0:urth
Here then is' the pofitJon of a cie, and that tion 'eidently
belonas to tle flattz notes In like manner is 't the otiff n o
he bars cl.
If I wifl to have a tliM at the top, t m add a lie ahoy%
but in that cave I rout erafe one bel01% otherwife the ave
would confi of more tha five lines. The cleft' of fa is then
removed fi-om the fourtl m hg thiM line, and the clefff
alfo on the fifth; but as wo clffs are ufe} tllat 0( ut is' here
r}caed. gVe fee that the ave of ghis"cfe is elevated a tMrd
more than the preceding.
By lofing aIo a line below o gin one above we We a third
ave, wherein the clew of fa mu be placed on the cond line;
and tiat of t on the fouyth: here we 19fe th$ leff of fa, and
ake that of ut. We have gaicd alfo a third in a, and
t in flat.
y continuing thus from le to line, e paf' fucevel
lhrouh four different 3ofitions of the clew of at. Oomin
that o foI, wc hnd 1 placed on th fecpnd hne, and again
he fi:': This polkion extends' itfelf to .tim five higher line%
and gives the fharlc diapafon, that can be eablied by
XVc may fee this ihcceon of clews from flat to flarp whicll'
makes in all. elgh aycs, clews, or different pofition of !effs.
Vhatever m:ff be the chara&er of a voice or intlrument, pro-
yidcd tl;at its extent dos not exceed'in lhar 1) or f/at, that of
the general gamut, x'e may in this n{nnber fiqd a ave and
;JcZs lhitablc to it; and there are in reality fome'detbrmined for
all the parts of mutic. (Vide PanTs) If th extent of apart
is very gwar, lb that the humher of lines, which mu be added
a[:ovc or belov becomes inconvenient, in that ca/b, the 'clew
c{augcc[ within tlie courl of the air. We evidently fkc by th
!igurci wl;t cluff wc mu/ ttku t6 clcvatu or lower the Ray%
" whatvcr
a,'hatever may be the key with which it is acuatlt tram-
herod.
We alfo fee, that to :onne& one cleft with armther, we muff
eouneq them both on the gereral fcale g by the method of which,
.e fe.c yhat each note of one of the clefts is in proportion to
the other.. 'Tis by this r,eiterated exercifc, that we learn the
art of eafily reading the partitions, From this mechanifm it
[ollo.ws that we may place whatever note of the gamut we
pleafe fin a..ny ine.o.r fpace of the Rave; finde we hare the choice
of.it d'ifferent pofitions, the numl:er of the notes of the o&ave.
In'lb'is manner, w might prick an entire air on the fame lin%
by c.ataging ,the cleff in every degree. T.he. figure tkyell,
?rhrot the courfe of .clefts, the courfe of th.e note re, fa !a,
.ut, mb śol, fi, re, afcendirg ]:om third to third and all placed
.on the fame line.
The followi.rg figure $ repref'eots in the courf of thole fame
clefts, the note',ut wh"u:h foetus t.0 defcend by thirds on all the
lines of the flare,' and belo.w; and hlch, howeve G by mean,
of .the change in the deW, preferyes .atvays it. ufifon. 'Tis or
qfimfi.ar $xampIes that we outgh: to p.r.at.i, ce to know at'firft fight
;the play of all thet dews.
Her. a.r .tvo f their potitlon that is to fay, the cleft of
fol oa the śrft lin% arid the cleft of fa on the third the ufo ot
which foetus daily to abolith. The firft may appear lefs necef-
fary, nc.e it' forms tn. pojfiti0n only quite fimil';/' to that of fa
on the' fotrth. Iin˝, which, kowever it is different from by two
.eighths. 2is .for the clefts of (% it is evident that by removing
it entirely from the fifird line, we thall no longer . . .' . ' '
have an eqm.-
valent pcfi. tlon; ar;d the compottion of the gamut, whicix i$
at profont complete, muff by that eans become defe i e
numbered with dlefis s, or R s flat, Thfe figns f4rve t!rxe're tO
chanfie ,tk.e place of the two fetal,tones of rite o&ave, as I have
ey, plained ugder B flat, and to ettablith the natural order
the gamut, ' c/n Whatever degree Of 'the fcale ˝e hay de/ire.
The nezettitY' tJ'f t!el alterati}ns ris from'flxe fimilitude
m.qdes in all'the !;0res; for as ther˝ is but'on.e' for.rg for
najor mode, .all the degrees of glfi' mode muf be plgcd in the
three meil19 bn flei/'tonlc, which cantlot 'be done but b the
aflia[c$'.6.diefis's, 0y'of" B mollare's, The mihor 'moe
,_co, n.a,uete.d m..t!}e fi.e manner; but as th.e .rrle :ombiaatio
wmcn gvcs. ,t!e .for m fqr a major tone, gives ii' nifo for a mi
.o.r o.a an.orb? .tonic , .(Vide Men.z) it fo'll.o. ws'
ß e twentr-lour modes, twelve combina[i9n ar.$ lulliclent;
.mir, ,if ?,.th the na,t. ural game;t, we co,u, nt fix modificationa
ß i .. ' ', 'nd t;ve by B flat, or .x by' lla fl;:t ;nd five
rile/is's!
c L
die{ism% We fla|[ .find the,Ce twelve combination% by.
bounded;' all poble v;rcties of tones and m0d. s
blified fyem. 1 exl,IM % undcr the words dicfis's or Bs flat,
he order acm-4ing to which they ought to be plaed in th
cleft. Bu for tranliofitg on a thddcn the cle Gitable to auy
toue or mode foever here is a genY:d fBrm difcovered by
Bo(tgelou, prevalent of the Gtad Council, and winch he has
obbingly communicated to me.
.Taking t natural ut as 'a term of comparlfon , we will call
minor intervals the fourth ur fa, and all the intervals of the
Mne ut, to any note With B flat 3 every other interval is maim',
Take otlce that x;e ght not to take by diefi, the fuperior
bore o. a mjor ihrervaI bccaufe in that care We flould form
fuperfiuous interval; but we mu attempt the fanie thing by
B flat, which' will give a rainre: interal. WliereFm'e we thatl
not compotk in tl?e dieils lz becaufe the fixth Ut la, being naZ
turaIlj major, woul bee&he' thperfluous by this dietis; but we
mua'take h,e n(te ,B;fl'r, whi'ch gives the' Fame force by a
minor iterval, which retu[ns into the rule. ' ' '
'V-e h3re/ind a tab'.e of the.twelve founds of the oav%
iIcd b3; re}lie;i- a'ml orimervals, on the which we ay tranf-
pofc th clcia thd f6ilvi hanncr ' accordin- to the tone'or
mode m whmh wc chulc to cornpole.
Havin' raked one' o'f th61'twclve notes for tonic or funda-
mental, we m{} imediateiy:e it the interval wliich' it makes
with ut is m'hior ' '..' -.' '.' ..'. ' ' ' '
. . . or minor; ff ts mjor defis s are neceffary
if minor we mu ut B's .fi{! t, If that note be Ut iffelf, the
interval is null, and we want neither diefis's0r 's .fiatj To
rmibh3ov how many ddfi's'r B's flat aFe'wantlng, let abe the
nun}her which cxpi'effcs:fiie interval of ut in the not in queffiom
Thc form by dicfis's wil.l be - ß and the remainder will
7 giro
'c 0 7 3
őve the mmber of' dicti.?, which we ought to place at the clcff.
---t+ 5
' The (ormula by B's flat will be -- and the reft: will be the
7
number of B's fiat which we muff place to the cleft'.
1 will, for inftance, cornpolb in la a major mode. I immedl-
=tel},' fee that diefis's arc wanting, becaul la makes a mQor in-
terval with ut. The interval is a fixtb, who!i: number is 6,
remove x I multiply the remalnin.g by 2, and from the pro-
du& to rcje&ing 7 as often as pole, [ bay.: the' remainder :j,
which marks the number of diefis' with which [ mu nun'.her
the cleft for the major tone of la.
If [ wlfh to take fa, a ma}or mode, I fee by the table that
the interval is minor and that in contbquence B's fiat are necel;-
fary. I take away then , from 4 the number of the ittervnl,
I multiply the remaining 3 by 5. and from tile produc'-'r 5,
throwing away 7 as often as pofllble, I have x remaining, tha
is a B flat, xvhich I muft: place to the cleft5
ľVe f-e by this means t. hat the number of dlcfis's or P.,'s fiat
can never exceed tix tince tb.e'y mull: be the remainder of a di-
vixen by feven.
Fen- the minoi' tones we muff frill ufe the firme forms as tha. t
-of the mior,. not on the tonic, but on the note, wkich is a
minor $d above this fame tonic, on its medi:'nt.
So, to cornpole in fi a minor meal% I will tranfpofc the c!eff
as for the major tmfe of re, For fib a minor die% I will tranl-
pole it as for la majoc.
Muffclans'determine the tranfpofition only by force of cufcom
but [he rule which I give is dcmonftrated general, and without
exception.
COMARCHIOS,"A kind of appellation for the flute in the
=ncient mufic of. the Greeks.
COMMA, A /mall interval, wliich in rome cafes is found
between two found% produced under the three dentnination by
different progrefllons.
We di. ftlngulfh three kinds :of commas. Fire% the minor, the.
computation of which is from =o25 to =o48 , which is the qnan-
tity by which tile
a major third of mi, is fm-pafi'ed y' the natural nt whleh cor-
refponds to it, This comma is the difference of the major and
middle remitone. ß '
Secondly, The mor comma is that which is placed between
tile mi produced by 'triple progreltion, as a fourth flftl b begin-
ning by ut and the time mi, or its refpondenh confidered. as a
major tlxird of that time ut. 'It numc'rical powcrs are .from 80
M to
74 C O
to $,. Th;s is the ordlnai-y corem% and it is tile ;{florence
tgeen tile major and minor Ione.
Thir.'lly, The comma maxhue, which is caIled tle comma
Pythag'ora% has [ts computation from 50_40_88 to5344 , and it
i the exceś of the fi dieils product:d l)y triple progroton, as th
tvelfth fifth of the ut on the three ut elevated by its eighth to
the cotroll,on:lent degree.
The muiicians u&ritand by comma the eighth or ninth part
of tile tone, the half of a'hat they call a quarter of a tone.
But we may reft. ariaed that they know not what they fay, ir
expreffing the,elves thus, fince,. for eai's like ours, śo finall ar
interval is u:'e: un!efs in calculation. (Vide
COMPAI[{, The cornpair roncs in church-mufic, are the au-,
thentic and the plagal whici ertl;vets to it. So, the firPt tong
is cornpair with }e lcond, the third with the fourth, anti fo on,
Every eqv. al tone is cornpair.with the unequal that precedes it.
COMPLEMENT Of an interval, is the quantity which
wanting to it to arrive at tile oave, Ib tile fecond and feventh,
t.he third and fixth, the fourth and fifth, are complements one of
the other. Xhen we treat oś one interval'only, complement
tile fame thing with the general variation of notes. In regard
to their kihds, the major is complement of tile lninor, the Ihper-
fluous of the diminithed and tb reciprocally. (Vide
1g AL.
COMPOS'D, This word has three mea'nlngs in. mufic; twc
in regard to the intervals, and one' to the mealufo.
I. Every interval xvhich paffes the extent of the Oc"tave, is
˝ompos'd interval, becaut by removing tile ocřtave, we fimplify
the interval witflout changing it. For inPtance, the' ninth, the
tomb, and the twelfth, are compos'd intervals; the firit, of the
thcond and eighth; the fecond, of the third'and eighth; the
third; of the/;.fth and eighth, &co
lI. Every interval which can be mufically divided into two'
intervals, may be confidered as compos'd. By this means, the
fifth is compos'd of tvo thirds; tl .thivd' of two feconds; the
major fecond of two lhfitoncs; buith˝, thmitone is by no roeany
coml?ofed beeaul it can neither be divided on file gamut or by'
notes.. 'Tis the fenfe of the difcourfe which out of the two fore-
going acceptations mupt determine that according to'whlch ar.
interval is compolhd.
III. We call cornpored mealufos, all thole which are cxpreffet
two cyp. hers. (Vir.. Mr..Asurtr...)
COMPOSE, To invent new mufic according to th
rules ot5 the art.
COMPOSER, He who cornpoles mufic, or forms tile rules.of
:ompofitiono",Under the word compotition may be fecn the tletail
: of
c o 75
of knowledge, necell'a,'y for the art of cornporing. This is not
&oet fufficient without a genius to put it into execution. Wh::tevcr
rts we may lnake, whatever acquifitions we may have, we
muf fill be born to the art, otherwit% our works can never-
mount above the infiplcl, It'is with tl compofer ,ns with the
poet. Nature heftelf muf have form'd him fo. %Vhat I would
exprefs by genins is by no means that ffrange cpricious
which fpreads on all fides uncouth and idle difi]culties,
knows not hour to ornament its harmony but by clint of
nances, contra&s and confufion, 'Tis an inwdrd fiathe which
burns, torments the cocnpotEr, fpite of himtEll, which continu-
ally infpi-es him with airs ncv, anti always agreeabl% with ex-
preffions lively, naa.]effi% and which toclx the heart, with
harmony pure, affe&ing, anti forcible, which adot-ns the air
without obiEurity. 'Ti this divine guide whick led Correlli;
ľinci, Perez, Kinoldo, Jomelli, Durante, more ingenious tbar
all the reft, into the fan&uary of harmony; Leo, PergoletE
Haffe, Terradeglias, and GMuppi into that of tae and expref-
fion.
COMPOSITION, I the art of inventing and .wrliihg ai.rs,
of accompanying them with a fuitabte harmony'; in a woi'd, to
make a complete piece of mufic with all its pats-'
The knowledge of harmony and its rules, is the foundation
of compofition. Without doubt we ought to' be ik'ill:d
filling concords, preparing and avoiding diffonances, findihg fun.-
damentel baffes, and poffcffing every other trifling elementary
knowledge ;' for, x˝ith the rules of'harmony 9nly, we ar no
more advanced in the knowledge of compofition t'han an orator
with thole of the Grammar, I will not fay, that it is attb ne-
ceffary to underftand well the Rave, and chara&er of the voice
and intlrumcnts; the airs which are eafy or tlifficult of execution ;..
what forns, and what does not forln any efteEl; to feel the cha-
raEter of the different menlures, and that of the ditterertt modu-
lations; to apply the one or the other always t propose; to know
all the particular rules efkabfifled by agreement, tafte, caprice
or pedantry, as the fugues, imitations. confkrain'd t%bieEts &c.
All there things are nthlng more than'. preparatives t compo-
tition; but we murk difcove in ourfelves the beautiful airs of
the greater harmony, the painting, the expreffion; ...in a word,
rauft be capable of colicSing antl forming the plan of a whole
Worlq following its correfiondenc˝s of every kind, and making
ourielves acquainted with the mind of the poet, inftcad of amut'
ing ourfelves witIt ruonlng after the words. 'Tis with resfoe
titat our muffclans ha're g'{vei the name of words to the poems
which they i;:t to mulic. We clearly fee, by their method of
rendering them that they are but words to them. It feems,
M a particularly
7 C 0
p .... ;e,:arlv tl, eCc la year.% that tb.e ru:es of concord h,ve abo-
lificd, or t teal rem{zred ne?ed every other; anti that hnr-
n..,=' asgained its facilitľo,lv at thgexpence of.the a,
gin, ?"I. Ail 'our attics uhderffand the art of filling up .their
m::,:, bt very few i:' compotition.
'Uo :h the'/uncla:v. at rules of cotmter-pnlnt be always the
.i: .... :) yet kaxe mm'e or leti rigou-, :;ccording to the ntjmber
of'd3;iii,v:a; tbr in p:-o::ortion to the incrca!b of parts, -the com-
polb,o, becomes more difficult, ad the rules are let˝ revere.
The comp(31]t. ion'iu two pat-rs is cal!cd dxo, when the two part
tune equally, t-hat is, wl;en the thlieO is equally divided be-
tween them.. if tle litt, ic& is in one vart alone, and t',le other
only a&s in ac.:om!'.:nimbnt , t!2 fir is xhen called recital, o'
thio; and the othe,-. accomianiment, or thorough Bal;, if it
a bat. I is the t]mc thing with the trio or compofition
three parts, with the quatuor, the quinque, &c. (Vide thot
ivo,'ds. 0
The name of competition is nifo glvmx to the pieces of mufic
tl:em!Eli'es, made in the rt:!es of compofition; for which reabn,
the duo, trio, quatuor, which I have ju roetaloned, are called
comofitions.
'e cornpole either for' the voices only, or for inruments, or
for the in2ruments and the voice. Church-mufic and tbngsare
the only compofitions which are for the voice alone, and to thot
alt[ tbne inruments are very often joined for the fuaining
of them. Irumental compofitions are for the choir of the
orchera; nntl in that catb they are called tyrophonics and con-
certs, or for lbmc particular kind of in.rmnenr, and they are
then called pieces, fonatas. (Vide thole Words.)
In regard to tle compofitio,s intended for the voice a for
the inIb'nn'ents, tI:ey are generally di'idcd into two principal
forts, viz. Latin or church-nufic, and Fr(nch mutic. The mufic
deied fi)r {he church, whether' pfidms, hynms, or antiennes,
genrallv bear -the name of toolets. (Vide IogT.)
l"rench mufic s allb dvMed into theatrical mufic, tch as our
operas, and iI that >f a privnte ro(o11 as OUr cantatas or canra-
tillas. (Vide C,x N'r,xT,x
The latin cotnimtition is imagined in general to require the
nol lnowlcdg'c and rtfics, and {he l:rencl.the mo genius and
ta2e.
In a compo6ion the nmltor has tbr his fubieO, the found h
tically conbriefed, nml lot iris obje& the plealnre only of the eilr,
or now and then he rJIk's to imitative mufic, nd teks to touch
his hearers by moral cffb&s. In the rift} calh, it is tbtcicnt for
him to leek pleating lbunds and ag'ceable conco'ds ;' but in the
thcotxd hc tliuid eonti.lcr mutic by its connexion with the
c 0 77
cents of the human volce, and by the poffible conformltles be-
tween ibunds harmonically combined and ilnitable obje&s. Un-
der the article Opel'a may be found fOlne thoughts on the me-
thods of elevating and ennobling this art, by making of mutic'
a lan__.uae more eloquent than the difcourfe itfelf.
CONGER. T, An atYembly of muffclans who perform pieces
f vocal and inftrumental muffCo This word concert is śeldom
ufed for an afimbly of lefs than revert or eight muffclans, or
piece of mufic of many parts. In regard to the ancient% as they
,were ignorant of the counter-point their concerts were executed
only in unifon or in the o&ave. and they feldom had any other
but in their theatres and temples.
SPIRITUAL CONCE. R.T, A concert which fupplies the
pace of the public fpe&acle at Pari% during the time that the
other amulrrlents are fhut up. It is eftablithed at the Chteau
des Thuilleries the band is very numerous and the hall beau-
tifuHy decorated. They perform their toolets and fymphonles
apd amu{ themfelves now' and then witIx fporting in Italian
airs.
CONCERTANT C0ncertant parts are thor% according
the Abb Bropard which have ibmething of re6ital.in a piece or
concert and this word ferves to difinguiflx' them from thor4
parts which contain tinging only. If this has ever been'its fenf%
it is now obfolete. We thy at prefent reciting parts but we uf
that of concertant in fpeaing of a number .of rnuficians who
perform in a concert and we then fay, ˝ We were five anl
twenty concertants." -A-n affembly of eight or ten concert- ,
ants." ,
CONCEtLTO, An 'Italian word Frenchified, which fignifies
in generat a tymphony tnade to be performed by the whole or-'
cheilera; but we call more particularly by the name of concert%
a pie? mad? for Come tparate inftruine.rft, wh;ich plays alone at
śet trams w,th a fi,nple accompaniment, after a beginning by the
whole orchettra and the piece continues always thus alternatively
between the three infirument reciting and the oi'chefira in chorus.
In regard to the concerto% where all is played in Rippidn%
and where no infh'ument reclte% the Frenclx call it Ibmcrime,
trio, and the It:dians tinfoni%
CONCiNNOUS, I will not make any digrefflons on tlie
plan:˝tion of this word taken as the thltable conn2ion of all the
par. Is of a work between thcmti:lves and with the whole, becau{[
xt s,a fenfe that is feldo,n given to it in mufic. 'Tis to th
execution generally that this te,'m is appiied when the conce,'t-
ants ar}: perfc&ly in concord whether for the intonation 6r the
meathr% when they all appear to be anitastud with the ttme
tbul, aqd when the execntion affords falthful!y to the es% all
that the eye beholds on the p."rti:ions.
7 C 0
The conc;nnous do.'s not onl)'depend on the ingenu;ty w;th
rhich each one reads his pa't, but on the undcrf'canding with
which he feels its particular charaer and its umon with the
whole; whether for conpofing with exac"tnefs, for following tile
precifion of the movement% or for c',tchin, tke moment antl
va-it.y of the bold andfwcet; or laRly, for adding t6 the mark'd
ornaments thol which are fo neceffarily fuppofed by' the author,
tha* no one can be permitted to omit them. 'Tis in vain for'
a mufftiaa to be ingenious; tilere can be nothing concinnous
but from the knowledge of the- mufic which he executes, and
from the mutual underitanding that he maintains with others;
for it would be impolfible to place a good concimw:ts in a concert
of deaf men, or' in a piec of muc whole Rile is pcrfecCtly op-
pofite to thole who execute it. Ilufie-maRers, condu&ors and
Irasnag=rs of the o'che,-ffra, ought particularly to guide, terrain,
or forward their muficians in fixing throughout a good concin-
airy, and this is what always form s a good firit violin,' by. a
particular force in the execution, which impreffes frongly Its
character on every ear. The reciting voice is fubjec"t to the baf.
and m'eafure; the tirft violin fhould abvays attend to and follow
the voice The lymphoar ou,ht to be attentive to the violin;
and laly the harpfiehord, xvhiclt ve fuppofe to be held by tile
eompol:r, flou!d be the true and firf dire&ion of the whole.
In general, the more chara&er tile fi:il% periods, ph-ahs, an
harmony poffefs the more eafy is the concinnous to catctb be-
eaulb the lame idea impreffed with life on every mind, prefides
over tile whole of the execution. On the contrarye.when the
xnufic is fi'.ent, and we feel nothing more than a continuance of
notes without an unlfon, there is no general object to which each
ne connects his part and tile execution proceeds always in a
dithgreeable ftrain. Fo9 this rcafon it is, that the Frer/ch mu-
.tic is never concinnous.
TO CONFINE THE HARMONY, Is to'cotle each part
within the iinalleit intbrvals that can be poflible. For inftanc%
to confine this concord, ut, tbl, mi which comprehends a tenth
we muit vary it thus, ut, mi, lbl, and in that care it contains
noraore thafi a fifth. (VideCoNcoxtv, VatxaVoN.)
CONCO[D, _An union of two or lifore founds uttered a
once, and forming together a general harmonic.
The natural harmony produced by the refoundlng of a fono-
rou. s body, is compoi.'d of tllree ditrent founds, without reel-
Onlng their or, ave% the which form together the molt agreeable
find molt .F..crt' concord that can be heard; from whence, oa
account ot t. cxcellcnc% it is calleel a perfe concord. Thus
to rendel' tile harmony complete, e've'y concord lnUt be at leaPt
CO:lq01i:d of three ibunds. Tlie muffclans allb find in the śrJo
c o
m harmonic perle&ion, either beca.ufe the concords are thereirt
cntirt:ly employc:l, or bccauih in the occafic, ns, where they do
not employ thc.m entirely, they have the art of -ivin, a change
to the cat-, and produce a contrary lent:alien, by prefenting to it
t!'e principal Ibunds of the conco,'ds, in thch a man,er as to
obiiv-'rate entirely the others. (ľide Trtio.) The o&ave
h(,'.vcve:', of he p,'inclpal Ibund, producing frefi conneions
and new confonances l:y the complements of interv,tls, (Vide
CotapnzeT) we generally add that oave to form the coa-
ci,.oirv of all the confonnances within the hme concord. (Vida'
Co:sb^wc.) Moreover, the addition of the- diffonanc
(Vt4c DxssozqAzqc) producig a fourth found added to the
peri,& concord, it .is abtblutely neceffary, if we wifi to fill the
con:.od, to have a fourth part to exprefs this diffonance.
W'herefor. the fyfte,n of concords can never be complete and
un:ted t_,t by the means of four parts. We divide the concord
ir..'.o pert'e& md imperie&. The perfc& concord is that which.
wc ba'.'c juft mentioned, which is compofed of ti,e fundamental
or flat found, of its third, fifth and dighth: It is fiab-divided
into major' or minor, according to the nature of its thirdř
(VS:lc-MAJoa and Mort.)
S,me authors give the name of perfeEt alfo to all the concord:,
even diffo,mnt, whole fundamental found is in flat. The irn.-
perrY& concords are thole which retain a fixth inffead of a fifth;
and in general all thole where the flat found is not the funda-
mental. 'l"he denominatiots, which we'e given before the
fun'lamental bali was known, are by no means applicabl.eo
Tho!h of direEt or varied concords would be much more fuitablb
in tae fame te,fc. The concords are again divided into confo-
nant an,! clilTonan.% The confonant concords are theperfccq:
concoYd and ita deri-atives; every other concord is diffonaht.
(See the uwler-written table of each, according to M. I{ameau.'.
fyffem.)
T A B L F
Od e all the Concords admitted into Harmony.
.Fundamental Concords.
Per/,? Concord and its Derlvativcs.
'he funda'mertal $ond
ii, liar. Ira Third in flat. It Fifth in flat.
lacrfc& Concord, Concord of Sixth, ConcordofSixth-fourtho
o C 0
This conccn'd conf[itates the tone, ant] is formed only' on
tonic: Its third m:y be either major or minor; and it is that
which conftitutes the mole.
Sc/ffśble or Dominant Concord, and i:s ]2)erivatives.
'The fundamental Its Thirl Its Fifth in ts $eveth in
ound'in fiat. in flat. fiat. fiat.
Senfible Concord. Faire Fifth. SmallSixth-major. Triton.
o one of the founds of this concord can be vaned.
Concord of the Seventh and ;rs Derivatives.
The fundamental Its Third in flat. Its Seventh in
Sound in flat. Its Fifth. in flat. fiat.
Concord ot the 7th. Of great 6th. Of froall 6th Of the ed.
Minor.
The third fifth and feventh may be varied in this concord.
Concord of the dimfided Seventh, aitd its Derivatives.
The Fundamental It Seventh,
Sound in Flat. Ira Third in flat. Its Fifth in flat. in flat.
Concora o?--?th Of 6th M4or Of Minor $ Of the fuper.
diminilhed. and faire Fifth. and Tri{,on. fiuou d.
No one of the Sound of this concord} can be varied.
Concord
C 0
Concbrd oa' the Sixth add,'d and its ]Derivatives.
Phe fundamental Its Sixtit
Sound in flat. Its Third in flat. its Fifth in flat. flat.
Conco- o th'e Of fmal'ler 6th Of the zd Of the 7th
6th added. added. added. added.
joi n the word added throughout this w0ľk to difflngulfh
oncord and its variations from the fireilar productions of the
Concord of the f_eventh. ,This la variai'on of the feventlx
added, is not admitted by ]VIoht Rameau becaufe this variation
forms a eoncbrd of the fhventh,' and the COlacord of the iventh
i's fundamental. This reatbn teems to hage little xvciht.
ought not tnen off (hs plan, to admit the greaer fixth as
variation fi'nc% .i n' lhe parti:ular prificiples of Monf. Ralneau
his fame concord ig often funlamental. But the praiee of
greateft muffclans; and even his own; cotitra'dis the exectitian
Which lie Wifies to eablifli.
'hig cobcord has no vaFiation ;' and no one of its founds can
nd'ergo a change. 'Tis properly no more than a concord of
f/nail ma'br fi'xth diefis'd b accidsnt. and in which we thbituce
rometimes ele fifth for the fourth.
Concords' by ppofitlon.'
(Vide Suvvosxxxo.)
ConcoJff 0f the Ninth, and its Dcl-[vatlves.
Whe fuppofed Sound The fundamental It Third in Its Beycloth in
in flat. Sound in flat, '* lhxt. tl,t
6th. font th and th. d,
Concords of thefuper3quus Sixth,'
CO
This is a concord. of the Seventh, in the which we add g
i th bund to he thJrd beneath the fundamental.
We o-nor.ally ,'-moe the JbvenrI b i.e. the fifth of the funda-
mental tbund, which here is that note marked in b!ack: in this
calb, the concord of the ninth may vary in removing again fi'om
the accompanhncnb the eighth of tle note which we carry tO
Concord of the fipcrjquorts Fifth.
This is the {enable concord of a minor ton% below which
make the medlant, underwood; for which realbn 'tisa true
concord of the ninth. But it does not vary' on account of tlm
diminifled om-th, which the fuppofed nd carried into
would produce with the fcnfible note, whicIi fourtk is an- inter
val expcllcd from harmony.
Concord of the gleven, th or Fourth.
The fuppofed Sound Idem, by remov- Thefundamental Its Seventh
in flat. ing two Sounds Sound in fiat. in fiat.
Concord of the9th Concord of the Of 7th and Of d and
and 4th. 4th. 4th. qth.
This is a concord of the fe'enth: below which we add a fifth
t'ound to the fifth oś'th˝ fundalnental. 1fire never ft-ile hi'
concorel full, on account of its duration. It ninth an.d tbventh
are generally removed; and to vary it, this removal is indif-
pcn/hbly necelthl'y '
Concord offiperfious Seventh.
Thi is the dominant concord under which the bari form
the tonic.
Concord
t2oncord o_?j7,per. fluous Seventh and inor Sixt!
This is the concord of the diminied feventh on the fenfible
ote, under wlfich the bgfs forms the tonic.
Thei two la concords have no variation, becaufe the fenfible
note and the tonic mu then be heard together in t fuperior
parts, whic cn never fucceed.
Thougl all the concorqs in this table be full and complet%
as was neceflhry to ew all their element% yet it is not laid
down that we mu ufe them thus: we cannot alway% and we
ought not often. 'Ifi' regard to the faunds hich ught to be
preferred according to the place and cuom of concords
this exquifite an neceqry choic% that the grand art of the
compofer confis. (Vide COMvoso
Exvssxo &.) ' '
End of the if'able of Concords.
We will l'hew, under the words I-:rarmony, undamental BajJ,
ptlon, 6.ec. the method of employing all thel concords, to form
by them a regular harmony.. ! will 0nly here add the following
oblhrvations.
I. 'Tis a very great mitktke to imagine that the choice of va-
riations in the fame concord can be lndifferent, either for thg
harmony br the expreflion. There is not one of there varlatlon,
but has its proper'chara&ers. 'Every body mutt perceive the
contrariety which is found betw:ee a the fweetnefs of the falf
fifth, and the tlarpnefs of the triton, and frill one of theft: in-
tervals is varied from the other. It is the fitme thing with the
diminifhed fcventh and fuperfluoua tcond, with the gene.al fe-
cod and the feventh. Who does not know the fonol'ous differ-
ence between the fifth and the fourth i The,concord ofgr0ater
tixth and that of fmall minor fixth., are two reprefi.'ntations of
the fame fundamental concord: But bo.w much is the one mor
harmonious than the other I The concord of froall major fixth,
on the contrary, is much more brilliant than that of the falf.
fifth. And to li*eak only of the moll timpie or; all the concord%
refl˝& on the dignity of the pert>c& conco,'ds the l.vectneli of
th
all,there' are hqwcvcr cornpored of the Fame 0unds..
The fuperfluous intervals, i'n geneal tile difis's .bove; are;
t'rbper oxi account of their duration, to' expre; rage,' anger;
'nd the ficareef parlofts. ' On the Contrary, tile B n[f>llarO's'
hafp,' affd the dlmir}ifieet intervals, frm-a ?laititi've harlnonyi
ivhich touches the fo61. There ale a muir!rude of timilar
)erv'ztibns, which, when a muffclan kn'o'WS i6a- to manage them, ß
3endr him matker of the affEtiong of tho, wh6 li'ten to'
him;
II. T'he cho:ce of fimpte J'nterva.ls i's not left important tlla
that Of concords, iff tegarrl to the place where they thoutd be
mptoyecl'.. F6f infance' 'tis' below'where the fifths and oc-'
{avas'-mutk ifi' preference be placed above the thirds and fixths..
Tranfp0fe this order, and you will demolifk the harmony, tho'
you leave the fame concords.
1II. Laftly,' We may render the concords f/ill more harmonix
6s by uniting them' by fmaller interva!f, much more t'uitabl˝'
t.o the capacity o 'the -ear than the larger. This is what we
all t0'confine the harmony, and whiclx fo fei4' mutcians are
:fkilled in' pracifing.' The bou'ndaries of the diapatbn of the
V.oice i're another .reaf61i for cofffini'ng-the choirs. W'e may b,
allured/ that choir is ill compotd when the concords are tbat-;
iercd._l˝n'.lhe42ar$ ll2, ye . śq˝aking__n.ote, l.o.t_ rh:h' .di:,p_aśon,'
and are tB refnoved one froti the other, as to feem to have no
lind of cbnneion between tkemśelves.
We-call 'alfo by tlie name 'r;f )0ricotel, tile condition' of am
inrament wh0fe fixed fbunds are con*ne&ed together in the
xajuneśs' 4vhich they ough to pretl-ve. In finis fent, we
ty,. ß.fl:at an inrument i5, or is not in concord or tune; flint it?'
ke.ep 0ff does not keep' i'ts concord The lame expreffion
ßfed. in regard to two vol'res Whi'eh ting together,. for tvo
ou .nel which are heard at a time,ß whether in' unif0n oi' counter-
DISSONANT COIqCOID, FAL,q E CONCOlD, CON-
oR:D lINTRUE, Are things tb different/ that they mutk not
be confounded. The diffonan concord is that whk' contains'
śome'difl'onance.' An' tntruc coilcord, that WhOśO Ibunds are ill'.
adapted/ anti do got preferve' together rh'e ju'ttneIb' of' rlm in(er"
a?als.. -FaIIi concordi llat which difguit,q the ear becaufe it
J11 c0mpoti,'d,, and the founds; tho' juft,' do nor form' illeeeln' an'
matlre harmonic.
. CONCORDANT,' o, BAPYTON,' is that part of mufie
'hi˝l' ia fixed- in' the' middle,"between 1;he tenor and bari. The
aam
C O 85
h:,mc of concordant is no longer ]11 Ut, 13;]I. ill chtrch-lnttic, n,
lll,IC thnu the part which it ticnotes. l.]VCl'y w].crc :lib thii
part is call'd common pitch of bal, and is cnunf, mndcd with
thebars..Theconeordant is properly the part which in lt;lly
is Called reno?. (Vide PAws.)
CONCOURSE, An affembty of muficians ad authol-ifcd
connoigcurqi In the which a Vacaqt place of lnUfiC-tnacr or or-
gani is gained b' the miority of votes, by trim who has tom-
pored. the befi
monet, or who has diinguilhed hidllkIf by the
be execution
The concourG was in ufo formerly in a great number of ca-
theJrals; but in there partial thnes, when the q,i,ir of intrigue
ß eng,-ofes the generality of places, it is'clear that .hi, mu ,rra.
dually be abolied, and that in'its place they have ffibOiruted
ß methods mpl'e eafy, by giving to fayour ov intel'c, the rewards
due to ingenuity and merit.
. COxJOIN./, A conioint tetrachord ism. in ancient mufic,
'ihat wlmfc flatte chord 'is in tknitbn with the arpe chord
'tle tctrahol'd, 'which is immcdiatel below ir; or wholb lb-pett
cbortl is in unitbn with the fiattc (Jr the tetracho.rd immediately
=bo,'e it. So, in the fyeln of the Orcek, all the ,five tetrak
'chords are coqjoint on Ibme fide t:hat is. fir. The tetrahor8
'moron is conjoint to the tetrachord hypaton. 2ally. The fcta
chord lynntire,non i conjoint to the tetraehd me'n. '
,The tetrachord hyperboleon is cnjoint to the tetrachord dia-
zeugmenon; and as the tetrachord, to which another was'c
:joint, was reciprocally cqn.}oint to that, this wo'uld have made
fix tetrachords in all, had not the tetrachord melon, being con-
oint by its two extrbmities, been taken twice for once
Among us conjoint is fald 'of.an interval or degree. We
tall cnjoint drees, timlb which are fo (lit},fed tween them-
felves, that the arpe found of the inferior d,grce becomes
ß 'nitbn with the flatte tbund of the fuperior. Moreover, nei-
ther of thelb d'grees conjoil mu& be divided into other tinatlev
egrees but they' th,ilves mu 'ai froall 'as poffibte, vlz]
th0fe a feeoM. Werefol'e'th,fe two intelvats ut re'and
mi are tonjoint, but ut re and folfa ar not b, for want of tll,
fir conditt'on,t mi and mi 1 are t atfo, tbr want of th
eond.
An exteat conjoint deees' fignies the fame thing
ß atomc' extent.. {Vid DtaToc
CONNECTED, A term in ehureh-mufic. (Vide
CONSONANCR, Is, according to the Etymology of
Word the erie& of twoor more tbundu heard af a dnie; but
he fidfication of this word is generally reraln'd to interval
fomd by two found the concord of which is' pleating to th
O
car, allC} 'tis in thi cnfe, that I fl',all fpeak of ir unc'c
head.
F,-om this innt of Intervals which can divide the found,%
lwrc s Im a final] nm}>er, xlfich tcm a contbnnncc; all
re di:u the car, and are thefire called difibnanccs.
not fixt ahblurdy that m'av of the m;,y not be employed
.],acmony, but they are fixt obly with thol precautions, of which
the cofona,es {!wayn agreeable in themthlves, are not equally
.3, want. The Grees admitted We cowtbnances only, i.e. Th.e
o]avc, the .sth, the tth, which is the replication of the
.the 41h,. and the t th which is its repticafi. $Ve add to theta,
.the 3cls and (;ths major and minor, the double and triple oc.-
gayes, and, in fim,'t, ttxe diCerent 'replications of all there with-
our cx('eprion, according to th whole extent of th'e fyem.
Xqe d.inguifl the conlbnaaces, as perfe or j, who(e
interval has no varintion, and as impcrfc6t, thole which may
be major or minor. The perfe ntbnancc are the 8th, 5th,
"ml 4th; the ?mpeWea, the ds and 6ths.
'J he principal chara&er of conbnanccs is d,'awn fi'om their
produ&ion in a timilar found, or, if we vil. l from the farting
of the chos. Of two chords, in full concord,. forming together
an inecrval of o&ave, or of =th, which is the ave of the
.$th, or of ,7th mor, which i the double oaave o the maj
.Sd; if we make the fl-attc found, the other flakes and re-
1ounds. In regard to the major and minor 6th, the minor 3d,
.*he timple mj,,r 5th and 3d. xvhlch are all combinations of the
precedent conionaes, they are found, not direaly, but betweea
the d}Wc,-ent chords that fiake in the lme tbund.
}f [ touch tl,e chord at, the chords aik'emlhg to its oaave
r, to.the 5th bl of tha oaave, to the third mi of the double
oe}avc, even to the ocs of all the!e, will all flake, and re-
.bund at a time; and if the fir chord thould t alone, we
fixot,ld ilI diingui all thcth tbunds in its retbunding. liere
.thcn are the oave, the major third, and the fifth direr,
The other con'tbnances are timnd alfo by combinations, viz.
the minor third trom mi o tI; the minor fixth from the fame
mi to the ut above; the fourth from tbI to the lime ut; and
the m4or fixth frgm.the fame fol to the .mi fich is above
Such is the generation of all the contbnances. It would be
heceqro to ive an account' altb of'the plmnomena.
Fir The tbakin-of tim chords is explained by the
of the ai'r and t e concourle ot v,bratmns. (Vide Uso)
cc0ndly, The tbund of a chord ,nun,be always accompanied
by.its hax'monics, (Vide that word.) . This appears a propriety
of the foun(l a wbicll depends on ks nixture, wlfich is iniparable
from it, and which can be explained only I,y hypothefis's, which
rare not wthout tlleir cJhliculties. Thc mo ingcnious thn?
vet beta Iit on, on this n,:,trt.,', i, wirI,ut doula% that oF
e airan, from xvMch ,I. Ramau ihys he bas greatly pro-
titreel.
Thh'dlv, In regard to tIe plearure which cononnnces nord
the ear fly the exclufioa of every other intervnI we ii:e from
thence clearly their tburce in thtir generation. .11
arl/b fi'om a perfe concord, produced by one only Fo,nd and
the perfe concord reciprocal!y is formed by an aiFemblae of
contbnances. It is therefore natral, that the harmon of this
concord ould be commumcared to ts parts, that each of them
thould partake therein, and that every other interval which docs
not form a part of this concord thuld not partake init. Na-
ture, moreover, which bas endowed the ollies of every nfe, with
qualities proper for flattering it, has ehotb,, that one tbund,
whatever it be, floutd be aceospanied xvith their agreeable
tbunds, as fle has willed, that one rny of light flxoulcl be ahvays
formed of the fine colours. But if we remove this quedion,
and enquire whence arifes the picalure which a perfe concord
caufes to the ear, whil it is diffused with the concourfe of
every other fonnd what. can we anfxver .to that, unle to
mand in our turn, why green delights the eye more than grey
and why the odour of the role is pleating, whil the poppy's
fmetl ditus'?
I don't deny, but' that the'phyficlans have explained all this,
and what is there they do not explain ? But hov much do thelb
xplanations depend on conjeure, and how little folidity do we
lind in them when they are nearly examined ? The teaclet will
judge of this by the expofition of the chief of them, which l
1hall endeavour at in as few words as poble.
They tky, that when the fenration of the found is produced bv
the vibrations of the fonorous body, propagated as far as th
tympanum by th01h which the air receives from this ame body,
xvhen two founds are heard together, the ear is affe&ed at the
time time with their different vibrations. If thelb vibration
are libchronic, that is to fay, if they agree in beginning, and
finlilting at the ihme time, tlfis concurrence forths tle unitbn,
and the ear, xvhich catches the concord of tbcfe equal and july
concordant returns, is agreeably affe&ed by them. If tle (:ibra-
tlons of one of the two lbunds re double in duration to thol
of the other, during cch flattc vibration, the fliarp will make
precifely two, and at the third they will let off together.
Wheretbre every two'times each uneqhal vibration of the fliarp
concurs with every vibration of the flat, and this frequent con-
e0rdanee, xvhieh conitutes the o&ave, lcii fweet in their opi-
qion tltan the unilbn will be more lb thn any othcr conib-
0 z nanee.
FR c o
nnce. ' The {th comes after, one of whośe śounds forms tw
vibrations, whil} tire other forins three fo that they agree only
in every 31 vibratio of thc fiarp; next ce the double.
oSave, one of wh0b tbunds forms four vibrations, xvhil the
other forms but one, agreeing only in every fourth vibration
the arl): as to the Fourth, the vibrations anlkver cact other
every fourth in arp, and ever}, third in flat; tho! of the ma-
or hird areas 4and 5; of the maor fixrl a 3 anti 5; ofth
minor third as 5 and 6; and of the minor fixth as,5 and
Al'.ot'e thot numbers there are only their multiples, which pro-
due:. confonances, that is to fay, tge o&aves of the former: all
the remaining parts are diflbnant.
Otler finding the o&ave more agreeable than the unifon and
the tilth more agreeable than the oaave, give it as a tea Con, that
tIe equal returns oF the vibrations in the unifon, and their too
frequent concurrence in the o&ave, confound identify the founds
and prevent the ear frown perceiving their dvedity. That
may fe'et the founds with pleafur% they fay that it is neceffary
for' the vibrations to accord by intervals, but not for them to
Confound each otker too often otherwif% inead of two founds,
we ould think to hear one only, and the ear would lore the plea-
lure of the comparifon. 'Tis in this manner, that from the fame
pdncipte we deduce, according to 0r liking, the pro and con
ju as we imagine that experience requires,
But in the fit} plac% all this explanation i as we may fee,
founded on the plealure only that we pretend the foul rcelveu
ebro' the organ of hearing from the concurrence of vibrations
which at bottom, is nothing more than a mere fippofition.
loreover e mu again tUppol to authorire this fyem, that
the firff vibration of each of the two ibnorous bodies begins
exa&ly .ith that of the other; for, however little one may
precede, they o longer concur in a determined conne&ion, per:
haps even they can i, no catb concur and contquently tha
fenfible interval m,ff be ih}eed to change; the conIbnancg
co:,:d no ionget exit, or at lea would be entirely diCereat.
Lafiiy, we ma fuppofe, that the different vibrations of the
founds of a conlbnanc 9rike tle organ witleone confuti0n and
tranlinit to the brain, the bnthtion of the concord, without a
mutu,l injury: a thing difficult to conccive and 0f which [ al[
h;.'e octorion to fpeak etfcwhere.
lm', witour dilain on lb runny fuppofitions, let us f whas
ott.ht o totlow tro:n this Jenl. The vibrations ov found o
the :.i cmfonance, winch s the mmpr tlird nr as S and 6
an: 's concord is very agreeable. What ellen fllould naturally
relh'.t from vo other 1ounds whole vibration, wer between
them'lktvcs as 0 and 7 } conlbnanc% a little lcli harmonious
1 confck,
t'efs, bu i!l very areeable on account of the fiall
fc. rcncc of ',:cir cac,':tions, for hey differ a 36tlx only, But
tc. -it be d Low it ,'t happen that txvo lbunds the one Of whic
f?, five v[ t":tio., whiiR the other makes fix can produce an
r,:cab' ctttbnance; an I tibet two fiunds one of which makes
fi vibron% xhE the ot.r fo, ns lbven produce di/agree-
abe:- di;nance. How cvn it be, that in one of there connerions
th:: vibr:,r;oas :::rec from fix to fix, and my ear is delighted
whit in the o:'cr they agree from lven to feve% and my ear
i 3i'gued ? I witl again emitfire how it happens that after his
fir dibnance, the 6uration of the others does not increafe
proportion to the compofition of their connexion ? Why for
inancc is not the diffouance which refults from the conneiol
o' 8 9 to 9 v. much more difigufiing than than of x2 to z3 ?
she more or lees frequent return of the concurrence of vibra-
tion was the caut) of the degree of plealure or pain which t
concords afford me, the effe& mu be poportion.ate to th
eaute, and [ cannot find the leafi proportton in them.This
plealure and pain then cannot be derived from thence.
It ill remains to y attention to the alterations of which
a confonance is "futeptibl% tho' tllel alterations. mirplace
titely the periodical concurrence of vibrations; and tho ncur-
renee itlhlf becos more fcarce in. proportion as tho altemd
is lefs, It remains to conrider that the concord of the'or
harpfichord can or to the ear nothing more than a cacophonTi
ranch the me diting, as thet.inruments are mor
tune, fine% except the o&av% there is found o other confo,
nance in its xa& cne&ion.
Can one fay, that. an aroaching connexion is fuppof
be entirely exa&, that it is received as fuch by the ear, and that
it tBpphes by in, in& whatever i wanting to the juanels of
the concord ) In that cafe,.I.enqnire the caul of this inequalit
of judgment and perception, thro' which it admits conneOi
more or leo arching, and banlilies others according to the
different nature of confonances ? In the unitbn, for infiance, th
ear can fu*ly nothing: It is either jufi or falfel there is no
medium. In th fame manner in the oOaVe altb unlel the
erval exa th ear is dffgufied; it admit no npproxima-
rion. For what reafon does it admit more in the fifth and lef
i the major third ? An explanation vague, oppofite to the
[incipla wich onld.be eablifled and without proof can
g}ve n reafon for thofe differences.
The philofpr, who has given ua rome principles of th
'tcoufiie laying afi all there concurrencesof vibrations, and re,
wing on thin point the fyem of Delartcs ivus a' rcalbn for
the pleafur, whicl nfoaancs .caufo m the cnYby th fplici
o C 0
of connerions which are between the 'founds that forln them.
According to this author, and Dcścartcs ah%, the plealure dimi-
nishes in proportion as thelb conneious become mm'e compolbd,
and when the mind partakes in them no more, they are veritable
diffonance; wherefore it is an operation of tle mind which
they take as the principle Of an harmonic fenriment. More-
over, though this hypothetis may agree with the re/hit of the firff
harmonic divHions, anti tho' it may extend itiblś even to other
ptmenomena that are dilbovefed in the fine art% as Jt is (ub. ie to
the farne obj'cuC'tlon as the precedbg, it is not pofl]ble for reafon
to render a fatifaory account of it.
That of all, which appears the moff fatisfaorv, has for its
author Monl Efve, of the Royal Society oś Montpdlicr.
Here are his reafonings thereon:
The fentJment of 1bund is infeparable from that oś its' har-
monlcs; and tince every found bears its harmonics, or rather its
ceompaniment with it; this fame accompaniment is in the order
of our organs. There is in the moff fimple found, a gradation
of founds, which are fharper and weaker, which fweetcn, by
thefr vkriety, the principal /bund, and render it 1of'c in the great
velocity 'of the higher founds. Here then ve fee the explana-
tion of a found; the accompaniment is effential to it, and forms
its iveetnefs and its melody. Werefore, every time that this
śweetenlng, this accompaniment, there harmonics are enforeed
and better difclofed, the founds will be more melodious, the va-
t;cries better fuained. This is a perf˝c"tion, and the foul ought
to be fenlibte of it.
The confonances, moreover, have this propriety, that
harmonics of'each of the two founds, concurring w;th the haft'
reonics of the other, their harmonics are mutually fufaJned,
'become more fenfihle, have a longer duration, and by this means,
make the concord of tbunds which produce them muel mor
agreeable.
To make the application of this princ3ple more evident, Monf.
Ett6ve has formed two tablcs the one of confonances, and the
other of diffonances, which are in the order of the gamut;
and there tables are lb difpofed, that we may perceive in each'
the conc.urrcncc or oppofition of the harmonics of the two tbunda
which rm each interval.
By the talkie of the confonances, ve fee that the concord of
ouave preferyes at,no all its harmonics, and this is the teafort
of the identity which xve fuppofe, in the pra&ice of hannonr,
to'be between the tvo founds of the oc"tave: we te that tile
concord of the fifth prellryes three harmonics only; that the
fourth bas only two; and laf'cly, that the imperfe&' confonance,
prctrvcs but on% except the major fixtit, which bears two.
'C 0
]2y the table of diffonances, we fee that they prefcrve no kind
of harmonic, except the minor ihventh .',lone, which preferves
its harmonic fourth, that is, tIe major third of the third oave
of fharp founds.
From thelb xbfervations, the author concludes, that the more
concurrent harmonics tIere are between two ibunds, more will
the concord be agreeable, and in this confirm. the perle& conib-
na[Ics.
The more harmonics there are deitroyed, th lefs will th foul
be ttisficd vlth its concords: Such are imperfe confonances.
La.qlľ, if it fhould ever happen that no harmonic is pretkrvcd,
the ibands vill be deprived of their fweetne and melody,' they
will be difagreabl, and rndered, as it were, thin; the foul
will be difgufted with them, and infead of th harmonious
fweetnefs, which it difcovered in the confonances, finding nothing
but a continued roughheYS, it muflt feel a fenration of inquietude
wy difagreeable, which is the ffe& of diffonances.
This is, without contradition, the happieR, moi fimple and
,nor natural of every hypothefis, but it f[ill leaves tbmething
o be wifhed for the fatisfaion of th mind, śmce the eauYes
which are afligned are not alway. s in proportion to the differcnc'
of the effecCts; as, for inance, it confounds in th fame cathe-
gory, the minor third and th minor feventh, as equally reduced
to one harmonic only, tho' the one is confonant and the ether
diffonant, and th cffe, to th ear,-is as different as pof-
iible.
In regard to the principle imagined by Monf. Sauveur, which
he made to confi it the trokes, as it can by no means be fur-
rained, and has been adopted by no one, I will not employ it
here, as it will fnffice to :lirec"t the reader to what I have fpoken
of it under the word Beatings.
CONSONANT, A confonant interval is that which gives
a confonance, or produces the effe of one, whick happens,
certain cafes, to diffonances, 'thro' the force of the modulationř
A. confonant concord is that which is cornpored of conlbnances
only.
CONSTR. AIN'D Thin word is applied either-to the liar-
mony, the air or the power of the notes, when, through the
nature of the defign, we are tied down to a law of unflormlty
in rome one of the three parts. (Vide Bass
TO CONTINUE To continue on a fyllable is to prolong
i.t farther than profody requires, as we do in trills; and to con-
tmue on a note ia to make a line therein or to prolong it until.
the fenlktion of the menlure. be frgottcn,
CONTRA
'CO
CONTRA, A name given: xforrncrly to Iat D,l-t wheel1
more 'generally called Altus, and which, at re/nt, we
Haute. Contre.
CONTRAST, An oppofition of charaOers . There is a con-
raff' in a piece 0f mutic when the movmnenr paffcs from flow to
'quick, or fi'om quidk to flow; when the di'apalbn of the melody
paWes from flat to fimrp or from garp to flat; when the air
patYes fi'om fwect to bod, or from bold to fweet; whenthe
companimcnt pa.ffas from timpie to figuredi or from figured
fimple. Lafily, when the harmony has clear and tull alterna-
tives; and the moil perle& contra is that wiich reunites a'If
ß lJmVe oppofitions at the three time.
]t is very common for compofers, who are barren in inention,
to mke a wrong ufe of the contra, and to fek n thrt, for
the thke of preferring the artentn, tlmfe retburccs wi'd *hi,:l
their genius is incapable of finiing them. But the contra-
employed propos, anti naned with propriety, produces an
fe particularly admirable.
CONTRA TENOR, A name given in the beginning .of
counter poinr,.to that pt, which has fmce been' filled, tenor
only.
CONTRARY SENSE, fault, into .which the muficiag'
falls, when he render, a different tought from that vhich he
.ought.Mufie, flys MonL D'Alembert, being nodting. more'
ß than a tranflation of the words which are fit to an air, it
vifible, that w-e can fall into a contrary fnfe; neithe can it
:avoided thom eerily th in a ligeral tranflatioa. Contra'ry
expreffion, is when the mufic is fid infiead of being gay, gay
infiead of being fid, light inffegd of being heavy, heavy inead
of be , &c Contrary fen, in profody, is when we ren-
der long tyllables fiort; or flort, long; when we do not ob-
fir,' t cent of the language, &c. Contrary nfe, in decla-
mation, .is. when we epr, by t tna modalations, oppofite
a drent nfimen.ts; wlmn we are 'a ativo to the
ß xvrds a the ntimes.; he e lay a firera on theh dtaila
as we ought to flide over; and when our repetitions are bough
ia coay to tm'e. Conra fenf,, in.puaOuation, i, wh-en
mufiaal rfa 'm terminat by a parf adena in thot placa
th ffe. h fufpandad forms an rfe& flop wht, re
tlm. nlb i cl. I ak. contry tnfes in the
igour off word; 'but. of pro is,. perhaps, more
ß tgang ha all a } ca ling rha the mufic oul
fe cont.ry m. it lutl ouglxt t t it ou14
roduce a confufion of ng .
CONTRE
C O 93
CONTRś CHANT, A nane given by Gerfon, anti ohe-s
to that which xvas tlen more generaally called Dlizant, Or Coun
tcr-point. (Vide tho words.)
COPIER, He wholb profelon it is to copy marie.
l-xto:v great a. progreti thevet tire art of typog'aphy may have
made xvc have nc'er been able to apply 'ic o marie with tb
great faceeli as to writing: wl'.ethcr it be becaulb the taite of
the mind being more f'cable than that of the ear we are not
ś0on tired with the lhme books as with tile fame lbngs, 0r by tlre
particular difficulties which the combiaation of the notes and
lines add to the imprefllon oś mufic; f)r if we.draw firft the
lines, and then rlrc notes, it is impoffible to give thclr relative
pcfiti0ns that juf'cneti which is neceffary; and if the characCter
of each note engroflbs a portion of tile fcale, as in our printed
m'fi% the lines are fo milrably adjutted together fo great a
quantity of chara&ers are requircd, and the whole produces tb
di:itgreeable an effecřt to the ear that this meth0cl bas been abo-
lfied wtn real'on, and the engravn= lxas been fubilituted in its
place. But betides the other inconvenlencles that engraving is
thb.e to it has particularly that of augmenting too much or too
little tile examples or parrs; of placing in partiti,on what rome
would chufe in feparate parts; and in feparate parts what others
would chufe ro be in partition; and lailly of offering to the
curious nothing but ancient muff% which has pawed thro' the
hands of half the world. It is certain, that in Italy the country
which produces the g'eate variety of mufic, they have abolithcd
śome time the printed not% without the engraving having been
able to eilablith itfelf; from whence ! conclude, that in the
nlon of the ingenious that of the fimple copy is the moil .pre-
trable.
It is of greater importance, that mufic fixould be corre&ly and
neatly copied than tlmple writing, becaufe he who reads and re-
ttlc&s-in his elofet, ny eafily corre the errors of his book,
whil nothing !revents Itim from furpending antl re-beginning Iris
difcourli; b'in a concert, where each one tes but his part
and where the velocity and continuance of the execution leave no
time for re&if ing any error,
ß y. they are all irreparable; a mot:
rublime paeee as often murdered the execution is intcrrupte.d
and even ttopned; every thin oes contrary, the effect and unx-
fort fails thrc;t{ghdut, thg heaer'is difgutted; and the author dit:-
courttenanted thro' the error only of the copier.
Moreover, the underilanding'of a difficult piece of mufie de-
lend greatly on the manner of its being copied, for betides the
'neatnet in the notes, there are different meth94s t.o repr.ef. ent
more clearly to the reader, the ideas that we would paint to
and which lm Ilxould underRand. We often find the copy of one
94 C 0
man more legible than that el' anot!',er, t!:o' the latter may prick
his notes' more a,reeably; the ca. of which is, that tile one
xvill;es to plea!i: the eye, whJiil the other is attentive to more
śerGceable en.leavours !
Tile moil ingenious copier he hole mufic is elxecutcd With
the moil: eatb, whhout the muficians perccivin5 ever the real-on
whv.'.All this has perfuaded mc that [ fhould not compile an
mfeś article, if I demonfh'ated in brief an account of the dnties
and cares of' a go,,d copier. Every tiling that tends to facilitate
the execration, is by no means imli'ff.crcnt in tire perfeXion of an
art, of which it- is always the mof'r material beauty. 1 r tYel how
much I fhaltinjmemv!elf if my works are com!*arcd with my
rules; but I am not ignorant that he !,v!:o lbek the public uti-
lity, fhould never have a remembrance of his own. As a man of
letters, I have tiaoken of roy condition all the evil I think ośit:
I have compothd French mufic, and love only the Italian; I
Eavc ::wn all the ditidvantages of' tbciety, at the time when it
gave me a fiticere plealure; as a bad copier, I Irere dcmonlkrate
tile laws ',,y whiclz the :ngnious are d/re&ed. O truth! my
intcrd3 acre:- prevailed in opFofitlon ro thee, and may it never
in any reśpe& eralb the admanion xvhich I oxi'e to thee !
I nhuft primarily fuppolb, that the copier is poffeffed of all the
knowledge neceffary to his profefilon. I even flappole him en-
dued wih the talents neceary for a fuperiority in its perform-
ance. \Vbat ae there talents, anti what is this knowledge?
Without ab.,lutely delineating tlem, I can, uuder this head
oive a fufficict:r idc. of them. All that I am privileged to fay
here, is, that t!:e corn?offer who thinks hlmIbtf ingenious, may
be very tT;!r from being thfficiently tb to copy corre&ly the com-
pofition oF another.
As written muric, particularly in partition, is made to be read
by concertants at a dif'cance, the chief thing to be obferved by
the coplcr, is to make utb of the convenicnmateriats for rendering
his notes too2 neat and legible. For this reafon, he fi'iould
˝hufe ecrong fair paper, rather tliin, and xvhich does not rink;
{hat which does not require waftting is genorally preferred, be-
cauśe the waffling with xllum takes off' i=)methifig of its whi'te-
nctk. The ink ought to be very black,'without either glofs or
,um; the ruling lieat, equal, arid well fixed, but nor fo blac. k as
the notes; on thc contrary, the lines fimutd be rather pale, fo
titat the crotchYts, dou'bte croichets, paufes, and 'other finallet
Jigns ma i, not be confounded with them, and'that the note may
bc expretFed the fuller. The palcacti of th6 lnes; 'far from pre-
Venting the mufie to be read at a fixdd dlecance, on the contrary,
afliiN it by its neatnetS, and tho' the line fhoutd now and then
˝lcape the fight for moment the pofition of the notes very
ß of tea
c o
often ofltCelf de.otes it. The ruling of the paper is but an
labou?. If the copier would gain himfell credit, let hin rule
paper himilf
There are two fonation for ruled paper, one for the
instic, the lcagth of which i fi'c'n the l,)ttom to the top; th
othcr for the [c.tI]1 b the Ica'th of' which is according to the
rcon of th:.lhes. X.Vc may make ul of the fame paper for
tbc two, b>, cSppingan:l rulin?{t contrary ways; but whcx we
buy it rifled we mu change the nmcs at the paper-fellers, and
az for Irali;m paper when wc. want the French, and Frenc
whenwewant It:.;an; thisqui pro quo is of little importance
when weare acquqinted b:fort:-hand.
To copy a pai'tition, we mu rcckon up the parts which the
fcalc ccmprehcnds and choofe paper which has by the page the
lhrne number- of Ravei or a multiple of that number; finally,
we ould loI no av% or at lea, as little as poffible when the
multiple is not exa&. The Italian paper has generally ten
Raves, which divides every Fage into two columns, each of five
aves for the ordinary airs, that is to fay, two fiaves for the
two treb:es of the violin one for the fifth one for the air, and
one for the BaYs. When we have duo's or pieces of mufic for
fiute, hautboys horn% or trumpets ih that care, to that number of
aves we can put no more than one column in the .pag% unlefs
we can find a method for fuppreffing fome ufelefs av% as that
of the fifth, when it is continually m motion on the bays.
Herein, however, are rome obfervations, which we ould
'make to diribute the partitions with exa&nefs. Fir, what-
ever number of parts' of/ymphony we may hay% it is always
neceffarv that the parts of the violin, as being principal, thould
be plac(d at the top of the column where the eyes may mo
eafily conveyed. Whole who place them at {he bottom of all
the re and immediately on the fifth, for the convc,fienc of
the accompanimenq am in an error without obferving that
is ridiculous t0 fee in a partition the parts of the violin below
for infiance thole of the horn which are of a much deeper
bays. ' Secondly,' in the whole length of every piec% we ought
never to change any' thing in the number of the par% fo that
very part may have its properties in the fiune place.
It would be better to leave the aves vacant or if there is
necetty, place two parts in rome of them than to extend or
iliminifi the column unequ'ally' This rule is for the Italian
mufic only, gr the ufe of engraving has nade the French mue
mora attemi...., to the moohorny of the fpac% than to the com-
modity of the: execution. 'Thirdlye' it is only at the greate
extrcmit that we fiould place twopa?ts on the thtncRave, and
this is what we ought particularly to void in thu parts of the
violin
rloin for,. betides tha here is much confutlon to le fearcog
ihere would be an equiyocation witlx the doulle chord; we
/nu always filfo be kareful, t]kat the parts do not interfere crofs
way% which we could not expreVs on the fame ftave, in a me
thod.elefir and legiblei Fourthly, the keys being correctly writ-
tdn, .and once numbered, /hould'-never be repeatell ;ny mo3e than
/he fign of the meafure,. unleśs in he French muff% when, tile
golumns. being uequal, each one could noi recolic his parts;
but ;n the fepaYated parts, We mu repeat the cliff at the begin-
ning of' each fffve, Wet4 it onl'y to' denote tile beginning of the
lines, on a fa51ure of the colutah.
The ffum)er 6f flares feing thus fixed, ;ve mu make a dlvlfion
0f the meafures and there mefures ought t0 be all equal in t]ace
as w11 as duration, to meafure in śome refpe the time by the
eompafs .and to guide' 'the voice by the eyes. This fpace onglt
tO be' fuficiently extended in each meafure,..to receive all the
notes which cdn enter fherein, a4cordin_ to its greateft fub-divi-
/]on. It carlnot b ;magined how gre a clearnet this cave
throws on a partition, and in What an embirraffment a negle
of it th'rowt them. If we confine g meafure on a crotchet
how can We place tiie fixteen double crotchets, which, perhaps
andhex;part contains in the /'ame meaśure. If we confine our-
/'elves to the vocal part, how can we fix the fśace of the returns ?
.In'a word if we are attentive only to the divlfions of one of
there prts, how can We make the divifions of the other parts
often'contrary to coincide with them.
It is not fufficient to divide the air into equal meafures, we
muit alfo divide the meaśures into equal times. If in each part
we proportionate thus the /]ace to the duration, all the parts
and ill'the fimultaneous notes of each part will correśpond with
a julinch which will give lealure to the eyei and will greatlr
l:illtate. the reading o.f a partition. If, /or in./tanc% we divide
' a meafure into four umes into four fpaces very equal together
and in each part, if'we extend the crotchets draw. the quavers
nearer, and confine the femi-quavers in proporti?n and each in
its/'pace, without wanting to look at one part m copying ano-
ther all the correfpondln/ notes will be more exaly-perpendi-
cular than if they had been confronted by writing them, whether
between.the different meafures of the fame part or between the
different parts of the fame meafure.
To the exalthers of the conne/lion% we muf join as much a
poffible, a neathels'in our figns. For i'nfta'nc% we /hall never,
prick ufelefs notes { but as loon as we perceive that .two notes
re-unlt% and are m unilb% we ought to śeparate the one from
the oder when they are near caclf other, and on the śqme elifl'.
In regards,to the fiftb a loon as'its court ia on the o&ave of
the
c @
C,c baas we .muf acq alFn ia the Ihme m,nner. Ar eqtml ttention
1 r not multip!ying r nr fin-' vithout a caulb, fimdd prevent us
from making pianos as a i),mphony at tile beginning of an air,
and the forte's when it conckdeso F. very xvhere vtl we muft
write them exacqly under tile title violin anti the balk; and thi
is fu,flcient in a partlemon where all the parts can ad ought
make thofi: their grand ohieS.
LaPely, It is the duty of a copier, when 'he svrlresz pavi41tion to
corre all tile faith notes which he may find in the or'iginal.
1 dont mean by falśe notes, the faults of the wok hue th(ib
of the copy whi:h lbrves as it original. The perfeEtion of his
contlPcs in readering faithfully the iTieas of the author; good or
ill that is not Ids-bufinetk,-fince he is neither author or col
reaor but coplet only. It is ve?y true h.t if the author
hy mlitike, placed one note for another, he ot,'ht to corrett it
but f ths fhme author ias throu.l zőnoranc'e, ade an error
in the compofition he fhould leav it.-Let him ,:orrrpoii better
himlblf if he will or can, and well; but whenfever he copies,
he thould have an eye to his m,[gial. We tke by this means,
that it is not fufficicnt tbr a coper to be a good ha;monift
to.undm-Pcand well the compofition hut he fhould, into the bar-
g.;n be well /killed in the different ftyles and be converlhnt
in an autlor by his method to know vhat he has, and what he
has not compof'ed. There is, moreover, a ki_nd of criticilin
neceffary to reftore a naffae by the comparifon of another, to
replace a forte or a dolce where xt las been om:tted, which xs mat
nncommon in tke partitions; even tO dlfunlte alfo phrais im-
ro erl Mined and to rcPtore meafures before eje&ed Know-
I P yJ ' . ' .
ledge and tafte are certainly necelFary to re-cftabhfia a text
its full purity. It may be lhict few copies can pcrforra it
I anśwer thai it is incumbent on all.
Before ! finifh what appertains to thepartitions, I muff fpeak
of the method of colletting the feparatedparts; a laborious talk
fi'om many copiers, -but fimple and eafy when we undertake it
by merhod.Vor this pu..'potb, we muff fi,'t reckon carefully the
meafures in each part, to-htisfy ourfelves that they are co?tee'},
Then we place all the parts one on the other, beginning hy the
bars, and covering it fuccelllvely with the other parts in the lhme
order as they ought to have i, the partition. We cornpole the
columns of as many flares as titere are parts, divide them into
equal meafires thn placing all tittle parts thus ,'anged before
u, on the left hand,,we firit copy the firff line of tile tlrff part
vhich I imagine to he the firff vidlin, make a flight ma,'k with
tile encil at the !ace where we ffob and then continue
ß P ß P. . I . .
be, n_ turned back to the r,ght. We copy m the lame manner
tile rft line of the l?:cond violin, returning to tile firfi wilere-
.9 C O
ever their cearFe is in unif'or!; then maklag a ark as
we change the peceding part to the [']hr, anl proceed ih
ame mnner with aq the parrs one after the other. %Fhen w
re at t]c b, we run over with the eye the whole column
0iforer if the harmony is oo if the whole is in cpncord and
) there are no errors: The 'fir line Bing mad% we take to-
cther all lhe parts wMcl were changed one on the other on
ihe right hand, and xxe once again change thmn n the left;
they are then found in tire fame order )tl jn the fame fituatlon,
as when they began: we then bcgn the fecond column at the
pencil mark; we make another mark 'at the end bf the tcond
line, and we c.otinue as before till the whole is completed. '
I thall have little to thV on .the axeflOod of 3rawing a partligon
into fepaat parts, for ihls is th mo fimple operatiqn of th&
ß are, nd i will b fufficient to make therkbn the foll.6wing
fervat[ons. Fir we mu fo compare the length of the pieces
to what a pge may con[M% as never to be obliged to turn off
, hme piece in inffrumentaI pas; u01eFs there arb a grea
un.berofmeafue?'to reon, whi.ch will"fford time. This
rule obliges us to begin at the page verfo all the pieceb whicli
akes up'bore than a pag% and there are none which fill more
than two. Secondly, the dolce's and the forte's fl{ould be marked
-ith the greateft exa&ncfs on all the parts, even thoe where the
air begins and finics} which are'not ordioarly on the partition.
Thirdly we ought never to divide a mehfure frome Qae line tb
.another, t:t endearour that there flould b always a bar at th
end of tack flare. Fourthly all de additional lin which ex-
eed citcr above or bclow the five of the flay% ould' by no
.means be continued but tEparated at each no% for fear that
the mufician confounding the with th0fe of tJic flay%
be rlcceivcd in his not% and know no longer where'he is. Thi
'rule is not lt neceffaryin the 'partitlonk, and is followed, how-
cvcr by no French copwr. Fifthly, tlie prts of the hautbo
.which arc dravn' 9n 'the parts of tle violi'n for a full band'
Jhould ncx'cr be exa&ly copied as the are'in the original, but,
betides the ektcht which tha't inffrumcnt lias tet than the viollag
]efides hc clolceS which it cannot equally perform betides the
velocity whifih is wanting, :or whfh fits i 'ill in"certan quick
pafqgcs, the force'of the hautboy flould bc managed to mark
ihe princip;d notes better and glvc a grea'ter accent to the 'mufic.
I had to iude'of' the taffe of'a lyre honiff ,thout hearm
lim I vould gve Iron a lefton ol the par. t of the wohn and
]autboy every cople flmuld 'be /killfid in tlio/. Sixtlily,. th
parts of horns and trumpets are ibmctimes pricked on a different
tone fro] the reft of the hir; we muff tranlofc them in rlte
' as they at% we muff
ton or at lcafl, 'if we copy xm jt " i .. .
write
99
rite alove tt'e titles of the true tonic, Cot.hi in D toi, re;
orni in t5 la, f.% &c. &c. ,qeventhly, we mn never vary the
part of fifth, or of the viol from the cleft: of the bars, and its
8\vn, and thereon we ha're another. attention to bellow,' which
i to tranśpoli: to the cleft' of the Vital all the places vhet. cin its
gourfe is with the baf'': we mutt never let the viol riIk above'
the parts of the violin, t that, when th bfs atEends too high,'
we muft n6 take down the otave, Imt the unilbn, lb that
v[ot may never leave that medium which is fuitable to it.
lighthid) , /tie vocal part flo'u!d never he copied lint in parti-
tion with the bat, fo that th fingr may .acccmpany hlml;lf,'
add not have the trouble either to hold his .part in the hand
- 'recko'n' hi's paufcs. In fhe duets and trios} e.sch part ot' the'
air ought: to contain, [)elldes the bars, its counter part, and
When we col˝y a lit[filed rccitativ% we th'ould for each inffru-
/neural pa'r add to' its own: the part of the ai'r, to guide it on
default in the meat;are. Ninflxlv and latk'ly,' in tlx'e vocal parts
We fiuff I careftfi to' unite or difunlte the chords, fo that the
finger may' clearly fee thole which belong to' every f)llable.
The pgfitio, n wh'ich come out of the comp0,rer's hands, are'
ß'ery eqtfi.'vocal in' this ?oin:, .and the finger cannot tell, the'
hief part of tldfi' time, how to render the notes fuitabl to the'
ords; The c9pier,.tkil!'d ifi prośody,' .and wh.o' knBws exacVtly -
l;he accenz 0i e the' w6i'ds and that of the air, defermines the divi-
fion o the n'otes} /nd preven'ts. th doubti of the finger. The
i.ords' fhould be w:itterf exaly finder the notes,' and ve-y cot-
re& in reard fo the accent ahd orthography ;' but' they
have neitlxer 0o's or coht:n&s,' ag' the frequent repe'flrions 'bein*
to irregular, .render a grammatted! pun&uatlon mpoffible;
for th rnufie tffJpfincu.e tl wods; th c6pi'er' has no concern
therein; for this would be an' addition of thole figns which the
3ompofer i' bound[ to: rendei titS!cid. . ß '
ß I will conclude for fear of cariZy'rhg this' artidle to too g'e:t
;i length, I haqe atrfiady tMd too'.much for a good c:opi, who ia
mzenlous. and has a tafte for hs oc upatlon: [ can ncver
nugh fi 6the?. I will onl]b xdd a word in finJibing: Ther[
;ire tvral i'ntermedia'rieg l, etween whht the c0mpo. lir plans' and
what the audience hear. 'Tis the duty of the copcr to cohne&
there two terms aa near as poffible, to mark with pi'ecifibn every
thing which fhould be done, that the mufie When executed may
render to the compofer's ear exalľ what wad plann'd withid
his head at the time of the compofition. '
CORD or CHORD SONOROUS, Is every extended Chord
from whence a tbund can be drawn. For fear of going out of
:my depth on thia articl% I xvill tranti:rib% in par b that of Monf.
Q. 2 1)'Almbert
l)'Alcmlert,. and add nothing more of my own than what has. a
immediate connei'on with tbund and mufic.
"If n extended chord is ruck in ome one of its points by
any power it will dilate ittElf to a certain diance fr6m the
fuation in which it. before rced, it will then return anti
' make vibrations by vlrvue of the elaici.ty which its extenfioa
gives it. lf moreover, the compofi:tion of tlxis chord is na-
' tu.rally elaftic, or futficiently homogenous for ghe three'
' ro tO be commuaicatcd to all its a-rts, it will make a foun
in flaking, and a refoundln will always accompany its vi--
brations. The ge0mctrlcians have dilovered the laws of
' flel vibration% and. mufician th of the founds which re-
e ult fi-om them.
'; I has been' long knowv by experience, and reafonings fool-.
"i enough, tha. t every thing elt bei equal the nmi'e a
' cho was e.xtended fie. quicker were i.ts vibrations; that on
' an equM extortion, the dxords eaufed their vibrations more
lelk.quiek, in proportion-as they we lel or io9ger
"to 3' that he proportlo 9 of [le lengths was always inverth
"to that of the number 'of vibrations. Mr. Taylor, a cele-
"bra;ed Englith geomrician, is the fir who has demonrate
"the law of the vibrations of the chords with any exanef
"in his i:ngynious work, entitled ethodus eremen'torum
"Dire.a & lnvc;-lh, x7 5; and thel time lawvhave bn fince'
,o demont3rated by Mon lean Bernouilll, in the. fecond volume
ot hs 'Icmors ott& .Imperx-al Academy oF Peterturg..
From the %rmta x;-hich relhlts from thet las ad whick
be fnd in fie Encyclopedia, under the article chord, I draw
the three foil?wing roHfies wh[clx ferve as principles tO the
tl,cory of.
I. f two chords of th ihme compofition are equal in len'gth
and thick.neik, the nuufier of their vibrations in equal 'times will.
be as the roots of the umbers, which exl,refs the connci6n of
he extenfiou ot the chords.
I.I. lf. the extensions and leng hs re equal, the numbers.
ribrationes. in equa] tmcs will be in i'nverih p.rOl;orrion
thick.nel 6r d'[a$ctor of tim chords.
ill. If the cxterfions ;end the thickncffes are equal, e num-
ber of vibrations 'in equa'l times will be in .invcrlc prp'td
he .tgtl?. For the under[tandtg hci flxcorcms,. I ouM.
have firit laix 1own as a f]c t'hat the cxtclflon
,i no't red,relented by the extcding wclght% but bV th'e '0ots of
rhte weights; wherelore tc v)atxos bcmg as the ouh
t.)le '6ots of th,: cxtnfims the xcniling ,clght:
C 0 iFOl
From the ws of tle vibrations )f th* cha-ds arc deduccJ
t!:ol ot the'-tb,,nds, which rethlt from thol fa vibrions i.
the fono,'ous chord. The more vlbratio,.s a choM pform
within a given timei the more a,'p are its founds; the lef,
vibrations it forms: the flatter: fo that the tbunds folloving
tween them/Elve% the connions of the vibrations their inter-
x'a} arc cxprefid by the three conne&ions, which labmits the
whole of .he mufic to a calculation.
XVc fze by ?e preceding theorems, that th are three me-
thods of cleangang the found of a chord, i.e. by'changing th
di:maegr; that is he thicknors of the chord, or its length,
k, extenfion. XYhat there alterations produce fcevely on the
fame chord, ma be roduced at once on different chords, b giving'
" . Y t . Y
them dfferent d'egrees of thxcknefs, length or extenfi, Thi-
meth combin is wha is d in neral in the conco and
p!ayin of the harpfichord, the violin tl.e bari, ittar; an
other imilar inrmnents combofed of chords of ffere thick-
helves and 'differently extended which confquenfiy mu have
different tnd.
Moreover, in the one, as the haficho 'there dxor& have
fiifferent length fixed, by the which the s ave varied ain, an
in the oths as :the voh-'n, the chor&, tho' equal.i fied tenth,
are thornened er nhed by the finge of the .plays, at ill
and th fiev i- 'aanced or drawn back on-tl hand,
perform then [he e-of mveable bridges, wh.ich ve to the
chord fhaen by e fiddle ick, as may ffereut ulnds as
tengt.l. .In.regazd to the conne&ion of tim .fs an their
interval% in relation to the lunch of the chords and their vi'br
tions, e Sosn ]NTERv&L
The tbnorous chord, betides the principal fou which
from the whole of its lunch, etnits other ;neca fads te
hnfibte, and thef founds 'm to prove that this chord s
only vibrate in i wlle leng, bu mak, es eh of its allquota
alfb vibrate in arcutar, according to tlm law of their dim-
fionv.. 2:o which I ould add that tbi prpry hich fee,
or ought to.fve us a foundation for all harmoaT, a. which,
many atribue t t. he bnous crd bt to the air which.
his fbund emis is. not particular to' :ehvd o!y, bu may
tbund 'i'n all erous di'es. (Vide Co oa,o.)'
Anot-ber' .aet leih furifi .propriy ef t onou
and which attends on the preceding v a's' that i the ie t.h
i.d it leans lint lig. hfiy and leaves a fitfie.mmunicion
een the vifi. ef .one rt and the ,oeher
f the total fd. 'f o er boh res .e. lar only .t 1 .
The
, The' 6rd choral }s taken figuratively it; compofi'tldn for ,the.
'undamental founds of the mode; and we often call ors
.,
armony thole notes of the bag, which, by layout' of certain
iffonan6es, prdong the phrafe, vary nd incmorate the modu;
latlon.
CO0 S6NORO, By tMs nae i called' every body
.hich'.en'ders or may .immedia.tely render,'a found. It does
not follow from thi definition, that .every inrument of mufic
is a corp0 onoro; thi name' 6fild be gi.Sn only to that
6f the inRrument which founds from itflf, and without which
ihere would be no ound'. hus ifi' a vi6]ificel19, or in a violirf
verF chord is corpd fonoo; but the cai the in'ument,
which only refounds o reflect, th'e ibund is by no means
a'corpo fonoro, neither .does it fffrm a par. .We flaold have'
Ibis article before ui heneYe here is occfi0n o fpek of
o fonoro in tMs .work
CORP OcE, Tile voice l'aas different derces' oF force
s well. a of extent. Th nUmbet7'.of thefe. dgrees whj'ch .eacl
eontain bears the name of corp6 vote, when v.e fpeak of th
% and.olume, when.of exnr; Vide ouxt. .So, from
two founds timilar, and producing (he me found5 that xvhlch
11s the. ear ohge, and is hqard at {le. reaeff diace,
fai to have a greater cor or by, In Italv the chief qua-
!ities tha re fough for in voices, are juanelk and flexibility)'
But in France, ,th corpo ve is thc grand aim. .
CORPHA, He who concluded the band in the, Greclan
enteaimnents,' and beat the time in fieir muc.' ('(de T )
COUNTER FUGUE, A kind of fugue whole h:ei'on
ppofite to flaat 0f another fugue, which h 'bcen betre'a-
btied' in the fame piece,' So' when the'fugue is hea by af-'
ß nding frm the tonic to.fle dminn, or. from the donilnant
,o the tonic, the counter fugue' ould be leard b efcending-
from the dominant to the tohic s' or fi-om the tonic to the domi-
nant, and vice vetlb. In' other part}nlars, .there rule are en-
tirely timilar to tlotb of the fugue. fVide Fuoue.)
COUNTE R HAMON.IC] The'name of a kind of propor-.
ß tion'.. (Vide Paovou'r[o.)
COUNTE PART, This term is ufed in muff% only to
fignify one of the two parts of a duet confidered eladvel 7 with
the other.
. COUNTER POINT This is nearly.the time thing with
compoflton hnlefi that compofition may be thid of airs, and of
.:a tingle part; and ounter-poin t is laid. r harmoxy, ony and of
;a comlmfiton of.txo or more diffqret .art$.
Thi
C 0
This term of couter-point is dcri'ed from wtat in ancient
.tinms the notes or figns of founds were with fimple points, aneI
)rt compofin there with many parts, there poi0t were place&
ever each other, or oppfite.
At pretknt, the name of counter-point is efpecially aptlied te
lhc parts added on a given ful, jeO, taken ordinarily front the
mufic of the church,. The thbje& may be in tenor, or fom˝
bthcr fulerior part; and in that care we tay hat th& counter-
point is below the thbje&; but it is generally in th bat, whiclt
places the t'uhie& below the countm'-point. When the.cb. uner2
point is fytlablc, or note ppon note, it is called fimpl 9oUnterv
point; figured counter-point when there are found differen.t
gures or po'eri of the notes, and when there are formed defigns
fugues, or imitations. We eatly fee that this cannot be'done
but by affiftance of the meafure, and that this church melody
then becomes a true mufic. dk compofiti.on formed and inffantlr
xecuted, without preparation, on a given śubje, is called al
niL' at fight, becaufe then each one eompofes extempore his part
hntt his air on tle book of the choir.
COLINTEI TEMS, A incalure in counter-time is that
in which we baufe on a wak time, and flide over in a frrong,
hnd in whlcl 3 the 'air feems to' be in contrary śenfe with th
.'meafue.' '
COU'NTTEI TENOR, That of the four parts of
yehich beiongs to the tllrilleff and cteareq/ voices of men, in op2
p_ofition to the qoanter bars, which is for the deepeft and moil:
flat. '(Vide Par's.) ....
In the Italian mufic, this part which they call contr 'alto, and
which anB, ves'to the fio'unt'er-tenor, is al'mofr always funblr
ß ihe upper baśs'whdthei-'of wom/m or of:caffratos. In e'e&
the counter-tenor is by' no means natural for a mans voice,
inufr be oi'ced to bdrii'ed to 'that diapafon and whatever we
do, it'has alwhys a'iharnnefs, and feldom amr juftlaefs.
ß COLrblTRt ' DAN(2E,' The air of a kfnd of dance which
bears the fathe name; xChlch is performed by 4, 6, or $ perfons
[and which 'is genei'all danded /t'k Ball /ftBr the minuets, as
Being the moff lively and entertaining of any thing of the kind2
'l'he tunes 'of the' c'ountry dahces are commonly' of two times
they flloiald be full cadenced pleating and gay; and frill have
great deal 'of fimp!iEity'; fr 'as /hey are often 're-performed,
they would be 'difguftifig if of a heavy compofitiBn. -The molt
mple things in every kind are always thol"of Which we are
!alt tired.' ...... ' "ß ' ' '
: COUPLET, name given in country ballads and other
longs to that part of the poetry Which in odes is colled ffrophe.
s all couplets are compotizd in the'fame meafure of verl ther
ß .o C 0
re aIśo lung o the f,ne ah', 'which is often the ca,are of
fieflag the accent and profody, becaufe two French vcrtEs are
not lefs in the fame mcaihr% though the long and ort may not
be n tle fitme places.
. COUPLETS, l llt% thid of the double and variatlon which
are made in the fame air, lay taking it up fevera! times xvith fre
changes but atwavs without disfigurln the foundation of the
air, as in the Spaiith airs and nnti[nt chcons. Every time that
an air is taken up with a different variation a fi-el] couplet
mubemade. (VideVXarTIos.)
COURANT, An air npp,-opriated to a kind of dance which
Ins the fitme name, on account of the goings in and out with
which it is filled more than any other. This air is generally of
a three fiat timed incalure, and'is marked in a triple of mi,ums
with two renewals. It is no longer u&d any more than the dance
which bears its name.
COURONNE, A kind of C contrary ways, with a dot
the middle, which is formed thus m.
IVhen the couronne, which is aItb called the gn'of a paufe, is at
nce on all te parts of the corrcfponding note, it is the riga of
a general op; the meafure ould be fucnded there, and we
may even rometimes fiiifll by this note. In general, theyrinci-
pal part therein makes at xvitl rome paage xvhicb the talians
call cadenza, whil all the rc prolong and ain the found
which is for down for them, or even make an entire paufc,
But if the couronne is on the final note of a tingle part, then
it is called point d'orgu% and denote% that the tbund of that
note mu be continued until the oter pas reach their natural
tonclufion. It is ufed alfo in canons, to fpeeify the place where
all e arts ma fini when the draw near a eonetufion. (Vid,
P Y. Y
es, C.o, c. &c.)
' CROME This Italian pIurat 5gniffes deml-crotchets.
ths word is found vrittcn under crotchets orminmns it fignfies
lhe game as the parcnthes would and denote% that each noe
pu be divided into demi-crotchets, according to its powers.
COUE NOTE xk name given in dcrifion to thole filly
uian% wh% vcrfed in the combination of note% and capable
0fpcrforming the mo d[cult compofitions at'fight s execute
general without fcntlme0t, without cxprcon, and without tac,
A croquc ffol rendering rather th founds than th phrat% reads
the mob encrgc muff% without the Ica comprehonfio% as
fhool maer would read a maer piece of oloquenc% written
his own language s in a language of which he had no kleas.
COTCHET,
i2ii. OTci-iET, a note of mufic which is forlned thus , or
-
thus , and which is eqttal to wo delni-crotchets or the half of
n minun'i. In Our ancient mufic they made ufe of feveral forts
of crotchets: crotchet with a tail, flua.-e crotchdis, and Crbtchets
in a lozenge. Thefd two lait lbrts con6nue ih churcJt
mufic, but in Ours we only ui the crotchet with a tail. (Vide
low. of the NOTES.)
CKOCHET DEMI, A note in xnufi which is equal in
ration to the fourth of a rainurn only, or the half of a crotchet.
Eight demi-crotchets. are contqucntly necefiCary for a śemi-breve,
or a four timed ineafire.
We may here te the form of the dcmi-crotcheb whether
alone, or hng alone on a ľ11ablc; whether united witlt others
when we pals over many at the faro6 tire in playing, or on tho
.three fyllable in tinging. They are generally united by four
'ha a fotif or a two timed mea/ure; by threes in the fix or eigh
timed menlures, according to the divifioi of the time; and b3r
fixes in a third timed fneafure according, to tlie divifion of tke
meafrcsCo, .E s I'o :olg T,
Ei'O'DER N P'OW:E
A' Seraibreve. is eqxa!
_ to two Minums. -
or to four Crotchets.
or to eight O,,gavers.
or to Semiquavers.
Or to thirty-two em-Icmquavers,
Kt' of f6ur,Mea-
fures o Bars.
I-R' of two Mea-
lores or Bars.
Ki:ff ,cqual to Meafure or Bar.
ldt:equal to a Minum.
equal to a Crotchet.
ReR equal to a Q.9aver,
Reft cqual to 'a Semi-quaver.
Re equal to a Derai-femkluaver,
CRO.VDED, 'crowded genus, ,ruxvdr, is aceerdlng
glcfinJtion of Ariffoxens, that wherein in ev :erach, t-
(urn the two fi laterals is' let, than the' ird. For
leafoff, :the haic kind i cr'aufe the two fi
terval% which a each %uar tone fo no more than
femi-one tyth, afm 'mfi lets than' the third inte
which is a major thiM. TI 'hromafic i al of the m
$ind, for there two fir inteal form bat one tone,
han the minor third which follows. But the diatonic
means cro{vded, fince its two fir ifitrrvals fo a ...
half, a rum greater than the tone which follows. -(eG
TE'rACHOD.) "
From ths term xq. as radlcal am om the'word
fipycni, Barypicni, Mefopvcnl, Oxvpycni, each of which arti-
cles will be found in iys pllce. Thi determintion [i"h long
in ufo in the modern mufic.
TO CYPHER, Is writing on tLe notes of t bats, cvpe
or other charaOers, denoting tte concords that the gores lh
l)ear, to terre as a guide t0 the accompaBiff. (Vi(
oco.) -
CYPHEKS, Charaers which are place4 abav.e ov t
notes of. the bafs t' deno[e the oncord
bear. ' Though amon theCe'char&ers there a many
are not cvphers, this name has been generally to them
educe that S I? fart qf fis which x mo c7 preft
O OUr
' As everv'concord ls cornpored of many l' if it had bee
neceffary o epre each of there ff0hnds b y 'phr, 'th
phers would have been f .multipli nd confuf that'e c-
ompaniff could never haye'fnd to read hem at' e
ant of the execution. Applletion hl therefore b mde
much as poble to charaderise each concord by a cypr,
that ths cy'pher may fuce t fpecify, 'in relation to the baf,
he natur '9[ the concord, an c0$fequently a the found which
Zre to compote it. q'here is eve a concot4 which is cyphere4
wthout a cypher; for, accordm a to th precfion of the cypher{,
4vrv note which is' not cyphred eithe beard'no concord, od
he'p'erfe chozd. ' " .........
The cyher wluch denotes each cocord r xs generally that
hich ahfers' t0 th'e name Of th'e concord; wheyefore the
ord of txe fecond is cvphered by z, [he feventh by 7 and the
fixth bv 6, &c. &c. .I here are concords which bear a double
ame, and whtch are alto exreffe by a double cypher, fch are
the concords. of fixth furt[3 kth filth, of fcvcntb md fixth,
&c. ' Sometimes'even thrde ar placed, whlch afions ihat
'ovefincc which we'woutd with to avoid, but a the comic-
4i.tion of cyphe/-s is derived from time and /:hanee', :itge/'
from reflexing ttudv, it iS not itran_-e that it is not fi-ee fro m
fault and. contadin.
'I, have compfed a table 6f all tli6 cyphers p'ra&id in the
' accmpanienti in which it mu be 0'hlfvedi thae there are
' /many conrds which. are differently cyphered in different coun-
fies of i the kme country by different autlors, and eve fome-
nting. .he Ihme I have-glve the' various metho'ds, that
every e y chufe wh'at appear cleare to hhntblf for cyx
' h'. and occompanying, c0nne& each cypher to the fuitab}e
e6rd,. aeeOding to the meth of the amhor'a cyFheri .
GENERAL TABLE
,. CYP'RS of the ACCOmPANIMEnt.
, B, An e a added to e wMch ae'e mo uf
pfea in Frmcea
Cyphers: 'Names of Concords.
l'erfe& Cřncord,
Idem.
Ide m.
Idem'.
Idem
. Perśe'& Concord.,
Third Minor.
Idem.
PerfeE Concord
Major Tlfird.
Idem.
Idem.
Idem.
Perfee'l: Concord
Natural Third,
Cyphcrs. Names of Concor&a
J 3 ß Idem;
. . Idem
3 } ' ' Concord; of Sixtl.
6., . Idern.
Th different Sixtli
in this Concoed arO
marked accidimtallf
vkitli the Cypher, a
e Third' in the
bneo' of
'} ' Fourth
6... Idem.
. ConcoraofSwnh.
,; ....
y plc rs.
c
Names of Concords.
Idcm;
Idclllo
ldem.
Seventh vitli
Major Third;
4Vith minor TMrel.
,Vith natural Third.
Concord -of Nlinor
Sere nth.
'Idem.
Coacord: of Major
Seventh.
Idem
Of natural Seventh.
dem.
$ev.enth '.with śalfe
Fifth.
Idem,
DimLuifhcd $crenth;:
Idem
Idem
.idem,
; Idema
Iderth
Idem,
Idema
&ca
Su'perfluou rerlflt,
idern.
Idema
Idcm
Y
Cyphcrs. Names of Concord..
7& 1
4
'7]
6_ /
x
,4? ..
x7'!
6 ,.
4.,/
Idem.
Idem.
cede.
Superfluous Seventh,
witIx m.inor Si'x!i.
Ideln.
Idem.
Idem,
c.
'Seventh and Second.
Greater. Sixth.
Idem.
Falfe Fifth.
Idem.
Idem
.Ideni;
Falfe Fiftk and majo'
SixtJ.
Idem.
Idemi
Smaller
Idem.
Idcma
Cyphers. Names of Concords.
6 . . ldem.
x6 . . Jdem major.
4 ' . 'Idem.
3J
&e.
xfl Slnalle˝ śuperfluous
Sixth.
x6q
4 > Idem.
X6 ß . Idem.
5 Idem with the Fifth.
$J
x6
.5 ) ' Iderm
46. Smaller'Sixth, 'with
fuperfluous Fourth.
3J
x, . . Idem.'
x 4 } . tdern.
x4 I ß Idem.
3J
z - - Concord of the Se-
COlid.
4 } . Idem.
$ } . Second and Fifth.
6 ß Triton.
4
6 } . Idem. '
Cyphers. Names Of Concords.
} . Idem;
Idem;
4 Idcm.
x} Idcm.
4x . . Idem.
x4 Idem.
$ . Idem.
4x}. 'l'riton with minor
3 Third.
.
ß . Idem.
...x 4 . Idem.
x2 . Sup˝,'ttuo/s Second.
x4' . Idem.
.X2
. Idem.
&c.
9 ß ' Concord of the Ninth.
9 } Ninth with Sevent][.
ß 4 ß ß Foui'th or Eleventh.':
54} . ldem.
Cyphers. Names of Concords.
:4} . Fourth aud Ninth.
9
-4 } . Seventh and Fourth.
7
.sx 5 Superfluous Fifth.
5x . Idem.
x95 } . Idem.
xit . Idem.
Cyphers. ]Names of Concords.
Superfluous Fifth and
Fourth.
Seventh and Sixth.
Ninth and Sixthř
End of the Table of Cyphers.
Some authors had introduced a curlorn of covering with a
Rroke, all the notes of the bat which puffed under the fame
concord: In this manner, the pleating cantatas of Monf. Cle-
rambault are cyphered, but .this invention was of too much uti-
Ety to continue; it fhewed alFo too clearly to the.eye, all the
fyncopes of harmony. At pretent, when the Fame concord is
fuRained on four different notes of the bars, there. a're four dif-
ferent cy hers which they are obliged to bear, fo that the ac-
companiR, led into an error, s haienmg even to feek the con-
cord which he has under his hand. But it is the fa/hion in France
to load the bafs with a confufion of ufelefs cyphers; every thin
is cyphered, even to tile mof evident concords: antl he who '
placs the greatef number of cyphers is rc'ekoned 'the mope inge. nious. A bafs thus confufed with trivial cyphers retards he
accompanifc, and often makes him negle& the neccffary cyphers.
The author I think mu thppoth that the accompani
knows the elements of accompaniment that he knows how to
place a fixth on a mediant; a falfe fiftl on a fcnfible not% a
iventh on a domiant &c, he ould not therefire cypher
there evident concord% unlel that it be neccflhry to announce
a than e of the tone The c phers are made only to determine
the choice of the 11arony m dbous cales or the choice of
founds in the concords WhicI ought not to be filled: otherwit
it is very well to have eyphered ballks for IHxolars only. Cyphers
mu e' them the'ap 'llcation of the rules; as for tl;e macrs,
Is !ufficaent tO fpecffy the exceptions.
S , Mon;
IonC. Rame'au, in t/is D'itTerttn or l;e dfFe:-eht l6timdv,-
Of Accomlaniment , hffs clilkavered a' fimnbcr of' faults i the
eab:ifhetl cyphers.He has flewn, that they are too
and. moreover, infifficicnt, oblkur% and equivocal; hat
mItiply concords uthieffiy nd that riley ditkover no kind
2MI tllefe errors cme.from 1ia'ing'b0ffn' defirous of connc&]n
the cyphers to the arbitrary notes of the thorough batrs,
of conngOng them immediately to the ftmdamcntal' htymony.
The thorough bars forms, x4ifiodt a doubt, a part of the har-
mony, but not the foundation: this harmony is in,lepcndenr' of
the notes of tlm bafs and has itg determined progrelk; to xvhicl'
the bars itfelf ought o fuje& its dire&ion. By making the
concords and cvphers, which vary the m from the notes of the
bari and their' irent d'ireibns, aleprudent, we ficw only the
combinations of the har$ony }nead of their bars; we inhnitel 7
nultiply the fame number of fundamental concords, aid bll.gei
i'h tbme reVg;, the' accmfipihi to 1of figlii of t}:c tre har-
monic fuccetfion eery inant." ' '. .
Afi havihg ad tbe x'aelient 0bfeations' on fife 'eeha-
ifm of tfi'fingar in prff/flna th aac6man'iment; . Rmeau
Opofes fuitutmg ore fimle cyphers in th'e place of Ours,
ch render ths accompammegt mdeuknr of the thorough
15af; fo thfft, without any attenron to th.bafs, and e'ven 'with-
oat tng it,. e could aopa on the ˝ypherS alone wkl
more precifion tlifi b t me-'th.' aBlie-wih [1 c6ncur2
nee of th baf and phefs; '" "
All thff' cvphrS' ˝ntad M6fi. Rfim'u 0chore two
th'ihg. .' Thb' hxefi hhrmony ifi p'e;fc'& cneVds,
vhch haxe no oer necearv fucc6on,- but which-alway coh-
itate the tone. 2ally'. The h.a'mo (eofi ddte'rmin'ed By
th'e regular dire&ion of ihe nger'.in tli-d/ff0nanes.
All ihls is done' by 'incaaft 0f' fven dyptie only. I.-One'
letter of the gamut dnotes the tone; ihe ionic, and its c0'ncord.
1 we pars from a pkfd&:concord to'agothgr the' true is changed;
a new le{ter' is thn' m'de' fi 6f. II.': TO p'fs fi.om the toni'e
to a different cpneOrd , "Mall "Rmeaa a'l: but' fix me{h0ds,
to each of which he affigns- a pifiar chinair, tlit is tb
. An X for tti fehfiBI"codra; 'roy th& dimini'ed
t is hfficient t0 add a' B' flat 'und thay x. '
. A for the coilcord of ihe Fecond. in ih6
3. A 7 fdr the con6rd of the'fevenih.'
4. This abbreviation ffj for tlie gxih add0d
5. There two cyphers relative to ttils mnlc r the ConCOrd'
. .
whicl!
'vhlch h calls of third-fourth, and which anfwers to th,e concord
of the ninth on the fecond note.
6. Laftly, this cypher 4 for the concord of fourth and fifth
on the. dominant.'
IIt. P/diffonitnt 'accord ii fol16wed by a perle&' concord,. or
another diffonal,t accord: In the fir care,- the concord is Ipeci-
fled by a letter; the tcond is applied to the mechanifm Of the,
Snge,-s. ' 'Tis one, two .or three fingers which ought to defcend
liatonically.
Thii i fiiewn By ai' many points, one on the o{her,. as. the
number of fingers which fhould defcend. The digfi's or B's ilar.
which fhoutd be made are.known b.y. the tone, or fubfti.tuted in;.
the cyphers .corrConderit to the potnts; or in.deed, in th.e chro-
matic 6r h.rmonic they are fpecified by a fmall line inclining
its dercent or afi:ent, after thk: riga of a known note, to denot
that ie thould' def6end or rife a tm.itone. By this means tile
whole is foretEen, and this fmall number o fign.s is fufficient to-
.e'xprefs fhe fineft: harm6ny potfible. . :
It is' eafily fern, iha we muft here fuppofe every dilTonanee to
be prevented' in defcending; for if there _were any.w.lich could:.
.Be i;˝evted iti afeeneling if there Were afeendaht dir'&ioia$ oś
the 'fingers 'n di.ffonant accordss the points of M. Rameau conkl,
not anfwer their purpofe.
ß FIor 'tim'pie 'foevet'this method 'may bes how faVourable
ever for 'px&iee.'it has had no fuccefs It might .perhaps b.
tloug-he; that onf. Rameau's' .cyphers corre&ed .one error orily
to' fu'bfi:i'tute atiother } for if he.fimplifies the figns and diminifhe-
the fiurnber of c6ncordi he not only does not exprefs the true.
fundamental' haxony, buti moreover, he makes thole figns fo
.much' depnden on ea'ch other, that if we fllould cleaner to
or lore ourfelves a moment, to take perliaps one finger for .ano, thor, xve a/e irie'6verably lmřc; the points are no' longer
/?cant, an'd there ? more rOOm for entering.upon a frefft perle&'
concord. But with fo many preferable reafon, fhould there not
be other obji&ions to eauir M. Rameau's method to be 3eje&ed ?
It was new; it was,propofed by a man whole abilitle were.fu,-
perior tO tliofe of al!,lfis r'al; :hia was the cauf˝ of itu
( )
De
D This letter in 'French mufic fignifies the fame thine as
,, ;n the Itahan; that ,s to tay, Sweet. The Irahans uśe
it alfo śometimes jot the term dolce, and this word dolce is not
only an oppofition to forte, but to rude alib.
Y). C. Vide D
ß D LA RE, D.SOL RE, or timply D, The fecond note
of the natural or diatonic gamut, which is indifferently called
Re. (Vide GAVT.)
DA CAPO, There two Italian words are frequently ß found
written at the end of airs in rondeau, rometimes at full length,
and often abridged by' there txvo l.tters D._C. They fpecify
that when the 'cond part of the air iu finifhed, we muff: take
up' the beginning as far as the final point. Now and then we
mule not return to the beginning entirely, but to a fpecifiecl
place. In that caśe, infOcad of the words I)a Capo, we find
theśe written, ill Segno.
DACTYLIC, A name given in ancient mufie to that kind of
ľhyme whol meafure was divided into two equal times. (Vide
ß A I/nd of ode, 4vherein this rhyme was frequently uśed, was
alśo. fliled da&ylic; fUch as tile Harmathian an&Orthian odes.
ß Julius Pollihs feems to make. a doubt whether the da&ylic
was a kind of infrument or an air, a doubt, whi h :is however
'oanfirmed by what -&riides Qgintilian fays of it in his tcond
hook; and which cannot be reśolved but.by śuppoting that the
word da&ylic fignified, at the fame time, an inftrument and an
air, as feveral words with us.
ß DE2AMERIDE$, The name of one of .the elements in
Monf. Sauveur, s Syftem, which may be feen in the Memoirs of
the Academy of Sciences, A.D. 7oL . .
To form a general fyffem, which might afford the beff tempe-
rament, and '6e .adjuffed to every fyffem, this author, after
Iraring divided tke oEtave into.43 part% which he calls meridcs
and lhb-divided each mende into 7 part Called Ep!;ameride%
ß divides again each cptanleride into two other parts, to which he
gives the name of dec;meride. The o&ave is by this means
divided into 3oio parts s by' the which we may exprefs, without
.any perceptible error, hľ ˝onnettion$ of all the ,intervals in
mufic.This word is formed from In, ter and /*p'c a part.
]3ASH, A term in church-mufic, denoting the pfalm, or
pfalmody of a platre, or rome Raves of the pfalm, drawn and
}.enthcned on a mournful: ai b fubffituted on tbme occafion in
D E
lleu o' the ioyos airs ol the Hallelujah, &c. &c. An air with
dafhes lhot{ld be compośed in the li:dond or eighth tone. The
reit are not fultable to it.
DASH TRACTUS, Is alfo the name of an ancient figure
oś a note, called atfo Plica.
DECLAMATION, In rantic, is tile art oś rendering
grammatical and oratorical accent, by tile inflexions and number
of tile melody. (Vide ACCENT, ].1'2C ITATIVEo)
DEDUT'f'IONE, A colleCtion.of notes atEending diatoni-
cally, or by conjoint degrees. Tills term is in uśe only in
church mufic.
DEGREE, The difference of pofition or elevation which
found between two notes placed in the time dire&ion. On the
fame line, or in the fame fpace, tlxey are in the fame degre%
and they would be fo itill, though one oś the two be raid
lowered a imi-tone by a dieils or B flat. On tile contrary, they
might be in unifon, though placed on different degrees; as the
at B flat, and the fi natural ;. the fa dieils, and the foi B .flat;.
7[ś two notes follow each other diatonically, śo that one being
on a line, the other is in the adjoining iaace the interval is
one degree; of two, if they are m a third; of three, if in
fourth; of feven, if in the oCtave', &c.
Thus, by taking away one of'the number expreffed by th
name of the interval, we always'have the number of the diao
tonic degrees, which feparate the two notes.
There diatonic degrees, or degrees timply, are alfo called con-
'oint de,,rees in o ofition to dis'oint de ree% xthich are tom
J , PP .J ß g . -
ofed of man derees con'oined. For inftance, the. interval of
p , y J . . .
the fccond is a conjoin'd de.g.ree; but that of the third is
joint, compośed of two conjoint dearres; and in the fame manner
with the reft. (Vide CozJOln'r'Dts$otNW, I'TERVa. L.)
DEMI JEU, A DEMI .JEU, or timply A DEMI, A
term of inftrnmentaI mufic, which anfwers to the Italian lotto
voce, or mezza voce, or mezzo forte, and which-˝xpreffes a
method of playing which holds. a medium between the forś˝
and dolce,
DEMI' MEASURE, /.ace of time which equals the du-
ration of a meafure. There are properly demi-meathres in thoś˝
menlures only whole times are in equal number; for in a three-
timed menlure, the tirff demi-,tneafure begins with a temp
forte, and the .fecond in contrary time, which render .them
ncqual. '
DEMI MINtME REST, A character of mufic denoting;
a iilence, the duration of which is equal to.that of a demi2
:rotchet or e half of a minime. '
DEMI
]E-1VII 'P},USE, A CIaraEfer of muqc; which expreffcc,
tilence whole durtlon fiould be,.equ.41 to tha.t of a .four-thnct
demi-meafure, or of a rainurn. As ilere are mehf'rs 6f differenl
o(rs i and as tlt of the' dei;paufe lias i6 a?iai, it
equal to the lalf of a mefure only vlmn .the efttire eahrc
equal' to a tmi2breve, 'flxe diffe?enae of th entire paufe exceptecll
vhich is ahvay, exa&ly equM .t6 a mafure, great 0r finall.
(ide Pusr.,) '
ß EMI TIME, poiver .;vhlch is 0f.exa duration witli
e half a zhne. ;VhgI liave id{.in .rgqrd .to time, mu
be pplied to the detni-tiin, when I fpoke of tle demi-mealbrd
in ?egard tq menlure. ' ' ' '
DEMI OE 'n inter, al of ufic, .fieafl'v ual.to the
alf of a.tone and which is more commo'aly fiiled femi-tone
' O ,DESCEND, Is to I0er,the voce.vocem retter
to make,the fodnds rueteed from arp to ,fiat, or from high-to
0, This i prefented m t-e7e.b. our thod o[ pileking
the notes.
ß DESiGN,' 'is t invention raft' .coudu of a fubje the dip
pofition of eh pam and the .g{ral dire&ion. of. tlg.
It t .fufficient. . mpofe beautiful airs'.anff. a .pleating
harmony. All is mu be con[aed by a ?ripal fabj,
fich' ll .t parts 'of the ork _mu be conned d
h-it .m;y bmme one.. T.s: uy od. rea in ever}-
air, in the movement the er, . bartony, .and modu-
h -unites. it. '.The diu7. is to unite -t precepts vith
.' elegni iety,.withour hmlb .th'. whe baoCes. fatiguing,
'ildfs .fie mufician .as.11 as [lm .poet and-painter darea
evy'thing:in :fvour of t. his .ming,rty, rovided thae
under:preSet ocontraing; e lmVe.t,.-for/a wd:condu&
attev. pces tlm cmnam uf,'WhJch.me a.cmipe oppo=
Serpentes avibus geminentur tigribus gn...' .....
Orpheus, his Serra Padrona) n three different kinds, nee thre(
,Whis; iof.tEe geratfftx f. a .work is ao paratel
ß ffve).ieq to each par b w)fich m8 &, So...dg- .air
D I
a dtln t:ioi &c. &c. For this pm'paFe after having fixed on a
ti, bi˝O , wc lay ir eur according ro the rules efa good modula-
tion into every part wherein ir flmuld beextcndcd, with lb
a a proportlon as not to be effaced from the mind of the
tliencc, and ill never to preln[ ittlf to their ear but wid all
the graceful beautlcs of novelty'. 'Tis a fault h the defign to
tffer the lhbjee to be forgotren and a much greater to continue
It 611 it becomes di(nJng.
TO DESIGN, To form the defign of a piece or an air in
mufic. (Vide Dasxs.) ' Such a cornpolar dctigns his works
ill." ' This choir is ockingly defigned."
DESCANT, An ancient term, by which was fpecified what
has been fince called counter point. (Vide Cov,z
DESK, A ru&ure in the choir on which were placed the
mufic books in the catboric churches.
DETACHED. ufed fubantively, A kind of exe6ution,
Which, in'cad 0f fuaining the notes in the duration of their
wlmte power% we feparate them by filences taken on the
powers. The Derarc,d, entirely dry and ort, i marked on the
notes by lengthened points. ,
DI ACOMMATIC nm given by Mon Serre to a ina
of tburth genus i which cOnfis in certain harmonic tfanfitlos,
by wlficli the three note continuing apparently on the fame alex
gree, arcends or fMls a comma in paffing fern on'e concord
hnother with which we feem to form an uni;
For innc% on this paffage he f f re in th major
mode of ut the 1 major third of th fir note remain to
c cc fi o c; ocoYc C tmc (' Ot c o c
8o 8x
hot la but la whef t muffclan * une the la ould
8o 8
naturally give it the two conrelative it0'ation la I% whic
differ a comma.
In th fame mannr i ad ir Ca!l la Folle d'Efpagne,
the third time of the third meafum one mu imagine hat
lonlc re arccads a comma to form th fecond re of the major
mode of ut which i explained in the following mealhm and
found lddenly condaed by .this mufieal paralogifm and doubl
ufe of the re.
We tour obrve, that to pals brill from th minor
of la to that of ut major the concord f diminilhd feventh
ehaflged fol difis r%. fa, idto tile eOnco ot the timpie
enth, t fi r ', The chromatic movement of the fdl diefi
in oppofifi0n to th turl for, i mu the. moR fgu1% but
that is not the only one. The re arcends alfo by a diaccmmafle
movement from re to re tho' te notes fuppofcs it permanent on
the time degree.
We may find a great number of examples of this dicommat
genus, pa'ticularly when the modulation paffe ftJenly
the major to the inor, or the minor to the m]or: It is chicfly
in khe aages, adds Monf. Brre, that excelteng maers, tho'
principahy uJt!ed by Jkntimenr, make ufe of this kind of tran-
fition, tb neceffary to give the modulation an appearance of in-
decifion, xvhofe d'ffes the ear and entimnr often approve as
they are by no means equivocal.
DIACOUSTiC, Is a feareh for the proprieties of a lbund,
broken by pa,g actors different middles i.e. from a condent
to a more ratified, and fo vice verfa. A vifual rays dirc
more eafily than founds by lines on certain ints, ib the expe-
rience of the diacouffic is infinitely more dicult than that of
the dioptrlc.
This word is formed fi'm the Greek d through, &
to hear. (Vide'Sov.) '
DIAGRAM, This was, in the ancient mufic, the table or
model which prefented t the eye general extent of all tho
bunds of a fyffem, and what we call at prffent Seal% Gamut
Ke. .(Vide_ thole words.)
DIALOGUE, A compofitlon for two voids or inffruments,
which anfwer to each other, and often keunite. The greateft
-part ofLenes in an opera, are in his tent dialoes, and the
]alian duo's are fo always; but this word is more particutarlz
applied to the organ, 'Tis oh tiiis inUent that an organJt
?lays dialogues, by anfwering in different tunes, or on did%rent
DIAPASON, k term in ancient muff% by which the Greeks
exlrcffed the interval or c0nf0nance of the oavc. (Vide
The mufical inffment-makers calI at pfent, diapafo
Certain tables, h(rein a narked the meafus of thclL inrud
ments and of all .[heir parts.
We call alfo tiapafon, a thltabte extent for a voice or an i0-
rumen. Vhcrf6re when a voi'6e ts tkd r gcat helght
We fay3 thak it gs out of the diapafon xtd e lay the three
' of an iirumen5 Wlk'ol chords a.e .too I'E. r (ight, wlfich
render but a little found or a found .very difagree3% bauk
'its .one is ithet t'o high 6r oo loW,,
' 'Fhis wo?d is oVmed fi'om g ththgli, a,d , all, becaufe
'the o&Ve comp'eelmt ll the mie 'of the perfe fyffeln.
'. DIAPEN]'E, fie Ve by the Gek to tlt interval
' - ............... . wlfictI
which we now call Fifth, and which is the/ecaJ of 'the
nantes. (VideCosocn, Irv,
This word is fmed from d, by and I, five, caufe by
going through this interval diatonically, e find five different
foun)s pronounced.
DIAPENTISSARE, A barbarous word ufed by Muris and
other ancient muffclans.
It was a method of proedlng in the efcan or counter-point
by fifths rather than fouhs, 'Muris dits eXtendrely on the
proper art, and convenient rules for this branch.
DIAPHONY A name given by the Greeks to every inter-
val or diffonance, beeaufe the two founds contradi&ing each
other mutually, are divided and make their difference appear
very dithgreeably.
Guy Areti. n. givea alfo the name of diaphony to what has been
fince called detant, on account o the two parts Which are
thcrei n dii ngui%ed.
DIAPTOSE Ah inter-eadence0r leWer fall. ,Tis in church-
mufic a kind of Perielefis or paWage which. is foed the
la note of an air, generally fter a greter interval in arcending.
In that care, to ertify the junefi of this finat% it is twice
marked, by feparating that repetition by a third ho.which
lowered by a deg) after the method of a fenfible note
tt fi ut or mi re m.
DIASCHISMA, Is, in ancient muc, an interval forming
the half o a minor .fetal-tone. The reference 'is from 4 to
2'
'V 6oo and confequently irrational. " '
DIASTEME, Thi word, in ahclent muflc, gnifies properly
inrerval and is the name given by the Greeks to the fimple in-
trval in 0ppofition to the c6munded ihterval w. hich is call
f)t. (ide Iv, Ssr.)' '
])IATESSARON, A nmne given by the Greeks to the
tcrval which we call Four/h, and which]s the Third of the con-
DIATESSERONARE, Was, among our ancient muffclans,
a method of proceedfog in 'the dercant or counterpoint , rather by
fourths than fifths.
The woid is compounded o $g, by, and p;, four,
caute in going diatonically Over the'interval, we pronounce four
different tbunds. -.
DIATONIC, The diat0nieeenus is that of the three which
proceeds by major tones aloft fimi-tones, aec0ing to the
$mtural divitiqn of tl' gamut; that i, that who leaff interval
is of a conjoint degree, which doe not prevent the parts from
proceeding' by great=r intervals lwovided tlxe are all taken on
diatonic degrees.
T 2 This
This wo.rd. is. deried from the Greek Jd, by and 00;
tone; at is, .pang from one tone to another.
Th diatonic genus of the Grecs re&Red from one of' th
three principal ru[s which were eftabilled tbr the concordanc
of tlx te'achords.Tis Renus was divided in many different
kinds, aording to the ifferent connion, into which the
]hterval butd be divid which' determined thqm, as this interval
could not be confined below a certain point ithout changing its
genus. Thffe different variations from the lime genus were called
Zfbd; coiohrs, by Ptolemy, who diinguies tix of them, but
file only one ufed in pra&ice, was that called diatonic-&ton{c
whole tetrachord was compolhd of a weak thmi'tone d of two
m4or tones. riffoxenes divides this true genus into only two
kinds, viz. the tender or flat diatonic, anti rife tffnic or l%arp
This latter anfwers to the ditonic of Ptolemy, (Vide
gneons of one wi the oer.)
Accordg to Afioenes.
ß he tehord being fuppofed divided into 6 equM pas,
Tender or Flat -.. x2 & t8 3o 6o.
SticorShn .... q 4 + 4
t , 8 + 8 + 44 ' 6o.
emlolian 9 + 9 + 4 x 6o.
ß Tonic +' t &-6 60
N H A R O N
5 + 6 + 4s 6o,
cc0rdlng 0 Pley.
tetmord being rcprl'nted by the efetece f it
tes.
D I A T 0 I .
9 9' 4
a43 8 8
g H R O A T I g.
++
7gonic a z s z 6
4 24 4
'The modern diatonic genu refults from the conloont dlrcc-
tion of the bars on the chords of a timilar mode.
Fundamental and regular Bars of the Scale diatonically arcending
by the natural Succeffion of the three Cadences.
ts reere. nces have been fixed by the ufe of the fame chords
different tones, fo that, if the harmony has at firll lain down the
dLatonic feale, 'tis the modulation which has modified it, and
this feale, fuch z it is at prefent, is neither exa in regard to
the air or harmony, but only in regard to the methodś em-
ploying the fame founds in ditYerent
The diatonic genus without cntradi&ion, the mo ha-.
tral of the three, fince it is the only one which can be ufed
without varying the tone. It intonation alfo is incomparably
more cafy than that of the two others; and there is no doubt
but that ,the fir& fong were compofod in this kind; but we mu/
obferve, that, according to the law of modulation, which permit
and lefcfibes even the Paffage from one tone to another, we
have no pure diatonic in our mfic. Each particular tone, I will
allow, in the diatonic, is good; but we cannot pals from one
to the other without rome chromatic tranfition, at leatt, an omif-
fm of the harmon},. The pure diatonic, in which no one of
the founds ia altered, either by the cleWor accidentally, is called,
by Zarlin, dlatoao diatonic, and he givea the church-mufic as an
example. If the cleft is numbered with a B flat, in t.hat catb,
acr. ordiag to him, it is a flat diatonic, which mutt not be con-
founded with that of Arittoxcncs. (Vide Fr. aT.) l.n regard
to the tranfpfition by_ diefis, this author fpeaks nothing of it, as
it. had.aot bern praEtlfed in his time. Doubtlelh Ie would have
given t tim name of rough or /harp diatonic, tho' there had even
refultcd from it a minor ,node, as that ,f Ela mi, for ,n thole
times, when they had not thc harmonic ideas of what wc 6all
tones and modea, a,d where they had ah'cady ,loll tle other ltg-
nifications which the anc,cntu fixed to the tat,e word, they l:ad
a greater attention to the p.articular alterations t,f the notc than
to the general connc&ion which refultcd trom it. (Vide
, U DIATONIC
,22 D
DIATONIC SOLNDS or CHORDS. Euclid dlf'dnguifhes
nder this name, amongi the moveable founds, thole which do
not partake of the greater genus, even in the chromatic and en-
harmonic. There founds in each kind are five in number, i.e.
the third of each tetrachord; and they are the fame which other
authors call apycni. (Vide APYCl'I, GIII$s, TETRACHORD.)
DIAZEUXIS, A Greek word which figriffles divifion, ipa-
ration, disjun&ion. 'Tis by this term that the tone which fepa-
rated tvo tetrachords disjoined, was called in ancient mufic.. and
which being added to one of the two, formed from it the dia-
pence. It is our major tone, whole reference is from 8 to 9s
and which in effe is the difference ot the fifth and fourth.
The diazeuxis in their mufic was placed between the mefis
and paramefis, that is t0 fay, betwe,n the fharpeit tone of de
fecond tetrachord, and the fittefc of the third, or ot}erwife be-
tween the note fynnemenon, and the paramefis hyperboleon, i.e.
between the third and fourth tetrachord, provided that the dif-
juneion was formed in the one or the other, for it could not be
pratired at once in the two.
The homologous chords of the two tetrachords, between which
there was a diazeuxis, founded the fifth, whereas they founded
in fourth when they were conjoined.
DIESIS, Is, accordinz to old Bacchiu, the fmalle interval
of the ancient mufic. Z'arlin fays, that Philotaus, the Pythago-
rean, gave the name of dieils to }he limma; but he adds, a little
farther, that the dieils of Pythagoras is the difference between
the limma and apotome. As'to Ariitoxenes, hedivided the tone
into two equal parts, without many variations, or in three or
four. Fro,a this luff: divifion rfulted the dieils, enharmonie
minor, or fourth of a tone; from the fecond, the minor chromatic
dieils or third of a tone; and from the thirds the major dieris s
which made exactly a demi-tone.
DIESIS, Amongft the moderns, is not properly, as amongi
the ancients, an interval of mufic, but a fign of that interval
which fpecifies that we muit faire the found of the note, before
whkh it is placed, above that which it ought naturally to have,
without, however, making its degree or name undergo a change.
Moreover, as this elevation may be made, at leait, three way
in the ettablifhed genera, fo there are three forts of dieils', viz.
Fid}, the enharmonic minor, or timpie diefi, whole form is
like St. Andrews's Crof% accordin_.- to all our muffclans, who
tollow the .pr.aCtice of Anfoxeues, t rmfes the note the fourth
of a tone; but properly it was only the excels of the fetal-
to.he major on the femi-tone minor. Wherefore from the
natural
D I
natural ml to tl.e fa B flat, there is an enharmonlc diefis whole.
numerical powers are from 25 to
Secondly, The chromatic dieds, double or ordinary' dieflsa
marked by a double crofs, raits the note a fetal-tone
minor. This interval is equal to that of the B flat, i.e. the
difference of the major to the minor fetal-tone; wherefoi'e,
aftend from a tone beyond the natural ml, we mui'c pals to 'the
fa dieds. The reference of this dieds is from 24. to 25. (Vide
on this artlele an effential remark at the word fetal-tone.)
Thirdly, The enharmonic major, or triple dieds, marked by'
atriple crofs, raifes, according to the AriRoxenians, the note about
three fourths of a tone. Zafiin fays, that it rail'es it a remi-
tone minor, which cannot be underfcood of our femi-tone, finee
in that care, this dieds would be exaftly timilar to our chromatic
dieils.
Of there three dieds', whole intervals were all pra&ifed in
ancient mufic, there is only the chromatic which is ufed
ours; the intonation of the inharmonlc dieds' being to us
almof'c infurmountable difficulty, and the ufe of them being alfo
abolithed by om fyftem.
The dlefis, as well as the B flat, is always placed on the left s
before the note which ought to bear it; and before or after
cy her, it fi hides the fame thine as before a note. (Vide
P g
Cľ,t-xg. ws.) The dieds' which are intermixt with the c)/pher
of the thorough bar's, are often no more than timpie croWes,
the enharmonic dlefis: but this cannot caufe an equivocation
fince it is no longer in ufe.
There are two methods of making u['e of the dieils. The one
accidental, when, in the court of the air, we place it on the
left of a note. This note, in the major modes, is moigenerall. y
1ound the tourth of the tone: In the minor modes, two acco
dental dieds' are mo commonly neeeffary, particularly in
cending, i.e. one on the fixth note, and another on the feventh.
'The accidental dieils changes only the note which immediately'
follows, or, at the mot, thole which in the fame menlure are
placed on the fame degree, and rometimes in the o&ave, without
any contrary fign.
The other method is to make uf'e of the dieds in the clet
and in that cafe it is carried tbro' the whole Continuance of the
air, and on all the notes which are placed on the fame degree
whereon is the dieds, unlef it is oppofed by rome B flat or tharp
or that the cleft has no changes.
The pofition of the dieds' in the cleft ia by no mean arbi-
trary no more than that of the B's fiat; otherwife, the two
U fetal-ton,
D I
fetal-tones of the o&avc would be fubje& to be found together
out of the prefcribcd intervals. Wc mu then apply to the
dieils a timilar reafoning to that which we have made at the
article B flat and it w[11 be found that the order of the dieils'
which is fuitablc to the clcff is that of the following note%
beginning by fa, and aścending tucceffively by fifths, or deśccnd-
ing by fourths as far as the la at which we generally op be-
caufe the dieils of mi which would follow, does not differ at all
from the f; on our fi:ale.
Order of Diefis' on the Cleft.
Fa, Ut, Sol, Re, La, &c. &c.
We muf take notice, that a dieils cannot be ufed in the cleft
Without ufing alfo thole which precede it; wherefore, the diefis
Qf ut is placed only with that of fa; that of iol with the two
leceding &c. &c.
I have given at the article Tranfpofed cleff a formula to find
immediately if a tone or mode ought to bear dlefis' in the cleft s
and how many.
Such is the acceptation of the word dlefi% and its uf%
pratice.
The mot ancient manufcript, wherein I have feen the
tffed, is that of Jean de Muris, which makes me imagine itmlght
have been his invention. But it appear% in his example% to
have only the effect of B flaarp; and this author alfo gives the
name of dieils always to the major fetal-tone.
In harmonic calculation% we call dofis' certain intervals s
greater than a comma and tefs than a femiotone which make
th difference o other intervals engendered by the progreons
;and references of the con!onances. I'here are three of there
dieils'. Firf, The m.ior diefis which is the difference between
the major and nilnor tmi-on% and whole numerical powers arc
from l:z$ to z8. Secondly The minor diefis which is the
difference between the tnfi-tone minor and major dieils, and in
reference 3072 to 325. Thirdly, The dieils maxima, in nu-
merical powers lrom 243 to 45o which is the difference of the
minor tone and greater emi- tone.
It muff be confefFed that tb many different acceptations of
the fame word in the time art, are only a eaufc of frequent
etluivocations and produce a continual confufion or' errors.
DIEZEUGMENON, A tetrachord diczeugmcnon i the
name which the Greeks gave their third tetrachord when it w;
disjoined from the fi:cond. (Vde 'rv-TRACHoaD.)
DIMINISH'D,
D I 5
DIMtN[SH'D, A dlminifl'd interval is every minor interval
irrom which a tmitone is taken by a dieils to the inferior note,
or by a B flat to the fuperior. In regard to the .iu{'r intervals,
formed by perle& confonances, when they are dlminifl'd a femi~
tone, they ought not to be called diminifh'd, but fall; tho' it
is often fa'id, mal-a-propos, a dilninifh5t fourth, infiead of favino'
falfe fourth; and dmxmfhd otav% rot'read of fay rag falte
o-ave.
DIMINUTION7, An old word, which fignified the divilioa
of a long note, as a rainurn, or crotchet, into many other finallet
notes of leffer powers. It was alIb underfl:ood, that this word
expreffed fixore terms which' we call by the denomination-oś
trilI or quavers. (Vide thot wods.)
DIOXľ, Is, with reference to Nicornaehus, a name which
the ancients gave rometimes to the confonance of the fifth,
which they more generally called diapente. (Vide D~
PENTE.)
DIRECT, A di'e& interval is that which fOrrs any kind of
harmon on the fundamental found wlfich produces it. Where-
fore, the fifth, major third; and the o&ave, wxth thexr reddroves,
are rigorcurly the only dire& intervals; .but by extenfion, we
call allb dive& intervals all the reft, as well confonant as diffo-
nant, which each part forms with the pra&ifed fundamental
tbund, which ought to be below it, Wherefore, the minor in-
terval is a dire& interval on a concord.in third minor,.and in the
fame manner the thventk or fith added on the concord whick
bear their name.
A dire& concord is that wifich has the fundamental found in
fharp, and whot parts are dirihUted, not according to the moil:
natural order, but according to the mof confined. Wherefore
the perfe dire& concord is not oav% fifth, and. thirdi but
third, riftlb and o&ave.
DISCANT This was, in xsu mu.fic that kind of counter-
point which the fuperior parts compos'd inSantly, in tinging ex-
tempore on the tenor or bafs which' forms tbme idea of the
flownels with which the mufc thould be dire&ed, to be executed
in that manner by muficians as little tkilful as thole of that
time. Difcantant/' fays Jean da Muri% qui fimul cure
. uno vel pluribus dulcit-er kantat,. ut ex diin&'is Ibnis fonu
unus fiat 'non unitate fimplicitatls td dulcis concordlfqu˝
mixtionis unione," After having explained what he mean- .
by eontbnances, and th choice wlfich is riec˝ffary to mako be-
tween.them, he finds fault lharply with the fingers of hi time
whopra&ifed them almox indifferently. With what auda:-
˝it " fa s he, if our rules are cod, do thole dare cornpole
Y Y g . .
he l. itcant whiclx have not the le comp?henfiox of the
X ˝hoic
x26 D I
c, choice oF concords, not the Iea0r mftru of thole which are
c˝ m6re or tefs concordant; who neither k-now from which they
"flould ab,:iin, nor .whic[- they flould mope fre.qucntty uti:
˝ neit[er in what place.to employ them nor any" thin wblch
"the pracice of n rt well underflood require.s ' If they
ceed, it is By chance. Their voice, wander wlthout rule on
the tenor} with which. they. are Concordant, if fortune fan.d
their friend. They throw out their tbunds at hazard;. s
ft,me which ,nn awkward hand aims. at .a. mark and wlfich in.
˝ n hundred time may hit it perhaps once. '
The good old Muris toueqes alf there corrupters of pure ant5
fim,le harmony, in 5vbich his age abounded equally wih ours.
I-'Ien, proh doe'or ! His temporlbus aliqui fuum defectturn ineptc
provethio colorare moliuntu.r. Ilte ft inqalunt nov'us dścan~
tandi modus , novis'li:ilicet uti conśonantiis. Offendunt il intel-
leum...eormn, qui toles defeus .agnot:unt, offenOunt fi2nfum 3
nam inducere cure deberent detecřcatxonem, adducunt triitiam.
O inc0.ngmum prbv6rbium ! O mala colorai0.r 'Irrationabilis
excuśatio! O magnus abufus, magna ruditas, mfigna befiatitas2
ut.afinus Ihmatur pro horninc, capra.. pro leone, ovis pro pifcev
(e. rpens pro 'śa!mone [ Sic enim concordira confunduntur cron
ditizordiis ut rmllatenus una diftinguatur ab alia.. O fi antiqui
periti mutSce d0Oords tales andiffent.difcantatores, quid dixiffent
Qsid feciffeht ? Sic di.Fcntmatem in. ereparent & dicerent. 'Non
hunc difhanrum, quo uteris, de me śumis. Nora mum ca::r':_'
unum & con'cordantem. curr me .acis, De quo' te intromittis ?
1Viihi non congruls, mihi. adverfarius fcandalum tu mihi es:
O' ntinam raceres .'Non conc6rdas; fed deliras &_difcordas.
DISCOPDAN. T, By this-. term is called eve,'y irfftrument
,Which is played on and is not in concord,. every voice whiclx-
ß tings tittle, every. pat which is not concordant with the reft
An intonti9n which is nosjuf, forms a śalśe tone. A continuance
of a whole falt, forms a diti:ordafit air. This is the difference-
between theti tivo words.
DISDIaPASON, A name given by the Greeks to the in-
terval wtfich we call double o&ave.
The diIliapatbn'is nearly of tl greatef extent which the hu-
man voie can .rrive at wi'thout f. orcing itfdL Therear˝ even
ß very fev who can Ibund it.fully. It u for this reafon that the
Greeks 'bonndeal each of theiimorles by this extent and
ß it the name of a perle& fyfem. '(Vide Mori,
' ' .... '-
'DIS[(_ ['N 1, The Greeks gave the relative name of diioint
to' tWc ictrichorcJs; which immediiltely 'fo.'l10ed 'ach
whi.lft the dc9peff cho!'d' 9f the tlla,p .'was a' to n˝ isb.'ove the
ß ' 'thavpe
C Y
qafpf]: of the flat, intkead of being timilar to it. Wheref3,-e,
the two tetracho,'ds,. hypaton and diazeugmenon, were disjoint;
and the tvo, fynncmenon and hyperbolean, were fo alfo. (V,de
TETRACHORD.)
Among us, the name of diiolnt is given to the intervals which
do not f611ow each other immediately but are tparated by
another'interval: vheretre there two intervals ut mi and
are di4oint. The deg?ees which a,,e not Conjoint, but which are
coms'd of two or more conjoint degrees, are alfo called dit
.joint dega'ees. Therefore each of thele two intervals, of whicl
I hav'e oken, forms a dijoi'nt degree.
DISJUNCTION, Was, in. antlent mufic, the qmce whick
feparated the roeils' and prafis, or in general a tetrachord
flora one ajoining, wlen they were not tonjoint. This fpace
xvas a tone, and was eatled in Greek dlazeuxis.
DISSON&NCE, Eyery-found, whick with another forms a'
concord difagreeable to .tte ear, or in'a more extenfive' fenfe,
very-Jnterffal which is nbt contbnant. orcover, as there are
no otr eontbnances, but which form between themfelves,
with .the fundamental the tbunds'of,the perle& concord, it
follows thence, at every other iater'al is its true diffonanee.
Whe ancients ever/ counted as ruth, the thirds and fixths, which
they cut o from the confunfint accords.
The' te diffofianee is. Strived from two words, the one Greek,
tile other Latin, which fignify a double fonnd. In effe'&, what
renders th onance difagreeable, is, that the founds whick
trm-it, far from uniting. themf8lves to the ear, rike again
each o?, and are' heard a t(vo diin& founds, thW Frru'ck at
the_}hme time.
The'name of interval is vea fřmetlmes to the. interval, and
fo{n(es to each. of the two founds which form it. Buk tto'
two'found'am'diff6nane betveen themfelves, the nane of diWo-
nlnge is given more efp6cialty to that of the two which is ,o
remote from the concord.
There are an infinity of poffible diffonanees: but as in mufie
MI the interval are ecludd whidx tile received tyem does not
farninľ there at4 reduded t0 a fillall nmber; alt or pra&ice,'
We 'ouit to choof amongfi tho ooly thot wl 'c anler to
the genus an6 m0de.;' and laly to exclude from the qafi thot
?hich. canot be led'according'toprefcribed rules. Vhnt are
tlot rules ? Have they any' natural foundation or are they
pt{rely arbitrary ? Thi; is what I propoft to examine in this
i, rticlea .. ....
.The phyfieal principle of harin0ny i drawn from the Pro
du&ion. of the prfe& concord, by the rclbnan:c of any
X z
D I
All the conf'onances arife from thenc% and it is nature it/elf
which furnifhes them. The diffonace proceeds on a different
plan, at lea, thch as we pra&ice,
We allowedly find its generation in the progreffions of confo-
nant interval% hnd in their differences, but we cannot difcover
any ptyfical realbn which authorires us to introduce it in the
body itfelf of harmony. P. Merfenne contcnts himfell with
fiewing the generation by calculation s and the diffeeent connec-
tions of diffonance% as well of thole vhich are reje&ed as of
thole added but he mentions nothing of the laws for ufing
them. Monf. Rameau fays in formal term% that the diffo-
nance is not natm'al to harmonys and that it cannot be ufect
therein xvithout the affifcance of art. However in another work
he endearours to find its principle by nmnerical powers and har-
monic antl arithmetical proportions, as if there Avere any identity
between the proprieties of. the abfcracd quantity s and the śen-
fations of hearling.
But after having xvaied a quantity of analogies, after anum*
ler of )qetamorphofca of thclh diffcret proportions, the one
witliu the other, after numerous opcratious, and utlefs calcu-
lations, he fimfics, by eftablithing, on trifling connerions s that
diffmance which hc gave hintfelf fuch unwearied pains only to
cliff:over. $Vherefor% bccaut in the os'der of harmonic founds
the arithmetical prbportion gives it by the lengths of the chords
a minor th3rd in flat, (take notice that it gives it to the fhaFp
by the calculation of vibrations) he adds to tlxe flat of the fub2
'dominant a new minor third. The harmonic 1)roportion gives it
a minor third in iharlb (it would give it to the fiat by vibra-
tions)' and he acids to the fharp of the dominant 'a frefh minor
third. Theth thirds added, do not s it is true, form any propor-
tion with the preceding references: the references, which them-
felves ought to have, are often chauged; but that fignifies little .-
Monf. Rameau gives povers to every thing for the bei. The
proportion trves i to introduce the diflbnanc% and tIe errors
of the proportion to make it felt
'he illurious geometricJan, who las deigned tO make th
xvorld acquainted with Mo.ff. Rameau's fyftem having fuppreffed
all thelh vain calculations, I fhall folloxv his .exampl% or vill
ß l'ather tranfcribe what he fays concerning thc diffonance; and
l1on/ Rameau vill be indebted to me for having drawn this
expl.anation fi'om the elements of mufic, rathcr than from his
writings?
It being ppofcd, that the effential elod of the ton% ac-
cording to Mon/ Ramcau's fyftem, are' known x4z. in the tone
el' u b the tonic't the domiuant tbl and the ihb-doYninant fa
w.
we muff alfo be acquainted, that this Gme tone of ut has the'
two chords ut and tb[ common with the' tone of fol; and the two
chbrds ut and fa, common with the tone of fa. Confequently
this dlreion of the bat ut fol ma belon the tone of
' , ' o tO Ut 0r
'to that of fol; as the direaion of the bars fa ut or ut fa may
appertain to the tone of ut, or to that of fa.
In that care, vhen we pat from ut to fa, or to fol, in a [unda-
mental,bars, we are Lill ignorant in what tone we are. It would
be however ferviceable to know it, and be able, by rome me-
thod, to diingnifia fle gcnerator from its fifths.
We may gain this advantage by joining together the founds
fol and fa, in the fame harmonY, i.e. by joinin to the harmony
o fi re of the fifth fol, the other fifth fa, in this manner, fol
fi, re, fa; this fa added, being the feventh o tol, forms a dit2
tbnance; 'tis for that caufe, that the concord fol fi re fa is called
diffonanr concord, or concord of the feventh. It tkrves to dif-
tini the fifth fol from the generator ut, xvhlch always bears,
without mixture or alteration, the perle& concord ut mi fol ut,
given by nature heftelL (Vide Cocoo Consonance,
Hov.)
By this means we fee that when we pals from ut to
we pals at the fame time from ut to fa, becaufe the fa becomes,
by .this means, entirely determined, becaufe there is but this
ton% to which the founds fol and fa belong at the ame
thne.
Let us now fee continues, Monf. D'Alembert, what we ould
add to the harmony fa la ut, from the fifth fa, below the gene-
rator, to diingufl this harmony from that of the ame generator.
I.feems then, tat we flou[d add to i tle other fifth tbl, for
putpole that the generator u pang to fa, ma alb at th famz
ß YI .
time to fo], and that'the tone may be thereby determined; buc
this introdu&ion of fo[ in the concord of fa la ut would giw
two feconds following each other fa bl, folla, that is to
two ionances whol union would be too agreeable to the ear;
an inconvenience which mu b avoided; for if, to diini
the ton% we alter the harmony of this fifth f% we mu alter
little as poble. For this realon, inead of fol we will take
ira fifth re, whiclx is the tbund neare to it, and we ihall havz
for the b-dominant L thc concord fa la t re which we call
concord of greater fixth or ficl added.
We may tak notice here of the analogy which is obferved
between the concord of tle dominan tbl, and that of the
dominant fa. Thc dominant ol, by a6ending above the gene-
rator, ha a concord entircly compold o thirds in atbending
beyond 61 fol fi re f.
Moreover s
3 o D !
ut, we /hall find, in def'ccnding by ut towards rs, by thirds,
ut la fa re, which contains the fame founds as the concord fa
ut re gives to t'he fub-dorninang fa.
We moreover fee, that the alteration of-the harmon T of the
two fifths, confis only in the minor third re fa, o fa re, added
on each fide' to he harmony of there two fifths.
Tills explanation is fo much the more' ingenious, as it fhews
at onc_ tile origin, fe, direrion of the cliftonanco, its aearef
connettion with the tone, and tile method of determining reci'-
procally the one by the other. The fault that I find in it bat
an effential fault for making the whole glide, is tle u.fe of
chord unknown to the tone, as the effential chord of the tone;
and this, by a falfe analogy, ferving as a bars to Monf. Rameau's
yfcein, deftroys it, by rendering itfelf erroneous. .
I fpeak of that fifth below the' tOnic,.of that fub-dominane,.
betveen which and the't6hi.c, thor6 canno be perceived the
5rnalleft uni0n which can authorize the u-e oi; this rub-doral-
haut, not only as an effential chord of the t0n% but eVen'in
any lhnfe. In effe6t, what is there common between the ref0-
ance5 the fhakinff of the unifon of ut, and the śound' of its
i,fth below ? 'Tis by no means bocaufo the entire chord '; is
fa, that its aliquots refound at the found of ut; but becauśe it is'
a multiple of the chord ut; and there is no multiple of tt/ia"
qme ut, which does not render a timilar phcenomenon. T-ak
tlie felStuple ,. ii will /hake and i-efourtd in its parts 'as well as' the
with the' tonic.
I know that Monf. Rameau has pretended that at tile found
of any..cho,-d another chord in i.ts twelfth below /hook w. ithout
refound,ng.; but befide its Being a 4'c'ranehcenoinenon in the
acoufti% -that a 10norous cha,'d wlfich/haes does not refound,
it' is hbwever know%. that ' this pretended experience is an' e,'ror
tli'at the tharp clord /hakes becaufe it divides itfelf, and that
appears' not to refound, becaufe it f6rms in its parts only the'
unifon ot7 the /harp, which is not eafily difinguifiaed.
Let Monl;' Rameau then tell us that he takes the fiffla below,'
,bocaufo he finds the fifth above; and that thi. pliying with fifths
appca,'s to him convenient for tile eftabli/hm'ent of his irftem
%Vc 'nay.cong,'attfiate him on his ivention to very' ingenious,
but let him ,lot authoNze it witha chimerical eprienee.; let
h,ln not torment hlmblf to 'fi,d in tile variations oi' hrmonic
and.
D I
and ar[thmctica! proportions, the foundations of harmony,
nor take the propriety' of numbers for that of founds.
Tke notice alfo, that if the counter-generation, which
fuplofes could have a pace therein the concord of the
rainant fa, /hould not, by' any'means, bear a major third, but.
nilnor: becaufe the la Bemol is the true harmonic whicl is,
affi. gned to it by' this change ut fa la , So that according to,
this computation, the gamut of the major' mode ought natttraly
,to have the minor fixth; but it has rdle major as fourth' fith,
or as fifth 0/3 tile fecond note, Wherefore here is a śecond con-
tradiction.
La/tly, ake notice, that the fourth note given by tle feries of'
ali.q_uots, from whence arifes the true natural diatonic, is by
ß neans the oCtave of the pretended fub-domlnant, in the reference
.of 4 to 3, but another fourth. note entirely different in the
renee of x and 8, fo that every theoriclan mu perceive it
clearly at firit' fight.
l, however, appeal t) the ear and experience of muficians.
Let them but litten to the rogffh and difagreeable cadence
Ferfe of the fub-dminant to b.e tonic, when compared with
the fell-fame cadenc. e, in its natural platte, wlfich is from the
to0ic to the dominant. In the firit cafh, can ie be laid that th
ear is fatisfied after. tile concord of the tonic ? Is it not in
pe/atiofi of a continuance, or conclufion, t the time it really'
has it ? lVoreover, what is a tonic, after the which, the ear
f/il remains unfatisfied ? Can it be 1o9ked on as a true tonic
and .are We not in reaiity in' the tone of fa, 'while we imagine
</urfelves to b in,that of nt ? Let it be obśerved ho g?eatly
the intona[io'n of the fourth and the fenfible note, as well f-
'cendlnz as defcendin, augears range to the mode, and diffi-
cult to the voice. ho'lonz cuttom may have accuf'comed the
ear and voice of tlxe rnu. ficia to it, the difficuli '-of beginners
to /'ound fifia' nolte ought to /hew h.ow very unnatural it is..
Tb. is dlffic. uJty' is arttimbered o. the hree contkcutive tone.
Ouőht i' not to be fe. cn that thofe three confecutive tones, as
Well as 'the n0t Which introduces thm, give a bv, rbarou8 mo
c}ulakion, 'whicl has no found;xtion' in nature ? She certainly
beitbwed a better guidn, ce on the Greeks when /h made thex-t
:fihi/h' tlxeir tetractord 'precifely at the mi of our fcale, that'il
o ,fay, "at' th no'te Wliieh precedes this fourta: n They fchOfe
rath'r to 'taJ(e tli.i fourth below, and, by thi m , s, they .ound
by" tlie ear'alon' what all our hannonic theory ha.not tendoted
'lrcptibl' '"" ' ' .... - ' ' ' If
If the teftimony of the car, and that o' ,'eafon unite,,
!cart in the fyt'cern given, to reje& the pretended ihb-dominant,
not only from the number of ei'ential chords of the tone, but
allb' from the number of founds which may enter into the tcale
of the mode, what becomes of all this theory of diffonances
XVhat of the explanation of the minor me ? and of the whole
of Monf. Rameau's fyem
Not being therefore able to perceive, either ?n pllyfic or cal-
culation; lhe real generation of the diffonancc, I fought for it,
an origin, purely mechanic; and 'tis in the following manner
xhat I endeavoured to explain it in the eneyclopdia with-
out abfenting royfell from Monf. Rameaus praaical lem.
I fuppofe the nety of tlxe known diffonance. ('Vide
It now remains o ie where hat diffonance ould 'be taken,
and how ufed,
If we compare fuccevely all the founds of the diatonic fcale
with the fundamental found 'in each of the two modes, ,ve
find for a complete diWonance the fecond and the feventh which
. Js no more than a varied cOnd, and which really forms a fecond
with the 0ave 'That the feventh ould be varied from the
econd, and not the fecund from the feventh is evident by, the
expreon of the references for that of the fecond 8.9- being
. more timpie than that of .ihe feventh 9- i6. the interval wicl
it reprefents confequ?tly' is not the generated but gene-
'atoF.
alw that other altercd intervals may beco giWonani
nief it is therein 'expmffed or underood. they are only accide
in the modulation to which the harmony pays no refpe
' tfiefe diffonanccs in that car% are not treated as fuch. Where-
fore. it is a certain thin tha, t where there is no fecond there
no diWonance ;, and the fecond s properly the only dffonanee
that can be uid.
To' reduce. a'11 thefg confonces to their Cmalle'
eet[ not go out of the oave; they are all therein ctained in tle
perfe concord. Let u ,flen take this concord gol fi re gol a
lhe in.what pa of that concord, which t y, et upe in no
tone s e may plfice a.diWonanq% i. . a fecond to render it as
little difguful to the ear as p0ble. ,On the la between the
foi a the it would .form a fecond witIx each and eonfequently '
would be doubly cliftonant. It oul d be the ame between the
and're. as betxyeen every .interval of the th.lvff; let the ihterval,
of the fourth' remain between the re and the ol. ,,Here We ma
itrod'uge a und two ways. . We may add the note
which will form a ind wit o1,. and a third with re. adly.
O r the note mi whicl will form a fecond with r% aad a third,
D 33
with fol- It is evident, that from each oF there two ways, will
Be produced. the leaf[ rough dJffonance that can be, fince it wi!l'
not be difcordant with any one found; and it vill produce
new Third, which, as well as the two preceding, will contribute
to the 't\vtnefs of the whole concord., On one ficle we fhall
have the concord of the feventh, and on the other tkat of the
fixth added; the onl tvo diffonant accords admitted in the fyf-
tcm of the fundamen[al bari.
it is not fucient to caufe the diffonance to be heard; it muff:
be preffed; you then difguf[ the ear only to flatte it afterwards
xnore agreeably. Here are two joint founds, on one fide the
fifth and fixth, and the other the feventh and the oftave; as long
as they will in this manter form the fecond, they will continue
diffonant, but let the parts, whiclx make them to be heard, be
dif[ant one degree; let the one afcend, or the other defcend diav
tonically, and the fecond will on each fide become ,x third; thae
is, one of the roof[ agreeable confonances. Wherefore, after fol
fawillbefoundfol mi, or fala; and after re mi, mi ut, or re
fa; and this is what is called preventing the diffonance.
It remains to be determined, which of the two joined found
fhould arcend or deftend, and which fhould continue as before;
but the plav in determination Rares us in the face. Let the fifth
or tl octave remain as principal chords, let the fixth afcend, and
the feventh defcend, as acceffa:ry founds and diffonance. More-
over, if, of the two joined founds, that which has the leaf[ com-
fPcafS to make, fhould have the preferertce, the fa will again de-
end on the mi after the fevenh, and the mi of the concord o
fixth added will afcenl on the fa, for there is no fhorter courfe
to.prevent the diffonance.
et us now fee what courfe the fundamental found ought to
take in relation to the movement affigned to the diffonance,
Since oneof the two joined founds remains in ies place, it ought
to form an nion in the following concord. The interval, whiclx
the fundamental bafs ought to form t quitting the concord,
ought then to be determined on thcl two condition: fL That
the o&ave of the preceding fundamental found'may continue
ixx is place after the concord of the feventh, and the fifth after
the concord of fixth added. 2dly. Let the found, on which th
diffonance is refolved, be one of the harmonies of that to which
the fundamental bars paffes. Moreover, the bef[ movement of
the bars big by intervals of the fifth, 'i it defcends from the
fifth'in the f[rf[ caf, or if it arcends from the fifth in the fecond
all the conditions will be ntirely fulfilld as it i! evidcn. t by
thc infpci0n only of the. example.'
Perle& Concord. Seventh. Sixth added.
From thence is drawn a method Of knoving to whatever
chox'd of the tone each of the two concords is moff fuitable.
ß Vhieh are the two moff cffential chords in e.ch tone ? The
tonic and dominant. How can the bat have its direrion by
doit:ending from the fifth on tvo effentiaI chords of the tone
tt muff: be by paffing from the dominant to the tonic, of which
xhe dominant is the chord to which the concord of the leventh
s moff fuitable. How can the bai by aftending from the fifth
3ave its allregion on two effential chords of the tone ? 'Tis by
Failing from the tonic to the dominant, and of which the tonic
is the chord to which the concord of fixth added is moff apt.
The reatb.n for wIfich fee in the example, where I have given
tlielis to the fa of the concord which follows the latter, for the
ß re being dominant tonic, ought to bear the major third. The
bafs may have other dieions, but thole are the rnoft pe-t3; and
the two principal cadences. (Vide
If thch two diflbnances are compared wigh the fundamental
found, we find, that that which delLends is a minor feventh, and
that which rites, a minor fixth; from whence tve draw this new
a-ule, that the major diffonances ough:t to arcend, and the minor
delEcnd; for, in general, a major interval has let courlE to
take ha arcending, ,and a minor in defcendinő, and generally
alfo in diatonic dh'tions, the finallet intervals are prefer-
able.
%Vhen the concord of the feventb bents a major third that
hird 'orms with the feventh another cliftonanco, which is the
falfe fifth, or by variation the triton. This third oppofite to
the feventh, is hlfo called major diffonanc% and it is prefcribed
to it to arcend, but that is in the quality of a tiniible not% and
withoot the tkcond, that pretended diffonance would by no mean
cifr, or would not be teated ,as
Oe obfcration not. to. be forgotten is) th'at tho two only aote
t)f the ale which are not found in the harmonic of the
rlnci at chords ut and fol, are recitfl thot which are therein
I P ' . p y. .
introduced ly the dillonance and furmlh by tlus mean the
tl:toic gatnut, whicl b without this'woId bo iinPerfe& ;' and
which explains how the fa anti la, thotigh 'a.nge io the mode, are
ľund in its Shale, and why their intonation, always rough
in t]?ite of cullom, places at a diftance he idea of the principal tone.
We
D I
vVc muff all'o take notice, that there two diffonances, viz. the
major fixth and minor fcventh. tiff'e,' no more than a feml-tone,
and would differ /'till lefs if the intervals wcre very exact. By
the affiftance of this obthrvation we may draw from the principle
of reaqonlng, an origin nearly approaching to both, as I will
demonftrate.
The harmonics vhich accompany auy found vhatever, are
not bounden by thole vhich compofe the perfe concord. There
are an infinity of others lefs fenfible in proportion as they become
fiarper, and their references more cornpored; and theśe references
are expreffed by the natural feries of aliquots, - T g ,
&c. The fix firft terms of this feries give the founds which
compofe the perle& concord and its redditives, the feventh being
excluded; this feventh term, however, enters like them in the
whole refonance of the generating found, tho' lef's fenfibly; but
it does not enter as a confonance; it mute then as a diffonanee
and this diffonance is given by nature. It remains now to fee its
connexion with thole of which I have fpoken.
This conne&i0n, moreover, is intermediary between eaeh and
nearly approaching to both; for the reference of the major fixth
$ 9
is ; and that of the minor feventh . There two referencea
48 45
being reduced to the fame terms arc ands:
80 80
The reference of the allquot conne&ed to thetimple by its
4 7
o&aves, is ; and this reference reduced to the fame term with
.
the preceding, is found intermediary between the two., in this
336 yzo St 5
manner ...... ; wherein we re% that this onnec"tion differs
560 56 560
from the major fixth only a , or nearly tw.o commas; anti'
from the minor feventh .only a-, which is much lef
han a comma. To make ufe of the fame founds in the diatonic
genus and in different modes, it haa been neceffary to change
them; but this change is not great enough to erafe the traces of
their origin.
ß I havfdemonPcrated, at the word Cadence, how the introduc-
tion of there two principal diffonances, the fevcnth and the fixth
addcd gives a method of uniting a continunc, of larmonľ by
Y z maing
D I
making it a'.'cend or dcfcend at will, by the interpofition of diś-
[nances.
I make no mention here of the preparation of diffonances, lefs
becaufe it has too many exceptions to tYrm fi-om it a genera!
rule, thanbecaulE this is not its place. (Vide To
]n regard to the dil])nances by foppotitiorl or lhl]enfion, ville alth
tbol two word.
Lafi:ly, I mention nothing of the dlminithed feventh, a pard-
cular concord, which I fhall have occafion to cak of at the
word Enharmonic.
The' this method of conceiving the dilTonance gives a pretty
clear idea of it, yet, as this idea is not drawn fro' the founda-
tionof the harmony, I am very far from cn:leavouringto give it
a greater praiiE titan it merits, nor have I even-given it more
than its true worth; but they had till now reatbned fo ii1 on rlte
diflbnance, that I o not ima ine mľ11/If to have proceeded
worfe than others. Monf. Tartini is tle fi-fc and, tfil now, the
only one who, has deduced a theory of ddTonarces from the true.
principles of harmony. To avoicl ufeleśs repetitions, I convey'
the reader to the word Syfrem, where I have made the expofition
f his. I will not take upon myllf to judge if he has found,
or not, that of nature; but I fhouId take notice, at leaft', that
the principles of this author appear to hay% in their confequences
that univerfalitv ,and connecCtion which is rarely found unlefs in
thole which led to the truth.
One obfervation more on this artlcle. Every commenfurable
interval is really confonant: there are truly diffonant, only thole
whole refcrnce's are irrational; for there are onl thole to which
no common fundamental found can be a4Iigned. But the point
being palTed wherein the laattlral harmonies are frill fenfible,, this
confonance of commenfurable intervals is not admitted any more
than the induion. In this care, the intervals form a great
part of the harmonic fyfl:em, fince they are in the order of its
natural generation, and are referred to the common fundamenta.1
found; but they cannot be actmitred as contbnant by the ear, be-
catvie it does not perceive them in the natural harmony of the
corpo tbnoro. Betides, the more the interval is compelled; the
more it is railTed. to the fharp of the fundamental found, which is
proved by the reciprocal gcnera'tion of the fundamental found
and thpe,'ior intervals. (ide the Svftem of Monl Tartini.)
lMor˝over when the dlftance of the fuudamentaf found, at the
moR flOrll of the generato,', or generated interval, exceeds the
extent of the muffeel or perceptible fyffem, whatever is beyond
.that extent, being to be judged void ihch an interval has no
tenfible foundation, aml ouglt to be reje&ed from prae"tice, o.r
only admitte. d as a diffotam;. This is heirleer.the ftftem o.f
Monf,
D I t37
Monf. Rameau, or that of Tartini, or mhxe; but the dilates of
na'ture, the remainder of which I do not pretend to explain.
MAJOR DISSONANCE, Is that xvhich is prevented by
arcending. This diffonance is only relative to the minor diffo-
nance, for it forms a third or fixth major on the true fundamental
fouud, and is no other thn the fenfible note in a concord do-
minant, or a fixth added in its own.
MINOR DISSONANCE, Is that which is prevented in de-
fcending. This is always the diffonance properly fo called, i.e.
the feventh of the true fundamental found. The major is atfo
that which is formed by a fuperfluous interval; and the minor
by a diminifhed interval. There different acceptations happen
from the word diffonance being equivocal, and fignifying fome-
times an interval, and at other thnes a timple found.
DITHYR. AMB, A kind of Greek long, which was lung in
honour of Bacchus, in the Phrygian mode, and was filled with
that fire and a ety that the God infpires to whom it was con-
gY
feerated. XVe mule not enquire if our modern men of letters,
alvays wife, have railed their cries on the diforder and confufion
of Dixhyrambs. 'Tis very wrong, without doubt, to get drunk,
particularly ia honour of the Divinity ! but I had much rather
te intoxicated, than have that filly good-fenfe, which meafures
by cold reafoning, the works and difcourfes of a man in liquor.
' DITONE, v;a% in the Greek muś% an interval compofecl
of two tones, viz. a third major. (Vide ITISIVAL, TaxxD.)
ß DIVERTISSEMENT, Is the name given to certain collec-
tions of dances and air which it is the rule in Paris to infert
in each a& of'an o era whether comic or trae'ic n imnor-
tunate dlvenqon, the author of whxch has taken care to divide
the aion at rome intererring moment, and which the aors and
fpe&ators, the former fented, the latter fanding, have the pati-
ence to fee and tilden to.
DIVISIONS, By this name were called the different methods
of applying to the notes, the fyltables of the gamut, according
to the different pofitions of the two remitones of the oave,
and according to the different routes to come at them. As Aretin
invented only fix of thel fyllabless and as there are feven notes
'tO found in an oav% it mfifc be neceffary to repeat the name of
Tome note. This was the reafon that they called always mi fa
'or fa la, the two notes, between which on of the remitones was
placed. There names determined at the fame time thole of the
nearef notes, whether in arcending or defcending. Moreover,,
as the two lmitones are fubje& to change their place in the
modulation, and as there is in mufic a quantity of different me-
tb0ds to apply the fix fame fyllables to thems there methods were
called
D I
called divifions, becaufe the t211ile notes therein continually'
chanzed their names. (Vide
In'he left age the fyilable fi was added te the fix f}rft of the
gamut of Aretin. By this means the feventh note of the fcale
being found named, the divifions became uthleśs, and were aboo
lifhed from file French mufic; but among all the other nations,
where, according to the genius of the attiC, the muficians
ways take their old track for the perfeXion of the art, they have
not adopted b.e fi; and there is rome appearance, that in Italy,
3n Spain in Germany and in England, the divifions wil, l ferve
śom&ims for the inCOnvenience o : beginners.
DO, A fyllable which the Italians tbfitute in the place of
that of ut, the found of which they find too rough. The fame
triotire has led many perfons to undertake, and among other
Monf. Sauveur, to chang? the names of the fyllables of our ga-
,nut; but the ancient euom has always pevailed amongf us.
It is, erhaps, an advantage; it is good to accufom one's fell to
P
tbl fa by rough fyllablcs, when we have none more fonorous to
fubffitute in their place in tinging.
DODECC'HORD, Tiffs is the title eiven by Henri Glareart
to a large book of his compofitio, in which, adding four near
tones to the eght ufed in his thn% and which Rill remain in the
Roman ecctefiaic canto's, he. thinks :lie has re-etablithed, in
their prrrity, the twelve modes o'f Arifoxenes, wh% however,
had thirtee; but this pretence has 'been refuted by J. B. Doni,
on his Treaty On the 'Genera and Modes.
DOMINANT, A dominant, or "fenfible concord, is that
which is .ratqferl on the dominant 6f tone tone, and which an,.
nounces the perle& cadence. Every major perfe concord be-
comes dtrnlnant as loon as the 'minor fevenfh is added to it.
t)OMINANT,.Is, of fie three effential notes of'the tone,
that which is a fifth above the tonic. 'lhe tonic and the domi-
aant determine the tone, they are each the fundamental of a par-
ticular croncord; whereas i/he mediant, hich cor}fdtntes' the
:node,'has no coreord itl 'it,. and only forms part of tlmt of
the 'tonic.
Monf. ameau generally gives -the name of dominant to
-every mote which bears a concord of the feveth and diffin-
ß ,uilhes which bears the ferrfiBle concord, by the name of domio
ant tonic; but on a˝courrt of the length of the .word, this ado
dixion 'lia not been alopted 'by .artit}s and they continue to
,call the 5th'of'the t0. nlc timply dominal!t, and .they do not call
lhem dominants but fundamentalsj lhe 'other note bearing the
:onco.'d of the tvertfl Wlieh. is śifficenl: for its exprefllon, and
1,1.events confufion
' DOMINANT,
DOMINANT, In church marie, is the note which is
firuck, in'whatever oś the tonic we may be. There are in
church muiic a dominant and tonic, but no mcdiant.
DORIC, Tile doric mode vas one t)f tile molt ancient
the Greek marie, and it was the fiatreft arrd 1owe of thoth whicl
have been fince called .authentic.
The charaer of this mode was śeriou.q and flat, but of a
temperate flatnefs, which rendered it proper for war, and religious
thbjeCts. Pluton judges the lnajefy of the doric mode as very
proper to preferve good morals; and 'tis for this redfort that he
permits the ul of it in his republic.
It was called doric beesafe it was in ufe among[r the people of
that ns:he. The invention of this mode was attributed to
Thamaris of Thrace, who having been fo unlucky as to defy
the muls, and be conquered he was deprived by them of lfis eyes
and ly re. .
DOUBLE, Doubl% or redoubled intervals, are all thole which
exceed the extent of the o&ave. In this f0nfe, the tenth is
double of the third and the twelfth double of the fifth. Some
give alfo the name of double intervals to thole which are corn-
pored of two equal intervals, as the fatfe fifth which is corn-
pored of two minor thirds.
DOUBLE, They call doubl% the airs of a piece of marie
fimple in itfelf, which are figured and doubled by the addition of
many notes, which vary and adorn the canto. without disficrurinrr
it. This is what the Irahans call variazioni. (Vide
ATIONSo)
There is this difference between the doubles and the flourifhe%
that the one are at the choice of the muffclan, whictx he may
make or quit at pleafare to re-take the timple. But the double
i never left, for whea once it is begun s at mu be continued
throughout the whole of the air.
DOUBLE, Is alf a word made ufe of in the opera of Paris,
to mark out the a&ors next in order, who fupply' the place of the
principal a&or% when they leave them thro' tickhers or rantdry,
6r when an opera is nearly at its end, and another is preparing.
We mu ha;e feen an olera in doubles to have any oneption
of fuch a fi h.t ' and hmq eat mutt be the tlenc of an one
g. . . gr pa y
who would wilt t an that condition. All the zeal of the good
French. cltizen% well provided wltlx ear to prove it is hardly
fu/ficient to undergo fd detefiable a eharivari.
TO DOUBLEs To double .an alr is to place double therein.
To double a' part, is to fubfiltute one ia fi«e place f the prin-
cipal aot'. (Vide DoVt;L.) -
ß DOUBLE CHORaD A kid of play on the vlolin which
different parts. ( The double cl{ord has often a great eftcO. '
It is difficult to play iuftly on the double chord."
.DOUBLE DEMI COTCHET, A note in mufic equal to
the fourth of a rainurn, or the half of a crotchet. Sixteen
double demľ crotchets are confelucntly ncceffary for a fed
mlbreve, or'four timed menlure. (Vide MwAsjxv. PowJt of
the NOT:S.)
We here fee the figure of the double demi crotchet tied or
detached ' . It is called by that name on account of the
double dal-k at its tail, and which we muff diftinguith from that
properly called tb which makes the fubje& of the followinő
article.
DOLrBIaE CROCHET, _A_ note of abbreviation, which fhews
he divifion of the notes into double demi crochets, as the timpie
crochet thews their divitlon into demi crochets. Vide the Figure
and effe& of the double crochet.
Double Crochet.
ß ill '11F
ß DOUBLE EMPLOI, A hame given by M0nf. Rameau to,
the two different methods by which the concord of the rub-do-.
rainant may be treated and confidered, viz. as fundamental con-
cord of the fixth added, or as concord of the grealer fixth varied"
from a fundamental concord of the feventh. In effe, there
two concords bear exaOly the fame names, are cyphered in
thme manner, and' are ufed on the fame chords of the tone
fo that often we cannot difinguiflx which tlie hurltar. int{nded' tff
Xśe; but by the aflitlance of the followlng .concord' which pr˝-,
vents it, and which in the. two cafe is different, ' '
. To make this ditlin&ion We conrider the diatonic progrefi
t.e two note whiclt form the fifth and fith and wlfich making
bctwccn
D 0
betveen themfelves an interval of the tbcond are one e.r
otMr the diffonance of the accord.
This progrefs is alfo determined by tt, e movement of the bar%
If then, of there two notes, the fuperi'or is diflbnnnt, it will alEend
a degree in the foilroving concord. The inferior will continue in
its place, and the concord will be a fixth added. If it is the inferior
which is difibnant, it will defcend in the following concord. The
fuperior will main in its place, and the concord will be that ofth
greater fixth. Vide the two cafes in the double emploi.
5 5
In reard to the cornpurer, the ufe he may make of the double
mnploi,s to conrider the concord, which bears it in one light at
going in, and another at going out i tb t!at falling in with it
as with a concord of fiith added it prevents it as a concord of
greater fixth, and fo reciprocally.
Mong D'Alembert has ewn that one of the principal ales of
the double emploi, is to be able to bear the diatoc fucceon
e gamut as far as the oav% without changing the mud% at
lear in afcending, for in deftending it is changed. Vide e
atnple of that gamut and its fundamental bars.
mut intirely in e fame tone by favour of the Double
Emplql.
f /
$ 6
It i evident aeeordlng to Monf. Rameau fy&em, that all th,
karmonie fueeeffion, which refults from it, i in the time tone
for even on a preffing oceaon, there are ufed onl the thre
.Y
,oneor& of the tonic, the dominant and rub-dominant; tiff,
laR, glving by the double emploi that of the tkventh of the
n8 note which iu ufd on the xth.
In regard to what Monf. D'lembert addu in hi Rlemnt of
ufie, page 80, and which he rpeat in the Encyelodia at
* dokl* ploi viz. that te concord of th
D O
re fa la ut, even tho' we fhould look upon it as varied fa la ut r,,
cannot be followed. by the concord ut mifo! ut; I cannot be of
hls opinion in that point.
The proof which he gives of it, is that the diffonance ut in
the firff concord cannot be prevented in the fecond fince it conti-
nues in its place; but in this concord of the feventh, re fa la
varied from this concord, fa la ut re, in the fixth added, it is not
ut, but re that is the diffonance, which confequently fhould
prevented by arcending on mi, as it really does in the following
concord, in fuch a manner, that this couple is forced within the
bars itfelf which from re could no b without an error, return to
ut, but ought to arcend to mi, to prevent the diffonances.
Monf. D'klembert then fhews that this concord, re fa la ut
receded and followed by that of the tonic, cannot be authorized
y the c]ouble emploi; nd this is Rill very true, iince that con-
cord tho' c herc-d with a , is neither {reared as a concord oś
YP 7 ,., . .
the feventh at going in, or comm out or at leak xt xs not ne-
c_ ffary to treat it as fuch, but only as a varatxon of the iixth
:dded, whofe diffonance is in bafs'; in which we ihould take
riotic% that this diffonance is never prepared: Vrherefore, tho' in
śuch a paffa e the double em Ioi is 'not brou ht in queffion tho'
g P g .
the concord of the feventh is only there aptarentlv, and mpofiible to
prevent in the rules, this doesnot hinder the laffage from being
good and regular, as I have proved it to theoricians, and as I am
going to prove it to artiffs, by an example of this paffage, which
cannot affuedly be condennSd by any of them or juffified by
any other fundamental bars than mine,
Proof of the feventh varied from the fixth added.
7 6
! confers that this variation of thc fixth added, xvhlch conveys
the diflbnances to the baśs, has been blamed by'Monf. Iameau;
that author, taking for fundanental the concord of the feventh
which refults from it, has chotn rather to make the fundamental -
baśu deikend diatonically, and preyent a feventh by another
v˝llth thaa to explain this l:vcnth by a variation.
D 0 z43
I had removed this error and and many others in-the papera
which had continued a long time in Monf. ES'-Alembert's h-ands,
when he compofed his Elements of Mufic, fo that it is not his
fentiments that I attack, but my own which I defend.
In regard to the conclufion, the double emploi cannot be ufed
with too great referve, and the greatell maffers, are thofe who
are moff wary in emplovin it. '
ß DOUBLE5 FUGOE; ;e make a double fugue, when in tl
continuance of a fugue already appearing, another fugue is in-
troduced in a quite different method; and this śecond fugue mut
have its anfwer and entrance juil as the firil, which cannot be
raetifed but by four parts We ma , with more arts, make a
P. . ß y P
itfll greater number of different f.ugues be heard, but the confu-
/ion is always to be feared, and 'ils then .the mailer-piece of the
art to treat them nicely. For this purpofe, fays Monf. Rameau,
we mull obferve, as much as pofilbie, -to make them enter only
one after the other, particularly the firil time, that their progref-
/ion be varied; that they be differently chara&crized; and that, if
they cannot be heard together at leaPt that a portion of the one
be heard with a portion of the other. But thefe laborious ta/k=
are made more for the fcholar than the mailer: There-are leaden
weights tied to the feet of young runners, to make them more
nimble when delivered from them.
DOUBLE OCT-AVEr _An interval cornpored of two octaves,
otherwise called fifteenth s and which the Greeks called dif-dia-
pafon.
The double octave is in computation doubled from the timple
octave, and i the only interval which does not change its ham%
xvhen compofed with itfelf.
DOUBLE TRIPLE, _8. ancient name of the triple of mi-
hums, or the meafure of three for two, which is ilck as three
timed, and contains a minum for each time. This meafure is
no longer in uti but in France, where it even begins to be abo-
lifhed.
DOLCE, This word in mufic is oppofed to forte, and is
written above the lines of the French mufic, and belov.the. Ita-
finn, where we wifh to leffen the n0it, temperate and fweeten the
vehemence of the lbund as in echo's and parts of accompani-
ment. The Italians often write piano in the fame fenfe; but
their critics in mufic declare them not to be fynonymous terms,
and that it is from abufe that moil authors ut them as fuch.
The fa , that piauofi nifies only a moderation of the tbund,
.Y. Y g
a d,mnution of the noii; bnt that dolce denotes, betides titat,
a method of playing piu foave, fweeter, more unitcd and an-
tiverin almot'c to the word lout6 in Frecl!.
.Z ... TI
The dblcd has'three divifions, vhich we muff take notice
viz. the half play the fweet and the very fveet. However
.hearty there divifions may appear to be allied a wll-played band
renders them' very difrin and fenfible.
' DR:/MA'TIC,. Thi epithet is given to imitative mufic, proper'
cto theatrical piece of tinging, as operas. It is alfo called ly.ric
muc, (Vide IMITATION ) ' '
' DUET,. This' name is generally given to all kinds of mutlc
-in: two' parts; but at preścnt the fenfe is tellrained to two reciting
parts, vocal or inftrumental; the śmpte accompaniments being
cxcluded- which are looked upon as nothing. Wherefore we call
duet an air for two voices; tho' there be a third part for the tho-
rough. balsa. and others for the fymphony. In a word.to confri-
tute'a due% two principal parts are neceffary between which the
air mutt be' equally diftributed.
The' rnles of the duet, and of two part mufic in general,
are' the-mot. rigorous for the harmony; we therein refufe many
paithges. man . movement% w. hich would be ermitted to a greater
ß y P
'uumber of parts. for a puffage or a concord which would pleafe
in, a third or fourth. found,. becomes difgullful 'to the ear without
.tem. Mrraover we fllould be unpardonable to choośe ill, hav-
ing only-two- founds, to take in each concord. There rules were
formerly frill more fever% but all that has been' now laid aftde
in tlielb lati:er'.times, where. all the worl/t let up for com-
poters. '
We may view the uet in tw6 lights, vlz. timply as a two
part air, fuch-s, for inllance, the firll terre of the llabat of
Pergolefis the molt perfe0i. and affeetiug duet that has come
from the pen of any muffclan; or as a par{of imitative and the-
rrical, mutl'c, fuch :is the duets in the opera fceneso In each car%
t. he duet is, of all kinds of muff% that which requires mow
tall% choice, and the mofr difficult to treat.on, without going
.from the unity of melody. I beg to be permitted to make rome.
obfervations here on the dramatic duet whole particular dif
ftculties are joined to thole which are common to all the duets.
The author of the letter on the opera of Omphal% ha fen-
Iibty rema,'ked that the duets are out of nature in imitative
tie; for nothing i lefs natural than to fee two perfon fpeaking
to each other for a certain tirne either to fay the fame thing o
to contradiO without ev. lillening or anFwering each other;
and tlao' this fuppotltioa mlgh be-halmitred in certain cafes, it
could not frill be ufed in tragedy, where thi, indecenelr i neithe;
fuitable to the dignity of the perfon who fpeak or to the edu,
cation they are fuppofed to have.
There ii nothing then but {he tranfporti of paffion which cam
l,ad two heroic fak... t i.rup ae.h ,r to c both
D 0
, onee; and, even in filch a ca'e, it is very ridiculous that there
pretended difcourfes fhould be prolonged fo as to make a compk:te
piece on both titles.
The firft method of preventing this abfilrdity is then, to
place tile duets only in lively and touching fituatios, where th
agitation of the fpeakers throws them into a kind of delirium,
capable of making the fpeators and themfelves forget thole
theatrical ornaments which fh'engthen the illufion in a cold tkene,
and deftroylng it in the heat of their pafllons. The fecond
thod is, to uth the duet as .much as poffible in dialogue. Thi
dialogue ought not to be phrafed and divided into greater periods,
ats that of the recitative, but formed of interrogatious, anśwers,
ihort lively exclamations, which give oocafion to the melody to
pals alternately and nimbly from one part to another, without
ceafing to form a continuance, which may remain on the ear.
third attention is, not to take all the violent paffions indiffe. ro
ently for fubje&s, but only thośe which are ihśceptible of a
fweet melody, and a little contraft fuitable to duets, to render its
tune accented, and its harmony agreeable. Raze and paffion are
too quick in their courfe. Nothing can be dfinguifhed; we
hear only a confufed roar; and the duet has no effe. 'Moreo
over, the perpetual return of injuries and inśults would be more
fuitable to herdśmen than heroes; and this is exaly timilar to
the rhodomontade of thole perfons vho prefer fear to danger.
Much lefs flould xve make ufe of the loft accents, of chains,
darts, flames, a flat and cold jargon, which pailion never knew,
nd of which good mufic ands no more in need than good
poetry. The inftant of a feparatlon, that wherein one of the
ß two lovers goes to death, or into the arms of another, the fincere
reformation of one faithleśs, the touching contention of a mother
nd her fon, wifhing to die for each other: All thot moments
of affliion, where one cannot fail of fhedding delicious tears;
thole are the true fubjes to be treated in duo, with that fimpli-
city of vords which is fuitable to' the language of the
heart.
All thole who have frequented lyric theatres know how much
the word addio only elcites compaffion and ,emotion in the whol
audience. But fo tbon as a piece of wit,'or vell-turned phra!,
be ins to be perceptible, the charm in/tantly vanilhes and
g
fucceeded by immoderate laughter.
Herein are rome obfervations which are neceffary to the poet.
In regard to the mufician, it is his duty to find an air fuitable
to his fulgje, and diributed in thch a manner, that each of
the fpeakers, taking his turn, the whole cornperi may forin
'nalt one melody; which, without changing the fulqe, or at
without altering the movement, may paih in is pl'ogrefs
4' D 0
fi.t,m one fi!e to the otl:er, without ce::fing to be one. Tlae
ducts xx hic-h b,ve the g,'catcl% t'h6, a,'c thole wltl equal voices,
Iecaui3 thclr ha,'mony is ncarck conneaecl; anti amongk equal
voices, thoib which have the greatercfl are the treble, becaulb
hcir diapatbn, l;cng flarper, is more dili&, and the toe retire
touching. ]'hc Juets a!tb of ths lace are theonl ones em-
,Y
pIo,cd by t]e Italians in their tragedies; and [ don t doubt, but
the'uI oY c:trati in the parts of men, vas due in tbme neafurc
to this oblhrvatlon. But tho' there floulc be an equality betveen
the voices, and unity in the melody, it mu not be laid that the
two part. ould be exa&ly timilar in their turn of tioging; for
13critics the difity of Rylcs luitable to them, it is very 'are th:t
the fituation of two a&ors flould fo perfc&ly be the tkn as that
they ought to cxpccl their lntiments in the time manner; where-
ir tle mufician ought to vary their accent, and give to each of
the two t!e chara&er which be paints the Late of his foul par-
ticularly in altcrnate recitative.
$Vhcn we .ioi t'he two parts together (xvhich ought to be done
re!dom, and continue tut little) we mu find an air tfceptible
a courl by thirds or by fixths, in the which the fecoad part
may caulb its effe&, without being divided from the fir (Vide
UXTY ov Mzov.) We mu preferve the roughnefs of
he diflbnances, the piercing and Rrengthening founds, the fortif
fimo of the orchera for moments of ditbrder and trantort,
where the aaors, feeming to forget tbemfelves carry their mad-
netg into the ibul of every fenfible fpeator and make him
the pover of a harmony nicely mareaged; but fuch periods ould
be rare, flort, and artfully fntroduced. One mu by a t%ee
and aRcing mufic have ah'eady difpofcd the heart and ear t
every emotion, that each of them may unite in their attention
to theta violent pailions; and they mu pat with that rapidity
which is appropriated to our weaknet; for vhen the agitation
goo great, it cannot , and whatev is beyond nature mak
go impre'on.
As [ cannot flatter myfelf that I am clearly underwood through-
out the whole of this articl% I think it neceKary to join an ex-
ß mple on which the reader, comlaring my ideas, may have a
more y conception of them. It i drawn from the O1ympiad
of Met:afio ;. the curious will do well to look into the ufic of
the fame openb by Pc'golefis how this fir mufftiaa of his time,
t] onr, has treated tiffs duet; the thbje of wlfich i here
prefented.
Megacles havine enaged to fiht for his friend in the games
lerein the rewnr ottle conqueror was the beautiful Ar-iRma
finds, in this tinne Arima, the misters wlom he adores de-
lighted with o ombat, whic hc i about to funainu. and which
I) O 47
ihe attributes to his love for him. Ariftaa fpeak, on this fubjec'-t
the molt affe&ing words, to tile which he gives a no lefs tender
anfxver, but vith the fecret derpair of neither- being able to recall
his vord, nor dxfpenfe, at the expence o hxs happmels, wth that
of a friend to whom he is indebted for his life: Arifta:a, alarmed
at the grief xvhich file fees painted in his cy.cs, and which his
broken and equivocal difcourfes contirm acquaints him with her
inquietude; and Megactes being unable to lhpport, at the three
tlm, his own dcl)ait', and the troubles of his mifrefs, leaves her
vithout an ext)lanation, and rc,[nquifies her a prey to the mof'c
piercing Ibi'rows. It is in this fituation that they śg the
ag dut:
M E GA C LE $.
lVlia vita ..... addio
l'qe' giorni tuoi felici
P,.icordati di me.
AR I S T.aiiA.
Perch cofi ml dici,
..Anim mia, perch -
MEGACLE$.
Taci, bell' Idol mio.
A K I S T.,'E A.
Pa. rla, mio dolce amor.
TOGETHER.
MZGAe,zs.--Ah ! chc pariando, } oh Dio '
A, glTa,o-- Ah ! che tacendo, '
Tu mi tratfigl il cot:
A R I S TdEA, aftde.
regglo languir chl adoro,
le l'ntendo i[ fuo languir!
M E GAC L E 8 allde.
Di gelcilia mi moro)
El no 1o paffo.dir!
J4g D O
TOGETHER.
Chi real prov6 di quef}o
.A_ffanno piti funclio,
Piti barbaro dolor ?
' A much as this dialogue appears to be only the continuance
of the fcene, what colles it into one duet only, is the unity of
the defign, by which the mulician re-unites all its parts, according
o the poet's intention.
In regard to the burlefque duets, which are ufed in the inter-
mediaries, and other comic operas, they are not generally for
equal voices, but between the baśs and the treble. If they have
not the pathos of the tragic duets, i, lieu of it they are fufceptible
of a more friking varlety of more different accents, and more
˝xpreffive chara&ers. _All the gentility of coquetry, all the amufe-
meat of the laughable charaers, all'the contra of the nonfenfe
of one rex, and tile cunning of the other; lattly, all the acLeffar'
ideas of which the fubje is fufceptible; all there may occur to
throw a prettinets and an interciting harmony in there duets, the
rules of which are in other refpe&s the fame as the preceding,
in what regards the dialogue and unity. of melody. To find a
comic.perfe duo to my liking, in all xts parts, I vill not omit
the immortal author who has furnii'hed me with there two ex-
amples, but will cite the rPc duet of the Serra Padrona: Lo
conoleo a quegl' occhietti, &c. &c." and boldly as a model of
agreeable tinging, unity of melody, fimple harmony, pure and
brilliant accent, dialogue, and tafte, in which nothing can fail,
when it is well rendered, if the hearers who underftand it pay it
that honour which it merits.
DUPLICATION, A term in chm'ch mufic. 'The intonation
by duplication is made by a kind of periclefts, by doubling the
penultimate note of the word, which terminates the intonation,
which has no place but when this penultimate is immediately
bclow the Init. In that cal, the duplication ferves to mark it
more fully, in tile manner of a fenfiNe note.
DURATE, By this term is called every thing which difguf
the ear by its cffc'dtr. There are voices rough and fliding, inftru-
meats flaarp and frill rough, as well as compofitlons durat&
The rough fiefs of the B fi'arp occafioned its formerly receiving
the name of B durat& There are rough intervals in melody,
thch as the diatonic prog,'ct of the three tones, wilethee in af-
tending or falliig, and fuch in general are faire relations. There
:,re in the harmony rough concords, ihch as the triton,
perfluous tilth, and, in general, all tile major cliftonantes. Tim
continucd rough'acrs is diluffing to the ca G and renden a plec,
s e rnufc diśagreeable; but when managed with art, it an[wers the
pu?pofľ of a claro obfcur % and makes an addition to the ex-
prellion.
E SI M_t, E LA MI, OR SIMPLY E, Is the third found
of the gamut of Aretin, which is otherwiśe called mi. (ľide
C lt u T.
CBOLE was in the mo ancient Greek mufic an alteration
of the enharmonic genus, when a chord was accidentally railed
five diefis's above its ordinary concord.
EA. This word is figuratively ufed as a mufical term.. To
hae an ear, is'to have a fenfiNe, clear nd true idea in hearing
ufic; fo that, whether for intonation, or for meafure we'maF
be difgued with the fmalle error, and pleafed xvi the buties
of that art, when hearing them. He has a bad ear who is conti
nually tinging fall% cannot diingui fie true intonation fr
the fa-lfe, or who is not fenfible of the precifion in a meafure, and
rikes it at an unequal or counter time. Wherefore the word ear
is always taken for a nicety in.tho tnfation or judgment of that
fendtire faculty. In this acceptation the word ear is never ufed
hue with the fingular, and with tlxe pattilive article. "To have
"an ear," &c. &c. &c.
ECHO. A returned or reflexed found, hy a folid by, anti
which by that means is repeated and renewed to the car. This
word is derived frmn the Greek 0, a found.
We call alfo by the name of ecn0, the place where the repev
tition is heard.
We difiinguifl the echos taken in this fenfe into two kinds
viz. x, the timpie echo, which only repeats the voice once;
dF the double, or multipl% which repeats the time founds
twc% or more ibunds.
In fimple echos there are rome tonics, that .is, which onlF
repeat the mufical and fufiained found; and offsets l?11abi% whiclx
repeat atih the wrds of the voice. '
We may draw a part fi'om multiple eclms tn form concordg
and harmony with a tingle voice, by making between the volc
and echo a kind of canon, the moaihre of which ihould be di-
tched on the time whiclt paffcs betwixt the pnnouncd founds.
Thi mthod ot nakin to one's flf al an hanonic concert,
muff, iśth e finfief be ingenious, and the echo. firGrig, appear
nilhing, and ahno mag?al o aa nprepoecd hearer.
The name of echo s conveyed in mufic to thoFe.klnds of
airs or piece% in the which by the imitation of the echo, ar
repeated now and thcn flyeel or rong, a certain number of noes.
tqk on the organ that this method of playing is mo commonly
nFed on account of the facility there is in forming ethos on
pofitive: ;Ve may'Ifo form hos on the barficrd by
fthe finallet keys.
The Abb Broflhrd fays, that the word echo is rometimes ufed
in the place of dolce, or pano, to denot% that the voie% or in-
rumen% ould be fweerened as to form an ehho. Thi cuffo
no longer ihbfis.
ECHOMETRE. A kind of graduated fcale, or rule divided
into feveral parts, which is ufed to meafurc the duration or length
of founds, to determine their different powers, and even the refe-
-rences .of their intervals.
This word is derived fi-om the Greek Z0t, a found, and
a meafure. I will not undertake the defcription of this machine
becaufe no ufe will ever be made of it; and, as the be ech9metre
is a fenfible ear, and long experience in mufic; thole who'Wi to
know more of it, may confull the work of Monfieur Sauveu b in
ferted in thole of the Academy of Sciences, 7 o . The' ill there
find two fcales of this kind, one of Monfieur Sauveu b and the
ther of Monfieur Loulie. (Vide Chronometre.)
' ECLYSE was, in the moff ancient Greek mufic, an airsration
in the enharmonie genus, when a chord was accidentally lowered
three diefis's below its ordinary concord; wherefore tte eclyfe was
contrar t the fpondeal. '
EIGHTEEN'H. An interval which comprehends feventeen
conjoint degrees, and eonfequentty eighteen diatonic founds,' countZ
ing the tvo extremes. This is the double oave of the fourth.
(Vide fourth.)
EFFECT. An. agreeable and rong impre,on which an excel-
lent mufic imprints on the ear and mind of an audience j where-
for% the tingle ;vord effc fignJfies a pleating and fine effc in mu-
fie. We not only ihv of a work, that it has au effe, but diffin-
guifli under the n;mdofcircumffance% which are the caufe of the
eff;t, all thoi wherein the produced fenition appears lhperior'
the methods employed to rait it. ' ' , '
A continued raelicc ma teach the knowledge oLwhat things
t ' Y .... ._.
produce an effect whcn laying betore hc eye, bt t is gemus only
which can aliihover them. It is the fault ot all bad compotis affd
beginners to load parts upon p;trts, intlrumcnts on inruments, 0
aliicover the cct which tlh)xs from them, and to open, as an an-
cient faid wide mouth blo;v on a lm;;11 flute, One would lhy,
to
to fee their partitions fo Io'aded, fo numerous, that they' ntend to
śurprife by prodigious effe&s; and if in hearing the whole you are
xCurprlid, 'tis to hear a trifling piece of mufic, bald, confufed, with-
out effeq and more proper to fl/un the ears than to delight them.
On the contrary the eye wanders over the partitions of great ma-
:Rers to difcover thole effe&s, ravifhing and rublime, which their
mufic, when executed produces. It is, that a continued detail
is ignorant of true geniu% that .it affords no amufements by
quanti.ty of filly objects, but that it moves you by great effe&s,
and the rength an d fimplicity of it unite alwayS. form its cha-
raer.
ELEGY. A kind of compofition for the flut% invented as
is laid, by Sacarias, of Argos.
ELEVATION. The elevation of the hand or foot, i friking
the time, ferves to mark the weaker time, and is properly called
raiid. Among the ancients it was the contrary. The e[evatiort
of the voice in finging is the movement by which it i carriec[
into/harp.
ELEVENTH. Replique, or oave of the fourth. This in-
terval is called the eleventh, becaufe eleven rub aliatonics muf be
formed to pals from one of there terms to the other.
Monfieur Rameau wi/hed to give the name of eleventh to the
concord which is generally called fourth; but as this denominax
tion has not been tollowed, and as Monfieur Rameau himfell ha
continhed to cypher the fame concord with a four and not an e[e.
yen, we muf conform to cuRore. (Vide concord fourth. fuppo*
fition.
ELINE. A ame given by the (3reeks to a long of the
weavers. (Vide Sor.)
ENDEMATIA was the air of a kind of dance peculiar to the
inhabitants of Argos.
ENHARMONIC, one of the three genera of the Greek
śc often alfo called harmony by Arlfoxenes and his followers.
This genus refulted from a particular divifior of the tetrachord
accordiffg to which, the interval which is placed betwixt the li-
chanos, or third chord, and the toefl% or fourth őeing of a tritons'
or third major there continues to complete the tetrachord
flat only a femi tone to divide into two intervals viz. from the
hypator to the parhypaton and from the pa. rhypator to the
chanos. We will explain under the ,word genus how the dlvi-
lion was made.
The enharmonlegenus was the fweeteR af the three in the
opinion ofAriRides Q_dntili.an. It puffed as very ancient and the
generality of author% attributed the invention of it to
the Phrygian. But his tetrachotd or rather his diatefG'ron of
ienus s contained only three chord which formed together'
twouncompofed intervals flae firf'c of a fetal ton,, ,nd the' other.
a third major; and from there two intervals alone, repeated from
tetrachord to tetrachord, refulted at that time all the enharmonic
genus. Twas not till after the time of Olympus, that tliey
thought of inferting, in imitation of the other genera, a fourth
chord between the two firl%, to form the divifion which I have.
jut% mentioned. We may fee the conne&ions, accordinz to the
śyffems of Ptolomy and Oriffoxenes, at the word diatonic.
This genus fo furprifing, fo admired by the anclents and ac-
cording to rome, the firl% difcovered of tile three, kept not its re-
nown Ion. Its extrenie difficultr rendered it loon forfaken, in
proportion as art gained combmat:ohs by Iofing its energy; and
when the agility {vasa fubl%itute for the nicety, of the ear. Plu-
tarch alfo finds great fault with the ,hUrlclans of his time, for
having loft the fineft of the three genera, and daring to faY, that
its intervals were not fenfible, as if every thing that efcaped.their-
grofs fenres (adds that great philofopher) muff be out of nature.
Ve have at relent a kind of enharmonic genus entirel - diffe-
P Y
rent from that of'the Greeks. It confifts as the two others,.
a peculiar progrcfiqon of harmony which engenders in.the courl:
of the parts of the enharmonic intervals by ufing it fucceffively,
or, at the fame time, between two notes, Which are a tone from
e,ach other, the B flat of th inferior, and the dieils of the fupe-.
tier. But though, according to the rigor of the eonnec'lion, this.
ctiefis and B flat ought to form.an. interval betwixt themfelves.
(vide fqale, and fourth of.a.tone) This interval is found..void,. by.
means of the temperament 'which, in the ettablifhed fy.'l%emi
makes the fame tone ferye two purpoIs, which does not. prevent
fuch a paffa,*e from producing, by the force of mo'dulation and/
harmon3r , ff part orSthe 'effeS2t,: ,vtfich {ve leek in the enhm, mo-
nlc tranfitions: . .
_As this genus is but little known, and as otr authors are con-
tented o give rome notions of it too fuccinc'%, I think I muI[cx-..
plain it here a little more at length.
We muff then obthrve, that the concord of. the feventh dimi-
nified, is the only one on which we can praOke paffages truly'..
cnharmonic; and that by virtue of that fingular p. ropriety whiclt,
it has of dividing the entire ouCtave into equal intervals. Let..
take in the tbur tbunds vhich comport this concord,. th.4t which.
we wilh for fundament:al, and we thall.always equally .find that,
the three other founds form on this a concox'd of 7th diminied,.
Ioreover, the funtmcntal'tbund of tlxe concord of 7th dimi-
nified is always a infible note; fo that, witut clmnging any.
thing in this concord we may by a method of double,. or qua-
d'ruple etnploy, make it thrve Ihccefiively. on four diffgrnt
damcntals, viz. on tur. differat lcnfible ote, .. . -.. .
' "It
It follows thence, that this fame concord, without having
hange, either in tle accompaniment oF the bas, may b˝ar fou
different name% and confecLuently be cyphed in four differen
meths, viz. witha 7 under the name ofdiminied. fenth
with a 6 + under th= nameofmorfixeh and falf fif witha +
under the name of minor third and, trit0n; aM Ily, wi a .+'
under the name of uperfluous fecond. It mu be.ude
e. cleft ould be numbered differendy according to e tones
which we are fuppofed to b=.
Here then are four methods of going from a concord. di-
nixed feventh, by uppofing ourfelves fuccevely in four clif-
ferst ncords; for the fundamn'tal.an&natutal dirion- th
found, which bears a concord of diminied Feventh is to re-
lved' on the tonic of the minor mod% of which it is a fent=
Let us nex imagine the concord of the. dimlni'd fevth on
ut di% .a.feble -note. If Ltakt. {hirmi- as fundamema
it will become a fen fiNe not, in its.tn; aconftly-R' ex9
pros the minor_mode of fa; moreoeG t.di
tainly in the concord o mi, a fenfible.not% but it N in qnMity
r ..at viz. of the fixth.note of the tone,.and .the di'd
fvth of the febl note; whefore this:ut 'difis wM as:
fenfiNe not% was oblid to arcend'into theton o beeles
r˝B flat in the tone of fa, and is obliged to defcend.as.'d
feventh which is an enharmonic tranfition. If inroad of the
third-we e in the famecOncord of utMiefis the falfeth fol
as. a new fenfiNe note, the ut- diefi Will again bee 're
inquality of the fourth'not% another. enhmonicpaWage, Laly
ifwtakathe diminied feenth iffelf as a fenfiNe not% inftead'of
fi B,flat, we mu neceWarily- conrider it as la defis , which. forma'
a ird'enharmonic paWage on .the fame .concot&. .
Through the means of thee four different 'thods o viewln
the fame con fuccevy we pals from one tone'to anoer
which appears very diant fi'om it. We give a diCerent progrefs
to the parts from that, Which, in tDeir fiqt plac% thel( ought to
have; and.there flhges-ben managed a. propos u.r capabl%
not only of furprlti- ng,-but even delighting the. aud'nc% w
well condu.
finotker fource of variety, in th* time genus, iu' drawn from
the. different methods in which the accord may, be rcfolved whic!
announce it; for, thougli'the,molk natural..mul'don. would
to pail rom the concord of diminied feven, oa tho
notes to that of the tonic in tl minor rood%. we',uay
rutlug tho major for the or thNd s rMcr tl-aod majors and
4 E L
even add to it the fevetth, to change that tonlc n dominant, ariel
by this means to pali into another tone.. Bv means of there diffe-.
]'eqt reunited combinafions wc may get oht of the concord in '
twelve ways. But frmn there twelv% there are only ninc which
glv.te.chan of dieils }nto B flab or reciprocally, can be truly
nharmonic moover in there nine different modulation% ther
are only three different fenfible notes each of which is retblved by
rce didrent pages; fo thar by taking it in its truc fenfe, we
d on each fenfible tc no more than three truly enhannonic
paffagc% a the re not ing really enharmonic, or havingcon-
e&ion with rome onof the three fir&. (Vide an example of all
there paffages;)
wele mhods of going o of a ccord dimned wenth,
herdn'are cpred the taree enrmonic tatioas, and
their combinations.
,..-.ľ __ _ b
!,,,
7
h
E L
It has been frequen. tlľ attempted to make entirc-pIe,s in
nharmonic genus, in imitation of the modulations in the diatonic
genus. To give a kind of rule to f fundamental diro&ion of th
genus it has' been divided into diatonic harmonic, which p. ro-
ceeds by a fucceton of major femi toness- and in chromatic enr
monic,'which proceeds by a fuceon of imi tones minor.
The air inthe firR kind is dintonics' becaut its femi tones
mjor, and it is enharmoni% becaufe two major femi tones toge-
ther form a tone of enharmonic interval too Rrong.' To form hi
kind of air, we tour make a bars which defends from fourth
arcends from major third alternaiwfy. A part of the trio between
the parc in the opera of Hippolltus is of this kind but it coul8
tever be executed in the opera houfe at Paris, though Moeur
Rameau aftares that it has been perfom in other places h
the conlent and dre of the muficians s nd had furprYing
The air of the fecund kind is chromatic, uf i t pms br
minq Cemi tes. It is enharmonic, becaufe the to
femi 'toqes minor form too weak a tone of an enhmoc in-
terv'al'. .... " ' '
6 fern' this kind of air we tour make a fundmental
onfieur Alerobert, pag 9l, 9 93, and I66. '
In fpite of the exapl Oit{d and authorired by"Monfieur
menus. I think it my duty tq hcquaint young artiRs' that the
harmonic dintoni% and enharmic chromatic appear to me pro-
per to.be reje&ed as genera,; ihR I cannot think that a piece
mufic, modulated in this manner, v' 0 let the exeeutlon be th
ruer perle&, can have the GnalleR mi. y reafons or% that
the rough paffages of one idea to another , at a great diance a
tb frequent therein, that it is not pobl (or the mind to folto
there tranfitions with the 'fame rapidit a he mufie prefentg
then; that the ear has not time to perceive th"f˝c[ and com-
bofed conne&ion of the modulations, or to under6a' the
l*ntervals; that titere is no longer any adow of tte; oy
in fuch fucceflions; that it is equally impelhie to retai''.that from
which we go or to forefee that to which we a'e dired;; and
that amidR all this we no longer have any idea where a'are.
The enharmonic is no more than a paqge unexl)c&cd the fur
piiing impreffion of which is fro'reed Rrongly, and contlnue'a
16n tme; a aage conlbquently which ougtt not to be re'
g P . . . -
peatd too often, or too rougtty for tear the tdea of the modu-
lation
6 E N
tation .fhould be toubletl, and become enti,ely 1oi; 'or as xeoom
ß s begin to hear fuch concbrds as have fo fenfible conne&io
.nd no common foundation the harmony has no longer any
nion or apparent continuance and e effe& which refults fro
fit-is no more than an empty noife without union or tare. If
onfieur.Rameau when he fpent his time in felefs calculations,
&ad paid a greater attention to the metaphyfic of his a, it is to
fappof at the natural fire of that arti had produced pro-
igies the feed of which was in his geniu% but which his prepo-
ons have always flM.
I do not even think that fple enharmonic tranfitions can ever
ave any fucce, either in.choruffes or airs bee each of there
pieces forms a whole wherein floutd reign n.nity and whole
parts ought to have an ubn twixt thfvei mote fenfible
-th .t genus dee it.
' What tn is the real fituation for the enharmonic ? It
y opi,n, t fed ritafi,ve. It .is a fbte and tltie
[cevhen tM voice.ould mfiply and vary the mufil .in-
xns in imitation afthe grammil oratorical accent, an
cent often impoffible to be defin; it is in fuch a fcene, I r
at e -enharmoe traCtiota a well placed, W ,kno
how to manage them for rublime expreons and then them
by ffmk of fymphony, which fufnd tM woMs, give.tm
force to the exweffi. Tke halins, who ufe this met
irably, ufe it only on this plan, We may fee the recite,
five of the OrpMus of Pergolefis, a firiki and le exple
of the effes which is great nufician kne how to- dr fr
the enharmoc, and how far from ucing a ,rou .mulafion,
hefe tranfitions, when ey.become natural and .eafy to
gve an zngic fwtnefs to the wholeeclamatio
I .have already hid, that our earmonic genus ia emireI di.f-
' rent from that of the ancients. I will adds. tt though we hav
n0t like them, enharmonic intervals to found, this does. nor bin-
der the mern enharmonic from being of a moe difficult execu
tion than theirs. Amon the Greeks, the enharmonic intervals
prely melious, did not require, either in th finer, or au
rilenee', any change of ideas, bht ofily a great'dehcac in' the or-
guns of healing; whereas, in our mufic we m add-to e
delicacy an exa knowledge and-exqfie fentiment of the.
ouglff and mo unnatural harmonic metamorphofes; for if
do not hear the hrafe we cannot ie the woMs their ncceffar
. P , g.
fenfe nor ting true in an harmo0us fyffcm iEwc do nor feel th
zmony. ' . ' . ' ' .
. .TO ENFORCE is to paf from the dolc to the forte o frol
the forte to for6m not on a thdden but in a regular gradation
by' breaking and augmefing the 'und, her. on. a leon 0.
o a con'rlnuance of notes, till we have at:alnett wlat anf'vers te
the term of enforced: Ve then re-take the ordinary tiay. The
Italians exprelg the word entbrced in tlxeir muc by the
crelendo, or rinforzando ndifferently.
ENTRANCE. The air of a lymphony by which a bllzt is
begun.
he word entrance is ufed alfo in an opera, to fignlfy an entiro
a& in Hofe ballet operas, e,ch a& of which forms a lparate
je.. The entrance of Vcrtumnus ia the elements. Th
" trance of the Inca's ix the gallant Indians."
LaRIy Entrance is altb Iid of the inRaat in wMct ach part
which follows another begins to make iffelf heard.
OLiAN. The zolian toe or rood% was one of the five
modes which were the chief in the Greek mu6% and its funda-
mental chord was immediately above that of the Phrygian
(Vide mode.)
The ollaa mode was flat by the rert of Lafu% I
flys he Ceres, and her fier MeIiba fpoufe of Plato in
oHan mode filled with
The me ofolian which this mode bore, did ot derive
fell From the oliaa Iflands but from the Eolia a co,try ia
a Minor where k Was firR ufed.
EPIAULIA. A nme. Which the Greeks ve to a long of
the millers, called herw;fe hymen. (Vide long.)
ere. Does not'the vord fquawl'take its derivation from this
word; The fquawling of a woman or child who weeps and is la
mending in th fame'ne, has rome refemblance withthe notes of
a mill, and by the metaphor to that of a miller,
EPILENIA. A lone of the grape-gatherers, which was
companied b the flute. (Vde the fifth book of the Athenma.
EPINICION. A long of vior, by which was celebrate
amon the Greeks the triumph of a conqueror.
EP1SYNAPHIA, is, by the traditions of Bacchu% the con-
junOion of three concutive terachord% as are the mebn hypa-
ton, and fynnemenon. (Vide fyRem tetrachord.)
EPITHAMIUM. A nuptial air which wa, formerly fang
t the door of the new-married fpoufes, to wi them a happg
nion. Such fong are not in ufe amongR us; for we kno ver
well that it is a !o labour. When they are made between friena
and acqualntanc% we generally fubitute, in the place of thof
fimple and chaRe thoughts, rome ones equival and obl%ene mo
conformable to th tare of the age.
EPITRITE. The name of one of the fl, lme in the Greek
mufic with which the time were proportioned in fefqui tie,e, or
from three to four. Thi rhime wa represented by the ft
which thg t and gramarian call to etrite a foot com-
g
pofed of fonr vllllcs, the tvo firff of whlch are effeually pro-
portloned to tl(e two l. aff, as from three to four. (Vide rhime.)
EPOD. An air of the third couplet, which, in odes, termi-
nated what the Greeks call the period, the wlfich vas cornpored of
three couplets, vz. the irophe, the antiffrophe, and the epod.
The invention of le epod was attributed to Archilochus.
EPTAMERIDES, A name given by Monfieur Sauveur to
one of the intervals of Iris fyfem, lain out in the memoirs of the
ac.ademy anno 7o. Tlfis author then divides the oave nto
forty-three parts, or roerides, then each of thole into eptamerides,
fo that the inth-e oave comprehends three hundred and one epta-
metides, which he again fubdivides. (Vide decamefidcs.) Thi
word s formed from '', feven, and Fpc, part.
EPTAPHONIA. The name of a portico in the city of
Olymp.ia., in which they had managed an echo, which repeated
the voice feven times together. There s a great appearance, that
the echo was found there by chance, and that then the Greeks
quacks in their nature, have given the art of it to an architect.
IQUI.SONANCE. _8 name by which the ancients
guifiaed the confonances oi r the octave and double oave from the
re/, t. he only Ones which form'a paraphon}a. As there has often
been a want of the fame difinion in modern mufic, ve m.y make
ufe of it with fo much the lefs fcruple, as the fentafion of the
rave ; often confounded to the ear with that of the uniform.
EUDR, OMOS. A name of the ar which the hautboys played
;n-the $thenian games, infituted ir Argos in honour of Jupiter.
H'ierax of Argos was the inventor of this air.
EQUAL. A name given ly the Greeks to the fyem of Arif-
tox'enes, becaufe that author generally divided each of his tetra-
clords into thi ty equal parts, a certain number of which he afilgned'
to each of the three divfions of the tetrachord according trs the
genus, and the nature of that genus, -hich he wfhed to eiablllh,
(Videgenus, fyfem.) ' -
vov... _8 barbarous word, formed of fir vowels, which
fienote the fyllabie of the two words, ft'cuLorum amerr and which
is only ufed in church mufic It is ocr the letters of t!fi ord that
we find marked in the pfalters and aniphonaes'ir the catholic
eharehes thole notes by hieh, in each tone, and m the different
medifieations of tlae tone, we runlet termi. nate the iaves of the
plklms am! cantics.
.'he ˝vovm always begin by he domi.nant ott the tone of the
antient, which precedes it, and. a]wa.ys tinithe by the fi'nal. '
iUTFtIA. A term of the Greek.muie which frgn'rfis a eon-
tlruaraee of notes poccedi'ng from the fiat to flarl0 'he ˝uthia
va one of.the pat of the acient melope0
E X2 9
' To'EXECUTE. To execute a piece of mutic, is to ting, and
play all the parts which it contains, as welt vocal as inftrumental,
in the unity which they ought to le; and to render it uch as
'is pricked in the partition. As mufic is formed to be heard
cannot judge well of it but by its execution. Such a partition ap-
pears admirable to. the eye, which cannot be heard in its execution
will,out difg; and another tnav perhaps apar plain and tim-
ple to the eye, the execution of hieh delights by unexpeed el-
ites. Undo-hand compofers, attentive to give fymmetry and
play to all .their parts, appea,' generally the too5 ingenious people
in the world, whil we judge of their works only th the ey
ometimes alfo they have the cunning to place fo many .different
infiruments, fo many parts in their mufic, that we eahnot/ with-
out great diculty colte together all the fubjes neceffary
execute it.
EXECTANT. A muian who performs his part ia
acert. It is the fame thing as concertant. (Vide concertant.)
ECUTION. The aion of executing a ece of mufic,
a mufic is generally cornpored of many parts, whole exa& coag
nei whetr for the iutoaation oe the menfur% is ve dif-
ficult to obferve, d the reng of which deends moreon
than ns; nothing is fo rare as a go execunom It is a ifle
.read exaly e mufic by the tes; we mu enter into all th
eas the comfer, feel and-nder the fire. of the expon
nod have prticularly an ear true and always attentive liea
d follow the coneinnity. We mu, in French e, pirfieular-
.g be careful, that the p3incipal pt under'ands the art of foftea,
aug or augmentlag the movement, according to what the tafie
nglng, the extent of the voice, and e ai of the finger reqaire
Coafequently, 1 e oer rts mu be confined and attentive
to t following of the forms. The coacinaous in the opera di
ided into varu, wherein the mufic has no other meffure than tha
of the at%n would b% in my opinion the mo admirable'
ing in ecuti '
"If the French (fays St. Evremond) by their commerce
.the ltalians have'atiaied the art of compong with more free-
dom; the Italics nifo have gained, b commerce ith tho
.
French m what they hae learnt from them, the art of.ren
derrag er exuton'more reeabl% more affe&ing, and
.. me pfe&" The reader will, I imagine,, difpenfe.xth my
mmentary on is padage. I all only add,' that the French
imagine the who world to be employed in .their mufic, while,
on the contrary in the paru .offltaly, the muffclans do not
even know that there egis French mdfic differen from tMir.
W call alfo ecutlon the facility of reading nd executing
autal pt; d we fly, br mffance, of a fymphoniff, that
C c '
6o E X
he'has grea ewec{ation when' he perśorm correly, without heft-
tation, and at fi,'ft fight th8 moil difficult things Execution,
taken n th,s śenf'e? depends p/vteularly on tvo th,ngs: firit, from
a perfee"t knmvledge of the touch, and fingering of his inttrument;
mad, fecondly, from a long cur'tom in reading muff% and pbrafing
it at fight'; for while we tie feparate notes, we always befitate in
be pronunciation; we acquire a great facility in executinn, onl t
by uniting them in the common ti:nfe which ihey ought to form,
and in phcirg the thing ittilf in the place of the fign. 'Tis.in this
manner that the memory of the reader is not of leIő afliftance than
his eye, and that he would read with difficulty an unknown lan-
guage, thougl written in the fame chara,51reru, and. cornpored of
the tame word, wlieh he reads without heftration in his own.
EXPRESSION. A quality, by which the mufician has a
lively feeling and renders with energy all the ideas Which he
fhotld utter, and all the'tkntimefits which he floqld exp. retk.
There is one exprefilon in compofitlon, and anoth. er in execution
and it is from thi:ir concurrent% that the moft mufical and rno
tgreeable ff'ee"t refults.
To give expreffio n to his works, the co.r;npofer fiould feize and
compare all the connee'ľions which may be found betwixt the
ttrokes of his obje& and the lroduions of his art; he ought to
know or feel the effe& of every chara&er, Ib that he may convey'
that which he hits chofen to a degree fuitable to it: for as a good
painter does not give an equil light to all his objehs an ingenious
muffclan fhould neither give the fame energy to all his fentimerlts
or the fame force to all his palnt}ngs; and fhould fix each part in.
its convenient place, not fo much to give poyers to it alon% as to
afford a greater effe to the wliole.
- After having carefully iCought what he fhould fay he then feek-'
*he metNod ho; and here begins the application of the precept
in that art, which was a partialilar language, in the.which' the
muffelan wifles to make himtill !nder. ttod.
The melody, harmony. movement, and oholee of inftrument$
alad 'voices,' are tlie 'elements of mdfical language; and the melo-
dy, by its immediate conne&ion with the grammatical and'orato--
ical ccount, is that which gives the oharaher to all the ?el}.
Wherefore, it i always from the air that th principal exp'effioa
fhould be dvawn as well in infrumental as vocal mufic.
That then what we endearour to render by the melody i the
tone, by which w expreli the fontiment, which we wifia to repre,
fen b and we ought to be very cave. ful to imitate in. that the thea-
trical declamation, which itfeli'is no more tha3 am imitation, but
*o'follow the vo. ice of ,nature, whole accent ':ra wlthou˝ aide&a-
don, and without art. Wherefore.th muffclan mu firft tek a
&ind of mlo. dy whicl.may fu,r.ni mufical intflcxiov, mof con-
vertical;
E x
yenlent to the fenfe of the words, by always rubordinating the ex-
preffion of the words to thole of the thought and even thole to the
tiruation of the tbul of the fpeaker; for when we are deeply af-
feOcd, every difeourfe which we hold takes a tint of the general
fentiment which reigns in us, and we do not quarrel in regard to
what we love, in the fame tone which agitates us in an indiff.erent
matter.
Our words are diff'erently accented according io' the different
paillons that infpire them; rometimes fharp and vehement, romeO-
times carelefs and loofe; again varied and impetuous, and then
equal and tranquil in its infiexions. From thence the mufician
draws the difference of the-modes in tinging which he ufes, and
of the different places in the which he maintains his voice; eaufrog
it to proceed in-the lower parts by finall intervals, to exprefs the
languor of forrow and me}ancholly, drawing from it, in the higher
partřs, fharp founds from pattlon or grief, and condu&ing it ra-
pidly through all the intervals of his diapafon, in the agitation. of
dellhit, or'the oppofifion of contrailed pailions. We muf parti-
cularly obferve, that the charm of mufic does not confi only
the i. mitation, but in an agree.able imitation, and that the decla-
nation itfelf, .to eaufe fo great an effe& mufc be fobordlnate to
the melody'; fo that we cannot paint a fentiment without Wing
it that Charm which is infeparable from it, nor touch the hear 4
unleti we pleafe the ear. And this alfo is very conformable to na-
tur% which gives the tone of fenfiNe perfons an unknown affe&-
ing and delightful intexion, which one without feeling can never
inherit. Do not then attempt to ta_ke rhodomantade for expref-
fion, or roughneff for energy; neither give a frightful pi&ure of
the pations you wifh to exprefs; and,.in a word, do not, as in:
the French Opera, where the tone of pattion is like to the cries
from a oholie,' much more than the accents of love.
The phytical plealure which refults from harmony, augrnent
in its turn the moral plealure of the imitation, by uniting the
a'Ereeable fenrations of the exprefiSve concords of melody, on the
xca-lie ' principle as I have jut: mentioned. But harmony does
more it enforces the expreflion itfelf, b ivin a *,renter 'uRneft
..... yg. g . j s
and premfion to melodious intervals; t aremates ter chara&er,
ahd fpeeifying .exaOly their place in the .order of modulation, it
re.calls what, ' preceded , denotes what ought to follow, and thus'
unite the phi, afeu in the air, a ideas are united in a difcourfe.
Harmon. y, exa .m. ined in this manner, furnlfhes the compofer with
variety n expreflion, which eftapes him when he feeks for ex-
prefli6n in one'ha?.ony alone; for then, initend of animating the
accent, he ttittes".t by his concord,; and all the intervals, con-
ffiuhdeil in a continhed concourfe, offer nothing more to the ear
fla.. a continuance 'o.f fundamental foundss whicl have nothing
.a.fleecing or agreeable, and whole effe& has no' xmprefllon on our
.mind. What then muf{ the harmonif{ to to form a concurrence
with the eprefllon of the harmony, and give it a greater effe&
He mut be careful to avoid to cover the principal found in the
combirmrlon of concords; he muf{ rubordinate all his accompany-
meats to the tinging part; he mut fharpen the energy by the
curfence of the other parts; he mupt enforce the efT& of certairi
.patEages by ftnfible concords; he mupt introduce others by fuppo-
fition 6r fufpention, by counting them as nothing on the bars; he
'muf{-give freedom to the Ptrong expreffions by major diffonances,
'and mupt retain the minor .for fofter fentiments. One while he
mut unite all his parts by continued and flowing founds; another
.'wkile he will contraPt them in the air by fharp notes. One while
Ee. ,;rill rike the ear by full concords and again enforce the ac-
'cenE by he choice of a tingle interval. Or every fide .he will
'render the finion of modulation prefent and fenfible,-and will make
he bars and its harmony śerve to determine the fituation .of each
afl'acr in 'the mode fo that we can never hear an interval, or
roke n tinglag, wthout eling at the tkme time his cotroe&ions
With.the whole.
In regard to the rkyme, formerly fo powerful in giving force
"variety, and tae, to poetic harmony; if our languages, lefs
.cented and lefs profodie, have lopt the charm _which refulted from
'them our muflc fubptitutes in its place, another more independaat
iif the difcourfe in the equality of the meafure, nd in the dif-
ferent combinations of its times, whether in the whole at a'tlm%
or fep&rately in each part. The quantities ofanguage are almof
Iot under thole of tile notes, and the muti% inptead of fpeaking
with the. words, borrows, in rome refpe&, a peculiar language
from the eafure. The force of the expreffion 'contiffs ih the
pa'rt, in re-uniting thole two languages as much as pottible and
in being careful, that if the meathre and rhyme fpeak not in the
-lame rrthod, they may at leapt fpeak the fame things.
The vivacity, which gives a gaiety to all our movements
ought to give the fame al/'o to the meafure. Sorrow confines the
foul fortens the movements and the fame languor is felt in the
ifirs which it infpires; but when the grief is !ivelľ, or when. the
fo;l i; agitated by miglxty combats the words are irregular; its
ireeciofa is alternate with the flownels of .the fpondee, and. tile ra-
'idlty of the p rrhic, arl is often retarded inptantly' as in the
ieorced rctt.atlve, It s for this realbn, that the moll.expreflive
mucs or at leait the roof{ paflionate iu generally that wherein
the times though equal betwixt themfelve, s' are' molt unequally
divided; whereas the image of tleep, repoli b peace of the-foul s
&. are readil aintod with ˝ ual note8s-whol courf, i neither
{:- yl ß [1
quack.nor tlow.
On{
One obfervatlon, which the cornpole,' ooght not to negle, is,
that the more the harmony is removed the lefs lively the move-
ment fhould be; fo that the mind ma.y have time to catch the
courfi: of diffonances, and the quick union in the modulations; it
is .only the la/'t tranfports of pailion which perinit an alliance be-
txwxt the rapidity of the meafure and the roughhers of the con-
cords. Then when the fenres feem to vanifil, and by dint eft agl-
tation the a0or appears to have no more knowledge where he is,
this energic diforde,: may be encreafed, fo as to force its entrance
into the foul of the fpecqator, and even render him infenfible to
every objetVt. 'But un}efs you a,'e fublime and great, you muft be
cold and infipid. Throw your audience into an inihnfibility or
be cautious not to fall into it yourfelf; for he wl,o lores his reao
ibn is nothing more than a madman in the eyes of thole who pre-
fi:rve it, and madmen intereft but little.
Though the greateit force in expreffion is drawn from the com-
bination of found% the quality of-their tone is not indifferent to
caufe that effea. There are frong and fonorous voices, whole
quality is good for a i}rong impreffion; others light and flexible
good for things of execution; and rome fenfible and delicate, which.
touch the heart by fweet and pathetic founds. In general the
treble, and all fharp tones, are proper for exprefling tendernefs
and fweetnefs; the bars and concordant for tranfports of pailion
but the Italians have banifhed the bars from their tragedie% as a
part whole notes are too rough for the heroic genus; and have fub-
itituted in their places the tenor, whole note has the fame character
vith a more agreeable eftcU. The3/ufe this fame bars more fuit-
ably in the comic foe under parts; and generally for all profef-
fionary parts.
Inttrnments alfo have ľery different expreffions according to
the found whether trong or'we.k whether the tone be fharp or
fweet, the aliapaxton fharp or flat, and whether there can be draw. n
any founds in a greater o}fmaller quantity. Tile flute is tender the
hahtboy gay, the trumpet warllk-e, the horn fonorous, majefi:i%
artd proper for lreat eXprefllon. Btt there is no infrument from
which tler˝ ca be drawn lmre Varied 'and tniverfal exprefiion
than the violin. This admirableinfrrurnent forms the foundatloa
of every orchefra, and fuffices to a great compofer to draw' fron
it all the effes which a bad muffclan feeks in vain in the alliance
of different inftruments. The compofer ought to be acquainted
wi'th the handling the violin, to finger his airs, to difpofe his
peggio's, to know the effe' of the chords a 'vide, and to ufe and
ohoore his tones according tO the different chara&er which they"
hare on thla inftrument.
It will be ufelefa for th compofef to have a knowledgm of
matlog hh work unlefi the fire which ought to reign therein,' l
tranfmitte&
tranfinlttd to the foul of thoFe who execute ft. The fnger, who
fees the notes of his part only, is not in a condition of catching the
˝xpreffion of the compośer, or to .ive any to what he /ings, unleśs
he has a true idea of the tnFe. e nu under'and what we read
to give a true comprehenfion of it to others. and it is not tfl:icienr
to be fenfible in gcneraI unleśs*.ve are particular aItb in regard to
the energy ofthe language in which we śpeak0 Begin then by a
complete .nowledge of the charaOer of the air which you are going
to rendcr of its connexion with the t.'tlf'e of tile word% th ditinc
lion of its phraFes, the accent which it has peculiar to irfelś, tha:
whicl [s Fuppold in the voice of the executant tile energy which
tile compolr has given to the poet, and thole which in your turn
,ou alśo can give the cornpolar. Then relax your organs to all tile
iire that their confiderations may have intire. d you wit."; do the
fame as you would, were you at the fame ttme poet, compotr
a'tor and finger, and you will receive all the expreffion that you
{an poflibly give the work which you are about to perform. By
this method it will naturally follow, that you mu place delicacy
nd fuch ornaments in your airs, which can be bur elegant and
pleating; fire and fharpnet} in thole which are gay and animated;
tighs and plaints in thole xvhich are tender and pthetic; and
whole aitation of the forte iano in the tranfi orts of violent
, P , P . P
lions throughout the whole, where the mufical accent is urnted to
the oratorical throughout the whole where the meafure is fentibllr
f˝It and ferve as guides to the accents offinglng, wherefoever the
ac:omponiment and the voice can accord and unite the eflre&s in
thch a manner, that nothing clut melody refults, and that the d-
˝eived audience attribute to the voice the pail'ages with which tho
orcheftra embellifhes it; lallly, wherefoever the ornaments inge-
nioufly managed, can bear Withers of the facility of the finger
without covering and disfiguring the air the expreflion will be
tiveet agreeable, :and fkrong; the ear will be delighted, 'and the
lieart mo'ed; tile phyfical and the moral will jointly concur to th*
ple..fure of the audience, and there will reign t;ach'a concord.
twlxt the words and air, that the whole will appear to be only a
del.lghtful languag% which can expret every thing and alway
pieale.
EXTENT. The difference of two given founds, which have
interme, diaries, or the rum of all the intervals colnprifed betwixt
the two extremes. Wherefore, the greateft pofflble extent or that
which comprehends all the reft is that of all the fenfiNe or
ceptible founds from the fiattell to the tharpe according to the
experience of Monfiur Euler; all this extent forms an iaterval
of about eight oaves, between a found. which fsnns thirty
b. ratigm by licnd and anoth,r which makei 7552 in the faln˝
Thot
F A
'rhei-e is'no extent in mu{ic between two tea-ms, f're m wMch 'We
may not }nfert an.innltyf intermediate founds, which divide
into an infinity of intervals; whence it follows, that the fonor.
or mufical extent, is con6ually divifible ad infinitom as thole of
lime oeptace. (Vide rervai,) .
EXTENT OF THE VOICE. A gace ;n n-in whic
i, mark by a froall ne, called in italian apitu, and
a&fed by afcem o datomeally frmn one note fot. hat wkcN
f01}ows it, b an eletion'ifi 'te throat.
EXTgNT OF wHE VOIOE THROWN OUT, is Cormed
Wheu eedi'fi' allStOically fo a note to it thd
i.rd e 0fi the found of t feeond; to ma
e f$1t' 9 t8bleelevati'ofi af fle throaL .
' tXT-NflON isi aee0tding fo Aroiene,
M vmlsc a een yond fheir gtamtiM
prefent car fun4ss thus lRaine6i f6U Oe
F UT 'l:'fi, F .FA UTi or {imply i :The f6urth tufia of
thi fitral arid diaoc gamut 'which is oihewffe cidled fa.
' h. is' N 'a[o th6 riame of the low'eR of the thfe6' leffS in
{id' cleW, .
' PALSE. Thls'.word is in oppofition to ju '. We ting fal/e
fidff the. intervals a?e'not toned m juRnefs and that the fou'ddl
gi6 /b0 hi 6r too low.
Tiri are faire' Voice% faire Chords falfe inRments. n
tard voi.c it is pretended, tHa the fault'l/e/ Cefly' in
t'r. I hage.owev'er} fegh manypeoI% W0 'fig ver'y falfe
a. nd} fit the ie time, iuned aft inrument wlih ver great
doll. The fiu5 in their volc6 Ia8 not then any effe& in rerd to
e r. As t6? inrument% when their tones are fall% iis
caufe the inRrument is 'ill conRru&.ed that its firlogs are ill' prd'-
rioned, o the chords falfe or out of conco';'tat he 'W
pFays/ouches falfely, or tai fie modifies the wind or lips ill. '
- FALSE CONCORD. Difeordant accord, either-beesure
gtains diffonanees properly f6 daR'ed: o baufe its confonancea
tre.ao/jdR. '
FALSE HUMMING. A plec'e of muficin feveral Paris, but
,mple ani" withat meafure wh ot notes are almo all equal
and who'e harmony ;s always fvllahic. This is the p'almody of
the Roman Catholics lung in n[any parts. The air of our pflms,
in four parts, may alfo pals for a kind of falfe humming, but which
roceeds with great gravit and flatnei
FALSE FIFTH. A cliftonant interval, called.by the Greeks
hemi diapenre,' whofe two terms are fbur diatonic degrees dik'ant
s well as thofe of the true fifth, but whoi interval is lefs by
femi tone; "that of the fifth being of two major lmi tones of
minor on% and a femi tone major; and that of the falfe fifth onl
of a major tone, a minor, and oftxvo femi tones major. lf on
our ordinary keys, we divide the o&ave into two equal parts' we
flall have on one fide the faire fifth, as fi fa and on the other the
witon, as fa fi; but thel two i,tervals equal in this fenfeb'are
not fo either in the number of the degrees, fince the triton ha
only three; or in th precifion of theconnecions that of the
falfe fifth being from forty-five to fixty-four and that of the tri-
kon fom'thirty-two to forty-five. - '
The concord of falfe fifth is cllanged from the dominant accord,'
by placing the fenAble note in the flat. (Vide at the word Con-
cord how this is accompanied.)
FALSE RELATION. A diminied or fuperfluous inteal.
(Vide relation.)
FANTASY. A piece of inrumental mufie, which is executed.
when cornpored. There is this difference betwixt the caprice and
the fantafy; that tle caprice is a colle&ion of Angular and droll
ideas colle&ed by a warm imagi'natlon and which' may even
eompofed at leifure ;' whereas the fantaiV may be a very regular
piece' which differs from the re only 'that it is invented in
xecutlon and that it has no longer exience as ibon as it finied.
ß Vherefore the caprice confis in the nature and affortment of
ideas and the ideas in theh'uicknes in preihnting the. It fol-.
lows thence that a caprice may be very well written, but never
a fantafy ; for as loon as. it is written or repeated, is no longer
a fantal but an ordiny piece.
FEIGNED'TKEBEE is that kind of voice by which a
man leaving. the al'p of the diapaFon of his natural voice imi-
tates that of a Woman. A man, when he tings the feigned treble
;does almo the lhme thing as a pipe of the organ when it plays in
FESTA. A divernon of finglng or dnclng, which is intro-
duced in the a of an opera, and which interrupts or always fuf-
pends tile
There fetid are only ainuting, in.compariSon with the tJrefome-
'ne of the opera. In an intereing drama, when well condued
it.WOUld bc ahuo impoflible to cdtu'c
Th
F I 67
The fca are applied more parfi:ularly to tragedles and diverř
riflemeats to ballets.
FI. A fyllable by which many muficians mark the fa diefis,
they do the ma by mi-B'lqat, which appears, I imagine, lh/fici
ently clear.
FIFTFL The fecond of the confonancas in the order of their
generation. The fifth .is a perfe conśonancc. (Vide ˝onbo
nance.) Its found is connected ai fi'om two to three. It is corn-
pored of four diatonic degrees coming to the fifth found, from
whence it has its name of fifth. its interval is of three tones and
a half, viz. two mhjor tones, a minor tone 'and a' major femi
tone.
The fifth may be changed in two ways, vlz. by dimlnifhing its
interval a femi tone, and then it is called falfe fifth, andffhould be
iiled diminithed fifth; .or by increaring the fame interval a femi
tone, and then it is called fuperfluous fifth; fo that'the fuper-
fluous fifth has four tones 'and the falib fifth three only as the
triton, from which in our fyftem it only differs by the number
of degrees. (Vide faire fiftl.)
There are two concords which .bear the name' of fifth vlz. the
concord of fifth and fixth which is alfo called greater fixth or
t'ixth added and the concord of fuperfluous fifth. The firf of
theYe two concords is confidered two was, i.e. as a change from
the concord of feventh the third of the fundamental found being
conveyed to flat ;'this is the concord of greater fixth. (Vide
iixth.) Or as a dire concord, whole fundamental found is in
lat and it is then the concord of fixth added. (Vide doubI*
emploi.) . . .
' The e'cond is alfo confidered txvowaľs, tle one by fle lVrench
the other by the Italians. In the French harlmony the fuperfluou
fifth is the. dominant concord in the nilnor mode, below which we
make the mediant be heard, which forms a therfluous fifth with
the fenfible note. In the Italian harmony the thperfluous fifth is
ufed only on the' tonic in the major mode, when, by chanc% the
ira is diefis'd forming then major third on the mediant, and con-
fetluently fuperfluous fifth on the tonic. The principle of thi
concord, which appears to go out of the mode, ,nay be found in
(he expofition ofMonfieur Tartini' fyttem. (Vide lyetern.)
It is forbid in compofition to make two fifths togethers-by
fitnilar movement'between the two parts; this would difgult the
ar, by forming a double modulation.
ß Monfieur Rameau preten4s to give a reafon for this rule by
.defa.ult of union between the concords. ' He is deceived. In the
firtt place then, two fifths may he formed, and the harmonic union
preferred. Scco,dly, with this unio, the two fifths are Rill ill.
Third we mntt on the fame principl% extcnd a in other
' ' D d z place
places, the rut to tl% major'thlrds wh;ch is not, and otTghr not
to be. It does not belong to our hypothefis' to ac"t contrary to th
judgment of the ear but only to gve reafon for them.
alt Fifth, 'is a fif counted juff in haty but whkll by
forc of modulatlon is found r be weakened a femi-rone. Such
is genrally the fifth of t concord of tEwnth on the fond not
of the tone in the minor mode.
The Fal& Fiffli is a cliftonante which mu be pvented
the.fifth fe may pals as a nfonanc% and treated as
when w compo& in four parts.
FIFTH, Is lf0 the name given in France to that incremental
part of the whole which in kallan is called Viola.. The
of this'pa has paff alfo to t inRment wbicbys it viz.
IFTEENTH. An intealof oo&aves. (Vi
OcxAvz.)
To FIGURE, Is to fs mn notes for o to rm
variations; to notes to the mufic in. any maaner whfoevet
Rly, 'tis to give the harmonious founds a figure of y,
unitin them by other interdiate fnds (Vi Dog
EIGURLD, This adive s , either o es
rmony; to the notes gs in t13is word Fur'd-bfs o epref*
wfe noges aring ß coord d:vided no y
aot oflgfs wdrs. (Vide Figur Btfs) Tthe hmo wMn
by fuofltn and in a diatonic direon we make u.t of
notes than tim& which form the conrad. Vi&
ARMOY and SUPPO$1TIO.
FINAL. The principal chord of the me which' i, td
Tonic, mxd on wlch the air or piece ooght to finiS.
MOD,)
When we cmp0fe in ma'ny parts and prtcular[y
e fs mu alway fall by fi'niing ea&!y on h note of gh
Fi&l:. he other par may p on the th;ed oe fourth, For-
mer[ it was ß rule always ive at the end m pd. the majo
i mu be in fina} eve in.the minor m, Bu
has found deficient in tafie and entirely abolied,
FIN It. Tlxis wfird is fofimes plac on final of the gr
arg of ß ndeau to denon% that haviog' ree this fir
'is oo thi final'we mo op and finiS. -(V
This word is no Iongrr ulM in that fenle the regh vi
&bud ia i ple tim Final Poin ccordln tb m
'! d the ltai'ian. (Vide Fi P0.) - ' ,
To FINGEt, Is w dirc the fingers in a convenient a
gular m,r on any inffrument and chiefl E on the Organ or
O.inRruments for the breaR, fuch as he violin and Vlolen-
relic, the principal rule of fingering contiffs in the different
tions of the left hand on the fieeve; it is by this means that the
lame paWages may become eafy or difficult, according to the pofi-
tions and chords, on the which we may take there puffages; it is,
when a fymphoniff has attained to the art of palling nimbly with
juffnet and precifion through all there'different pofitions, that we
fay he is expert in the fieeve. {Vide Pofition.)'
On the organ and harpfichord, the fingering is entirely diff'e-
refit. There are two methods of playing or'there inRruments,
viz. t.he accompaniment'and pieces. To play the pieces, we pay
attention to the facility of the execution and to a pleafrog grace
of the hand. As there are an excelfive number of poffible puffage%
the greater part of which require a particular way of dire&lug the
fingers; and flute, betides each country and each maker has his
rule, there would be required on this part fuch details as this work
would not perinit, and in which cuffore and convenience take
place of rules, when once the hand is properly fixed. The gene-
ral pre:epts which may be :iven are, firff to place both hands
t e keys in fuch a mahner, as to have nothing incotvenient in the
attitude, which obliges us enerally to exclude the thumb of the
right'hand; becaufe the'tw thum13s placed on the keys, and prin-
cipally on the white would give the arms a fituation conRrained:
and by no means eracefuI We muff nifo take notice that thg
elbows/hould be a little railed above the edge of the keys, fo that
the hand may fall of itfelf as it were on thems which depends
the height of our feat. Secondly, We tour hold the wriff nearly
at the height of the keys, i, e on 'a level vith the elbow ' the
gers muff be removed from the breadth of the keys which are to b
touched, fo that they may be in resdiners to fall on different ones
i_n their turn. Thirdly 3re muR. not fuccefilvely convey the fam
nger on confecutive keys, but make.ufe of all the fingers of
ach hand t .ldd to there obfervations the following rules, which
boldly offer, fince I have them' froin Monfieur Dupli an excel-
lent maffer on th harpfiChord, and who profeffes a perle& know-
ledge of fingering.
This perlE&ion confiRs in .general in a fort, enfy, and regular
movement. The movement ot the fingers is taken from their root
.that is, froin the joint which fixes them to the hand.
ß The fingers mff be naturally benton. and each finger muff hav
its proper movement, indPendantly 'from the reft. The fingers
.muff tall on the keys and not rike them; and, n)oreover muff
ttow one from the other in a fuccell%n. that is, we muff not leave
me key before we have fixed on another. This chlgfiy regard
the French methods of playin.
Tc c/ntnue'a 'ak, we 'muf ufe ourtIve to' pat's te thffmb
helow any finger whattbever, and to pail any other finger below
fl>e thumb. This method is excellent, particularly when we meet
wire dieils', or B's flat: then be careful that the thumb be fixed
n the key which precedes the dieils, o'r B flat, or place.it imme-
diately aśer: by this means you will ga? as nany fingers together
s you xvil.have notes tO form. '
Avoid, as much as poffible, to touch a wlfite key witlx th
thun:rb,. 'or'fifth finger, particularly in .very quick Paakes.
, Th fame flake is often executed with the tyro hands, the fin-*
ers of which, in that care, thcceed cacti other fucceflively. In
ere aakes the hands pals one or the other, but we tour take no-
ice, that the-fo'u.nd of the firR key, on which one. of there hands
aftes, mu alfo be'united to the. precedent founds. as much. as if
hey had' been touched l,y the fame hand.
ß In the harmonious and united kind of mufic, it is neceffary to
afe ourfetves to fubtitute one finger in the place of another, with-
u-raifing the key. This method. gives facility in the execufionj
d' prolongs the dfiravion of the foundvo .
For the. accompaniment, the fingering of the left hand, ia the
me as for the pieces, becaufe tlmt:haad muk alway play the
ba' which is to be accompanied; wherefore .the rules of Monfieur
t)uthli ferve'.equally for th at part, except on ot:cafi0ns hen we
W.fl to augrnen the noire by mans of the oave, .on which we fix
l?he.thumband litdfinger; for rdaen infieaxl of fingering, the en-
tire 4and is eon.veyed from one part to another. In regard to the
fielie hand, its firieering confits .in the.arrangement of the fingers
anř,i'n.the dire&ioi'. given to them to make the concords and their
fuccefllon.be .heard'.; fo that whofoever hears well .the m<hanfm of
t*he-fiagot in, tis part, poffeffe$ the art of accompanimeat.. Mon
fiend': game.a has' ver well explained that mechanifm in: iris Diff-
xrtation.on tlae.Accompaniment. ahd 1 think/.I cannot d better.
'haa,ghr he;e an, extra& of tha part o the. differration which
g'ds he'fingoria. ' . , '
- .ry .c0nord-. may .be arranged by, thirds. The perfe&con-
eord i.e. the concord of a tonic, thus range& o- the keys
fnied tTrom,hree.tbaches Which ought tO be, ffruck with the fe-
qond,' thttd;. ahd.fifh,fiager. In this, ritualion,, it: is. the 1owek
finger, that ir,9:thc .fecond whieh'touche the tonic; in the tw
h'r afes, .the-re is. alvays found a finger lefs below' hat fam to-
hie; . It muf he'.placed .m the'.foarth.' In regard to the, tlurd fin:
get, wlfich :is .fixed above o: below ghe two others i mut.
placd in ticrue-in it turn :
'A general"role for the fuceefiqon of e0ncor/ts i's, that there fhould
be an union between them; that is to fay that rome one of
founds of the p,.eceding concord flould be prolonged on the fot-
lmving concord, and enter into its harmon. y. It is from this rule
that the whole mechanifin of the fingering xs drawn. Since to pall
regularly from one concord to another, rome finger mupt remain
its place. It i evident, that there are ov, ly four method's of regu-
lar fueceffion between two perfeaSt concords viz. the fundame:tal
bars arcending or detendlng from third or fifth.
When the bars proceeds by thirds, two fingers remain in their
'place; in arcending, thole Which formed the third and ;fifth re-
main the o&ave and third; whereas," that which formed the oe-
-rave, dfcends on the fifth. In dfcending, the fingers which formed
the o&ave and t!fird, remain to form the third and fifth; whilq:
xhat which formed the fifth arcends on the o&ave.
When the bari proceeds by fifth, one finger only remains in its
place, an'd the two others take th.ir courfe; in afcending, it Ls the
fifth which remains to form the o&ave, vhilpt the o.tave and third
,defeend on the third and fifth; in defcendi:g, the o&ave remaina
ß o form the fifth, whilpt'the third and fifth arcend on the o&ave
and on the third. In all there fceceflim:s the two hands ha'e al-
ways a contrary movement. '
By exercifing ourfelves on different parts of the keys, w ave
ß foon- familiarized to the play of the fingers on each of there courfe,
and the continuance of perle& concords can be no longer emba;-
,rafting.
In regard to the dillocmnces, we mupt firPt take notice, that every
cornpleat diffonant accord mploys the four fingers, all of whicix
may be arranged b thirls, or three b thirds, and the other'sned
Y - . . Y. .
'to rome one of the firfiD fornung wth it an interval of fecond. In
the firPt care, it is the loweft of all the fingers, i.e. the index
which expr˝lles the fundamental found of the concord; in the
cond eafe it is the highePt of the two joined fingers. By this ob-
fervation we eafily know the finger which forms the dillonanc˝
lnd which confequently ought to delkend to preyeat it. .
According to the cliff'ereCt Conlonant or diltbnant accords which
follow t difl'bnant accord we murk' make one or two fingers 'de-
ścend, or Ithree at the end of' a dillonant ccord; and the.perfe
concord which prevents it is eafily found under the fingers. In a
:ourśe ofdiffonant accords,when one finger alone detkends, aa in tlm
interrupted cadence, it is always that which has formed the diffo.-
lane; that'is to fay, the lower of the to joined, or the' higher
of all, iffimy ar.e arranged by thirds. Sh{uld we make tvo.
gets defcend: as m the śerfi:& cadence add to that whicl, I hava
a .,.
7 1 L
mentioned, itl ne;ghbonbelv nd if there ;s none, the h
of all thoqe are the two fingers which ought to defecnd.
ree dffcend as in the broken cadence, referve the fundamental
on its key and make the three others defeend,
The courfe of all there dirent fucceona, well fludied, flews
you the play of the fiers in all ble phrafes; anti as it is fron
rfe cadences that he mo common fucetfion of harmonic
phrafes is drawn, it is alib in that that we mu exercife ourfclves
mo: we all always find there the fingers direed and ccafitg
alternately. If the two higher fingers defcend on a concord whcr
the two loer remain in their place in the following concord tl
two higher remain and the lower defcend in their turn; or at Ica,
they ave the two farthe finers which Form the ihm play with
the two middle.
We may alfo find an harmonic fucc afcendlng by
nances by fayour of the fixt added but this fucceon, le
common han that I have fpoken of, is more dicult ta manag
]els polonged and the concords feldom are filled with all their
founds. The eourfe of the fingers ould ]xave eules herein way%
and, by ppofing an union of imperfe cadences, we ould
ways 6hd either the r fiers by thirds, or the two fingers joined.
In the fir cath it would be to the two lower t afcend and then to
the higher alternately; in the fecond, the higher of the two
fingers joined, ought to afcnd wih that that is ave
there is none, with th lawe of all &c &c. &.
It cannot be imagined, to what a lenh the udy of fingering,
taffe in this method may facilitate the praice of he accompa-
niment. After a little exerclfe, the finger take infhnfibly the
cuom of direing themfelves as it were voluntarily; they prepo-
fefs the mind, and accompany with a facilty whicfi h fting
oniing. ' But we mu confers, that the advantage of his me.-
thod is not without its inconveniencies; for, without entioning
the oaves and fifths tetber, wMch are met wlgl every moment
there refults from all this concourfe a rough and difagreeable har-
mony, with which the ear is firangely dfgu, pag.ticularly
concoMa by fuppofition
Maers teach other method of figering founded 0n the
' principles, fubje it is true, to more exceptions, but by whichs
cutting off the founds, we hurt the h.d lets i by a too great ex-
tenfion we avid the oaves and fifths tethers anti we .produce
harmony not fo fuli but mre pqre, and nore agreeable.
FIXED, Stable chords or tbund are cled fixed. (VideSound
table.)
FAT ]s oppofed to arp. The .flower t[e vibtation. s of a
[n0ro at% tho.0re flat tie found i. (Vide Sound, Gravity.) '
F L
FLATTE. A grace in the French tinging, difficult to b
fined, but whole et& will be fufficiently underRood by an exam-
pie under the word Accent.
FLEUIUI'IS. A kind of figured counterpoint, which is
fyllabic, or note upon note. It is alfo the colle&ion different
graces, with which a timpie air is adornS. This word is no
abolifled in every lenin. (Vide Double, Variations, &c.)
FLOURISH.' A kind of military air, generally ort and
pleating, which is performed with trumpets, and imitated on otr
in. Rruments. The fiourifi is generally with two trebles of trum-
p:rs, accompanied by tyxbals, and wheu well executed has
thig martial aud gay which is vety thitable to its ufe. Of all
European troops the Germans have the her military inmments
anti their aarches and flourifhes have an admirable effe. It is
remarkable thlng that throhout the whole kingdom of Franc%
there is not one trumpet which founds true; and the moR warlike
nation in Europ% has the moR difeordant military inRmments,
which is certainly attended with inconvenicies. During the la
wars, the peatnts of Bohemi%' AuRria and Bavari% all
clans bar% not being able to'think that relier troops d
ments fo fall% took thot old foldiers for new ui hm
began to look on with contempt; and'it cannot be n
many brave men loR their lives on account of trek difcordant mu-
tic. So true it is that in the preparation ofwav noing ouM
be negleed which may Rrlke the fenres.
FLOURISHES. This is fold in mufic offevel not which
the mufician adds to his part in the executionI to ya an air often
repeated to adorn too timple paffag% or to giv a brhme to
the volubility of his throat or fingers. Nothing can 'better e
the good or ill tare of a mua% than the choice and ufe he
makes of there ornaments. The vocal rench mufic is very cau-
tious in regard t flouries 1 t even becomes more fo every day
and if we except the celebrated ]eliote and Mademoilhlle l"el,
French gor will now un the lazard of fiouriing oR the age;
for the Fr;nch airs having of late year taken a nre rtlar and
lamentable tone, will no longer permit it. The Itliau go the
greater lengths '; amogR thom there are contentions xho all
teml it fartheft: an mutation which always leads them to too
gret a height. However the acceat of their melody being very
ffnflbl% they need not fear lxat tla; true air lhould diKqppear un=
der there ornatnents which the author hlmqelfhas often fupfed.
In regard to infirumcnts, w do as we pleafe in a iblo, but a
fiouriing tmloniff could ot bc lhffrtl in a go band.
FOOT,
FOOT: B meafure dśtime, or quantity,' dlftributeJ into
rmre equal or unequa. l powers. Theri was in ancient mufic thi.
difference between the tmes and feet, that the timCs were, as the
rts or elements, indivifible, and the feet the firPc cornpored of
.hef˝ elements. The feet in their turn, were the elements of
the metre or rhime.
Wher were timpie feet, which could only be divided into rimes
d others cornpored, which might be divided into other feer as
˝he thoriambic, whi. ch .might be refolved into a trochee and
]ambi% the 1tonic into a ßpyrrhic and a fpondee.
. There were rhimic feet, whoJ relative and determined quanti-
Jes were proper to eRablifh reeabl˝.conne&ions, as e ual, dou~.
les fefqmalters fefqu:-thrds, &e. and others .not rhimc, be-
lwcn which the references were vague, uncertain, ßlittle fenfibl%
śueh for inClance, as might be formed from French words, which,
from fllort or long fyllables, have an infinity of others, without
_cleric'trained poer; or which, long or fhort in grammar rules only,
are not judged as fuch either by the car of the poet or by th
]pra&.ic. of the people.
FORCE. The quality of a found, called elco Cometimes Inten-
ß fty, .which renders it more fendbit, and heard at a greater dipcance.
The more or:lefs frequent vibrations of a .fonorous body, are 'what
ender the found/harp or flat; its greater or lear diKance'from
the line of the fftop, i$ what renders it ffrong or weak. When this
difianceis too great, and the inffrument or voice is forced, (vide
'lo force) the found becomes a noire, and ceafes to be agreeible.
TO FORCtil THE VOICE, is to exceed its diapafon, high or
ß low, or its extent 'by force of the breath; or fCreaming inecead of.
tinging. Every forced voice lofts its jupcnefs; this even happens
to initruments where the fiddle-Rick or the wind is forced and it
is for this teafort that the French leldom ting true.
FORLANE. The air of a dance of the fame name, .common
in Venice, particularly amongit the Gondoliers. Its meafure is
6_ . it is beaten galley, and the dance alfo is very lively. It is
allcd I%rlane beeaufe it takes its origin in Frloul.whofe inhabi-
tants are called Forlans.
FORTE. This word is written in the parts to denote, that the
1ound tour be forced with vehemence, but without raidrig it, lung
in full voice, and much found be drawn from the infrument;'or
Cometimes it is ufed to de:Kroy the 6fie& of the word dolc% ufed
precedently. ß
ß The Italians have dill the fuperlative fortifllm% which is not at
all wanted in the French muii% for fiey generally fig fordffim
without any dire&ion.
" FORTE
'F'R
FORTE PIANO; /in Italian fubttantfve c0rnpofed, ariel which
the muffclans ought to frenchify, as the painters have chiar-fcur%
by' adopting the idea which it expreffes. Theßforte piano is the art
af fweetning and enforcing the founds in imitative melody, as
do in thevords which it ought to imitate. Not only when
fpeak with pailion, we do not alurays exprefs ourfelves m the fam
tone, but we do not always fpeak even with the fame degree of
force. VIufic, by imitating the variety of the accents and tones,
ought alfo to imitate the intenfe or retails degrees of the worls
and fpeak. one while dolce, another while forte, fumetimes a demi
voice, and this is what the word forte piano generally expr˝ffes.
ß FOURTH. The third of the confonances i.n the order of their
generation. The fourth is a perśe& confonance; its conne&ien
from three to four: 'it is cornpuled of three diatonic degrees formeal
by four founds, from whence it receives its name of tburth.
inter.val is .of two tones and a half, viz.. a major tone a minor,
and a major femi-tone.
' The fourth may be changed two ways, i.e. by diminifhing its
interval a fetal-tone, and then it is chlled diminifhed fourth; or
faire fourthS; or by augmenting the fame interval a femi-ton,:
it i then called tiaperfiuous fourth or triton, beesure its interval
'has three full tones :" it has only two tones, that is, one ton%
two femi tones in the diminithed fourth; but this lat interval
banifhed from the harmony and only praL:-ifed in an air.
Thereis a concord which has the nam of fourth, or fourthshalf, ft'.
Some call' it concord of eleventh. It is that, ,.vher% under a
cord of fevnth we fuppof.e a fift.h found in the bafs a..fifth
the fundamental; for in that car% this fundamental formsß a fifth
and its fcvanth has an eleventh' with the fulapofed found, (Vide
Suppofition.) ß
2nother concord is called fuperfluous fot{rth,. or triton. ß lt is
:{'enfible concord, whole diffonanee. is conveyed'to the bars; for in
that eafe t.hfenfible note forms a. triton on.that diffoilance. (Vid
{2oneoral.) .
ß Two true.fourths together are permitted i'compofition. een by
a timilar movement provided the fixth be added; but thole are
pafihge which muff. not be ufed wrong, and which the fundamen-
tal bars does not abfolutely authorire.
FOU'R. TEENTH. A replique, or o&ave of the fuventh.
.Thi;interval is called 'fourteenth, becanfe fourteen founds muf be
xCound to pail liatonieally from one of its terms to another.
ß FP, AGMENTS. By this name is called in the opera of
the choice of three or four h&s of ballet, which are taken.from dig
fereut operaa:. and colle&d togethcr though they haw no con-
ß nation
me&ion betwixt themfe[ves to he repr6fented śuce:efllvely the
day, and with their interludes, equal the duration of an ordinarg
fpe&acle. There is no man horn with tare who can form an
idea of fu.ch.a mixture s and no theatrical and intererring piece whiclx
can permit it.
FREDON. An ancient word which fi_nifies a quick paffaffe
'and generally diatonic of many notes on t'(e fame f3llabl. TTi
is nearly what has been fince called trill with this difference, that
'the trill has a longer duratio% and is writtenl whereas the Fredon
is only. a flort addition in tare, or, as it was formerly called, a di-
minution, which the finger makes on ehch note.
FUGUE. 2k piece of mufic, wherein we treat, according to
certain rules of harmon and modulation, an air called fubje, by
. y
making it pats fucceflively and alternately from one part to
her..
There at/e the principal rules of the fugue, the one of which are
]proper to it and the other common with the imitation. .
I. The.fubje&procseds from the onic Io the dominanti or from
. the dominant to the tonic, in arcending or falling,
II. Every fugue has its antwet in the part which immediatel/'
trhllows that which has begun.
lII. This anfwer ought to return the fubje& to the fourth
.tfth, and by a timilar movement, as exa&ly as poflible proceeding;
from the dominant to the toniC, when the thbje& is announced
fr6m the tonic to the dominant, and vice verth. One part may
.nifo retake the fame fnhje& in the o&av'e, or in the unifon of the
-precedent; but in that cat it is a repetition rather than a tru
..anfwer.
. .IV. As the o&ave is divided into two unequal parts, the one oś
which comprehends fbur degrees in aicending from the tonic to the
ß lotninarr, 'nd the otherOnly three. 'This obliges us to have at-
tention to that difference in the expretion of the fubje&, and to
.make fme change in.the anIhrer, not to quit the effential chords of
the rhode. It i another thing when we propoi to change th
tone;-in that car% the exa&nel of the antver itfelf, taken on
another chord, produces alterations fuitable to this change.
ľ. The fugue mut be &figned in lhch a manner, as, that the
antwet may enter before the end of the firf air, that we may'
hear.each'of them in part at a time, that by this anticipation
the fubje& may be united, as it were, to itfel!; and that the art:
of the compofer may. be ewn i this colle&ion. It ia a joke to
,give as a fugue, an mr, which only nafts from oe nart to ano~
ther, without any other difficulty t'han accompanyng it irn',ne-
di:tely, This, t mof deteryes only tlt˝ name of imitation.
(Vide. lmtatiofi.) ' ' ticfides
F U
]eficles there rule which are śundamental: to fu˝˝eecl in this
kind of compottlon, there are others, which: tho' only for taie
zre not leśs effential.. The śugue% in gencraI render the mufic
more noify than agreeable; for which reafo% they are more/uit-
acle in choruffes than any where elfe. Moreover as their chief
merit is to fix the ear always on the principal air or fubjes
śnc% on that account we mke them pals inceffantly from part
to part and from modulation to modulation: the compofer 1txould
be particularly careful to render this air always very diftin&
to hinder its being ftifled or confounde.d amongft the oher parts.
There are two methods for this; one in the movement: whictx
muff be continually contrafred: fo that: if the courfe of the fugue
is precipitat% the other parts precede alfo by long notes; and
the contrary if the fugue is dire&ed flatly .the accompaniment
labour more: the other method is to feparate the hafmony left:
the other parts approaching too near to that which tings the fub-
je& fhould be confounded with it, and preven{ it being heard
clearly, fo that what would be reckoned a fault every where elfe s
. becomes a beauty here.
fn Unity qf .elody. Here is the grand rule to be praifecl
often by different methods. Me muff chufe the concords the in-
tervals fo that a certain found and not an indifferent on% may
caufe the principal effe viz. an unity of melody. We muff:
rometimes ut into la inftruments or voices of adifferent kind
P P Y .
fo that the part which fhould predominate may be moro
difdugulfhed, viz. an unity of melody. Another obśervatior
not lefs neceffary is, in the different unions of modulation$ which
the force and progrefs of the fugue bring with them, to.take ear
tat all theFe modulations be correfpondent at the fame time i,
all their parts; to unite the whole in its progrefs by aa exa& con-
formlty of tone r for fear that One part being in one ton% mud
am. other in anotker the entire harmony fhould be in neither;
lhould not prefent an)r timpie effeCct to the ear or timpie idea to
the mind ,iz. an umtľ of melody. In a word s in every fugue
the confuflon of meldy and modulatioga is what at the tm˝
t, im% ia mot to be feared and the moi difficult to be avoided
and the preafure which thi kind of mufic producess being always
middling: we may fay that a !ood fugue is the unrepaid chef-
, d'euv/e of a gool h/$monif[. -
There are alfo feveral other kinds of fugues as the perpetual
fugue% called ganohs; the double fugue the counter fugue8 each
of which may be fcen under its title: and which ferv˝ more to
extend the art of compofer$, than to pleafe the ear of an audi-,
enceo
Fugue is from the Latin fuga, Hight; becaufc the parts fcttng
ff śo śuccelvely) tem to fly and putrue each other.
F f - ' CONFUSED
'7S G A
CONF'O'$ED FUGUE, Is that where anfw'er is made by
movement contrary to that of the rubieS.
FULL PLAY, Is aid of the play of an o?gan, when all the
regiiers are fixed, and the whole harmony is filled ; it is laid aIśo
of bow inllrurent% when we draw from them all the found
which they can give..
FURCE, A quick and continued iroke which aścends or falls
to join two notes diatonically to a great intcrvaI ene from the
r-hers thus:
lYnle/ the furce be noted, it is neceffary, for its execution, that
one of the two extreme notes have a duration, oq which the furee
may be pafted without changing the meafure.
Ge
(3amRE SOLs G SOL RE UT, or/imply' G, The fifth founcl
of the diatonic gamut which otherwife is called fol. (Vide
'It.)
It is alfo the name of the hlghett of the three mufical clefts,
l[Vide Cleft'.)
GAIs This word written above an air, or a piece of muffes
denotes a middle movement between the quick and moderate: it
anfwers to the Italian word Allegr% ufed in the fame fenfe. (Vid
aMlegro.)
ß This word may alfo be underllood of a chara&er of muff% in-
dependantly of the mufic.
GAILLARD A three-tlm'd ar, belonging to a lively danc
f the fame air. It was formerly called Romanefques becauf% ace
Cording to rcport it is derived from Rein% ob at leails from
lta4lis dance has been out of ufe rome time. There is onlI
ep of it that remaln% called The GaillaM
GAMUT table or fcale, invented by Gui Aretln on the
hich we learn to name and found july tlxe gegrees of the
by the fix notes of mufic, ut re, mi t fol la aecordingto all
the difpofitions that Ca be given fiem which is called ia FreSh
{olfie b to fol , Th
G A 79
'The gamut has alfo been ciled an harmonic hand, becazfe Gui
made ufe of the figure of a hand, on the fingers of which he
ranged his notes to flaew the conne&ions of his hexachords with
the five tetrachords of the Greeks.
This hand has been in ul to teach to name the notes, tilt the
invention of fi, which abolifles the diviGons amongft us, and
confequently the harmonic hand which śerves to explain them.
Gui Aretin having accordinz to the general opinion, added to
the diagra TM of the Greeks a tet%achord in flarp, and a chord in
Eat, or rather, according to Meibornius, having, by thefe addi-
tions, eftablifhed this diagram in its ancient extent, tie called that
fiat chord hypropoflambanomenos, and marked it by the F of
the Greeks; and as this letter was found thus at the head of the
ścat% by p. lacing. the flat founds above, according to the method
of the ancients, it eaufed the name of gamut to be given to this
fcale.
This gamut then in tile whole of its extent, wa tompored of
twenty chords or notes viz. of two oaves and a maior fixth.
'There chords were reprefented by letters and fytlables. ' The let-
ters invariably diinguifhed eacti a determined'chord of the real%
as they do at prefent; but as there were then but fix tetters
that there might be revert, and as it was neceffary to re-begin
from oave to oave, they difinguifhed there oaves by the fi-
gures of letters. The firf oave as marked with ca. pital let-
ters, in this manner, Y. A. B. &c. The fecond in runrang-hand,
g. a.b. And for the fupernumerary fixth they ufed double let-
ters, gg. an. bb. &c.
In regard to the fyllables, they only'reprefented, the names
which were to be given to the notes in tinging. Moreover, as
there were only fix names for feven notes k was through neceflity
that one name was given to two different notes; which was ma-
naged in fuch a manner, as.that there two notes, mi fa, or in, fa,
thoutd fall on fetal-tones. Confequently as loon as a dieils or a
]3 flat prefented itfelf which brought a new fetal-tone, the names
were to be again changed which eaufed the fame name to be
given to different notes and different names to the tiptoe note,
according to the progrefs of the air: and there chanes of the
name were called divifions. ß
There di'vifions were then learned by the gamut. ./it the left
of each degre% we 'law a letter which dnoted precilkly. the
chord belonging to that degree. On the rizht. in the cafei'. we
found the different names w]fich that note mih[ bear. in rifi2 or
tlcfcending by B arp, or B flat, according 'o the p:ogreti.
The dflIieulties of this method have caulhd dibrent eltanges
to be made'in the gamut at iiveral times. This. plat xeprefents
the gamut as i is now ufcd in Italy.
1" ś if'he
if'he Italian Gamut.
It is nearly the fame thing in Spain and Portugal, unlefs that
the cotmnn of B fharp is rometimes found in the lat place, which
here is the firif, or rome other difference of as little fignifica-
tion.
To rrmke ufe of this fcale, if we witl ting in natural, vre apply
ut to r. of tile firff column, the length of which we arcend
far as la, after which, pafling to the righ in tile column of B
natur. al, we name fa; we arcend to la of the śame column and
titan return in the precedent to mi, and fo in continuance. Or
indeed we may begin by ut at the 1 of the fecoracl column, ancl
When arrived at la, pals to mi io the firff column, and then repaf*
in the other column to fa. By this method one of there tra-nfi-
tions atwav forms a femi-tone. viz. 'la, fa; and the other, alwaľ
a tone, vi. !a mi. By B flat,'we may begin at the ut in c
and torre the tranfition's in the flame manner, &c. '
In'deli:ending by B fharp, we quit the ut of the column in the
xniddle, to pati to mi from that of the !l flmrp, or to fa from
that bf B flat; then, de&ending as far as ut of that new ˝o-
lumn we go out by fa from the left t the right by mi frra
right ro left. &c.
The Englifh do not make ufe of all the fyllables, but only the
four firl'q ut re, mi ta changing thus the column every four
notes, or every three, by a inethod timilar to that whi:h I have
juff'explained unlefs in the place of la fa and la mi s we muff:
move in fa ut and mi ut.
The-German have no other gamut than the initial letters
which exprefs the fixed founds in the other gamuts, and they even
foIfa with thofe letters.
The French gamut otherwife called gamut of fi prevents the
embarraff'ment of all thefe tranfitions. It contiffs in a fimple fcale
of fix degree. on two eolumns betides that of the letters,
French Gamut.
' D la re
C j31 ut
./I ml la
(7 re
'T'he flrf column on the left is to be lung by B flat that is,
with a B fiat in the cleft. The fecondis lung in natural. Here
les all the myery. of the French gamut, whole difficulty is as
trifling as its ui fince every other alteration but a B flat lauts it
inantly outof ufe. The other gamuts have onl this i{dvan-
rage over i% than having a column for the B iharp alib, that iss
for a die{is in the cleft; but as {oon as we put more than a dieflu
or a B flat (which for,ner, ly was never done) all there gamuts are
equally ufelefs. '
At prolent, when the French muffclans fineevery thln in na-
tural, they have no occafion for a gamut. 2 fol fit, utand Cs
are, to the TM, no more than the fame thing. But in Gui's fvfem.
ut is one thing, and C another very different; and when h gav
each note a fyllable and a letters he did not pretend tO make fyno-
nymies of thm, which would be doubling the names and e,nbar-
rafi'mcats to no purpofe, . . .
G g GAVOT
GAVOT, A ki'nd of 'dance, whośe air is t<vo tm and
ß cut into two repeats, each of which begins witIx the fecoad tim%
and finies on' the fir. Th movement of the gavot is generally'
pleafing often lively rometimes alib tender and flow, tt marks
its phrafes and its ops every two meafures.
. GENIUS. Seek not young artqS what m6aning is expecd
by genius. If you are infpired with it you mu fell it in your-
fdlL Are you deitute of it you will never acquainted with
it. -The genius of a muffclan fubmits the whole univerfe to his
' '
art. He paints eve'y pcce by founds; he gives a language even
to filenee itfelf; he renders eas by fentiments; fentiments by
accents; and the paons whSch he cxpreffes are drawn from the
bottom of the heart. Voluptuoufnei, b his askance, receives
frefi charms; the grief to-which he gves utteranc% excites
cries; he continually is burning and never confumes. He ex-
preffes with fire even the colde thbje&s; even in painting the
horrors of death he conveys to the tbul that fentiment of life
which never abandons it and which he counlcates to hearts
formed to feel it. But alas his words avail nothing to thole
wherein his feeds are not implanted; and his-prodigies are hardly
fenfible to thol who are incapable of' imitating them. Would
you then wifl to know if any/park of this devouring flame in-
pres you. e qmck hae to Na les hen to the maer-ples
of Leo, Durante, ommiltb Peraolefis lf'your eyes are filled
wth tear% if you feel your heart palpitat% ff gaiety agitates
you, if forrow intoIves you in tra'nfp-ort% ake MetaXario and
labour: His genius will enflame yours; yourwill form a creatloa
after his exmnplc: 'Tis. Otis xvhicl forms-the ganius, and the eyes
of others vill very fo0n reftore you thofe tears which your maers
have eaulid you to thed. Bu{if the clarms of thls grand art
.leave you contented, if you tel no raviflxing trantorts if you
difcoer nothing beautiful but what barely pleafes, dare you de-
nsand what genius is ? Vulgar mortal, dare t profrae that
heavenly appellation. What would it avail.to thee to know it ?
hou can not fee it. Compot in Frencl b. and peac0ably re-
tl !'e.
' GENUS. The divion and difpofitlon of the tetrachord con-
dored in the intervals of the four fous wldch. compofe it. We
.imagine that this definition, which is that'of Euclid, is only
Elicable to the Gruek mufic3 whie15 I have 1iokeu of in the tir
place.
' The good regulatlons'of a concord of the tetrachord, viz. the
e.abliment of a regular genus, depended on th= three. followi,g
rulcs which I draw t'ron rioxcne.
The fir wm that the. two extreme chorcN: of. the tetrachord
flxould alwhys'rcmain uffm0veabl% that thrir: interval might al-
%VayS'
a3rs be that of t true fourth, or'a diateffaron. In regard to the
middle chords, I confcl, they vary, but the interval of Lichanoa
in Metis ought never to pat two tones, nor diminifh below
tone; fo that they had precilkly the śpace of a tone to vary the
concord of the Lichanos, and this is the fecond rule. .The thircl
was, that the interval from the parhypaton, or fecond chord
fhould not exceed that of the fame parhypaton to the Lichanos
As in general this concord might be divertitled three ways, thi
conftituted three'principal genera, viz. the diatonic, chromatic
and enharmonic.
There two laf'c genera, or the two firf intervals, 'formed always
together a fum let 'than the third interval, and were 'called ora
that account, confined genera.
In the diatonic, the modulation proceeded by a remic'tone,':[
tone, and another tone, fi, ut, re mi; and as we paffed througlx
three confecutlve tones, from whence it received the name of
atonic, the chromatic procee&d fuecefiively by two femitone
and a hemi-diton or a minor third fi, ut Ut dieils mi. Thi
modulation was placed in the miIdle between the diatonic ad
harmonic, making, if I may be allowed the expreffion, different
divifions be felt, juf as w}/en btween two principal colours were
introduced feveralintermediate properties and from thence this
called the enharmonic or colour'd genus. In the enharmonic tl
modulation proceeded by two fourths of a tone, by' dividing, ac
cording to Arift0x. enes, the major fe'mitone into two' qual prts
or a diton, or major fixth as fi, fi dieils enharmonle ut, and mi.s
or, according to the Pythagoreans in dividing the major femi-
to.ne into.two unequal intervals which formed one the minor fe-
rretone, wz. our ordinary dieils, and the other the complement oś
this fame remitone minor to the remitone major; aid then th
diton as befor% fi, fi ordinary d'iefis, ut, mi. In the firft cafe
the two equal intervals of fi to ut ere both enharmonic, or the
fourth of a tone; in the fecond cafe, there was no enlia, n/6/i
but the paffage of fi dieils to ut', viz. the difference betweer th,
minor anti majoi' femit0n% wllich is the diefis called fo by Pttla-
őoras and the true enharmorfic interval given by nature. ' ' '
Therefore, as thi modulation, fays Monf. Burettes was ver
much confined, runtting only flrough froall intervals almb im-
idrceptlble, it Was called enhannonic, as one' would fay well
joined, well coilvOcal, prob coagm. entata.
Betides thel principal genera; 'there were others which refulte&
all from the different pars of the tctrachord, or from methods' oś'
turning it differently from thole which I have menti0n&d. Arif-
toxenes rubdivides tlie diatonic genus into fyntonic' hnd diatonic
mollare, (vide Diatonic) azd the chromatic genus into' mollar%
mollare hemiolian and tmic, (vide Ch,'omatic) whofh diffcrencea
I4 G
he gives as 1 have,/heurn under their articles. Ariffides Q.9;nrl-
lian mentions many other peculiar enera, and he reckons up fix
s very ancient, viz. the Lydian. Dorian, Phrygian, Ionian, Mi x-
lydian, and Syntonolydian. There fix genera, which mu not
be confounded with the tones or modes of the fame names, differ
in their degrees as.well as in their concord; the one did not reach
the oave the others reach'd and others pafs'd it, in fuch a man-
ner as to partake, at the fame time, of the genus and the
he detail of it may be feen in a book intitled the Greek
fician.
In general, the diatonic is divided in as many' kinds as can be
gned to different intervals between the remitone and tone.
The chromatic has as many kinds as may be agned to the in-
ervals between the Imitone and the enharmonic dieils.
In regard to the enharmonlc, it is not rubdivided.
- Independantly of all these fubdivifions, there was alfo a common
genus, in which were nfed only the able founds which belong to
all the genera and a mixt genus, which partook of the chara&er
of two or 0f all the three genera. oreover we mu take no-
tlce, that in this colic&ion of genera, which was very re, there
were not more than four chords made ufe of, but they were
'tended or relaxed differently during the fame piece, which appears
ather diqult'to praice. Iimane that perhaps one tetrachoM
was tun'd in one genus, and aother in another but authors have
not mae a clear explanation therein.
We read in rioxenes, Book [. Part II. that until the time of
lexander, the diatonic and chromatic were negle&ed by ancient
muffclans; and that they. pra&ifed only the enharmonic genus, as
the onl one worthy of their abilities ß but thik enus was enditel
. Y . . ß g . . .
abandoned m the nine of Plutarch, and the chromatic was allo lot-
gotten before acrobius.
The udy of the ancient writings, rather than the prgrefs of
ourmufic has rendered us thee ideas 1o among their fucceffors.
e have, as well as themfelves, th diatonic gertuss chromatic and
enharmonic, but without any divifions; and we conrider there ge-
nera under ideas very different from th0fe which the[ had. They
had a many peculiar manner of condu&ing the mr on certain
preffribed chords. For us, there are fo many manners of condu-
Jng the entire body of hannony which force the parts to follow
the intervals prefcribed bY there genera; fo that the genus belong
ill more to the harmony which hngender ib than to the melody
which canres its fenrations.
. We mu obferve again, that in our mufic the genera are almo
always mixt, that is, the diatonic enters very much into the chro-
matic and eh of them is neceffarily intermingled with the eu
harmonic. One entire piece of mufic in one only genus would
le very difficult to be condu&ed, neither would it be fupportalfle;
for in the.diatonic it would be impoffible to change the tone
the chromatic, we fhould be forced to change the tone in each
note; and in the enharmonic, there would be abfolutely no kind
of union.
All this is again derived from the rules of harmony, which fub-
je& the fuccefon of concords to certain rules, incomparable with
a continual fucceffion, enharmonlc or chromatic, and atfo from
that of tile melody, which cannot extra& any kind of pleating air.
It was different with the genera of the ancients, as the tetra-
chords were equally complete: tho' differently divided in each of
the three fyKems; if in ordinary melody, one genus had borroweel
from another, other founds than-thole which were neeeffarily
non between them, the tetrachord would have had more than four
chords, and all the rules of their mufic would have been con-
śounded.
lonf. Bette, of Geneva, has made the diin&ion of a fourtin
genus; which I have fpoken of in its article. (Vide Diacorn-
naatic.)
GIG, the air of a dance which bears the fame name, whole
rneafure is a 6'-Sth, and whole movement lively. 'the French
operas contain many gigs, and the is of (2orrelli have been
long time celebrated; but there airs are entirely out of faflaion
and there are no more ufed in Italy, and very few in France.
GRACES IN SINGING, .By this term are called, in the
French muc, certain turns and flaakes in the throat and other
ornaments oined to the notes, wlfich are in fuch or fuch
tion, according to the rules prefcrlbed by a taffe in tinging. (ľid˝
Taffe in Singing.)
The principal of there graces are The accent, the flow, the
flatte, the martellement, full cadence, broken cadence, and extent
of the voice." (Vide thośe articles.)
GP, AVE An-adverb which expreffes flowneft in . movement
and alfo: .a certain gravity in ,the execution..
GRAVITY s Is that modification of the found by which it iS
confidered as grave or bar% in conne&ion with the other founds
which are called high or fharp. There is no correlative to thi
word in Freuch for that of acuity could not exprefs it.
The gravity of the founds depends on the bighers, length, and
extenfion of the chords: on the length and diameter of the pipes
and, in general s on the extent and mal of fonorou bodies. The
more they have 0f that the greater is their gravity, but there is
no abfolute gravity and no ibund i flat or lharp but by compa..
rifon.
GP. OS-FA Certain ancient pieces of church-mufic, in śquar˝
notes. $cmibrcvcs s and rainurn% wcrc iormcrly called thegrol:fa.
' GROUP,
GROUP, Aeb6ri'ng to the Abl3e Bropart,' four equal :anti
diatorric notes, the firf[ and third of which are on the lhme degree
form a'group. ľq-hen the fecond defcends and the fourth vilas, it
is an.afcendant group; when the fecond arcends and the fourth
flails, it is defcendant: and he adds, that this name has been given
tO theTd notes on acebunt o c the figure which they form together.
] do not remember o have ever heard this word ufed in fpeak-
ing, in .the fenCe which the Abbe Bropart gives it, nor to have
't in a timilar śenfe any where but in his di&ionary.
GUIDE, ls that part which enters fief[ in a fugue, and an-
nominees the fubje. ' (Vide Fugue.) This word is very common
in IrIy, but śeldom u&d in France in the fame fenśe.
GUIDON, A fmal fign of mufic which is placed at the extre
m'/ty eft each tare, on the degree vihere the note muf[ be placeel
which begin the following flare. If this firPc note is acccident-
ally accompanied by a die. fi%.or B/harp, the guidon/hould be ac-
e.mpanied alfo. . ' '' ' ' .
. 4 Italy the gulcon is no longer afa p.articularly in partition%
lere each par having its place fixed in the column, we cannot
mike in paffng tctt one to the otke'r. ' But the guons are ne-
˝effary in the French partition% becau(e, from one lin. another
hs:olumrs eonaini,ngmore 'or 'lefs 'taves, leave yon in a cona
tirtal ncertain of the ave, eormfpondent to tt ich yon
ave
'GYMNOPOEI, fin air in rain, to whieh the young
eoniam daed
.'17]'ARMATIAS, The hame'er a da&yllc air, in the Greek
' mhfic invented by the firff Phryglan Olympus. ß
'IAKMOIY 'The śenfe which the Gr6eka ave to this word
In'their raufic, is fo much the mote di.fiicult to determine, as bein
originally a prolEr name it ha no root, by which it can be un-
compoteS'to extra& its etymology. In the anment treat res that
we have remaining, harmony-appear to be the part which has for
It ob,j& the /hitable fucceflion of foulads, infonuch as they ave
lha'p r fla,'in oppofition to the tW* 0'thee parts Which are called
?ythmica.and 'metfica; which have e0nne]on wkh the-time and
meafure which leaves to this convenience. a vague, aad. undeter-
hfiaed idea, which cannot be fixed but by an expecfs fiudY of all
the xUle of tlxe' art; and frill: after thiss th'e harmony Wil! be verlr
: ß difficult
H A
fllfc.ult to be diltinguifhed from the melody, unlefs they add to
the la, the ideas of rhyme and meafure, witltout which, i'n
no melody can have a determined ch;raer; whereas the lzaxmonľ
is its own by ittiglf,, independant of every other quantity. (Vidi:
Melody.) We fee by a puffage of Nicemachos, and othees that
rometimes the name of harmony was ,given to the confonance of
the octave, and to concerts of the re;ice, and inftruments whicfx
were executed by the eElave, and which were mor.˝ connnonliy
called antiphonics.
Harmony, according to the moder. ns is a fucceflion ofcocord
according to. the laws of modulation. This harmony had,. for
long time, no ether'principles than rules ahnoft arbitrary, or cmtľ
founded on the approbation of an exercife. d ear, which judged
the good or ill fucceflion of confonances, and.whole deckdons. were
immediately placed in calculation. ]3ut, P. Merfenne, and Monf
$auv. eur, having found that every found the' fiple in appear-
ance, was always accompanied by other founds lefs fenfie, which
formed with it a major perie& concord; Monf. R. amean:ha left:
this. experience, and has made from it the bars of his harrnoni-
ecem, with which he ha filled many books, and which Mouf.
'Alembert has ltly taken the trouble of explaining to' the
public.
lIonf. Tartlni leaving another experience more new, more
lleate, 'and not left certain, has attained az conclutions.pretty ti-
milar, by a quite oppofite mehod. Monf. Rameau engendefth˝
treble 'by the bali; Monf. Tartlni engenders the bars by the
treble: The one draws the harmony from the melody, and.
former a&s quite contrary, To decide from nrhich of the two
fchools the beec works take tb, cir origin, we need only know which
$hould be marie for the other, the air or the accompaniment.
/herr expofition of M. Tartini's may be found at the .vord Sy.ftem.
I here contintxe to fpeak in that of Monf. Rameau, which I have
followed thro; the wlxole of this work as the only one ad. mittecl
i the country whre I write.
! ought however to declare, that this'fyRem as ingenias as it
m,y appear is nothing left than founded on nature, as he incer-
rantly r.epeats it; that-it is elablilhed only.on analogies and
vcnign˝˝s w. hich one who. is tolerable at nvention, might over-
throw to-morrow by others much more natural; that !aitly of the
experience which he deduces one is known to be falfe,.and the
othr does not furnifN the confequences xvhich he wold'draw from
it. In.cftc&, when,this author wied to decorate, with tha title
of demonitration the;eafnings on which he eRablilhes his theory
the whole world l, augh'd, athim. T'he academy refufed, and highly
difapproved this ridiaulous qualifmation; and Mont EReve of
h˝ ocict.l.oyI˝ ol, Monpclicr clearly fiaewcc[. kim that .to
begin
begin by that propotlon, v]z. that, by the law of hature, the
oetaves of tbunds repretnt them, and may be taken for them, wa
ro kin,d of demoniration, nor even folidly efablifiaed in his pre-
tended demonfration. I now return to his ifem.
The phyfical rinciple of the reafonance refents to us the foli-
P ß P
tary concords and elabliihes not the fueceffion. A regular fuc-
ceffion is however neceffary. A dictionary of chofen words is not
an harangue, nor a collection of good concords a piece of mufic.
. fenfe is wanting; an union in the mufic as well as language
receffar': Something of what precedes muf b tranfiuitted to wht
follows, that the vhole may form a concinnity, and may be truly
ß Moreover, the compofed fenfation, which refults from a perfeE
:oncord, is refolved in the abfolute fenfation of each of the-founds
v;hich com?ofe it; and in the compared fenfatlon of each of thet
intervals which thefe fame founds form between themfelves, there
is nothing beyond the fenfible in this concord; from whence it
rollows, that it is only by the connection of the founds, and the
analogy of the intervals, that the union in queiion can be efa-
llifiaed: There lies the true and ol.y principle, whence flow all
he laws oś harmony nd modulation. [f thn, the .whole Of har
mony was formed only by a fucceffion of prfeE major concords
it would be fuficient to proceed to them b)r ntevals timilar to
ho which cornpole fuch a concord; for then, rome found of the
preceding concord being neceffarilľ prolonged on the following,
all the concords would be found fufficientlľ united, and the
mony would be n oe, at featS, in this lenin.
But betides that fuch fucceśfions would exclude the whole me-
Iod, by excluding the diatonic genus, which forms its bafs, they'
would not reach the true aim of the art, fince mufic, being a
˝ourfe, ought, like it, to have its perlode, its phrafes, fufpentions,
ops, and punuation of every kind; and as the uniformity of the
laarmonlc courfes prefent ,nothing of thefe properties, the dla-
onic courfe required the major and minor concords to be inter..
mixt, and we have felt the necefity of diffonances to mark the
pa and phrafes. Moreover, the uulted fuccefi]on, oś perle&
major concord, neither gives the perfe minor concord, the dif-
fonance, or any kind of phral, ad its punctuation appeas
irelr erroneous.
Monf. Rameau, infiing abfolutelľ, in his fytem, that all our
Iaarmonľ fhould be drawn rom nature, ha had recourfe, forthiz
purpofe, to another experience of his own invention, which
have fpoken o before, and which is changed lrom the firf. He
ha pretended, that any found furnifiaed i i multiples a perfeX.
minor concord in fiat, whole dominant or fifth. it was,,as it fur-.
fiaed a majo in its aliquots of which it i the tonic or śun-
fiamental.
c]amental. -e has advanced, as a certain thlng that a fonorous
laade tvo other flatter chords vibrate in their tot?lity, withot,
however making them refound the one in its major twelfth, and
the other in its feventeenth; and from this propofition,.joined to
the precedenti he has deduced, very ingenioufly,. not only the in-
troduStion of the minor mode, and diffonance m harmony, but
the rules of the havmonlc phrai, and the whole of modulati(n,
fxtch as we find at the words Concord, Accempaniment, Funda-
mental Bars, Cadence, Diffonance, Modulation.
But firft, the experience is falfe. It is known, that tuned
chords, below the fundamental f6und, do not entirely flake witix
this fundamental found, but that they are divided to render the
unifon only, vhich coniquently has no harmonies below. It is
alfo knowr/, that the propriety which the chords have of being di-
vided, is not particular to thole which are tuned in the twelfth
and feventeenth below the principal found, but that it is common
to all its multiples, from whence it follows, that he intervals of
twelfth and feventeenth, not being peculiar in their manner no-
thing c.n be concluded from them in favour of the minor perfeCt
concord which they reprefent.
ß Though we fhould fuppofe the truth of this experience, this,
Would be very far from removing the difficulties. If, as Monf.
Ralneau pretends, the whole of harmony is derived from the re-
ionance of a fonorous body, it does not then derive froin it the
tingle vibrations of a fonorous body which does not refound.
effe it is a {'crange theory to derive from what does not refound,.
the principles of harmony; and it is frange in phyfic, o make a
fonorous body vibrate and not refound, as if the iund ittlf was
at all different from the air, thaken by the'e vibrations. Bcfides,
the fonorous body does not only give, betides the principal fonnd,
thofe founds which with it cornpole the perle& concord, but art
infinity of other founds, formed by all the aliquots of the tJno-
rous body. Why are the fi-fe founds confonant, and the other
not, fince they are all equally given by nature ? ß
Every found forms'a conc-ord truly perfed, fince it is formeel
of all its harmonies, and by them it is that it becomcs a found.
There harmonies, hovevei', are not heard, and we diftinguillx
no moYe than a timpie fodnd, unlefs it be extremely firong; from
whence it follows, that the only good harmony is the uniln, and
that as we ditinguifh the confonances, the natural proportion
being changed, the larmony has loft its purity.
This alteration is formed two ways: firft, by giving a found
to certain harmonics, and nt to others, we change the connec-
'{ion of fore% which ought to reign amongft them all, to produce
the fenration of a found, and the unity of nature is defttoyed.
We produc% by doubling thel harmoni˝s an effe timilar' to
H i that
o H A
'that which wonId be. produced by x9ifling all the ret: for then
we mull not doubt, but that, with the generating found, we miglt
hear tho.Ce of the harmonres which we lhould have left; whereas,
by leaving them all, they dellroy each other and concur toge-
ther to produce and enforce the tingle fenration of the pri,,cipal
found. This is the fame effe& which the full play of the organ
produces; when reineying the regifters fucceffively, we leave with
the principal he doublet and the fifth; for then that fifth and
that third, which remained confounded, were tbparately and dill-
agreeably diftinguJhed.
Moreover, the harmonies which were made to found, have
themilves other harmonies, which are not from the fundamental
found: It is by there harmonies added, that that which produces
them is Rill more roughly dillinguifhed; and thefe fame harmo-
nies, which make the concord to be thus felt, enter n6t into their
harmony. This is the realbn why the confonances which are
moil: perle& naturally difpleat the ear, little qualified to under-
fraud them, and I do not doubt but the oave ittlf would, as
well as the veil, difpleafe, if the mixture of the voices of men and
women had not given the curtom of it from its infant ttate.
In the diff'onance it is ttill worfe, fince not only the harmonies
of the found which give it, but that found ittklf does not enter
ito the harmonious fytlem of the fundamentM tound; which
caut's that the diff'onance is ahvays difkinguiflied in a difagreeable
'manner amongft the other founds.
Every touch of an organ in full play gives a perfe& con:orcl
major tkird, which is not dillinguifhed from the fundamental
śound, unlet we pay an extreme attention and draw the tones
tkmcefliively; but there harmonic founds are not confounded with
the principal, but by fayour of a loud harmony and an arrange-
ment of regillers, l)y which the pipes which make the timtin-
mental tburd telbund, cover with their force thol which give
their harmonies. Moreover, we do not obtrve, neither can we,
that continual proportion in a concert, fince, in c6njunetion with.
the ch.ange of the harmony this greate force muff inllantly
pali from one part to another, which is not praticabte and wou14
entirely disfigure the melody.
%'hen we pin 5, on the organ each toneli of the bars makes the
perfeEt major co.cord tbund; but becaufe this bars ia not always.
fundamental antl as' we often fnoclulate in perle& minor concord,
this major perl%?.t concord is thldom that which the right hand
tlrikes; fo that we hear th'-' minor third with the major the
fifth with the triton the śu.pcrfluou tventh with the oe'tave
and a thouland other cacophouies, with which our ear is little
difgufied, bec:,u cuPcoin renders them convenient; but it could
not be'prclhlzed'that it is the lh. me thing with an ear naturallit
jutt,
'H A
uft, and which, for the firft time, we {hould put to she pmoś
of this harmony.
Monf. Rameau pretends, that trebles of a certain fimplicity
naturally luggert their bars, and that a man: who has an ear tru%
and not exercifed, w11 naturally luggert it. This is a prep?fief-
lion of a mufician proved erroneous by the whole of experience.
Not onl he, who fhall never have heard bars or harmon , will
Y . . .Y
not find this harmony or bars of himfell, but they wxll dffpleaf˝
him as loon as he hears them and he will prefer greatly the
fimple unifon.
When ;ve redeem, that of all the people of the earth Who all
have a mufic and an air, the Europeans are the only ones wh
have a harmony and concords, and who find this mixture agrac-
able; when we refteEl, that the world hs continued fo many
years, without a,mongft the cultivation of the beaux arts through-
out mankind in general, any one's having known this harmony;
that no animal, no bird, no being in nature produces any othe
concord than the unifon, no other mufic'.than melody; that th
eartern languages fo tbnorous, fo mufical; that the Creek air,
fo delicate, fo fentlble, exercifed with fo much avc have neve
guided thei voluptuous people, fond of our harmony that with-
out it, their mufic had fuch prodigious efteEls, that with it ours
is fo weak; that laftly, it it was reli:rved far the northern nations,
whole rough and brutal organs are more touched with the eclat
and noire of the voice, than with the fweeme of the accent
and the melody of-the infleEtions, to make 'this va difcovery,
and to give it /s a'foundation of all the rules in art: When !
tky, we pay attention to the whole of' this, it is very ditticIt not
to'ihfpe& that all.our harmony is but a gothic and barbarous in-
vention, which we fhould never have followed if we had been more
infible of the true beauties o art, and of mufie truly natural.
Monf. Rameau, however, pretends that harmony is the fource
of the greateft beauties in mufic; but this opinion has been con-
tradi&ed by fuels and reafon.By faEts becaufe all the great
eff'e&s of mufic have ceafed and it has loft all its energy and
force fince the invention of the counter point I to which ß add,
that beauties purely'harmonie are ingenious beauties, which
pleafe. only pertbus vetfed in the art; whereas the true beauties
of mufic, being thole of nature, ar% and ought to be eelua!l'
lhnfibte to every' man, whether learned or ignorant.
By reafon, beeaufe harmony furnifhes ncimitation by which
the mufic, forming images or exprelling fentlments may be railed
to the dramatic or imit-ativa genu. s which i the molt noble part
ot art, and the onl one energetic. Ever thin titat expreffes
. y g
only the phyfic of ioursds being greatly bounded in the'pleafue
H h z which
9z /-i A
which it gives us ancl having very little power ovei; the hui-hari
lXeart; (Vide Melody.)
HARMONY, A genus of mufic. The ancients ofien gave
this name to the genus commonly called enharmonic genus;
(Vide Enharmonic.)
DIRECT HARMONY, its that wherein the Bari is funda-'
mental, and.-where the Cupcrier parts preferve a dire& order be;
tween themfelves; and with 'the bars. Varied harmony is that
where the generating found or the fundamental is in fame one of
the fuperior parts, and vhere fame other found of the concord- is
ß t'raniorted to the bars belair the reft. (Vide Dir&, &c.)
FIGURED HARMONY, Is that wherein we make thve,'al
otes pals on a concord. Ve figure the harmony by conjoint
er disjoint degrees. When we figure by conjoint degrees, we ne.
eeff'ari!y ufe other nqtes tlan there xvhich form the concord;
notes which are not on ihe bat, and are reckoned as nothing in
harmony: There intel'mediate nates ought not to arcend to the
!e. ginnlng of the times;.and principally the t'trong times, unlef
it be as flowings, extent of the voice, or When we form the firft
nbte of the tlabrt time to bear up the fecond. But hen we
tigure by disjoint degrees we cannot abfolutely make ufe of any
xtote$ but there which form the concord, whether confonarrt or
cliftonant. Harmony' alfa figures by fufpended or fnppafed fqunds.
(Vide Sufpenfion, Suppetit. ion.)
HARMONIOUS, Every thing which ,rms an effe& in har-
mony, and even fametimes every thing xhich is fonorous, and
fills the.ear, by voice, infiruments, anti fimple melody.
IAKMON1ES, Whatever belongs to harmony; as the har
manic divifions of the monochord the harmonic propaXion the
harmonic canon, &c. ' . .
'HAR. MONIC, By this name are called all the concomitant
or acceffary founds, which, by theprinciple of refonance, accom-.
an an found, and render it divifible. Thus all the ali uot$ oś
P Y Y . . . q
a fonorou$ chord gave at harmantes.
HAKMONIST, A mufician ingenious in harmony. "Such
an one i a good harmonift." ." Durante i the greateft harmo-
nift in'Italy, tha i in the world." - .
HAKMONOMETRE, An inftrument proper for meafuring
larmonic conne&ions. If we could ablerye and follow with the
ear and ey? the bodies, knots, and all the divifians of a chord fo-
noraus in ts vibration, we fhould have a natural harmonometre
very exa&; but our grofa fenres not being fufficlent for 'there
ablerrations, we fuppIy them by a monochord, divided at our
plealh;-e by mveable bridges and thin i the belt natural ha,'mo-
riometre which has Leen ltet difcovered. (Vide. Monochord.).
HARi/ONIC
HARMONIC HAND, Is the name which Aretin gave to
the gamut which he invented, to hew the connexion of his
hexachords, of.his fix letters and /ix fyllables, whh'the five
.tra.chords '9.f the Greeks. ' He reprefented this gamut by the
gure of a left-hand, on the finirers of 4hich were marked all
fdunds of the amut, as well by the correfpondent letters as b
the fyllable which he had jotned to them, by parting, by the rule
of divifmns, from one tetrachord or finger tb another, according
to the place where the two remitones of the o&ave were pinted
by the B fharp or B flat, that is, according as the tetrachords
w're cOnjoint or disjoint. (Vide Gamut, Dtvifions.)
HARPALICE, A kind of long, appropriated to young girls
amongtic the ancient Greeks. (Vide Song.)
ß HAUT DESSUS, This is, when the tinging treble is divided,
the fuperior part. In inftrumental parts we always fay, firtic
treble, and fecond treble; but in voca 4 we rometimes fay, haut
treble, and bars treble.
HAUTE TAILLE or TENOR, Is that part of nfic which
'is alfo timply called tenor. When' the tenor s fubxlivided -into
two other-parts, the lower takes the name of. bafi'e.Taille, or
concordant, and the higher is called haute taille. '
ß HEAD, The head or body of a note is that part which deter*
mines its pofition, and to which the tail is fixed when Jr'has.one.
(Vide Tail.)
Before the invention of printing, the notes-had only black
keads, for the greatet'c pmrś of the notes bei.ng. fquare,. it would
have been too long to make them white in wrmng them. In [he
imprefit.on, the heads of the notes 'were madwhlte, that is,
vacant m the middle. At prefent -both rare in ufe, and all the
reit being equal, ß white head always deuotes a double power to
that of a black.' (Vide Notes, Powers of Notes.) '
HEMI, A Greek word much Ufed in mufic, and which figni-
/ie..s .half, (Vide Semi.)
HEMIDITON', Was, in the Greek mufic, the interval oś
.m, 40rthird dimlnifhed a remitone, that is, a minor third. The
l/emldlto is not, as might be believed, the half of a diton oś
tone, but it is the diton lefs than the half of a tone, which is.en-
tirely different. . . .
HEMIOL,E, A Greek word, fignifying the entire and a half,
and which has, in rome relic&s, been confecrated to mufic.
expreffes th conne&ion of two quantities, one of which is
the other'as 5 to to, or as 3 to-z. It'is otherwife called the
fefluialter conne&ion. , ' '
:It it from this connexion that the confonance arlfes, called
dlapnte or fifth; arid the ancient fequialter rhyme arof from it
1ib. '
ß ' '' I i 'he
.The ancient. Italian' authors give alfo the name of hemlole, of
homiolian, to that kind of triple menlure, each of whole times is
a ˝rotthet. If ibis 'crotchet is without a tail, the meafure is called'
hemiolia maggiore, beaufe it is Rruck more flowly, and that,two
tailed crotchots.a˝ n˝Cffary for each time. If each time contains
on13; one taiDd crotchet, the meafu is Rruck a double tluicker
and is called hemJolla minore. '
HEMIOLIAN, This is the name which ArlRoxenes ives to
one of the three kinds of the chromatic genus, whole dDions he
explains, The tetrachord $o is tJaerein divided into three irter-
vals, the two. firt%.'of which, equal between themfelve% are
each the .fixth part, and of which the third is two thirds
5+ 5+=0-'30- - ' '
I'I'EPTACHORD, A lyre or cithara with feven chords, as
was that of llercury, a. ording to the report of many.ß
'.The Greeks atfo av tk˝ name of heptachofd to a fyltem of
mufic formed of revert founds, as our gamut at prefent. The
faa,Smenon heptaehod, othcrw4śe called the tyre o'f 'Iľ.rpander,
was ˝ompoted of founds eXl)reffed b. there let'ters of the gamut,
E, F. G.. a. b. c.d. The heptaehot'd of Philoiaii. s fubRituted B
fharp in theplace of B flat, and may be expreffed thus, E. F.
a.-lg. c.d. Each :hord had a c0rme&ion with one of the planets.
T. heHypate to Saturn the Parhy, pate to Jupiter, and fo on.
HEXACHOKD, An inRrmi{nt of fix clioMs, or fyftem
.com?ofed of fix founds, as for inliance,. the hcxachord of Gui
dArezzo,
ttli;XAPMONIAN, A ttraln or air, from a looge and effemi-
nate melody:. as Arifiophanes extreffes it in his reproaches. to
l?hiloxenes, ts author.
HOMOPHONY, This was, in the Greek mutlc, that kind of
śymphony which was śorme. d in unifon, in oppot. ion to antiphony,.
which was executed in the o&ave. This word from 0'/a˝, like,
and q>o, a found.
ß HUNTING AiR, This name Ls given to'certaln mrs and
flurilhes .with horns and other inffrtmacnt, wh. ich, it is'fai'd.
awaken tb, e idea of the tones which theik fame-horns give in
the chace.
HYMEE, A long of the miller's among the ancient Greeks,
otherwit called epiaufia. (Vide that word.) . '
ß HYMENJEA, .A marriage lbng amongft the ancient Greek
otherwife called epithalamium. (Vide Epi.thalamium.)
- HľI'OIN, A long in'honotl' of thcgod, r o: heroes. There
is thi difference between the hymn and the c.x0tic, that the latter
mot commonly relates to aions, atd th hwnn to pelfoos.. The
firt ai,s of all nations were either cantics or l[ymns. Orphens.ahd
Linus paffed amongft the Grceks for the authors oi' the
'hym'n:
lxymn: And amongff Homer's poetry we have śome remains
a' colic&Jori of hymn ' in honour of the gods.
HYPATE, An epithet by which the Grees difiingui
loweft tetracrd, and Iowe chord of each of the two 1
tetrachords I which, to them, wa quite the contra as t.
1owed, in their denominations, an order retrorado to
pc on high the flat which we place low. Thi choke is arbi-
trary, fince the ideas attached to the word a or fiar
no nural' union with the i&as atched to me ords
and low.
They called tetrachord hypaton that ich was the
all, a immedlately'above the proflambanomen or 1oR
of the me; and the R chord of the raehoM which imm
aliarely followed that 'was called hypate-hypaton; that is fay
as the Latins have tranflat it, ,a the' principal of the tetrh
of the principals." The tetrachord im&ately fogoing
t to 'a, cled ttchord mefon,.or of the middY,
the flatte chord wa ld hypa-te , that i% t p
of the middle.
: Nicomachu% e Gerafinin, pmte% that thb wo ,
princal elev. rupee, s ven to th fla
chords of the diapafon in alluriah to Satur% which of the
ets is at the gr airfare. om us. ' e have
imagine from thence that this Nieaus waa a Pythagm
HYPATE-HYPATON, This wzs the leff chord of
10we trachord of Grks, and of a high tone
oflmbamn. (Vide e ping arcle.)
HYPATE-MSON, Was the leRcM the fend
trhord, wh "I the the , a
to tachords ajoi. (Vi& Hype0
YPATOIDES Flat us. (Vi4e Lepfim)
YKLgA, A rn or of e fame charaa
the hexaraian. {Vide xt ac.)
HYPERBOLEON, The hyperbole tetrachord was
arp of e five tmehords in tke fyR of Gk
Thi wd is the aive r the plural fubRanti
extremities, the arR foands iag the oxrey
' HPER-DIAMEUXIS, A dijunion t totrhoMg
ted by the i.rval of am &aw, as were e teach of
hypate's and hpebole's.
H'YPER-DORA'N,' A me' in the Greek marie, othife
calld .mixo-lydian, he ffundmtal or tome hlch w
fourth abow that of a Dorn mode. (Vide Mode.)
The invention tg h7peori"dg. is wte
I i z HYPEK.
I-1YPER-.EOLI-H, 'The penultimate in fharp oF tIe
ea m of he Gek mufic-he fundamental or onic oFwlich
as a frh above that of the iian. ' The hyper-zolian me
more shah the hyper-lydian which follows i' w's o o
ast're. Arioxenes does not mention i g Ptolemy
w admitted mor than tcvc did not comprc thole
HYPERIASTIA or a MIXO-LYDIAN, Is the
Wh Euiid and man of,the ancients, give to th modg mor
gmmy called hypr-nian.
. HYPER-IONIA, A mode in the Greek mu, called alfo
me hyper-iaian or arp mixo-lydian which had its fun*
ntal a fourth ave that of the ionian mode. The ionian
e is t twelfth in order'fwm flat to arp according 'to ly
's numeratn. (V
YPER-LYDIAN The arpe of tM fifte m in the
mu the fundamental .whlch was four above that
' t dian, This mode, no more than its neigur the hy.
a was not fo ancient as the other thieen; and
řieae w nes them all: mes no mn of thole
, HYPER-MIXO-LYDIAN, One the me$ in e Greek
m, otherwife called the hypcr-phryan.
ß HYPER-PHKYGIAN Called nifo, by Euclid, hyper-mixco-
lldian the ae of. the thirteen mes of Afioxenes
forming the diafon or ,the ave with the hy-dorian tho
, HYPO-DIAZEUXISi Is, according to old Bacehius the in-
terval of fifth Which is found between two trachorq fepara'ted'
br a aisjun&i0fi, and mor?ver by a third intermed'at
.' hereforc the s a hypiazeuxis btween th
xhords hypaton .and diazeugmenon aM twecn the tetrachords
fnnemen%n and hyrbolea. (Vine Wc{raehord.)
' HYPO-DOKIAH, Th'flattt of all the m in aient
ufleg *Euclid lys it, is the mo elevated; but the truc fnfe
s ezpr{ffion is explned at the word hypate. ß ß
,,,The hpo-dorian mode has its fundamental a 'fourth 'below that
:'the d6rlan mode. h was. inventd as it is faid by
Ploxenes Thia mc is affe&ing but gay uniting
to'maiey. ' .
HPO-OLIAN A mode in ancient mufic, called all%
br Euclid, flat hypo-ly.. This me has its fundamental
fourth below that of the xlian
. HYPO-IASTIAN. (Vide Hyp0-Ionian.)
HYPO-
HYPO-ION/AN, The fecond of the modes in ancient
leginning br the fiat. Euclid calls it alfo hypo-iaRian, and fiat
.hyp. o-phrygan. Its fundamental is a fourth below tlxat of the
xoman mode.
HYPO-LYDIAN, The fifth mode of neient mufic, begin-
ning by the flat. clid calls it nifo hypo-iaian) and flat hypo=
phrygian. Its fundamental is a fourth below that of the lydian
Euclid diinguies two hypo-lydian modes, viz. the arp)
which is that of this article and the dab which is the time as the
hypo-olian.
The hypo-lydlan mode was peculiar to funeral fongs to rub=
llme and divine meditations: Some attribute its invention to
PolymneRre) of Colophon; others to Damon, the Athenean.
HYPO MIXO LYDIAN) A mode added by Gui d'Arezzo,
o thole of the ancient mufic It is pro erly the plagaI of the
mlxo lydian mode) and xts fundantal s the fame as that of the
dorian.
HYPO-PHRGIAN, One of the modes in ancient mufic,
&fired from the phgian mode, whole fundamental was a four
above at of the other. Euclid faks of another hypo-phan
mode in the flat of this: It is what is more cotrePly cle
hypo-ionian. (Vide that word.)
The charaer of the hypo-phrygian mode was calm,. peace-
abl% and proper to temperate the vehemence of the phrygmn.
was invented they fay by Damon the friend of Pythias
pupil of Boerales.
HYPO-PROSLAMBANOMENOS The name of a chor
added a it is pretended by Gui drezzo a tone lower than the
proflambanomeno of the Greeks, that is below the wle fyem.
The author of this new chord ereffed it b the letter T of
the Greek alphabet and from ence we recexve the ne
gamut.
- HYPORCHEMA, A ton 0f cantic; by which the leaifs
the gods were danced.
,HYPO-SYHAPHE Is in the Greek muflc the dlsjunoa
of two tetrachords feprated by the interpofiton of a thi con-
. joint with thole two fo that the homologous chords of the
tetrachords, disjoined by hyo-fynaphe, have five tones or
minor feven'th of interwl between thm, uch are the
hypat d fynnemnon,
.Kk, I.
'I.
ALEMV., A kind of air peculiar to funerals, .formerly in
among the Greeks, as the Linos among the fame.peepIe and
tile Muneros amongft the Egyptians. Wide Song.)
ß IAMBIC. There wre in the ancient mufic o knds of
iambic vetres, one of which were only recited by the found of
inruments whereas the re were lung. e do .not comprehe'
what tffe the accompaniment of inruments on a mpIe reclta
could produce, and all that can be reafonabJy concluded from it
is, that the mo timple meth of pronouncing the Greek poetry
or at ea th iambi% was made by appreciaffle founds arid ev
then received much from the intonation of the ir.
IASTIN A name given by riRoxenes and iypius to the
mode which other authors more gerally call ionian.
ode.)
IMITATION. Dramatic and theatffcal mu concurs t
imltation as well as tr or aintin '-ti t principl
p y p g, to
that all e fine arts are conneed as Mor. Ie Btteux has
mont. But this imitation has not the fame extent for all,
fill that the imagation can reprefent to itfelf ha its origin fro
p?y. Painting which does nt offer im piure to the img
nao but .to the fenfe, and that one fenfe alone int only o
es peculiar to the fight. Mufic would appear to have e fam
unds in regard to the hearing: howeve pain alI even th
oies which are only vifible a tramformation almo incon-
eeivab!% it feem to place the eye in the ear, and the greate
furit of an art which agitate only in the movement to
able to form from it even the image of a po. ht
folltude and filence ente into the numar 'of the etenv
paintis of mufie. We know that noire can ,pru the effe
of filences and filenee t effe of noire; as when we flutuber at
an eua[ moar leure and awaken at the inant that
it ceafe. But mufie agitate near on us, in excitin by
fenfe, afterions mir to thole which msy be excid by another
and as the eonne; cannot fenfible unlefs the impre.on
Rrong fo painting fiript of that fore% cannot render to ma
the imitation which that dw from it.. et all nature in
flutuber, he that contemplate i fleeps not; aad the art of the
muffclan confilt in fubRituting in the place of the infenfie image
of the ohje that of the movements which his prefence excites
the heart of the atemplator. H will not only agitate the leas
aaimate the fla of a conflagrations make rivule ows e rain
5aIl
I
fall, and torrents fwcll, bt he will paint the horrors of a bound-
tefs defart calm the tcnpeft, render the air tranquil and feren%
and fpread over the o'chRra, a new and pleating freOnels.
will not dire&ly reprefent thing% ut excite ia foul the fame
movement which we feel in feeingthem.
I have laid, under the wd Hmony that no prlnple
'drawn f it which leads to muf imitatlon fincd geg is no
conne&ion between the.concord% aM the obje&s we wi toint
or th ps we would expr. I will e% at th word
dy what is pnciple i% which harmony ds not furni and
hat Rrokes given hy aature are ufd by mc to rpgfent
there os ad there pons.
ITATIO In its thnical fenfe is the ufe of the fe r
or one filar, in many pa, which make it heard one after th
other in e unifon the fift e fourth the third or in any in-
terval whaffver. The imitation is alsys well token, even in
changing feve aotes provid that this fe air be always
known in ilf, and that w do not move far from hws of
a gd malation. Often m rendgr e imitagon more fenfible
we make ede a filence or long notes which feem to Rifle the
r at e momt that the imitation -imates it. e treat
the imitat as we pieale, we leave it, we re-take it, and ben
another at plealure: In a word, its rules are as Iaxed oF of
the fue are.fev?% for which reafon eat maRers difdain
and eve imztauon t affe&ed ao always cools a young
fcholar m compofitlon.
IMPERFECT. This word has fever fignificafions in mufic:
An iraperle& concord is in oppofition to a perle& concord, that
which. bears a fixth 0r diffonanc% and in fition to the full
concord, it is that which has not all the founds fuitable to it, and
which ought to render it complete. (Vide Concord.)
The irapetri& mode or time was, in our ancient muff% that of
tke double divifion. (Vide Mode.)
An impce& cadence is that which is otherire called irrelt
cadence.
An impffe& cad,nee ls that. which may major or minor
th third and fixth. (ide Confonane.)
In ckurch-mufic, y ear imrt& mMs ofe which ar
defe&uous high or low, and te 'hel' 'ona of th two trma
which they ought to rach.
IMPKOIE, Is to compof and ting a long extpore
with alta or word% accompanied commonly by a gmtta% or
other fh inrumnt. Thr ia nothing mor mmon in Italy
than to f two rks mat, challenge, attack; and form alrnat
eouplta on th lhm air with a ivacity Of dlaloe air and a-
om anlmnt s w not ave- but b on witnfi.
INI-IARMONIC. /in inharmonie relatlen Is, according'
Monf. Saverlen, a term of mutic; and he fends us, for an expla-
nation, to the word Renvoi, where he does not mention it.
'egard to fuch a term as thls, I am entirely ignorant.
INSTRUMENT, A term of genus, under which we compre-
hend all artificial bodies which may render and vary the founds
after the example of the voice. 11 bodies capable of atati
'the air by any ock and then to exclte by their vlbrations
'that agitated air ondulations pretty frequen/ may aff'ord a foun;
.and all bodies capable of accelerating or retarding there ondulati-
ns, may vary the founds. (Vide Sound.) There are three me-
thods of renderinz founds on infrruments, viz. by the vibrations
'of the chords byhofe of certain elaic bodies and by the cel-
lcOlon of the aiiut up within the pipes. I have fpoken at the
'ord Mufic 0f the ingention of there inruments. '
They are generally divided into chord iruments wln0 anff
percuffion inruments. The chord inruments among the
clents we very numeroug. The mo known are the following:
'Lyra, Pfalterim Trigonium Sambuca, Cithara, Peis Maga,
$arb[ton, Teudo, Epigonium Simmicium, Epandoron, &c. 11
there inruments were touched with the fingers or with
pleOrum a kind of bow.
For ihelr principal wind inruments they had there callM
tibia, fiula $uba cornu Iituus, &c.
The inruments of percuffion were thoFe which they named
Wympanum Cymbalum Crepitaculum, Tintennabulum Crota
lum &c. But many of there did not vary their founds.
We cannot here find articles for there inruments or for tho
of the modern mufic, whole number is exceffive. The in'm-
mental parta not being entered within the plan of my work, f
the encyclopedia, has hinded me, by the extent-of the kno w-
'ledge which it requires, froin' placine it in this.
INSTRUMENTAL, What belongs to the play of inru-
' ments. fin inrumental turn in tinging." s Inrumental mufic."
INTENSE. Intenfe founds are there which have the great
force, which are heard at the greate diance. They are alfo
thol, which, being rendered by well extended chords, vibrate
their means even more ron ! ß This word is Latin, as well as
'that of Retails oppos'd to it, but, in theorlc xvritings, both the
one and the other is frenchified and nglicifed;
INTERCIDENCE. A term m clmrch-mufic, (Vide
iaptofis.)
INTER-CT A fpace of time which paWes between the
end of the a& of an opera and the beginning 'of the following
'a&; and,' during wBich, the repretkntation ii fufpemled, whil
the ai0n is lppofed to continue eltwhere. The ordaeRra
fillu
t1i ths 'pace, in France, by the executlon of a fynhony,
which has alfo the name of interlude.
It does not appear, that the Greeks ever divided their drama's
by a&s, and, confequently, had no interludes.
-The reprefentation wadnot fufpended n their theatres from the
beginning o the piece to the end. It was the Romans, who,
little fruitten with the ipeacle, began, firft to divide it into man'
parts, whole intervals offered a relaxation to the attention of the
fpe&ators, and this curtom has been continued amongft us.
Since the interlude is formed to fufpend the attention and
the mind of the fpeator, the theatre fhould remain emp, ty.,
the intermedes with which it was formerly filled, formed an inter-
ruption of very bad tare, which could not fail of injuring, by
rendering the thread of the a&ion forgotten. However, Molitr
him[elf'did not fee this timple truth, and the inter-ats of him
laft piece were illled with intermedes. The French, whole fpec-
tacles have more teafort than fire, and who do not love to
'kept 10rig in filerice, have, of late, reduced the inter-a&s to the
fimplicity which they ought to have; and it is to be dellred, fo
the'perfeCtion of th.e. gheatre, that their example fhould be everll'
where followed.
The. Italians, w.hom. an exctuifite fentiment often guides rnor
ß than reafon, have profcribed the dance of the dramatic aion.
(Wide Opera.) But by a confequence which arifes from the too
great duration that they would give the fpe&acle, they fill their
'inter-s wiih ballets, which they banifh from the piece; and
tho' they may avoid the abfurdity of a double imitation, they
fall into that of the tranfpofition of the fcene; and leading the
fpeator thus from obje& to obje&, make him forget the principal
ain, lore the intererring parts, and, to give him the plealure of
the eye, take from him that of the heart. They, however, begin
to re.el the error Of this monftrous atremblage, and, after having
' almoft already' banifhed the intermerles of inter-a&s, doubtlef$ they
'will not befitate to abollfh the dances, and to l>referve it, as
ß becoming, t.o make a feparate and brilliant fpe&acle at the end of
the piece. ß
But tho the theatre remains empty in he inter-a, I do not fay
that the muffc fhould be interrupted f6ľ, in the opera, where
makes a part of the exiftence of things th fenfe of hearing ought
to have fuch'an union with that of the light, that whilft we fee
the lituation of the fdene, we may hear the harmony, which we
!nuft fuppofe infeparable; fo that its concurrence malt" n?t at
length appear ftrange or new under the air of authors.
The difficulty wlich is prefented on this fubje&, is to know
wltat the muffclan ought to di&ate to the orcheftra when there
paffes nothing more on the ttage. For if the fymphonľ as well
I N
as dramatic mutle, is no more than a continual imltatlo;. what
hould it fay when no one fpeaks. What t;hould it do whe. n
there is no longer any kind of aLřdon ? I anfwer to that, that
theugh the theatre be empty, the foul of the audience is not fo: there
muft have remained on them a firerig imprefion of what they have
.ft feen and heard. 'Tis for the etcheltra to nouriih and fufiain
this impreffion during the inter-aLřc, fo that the fpeLřcator rrray not
xeach the conelution of the following a& with the time c01dnef$
as he began the piece; and that interet may be unid in his foul
as are the events in the reprefented aion. By this means, the
muffclan never ceafes to have an objeLřc of imitation, either in the
.ritualion of the characters, or that of the fpeators. The one
never hearing but the exprefiion of there fentiments which they
feel go out from the etcheltra, are, as it were, identified with
3vhat they hear, and their condition is ib much the more pleafan
as there reigns in it a more perfe concord between what
their fenres, and touches their heart. . -
ß The ingenious mutician draws alfo from his orcheira another
advantage, to give the reprefentation all the effe& that it can
ß have, by leading gradually the fpeator, attentive to the mo
favourable fituation of the foul, to the effe of the ścenes which
he is about to fee in the approaching an.
The duration of the inter-aLřc has no fixed meafur% but it is
lappored more or lefs gre.at in proportion to the time which that
rt of the aion reqmres which pail'es behind the theatre.
owevet, that duration ought to have the bounds of fuppoli-
sion, relatively to the hypothetic duration of the whole aion
and there of reallity, r˝Iative to the duration of the reprefeno
tation,
This is aot the plac for examining if the rule of the =4
honrs has a foundation fufiicient and if it is nver permlttcd to
break through it.
But if we would give to the fuppofed duration of an inter-
;/t, the boun drawn from the nature of things, I cannot
that any others can be found than thole of th time during
which no fendhie and regular change was made in nature, as there
is none made apparently in the /ene during the inter-a&.
lVIoreovers this time is, its greatett extent, nearly twelve hourss
which form the middle'duration of a day and night. This fpace
being paffed, there is no more pofiibility. nor illufion in the du-
ration of an inter-a&.
In regard to the real duration, it ought to be, as I have faid
proportioned, both to the duration of the reprefentation, and to
the patti,! and relative duration of what paffe behind th fccnei.
]Ut there,are other boud drawn from th general end, whiuh
we propof.e, ľi.: tle menlure of attention; for we ought to be
ľcr'
very cautioas not to make the inter-aft Cninae f0 fir as to let
the fpe&ator fall into a delirium and draw near to finmbering.
This menlure has not fuch a precifion in itfelf, but that the muff-
clan, who has fire and genius of foul may, with the aid of his
orchei'cra, extend it much farther than any other. I do not even
doubt but there are methods of deceiving the fpeator by the
śeEtive duration of the inter-a, by making him eReem it mo
or left great s by the methods of int(r-fixing the charaers of the
fymphony. But it is time to fini this article s which is alread
t long.
INTERLUDE, A piece of mufic or dancing, inferred at the
Opera-Hour% and fometlmes the Play-Houfe, between e a&s
of a Iong piece, to enliven and eafe the minds of the fpe&a
owful thro' the tgic, and'intereRed in its gnd concern.
There are interIudes, which are real com or burlefque drama's
the wch dividing thus an intereRing part by one intereRing
alfo tof and turn the attention of the fpeator in contra
fenres, d in a meod quite 'opfite to tare and reafon.
danfing in Italy does not and ought not, to enter into the con-
itutioa of the-lyric dma we a;e obIiged to admit' it on e
theatr% TM are out in a detached manner-from the piece. it
ot that which I find fat with; on the contrary t think' it
eeffa to ace b an a eeabIe ballet s e fid impre'ohs Ie
.Y . .
by the reprcfentaton of a tc opera; and I hghIy approves
at this ballet forms a fnbjeh has no nneon th tha
' ' but what I difapproVe, is, that ey divide the a&s by
a; baU ich, d,'viding thus salon, a,a deRraying
the intereRing parts make, as it were, a freffi piece of
INTErVaL, The difference of one found and ather -
twin e flat and a: This' is the whole fpa which one of
e.two would have to pail the' to reach the unifoa of the Other.
The diWmnce between iaal and extent, is, that e interval
is confidered as undivided, and e extent as divided. In the in-
teal we coner the two terms only: in the extent, we fupfe
eir intermediarie: The extent forms a fem, but e terval
ma be ancomf.
To'tke td word in its R genes! fenfe,' it is evident th
tm are an inity of' intervals; but as, in marie, we u
the namr of fu. to thole which cornpole a certain ORere,
we bound al, b that means, e number of intervals to thole
which tfe foand may form beeen themfelve. , that b
eombiniagxwo by two,all e found of any yRem fver, we
all have all potfible intervals in the fame fyRem; on which
will remain truc under the fame kiad 11 thole wch
be foun'd ul.
The
The ancients divklecl the intervals ot their mufic in timpie or
ncompofed intervals, which they called diallemss and in compcrfed
intervals called fyllems.
The intervals, fays Arilloxenes, a?e difireTent five ways; Firll
In extent. _8 great interval differs thus from a fmaller. Se-
condly. In refonance or concord. By this a confoant interval
˝liff'erirom a diffonant. Thirdly, In quantity, as a firnple in-
terval differs from one cornpored. Fourthly, In genus. Thus the
ß liatoni% chromatic, and enharmonic genera, differ in themreDes,
lvifthlys In the nature of their conne&io% as the interlral, whole
rate may be expreffed by numbers, differs from an irrational in-
terval. Let us fpeak a few words on all there differences.
I. The fmalleff of all the intervals according to Bacchius, s
ß he enharmonic dieils. The greatell, to take it, at the fiat ex-
tremity of the hypo-dorian mode, to the flaarp extremity of the
/aypo-fnixo-lyddai% would be of three cornpleat o&aves ;- but as
there is a fifth to be removed, or even a fixth, according to
laffage of _sdralles, cited by Meihonius, the fourth remaina
above the dis diapafon; that is s the eighteenth s as the greatell in-
terval of the Greek diagram.
II. The Greeks divided, as we do the intervals, into confonant
and diffonant but their divifions vere not the fame'as ours
{Vide (2onfonance.) They again rub-divided the confonant in-
zervals into two klnds s without reckoning the unifon s wh{ch they
called homophony, or a fimilarity of founds and whole interval
is void. Th, c fiiqc kind was th antiphony, or oppofition of
foundss which was made in the o&ave, and was properly no more
than a replique of the fame found, but'however an' oppofition
ß xorn flat-to :[harp. The fecond kind was a paraphonys or diś-
tinfion of founds, under which was comprehended every co,ro-
mance except the oave an8 its repllques: _811 the intervals,
fays Theoh s of Smyrna, which are neither diffonant nr in
nifon.
IlL When the Greeks/peak of their diallems, or timple inter-
vals, we mull not take this term in its full rigour,. for the dieflu
itfelf was not, accordingto them, exempt froin compofition; but
ß ve 'mutt always conne Jr'with the genus tb which the interval.
iu applied. For inllance, the remitone is an interval fimple in'
the chromatic genus., and in the diatoni% comp. ofed in the enhkr-
toonit. The tone s cornpored in the chromaucs and fimi?le in
the diatonic; and the diton itfelf, or major.third, which is an
interval cornpored in the diatonic, is uncompofed in the enhar-
rnonic. Wherefore, what is a fyllem in one genus may be a
dialtern in another, and fo reciprocally.
IV. On the genera: Divide fucceflively the fame tetrachords,
according to the' diatonic genus the chromati% arid enharmonic,
yot
,-ru will have three different concords, which compared toge-
tlJer, initd' of three intervals, will produce nine, bedfides th
combinations and comp6fiti9ns which can be made of them
and the dierence of 11 theFe intervals whic will produce
multitude of others. If you cornpar% .r insane% th
interval of each t;trchord in the enharmonic, and flat chro-
matic of Ariffoxenes, you will have, on one fMe, a fourth,' oe
a c w-e' on the other, a third, or , and the two arp
dha; ,viti"akitogether interval which wall be the de.
kencu of tee [3w6 preeed[, or'the tweltttx part of a tone
V. Png nt' tO he connions, this aricte lea me
fmall digre9n-
The Axxiaas ˝ted tt their marie wa r.we
tim [ifivd. 'b thdr equal divifipns df intrvaf d laughed.
ceeHngly tfi Whole of P.thagpras. caculti0n, It
howe, to.' . at fixis p.re fpticit. confid
in the. wordb tMt if'the pygoeds ' qr?a
mer, a/e}r-mufic, little b.;tfer, tke would very. fooa
hva cear rlling 't' heir adv. erfiri4s, '
mhich he fir. ete& Gdcd-by i, -he
an' bridgemt"of his obfgrvafiom. ' Arienes,
qtk all his calculations, formed ifi his brain a. fyem
ifferefit,"ahd,' fis if'he cou18 'hvi 'chan'n 'ute at hii
hre to Me fimpfified the brds, ,' he'
things wreas in reality it was entirdy eu.r7. .-
' . 'eions of the confoaances werd fimple and ea[g
s the cqnn .. ........ . . .... ..
to be exeff. there two plulofher. were m aecment eton.
they qm ' even on t .fi dffqc; 0 t ey,
rd that th tone as the' dffreace Off the fourth a
t 0 u ....... ß .... ß 'iS'
o.' 'W !..thc falfene of s operamqs ˝ the julyelS O
eafily ma than fou..cgmmaa;' 'ydr. hmma aha 'aiomesi[
cnfefs iti. Pthagoras'laa agrWere8 :'hut tell'me, beg; how
ou take there doubles, halve{, and thirds }. The. other h'ad fez
[liM, thii he toned the m' =tfihny;. ' that he tool; 'th'em 'Sn i
.Nonoch0rd.&Weil,' laad in(r.8 Pthagaiffs, "/6ne me thi
f tone july. If' the' 0ter' h een qgack' fuffident to'
one 'it, PTthag9ra .'la ad4edi'" But is .our .monthoral w
I N
therein the third or fourth of a tone ? 1' cannot fee, in fuch
ca/e, what Arifoxenes could have axfi. vcred. For to fay that
lhe idtrument had been tuned by the v0ic% betides that it would
have ecn falling into 'the clrcl% this was .not a reed to b the
. .g Y
Aroxenns fince they all avowed 'by their cleff that the
'oice flould be a long'. time exercitd on an inffrulncnt of the
greateft june to be able to tone the intervals of the fiat
.chromati% al enbarmonic genus.
Ioreover, fince calculations not lefs cornpored are neceffary
nd even geometrical operations more dicult, to meathre the
thirds and fourths of the tone of Ariffoxenes than to affign the
'co{neions of Pythago-as k is w.ith reatbn that Nicomachus
Boetius and many other.theoricians preferred the juff and har-
moni connerions o 'their lnaffer to the divifion of the Arif-
toxenian fyffem, which were uot more fimpl% and which gave no
inteyval in the juffnefs of its origin.
'We muff t'ake notic% that thole eafonlngs which were proper
'to th mufic of the Greeks cannot be equally fuitable to ours
becaufe all 'thi' founds of our fyem concur in contbnancer,
which could not b done in theirs but for the diatonic genus
It follo hence, that Arioyens diinguied wih reafon the
intervals into rational or irrational; 'fince, though they wre
rational in the fycm of Pythagoras the greate part of the
fonances was irrational in hi,.
: In modern muff% we conrider the intervals alb many way%'
vlz either enerallv; as the fpace or diRanee of rome one
the're givefi lgund; *gr as that only of the difiances which may
be marked; or laly as thot which are marked on different
grees. According to the firfi fenfe, every numerical power, as
the'comma, or filen b as.the dieils of Ari6oxenes may exptet an
interval. The iheond fenfe is applied to the iutervals only 're-
ceived in the tRm of Our mufic, the lea of which is the minor
feml-tone, exprcffed on the fame degree by a dieils, or B flat,
(Vide Semi-tone.) The third accWtation fuppotks tbme
renee in pofition: that is, one or snore degrees between the vo
foundl which form the interval. 'Tis.in this la aceeptatioi
ihatihe wbfd ik tixed in ra&ice;, fo thdt tsvo equal intervals,
$ch as a:e tlke fiItk' fifth and trltou, bear h6wever different
ixames if the 6ne has more degrees than. the other. 'e dvide,
;rs' le aek. nts lld the imervals into confi,nant and diflbnauts.
'l'he contbnants are perfe or imperli, (Vide Conlonaue.)
q'hedifibnagxcea are' b by nature, are become lb accidentally.
'Jhel'e'a only two intervals ditli'nant by tleir natur% viz.
[cond.n t'i'enOb by undcrttanding their oaves asd repliqu,...
I N
There two al'o may tie reduced into one only, but all confonances
,nay become difforant by accident. (Vide Diffonance.)
?vloreover, every interval is fimp!e or redouhle& The timpie
interval is that which is contained within the hounds of the oc-
tave. Every interval which exceeds thi, extent is redoubled;
that is cornpored of one or more o&aves and of the timpie in-
terval whole replklue it is.
The intervals which are timpie are again divided into dire&
and varied. Take as a dire& any timpie interval foei.:er,
complement in the octave is always varied from that, and reci-
procally.
There are only fix kinds of timpie intervals, three o'f which
make complements of three others in the0u"'t;ive, and confequently
their variations only. If you then take the fmallef'c intervals,
you will have for dire&, the fecond, third, and fourth; for varied,
the feventh, fixth, and fifth. Let the one be direct, the othera
wi?l I)e varied, and fo reciprocally. ' " ' . .
To find the name of any interval śoever, we mu only add
the unity to' the number of the degrees which it contains.
,Vherefore the interval of one degree will give thee fecond; of
two, the third; Of three, the fourth; of feven, the 0Crave;
nine, the tenth, &c. &c; But this is not fitflicient to.determine
an interval; for under the fame name it may be-major or minor,.
juxOc or falfe, diminithed or fuperfluous. '
The im.per?e& confonances, and the two halrural cliftonantes,
may be major or minor, which, without changing thśdegree,
makes, ifi the interval, the diff'erence of a fetal-tone. from
minor interval, we take again a fetal-tone, this interval become&
diminithed. If we augment a major interval a fernitoh% it
comes fuperfluous.
The perle& confonances are invariable'by thelr nature. When
their' interval is what it oughi to be, they are called jue,
we change this interval a fetal-tone, the confonance s called
faire, and becomes.a diffonance; fuperfluou$, if the tmi-tone
added; diminifled, if .it is cut off'. The name of faire śfth ia
given improperly to the diminithed fifth: it is taking the kind,
for the genus. 'The fuperfluous fifth i quite aa fall aa the
minilh.d and even in many refp&$ more lb.
L I TABLE
! N
T A B L E
- OF ALL THE
SIMPLE INTERVALS
Prsc'Hcabl'e ih MUfic.
.exprireaby'/ l*rhtch iil To'nes im'a"! in
'econfi dlmi'fiitl e'd o
tJor i Tone'
'qecond fuperflus 'r
dInifled
ß ierce miar t
major
'Fierce furfluos z . Tone
rth diminma o
F6U?t jh ' on'es
Fourth tperfluou
' ailud 'riioa
Fifth
call Faire Ieith. bncs
Fith j
Fifgh thpuous .
Sixth dimi ''d Tone
ixth minor ne!
Sixth aajor
Sixth fperfluous Tones
Seventh dimlnied } Tones
Scventh mluor Tones
Seventh major Tones
Seventh fupcrfluous Tones
O&ave 6 Tonen
96.,
4'
';
7 ....
f
8=
We
I N
We here find a table of all the timpie intervals praieabt
'rantic, with their names their degrees tir- powers, a -re
rCBCS.
Ve mu t2ke notice n this table, th2t e ntrl, alle
the harmons, ihperfiuous evenrh, is only major
with a peculiar accompaniment; the true fuperfluous eventh, as
it is marked in the table not having a place in harmony, or only
thcceffively as an enharmonic tranfition, never roroy
three concord.
We lhould obferve all% that the greate part of there refe-
rences may be determined feveral ways: I have pferred
mo fimpl% and that which gives the feweft numbers.
To cornpole or redouble one of there intervals that are m-
ple, it is fufficiet to add t0 it the oaave' as many times as ve
ahufe and to have the name of this new inteat we tour add to
the timpie .name of inteal as many times fen as k
&avks. Kiprally to know the timpie of .a edoubl
val, wh9fe na it has, we.mu only reje& revert as on
can. T,le re will give the name of the fimple inteml
produced it. Chufe you a donbled fifth } at , e o9e
the fifth or he fif}h of the 6ave } To ve d fen
vili have tveive. The redoubled fifth is tn a elf.
find fire fiple of a twelfth, -re fevea from e number
as many tmes as you th mmai fiw w y
frh I rard to t'he conne&ion, we mu Iy:doubla he
equence or take the half of the.antece&nt of the mpl
as many times as we add o&aves, and we all have th'e
bf the edoubled ratio. Whenfore, two three, being t
9f te fth; one ree or, two fix will be that of t&
&c. Wherein w mu obfe'e that'in mufii trm% fo
po(e'or rmlonble an intervali is not to 'a it to itfeif, t O
tort anoye: to triple itis tadd two0f them
I ought to mention here, that all t. he inmrts'xpffe
di&ionary by the names.of notes, ought aimys to be
ß rom fiat to arp f that tlis interrot, ut fi is not
but a feventh; and fi at, is not a feenth but
INTONATION, The a&ion of tuning. , ('{d To "e.)
The tonation may be ju or fale too high or to t. 'tS
rong or too egk, and then the mrd. intonation,
ith a'n ep}thet is underwood of the method of tu'nig.
IONIAN or IONIO,'The io,lan mole xva,, euntg
fiat to fiarp the lcoad of t. he fiie 'mi'ddle' mes of 'th'e Greek
mufic. This wa alfo cail iaian, ahd.Euclid 1ts it th Ph?y
alan flat. (Vide mode.) ' ' '
' IRREGULAR. Irregular mo0es in clmrch=mc
.hofe extent is too great} or who have lbme Ix elaty.
Formerly
Formerly, that caclencc which did not fall on onc of fbe clTcn-
'tim chords of the tone was called irregular; but' Monf. Raineau
has ,glven tltls name to a particular cadence, in which the tun-
damental bars arcends froin fifth, Or defcends from fourth, after
a concord of fixth added. (Vide Cadence.)
Je
O ]'AR, Is to. lore the intonation; that is, to change ira:.
prbperly the juftnefs of the intervals, and, confequently, to
ting falfe. There are rome muficians, whole ear is fo jut't, that
they form no jar, but fuch as are rather uncommon. ˝Ianyothers do
not jar for another reafon, fince, to lore the tone it mutt firR have
been.found. To ting without a key, to bawl, force the voice
too high or too low and to have more regard to the extent than
to the juftaefs,. are methods aimoft lure tO l}oil 'the ear, and at
the Gme time to jar.
JARGON, Is, in generar, every emotion of the air which
renders itfelf fenfible to the audible organs. But in muff% the
word jargon is oppofed to found and is underflood of every fen-
fation of the hearing, which is not fonorous and appreciable.
We may thppofe, to explain the difference in regard to thi%
between the jargon and found, that the.laft is appreciable only
by the concourfe of .its harmonies, and the _iare:on is not ś% be-
cCaU/oit !s dipfrived of it. But betides that t,isnethod of appre-
n ,s ilScult to conceive, if the emotion of the found
canfed by the found, makes the allquots of that chord vibrate
with another, we cannot fee why the emotion of the air, casted
by the jargon, fhaking that fame chord, fhouid not, at the fame
time, /hake its aliquots. I do not know that any propriety of
the. air has been made which can make it fufpeEted, {hat tile agi
tanon which produces the found, and that which produces the
prolonged jargo% Rqould not. be of tile fame aature; and that
the aon and re-aqion of.the air and the fonorous body, or of
the aii- and tile jarring body, thould be eaufed' by different laws
in the effeuq of each.
Might it n.St beonie&ured, that tile jargon is not of a diffe-
rent nature from the tbund, that ittlf is ouly'tlle rum of a con-
fuśed multitude of different founds, which are heaed at a ritual
and render,. in fo,ne. fort, 'their ondulations mutually contrary,
All elaffic bodi.e fi:em to be more fonorous in proportion as their
matter
I N 2x
matter is more homogenous, as the degree: of cobetlon is more
equal thr0ughou, aml as the body is nor, as it were, dlvldd
into a multitude of froall mafis, which, having ditTerent lblidities
retbund confequently in dierent tones. ,Vhy lhould not the
jargon be from the tbund, fince it excites it ? For ever), jargin t
makes the chords o{ a harplichord refound, not rome ones as does
a tbund, but all together, becaut- there is not one which finds
its unitbn, or its harmonies. Why lřnould nor the jargon be
śrom the found, tince by founds the jargon is made ? Touch, at
the fame time, all the keys of an inftrument, and you will pro-
duce a total fenlhtion, wich will be a jargon only. and whofb
effeEt will be prolonged by the refonance of the chords, only as
every other noire which would make the fame chords retbtind.
Why thould not the jargon be from the found, fince a toa frrong
found is veritably a jargon, as a voice wh!ch fcreams to its utmofi:
height, or particularly as the found of a large bell, which we hear
even in the clapper itthlf. For it is impofllble to appreciate it,
unlefs when iflhing from the clapper, the found be fweetened by
,, convenient diffance.
But it may be tid, how happens this change of an exeefllve
found into a jargon } It is becautk the violence of the vibration
renders the retbnance of 1 great a number of aliquots feufible;
becaufe the mixture of fo ma,y different founds tb,'ms then its
ordinary cite&, and is no longer any thing more than
Wherefore the aliquots which refound are not only the hlf,
third, fourth, a.nd all tde confonances,'but the feventh parr the
ninth, the one hundredth, and. frill- farther. All this forms an
effecřc timilar.to that of all the keys of a harpfichord ffruck at
the fame time, and by this means the found becomes a jargon.
The name of jargon is given, in contempt, allh to a conlured
and noify piece of mufic, wherein more Fracas is heard than har-
mony, and more clamour than air. "This is only jargon."
' This opera makes a great j rgon, and little effecřc.
JULE The naine of a kind of hymn or tbng amongi the
Greeks, in honour of Ceres and Prolirpineo (Vide Song.)
JUST. This.epithet is genefally given to the intervals whole
founds are exaetl in the connefftion which the ought to have,
and to vo, ces which ttrike thele intervals always n juffnel,; but
it is efpecially applied to perfecřc confonances. The iraperle&
may be major or minor; the perfecřc are only juec: as loon a
the are altered a fetal-tone, the become falle and confe uenli
.y, ß . Y ,' q Y
dlflonances.. (Vide Interval.) ß '.
JUST, Is rometimes aa adverb alfo. To fingjutt."
pla jult." , - '
Ke
''.'. lgS A general fiave or rum of the f:ounds of nil the
1 'tern which refults from the relative potltions of the thrc˝
clefts. 'This, pofition gives an extent of twelve lines, and, con,
fcqyle.ntly, of.twenty-four degrees, or three o&aves and a fourth.
.All that exceeds this f-pace, above or below, cannot be marked
but by the attlfrance oś one or more accidental line% added tO
the '.tfth xv. hich compo.fe the flare of a cleft.
The no.I˝s or diatonic tou7ches of the keys, which are alway,
i:onfrant ,are. expreffed by the letters of the alphabet, with the
itifferencc of the notes of t!xc gamut, which, being moveable and
relative, to the rriodulation, bear names which .exprefs tlxefe c-on-
neOions. (Vide Gamut.) .
Each ocqave of the keys comprehend. thirteen founds feven di-
atonic and fiv chromatic, repr'eśented on the inftru,nental cleft
by fo many touches. [:ormerly thefg thirtcen touches ant,ered
o fifte. en chords viz. one more between tile re dieils and the
natural mi, the other between the fol dieils and tile la and thet
two chords which formed enharmonlc intervals, and whicli were
.made. to found at will by means of two broken touches were
looked upon then as the pe.'feion of the fyftem ;. by virtue of
our r-ules of modulation, thefe txo have been cut oft becaut it
wotId have Been negeffary for them to be placed every where,
(Vide Cleft.)
KNOTS, Thole fixed point, were called knots in the xvhicl{
a fonorous chord, put into vibration, waq divided into. :ibr. ainő
aliquot. s, wl, ich render another found than that of the en6
chord. For infrance, if of two chords, on of whiclx will. b
the triple of the other, we 'make the finalleft fou. nd,. the greato
wi!l aafwer, not by tl,e tbund which it has ;s an entire chord,
but by th.e unitbn of the finalleft; becaut%, i a 1;kt caśe, tho
greater chord, infread of vibrating in it. totafity is div. ided and
ibra,t0s: only' by ˝ac.h. of its tlfirds.
The im,noveable points,. ;vhich are the divifions, and. which,
i'n rome zefpc&, ta.ke the place of bridge, are what Mqnf, Sau-
veur has ca!l.ed knots; ar, d he has called vegtres. t!e middle points
of each aliqao.t, where the viN'a.tion. is great.eft, and vheve tht
cho,-d is fartheft rmgved"frmn fle line of tfi& flop.
, .If,.inead ofaking .another fmal!er. chord f0und we dividg
the greater t6 the point of one of its a!iquots, by a trifli,g oh-.
ftacle which reta,'ds it without thbjec"ting ;t, the fame 'caf Will
again be met with by innking one of the two parts refound
for
i 'N'
'.-,r 'tisch 'the 'Wo 'wi. fi 'refotnl in 'the "fiifofi of tl{e mal, nd ve'
aall 1e the fime knots and the fame yenties as before.
If the finatler part s n6't the immediate aliquot of the greater,
b'at that they have ofilv 'o'ne domon al[quor they UI then be
'divided both accordiug'to their common aIiquot and we thalt te
'k'nots arid 'ventie, e;en i'n the taller parts.
If the two parts are incomme'nfurabl% that is, that they have
o dom0n alkudt, then there will be no refonance, or there
;'ill be 6nly that of the maller part, unlefi we rtke rong
'enough to force the obac[e arid' make the entire chord retbund.
Moat; Sauvefi foufid a ethod fo hew there knots, &c. to
the acadcmy in a very tnfible manner, by placifig on the chord
papers o'f tvo colour; one in tile divifiong 6f the knots, and the
other in the middle of the ventres; for then at th'q tbund of the
a}iquot.;ve always law the papebs of the ventres fatl and thole
oY the knots remain in their place.
Sonorous Chsrd in 'Vibration by its Aliquots at the Sound of
one between them.
Knots, whe. re were the papers of one Colour.
ľcntue wlere were the papers of another Colour.
A, The name of the fixth note of our gamut, invented by
Guy Aretin _. .
R(3E, The name of a kind of note in our old mute, WhOm
powers were augmented by drawing feveral rokes, not only on
the fides, but thro the middle of the note, whelx Muris forcibly
blames, as an unnatural innovation,
LARGO. This word written at the head of an air, fpecifiea
a flower movement than the adagi% and the lai'c of all in flow-
r,,śa. It ita˝-;vs that w.. murk extend th Iong onnds ting aa
incalure, &c.
The diminutivlarghetm, dnote a movement rather quir:
thaala[go, mor- '9w ands% ad appro.aching neart to.
mdantno.
' LEAP.' Every padage [rom on ound to.ano;her.. by disjoint
dgrees. is a ˝ap. Thdre is a. regular leap, wlfich is at:ays made'
a confonat interv and aa tregulr on a diffonant: This
Oainaign. happens ' fro malt. tlxg diffon'ances, excot ih econd,[
Which is not a leap, hdag re cult to tune than the con-
tnances. A aeqffy. 'o.Weqafoa i'fi reeltidy to compot e.
and agreeable airs.
LEM, ME, A ritenee or auFe of a fixoft tie x in the catale&it.
rhyme. (ide khyn}.): '
LEN A found thffamed. by a part during two or more mea
ft. rds}'w}{ii e' 6iher par{i are%taaging, (Vide afre.)
happen rometime% but feldom that all the parts are lene% at the.
e tim% d in. that ce tl lg, n .uff not .b: fo, long, that
&ti&n 6f the "meafqre be. fbrgoten. ' ' ,
LEPSI.S The Greek name of one' of the three parts of the.
ncient melop called at(o. fxctlmes Euthia, bg which the.
˝ompofer difce?ns, if he ought to place 'his air ifl the tflem of
bali founds called hypatoYdes; in that bf a founds mltd
t.oide% or [hat 6r raiding friends called mefo'/d'es. (ľe
LICENCE, A liberty which the compo(er takes, and which
feems contrary to rules tho' it be in their princi˝le; for herein
the licences are diinguifled from faults, For insane% it is
rule i n compofiion nor' to atEend. from the. minor third, or minor.
fixth,tq. he o&ae. This rule is derived from.the law of har-
monic unto% anti fi'bm that og the preparatioh.' Wheh then we
arcend frc. m the mior third. or minor fixth to tke oOav% fo
tlm therg_b. h9wcver an unioD be. tw.n the tw O concord%
that the diffonance is prep}red, we ufea Licence :. but ff therBe
neither union nor preparatmn we make a fault. it is a rule altb
not to make two .}u fifths togcthcg between the fame parts par-'
ticularly by a timilar movement: tke principle of this rule is in.
the law of the unity of the mode. gery time th&n that thete
to : ma 7 b made:wifimut mig twa m bo felya it
a liceuc% but.[here is no fiuli. This explanation w. neetdaryl.
cfe.. muflcian hffve Clear idea of Oats world libnee.
s the greamfi part of. the rules of harmony a.r* fouad
arb.m'ary pn.nmpl. and change by euom. and the tmRe of tim',
gompofcrs it happes thgnce tllat hefe. rules vary are fubj9&
the.'mod:e.and tha'what is a licene at one tim% is. not Ib at
anonlint.... Tw.o o; three ages baqk. i t as.aot permitted. to
two
L I
;wo th;rds to ether, partlcu!.arl of th fame kind; hoxvever s
g
entire pieces are now made by h,rds. Our ancierzts did not per..'
mir three confecntive tones to. b.e tuned diatonically: at prefentt
we tune without befitorion, as many as. the marlu, lations wilI
permit. It is the f,,ne thing with falt relations, fyncopate&'
harmony, and a thoufond other accidents. of comp.ofxtion, which.
were firit fauIts, tb. en licerices, arid,. at prefent, hav.e not an.
irreularlty at all.
IICHANOS, Is the name, which, a,mong the Greeks, th
thirc[ chord of their two. rPc tetrachords bore, beesure that thlrc-:
clmrd was touched by the index which they catled. Lichanos.
The third ctxord, in he iharp of the lowerr terachorct, whlcht'
w.as tha. t of the hypate's was formerly called licksnos hypaton
f0metimes hypaton diatonos, enharmoni, or cmmatik , ac2
cording to the Greeks. Th'at of the lhcond tetrachord, or tetras.
chord of the middle was called liclxanos mefon or n da.
tqno &c.
LIGATUKE, as, in our ancient mu. fie, the union
roke of two or more paffed aotes or diatically ot by isv
j degrees oa tle fam fyllabl. The figure o there n.ot
xvhi was. fquare gave a great facility in uniting them ,
cannot be dne at prefont but b mea o.ff the ceau on
count of the roundhers of our notes.
TM poer of noe which cornpored the llgtu.re,. varies
according ! they arcended or defcended i acceding as they were
deenfi. ute wkh'a tMl, or w'itlxo.; accord astf=
tails wre'ptaed on the right or left, afig ov.eeihg
laffly, according to. a numb:r o rules..fo emiey ft
prff, th.pe4ha. there.is not a mui."in. Eu.rope. who.
ae to ',ecphe the mufic of rome din.t antiquity. '
'LIMMK, An in,terval of the Greek marie, wl'ich is lefs b[ .;
co,mth .major fe,to, and berg cat off- f a
tq }g tl, ome. for reua[nder, '
Wh* cnmn of 't limma is from =43. to =.56 and. its [.
n i. f6 bna[ by ut, at tle gih flih fh for trim
t fitit whl.d tMs. t is thrpaffed y the aoJnln u, i
P'E ia the. c0a whidx [ hav.e !ad down. '
LINE, The lines in mufic are flmfe horizontal and parallel.
okeg wl com& the a.v%. &on. which, r .in fle fpas
whiclx'epratb them, we' place the n.o[es cordjng to their de-
grees. Tlie ave in church-mufic llas' only ur ľines that
mufic in. gqnera[ lia's fi.ve' firm an& complet* hefi 'ehe-
9hal lines often add'ed ab9c or bet'ow the 'ad f tl
wkich .pat its extc'nt. ""
The lines, Whether i'n. clm.wh..-mufi%. 0r im any ogher kinff ave
[eckoqd beginning at the 0 . bat's, Tiffs.c'-bari is the'fi,
L 0
he hlgheft is te fourth, in clOrch-muś% the fiśi in outcrY,
LINOS, . kifi o( ruiic ir amonőll the ancient Greeks
hey had alśo a un'e?al air of le lme n.m% wlich ani.vers to
v'hat the. Latins called nnia The one thy that the Iino was
ihvented in ]Egypt; other atti'ibute its ini,.cntion to the Eubciari
linus.
LIVELY, In italian vivace ;. This Word den6tes =i gay 3 quick;
;animated inovei:uentb a bbld execution, fuil bf fieb.
LONGUE;, Is,.in our ancieht ,iautlc, a tluare note with
xait on tlxe tigh b tlxus ---i' It is Ordinarily equal ti four two-
tbned meitftires, that is, two brees;. forhetiinek i[ is equal t ř
hree according to tl, e mode. (Vide Mode. 3
Iuri% and his conteinporaries, had Ionus bi r tiiree kinds,
vlz. t;he perfeX, the imbbrfecC{r, and the dtble. ']'lie pe,'feO:
lorue has on the riglt fide, a tail detkending --t or lll. It
tntual to tl{fee perfe times, rind is itfelf called perfeEt:, bn ac-
count, fays Nluris, of its numerical reference to the Trinity'.
'l'he imperfect Iongue is figured as the perfeEt:, and is not diftin-
ghifhad but by th me>de: It is c11ed imperfee{, becaufe it
rourfe is not alone, and as, it /t ht alw.vs to be preceded or:
f011owcd b.y a brave. Th double Iongue coiitans tvo equal
tin?es i,npe,'fe; it i.s figured as the filnple 1ongue but with
twice the bignelk ,gillS{- NIuris citeg Ariff6tle t prove that
this note i$ not belonging to chureh-mufic.
At prelbnt, the word Iongue is the co,-reiative of hreve, (vide
tlreve) wherefore everj note whiclx precedes a breve, r4
]ngue.
TO LOOSEN, Is on fieeve inttruments, fuch as the vlolinj
the violincello, &c.. to remove the left hand fro,n its n-',tutal
tiCion, to 'advance it on a pofition higher, or more in fharp.
(Vide Pofition.) The compofer ought to knoxv the extent
which the inffrurrtent has, without Iootbning, fo that when it
paffes this extent, and !oolbns, that may be done in a p.raeticabl
manner.
J50URE,' A kind of dance, whole air is rather flow, ad i
ordinarily marked by the meafure . When each time bears
three notes, tle firlq; is pointed, and that of the middle is rcn-
der'd a hreve. Loure is tho name of an ancient inffrument on
which tle air of the dance in quellion was played.
LOW, In mufie, fignifies the fame thiug as grave, and thi
term is oppoli:d to higl and fla,-p. We fay alfo, tl,at the tone
is too low, that one ngs too Iow that the /bund muff be en-
forced
'orced lower. Low fighides śometimcs alśo flowly, and in this
śentb it is oppoś˝d to roag. We dry, to i˝ak low, to flag in
ow or bal voice. "He lung or fpok˝ fo low, that it was with
difficulty he was heard."
Low again is ufed in the śub-divifion of the tinging treble,
in teaking of that of the two which is below the other; or to
eak in otler words, low treble is a treble, whofe dlapafoa
below the ordinary medium. (Vide Treble.)
LUTHIAIľ, A workman who makes violins, vlolincellos,
and other timilar inftruments. This word, which ilgnifies a maker
of lutes, has been traaśmittd by Synecdoche to this kind of
xvorkmen, becaufe , formerly, the lute was the infrumen!; mo
ufed in former times, and which were mofc made.
LYDIAN, The name of one of' the modes of the Greek
rnufic, which was placed in the middle between the seolian and
hyperdorian. It was called alfo rometimes the barbarous mode s
beesure it bore the name of an Ariatic people.
Euclid diftinguilhes two lydian modes. The above, properly
called fo, and another which he calls flat lydian, and which is the
fame with the aeolian raod% at leaft in regard to its fundamental
'(Vide Mo%.) '
ß The chara&er of the lydian mode was animated, rlking,
śorrowful however pathetic, and proper for foftnefs, for which
eafon, Plato banifhed it from his Republic. It is on this modh
that Orpheus, it is laid,' attractted the very beaft% and with which
Amphion. built the walls of Thebes. It was invented, the one
fay by Amphion, the for of Jupiter and Antlope; others, by
Olympus, a Myfian, a defciple of Mariias; others alfo, by
lampides; and Pindar fays, that it wax ufcd, for the firft time, at
the marriage of Niobe.
LYR. IC What belongs to the lyre This epithet was fcw-
rnerl iven to t. he poetry tiaade to be thug and accom riled
g . pa y'
the lYye, or mthara by the tinget a as odes and other longs, with
the difference of the lramatic and. theatrical poetry which
accompanied with flutes by other% bat at preterit it is ap.pliecl
eontrariwlfe to the filly poetry of our opera's, and by extetfio'rs
to the dramatic and imitative muflc of the theatre, (Vide Imi.
1sation.
,'KIEPSE A long of the reapers ;tmoagt tlxe ancient Greek
Me
A, A fyllable with which rome muficians folfa the mi
flat, as they folfa by fi the fa dieils.
MACHICOTAGE. By this term is called, in church-mutc
certain additions and compofitions of notes, which fill, by another
diatonic courfe, the intervals of tietees and others, The name
'of this kind of air comes from tha. t of the Ecclefiattlcs, calle.8
machicots, whkh formerly executed it after the children of the
band.
MADRIGAL, A piece of mutic xvcll f{udied and ingcnlous
vhich was very much in faflion in Italy in the fixteenth age,
=rid even at the beginning oś the precedent. The madrigal.
were generally compold for the voice in five or fix parts, all
brced, on account of the fugues and defigns wkh which the(e
pieces were tilted; but the organiris compolhd and executed altb
the madrigals on the organ; and it is even pretended, that it w,
on this inftrument that the madrigal was invented. This kind
'counter-point, which was fub. jceccd io very rigorous laws, bore
the name of magridaleRlue f{i/e. Many au*.hors, for haSng eft-
eelled in it, have immortalized tl'.elr names in the annals of art.
Such were amongfl: others, Luca l;larentio, Luigi Preneftino
Pomponio Nenna, Tommalb Pecci) and part}cularlľ the famous
1Orince of Veumh, whot madrigals, full ot' knowledge and. tat}e
were admired by all. the matters and śung by all the ladi'es.'
tVIAGADtZS-RE, Was, in the Greek mufic, to ting in. the
.oave, as the voices of men and women did naturally when
nited together; wherefore the magadized airs were always anti.-
phonies. This word comes fi-om magas,. the bridge of a'n' iniru'-
.merit) and by extention, an. inftrumcnt with double chords) each'
aścending to the octave by means of a bridge, as at prefent
our harpfiehords.
MAGAS[N, The t-I6tel de la Dependa.nce of tile opera ,'/:
Paris) where the di,,eors ant other pe,'Ibns employed in the
'opera hou/i: lodged).and in which is a little theatre, called allb
thcatr% o: theatre du mag'afin, on which tile firf repetitions were
,made. This is the odeurn of the French mufic. (Vide Odeurn.)
NIAJO[[. The i'ntervals ihli'eptible of variation are c;led
major, when they are ib large as to be fo w«thout becoming.
fallS. . ß
.U'he nervals c,lled per˝) fuch as tile oave) the fifth, and':
l.lf,',-tb, have no varb'ltion, al are only jul},. as Ibon as they
;altered, they bccmne talte. The other intervaN may, xvithouc
changing their namcs .'red without catLg to be juit, vary
certain
'ecrt/iifi difference: when this difference may be remove, thejr
are major; minors, when it tony be added.
Thel variab!e intervals are five in number, vlz. the fetal-tone 3
the tone, the third, the fixth, and feventh. In regard to tim
..ione and rossi-tOne, tlieii' difference frbm major to minor cannot
be exprecd in notes, but in numbers Only. The major fetal-
tone is the interval of a minor fecond, as from fi to ut or
from mi to f% and its conne&ion is from fifteen to tixteeh. The
major tone is the difference of the fourth and fiftl b and its con-
necqlon is from eight to hine.
The three other intervals, vi. the tillrd, the fixtl b and
feventh, always differ' a femi-.tone froin major to minor, and there
differences ma be noted. Wherefoie the mino' third has-one
tone and a hal and tile major third two tones. '
Tilere ai'e fome other ik/al!er intervals; as the dlefis and
comma, which may be diftinguifhed in lefs, minor middle,
major, and maximi; but as thefe intervals cannot be expreffed.
but in numbers, thcl diftinEtions are ufelefs in praet.ice..
Major is allb thid of a mode when the tierce of the tonic
major; and then tile word mode often is only undeitood ' To
pali from .major to minor." (Vide Mode.)
MARCH, A military air, which is. played by inftruments of
war, and denotes the metre and cadence of the drum% which is
properly the march.
ß 'Chaddin thys, that in'Perfia, when they are dcfirons of build-
ing houfes, flattening ;/ piece of ground, Ol' m'akia'g rome 6ther
expeditious work, Chi.ch requires a quantity of hands they
ibmhie together tile inhabitants of one quarter, that they may
ß labour With tile tbu.nd of the inftruments; and that by.this
means, the xvdrk may be tranfaaed with much greater zeal and
.quicknefs than if the inftruments were not ulkd.
The Marechal de Saxe has fhewn in his reverie% that the
-effe& o15 the drums was not bounded by a vain aoil without
ntility but that, according as the movement was more lively
.or flower i they naturally tranliorted the tbldier to prefs or
.flatken his pace; we may alfo 13ty, that the airs of the marches
thould h.'tvc different cha.'a&crs according to-the occafion where m
/Hey were 0fed and this is what /hey ougilt to have refle&ed
on to a certain point,. when they we.'e dittinguifled and di-
ß verfificd, one fbr the ait'˝mbling togcther another for the march,
another for the charge, &c. &c. But it would have antvered
vefy well if' tltey had protired by this principle a much
they lnlght have done. They hay% tilt now, confined them-
It:Des to the ccnn. pofing of tunes wMch lnight make the metr8
.[e felt, and tile beating of tile drum be clearly heard. The
airs of marclx˝;s allb very often are dcticicnt in that particular.
The
?he French troops hving few military inffruments for
{infantry except the fifes and drums have alfo very few marches,
.lind the greatef part very badly cornpored; but the are fomo
nirab in the German armies.
s an eampIe of the concord and tune of the march,
given the fir part.0f that of the Frontal mufqueteers
a of the Mufers of the King of France,
' tr . tr
. , ,,
There are only the infantry and light cavalr which ha
'hes among the troops. The tymbal of the cavalry han
no fixed mch; the trumpet have only one tone allno uniiorna
and Yome' flouries.
MARTELLEMENT, A kind of grace in the Fren ng,
{ng. When diatonically deftending from one noteon another b
a trill, we enforce the found of the fir note on tlm fecond
fallin immediately on that fecond note, by a tingle turn
oice that is called forming a martellement. '
' XIMUM. We call the interval miximum, that.hich
greater than t m4ov of te fame kind and which .cank
'xnarked; for if it could he markode it ould aot be called mxi
mum, but fuperfluous.
Who femi-tone maximum forms the dirence of the mino
femi-te and the m4or tone, and its conueion is fro twy
five to twenty-loren. There would be'between t ut diff,, an
the re, a feel-tone of that kind, if all the femi-tonm 'ere
Fhe cietls maximum s the difference betiveen tle mnoi' tone
and' fe'rn-one axlmum, in reference from 43' to 5 o.
'La[,'Th omma maximums, or comma of Pythagoras is
te q'han'it by which is made the diffrce between the tw
te?s 6ve to ach othef by the pr0greon off fifth and by
prbe6n by' 0'aves; that is, the excels of the twe14th fifth
fi dis, off tie feve'nth-o'ave ut. nd this' eXcefs,-in. ihe referg
.edff o 5488 ad' 53t'44, is the diCerenee which' the gOvetn-
AX!; Is: noe made in a long oizontl fquar with ß
iaiI' 0n }thff rig]tt fide in this manner ], which is etual tO
eight two-timed incaCures, qz. two loners, and Fometlmes tre%
ac'fdih 8 he od'e Vid'e'MoSe.) This kind of note is no
her ueff finee the mea'fuea are feparated by bars,, and thd
ldngh 6r'ebniTnhiti of found are marked ;vith . (Vid
EASRE,' Th divifi0n of th duration or time into' feveral
qu'aI p?ts, 1on effough f the' ear to catch and fuJivide theD
qufffit,. arid '0rt-enough. fO ttie idea of the one ot to be
eaeS' Sfoge'he return of the other and for s equality to' b8
felt..
Each: 0f fliers' equal prts i alfo c'alid mafufe ;. hey ar
8vied'ifi'ff6fiaet Miquots, caed times, and which a're maked
By 8qual fiofion of the han'd' or f6ot. (Vide To beat Time.)
ie 8uhl du(afi'0fi' of each timff or menlure i fil16d by fe4eral
nOtds whch.'pa quicker 'or flbWer in proportion to their num-
ber, and to which different figure' re given to make their diffe
ten dhYaion. (Vid8 P'owf 6f tli Notes.)
Manq- confiflerln the rorefs of our mufic, ima inc the
m'eafure o be a: new' mvn0n,-beaufe t was once negleed.
ue.on flid cbfir the ancients ot only praitd the' mafure
but'en' g'a8 it rules'very revere, and founded on principles
wlfich oueg kno' nothhig oL In' effe, t6 ting without mea-
fm' i nfit. tb ting'; arid t:he fitieng of tlie menlure, not being
lefs afful'thaff that' of tlie' intofiation, the' invention of thei
two things coul8 not Be made feparately.
' Themeafure ß of the. Greeks' s confined to their lanage.
It- wa' p0fftry whleh gave ik to mufie: the menlures of the one
afife: t0' tile t of the other. Profe could hoe have been
meafur in' mufie. Among us it is quite contrary; the little
Pro,fly of'ou languages '. caulks tlie power of the notes in our
aV toMetrine tBe. quantity of tlie fyllables: it is on the me;
1OdF that 'are obliged to fcan oue dillourSe. e do not ev
pei iether w'haf ' - ting. is - prot - verfe: our pvetr
h'ing no fee b our vocal mufichag no meathre. The air gu de,
O o and
and the 'Inngouge obeys. The mealere fell into. obllvlon;
the intonation was always culdvated when, after'the viorles of
the Barbariani' the lanua,e changed their cliara'r 'and loft:
' " ' ' r
their harmony. It s not thrpi-ifing that the.metre,. which fe v d
to expref the menlure of the poetry, thould be nezleceted in thole
times, when it was no longer fIt, and when veri was lung lefs
than profe.The people, at that tilne, knew hardly any other
am.element than the cere. monies of the church, no other mufic
than tliat of their devotions; and, as ilis mnfi,c did not require
a re ularity of rhyme, that art was at len th entirel . for,,otten
.g . . P. . .g. Y . .
m mal:ked his mufic with pmnts, which did not exprefs dfferent
quanries; and the invention of notes was certainly fince the
time of that author.
This invention of different powers of notes 'is generatl) attri-
buted to Jean de Muris, about the year433o. Btt P. Merfenne
denies it.with reai7on; and.one muff have never read the writings
that denon, to fuain an opinion which they fo clearly refute.
lie not only Coinpares the powers which the' notes had before
him to thole which were given them in his time, and which he
does not pretend to be the author of but he even fpea.ks of the
.menlure, and fays that the moderns that is his contemporaries,
nunc mbrot' -' .... ' ' ' '^" ' '' ~ '
multtm utuntur menfura, which evldently fuppofea
that the .mealare, and, 'confequentl]r, the power of the notes
were known and ufed before him. Thole who would wifh to
enter a more extentive feorch where that part of mufic was in the
time of that author, fhould confelt his manufcript treatire,' in-
titled Speculum Mufica, which is in tile king of France's
brary nnmero 7207, page =8o.
The firft who gave the notes any rules of quantity, were more
attentive.to tim powers, or relative durations of there notes,
l;han to the mealere itfelf, or to tile chaeaer of the movement;
t7.o that before the diftln&ion of the different meafures there
were notes of, at leafir five different.powcrs viz. The maximhm
the 1ongu% the breve, the tbmi-brev e, and mlnime, which may
be tken at their articles. ľVhat there is of certain?y, is, that all
t. hefe. d. ifferent po. wers are fonnd and even more m the manu-
fcripts of Machaulr, without finding therein any fien of mealere.
. In the end, the connexion in power of one-ofhofe notes to
the other, depended on the time, the. prolatio% and mode. By
tile mode was determined the connexion of the maximum witlx
the Iongee, or of tile longue' with .the breve; that of the 1ongne
with the brev% or of the bre'e vith tlmth[ni-breve; and by
prolation, that of the breve with the tmiibreve, or of the.
b'eve with the mi'nor. (Vide Mode, Prolation Time. In ge-
ß cral all theft: different modifications may be connoted vtls
the double or triple meafure, that i% with ttxe diifin of .each
. pwcr-lnto two or tre equal times.
. hi meth of epreng the time or meaCue of the no
".'.clnged. entirely during the crfe of the la e. , Asian as it
,w.as' the cuom to enc[fe. each. meure. w'ahin two bars, it. was
a01ut;D neceffa'ry.'o profcri.a the .kind of nes which
.''!of;Vw,eafures,:.,-[ts mealurn.became clear, the panifion
beer:': andthoz'exeeutlon. fie-wMch was. very
'.fy to.compenfate' the. dicultiwhich mufic aeid
bec0min every'day more cornpored. I have:feen exlnx
ns eery mfich..embarrffe.to execute in m.xhe trios
Ori'ndo .and Claudinf combolets in the 'e ; 'ry
ß .Till that time the triple had pawed as tl,e moil perfe; but at
lngtl the double took the afcendant, and the fix or four-dined
:,menlure wa taken as the bale of all th,e reft. Ioreover, the
four-t!med,eaure is alwaya refolved into o of two fimes
Wherefor%.it is 'property to the double me that all :the
.are conneed, a,lefi.i'n erd't xhe por of .ihe nt and
.... Inffe'a&/thn' of' maximums.Ionguesa breves, fibreves, &c,
divifiod, o that every'-kin ?te: was.6fely' .equ to' the
.half of the. precedenw, 4 .. dDifion--clfl infuiehti fince the
triple meafure. bing.eftY a.ell a,.hd deuble. or ad-
'. The muficlan' fR',f0anut be eiror; 5ink inRead f era-
lay .fger,net ,{or tofeho ::':tlg mufi they have takeit
i eftion t:fupe .tlt'tte, o:es'en the x; tb that to
I ,, . Y ..... . ............
Of two l trees. L)ftwo
' .x-f-r,-ci., 'h, e I"
_ / . .. ' - :roes.
rce olrr .. .
11 - - '
l Four_Times. 14 Twelve
Of .four
Twelve-. hr.
Of four
Twelve- lid. teen.
0ś all I, meal'urn; there r tlr wh2ch art caI
bocauFo thef have 6'y ngi eyphcr or u, '
the and the C, or four Times. All the re which
, u not which fills e. TJis i$ e r<e. '
:i kc {nfpr dyelet denot a nmber f eq pours.
mea;m. 1 raperiot type? ' h many"of tk'
m'e.neogffary to fil eh'mea;ure the ar we 'fire
y tlixa, e,e that.hree min a nccevy
, , - . -,-
three demi-etch for that with the gn ,, -&e. 'At[
furlon of cvphers is ii1 underwood; for why is this conn
many different meafures to that of four times whkh
liule like them } or why this
note* to a crotchet, whole duration N' lie i%rxne
all theCe riga, are intitted to mark fo many v'snt kin
meathre% there are a great deal t many: and . they are
expref the different drees of moemen there af no
fince,-in&pondt of the natu of mfg anddivifion of
times, we are almo :twayi eonncd m add a woM at
lginning of an air to determine it time.
Therc-e really no.re than two kin8 or mEare$ OUr
rouge, rig. of two and 8' qe equalwime]'out as each time
a well,'as each roeaCute, may: divided i o r thr .
pxrta, tiffs makes a lhb-divifio;' {vhih gi4c, four kindk
lu:'e in all: .We have go ore.
%'o:miht,'howcer, add a fifth; by-comlfinlale two
n.te, and, ofler of thru.. We m 0 fi, in thi, mcare,
ars very well cadcnced, which it would be imblc to mr k
uix ulal mgalurg. I lcru give a example,.
lixamplc of a Mealufo $efclui,alter , of two uneclua! Time.
f ! !
f
The Sieur _&doIphats made, at Genoa, in t75o, an Eftair of
this Mcafure, in the grand orchefra, in the air fc la forte mi
cond,nng, of his opera d'Ariane. This piece fucceeded, and wa,
:tpplau0ed. In fpitc of that: do not fld that I xmple has
been followed.. .........
MEDIANT Is the choM or note. which dividei iago. tw
thins the intervals of fifth which is found between the tonic
a donagt. Th oho of tkf rd. i mjor. h9 other
mnor ;'and it is their relative-' pofltloa which determlne tim
.mede, When the major hird is. in.flat, that is, between
mediant and tonic the mod'e is majo r; when. the major tMrd
'n fharp, and the 'minor in flat the-mode i$ mlaoro (Vide
'Tonic, Domina˝t.) -' . . ..
MEDIATION, A parting of each verś˝ in a pfalm
dlvifions: .the one.śung by one ś of the band, and .the
by the.other, in catholi.c churches. '- ..'
MEDIUM, Tt/at fituation of the voice which is ecrually diffanC
śrom. from flat &nd fharp. The higher is more. rxking bar
is always forced ;. the bars is grave and majeftic .but it.is more
rough. A pleatlng medium, in which we fuppofe a certain laxi-
tude giv .es the bePc formed founds the moff me10dlous: aufffrike$
the ear .much more agreeably. (Vide Sound.) '
. MEDLEY, One of the harts of the ancient melopcea CalIe&
agoge by the Greeks, which conrifted in inteptaclng, and-pro-.
perly mixing, the modes and_ genera. (Vide Melopoea.) '
MELODY,' A fucceffion of founds, Co ordered, according
the laws of rhyme and modulation, that it forms a fenfatio
agreeable.to the.ear. The' vocal melody i called' air s tke'
mental, fymplzonyo - , '
The idea of rhyme'enters neceffrdy into tat oś melř{ty
air is an air no Iong.er than it is meafured; tl{e śame fueceol
sat founds may recexve as many chara&e,rs, a
melodies, as' it can be differently _fcan= d; 5 an&: tim fmallet/
chance of the vower of the notes. can disfigure tlis .ffime fceeś-
fxon'o far as .'to render it dubious. Wherefore the. melody is
nothing by itfelf: it is the mead:re which determines it'aml
.there is no air without' its time. %Ve. ought not then to'compar
melody wih harmony, an abfra&inlmad˝ leo m the nmafur˝ in
each; fo.r it is effenu'al to the one; aiad'oi't0 the ther.'
Melody has'reference to two different'pinciples, according
the manher in. w'hich we conflder. it. .Taken in the eonneet4on
)śfounds. an! by the rules of thmode, it has its larincille
har'mony? flute'it is an' harmonic analyśs'xhieh gx'v'es the de-
grees of the gamut, the chords of the mode, arid'the laws of.th
modulation, the only elements of tinging. According to thi
principle, the whole force of melody is hounded to the flattering
the ear by agreeable founds, as one flatters the eye 'by agreeable
s:oncords. of' colours ;. lmt. when taken as an art of.imitakion, by
which the mind ,nay. be affe&ed with different imag, the heart
moved.by different .&ntiment, the paillons excited or'cahned,
in a wo,'d, moral cftc& be operated which furpals the hnmediat
empire of the tEnfib another princiEle muff be fo_.uglit. for it, for
we fee no one taken, by which th l{armo'hy ilStie s and what-
ver comes frbm it can aff u. t.13 .us ' ' '
What
111rt}, l'-'t:difoei it. ik6rin, a ffi'ge. r?˝.e 615(etvrdOn is'fieee-
Vat when We fpeak accordin to the thin We' fi and
nf4 We fif ia akm. It :s t' t ' fize language
which mgkes us. fpak wlijle fi;';. ' fpea Wh 6rE
&hy,. 'eaiag he' la<{ Ea m;6e'or tefs.
ef 'liIp nd e paffiome; Tat which.hffs Iitle 0P
aee i e have oly a M ad hngui'ig el'0dyi
ebm or"8'on, e'?Sa fe-the tr'ff0 ptideip[es: As
as we leave theme: d atte' to fpeA of die ver. Of
If mm ? only' b. 10dy˝ a' d receDe. fro' fhe'fice .it
' fore h it l}6W tha eve?y n'e;. ieh &e' not' fi'fig,
.;. able e to- .pain tk ts efit?fu[
eoMs;"foon fities the ear _and always leavi the' h'eart i-ff
'iteof ddh; It fOllow' MT%. tlm{: in' fpi/e. of the. ('erfitp' 9f
g ieh. fny ha i-ffffodued:i arid which' a re'
' mH abud fn' aS b e?ods a?e hearff .a the
fie,' tfiy eW<e each Other, and aye o'f n e&,.
fi[ each of Chum' uy b' ep'taeely'; .fi'o wl'fi W
m je' th ha..rae ehe"Fren compotkrs Ia,e ineroa
&' iW 'then optIns, 'tfie' o.maMng an .aiy of aecoiipmi:
'et' f* ig tlie place' oe' a chmns; a'nohe? a{r, xvhieh: is ag
tfiB ga'6'inO'feir hea eo xfiake' two' dfc6mqa ae h
fame tie; eO ve' a' .greater o?ce to. died elbqUence. (Vid
ntOf Mo!b;)" ' . * :
EOD}O$;' .Whaever Pro'duc. a' me'lode. Me168is
in fl[ is'fill of aeeable'und% f6l.og. voiees 'ff afi
OPE.;: -This' a, }n' ancient mfie, tile. regutr'
Of:afftl hfmalc pang: flagis, tlie art or rfils of the
0fi'0h' o aft' 'fi rhe'praice.' and' ed of which. w,is' called
Tlle'eleng had differfit rule for fire method of condu'Oifig
ret6 "$' br'e0ntOie deeev, disjoint,' or mied˝ in aendi
oY'&llnffe 'We'"ff may iff Adoxene% iieh all depend' O
dfi pigiplel tltat' i'n e4r hae0n'ie' fyem, the fldrd or' urrA
ß Un aedi .damenl o0ght alWays'to fl'ike its fburh oP
flffitj aeei' a* flie'teteaeh0rdS are conjoint; or disjoint, a
dir'
M E
ifferene which renders a mode authentic or plagal, at the plea-
lure of the compolhr. This colic&ion of all the rules is called
melop6ea.
The melopcea is cornpored of th?ee parts, viz. the prife, lepfis
Which teaches the mufician in what extent of the v0iee he ought
to eablifix his dlapafon; the medley, mixis, aftcording to xvhc
he unites or mixes properly the genera or the modes; and the
ufe, chrefe, which is thb-divided ihto three other parts. The
fir called euthia, dire&s the courl of the air the xvhich is
either dire& from flat to arl* , or changed from arp to fiat
or mixt, tliat is; compothd of each. The fecond c11ed agog,
moves alternatively by disjoint degrees in alkinding, and conjoin
in defcending, or the contrary; The ird called pettia, b
which be diterns and picks out the founds to be r6je&ed thoe
to be admitted and thole to be ufed mo frequently.
Ariides fintilian 'divides th whole melopa into three
kinds, which are conneed with as many modes, taking this la
name in a new fenfe. The fir kind was the hypatoides calle
t'B from the chord hypate,. the principal or mo bafsi becaufe
the air, dire&ing only the flat founds was not at a diance from
at chord, and this air was proper to the tragic mode, Th,
tecond kind was the mefoYdes from mefe the chord of the mid-
dle; becaufe the air reigned on the middling founds, and this
fwered t0 the nomic mode, confe'crated to Apollo. The thir
was called nereides, from nete, le la or highe chord: its air
was extended only on the.arp tBands and conituted the di-
thvrambic or batchic mode. Th. modes had others, WhiCh
xfire thbordinate to them, and varied the melopa; tBch as th
erotic 6r a'm6rous the comics. arid ncomiac defined to praiCes.
All there modes being proper to ex6ite or calm certaih paffionsi
liad great influence on th manners, and by a reference to this
inttuence, be melopa was agaih divided into three genera, viz.
the t,altic, or that which infi ired tender and affe&in. 'aons
. . . P . P
the Iorroxvful and thole capable of engagingthe heart, accordifig
to the fenfe of the Greek word. Secondly , the dlaaltici or
that which was Orolier to exprefs noble tkntiments, in exciting
joy, courage, magnaniinity. 'l'hirdfy, the euchaffici wlfidh xvaa
Bctwecn the other two, and which refiot'ed the foul to a irate
tramlutlity. The {irff kind of melopa was coh˝8nient for
amorous poetry tbrrows, bctvailingi and other timilar exprcffions,
The tEcond was titable tbr tragedies warlike ai?s, and heroic
thbjeOs. The third to hyflms, prailEs, or inffruOions.
'MELOS, Sweetnell of tinging.' It is difficult to diffingui
in the reek authors' the tnl of the word meloa from that or'
melody. Plat% in his Protagoras,.placea the.m˝1os in fimpla
lkourlh} and t&mt to undcrffund by it the tune of the word,
, , 1 J p he
The roelos appears to be that by which the melody was rendered
agreeable. This word is derived from lzLx, Honey.
MESYS, The name of the fharpeff chord of the feeond tetra-
chord among the Greeks. (ľide Melon.)
M'efe fignifies middle, and this name was'ven to tkat chord,
not s as the Abb Bropard fays becaufe it is common between
the two octaves of the ancient fytem, for it bore that name be-
fore this fyCem had acquired' that extent; but- becaufe it formed
lvrecifely the middle between the two firff tetrachord% of which
this fvffem was then cornpored.
MSO}DES, kind of melOpcea, ;vhofe ai-rs 'always were
dire&ed on the middle chords, which were alfo called the metbi-
des of the mcfis or tetrachord melon.
NIESOtDES, Middle founds 0r founds taken'in the medium-
of the fyffe,m (Vide 1opa. )-
.ESON & name given by the Greeks to thei? feeond tetra-
Chords. beginning t6 reckon by'flat ;: and this is alfo the name by
Which each of there fouv chords is diinguied trom'thofe whicN'
eorrefpond to them in the other trachords. S% in that I
eaking of the r chord was called hypate-mefon; the tcond.
parhypate-mefon ;' the tird Ikhanos-metb% o melbn-diatonos
and t foneth, mefis. (Vide Syem.)
'efon is ehe genitive plunl of mefi% middles. becaufe the te-
achord melon is placed in the middle beveenthe fir and third;.
or rather, becaufe the chord mefis gives its name to the tetra-
h0rd. whole arp e.tremity h formS..
' genera. l Diram o th'GekSyem for the diatonic Genus. i
0dern Name. nelent Name. '
La Ne hyperboleon . '
ol Hyperboleon dittonos } Tetrachord h3Terl oleon.
Fa Trite hyperboleon J
. ' i Net diezeugmenon -- Synaphe ou conj.union.
ß = [ Nct fynnemenon Tetrachord diazcugmenon,
} t 'ff Synne{nenbn diatonos .
[ Trite tnnemenon
. Si. Parawcfis
Si bemol Trite lnnemenon Diazeuxis ou aliajun&ion.
] Sol lelbn dlatono }
Fa Parhypate melon Tetrachord melon.
Re Prhypale hypaton }Tctraehor8 hypnton.
t H?paton dlatonos -- --]
Iiyl)ate hypaton -- --j .
La Profla?banome o
'VlESOPYCNI, By .this name the ancients called, in lhe
confined genera, the cond .found .of each tetrachord. The
.founds mefopycni were five in rimabex. (Vide Sound, Syftem,
'Tetrachord.')
METP-IC, The metric ,neafure, according to Ariftides Qin-
tilian, is the part of mufic, in general which has as its obje&,
the letters, fyllables, tet verfe.s, .and the poem. And there is
this diff'erence between the metvi.'c a.nd vhymic, that the firft is
only ufed in the form of the verfes, ad the śecoad in that of
the feet which cornpole them which can .b applied even to .the
.profe. ;From wkence it foHcxws, that the modern languages may
even have a metric mufic, fince they have a poefy., but not
rhymic mufic, ecaul their p0ef'y ha no direC"tion by .fe:.
{Vide Rhyme.)
M[ Tb.e third of the fix fyllables ivemted by Gui Aretin, .to
name the notes when the words ar.e not joined .to the mufic.
:(Vide E .ti mi, Gamut.)
MINIME, We call interal minim% or tef['er, that which
lefs than the .minor of the fame kin d , and which cannot be
mrked, for if it could be, ..it would no be Riled minire% hut
ti'minifhed.
The minime femlrtone is the diterenee between ..the fe. mi-toe
maximum, and the middl% in .iefemnee from x$ tic
.{Vide Semi-tone.)
MINiME, In. conge&ion with he duratima or time, is, in
ancient muff% the note which at prefenz e call'minum. (.Vide
Power of tke Notes.)
MINIMg RESW A filence equivalent tO a crotchet, and
ß vhich is markeel b3 'a bent ftrke approaching to the figur. e of 7
a cypher, hgt turned !n a contrary tnf% in tlxi fort; 1'. (Vide
Silence, Notes.)
MINOR, A hame bottle by certain intervals,when they are finall
enough to be fo without becon'ing falt. (Vide Major, lnierval.)
Minor is all0 laid of the mode, when the third of the tonic
i6'inor. (Vide Mode.)
MINUM, !$ the aame of a not% vlich is equal tO two
cro-tehets, or the half of a femi-hreve. (Vide Notes.)
MIXIS, MEDLEY, One of the payts of the ancient melo-
poea, by which the compolr learns to combine properly the in-
tervals, anti to dittribute the genera and modes according to the
chara&er of the air wt.xich lie llas propofed to forin. (Vide
lopma.)
'MIXO-LYDIAN, The name of one of the modes of ancient
.mufie, called otherwit layper-dorian. (Vide this word.) The
mixo-lydian mode was the lharpef[ of the leven to whiclx
lomy hd rudu˝,ed all tol.of tlu Greek mufic,
P p a Thi
'-' M 0
Whis mode is affecting, paffionate, fultable to the trre. ate
movement% and, by that mean% to tragedy itfelf. Ariffoxenes
allures us that Sappho was the inventreti of it; but Plutarch
fay% that rome ancient tables attribute it to Pytoclldes. He
nifo fays, that the Argians punJibed the firft that ufed it, and
who had introduced in mufic the ufe of revert chords that is
tonic on the feventh chord.
MIXT, We call mixt or connexed modes, in church
the airs whole extent exceeds their oav% and enters from one
mode into another, partaking by this means from the authentic
=ncl the plagal. This medley is compoted of equal madcs, as of
the firff tone with the fccond; of the third with the fourth
ia wor.3, of the plagal with its authentic, and reciprocally.
IIOBILE, The two middle chords of each tetrachord wer:e
caIled mobile chords in the Greek mufic, becauśe they accorded
diflrent!y according to the genera, with the difference of the
two extreme chords, which, never var)ing, were called t'tab[e
chords. (Vide Tetrachord, Genus, Sound.)
MODE, The regular dilofition of an air and its accompa-
niment, in. relation to certain principal tbuad% on the which
.piece of nt:fic is conftituted, and which are called the effential
chords of the mode.
The mode differs from the tone, in that the former denotes
'only the chord, or place of tile fyffem which ought to śerve as a
bale to the ai% and the mode determines the third. and modeties
the whole fcale on this fundamental found.
Our modes are not founded on any charaerifiic fent}ment
like tlofe of the ancients, but only on Our harmonic fyf[em.
The chords effential to the mode are three in number, and form
togethe. r a perfeLt concord. girf the tonic, which is the fun-
damental chord off the tone and mode. (Vide Tone and Tonic,)
Secondly, the dominant in the fifth of the tonic. (Vide Domi-
nant. ) Th;rdly the median G which confHtutes the mode pro-.
perly and which is in the third of the fame tonic.
s this third may be of ta, o kinds, there are two diff'erent
modes. When th mediant forms a major third with the toni%
the mode is major; it is minor whets. the third is minor. ,
The major mode is imlnediately engendered by the refonance
of tile śonorous body, which renders the major third of the fuq-
d.mental /bund; but the minor mode is not given by nature
it is fouv, d only by analogy and variations. 'l'his is true in tlxe
śyftem of Mon; '-!'artini, as well as in that of Monf. Rameau.
This laft author in his different thcceffive works has explained
that origin of the minor mode in differet n,etbods no one 9f
which has contented his interpreter M. l)'Alemhert. For which
xeafo b D'aklcmbert founds that fitme origin on another princiEle
which
vMch I cannot cllfplay better than by tranfcribing the very
terms of that great geometricJan. ' In the air ut mi fol, which
' conftitutes the major mode, the founds mi and fol are fuch,
that the principal tound ut makes them both tound but the
fecond found mi does not make fol tbund, which is only its
minor third.
"Moreover, let us fuppofe, that in the place of this found
we place between ut and fol another x%und, which has, as well
as the ftlund ut, the property of making fol refound and which,
however, is different from ut; this found, which we feek for,
ought ro be fuch, as to have for major feventeenth the found
fol or one of the octaves of fol; confequently, the fought
found fhould be in the major feventeenth below fol, or whicht
st is the fame thing, in the major third below the fame found
s fol. Moreover the found mi being in minor third below fol
and the major third .being a fetal-tone greater than the minor,
it, follows that the found we leek will be a femi-tone lower
' than the mi and will confequently b.e mi B flat. This new
arrangement, ut, mi B flat, fol in which the founds t and
"mi B flat, each mak. e fol refound without ut making mi B flat
"refound is nor, in reality, as perfeCt as the firPc arrangement
ut, mi, fol; becaufe, in the ne, the two founds mi and fol
"are each engendered by the principal found ut, whereas, in the
' other the found mi 'flat is not engendered hy the found ut
but this arrangement ut mi B flat fol, is fo dictated by
' ture, tho' lefs immediately than the firPc, and, in effeCt; ex-
' perience proven that the ear is but little accommodated
it.
' In the courfe ut, ml B flat, fol, ut it is evident, that th
t third of ut to mi B flat is minor and fuch is the origiti':of the
genus or mde called minor.':
" ]31ements of Mufic, Page
The mode being once determined, all the founds of the gamut
take a relative or fundamental ham% and proper to the place
which they hold in that mode. Here are all the names of the
notes in relation to their rood% taking the oCtave of ut as
gxmple of the major rood% and that of la of the minor.
mi śa fol "la 4;
ut rc i fa śol
e tempe take notice, that when the feventh rote is only in
ni-*one of the o&ave, that is, when ir forms the major thi,-.d
ff',he dominator, as the fi na.tural in major, or the fol dieils i.a.
=vinor, then that':śeventh note is called a lnfibte note, b.ecaufe i.t
,tpvefies the toni%-and makes the tonefelt.
lo.t only each degree takes the nare fuitable to it, 'but'.each
teral is determi:ned-in relatio. ri ,to th.e mode. There are tle
rules ettablifled for' the putpole: Firft, The fecond note onght
eo Form a major fecond on fhe tonic, tile fourth, and dominant
a .tt iroth and fifth, and this equhlly in the .two mode.
' 'Secondl. y tn the major mode, he media, nt or third, the
ame[.Fex, errrh' of the'tonic ought always to be maim': this is the
˝lira&er of .th. mode. For thi.s fame reaśoa, th. efe three inter-
rals ougt:sc o be minor in the minor mode; however, as we taupe
perceive /:herein the fenfible note, tvhich cannot be done withoue
,,.śatTcveta.t3ota, whitf the tlxth note remains minor; :this eaures
eXCeptions, tt which we mull pasr attention in the cour% oś
lamcm.. ahd fi. nging; bu{ the ˝lff'with its tranfpofitions' muff:
always.gtve all tim determined inter,vals by conne&ion with' tbi
tonic, according to the nature of th.e mode: ,Ve may find at. tl m
r0rd cleft a general rule for it.
.As all the n.at.u. ral ch'q,'ds of the oOave of ut give, in relatiom
I, hat tonic, all' th, e intervals prefcmbed for the major mode,
,r, as it is the ,/hme thing with the o&aye of Ia for the nilnor
de, the precedeerr exampl,e which I have propored only for the
,ns of lIe.y!0t.s, ougl}t tO' ferve nifo as formula for !;he rule o.f
Jnteroals in each mode.
Thi rule i$ not'"as might be believed, ettablifled on princi.ples
pu,'˝ly arbitrary'; it has its foundatl.on in the harmonic gcneratmn,
at teatic to a ceriain point. ' ......
If you give tl}e pc!q;:& concord major to śhe tonic, the domi-
nan and fub-domin.a, nt, you will have all the tbunds of the
iffi'attmie tkale for the major mode. To have that of the minor
mode: leaving always tlzo major ti.fird to the dominant give.the
1illnor
/ncrr thlrcl to the two oth er concords. Such is the analogy of
the mode.'
As this medley of major and minor concords introduces, into
zhe minor mode, .a faltk relation between the fixth note and the
śenfible, we fmrrethnes give,- to avoid thi fa,śe relation, a majo
hlrd to the fourth note in tbending, or the minor third to the
dominant in deścending, particularly by variation;' but i'
calk there are exceptions.
There are properly only two modes, as have ju
but as there are twelve fundamental bunds, whkh give
many tones in the fyem and as eh of thffe ts is
of the major and minor roodere we may cornpole in twty-fout
rimdes or methodS, There are even thiety-four poble in
method of marking the notes, but in pfaffice we exc&
which in reality are only the repetitio 9 of ten others und
elations much more diult, where all the churls w}d
heir names, a wherein we flmuld with diculty kno
tuation. Sh are the major modes on the diefis'd hos ,
the minor modes on the B's flat. So, ine of comfing
fol dieils jbr third, you will compofe in la B flat, which gv
lhe fame touches; and inead of cornporing in re B t min
you will take ut dieils by the fame calculations. viz to avoid
*ne fide an F double diefir, which would become a G
and on the other a B double, which would become a naturM
re do ot always remain in the tone,. or the mode by whlc
We begin'an air but whether for expreon or for variety
ehang the tone and mode,. according to 'halonit alov
returmg, however, always to'thar . wMch he ha
fir& heard, which is called to ulate,
From thence ax.ifes a new diff'in&ion of tlie mile in
and relative: the principal. that by which the piece begs aa8
finies; the relatives are tholh which are intermixt with
principal in the courfe of the modulation. (Vide Modulation.)
The Sieur Blainville. an eminent muffclan'of Paris propor,d,
in x:7'; the attempt of a thir4 mode. which he calls mixt
beesure it partakes the modulation of t'he two others, or
rather cornpored of them; a medley which the ut'llor does not
look upon as inconvenient but rather as an artvantage and
fourca cf variety, and of liberty in the airs and ba. rmony.
hia new mode not being give by the analyf of thr con-
cords as the two others is no determined like them by h-
monies effcntial to tle mode, but by an entire gamut, which
tuitable to it as well in arcerring as tailing; tb that in our
two modes the gamut is given by the concOrda and in te
rood% the conc0rda are given b 7 th0 gamut.
T'h
The formula of this gafiaut is in the afeendar/t and dfcendan
śucceffion of the following notes:
Mi fa fol la, fi ut re
'hofe effentlai ifferenc% in regard to the melody, is Jn the
fition of the two mi-tones; the fir of which is found between
the tonie and the fecond note; and the other between the fifth
nd fixth; and, in regard to harmony, in that which it bears on
the onJe ninor third in beginning, and major in finiing a
may be feen.
Gamut and Accompanlmen of the mixt Mode of Mr. Blainville;
J'n .the accnmpaniment of this gamut, as well in afcend]ig or
i'ailing, as it was given by that uuthor and executed in tle fpi-
'ritual concert the 3oth o' May, '75 .
It is ol}e&ed to .the Sieur de Blinville, that his mode has
neither concord, effcntial clxord or .cadence fui.table to it and
xvhich difiinguifies thfliciently major or minor. e anfwers to
this, that the diWerence of his mode'is lefs in harmony than.melody,
and [el in the mode t.han even in the.modulation; .ttxt i't is
guiflled in its heglnning from tke mjor mode by its minor third,
aa{ia it end from the minor mode by its plagal cadence. To whiclt
we anffwer .that a ofl,ulation w]lich is not exclufive is nc.t
fucient to eablifll a mode, that i.ts own is inevi.table in the tvo
other nodes, particularly in the minor; and, in egard to its
plaga[ cadcuce, .that i.t has neceffarily a pla in the ame minor
node eyery time that we pats fro m the concord of the tonic to
*hat of :the dominan% as that was formerly praiId eyen on the
finals in tlxe plagal modes and in the tone of the fourth. From
whence it is concluded, that hi mixt mode is lefs a peculiar kind,
han. a new denomina[ion with methods for interm-ixi and
combining the major and minor modes as ancleng as harmony.,
pra&ifed in every age: and that appears fo try, lhat even in
.,beginning his gamut, the author neither dares to givo fixe fi.fth o.r
'fixtl {o'his ti$ .for fear of determining'fi tonic in minor mod.e
,by the firif, or a edi'ant in major mode by the fecond.
leaves an equivodation in not filling his concord.
But 5}ateve obje&ion may be made again the mlxt mode,
whole name is more reje&ed than its peaice, this will'not hinder
the malter; ;it!i which the autlor eablies and treats it, from
'3aking itfelf kown' to a man of [enf% and a mufician weil
erld in th princil?les of his art. ' '
The ancients diffc'ed greatly on the definition% divfi0ns and
amcs of their tones or modes. Obthm'e in every part ,f their
mulic, they are ahno nnintelllgible in rega. rd t this. All ag'e%
its tru% that a mode is a certain iem or a conitution of
fin ntis; and it aplear% tha{ this conffitution is nothing ell in
tlclf than a certain oSave filled wit a I.the i re'mec'ia
according to the genus. tclid ad Ptolomy tem to make
eonfi in the didrent pofitions of tlie two tbmi-tones of the
.ave, in relation to the principal chord o'f the mode, as we'may
feeillln the clght tones of'chnrch-mufic; but the greateft
number appear to place this difference only in the place vhich
he diapalbn Of the mode e,mpltys in the general lem, titat
nafnlhch as the baib of principat chord of the mode is tharper
.r fidtie% being taken in different parts of the fyffem; all the
yhoyd of tl'te lEtits always preferring a timilar connexion with
q thc
the fundhnidntal, and, conśequently changing the concord'
each mode to preferve the anal'ogy of this connexion: fuch is'
the difference of the tones in our mnfic.
.˝cording to the firft fente, bere would be only revert pobl
modds. in the diatonic tyem, and, i effe 'oloy agtnifs no'
ore; for there are only feven methods to vary the pofition
iwo femi-tones in rel:ation to the fundamental found preferring
betw'en ehdfe wo femi-t0nes the prefersbed interval. According:
o,lie feeond'fen% thee would be as many potable odes as
founds, i. . an' iafinity ;. but i we confine ourtblves, even iI th
clifftonic fyfiemt there wi'll'be no re than teven f6und, unless
e ch.u to tak% as new me% tho whic would be eablied'
n. the ov th
e0nibing tother,thqe two methods, 'w now Want 'onl
fern mode; for i.f the mods are taken- in differen places Of
th fvffm,. we find at the fame time, [he fundam'entel tbund ,
iiguied'fr6m t to flavp, and th two fetal-tones differently
fitdated in relation to h principal found
Bu bedeg ihefe modes we mv forln many 8thurs,. b takin' .
. fame feres d on th, fame fundamental founa dfferenr
'founds as tile effentia[ chords of he m fo? inRanc%'whe'
we take .for dominhnt the gfth of the principal found the mode'
is autheatic; it is fagat if we choot t fourth and there ar
opely two different mod o the fame fundamental. More'
oveG as to. eonitute an agreeab m% we mufi- f the Grecks.
render the fourth and fifth juff : -leafi one of the two ;- it
is evident that we hay% in the eteui OF the oave only fiv -
fimdamenta:r lbund% on each of whieh;'may be ea61iflied am'
fiuthhntic mod and a plal; Befidev there ten modes we fin
other tW; the authenti%. wh'ieh cnot fuvni a plagal be-
caufa its fourth forms the triton; the othevplagal which cannoff
turni an. authentic, Becaufe its tl is faire. t ism. perhapsl
in. this manner that we mu under,and a paWage of Plutarch.
where-the inntic complains tiiat Phvynis has covrupt it by de'
firing to draw from fly% or, rather lven chords. tel*e
harmon,its. Hezh then are trYtire pol)le modes in. the ex-tent e
an oav% ov two disjoint tetrachords: if we cote'to:join
two tetrachords togetha G that i%. to give a B fla io the feventlt
in cutting off the oave; or if we divide the entire tones by
oh.romanic intervals to introduce therein' new intermediate modesi
or if having an attention to the differences onlyv from. fiat tw
?rp, we plae other ntoffes to the oave of the preceding; all-
ths will furni different methods of multiplying the number b
the modes far beyond twelve. And thole are the 'only methokl'
of expla[n[n the dWerent numbers of th modes aitted
rejeed b I me ancients at different times,
She an˝ieh mac being the c63śnel wlthln the nar'r
Of the tetachord, the pentachordi the hexachord, the etachor
the o&achord there were at fl bfiI thre modes aitted
fundamentals were at a toue diRance'frm each he.r.
flatteff of te three a caled t di th phrygian s
the middl% and the arpeff Wa the Iyan. tn dividing
theft t6nes into two interval% place was mad to the o o
modes the iofiia and toolinns the'fir Of which wa inferred
fween the doric and phrygian s e fecond betwn hr
and lydian.
In the end, the em being extended to arp nd -fiat,
uficians eablied on each fide/ flew m'es which tffOk th
denomination from the five fir, by joining the prep'ti hyp
Opon, for thole aboe, and the pr6pofition hypo under for
Below. Wherefore the lydian mode was 5ollowed by the hyp-
orian the hyper-iohian, the hyper-phiygian the hype-mofi
and the hyper-lydian in arcending; and 'after te dan mo
<ame the hypo-lydian, te hy[o-olian the hypphrygian,
Bypo-ionians and the hypo-donan in defeending. We find
numbering of ef* fifteen m0d$ piu$ a Gk
-sl HyperxLydian:
sl at Hyper-..olian.
La Hyper-Phrvgian.
[ Hyper-mixo-Lydian
L B flat Hvper- cmim
' [ Hfper-Iafiian.
Sol Hypcr- D,ri,n,,
Mixo-Lydi,m.
Fa'Diefi Lydian:
[ Lydian flat.
i- Phrygian..
Iafiian. '
Phrygian flat.
Re Dorian.
[ Hypo-mixo-Lydlan,
Ut Dieflu Hypo-Lydam
t -- Hvpo-olian.
[ Hpo-Lydlan flat.
si -- Hypo-Phrygian.
si B t Hypo-Ionian.
[ Hypo-Iaian.
Hypo-Phrygian flat.
La -- Hypo-Dorian.
. CollllllOil.
Locrlat.
Their order and their intervals exprcfrbd by the natnos of the
notes in our mufic. 'But we mull take notic% that the hypo..
riotiaa
M 0 4
]o4-1an was the ,nly nxode 'executed in its hole extent;
.tim time that the reR afcended the ds h fiarp were cut
u to exceed the extent of tl ice. fis fervat'ion fe.rws
to e intelligence of fo pe of ihe antieros, by whicN
they em to fay, that t a4 maes d a 'flierper air,
vielx .was true in tlat there irs were ri/d more a's' the
4onlc. wo' gnorance of .hls, Doni has been greatI
emharaffed n e;e apamt gontra'ions,
Of all thelk modes, P. lato reed tnany a capable of hang-
ing fie manners. Arioxenes, u coniu'ioa wih Euclid, aa-
fitted onty thirteen, fuppre.ng the w0 m railS, viz. the
ypevotian and by,r-lydian. 'But in.xhe work which remains
to us fm Afioxes he nad only fix, on wlfich 4e eonne
te diffent fenFents wlfich were ermanent in Iris time:
a]y, ?toomy reduced the numar of thel redes .to Teven,
laying, that the &s e not inwoduced'in xe defign of v-
.yig the aisaordi to flat d ar, or it is evident dat
xy milt ve ccn multipl much beyond fifteen, but rather
for he take o5 faciNating the pa. ffe of .oae mode t0[anher
by co.afunant ingervals ea1 to fnd.
He confined all he m0de in 'te fe an ave of 'hlcx
.e riotic mode kred. as nzre lb .that rke mo*yan
g mrxh aboe, 'an he hy.p.o-din was a ourth etow; the
]vgian a th.above the hy-dorian; tle
';th elow the 'hryan; and the 'lyn ';f abov. e te
:ymphxygian3 from lace.t aprs at reeKoai fro m
yfi.e].po-o˝ian, which the 16we mea die're 4ufis, to 't
yp-p.hrygia erval a lone; from the byo.phrzi
ao he hypo-.[ydmn another tone; from the ho-lyan to te
dor't, a mi-ttme; .t?om .tlmt t0 te phrygmh, a 'tone; froth
!e phrutan :m the ly,&n another tone; and from the lyd4a'n
the' mtxm.lytha a tmt-t0; xhich form th extent .Of a f-
ven.th in. this order,
P le Ptolomy
r4˝ M-0
Ptolomy abollfhecl all the other mode, pretendirlg thai; a
greater number could not be placed in the diatonic fyffem of an
oaave, all the chords which cornpored it being found employed,
Thole are the feven modes of Protomy, wl{ich, by joining th
hypo-mixo-lydian, added, they fay, by Aretln form at prefent
the ˝;ght tones of church-mufic. ("ride Tones of the Churchl)
This is the cleareft notion that can be drawn from the tones
or modes of ancient muflc, whilff they were looked upon as dif-
fering only from fharp to ilar, but they had iill'othe.r'differencs
'vh;ch charaerized them more particularly in regard to the ex-
prefllon. They were draxvn from the genus of poetry which wfis
śet to mufic, froln the nature of the Jnftrument which fhould
accompany it, from the rhyme and cadence therein 'obferved,
5tom the form in which ertain airs were placed amongft certain
people, and from whence are derived originally the names of the
principal ,nodes, the doric, the ph.rygian lydiai. ionian, an,d
mollan.
There were alśo other fo'ts of modes, Which might have been
]etter called fly]es or genera of compofition. Such vere the
tragic mode deffined for the theatre; the Nomiach mode confe
crated to Apollo; theDirhyrambic to Bacchus, &.c.. (Vide StyI
and lelopcea.)
In our ancient mut% they called aIo modes, n reference t
the meafure or the tirne, certain methods of fixing the relativd
powers of all the notes hy general gn: the mode was theft
nearly vhat is now called mealhre; it was marked in the fam
manner after the cleff by circle. s. aud demi-circles, punuated or
without points, followed by.the cyphe 2 or 3 diff'erently cored
bined, to which were added or lhbffituted in the conrl, different
perpendicular lines, according to the mode hi number and in
length; and ir is from this ancient c/om,' that the ufe of th6
(,nd ( barr'd has remained to us.- (Vide Prolation.)
There were, in this tenfe, two kinds of modes, he major}
which was conneOed to the tnaxinmm; and the minor, Which
was for the Ionguc...fZach vis divided into perfc& and ira-
pc rfc'Cr't.
'l'he major perleO mode was marked with three lines, each of
which tilled th'ee lm˝'es of the ffavc; anct three others, vhich
tillcol only two. Uader ths mod the ma.,;hnum vas equal to
three Iongut s.
Mi nor.
MO
ajor Perfet't Mode.
The major iperfe& anode was marked by 'two lines, each
which croffed three ś1?ace% add two otheys which 'croffed
t. wo, and in that care the maximum to two longues only.
'! Major Imperfe Mode..
,I
The mi. nor perle& mode was marked by one tingle line whict
erefled three fpaces and the longue was equal to three breves.
Minor Perle& Mode.
The minor. imperfec'} mode was marked by .a llne which croffel'l
two fpace only, and its 1ongue was equal only to tvo breves.
IVlinor Imperfe& Mode.
The Abbe Bropard has improply mixer the drctes
demi-circles with the figures or' thol modes. Thol reuniteR
tigns had no place in the timpie modcs but only when the mea-
fures were double or cojoint.
All this has been long fince out of ufe: but we tour neceffia-
rly underRand thel figns to be i!led in dcmyphering the
ctent muff% in which the mo ingenious muticians are often
greatly embarrafld.
MODERATE. This word expreffes a middle movement
tween the flow and lively: It antvers to the italian andante.
(Vide Andante.)
R r a MODIFICATION.
M.. 0
MODIFICATION. Pax operatio.n ly which, thro mean5
a trifling alteration in rl'e 'interl/ali,' fiaklng the diiTerence of two
neighbouring founds vanifil,' they .ale COrl/bunded in one, which
without difgultmg the ear, forms the fp.e&ive intervals of each,
By this operation, we mplify the fcale in dimir,}ing the
number or n'eceflhry tbunds. Witho the modification, inead
f tsvelve-'/bunds only which the oave contains there would
be mae tha fy ang o mlt˝ in I the, tnes..
On t qrgn t prd.. a every oe
with keys there itl is,. nor.ea. 'be an iteval pee&ly
concord, exe- the O&ave only Its nmherical powels a(6 onl
three major trds or fogr v thrd before the making a
ju o&av;; the one fs t 'and the ohe,'s do not reach it.
5 5 5 25 28 z 6 '6 6 295 I2
4 4 4 64 64 5 5 5 623 6-8
to weakeh 'the h{;hor, 'fo' th't the oaves, and all 'the other in-
ervals, may correlond exa and tt the game touches may
be ufed under their direhi'donn'eiss. In one moment t wil
explain the method of managing this,
This necety was not telt immediateIy. or difcovered before
the meliorating of the mural fyRem. Pythagoras, who fir
ound the connexion of the harmonic intervals preteed that
thel connerions were obferved in all the mathematical rigour
' itl.tout gIli. any thing .o th tae . the ear'. f his
tent ot the i)flem was Rill bounded by lo iinall a nun,her of
chords. But as the g. qf th aient inrumcnts wer
cornpored of chords which were touche a vid% a as, in con-
lquence a chord was neceffary for each tbund, i proportion as
the fyRem extended, they perceived itat the rule of Pythagora%
muttipylng die chords too much, Iliatiered them from drawing
from tl:em their proper ules.
rixcne th di!iple of AriR0tle, feeg hmu much
exanc ot cak'ulations hurt th prľe'l of matte, anti tlc fa
fitynf thccaccuuon,.took al of a lhdden the otkcetcmky
handming the calcu'at ,,n al,'oR entirely; he pleaded to the
"$UIOLaS [lad t.;tbifhd. '
' This/b,-tncd in mr;fie t.o fcs,. which. have for m time
vidd the'Gr&cks [hg"otm of 'the Arifiokc.iim$ which were tKc,
fnuican, of pacetice; the other of the lJythag'oreans
Were the phitofophers. (Vide Ariffoxenian andythago.
In the end, Ptolomy an'd' Djdymus, findng,.with tracon, xh
Pythagoras ned Arioxqs ld. fallen io to exceffes.eqa.ly
fautty, d confuting at the fame time fenfe.a realb lab8
each, on their own pa toward refoation of the
diatonic fyem. But as thoy efe not greatry removed fm
prncipt'es effahIied for xhe dTvifi0n .of the te?rachord nd
lgfi diiuii tz difference. betwee the mjor and min
nes they did not dare touch un t one to d[vlde Lt, as.the
other by a chromatic chord into two equal qrts: the fyRe.m
eotinu a long time in a ate of impefe&iou, wl;ch d
ennit us to ereeive the true princie of the modficati,
P. P
La[ came Gui WArezzo who, i'n rome, rpes
(he muuc,' and;"ag they ay, invented the harpfichord.
ore% it is certai that that inRrument could n ea[
more than thy ?ga% had not the modification been found
t the fame trine; without whlct it is impofiih[e_ to
thems, a imfffl)% at lea, tlt tlg fir invent[ can
fih preced the tond. This is nearIy alI x.e m .q.
But though the necetv the dficatin. has been. g
finee knoxvn a it is digreSS, in regard to t re
followed for its deteination.
T laR age s hh was he age o'f dlfcovers ia e
is the firR whh h ven us an car iufh ore. ti&
Le P. rfefi, d Mon Louli; haxte ma ck'utaus
onf.' Sauveur has found divifions w[fic 0rnL, 11
mkfications. LaRlya Monf. Rmeau, afar all the r
i'maglaed 0 have tond the tr theory of mod.ificafio firR
h even. pretenda on this theory to eRa.blifl ag
ancient praic% whick I all fpe of
: t have tkid tt it was necefikrys for temperaog th
of the keyg 'to enforce the majps thirds to weaken the
and to diribute there aRerations fo as to roader the
tnfibie as pobe, For this purlfe, we mg. return o
concord' of the inRrument and this conc6rd is genrall made
by' tike: i.t is theretbre by its cftc& On 'kho' fiftxss ttxat
tould conrider t! modification. '
If we ta very juRty four fifths together as u f re l
we finall find that this fourth fifth mi vith the u fro wle
we tt off wil for a major dilk0rdant third, ;tad uclx
rong; and in ee, .this mi; pruced a the fifk o In, is.
the lame lbund which ought' to'fom the major .fled o
Herein Iies"the proo" : ..
"' The
'h˝ contie&ion of the fiitli is Or -'-- on account of the
raves i and taken'indifFeeiflľ for each other. rherefor
the fuccefllon of fifths, forming a triple progreflio.% wil! give
1 fol 3, re 97 .In 27, and mi
śet us now conśder this mi ag major tird of Ot: its connecg
4
tion is or , four being only the double ocae of one.
5
from oave ooa'/e, we drxv near tothe'mi of the precedent
we /hall find mi 5, mi o, mi 20, mi 4 o, and mi 8o.. W'herefor
he fif. t.h of la being mi 8r, and the major.third of ut being
mi $% there two mi's axe mot th6 /rfi% and their references
$o
which form.preclfely the major comma.
[f we ?urfue the .progrefflon of 'ffths as far as the twelfth
power, Whic h happens'at ś dieils, we /hall find, that thi's fi
ceeds the ut, whole Uniśon it ought-tO make in the connexion
of 5:344 and 524.288, a connexion which gives the comma 6ś
Pythagoras. So that- by this Calc,ulation, the'diefis ought to ex-
ceed the;at of three rhajor comma s; and by the other it exceed
it otly by the.comma of. Pythagoras. ' ' '
' But the fame found mi which for,ns the fifth of la, muff: alfo
ferve to form the major third of ut; the fahe fi dieśs which
f..rms the. twelfth'fifth of the fam 'ut, muff: 'form the
alfo; and lattly th. efe different'concords 'mutt concur to conRi-
tute the gneval fyffem' svithout multiplying tlie chords. This'
is what is 'eecuted by means of the modification. .
'For this purpofe, rift:, we begin by Ut in the middle of. the
leys, and_weaken the four firff filths in 'afcendlng, until that the'
fourth mi forms a major third, abfolutely .jutt 'with the .firfl:.
tbund ut, which we call the firff proof.
S. eeondly, In continuing to ttme by Hfths as loon 9s we .are
art, red on the diefis's, we enforce the fifths a'llttle, .thou.h the
thirds may fuffer, and when we are arrived to the fol die-ils, we ..
ß -ft. This tbl dieils ought to make, vith the ml, a juff. lnitjor
th,rd, or at leaff tolerably fo; this is ' the tcond'proof. '
ThirdlY; We t'ke the ut again, and tune the' fifths in
viz. fa, 1 B flat, &c. weak of confequence; then enforcing them.
by degrees, that is, weakening tl,e lbunds till we coine to the re
]3 flat wlxich, taken as ut die-ils, b, ught'to be found i'n concord.
and form a fifth with thd fol dlefis: .at' which we 'had bcforu
ß 1topt. This is the thir,! proof. The
eIhe laf fifths will be found rather xrong, as well as the major
thirds, which renders the major thirds of fl B flat, and mi B .fl'r,
laeavy and rather rough. But this roughnefs qll be fupportable if
the partition is well forzred; and betide% there thirds, by their
fituatio% are lefs ufed than the śrft, and ough. t to exift only by'
choice.
ß Th organifPs and faRors look upon this modifieatlon.as the
rno:pefe tlgt can be ufed. In effe&, the natural'tones en-
joy, by this means, all the purity of harmony; and the tranfo
pored tones, which form lefs frequent modulations, offer great
affifance t6 the mufician when he is in want of marked expref-
fions; for it is good to obferye, fays Monf. Rameau, that we
receive differertl: impreffions from the intervals in' proportion to
their different a. lteratiors, For infiance, the major third, which
naturally excites a joy"in Us, impreffes on us even the ideas of
fu'ry, when'.to'o ]rog; 'and the minor third which infpires us
xvith tendernefs and fweetnef% canges'our fenrations into thof˝
of forrow, when. to 9 weak.
Ingeni'o, us' muficiap?, ' co.ntinue the fame author, know how' to
make a good ufe '.of there different effes of the intervals, an.d
by the'exlreflign which they draw fr9..m them, make the altera-.
tion flourinn, hic.h might be condemned.
But 'in his harmonic generation, this fame Monś Ramea
fpeaks quite'ano. ther ihlng." He 'ieproaches himfell for lzis
condefccnfion for acquaI cullom, and d,eftroying all that he had
before eftablifhed; h.e gives b, formula of eleven methods p?o-
port'ionate between the two terms of the o&ave, on which for
mula he infifts on the Whole fukt:eon of the chromatic fyftem
being eftablilhed, ľo' that this fyfem refnlting from the. telv e
fetal-tones perfelly equal, it is of neceffity that all the intervals
Which are 'for.meal fdin it? .tho.u. ld be erfe&ly equal bet/veea
themfelves.
For prattlee, fays he, take whatever key you pleafe; tune then
its fifth juit, di'mnifh ' i a 've'ry tittle; proceed in this 'ma,ner
f,'om' one fifth to'anothe,',' always atcnding, that is, from fharp
to flt, until the lat whole fh.arp tbund muff have been the
of the firit? you may then be certain that the harpfichord will
be quite in tune. '
This method 'which Monf. Ramcan propores, had already ben
Ptropofed, and abolithd by the'famous Couperin. We'may find.
alfo at full length in i 5. Me,'fimn% x;ho names one Gallee as
its author, and vho has ve'n taken the t,'ouble to calculate the
leven propo,'tio,aie mthods of which Monll lameau gives
he .81gcbraic formuln.
M o
'In, fp.t f; 't'h fi.tiic a.pparanee/;'f '{hi orl,' we do't
-t hat ihe rake i vernlts Trom it as 'been' yet.aP-
, lxer by mnians' or :Fa&. he fir' cannot' r4foe'
fi.les o5 i'gk varitywIxic] ih'ey 'find
ation ocafions. onf. Rameau tells_ th in v. ain lfat iey
, e v:ey is. dund.in he u.nin -o5 the
tes, {n 'e t fleee of t]e vonicb and not at a
'c atroa f ervats: fle' mufiaa anTwers, flat the
t exae he th'; dai he ds not' liink
ate. ; y ra' proporfibaate tb the aidrent der
o 'r ab. For, ky 'de, t]o"th'ere is onl.a fi-
Oaat of re'ann tlt lni B Bat, a?
' nat off 'h an 'a af ' B fiat; weer, the
a ia :D f , xn 'i la ia; ann- the ttenfive ear of 'the
mafici ca neyer b e$avd 0'0g'h even the geral mac
.fta ' ]ow -a red-,tone na more: an'evident
.f t ' fiy can elllmre 'than fim .tr0 th
on' e tohc.' ' "'" : ' '
In ad tO.inr m'kers, ihy n , flar a ehorcI
in thk nn v is:not relly 50-,concor.nt 'as MonL.
'ng:; a we" tl 'fixat. the have- t a ia
glterafion kds, as 'y aia befe 'in fl of ,fths,
r, a y ca'nit coi'v4 how t og gea
,f e atis which a m hr hein b?.
ii w he r can '[a t 8i'ad..
ed ha'a tl third. w'ibout dirg,ing the ear,
amgs, is it t neaeffary .to tluow e aiderain
e-n Js le ifgui a.ucl to leav'e ihe.intervgs/''
, mojut w'hcra lhe cannot change witho i
rc6 aitkorda'n't.
P. Meanne alTares ug, fla, in is time, they .(aifl 's
r wh prailbd fetal-tones on fle :keys, tuned all...tlm fifties
ß arly .according to the eual cond. i'd.b :.Mo. a-
uu, but llua't t'heb ea not bei able tontu, re'.tl dilknranc
of major thkasi ceai51 too rong, rlmg m*eg
ebn'eo 'by weae'fi 'fle fir ,fiYths to 1oer tha ran joe ,thirdg.
I ptars; therefore, tha't 'to ul ons flfxo th'i met :of
cord, % a ]ab'it dicult to ba f0Ilowad 'by an xaraiikfl and lea-
fiblc r.
M O 249
A.s to what remaln,% I cannot be prevented to remind my
readers of what I have laid at the word confonance, on the cau
of that plealure which the ear receives from confonances, drawn
from the fimpllclty 6f the connerions. The connexion of
modified fifth according to Monf. Ramcau's method is this
'43
V 8o + V 8r. This conne&ion, however, pleares the car.
would know whether its fimplicity is the caut of
MODULATION. This is properly the method of eaablififing
and treating the mode; but this word, at preint, is more gene-
rally taken for the art of condu&ing the harmony, and tl{e air
fuccevely in feverat modes by a method agreeable to the ear
and conformable to rules.
It the mode is produced by harmony Gore thence alfo afire
the laws of modulation. There laws may be timply conceived,
but are difficult to be obfervefi. Herein ties their confient zules.
To modulate well in a fame tone, we mu fir go through all
its founds with a fine mufic, by rlingthe effential chords oftchef,
and relng o them longer: that s to fay, that the fenflhtc con-
gord and theconcord of the tonic, ought to be ewn therein
frequently, but under different appearancs and by different
courfes, to prevent the monotony. Secondly, To eabli Ca-
dences and ops only on thel two concqrds, or, at mo, on that
of the rub-dominant. Thirdly and laxly, never to alter any of
the founds of the mode; for we cannot, without quitting. it, make
a dlefis or a B fiat M heard, which does not belong to t, or re-
move any one tliat does belong to it.
But to pals from one tone to another, we mu confult the ana-
logy, and pa attention to the conne&ion of the tonics, and to
the quantity. of chords common to the two tones.
Let us now depart from the major mode: whether we nfider
lhe fifth of the tonic, as having with it the fimpte of all the
conne&ions after that of the oaave or whether we conrider it
as the fir& 3f the founds which enter in the reibnnance of this
fame tonic, we all always find that this fifth which is the do-
minant of the tone, is the chord on which we may eabli the
mo analogous modulation to that of the principal tone. This
dominant, which formed part of the perle& concord of the fir&
tonic, forms alfo a part of its own, of vhlch it is the tunda-
mental lbund. There is then an union between theih two con-
cords. Moreover, this ame domlnant bearing, as well as the
condord a perfe& major concord by the principle of refonance,
tlel txo 'concords differ betweea themialves only by the
nance, wlfich, pafilng from the tonic to the doninant is the fixth
added; and from the dominant, repafilng to the tonic is the i-
S f venth.
5o 0
venth. 'V[oreover, there two concords, thus dlftingulfhed hy the
tlifi'onance which thits each, form, by the founds which coml)oi
them, van'd in or(r precikly the oave or diatonic fcale whicl
we call gamut, which determines the tone.
This lhme gamut of the tonic forms, only chaneed by a diefi
the gamut of tle tone of the dominant, x3hich thews the great
analogy of there tvo tone, and gves the facility of pang from
one o the other by mean of a tingle alteration. The tone of
he dnmlnant is then the fiL which is prefcnted after that of the
tcnc in the order of moclulations. The thme fimplicity of con;
re'dion which we find between a tonic and its dominant, is altb
fomd between the fame tonic and its rub-dominant; t3r the fifth/
which tle riomigrant forms in fiaar.with tiffs tonic, the fub-do-
nfinant forms in flat; but this tkh-dominant is the filth of the
tonic-only by a variation; it is direly fourth by placing thi
tonic in fit,' as it ouglt to be, which eablies the gradation of
the connerions: for in this lknt, the fourth, whole connexion is
from three to four follows the fifth immediately, whol connec-
tion is from two to three. If this thb-dominaat ds not enter,
in the three manner, in the concord of the tonic,'in return, rite
t-nlc enters into its concord. For ould ut mi fol be the con-
cord of the tonic, that of the fuh-dominant will be fa la ut
xx'herefore,'it is the ut which forms here the union, and the two
other founds of this new concord are precilly the to other
5uncl. o'te precedent. oreover, we muff not change moe
lbun3s for this tone than for that of the dominant: there arc in'
each all the throe chords of the principal tone, very nearly. (3ive
a B flat to the intible note d, and all the notes of the tone
ut will ferve to that of fa. The tone of the luh-d0'minant is
then leli analogous to the principal tone than that of the domi-
Ve oght alfo to take notice, that after having ufed tliis
modulation to pat from a principal tone ut tothat o[ its dominant
'-, we are obligecl to ut the cond to return to the principal
lbund; for if 1o is dominant of the tone of ur ut is fub-doni-
nant to th tone ef tbl; where[br% one of there modulations
not lefs necelhry than the other.
The third tbund, which enters in the concord of the tonic h
that of its third or medianr and is altb the fimple of the con-
234
notions after the two precedent ß
345
Here then i a new mo,lulati,m, which is prefented antl
much more analogous as two o[ the founds of the principal toltec
enter allb into the minor concord o[' its mcdaant; for the
C 0 rico r d
coneor,! being ut mi fol, this wi!l be mi śo! d, where we fe that
mi and ti,l at-e corernon,
But what removes this modulation to a little dlitance, is file
quantity of found which murk be cha,ged, even for the minor
n,ode, which is molt tklitab'le to this mi. ! tave given he'fore the
fo,'n,ula for there two modes; therefore, applying this formula,
to the minor mode nfi, we find, in reality, only the fourth fount
fa changed by dieils in defcending; but in tiring, we find
others nifo, :iz. the principal tonic tit, and its fecond note
which'becomes here a fenfible note: it is certain, that the altera-
tion-of fo many founds, and particidarly of the t.nic,.dicac
the mode, and Weakens the anrilogy.
If we vary the third as.we have t.le fifth, and take .that
below the tonic on the fi.xth note la, which we ought alt'o
Call śub-mediant, or mediant below, we thall form on this ta
modulation more analogous to the principal tovie thaaa was t'hat.of
mi; for the perfecq concord of this fub-medlant'being la tit
we find therein, as in that of the mediant two of the .found
which enter into the concord of the tonic, viz. ut and ixfi; anti
moreo;-er, the fcale of this new tone being compofecl at leait im
dekending, of tie f.,tne founds as that of the prini:ipal xonc-3
and havifi-g only two founds changed in af'cending, i.e. one lefs
than the tka!c or' the mediant; it follows thence, that the mod.tt-
lation of the fixth note is preśerabte to that of this median% in-'
afmuch as the principal tonic forths therein one of-the effential
Chords of th mode, which is more fuitable for conneEting tke
idea of the tnodulation. The mi may follow afterwards.
Here then are four chords, mifa folla, on each of whiclx w
may modulate, going out of the major tone of at. Let tl,e re
and fi t'emain the two harmtmies of the dominant. This lai
as a fenfible note, cannot become t:otfic by an)' good modulatlon
at leaff immediately. This woald be applwng roughly to tim
tame tbund, ideas (oo much oppotEd, and gfving it a'n ha,'mony
too diffant ft. om the principal. For the tEond'fiote re, w.e may'
alib by fayour of the coniChaut direction of the futdamental
bars, modulate therein in minor third, provided that we do not
remain therein qore than an initant, tľ that we may not ha'e
time to fot'get the modulation of the ut, which i.tfelf is changed
othersvilE it would be necettkry, inffead of returning immediately
in ut, to pat hy other intermediate tones, where it would be
dangerous to be led into an ˝r,'or.
By following the i;.une analogies, we fiall modulate in the fol-
lowlug order to go out of a minot. tote: the mediant iirft, then
the dominant, the ihb-dotnitatt, and the thb-mediant, or tixtlt
note. The mode of each of there aceedify tones Ls.determiaed
S fz by
By its. mediant taken in.the ścale of the.prlucipal tone. lor in-
ance, going:out of a maor tone ut tO modulate on its median?,
we render the anode of this mediant minor becaufe fie dominant
I.of the'rincipal tone forms a.minor third on this medlant mi.
n the' contrary, going out of a minor tone In, we modulate on
ks mediant ut in mawr mode, becaufe the dominant mi of the
řne, d-ran whence we go out, forms a major third 0n tlie tonic
that wherein e enter, &c. '
Tliefe rules, confined in a general formula, are, that the modes
f the dominant, and the iub-dominant, are timilar to that of the
onic, and that the mediant and fixth note bear the oppofed mode.
e' mu take notice, however, that in virtue of the right we
have o.pafs from m4or to minor, and reziprocally, in a fame
ßone, we may nifo change tSe order of the mode from one tone to
ghe' other: but in tllus vetoeying from the natm'al modulation,
we mu be attentive to the return, for this is a general rule,
'hich every piec e of mufic ought to finifl in the tone by which
i Began..
I [ve oIIeed two ort examples, all the tones ;n whlclx
w.e m&y immediately pals: the fi, by going from the majo?
ode; and the other by going from the mnor mode. ' Ever
9'ore xpres a modulation; and the power of the notes in each
example,. fpcifies aIl the relative duration titable to each of
elh'mes) according-to its cohesion with the principal tone,
Table of all the immediate Modulations.
: Going out of the m4or mode. Going out of the mir.
., There immediate modulations furni the methods of pang by
:he thme rules in the m6t di:nt rules; and of immediately re-
uxning t 0 the principal tone, which we m.u never lore fight of.
ut i.t is not fufficient to know the courls which we ought to
foUw; we mu alto know the method of entering on them.
ere is !he luminary of the precepts which may be given in re-
gavd o this. In melody, we mu, to exprefs the modulation we
have.chotn, only make.the alterations be hoarcl, which it pro-
duces in.he;fo.unds of. the tone from whence we go out, to render
them proper to the tone whereLa we enter.
Are we. in ut major' ? We have only to tound a fa dieds to
exp'et tle tone of the dominant, or a fi B flat to fpeclfy the tone
of. the tb-dominant. Then pal through the effential chords of
the tone wherein you enter: If it is well cholla, your modultiotx
11 always be good and regular. In tte lartnony tiere is a
little more difficulty; for as the chane of the tonc mu be made
at the fame time in all the parts we ought to be careful in th
harmony and ai% to avoid following two different modulation
at the Famc time. HuFfhens has ver well remarked that
profcription. of the two confecutive fifths has this rule as its prin-
ciple: in effe we cannot form in any manner fcvcral juff fifrh
ogethe% between tvo pts, WithoUt modulating in two different
To announce a ton% many peons pretend that it is fucient
o Fnrm the perfc concord of 1e toni% and that this is inclif-
nfable for the giving of the mode; but it is certain, that the
tone cannot be determined but by the concord fenfible or domlv
ant; we mu then make this concord he heard in beginnin the
new moclulaon. The be rute would b% that tixe feventh or
inor diffoaance ould be alwa)'s prepared therein at lea, the
r time t[xat' we make it audible; but this rule is not praicable
in all tIxe'peitted modulations; and provided t&t the funda-
mental bari is dired by Confonant interval% that we obffrve
the harmonic' union5 the analogy of the rood% and aroid the
faire relation% Oe modulation is always good. Compors gve
as another rul% to anffe tKe tone ouly after a perfe caderic%
but this rule is uilefs, ad nobody fu:bmits to it.
11 the poble methods of pang fi'om one tone into anothe% are
reduced to five for the major rood% and four f e minor, which
e have announced by a tndanml bars for each modulation.
Dominant A
Sixth Notc-- B
śhe Mediaqt -- C
[ Sub-Dominant D
'[.Scond Lotc ,F.
Minor.
Mediant
Dominant
Tone of thc Sub.Dominant
[ Sixt, h Note
If there is any other modulation which does not come withi
ny of there nin%-unlefs it be enhalrmonlc: that modulation ia
nfallibly bad, (Vide Enharmonic.)
..T.O MODULATE Is to cornpole or prelude, whether in
Writing, or on an inftrumen% or with the vole% in following the
rtxles cf modulatioh. (Vide Mod.ulation.)
MOLLARE, An epithet, őivcn by Ariftoxencs and Ptolom%
to a kind of the diatonic genus, and of the chromatic nit% whiq
! hvc tiaoken of t the word'Germs.
In molevn.mufic, the wot'd Mollare is only ufed in tle com-
pofidon of the word.B mollare or B tlat} in oppofiti0n to B fiap
śormcrly called B rough.
T t Zrli%
Zarlln, hmvever,' calis diatofilc m011are, a kifid 'of il:e dito'
'genus, which I ha˝'e fpoken of before. (Vide Diatonic.)
MONOCHORD, An inffrument having Only one chorcr
which is divided ad libltum by moveable bridges, the which fervcs
'to find the ˝onne&ions of the intervals, and all the divifions
'the harmonic canon. As the part of infIrruments does not ap-
pertain to my plan, I/'hall not exten'd any farther on this article;
MONODY', A śong for a tingle voice, in oppofition to what
.the ancients called chorodies, or lnufic executed by'a band.
MONOLOGUE, The ścene of an opera, wherein the aor
is aIone, and ti>eaks only to bimtblf. It is in the monologueu
that all the fo,'ce of mufic is diścovered, the muffclan being able
'to give fcope to the whole fire of his genius, witl,o'ut being
confined in the length of his pfiec.es by the prefence of a śecond
[peaker.Tl,eśe kinds of ectatrve, which have place, and
caufe fuch an eff'e& in the italian oper% ate only ufed in mono'
Iogues.
'MONOTONY, I* properly a pfalmody; O'r piece of muff%
whi.ch always moves. on the fame tone; but tiffs Word i at pre-
ti:nt ufed only in fiured mufic
MORE.. A confide. rable part of the Greek muti% called by
them hermofmenon which cotfied in underetanding and choof-
in; the beautiful of every kind, and did not permit them to give
to each fentiment, to each obje to each charaer, all the forms
of ,hlch it was fufceptibl.e: but obliged them to confine them'Z
teles to What was fuitab'le to' the 'ugje&, the occafion, perfons'
and circumfiances. The Mores conrifled alfo n tuning and
poportionating in fuch a manner in. a piece, all the pa,'ts of the
mutic, the mode, the time, the rhyme, melody, a,icl even th
changes that a certain conformity might be felt thr'onghout th
whole, which flould leave rio dithgeeentent, but render it
fe&ly one. This tingle part the idea of which is not even known
in our muff% fliews to what point of perlreSion an art might
carried, in which the pleating fuitabl% and agreeabl% was re-
auc'd to rules.'
MOTET. This word in ancient times, fignified a very la-
boured compofition, enriched with all the beauties of art anti
this within a"very fiiort period; from whenc% according to' fore%
it takes its name Of mot.e.t as if ix was one tingle word.
_At prefcnt the name of rooter is given to every piece of lnufic
made in Latin words, as was curiomary in tte Roman-church
as plhlms, ltymns, antiennes, &c. and this in its general tnlb
is called Latin mufic.
The French mccceded better in this Idnd of mtfic than in thei'e
own, the linguage helng more'favountble; but they make utb of
too great laboutľ and, as the Abb6 du' l..'os lta a-ccufed them;
M 0
hey l)lav too much on the words. In general the Latin mufic
has not śufficient gravity for the ut to which it is allotted.
ought not to aim therein at imit.ntlon as in theatrica! mutc.
Sacred airs ought not to..repreFent the tumult of the human
paffios, but only the majefty of him to whom they are addreffed
-nd the refignation of loul in thoFe who pronounce them. Vhnt-
ver may be expreffed in the words, every other language in tile
air is a contrary fenfe. We flould have I do uot Fay no piety
but no ta% i.f we preferred the general mufic to that of the
church, for the church itśelf.
The muficians of the thirteenth and foxrteenth age, gave the
name cff mottelus to that part which is now called counter-tenor.
This ham% and others as frange, often caufe a great embarraff-
ment to thole who ftudy tile decyphering of ancient manutkripts
f muff% which was not written in partition as at prefent.
MOTIVE. This word is reidore utd but iq a technical fenfe
by the compofers, It fignifies the primitive an d principa[ idea, on
which the compofer determines his fubje and.arranges his
fign. Tis the motive which bids him put pen to paper to write
fuch a thing, and not another:. In this fenl the principal mo-
;i-ve ought to be always pretnt in the mind of the. compofer,
and he ought to manage thgt it tould be śa alfa in that of his
udience.
Befide this molly% which' is only he principal idea of the
piec% there are 'particular mives, which are the determining
ideas of the modulation, th.e union the harmonic textures; and
on there ideas, which we halten in tile executio% we judge if the
author has properly followed his motivgs, or if he has taken the
clut,ges, as it often happens ta thole who proceed note hľ note,
aqd who are deficient in knowledge and invention. It is'in this
acceptation that we thy, motive of the fugu% motive of the ca-
dcqc% motive of the changes in the mode,
TO MOVE. This term is utd figuratively in muiic, and is
/'aid of'the fuccem of tbunds, or concord% which follow each
other in a certain orde,'. The hats and t,'eble move by ton-
t,'a,'y movements." "To move in countel'-tilhe," &c.
MOVEMENT A deg,'c˝ of qulcknclk or flownel, which
eharacr o the piece we execute gives to the meature. Ever.y
kind of meafure has a movement peculiar to itfelf aud which
le0gaed in Italian by there words, Tempo giuo. liut betides
tlzis thet'e at.e five pt-mcipal modificatioqs of movement, whicl b
in tile order from flow to quick, ac expreffcd by tile words,
Largo, actaglo, andante, allegro, prefto; and theft: words i t Eng'lifl.
are rendered, by flow, moderate, pleafiqg, gay, quick. We muff,
howcvc,' take notice s that, the movement always having much
T t lel
lef preciilon in the French mufic, the words tIlat expreśs i ha w
a fenfe much more vague than in the Italian. ' "
Eacli of there degrees is fub-divlded and modified into othert
alfo, in which we muff diftinguith thole which exprefs the degree'
only of quicknefs or flowneft% as largfielto, andantinfi, allegretto,
preftiffimo, and thole, moreover, which'mark thecharaer and
preflion of the air, as agitato, vivace, gutofo, cotnbvio, &c. Tho'
firtk.lnay be rendered by all the mttficians, but there are only
tofe which have fentiment and taft% who feel and render th4
othet-s.
Tho', in general, flow movements are fuitable to forrowful
paffions, and animated movements to the gay, there are, how-:
ver, often modifications by whidh a patlion fpeaks on the ton'
ef another. It is true, that gayety cannot be expreffed with'
flownels, but often the molt lively griefs have the molt unbounde
language.
J.'tIOVEMENT, Is alśo the courfe or progrefs of founds from
flat to '15arp or from fharp to flat: wherefore, when we fay that:
We mufl- as much as poflihle, make the bars and treble move by'
contrary movements this fighides that one of the parts ouől,t to
arcend, whilPc the other defcend's. Some calI oblique movement
hat wherein one of the pa,'ts remains in its place wlilf the other,
:fieends or defcends.
ß The ingenious Jerome Mel, in imitation of Arlftoxenes, di
t;nguifhes in general in the human voice', two kinds of move
tnent$, viz. that of the qeaking voice, which he call continued'
iovemenr, and which is not fixed tilt the moment we are tilent;
md that of the tinging voice, which moves by determined inter-.
vaN, and which he caIls diaCtematic, or intervallative movemen't.
MUSF. TTg, A Idnd of air fuitable to the inftru,nent of thi'
name, whole meaśure is two or three timed, the cha,'a&cr fweet
and original the movement a little flow, bea,'ing generally a bars
in the }inc or point of the o.rgan, fuch as may make it a muftte
and which is tb called on account of this bars. On thfe ai,'.
we form the dances of a fuitable cha,'a&er and 'which altb havo
the name of muletres.
MUSICIAN. This name is given equally to him who corn-
poles mull% and him Who executes it. The fit. f is alfo called'
compofcr. (Vide that word.)
The ancient muffclans wet'e poets, philofophers, and orators of
the higheft order. Such were Orpheus, Terpandcr, Sterichorus
&c. Boetius alfo will not hottour with tlte name of mufician,
him, who only pra&ices the mutic by the fixrvile uI of finger=
and voice, but him 'who pofilgffc that knowledge by reafon':nd
tieculation. And it mo,.eover thems, that to faire onc' fell to
the lofty exprefiions of oratorical-and imitative muli% we rouge
have
M U
ave mace the hum?.n pardons, and the language of nature.
"aricu!ar ffudv The mnficians however, of our time, cofinec
n general to the pra&ice of notes, 'and śome turns in the air,'
cannot be hiahlľ offended, I imagin% it' they are not epceemed as
great philofohes. ' ' '
MUSIC, The art of combining the founds in a manner pleaf-.
i.ng to the ear. This art becomes a fcicnee, and even very pro.,
ou. ncl, when we attempt to find the principles of there combi-
nations, and the eaures of the plealure which they infpire us with.
'Ariffides Q9intilian defines inufic as the art of the beautiful, anc
pica n, in the voices and movement. It is not ffrange, that witI
definitions fo va ue and ,,eneral,' the ancients have iven a ro-
,.. g ß . P
dgous extent to the art which they thus defined. ' '
We generally fuppofe, that the word mufie is derived frovat
mufa, becauśe we believe that the mules have invented this art
3ut Kiteher, after Diodorus, derives this word from an _/gyp-
tian name, pretending, that it was in dggypt that the mufie be-
gan firPc to effabllfh itfelf after the deluge, and that the firPc idea
bf the foudd vas received by the reeds which gre on the bankg'
6f the Nile, vhen the wln. blew in the hollow of their pipes.:
Whatever may be the etymology Of this word 'the origin of
art is certainly more applicable to mankind; and if the words
did not begin with the air, it is at leaPc certain, that wherever we
fneak, we finer ' ' ' ' ' ' '
'. 'Mufic s na. turally divided into theoretic rr fpeculatlv% ancl
lrac-tical. ' . .
'"Speculative mufie is, if I maybe allowed the exprefllon, the know-
l..edNe of mufical matter', that is, the different eonne&ions from flat
to fi3arp, quick to flow, four to fweet, rong to weak, of whict
the founds are 'fufceptible; conne&ions, which comprehending all
poffible;komblnations of the mufie and founds, feem to compre-'
liend all 9 all the eaures of the imprefllons which their fuec'efliom
may form on the ear and the foul.
:. Prv/ieil'mufie is the art o applying ancl making ufe of the
prlnciplea'of the fpeeulatlve; that is, to conduce and difpofe the
founds in'eonnettion with the confonane% in duration fuccefllon,
i'n fueh 'a mhhner, as that the whole may produce on the ear the
propofe'd effe&. It is. this art whleh is called eompofition. (Vide
this wor'di): :'in regard to tlm actual produion of the rounds by
voices o? i,pcrumenls, which is called execution, it is the Fart
lourely meehahlc'and operative, which, only fuppofing the faculty
f founding the'intervals juff of marking the durations true,
gie to the founds the degree prefcrlbed in the tone, and
power,; prefcribed in the tim% requires rigoroufiy no other knoW-
ledge than that of the chara&ers of muff% an8 errfrom in
pr. ciilng tllmn. . .
Speculative
Speculative mufic is divided into tvo part, vlz. the knowletg.
f the connedScion of the founds, or their intervals, and that of
their rel'ative durations, that is, of the meafure and time.
The fir, is properly that which the ancients called harmonlt:
naufc; it teaches in what conrifts the nature of the air, and
.marks wh.,rt is confcmant, difl'onanr, agreeable, or ditlearing to
tJze ear. In a word, it gives a kncvlcdőe of the different
thods with which the founds affe& th ear by their tone, their-
śocee, their inte,'val% which is equ&lly applied to the;r concord
and; t4eir śuceettion.-
The fecond has. been called rh. ymlc, betaale it treats the founds
;p {'egad to the timo and quant,ty. It contains the explanation
of fim'.rhyme and metre, lohg.meafures and fho,-t, li.vely and flov,
'the eimes and different parts ,nto which they are divided, to ap-
Laly to them the śucceffion of the founds.
The pra&ic. al'mufic i divided all0 into two parts, which an-,
śver to the tvo preceding. .
That which anfwrs to the harmonic mufic, and which the
:ncients called melopa, contains the rules for combining and
,arying the confona'nt and diffonant intervals, in an agreeabl.
anti' harmonious manner. (Vide Melopca.,)
The thcond, which anfvers to the rhymic mufic, an˝l whlclz
they call ryttunopma,. contains tle rules for the application of*
ghe times, feet, ,neafures: 'in a word: for tim pro&ice of rhyme,-
(Vide Rhvme.)
Perphy/ius gives another divifion of mufie, whilPc it has for its
obje& the mute and śonorous movement; and, with. out diftin-
g.ui/hing it into fpeculafive and pra&ical, there are found in it
t4e/ix ollowing parts tim rhymie, for the movements(of dane-.
i.qg; the metric, for the cadence and number of verfes; the or-
gaol% for the pa&i.ce of inftruments; the poetic, for the tones
ad' accent of poefy; 'the hypocritic, For the attitu. des of panto-
m. Jmes; and the harmonie,-for tile air. ' .
ß The marie s divided, at prelbnt, more timply in. to melody and
h;rnonľ; for the' r!ff. mic is no longer remarded amongf us, anti
the v0etic is very trilling, nce our vcrfi's, ,n airs: take rcarly'
tleir'mealbm from muff, c, and lcffc the littl which they receive
śrom it by thcmfelves.
By melodY, we di-e& the fucceflion or,he founds fo as to produce
sin agreeable air? (Vide Mlody, Air, M0duiafion.) '
Harmony conrifts in uniting to. each of t;he founds, in a regular
f,cceflior] two or more other lbunds, whig;h, fh'iklng the car at
the fiunc lime, flatter it by their cdqcurren. cc: (Vide Harmony.)
. W.c might, and, perhaps, ought to divide tll e mufi˝ in. to natural
aged imitative. The firl conlined to. the plt)(ie of t[!c tbund
onllt, andoa&ng oa th'd 1i:nfe bn)'' cannot :arry i.tl impreltlons.
i6 ihc heart, and gives fenrations only mole or 'lel's agreeattic.
Such is the mufic of the longs, hymns, cantles, and of all the
,airs, which are only combinations of melodious founds, and al
mufic in general which is not harmonious.
The fccond, by inftexi0ns lively and accented, and, as it wet%
]eaking, cxpretTes all tile pardons, paints every piure, reader
e'erľ oh. iceřr, fubmlts the whole of nature to its ingenious imita-
tionsd ahd, by this means conveys to the foul of tile man thof
tntimcnts proper for moving it. This truly lyric and theatrical
mufic was that of' ancient foetus, and it is illat which at pre/ent
we apply to the drama'% cxecutcd in mmq˝ on our theatres. It
is only in this mufic, and not iv/ the harmonic or n=turat, that
we rnu leek t}e caut of tile prodigious effe&s whicl i formerly
produced. How much śoever we may thek for moral effe&s
the phyfic of founds onl% we fhall mver find ttmm and our
reaFoning will he without mderftanding.
The aficient writers differ greatly on the nature, the
extent, and tile parts of mufic. In geheral, they gave this word.
much more extenve than that which remains to it at preFen%
They not only comprehended, under tile name cf mut]c, as we
have Feen, tile dance, gel'cur% and poetry, but even tile colletion.
of all tile iiences. Hermes defines mufic ,as the knowledge of
the order in every thing. This was alfo the dorine in the ihol
of Pythagoras, and that oi Plat% 'who taught, thai every thing
in the univerfe was mufic. According to Hefy:hbas, the Athe-
iians gave tile name of mufic to all tke arts; and all this is no
longer aPconifhing, finee, tha: a modern muffelan has found
mufie the principal of all references, and the foundation of every'
fcienee. From thence are all thole tblime pieces of mufic, whie.l.
the philofophers have handed down to us, divine mufic, mufie
mankind, eelePdal mufic, terreftrial, a&iv% contemplativ% enun,-
ciative, intolie&ire, oratorical, &c.
it is under theFe raft ideas that we rnu{ underfraud feveral
aiTages of the ancients on tnufic, which would be unintelligible
the infe which we at prefent give to this word.
It appears that mufic has been one of the firft arts; we find it
tnixt among the nofl: ancient monuments of human kind. Iris allb
very probable, that the vocal mufic was found before the intkru-
mental, if' among the ancients there ever was a mufic truly
lumental; i. e. formed for inftruments entirely. Not-only'
ß mankind, before ditizovering any inftrument muf have made
bfervations on the dif[erent tones of their voice, but they muff
have :learned very early by the natural concert of birds, to
dify their voice and taroat in an agreeable and niclodious manř
her. After this, the wind inftruments inuft have been the tirfl:
i. rlventccl. Di0dorus and other authors am'ibut: the invcntloa
to
to an obfervation of the blowing of the wind in reeds or otk ea
hollow plants. This is alfo a fentiment of Lucretius.
.At liquldas avium voces imitarier ore
-Snt fuit mult6, quam levia'Carmina eantu
'Concelebrate homi'nes pofllnt, aureifque.juv. ari;
Et Ze. phyri cava per calamoum fibils prnnum
Agreteidocure cavas inflate cicutas.
in regard to other .kinds of ini!ruments, the fonorous chord
:are fo common, that mankind muff have early obferved the dif-
'erent tones which have given birth to the diff'erent chord inftru-
xnents..(Vide Chord.)
Thole inftruments which are itruck to draw a found from
hem, as drums and tyrohals, owe their origin to the deafenirt
iaolfe which hollow bodies emit when ftruck.
It is difficult to leave there geneealities to fix on rome certainty
or, the invention of mutic reduced into an art. Without aftending
to times before the flood feveral of the ancients attribute this in-
?endon to Mercury, as well as that of the lyre. Others fi/c o
Cadmus as the ihkroduEtor of it among the Greeks. who. flyinc
śrom the court 6f the king of PhamicYa, carried ľith hlmqntg
Ireece, the muffclan, Hermione, or Harmony; from wlsenee iś
rould fotlow that this art was known in Phoenicia befo?e Cad-
gnus. In a part of-.ISlutarch% Dia'logue on Mufic, Lyfias names
dtmphion as the in,entor; in another Soterichus thys it was
aft, pollo; -and in a third he feems to give the honour to Olympus:
there is no agreement on this matter, and, it muff be confeffed
it is of tttlc confequence. To there firft inventors fucceeded
Chiron, Dern0docns, Herme% Orpheu% who in the opi.nion of
śome, invented he lyre. '
After thor% -ame Phamlus then Terpander, contemporary of
Lycurgus, and who laid down the rules ofmufic. Some attribute
to him the investion of the firft modes. Laftly, we addThales an
'Thmniris, who is laid to have been the inventor of mtrilcal inftru-
aments. There great muffclans lived molt of' {hem before Ho-
mer. Other% more modern, are.Lafus of Hermione, Mlnip-
lipes, Philoxene% Timotheus, Phrynni% F. pigonius Lythnddr
.lBimmicu% and. Diodoras 'ho all have confiderably' i'fiprovcd
.the mnfic,
Lafus i% as it s .reported the firft who has written on this art ß
,in the time of Darius Hyftafpes. Epigoniis invented the in-.
rument of forty chords.which bore his n.,ane. Sim,nicus in-
enteal aHb an inftrmnent of thirty-five chord% ca[ted $imicium
Diodorns improved .tle flute and added ne.w boles to it; ;tnf[
Timotheua the ly:re by adding a ne.w chord to it, which waa th
,oafuaa, of his iaff.r. ing a fixc by tho Lacadcmontan,
1VI U
As the ancient arehots exprcfs themktves very obfcurely
the inventors of mnfical inllruments, they are ajlb very unintel-
'iigible on the initruments themfelves. Hardly do we know an9'
thing more of them than their names. (Videlnllrument.) -
Nlufic Was in its greate erieera an.ong the different people of
ntiquity and particularly among the Greeks; and this elleew
was proportionate to the power and furFrifing effes which they
attributed to his art. Their authors do not think they have
given us a too great idea of i% when they told us it tvas ued
heaven; and that it formed the chief a.mufiment of the gods and
'/buls of the bleffed. Plato does not hefttare to fay, that there
ban be no change in rnufi% but there mull be one alfo in
conP, imtion of the /'tare; and he pretends that tbunds may b
affigncd capable of fairing the ideas of a bale tbul infolenc%
with all their contrary virtues. Arillotle, who feems to hav
written his political works only to oppofe his fentiments to thoe
.of Plat% is, however, in eoheord with him in regard to the
power of mufie ovet' the manners. The judicious Polybius tells
us, that tnutlc was neceffary to fweeten the manners of the
'cadians who dwelt in a. country where the air was cold and
wintry; that thot of Cynetes who negle&ed mufi˝, furpuffed all
the Greeks in cruelty and that there was no country which was
equal to it in crimes. Athenzeus affures us, that in former
'times, all laws, human and div-in% exhortations to virtue, the
knovledge of what concerned the gods and heroes the lives and
&ions of illuftrious men, xvete written in veri, and fund pub-
licly in choirs by the found of inllruments; and we fee, by fa-
i:red writings, that 1iach were the curtoms of the Ifi'aelltes from
the earlleft times. There had been no method found more effi-
cacious to endray% on the minds of men the principles ofmo-
rallty and love of virtue; or, rather all this was not the effe&
<)fa premeditated defign but of the grandeur in its fentiments
and the elevation of the ideas which lought by proportioned fie-
cents to form to themfelves a language worthy of them.
Mufic formed a part of the llndy of the ancient Pythagoreans.
They ufcd it to exdite the lbul to laudable a&ion% ad to-nfla,ne
ech other with the love of virtue. According to the philofo-
phers our fouls xvere formed of nothing but harmony; and they'
expedted to re-eflablifh, by the means of tnthal harmony, the '.'
intulleOu'd and primitive o,e of the faculties of the tbul; hat is
tO Ihy, that wlficl b according to them, exilled in it before it
animated our bodies, and whilll it dwelt in heaven.
Mufic is at preint thnk from that degree of power and
jelly, I0 far as to make us doubt of the truth of thot wonders
whiclx it forn,e,'ly pcrśormcd tho' attofled by the moff judicious
U u hiRorians
6z U
lfiftorianv, and graveqc philofopbers of antiquity. FIowever, }a
modern hiftory, we may find rome timilar fas. IfTimotheus
excited the fury of Alexander by the phrygian mode, and caln,ec[
it by the lydian, a mufic, Pcill more moderate, has furpaWed it,
by exciting, they fay, in Errie, king of Denmark, fuch a fury
tlat be kill'd his molt faithful fervants. Douhtlet there wretches
were lefs fenfible of mufic thhn their prince, othervife he might
l:ave run half the danger. D'Aubigny recounts another hiftory
quite fimlar to tlat of Tim0theus. He tells us, that in the
-eign of Henry Iti. the mufician Claudin, playing at the marti-
nge of the Duc de Joyeufk, in the phrygian mode, animated, hot
he king, but a courtier, who fo far forgot himlIf as to draw his
śword in the prefence of his forereign; but the muffclan quickly'
.calmed him by taking the hypo-phrygian mode. This is faicl,
with as much affurance, as if the mfffiian Claudin. knew in what
.conrifted the phrygian and hypo-prhygian modes.
I'f our mufic has little power'over the affe&ions of the foul, in
ß return, it is capable of aceting phyfically on the body, as in the
lfif'cory of the Tarantula, too well known to want mentioning
here: as a proof of which, I bring the Chevalier Gafcon which
ovle mentions, who, at the found of a cornemufe, or bag-pip%
could not contain his urine; to which fhould be added, what the
fame author recounts of rome women, who burft into tears at
he hearing of a certain tone, with which the reft: of the audience
were not at all afl:cCted; and I know a woman of fafhion at
Paris, who Cannot liften to any kind of mufic whatfoever, with-_
out being feized with an invohmtary and convulfive laughter.
We read altb in the hlftory of the Academy of Sciences at Paris,
tlnat a muffclan was cured of a violent fever by a concert per-
śormcd in his chamler.
Sounds aa even on inanimatcd bodies. as we may fee by the
tiaaking and rcfonance of a ibnorous body at the found of an-
other, with which it is conneceted in rome relycert. Morhoff'
mentlon. a certain Peter, a Dutchman who broke a glafs by the
ś,und of a voice. Kirtcher fpeaks of a large fton% w'hich tre.m-
l!ed at the found of a certain pipe in an organ. P. Merfenne
ieaks alfo of a kind ofwaggon, which the playing of the organ
t]mok'as though it had been an earthquake.
Boyle adds, that the Stalls often fhake at the found of the or-'
gan, and that he has himtlf felt thein tremble under his hand at
he und of the organ or the voice and that he has been af-
'threcl, that thole which were well rmed, trembled all- at rome
determined tone. The whole world have heard m˝:ntion of the
t'amous pillar at the chqrch in Rheims, which fi:ntibly fiakes at
the found of a certai.n bell, whilft the other pillars continue im-'
moveable;
U
movealle: but that u,hch tranfmits the honour o{ the marvel-
1ous to the rotund, is, that this fame pillar equally fiakes when
the clapper of the bell is removed.
All thelh examples, the greate part of which belong rather to
tle found than to the' mufic, and of which phvfie may-give
rome explanation, neither makes them more credible or 'intelli
glble to us, tho' the ancients held them in mufic as marvellous
and ahno divine. Many authors have puzzled their brains to
endearour to give a cadre for tlem. Wallis attributes them
partly to the novelty of art and partly rejes them on the ex-
aggeratlon of authors.
Others imagine that the Greeks, more fenfible than ouffelv.es
by tle conitution of their climate, or by their method of living,
might be mov'd by things which could make no impre,on
us. Monf. Burette even in adopting all there fa&s pretends
that they do not prove the perfeXion of the !nufic which pro-
duced them: he fees nothing in it, but what the fad fcrapers
a coun'try village might have done, in his opinion, quite as welI
as the firfi muffclans of the worM.
The generality of there fentiments are founded on the perf-
fion we are in of the excellence of our ranfie, and the contempt
'e have for that of the ancona. But is tMs contempt as juffly
founded as we pretend ? This has been fevera! times .exmi;
and when we conrider the obfeurity of e matter, and the in-
fue.iency of judges, has great need of undergoing a 'betr
feareh. Of all thole who hav yet empyed themfelves
examination, 'ous, in his Treatire de Viribus Cantils &
Rhythmi, appears to have be difeuffed the quaion, and drawg
te neare to truth. I have throtvn f6me ideas thereon in
writing not yet made public, where my thoughts will be more
fuitabl placed than in this work, which is not intended to.p
the reader f e difcu of my opini.
It has en mfck wi%ed to the rome fragments of ancient
mufic. P. Ki<her and Monf. Burette have laboured thereon to
atisfy the curiofity of the public. To give them a greater
chance of profitling by their labours, I have tranfceibed here two
turn'd into
modern notes by thole authors.
pieces of.Greek mufic$
./In Ode f P'ar. .,4 Piece cf
Wthu.d the Harp.
__ _--- - - -: -Z -
,_--: _ _ __ _ _ __:
ymn to Nero, s 2d. a P;ece of
t who can dare to uclge of ancient mufic by {ueh examples
I Maginc them to be fa,th/ul. I even wifl that thob who would
]udg of i: could futciently ;ow the genius and accent of the
Gruck,
M U ;:5
,Greek, ,that d:ey would ,'erie&, that an Italian is judged incapable
of aYrench :lit; tb. at ali'renchman knows nothing of tile Italiaix
melody: when lie has compared time and plac% thcn let him
'fpcak if he <tare.
To put ,the reacher in a way to judge of the (]liferent nufical
.ccents,of diffcrent ?eople, I have tranfcribcd allb a Chincl ah
lrawn .from _P..du FIaldc.
Pertiaa Air, taken from the Chevalier Chardin.
De chile da vi tohoub nay -cs tou mt-a ct 3oi y
ne darfd ath cb,o-/bmbotd biar-bo'ai cSagmca
Tranflation of tile Peril:m Words.
Your countenance is vermilion, llke the flowers of Granad.;
Your words a perfume. t','t,m which [ am i,filmrabl˝.
The world h.s noh.lg tix'd: Every thing changes.
]3tiug oclorona t'1owvrs to a,fimatc the heart of mt monarch.
:68 M U
Song of the Sava'ges in Canada, drawn from P'. Merfnne.
----'- -- '-- - -i ' F ' ----
Cai-dejouc, canidejoue.Iehe heh he u -ra eur c
''re fhall find in chord pieces a conformitF' of modulation wiN
ore- mulSc, which muff make oae admit: thc exceIcn.zc and ur, i-
rcrfhir' of our rdlc% am[ mty rc.rde? the und:_'rf'randing or fi-
'=iirv ,Jr thotb wio have trafiitted to us thole air% tbmevhat
ih;i<cious to others.
Allegro. Adagio,
Allegro. Adagio.
The above celebrated Air called Ranz de Vacheu wa śo
generally beloved among the Swiś% that it wa. forbidden to
plaj'd ih their troops under pain of deat be˝luś it mad them
burfl:
lmrc ;nto tears, deCcrt or die, whoever harct it; o great a defir
did it excite in them of returning to their country. We alI
leek in vain to find in this air any energic accents capable o
producing thch affonifling effe&s. There ee&s, which. are voi&
in regard to rangers, come alone' from cuffom refit&ions, and
a thoulEnd circumffances whicl h retrac'd by thole who hear
them, and recalling the idea of their country, tlxeir former plea-.
hres, their youth, and all their joys of lite, excite in them
hitter forrow for the 1oE of them. The mufic does not in thi-
care :& precifzly as inufic, but a a memorative fign. This air
the' it continues the fame, does not produce, at pretEnt, the faro=
eeas which it prodc'd before amongff lm Swifs; bzcaul
having left the taffe for their ancient Gmplicity, they no longer.
rggret it, but when reminded. So tru it is, that it i not im
their phyfical a&ion, we tho14 leek for th greate eWe&s o
founds on the human heart.
The method, by which the ancients prlck'd their notes, was
eabtified on a wry fimp. le foundation, which was the connee-
{ion of cyphers; i.e. by the letters of their alphabet; but in-
ead of confining themfelves on this idea to a froall number of
charaaes eafy to retain tlmy were to in multitudes of different
figns, with whicN they cnnfufed their mufic in return, fo that
riley had as many methods of marking as genera and modes.
oetius took froth= Latin alphabet cbaraers corretpondlng to
there of the Greek. Pope Gregory perfe&ed this method.
oz 4, Gui d'Arezz% benedi&ine, introduced the uf of ave,
(vide Stave) on lines, on which he marked the notes in form og
points (vide Notes) expreing by their pofition the elevatio
or the lowering of tim voice. Kircher however pretends that
this invention was prior to Gui, and in effea I have not fee
in the writings of this monk that he claims it to hinfelf; bur
he invented the gamut and npplied to the notes of his hexachord
names drawn from tl˝ hymn of St. John Bapti which they
prelErve at prelknt. This lna% laffly born for mufic invente
different fnffruments called polyplear% their as the harpfichord
fpinaet viol &c.
The chara&ers of muff% have, according to the general
nion, rgceived their lat confidetable augmentation in 33o at
the tim% they thy when Jean de Muris call'd improperly by tm
jean tie Mmurs or de Muria do&or of Paris, the' Gelher makes
ldm an Englilhman, invented the different tigurc, ot the notes
which exprcg the durntion or the quantity, and whiclt w now call
tmi-brves, minums crotchets.c. But this tntlment the*
.m'y common, appears t0 me ratlmr dubiou to judge of it b
llis' Tcatil of Muff% intitled Speculum Muticm which
x 2 have
!ave lind the boldnef;s to read aimof[ all through, to coniitut˝
/gherein the invention attributed to this author. As to the re-
/mainder, this great muffclan has had, like th'e king of poets, the
onour to be claimed by different people; for the Italians
Fretend he is of their nation perhaps deceived by a fraud or
error of Bontempi, who calls hm Penigino in,cad of Paniglno.
Lafus is, or feems to be, as I have fold before, the fir who
las written on mufic; but his works are Ioff as well as Cevera[
other' books of the Gt'ecks and omans on the fame rubieS.
rioxenes, the difciple of Ariotle, and chief of the muffcat
fe, is the mo ancient author who remains to us in that tki-
ence. After him cnes Euclid of Alexandria. Ariides in
tilian wrote after Cicero. Alypius comes next; then Gauden-
tius, Nicomachus, and Eacchius.
Mate Meibomius has given us a beautiful edition of there.
feven Greek authors, with a Latin tranflation and notes.
Plutarch has 'ritten a Dialogue on Mufic. Ptolomy a cele
brated mathematician, wrote, in Greek, the Principles of Har-
mony, about the time of the emperor Antoninus. This author
preferyes a medium between the Pythagoreans and Arioxeneans.
Ionff time after, Manuel rtennius wrote alib on the fame
,rubieS7 Among khe Latins, oetius has written in the time
of Theoric ;-and not far from the 1ktne time, Martianus
Caodorus, and Saint Auguine
The merns are many in number. The mo known are
Zarlin Salerias, ľalgulio, Galil&, Mel, Doni Kircher, Mer-
.fcnn% Parton, Perrault, Vallis, Detkartes, Holder, Mengoli
aleolm, Burette Valloti: laxly, Mont; Tartlni, whob book
" full .of profundity genius tautology, and 9bfcurity; and
.Monf. Rameau wh0fe writings have this fingularty, that they
'lave taln'd lfim a great fortune without having ever been read
by an o. ne. This leure is betides become abfolutely fuper-
fiuous !Jnce, that M. d'Alembert has taken the trouble of
'plaining to the public the tcm of the fundamental bafs the
nly thig ufefut and intelligible which can be met with in the
writings 0f this mutician.
MUSI MASTER. A muffclan hir'd to compoqe and execute
ufic. I is tle mufic-maer who beat tim% and dire&s the
muffclans, He fiould be tkill'd in compofition, tho' he does not
alv.ay.s .gonpolb tho mttfic which he mttkcs others execute. In
the opcrg-holb of Paris, for initante, the employment of beat-
:ing time is a particttlar otfice; whereas, the lnuii of the opera
is.compolb˝t by whomfoever has t;tlcnt and will. In Italy, he
whb hs 'co.ml01kd al opera dire&s always its execution, not
eting tim but wi tl hartch9rd. Wll'f01'e the oce of
'- ' ' ..... ' ....
N A =99
mufic-maer has no foundation hut in churches: for which rea-
{on we do not fay in Italy ']t./'fc-lIt./qer, but Mter .of the
Chapd. a deno,nina{ion which begins to be ufed at prefent in
l'rance. '
1MUTATIONS. By this term were call'd, in ancient mute,
generally, all the pal%ges of an order, or fubje& of one air to
another.
Ariftoxene defines the mutation as a kind of puffion in tl,e
order of melody; Bacchius, as a change in the fubie&, or the
tranfp0fition o(a lile into a'n unlike pl'ce; Ariftide O_.9intilian,
as g variation in tile propored lyllem, and the chara&er of the
voice; Martlanus Capella, as a tranfition of the voice in another
order of ound.
All there detinltion, obfcure and too geaet'al, have need of
being cleared by divjfions, but .authors do not agree better on
there divifions than on the defihition itfelf. Howeverř we jufl:
gather, that all there mutation may be reduced to five principal
kinds.
Fixf, A mutation in the genus, when the air pati'd, for in-
ttance,' from diat9n. ig_.t.o chromatic or to the enharmonic, and.
reciprocally. ;-.
Secondly, Iu the fytte;-..when the modulation united two riff-
joint tetrachords, or feparatg&from them iwo conjoint, which
nfwers :to the pairage of the B fharp to B fiat, and reciprocally.
Thirdly, In tire rood% when, for inCrance, we p'ati from the
/1orlc'to tile-phrygian or lydian, and reciprocally,
Fouvthly, In the rhyme, when we pafd from quick to flo
or from one meathre to another.
I;5f/hly and laecly, in the melopcea, when we interrupted
heavy, triou% magnificent ir by a lively gay and cluiclf.
r.hang% &c.
ATURAL, This word has feveral fen[cs in mufic. Firf,
Natural mufic is that wh[cl; the human voice forms b
'oppofitiOn, totlre artificial mutic which ts executed wttk mfru-
ments. Secondly, 'We fay that an air ia natural when it is eaf'y
'tweet, pleafin=; that a h,rmony s natural, when t has few van-
ations o'r diflb,lance, that it' ipr0duced by chords efightlal. ant[
atural to tll˝ m6lc, Th, rdly, Natlural s al//o fad of versr
.... ' ' ' ' Y y ' ' ' ' " pie&
o N K
piece oś muśc which is nclthcr śo'ccd or obFcnre,.wh{ch nc.;the?
goes oo hgh or too'low ciflcr too quick or oo flow.
ly and la']V, The mofi common fignica'ti0n, and the only one
wich the b Bropard has not meltioned, is pplled to the
tones or modes from whence the founds are drawn in te ordl-.
nary gamut witho0t any alteratloh, f6 that a natural"mode is that'
in which neith dieils or B flat is uted. Ih the exa fenfe, therd'
ould be only one 'natural tone, which would be that of ut,
C m[or third; but we extend ,the nturals to all the tones, whot
effential chords, bearing neither diefis's or B's flat, permit that-:
we ouId number the clff neither with one or the*other :' ruth'
are the mnjor modes of (3 and F, the minor modes of ahd D
&c. (Vide Trlofed Cle, Modes, &c.),
The Italians always. mark their recitative to the natural, the:
changes tone being fo frequent therein, and the modulations fo
confined, that, whatever way we number the cleft for a mode, w'
could not tare either diefis's or B's flat for thereif, and we ould:
throw 0urtblves, in the end of the modulation, in ver embavai:'
ting confurious of figns, xvhen the notes chaned in. the cleff.b
fign, are found changeft by te contrary fign accidentally..
. To ibl'faSn natural is folfa by the natural. (gide R'ecl--
tatire) N.am og'. the founds in the ordinary gamut,. withou
rerd to the tone which we are
NETE. This.was,. in :the Greek 'mufic, ie fourth c0rcl,
arpe of each of the three tet.?achords, which fbllowed the two;
fir'from flat to arp.,
When the 'thiM'tetrach'ord was conjoint with the fecond thi?
was the tetrachord.fynnemenoaand its nete was called nete
This h{r' ttra&hor ore the name ofieenon wen.
it was dlsoinr.or Ceparated from the cond by the intervI of
ton% ad its nete was caIled.nete dieeugmenon..
ß Laly Whe'{our tetraeh, .'always' Hearing'the 'name of
perboleon, its nete was always called alt nete hperboleon.
In regar to the two tlrt. ttrachords as they were alwal'a.,
conjoint, the had no nete e{th of them; th furth chord
th fir, bing always the rlt of t.he Cee'ond r was called hpare
nelbn; d th urth .chord of he fccond forming the mifdle
of the fem, 'WaS called 'roeils. Ne,'{hs Bo'etius qtta neatS,.
id ),. brior, 'fo- the ancients, 'ih. fiiei di,gramsr'pla0ed tho fiat..
tbunc{s ;;boa:e, and the tharp belv, '"
'NEq:OIDES."Sharp Ioun'ds. (Vi'de
NEUME. A'ter'm'm churhenufic. ['he'neume is.a. kind oL
o:'t recapitfilati6n f tile air'in a lno}e, which. is;maOe at th
end: of &n 'aei'efi b: by: a'fi. mple variety o1" fiiut[a ';n4
jo;nlng to them :my vo. rds. The Catlollcs. ath.orlze tb]$ finguilt
.curtom on a paffage of St. Auguine who rs. Ms., that n0 worO$
being ffible o be worthy of pleaHug God, it ia laudable t ad-
dreCs him in a comfyfed muf< of ju6ilad.on. "FOr to hom.ia
' licl a .ibilafio fuitabI% uule/ t an iaqffable Being } and
," how can we celebrate tkis ineffable Being, fiace we cannot
' filent, or find any thing i.n our tranfporta whick can expri
? .them, '
unlefs unartmulated founds }
NIGLARIAN. The name of a.n.olne or air of an effemi. n
.nd Coif roelot[y, as Ariffoanes repoaehe Pkiioxeae/its authar.
NINETEENTH. An iterval which comp.rbeads eight=a
conj0irt degrees, and conCequently nineteen Founds af the di-
conic, reckoning .the two extrq;s. This is tlm donbl=
,f the fifd. :(Vide Fifth)
NINTH. Tim oOav of the fe'.n. Thi i;erval has the
;same of .ninth, bccaut we tour furi9'nlne c0n(ecutive (ound'
,arrive diatonically from on of its tms to the other. The
ninth is. maior or minor, as the fecond, af which it is the re-
,plique. .(VideoSecond)
' There'is concord-by fuppofifio% w.hleh is alle d goneord of
he ninth, .to difi. ing-uifix it from the concord of the foad
5s prepared, acompaaied and prevented differearly. The ceaeord
mf thc ninth i.s fdrmed hy a focnd placed in the biff, a third
i*elow tle con˝oyd .Of feveth, wc!* is the .cafiOg of }he
:youth itfelf .caking a nln;h .on ts netv found. The ninth
.cc0ull,,ieda gonuengl, by the t!aird, the fifth, and fore'times
tile Ikvehth. TI 'fourth n of the tone is generally thai
whic th, s concm- mo,a fuitaNe, bt it may be plged'every
'here in hatm9ic un}.s. Wl, e baf 0uglt always t9 arri;'e by
alcending to tle ne whicla '.rs the math. Tile pa}t whiclx
forms the niath ought'to fyneopae and 'prevents th}s intla a 'a
.]'cnth, rlkendiDg diamiilly .fi'mn one degree on 'the oav%
h' tire b{i continues in il pie, or on the third, if ;le ha& de-
$cends from the third. (Vide Ooor, .Suoltol, Sggcope)
llm naive ot eoor, d oaad ! that 9f fuperfiuous
NOELS, o"CHIST. SROL$. gig& of airs silotiM
9 cel-an ,˝aatic, fug by ;eeople in tle .elebrat}on 9f Clri-
as, Th airs of Z.oll 'flmuM hayea rural and paorl
the fhepherds, who, we fuppofe, lung them at going to pay ho
nae to the infant Jefus in the manger.
NOME. Every air determined by rules which it was not per-
tted to break, here amongf the Greeks the name of nome.
The nomes received their denomination% firf, either from cer-
tain penple eollan nome, lydian nome; condly or from the
atre of the rhym% orthian nome, daVylie nora% trochaľc
xome; .or thirdly fi'om their {riventots, H{eracian nome,
lvmnefant nome; fourthIv, or from their fubic&s, pythian nome,
t;zmic nome; fiftlly or la/'ly fi'om thci,-mole, hypato7d or fla
roeroe= neto'd or fiarp nome, &c.
There were two-part nomes which were lung.on two mocle.
'There wes alfo a nome called three parts, which was lung on
three rnc,_!es, viz. the doric, the phrygian and the lydian. (Vide
Song, Mode) ß
NC3MIC. The nontic nome, or the ge. nus of tie mufical ft'yle
which bore this name, was coat,crated, tmong the Greeks, to
.Apol!o, god of longs and vcrths, and vhercinlthey endeav'oured,
to 'ender the airs brilliant, arid worthy of the go d to vhom they
were confcrated. (Vide Mode, Melopcea, Style.)
?qOMION. _A kind of lose long amongfc the Greeks. (Vide
$o,g)
NOTES. Signs or charaers ufe 4 to nark, that is, to' write
the mufic.
'The Greeks made ufe of the letters of their alphabet to mark
their mufic. lIoreover, as they. had twenty-four letters, and as
their areatel[ tftem, whiclx was only of two' oaves in a fame
node,, thd not exceed the number of fixteen iounds, t would.
śeem that the alphabet nuft have been more than fufficient to
cxprefs thefn, fincc their muiic beisg only their poetry markeds'
the rhyme was thfIiciently determined by the metr% without
there being v'anting for that ablblute powers, and tigns peculiar
to rnxfic; for the' by ihperabundance they had charaEters altb
o mark. the different fecr, it is certain, that vokal mhfic was nee
in want of it; and inffrumemal muff% being only the vocal
play'd by inffruments had neither aced of it s fince the words
x'ere written, or the fymphonif[ knew them by heart.
Bat we mu,ff take notice, in the firf( plac% that two fame
founds one while at the extremity' and another while in the
lMctle of the third tctrachord acco,'ding 'to the place wherdin
the dlsjunEtion is made, (Vide theft wol'd) they gave to each of
there 'bund% .names and figns vlfi'ch exprcfld there different
fitnations. Sccondly that theśe fix teen feuDds were not' all the
three in the tlrce genera; th'at there were rome common to the
three s and others peculiar to eaclx; axxd that notes were confe-
queatly
uentl), necelTarľ to exprefs there differonces. TI3rdly, that
c was.diffcrently noted for int'ruments than for the voice, as
;'e have at preent, for certain chord inftrument% a table which
has no reś˝mblance to hat of ordlnary mufic in the leafc.
ly that the ancients having as many as fifteen different modes
according to :the numbering of Alypius, (Vide Mode) it was
ceffary to appropriate charaers tO each mode, as we fee in the
tables of the fame author. All there modifications required
rnultltude of.fin% for which the four arid 'twenty letters were
very far from furricing. From thence arlfes the neceffity oFufing
'the ame letters for fryetel forts of notes, which obliged. them to
giv to thole letters differe.nt fitfatios to couple them maim
hem, and lcngtlen theni in different fenres. For inffahc% the
letter Pi written in all tkefe forms II, LI, U, 1'I, ex rffed fiv
:li fferent notes.
Bv dombining all the modifications which there 11fferent
cum:ances required, we find nearly I6zo different notes, a ptř:
]ig{ous number, which mu have rendered the udy of mufic
thing of th greatet"c difficulty. It was certainly fo in the time
Plato, who adľiFes young men to fpend two or three years in
fludying its rudiments only. The Greek% howe'vet, had not let
great a number of charaEters, but the fame note had fomethne
different tignifications according to 'occafion; .wherefor% th
tame charaer which marks the profiarnbanřmenos of the lydian
rood% marks the parhp3te melon of the lypo-iaffian rood% the
ypate .melon of the hypo-phrygia% tim lichanos hypaton of the
1 po-lydla% the parhypate h patoh of the iaffian and the h ate
ß Y .- Y . YP
hypaton of the phrygan. The note changes lto fometimes
tho' the found continues ttm fame; as, for inftnce, the proflam
anomenos of the hypo-phrygian, Which has the fame fign in the
hyper-phrygla% hyper-dorian phryglan, dorian, hypo-phrygia%
and h odoran nodes, and' smother fame fi% in e I dish
YP .. . . Y
a.qd hypo-lyd!an tootics; ' ' '
'N. B. The fir No i for Voal Mufie fiecond.fot thefnrt.l
ames. I ß
Si IHypai ypaton amma backwind;, and Gamma
Ut IParhypate Hypaton Beta imperfefi, and Gamma
ato, n Diatonos
Hypat .m, efon
Parh-ypat˝ melon
Melon Diatonos
Me..fi, s
'l'rit Synnemenon
Parametis
8ynnemenon Diatonos
Net Synnemenon
Trit Diezeugmenon
Diezeugmhon Diatono,
/N-t Diezeugntenon
['l'riti hyperboleon
]Hyp, erboleon Diatonos
/Nte hyperboleon
F
P
'-'Ex?hnatlon.
Phg and Di'ga.
Sigma, and Sigma.
Rho, and Sigma couchant.
Mu, and Pi prohug'&
Iota, and Lambda couchant.
l'heta, and Lambda varied.
Zeta, and Pi.coucht.
Gamma, and Nu.
Oma varied, and Zeta.
Eta and Pi varied, and prdlon'a,
lalNet Synnenon, xvhih is the time ehd.
.u4Phi cehant. and gm courant prolong'&
]Upfilon.varied, and Alpha with he right firok cut o.
'lu, and Pi prolong'd, too'd with an accent.
1I d mb,cochant, toP'd with -
'I'ht{' thru.chord datonos o thc.tera=hord {ynmeuon, n
rl o{ he tetrachord dicZCugmenou, have,(l}ct nocs,
a only he fame chord,. or two chords iu.unilhn. t Js ,the
hlng ith the tw chords, net tnnenon and
atonos; thele two .alib' lve the.lhn chords. .e m
gke notice, that the mefis and nete hperlen ber the-fam
0te for he .9ocal tho .they a .in he &ve .of each falter:
is apparent, that in pvaice there was rome othcr:metho,of.dif-
6nguiing them in' mufc.
he curios, who would wifli. to know he .notes f all the
era arid modes,: may confull,. i eibomius, .tl.btes
?ius and 8acchius.
We 'here find the eable o flores i'n the diatoic.gens
dian mode' wliich wa the mo ,ulb; there s'havi.ng .W
preferred 'to thole of t'he other todes 'by Bacchius, .are
o uerand 'all the examtles which he gives inbis'.wok; 'a.
the 'rodfie of the Grees ;being no longer in ut3.fils
alfo'to p gn end 'to tlxe-'rro?s of he publie ,ho
anner of marking notes fo en. tireIy 1: titat,this .muc would'
'be impble.foe t'dypher. We'might decypheritas'
aly as the Greeks.themfelves couM'.hae one,-but.to ph'fe
to accent it to underand i to.judge of .it, ..is_ ble to
one, and never ea become.to, '}n every;kind of fic,,as
as in every language .to deeypher'and .to .rea are twthi
ß ery deren. T'Latis, who, in.imiation'-of.tl.eeg-
ed .altb their-mufic With the.letters Of iheir
mve&alo'a reat quantity of.thei notes t'he, enharmonic. gn'
"laving cead its pra&ice entirely, -and .tveralmodes.bein.
:t'onger in ufe.. It-appears 'hat Bt.iueablied :the ulb.
ß ;lrs only';. -a l O, y, 'biop f ß R:om% eonfri
that the confie&ions of'the '1bunds .are the,fame in aoh.oave
'reduc thei'fifteen mts .atto t the fcven,-fir ,letters.of.he al.-
phabet which were repeated in differ, ertl forms from one
ß another.
ß LaXly,-' In -the elvtlx a. a bdi&.Me .of reo.,
'ui,.fabimted, in the .plaee of.the'ie letters, points.placed i'
ß Jfferent parallel ' lines. to. each of..h ieb..a. lette t4bt, ued .as.
! the ends.. there.points were. entaged ;..t was .alfo: h6ught con-
.enient' to; tMace rome in. th .fpaeos cnprild. bet.ween. thelb: li ncs.
'and ebro. lines .and., ts. er. multiplied .as .ocafioa ,rct?i red'..
.The notes had for rome time no other ufe tltan to mark tTe
leg.'ees and differences of intoneion. They were all in regard
ß to duration of equal powers; and received, in regard to this, no
other difference thau tlxol of long and fiort fyllables, on which
they werefuhg: It is nearly in this condition that the ehureh-
utic the Catholics has continued to this day; anti the mufic of
the pfalms among the protean, ia ill more iraperle&;
iince, in their u.l, tl lengths of the breves, or the rounds of the
ninums, were not even diinguified tho' tliei preferred two
different figures.
This indiin&ion of figures continued in the general opinion
as far as x338, when Jean de Muris, ado&or and canon of Paris,
ga% it is pretended different figures to the notcs to mark the
connc&ions of duration which they had between each other: he
altb invented eertaln figns of meatr% eal!ed modcs or prolations
xo deterrain% in the confie of an air if the reference of long to
ort ould be double' or triple, &e. Many of the figures
longer fub. There.have'been others fubttituted in their place
at different times. (Vide Meafure, Time, Power of Notes.)
ide al, at the word Mufic, what I have/hid of t]is opinion.
T read mufic written by notes, and to render it exa&ly, there
are eight things to be confidered. Fir, the cleft and its pofition.
Seeondly the diefis's or B's flat whith may accotnpanf it.
lfirdly the pIace or pofition of each note. Fourthly, Ns in-
'terval, that is its conne&ion with that which precedes, or with
the tonic, or tbme fixed note whole tone we have. Fifthly, its
ggur% which determines its powers. Sixthly, the time wherein
.it is found, and the place it occupies. Seventhly, the dieils g
.fiat, 0r accidental B firp which may precede it. Eighthly, tl?
.kind of the meafure, sad ch=raer of the movement. And all
this, without reckofing either the words or t11ables to whicrx
.each note belongs, the accent, or the expreon fuitable to the
fsntiment tvhereon we refleX. One of. thefe eight obfm'vationa
only omitted, may make it jar, or play out of time.
The mufic ha had the lot of thol arts which improve but
fiowly.
The inventors of notes have bn attentive to the ate'onl
le. rm'n t was n their time, without refit&lug on tha.t to whiclx
it might be railed; and in the end their marks have been found
b muclx the more ticfelly% as the art has been fince improved.
In proporti aa they advanced they cfiablithcd new rules t
remedy the pre'nt nconveniencles; by multiplying the figns,
they have multiplied the dicttlties; and by dmt of additfona
' ' ' ' t
and cyphers, they have drasvn, from a hnpte princ.ipl%
vc' gonfuldl a very bgdl regulated. -
We
N o
lrc may recIuce its fauJt. to three principals: The firc is the
multitude'oF figas and their combinations, wfiich Ioad the mind
:red memory of beginners in śuch a maimer, that the ar is fOrm'd
an the organs have acqulrcd habit, and a ncccrľ facility
long time bcśore they are able to ting d livre ourerr; 'froin whence
t 11ows, that the difficulty is intircly in an attention to the
rules, and not at all 'in the execution of the air, The fecond, is
the tittle evidence in the nature of major, minor, di. miniihcd, and
śuperfluoas intervals, all }ndittincly confounded in the fame
fitions; a fault of fuch influence, that it is not only the principal
cauf of the flownels i the progreli of ścholars, but, moreore%
there is no muffclan form'd, who can fail of being incommoded
in the execution. Wh'e third, is the extreme diffufion of tho
chara&ers, anti the too great extent which they. take up, which,
joined o thole lines, to thole .flares fo inconvement to trace, be
comes a fo'urce of,,embarraffment of more than one kind.. If the
firff advantage of inffituting figns, was, that they fiould b'e clear
the tbcond is, that. they thould become coneliE; what judgment
then we forin of an order oi figns in which both the one and the
other are wanting ?
Mufician% i't is true, cannot fee any thing of thls.' Cullom
has habituated them to this. Mufic to them is not the know-
ledge of tb,,nds; it 'is that of crotchets, mlnums, demi-crotehets
&c. &e. As foon as there figures ceafe to be prefent, they can-
not fatisfy themlElves that they .fee mufic. Moreover; what
they have learnt with difficulty, how can they render it eafy to
others ? It is nbt then the mufician who flould be confulted
herein, but the man who underfiands muff% and ho has reftcacti
on the b, rt.
There are not, in this Init clafs, two that agree in the errors
of our notes; but ill thfe faults are eafier to know than to
corre&. Many have endeavoured at this corre&ion without rue-
eels for rome time.' The publi% wkhout anlr great diti:uflion on
the advantage of the figns propoid to iq always embrace thole
vhich are atready ettablifhed and muff' always prefer a bad me-
thodoi kiloWlng, to a better of learning. Wherefore, becau&
new'fyftein is reje&ed, is no folid proof f any thing more, than
that the author came t0b late and we may always diieu and
compare the two fyffem% with any regard on this point, to the
judg,-nent of the publi:. - -'
All the methods of m/irking note% which have not had for
their grand law the evidence of intervals, do not teem to me woY-.. '
thy ot the trouble of being removed. I will not then make any
ttop at that of Mgnf, Shuveur which may be feen in the Me-
moirs of t13 dkcademr 9 ciencc% nno x/zx nor at that of
Z z Mont;
1Venf. Demau, given rome years afi'er. In there two fyttems,
the intervals being expreffed by figns intirely arbitrary, and
without any true connexion with the thing reprefented, efcape
the mof attentive eyes, and can be fixed on the memory alont
for of'.wha't-fervice are heads Mifferently figured, and tails diffe-
rently direeq:ed,.to the intervals which they ought' to exprefs
uch figns as thole have nothing in tlaeln xvhiix hould make
thean preferable to others; the neathels of the figure, and the
little place which it takes up, are advantages. which might
found in a fvfem entirely different: elsanee may have given the
śrf figns,.ht we muft halve a choice more peculiar to the thing
in thole xvhich thould be f&ht'tituted in their place. Thot which
have been propold in 743, in a little work, intitled * Differ-
tation on the Modern Mufie," having this advantage, their tim-
plicity perfuades me to lay down their abridged fyftem in thi*
article.
.The ehara&ers of mufie lave a double ohje&, vlx. to reprefene
the founds, firf, according to their different inter'als from flat
to flarp, which eonfiitutes the air ahd harmony. Secondl
according.to their different relative durations from quick to flowY
..whigh determines the time and meafare...
In the firft eaf%. in whatever method we turn and combine
Written and. regular mufie, we can never find any combinations
therein But of the feven notes of the gamut, earfled in different
0&aves, or tranfpofed on .different degrees, according to ?he time
/and mode which we have. chorea., The author expreffes thef
feven founds by the feven firt't cyphers; fo that the eypher
forms the note ut, the note r% $ the note mi, &e. aad he
erfes them with a horizontal }in% as in the example. ß
Tle O&ave in arcending.
!
34$67 .
ut, re, mi, fa, fol, la, fi, ut.
ß t-I ,qltes above the line the notes which contlnung. to a,feent
wohld be found n the {uperior o&av˝; hel:efore Ut, w. lfich im-
medifitely follows fi, aiending a tmiton% flould be above
..line in this nncr, 4'.; and'in the. tame manner the te,
which belong t the.fiarp o&ave,. of Which this ut is the bbgin-
.ning ought to be all above the lhme line/ If we entered into
_third oae in flmrp we have only to traverfe the note by a
Cond accidental line ahove thc'fir. . ß
If, on the contrary, we would defcend into the o&ave inferior
'to that of the principal line, we mu write immediately belo
that iin% the notg of x otave wlich follow it dcfcenihg: if
them
NO.
then ľu deftend an o'ers. re, add a line below5 as you ave placed
ote above, to a!kcnd, &c. By means of three lines only, you may
go th. rough the wl;o!c extent of five oaves, which c;mnot b6
dote In our ordinary muiic in lel than 'eighteen.
We may even rcanae 'withou. t'draAving any line. We place
tI the'notes horizonhy in th'e fame' rank: if we find a note
which paffes the fi of the o&ave wherein Ave are in arcending;
i, e. which enters into a higher oave, we place a point on this
note. "This point thffices?for all the following notes which re-
nmifi without. interruption in the oOave wherein we are entered.
If wc rc-dciend from one o&ave to the other, it will" require
another poin .under the note By which Ave enter therein,
'i,ľe fee in the ollswing. example the pi'ogrefs of two o&aves as
well athending as detce.nding, marked in 13his manner.
a3456 xt4567 76543 765432
'the fir..ft method of markhő wih lines is thitable to nude
getearly labon.red, ant[ very difficult for larg partitions, &e. The
cone. with points is.proper for fimple' nude, and trifling airs
but n9thing hinders us lyon. ufing it at our plealure in the place
of the other and the author has made ul of it in tranlc4'.ibin
the ffimous Arietta, L'Otjet qui regn dans mo 'Ime," which xve'
find.lricked .in partition .by the eyphcr of that auth0r at the
'end of his v.or.k.
By,his method, all the intervals become fo evident, that
thin can equal it: the o&a.ves always bear tlxe f,m.e cypher; the
l'mpte .in.tcrvals are always knov{n-in their doubles or compofition.
We ifkantly dittovet i.n the tenth t.- or $, that it is th.e oc-
tave 0 the hsjor third; the ma3or intervals can never be eon.-
t;ounded witix the minor: :z 4. will be continually a lni.nor third
6 a major third. The pofirion. has nothing to do with t. hat,
After having thus reduced th'e whole extent of the keys, under
a much t.mMler compel}, witIx much clearer figns, we now pat to.
the trantotitions,
Th;re arc only -two modes in our mufic. What is tinging
play.ing in re major It is tl'anfporting t,h.e fi2ale or the g;unut;
of ut a torn higher, and placing it on re as tonic or fmdal˝.ental.
All the references which bcl. ongcd to. ut pal to re by thi
t-ran.limfition. [t is to expref this !rftem of conne&ions,
or low.eyed fo much, that tb many alterations of .dicfi find
flat have been thought neecflb. ry on th{ cleft. The author of
the New Sytteln fupprcffea all ttii.s 'cmbar. rldfinent at a Rroke.
Tim figle word r%. ptac'd at top, and La [lx˝ margin igi˝. u.
notice, that the piece is in major re; and as then the re takes all
the conne&ions which ut had, it takes ali'o its fign and nameř
It is marked with the cypher x, axed all its o&ave follows by thd
eyphers 2, $, 4, &e. abef0re. 'The re of the margin i'erves as
its elefF, it is the touch re or D of the natural key; but this..
flame'to becomos a tonic zlnder the nam. e of Ut:. and becomes
the śundamcntal of the mode.
.. But this fundamental, which is tonic in th m,-.jor tones, ia only
.mediant in the minor; the tonic which takes the name of Is, le-.
]ng tb.˝n found a minor third below this fundamental. This
ß 3ifin&ion is ,made by a finall horizo:atal line drawn under tim
clc.. e, without this line, exprcffes the m_aj0r :node of re
but rer witlx the line under t, deigns the mn6r mode of ii: o,
w'hicl' tBis re is the mediant. This diffin&ion wldich śerves on]
to determine-clearly tile tone by the eleff' is ot more, neeelTary.
in the new fyftem. than in the otdina. r not, wher. e.ln.;]t is not.
placed. Wherefore, though no attention [hould be pid-to it
,e could not fol fa lefs exa&ly. Inffead of the fame names oś
the notes, we might make ufo, for clefts; of the letters of
gamut, hich anfwers t o t13em C fo Ut D for r.e,: .&.c... (ľid
Gamut) . . .
' l'he muiieians 'afl:e& a great deal of contempt fo t;he methocl
of tranlofitlons;-dotbtlet's, 'beeaufe i renders the 'at rod
'I'he author flows that this contempt is ill founded i that i is their;
method we fllculd'aefpife riffle it is l&borious to .no end; and.
the tranfpofition, whof.e 'ad.valatagc he'fhows,'are even wit. laoult
refle&ing on theIn, the true rule which all the. great muśeiall-
and good eompofers follow'. (Vide Tranfpotition) ',7 ' '..'
Tile tone, the mode, and all their conne&ious well dete. rrnined
it is not fufficieat to make all the no'res of each o&ave
lnown, nor'the paff, nge from one oOav e to another by clear and.
precil figns; we nuff:, betides, cxpret} thL- part 9 the keys.
which thelix oaves e:nploy. If I l:ave a fol to tu. ne, it muff: b
lnown which, tor there are five in the keys, .the one hi_-,h, the:
other mlddle the other'low, accoEding to the ditl$,'ent oaves
there ocřraves have each their letters; and one of thefe'letterg
01aced on the linc, Which śerves as a i}ave de;rates to what oOav
t:hat line belongs, and,'confeque,a'tly the o&avcs which are Ibov.
and bc10w. ľVc muf fee the figure at. tile end of his book and
the cxplanation the author gives to it, to be a.ble to judge
lhi p..rt of hs tfem which is amo:lgfl: the mo timpie.
It remains, fqr the exprettion of all the pottible ounds in our.
mufical }'ficm, to render fhe accidental alte?ations introduced by.
the modul;ttion, which may be emily done. 'I lie d:efis i'forraY[
]by tra,,'erti]g the note with a ro'ke alienating froin glx˝ left to
th B fiat by a timilar mark descending, fi B fiat ; mi B flat
In reard to B arp, the author fuppreffes it a an'ufelefs riga
This part being th filld, we mu now come to th tlmc an
mcatre. The author lay all .wafie before him on this crow
o different meaths, with which the mufic has been fo impro
perly loaded. He knows only to lke the ancients, viz.
tied and three-timd measures.. ha 'times o each of thef$
meafure may, ih their trn, be divided iato two or three equl
arts. "Fro there two combined t'ule% e draw cxa epre
9ns for-all the poble movements. ,
.We conne in oinary mfi6 the diren vera of the note
to that of a particular not% which is the femi-brev% which.
uffes at the powers of. this note continually varylug)
tea pred 'wit it have no fixed powers. The author
]iandie it differen'dy) He etermines the power of the notel
9nly on the kid of meafure i wlich they are tffed and on th
time whic ty employ tlerei% whiclx dillchics him from hav-
ing) for thefe'powers an prticular riga betides the place
' 'One tingle nte between two bars fill.'a whole meafure.
e ni'aifi f to times, two notes 611ing up.the togafur% for.
aeh of. the m a tme. Three not do the h' thing in a three-
tim'd mealare. If thee are four notes'in a 'two-tim'd meafur%
or fix in a mealare of tre% it i)'that ach,time is divided int
iwo equal .parts ;'we pals then two notes for a time; e pa
tled when thare are fix notes in an% and Rine in the other.
a wordg when there is'no (ga of ineua[ky, th, nnte) are equal)
heir number i difiributed'in a mcclure aerding to'the nubee
the tmes) and the natur of the meafure To reader
diribution more' easy, we feparate) if we chufe it the times
omma'; fo at in reaing mufic) we fee etearly the.power
the notes) without its being ncar t g tem) o that
$0unt) y paticular'tigures
E.x. ampl. of. equal Powers.
Ide
I&m śepmatng- h Time by Comma% &e.
'The unequal diviflons are marked with he fame facitity TheF
inequalities are never more than fub-divi/ons, which are brought
into aa equalky by a ftrok% with .which tvo or. more notes are
covered. "For infance, if a time contains a demicr6tchct and
two d9ble demi-crotchets, a 'fh'oke in a right line above or be-,
low the two double demi-crotchets, will thew that they form[.
ogether only a qtxantlty equal to the preceding, and :contequently.
one demi-crotchet; wherefore the entire time is found divided
into two equal parts, viz. The'tingle note, and the ffroke. w'hi9.11
romprehends' t-o. There are alfo fub-divifions' of «nequality
thich may require two ftrokes, as, if a demi-.crotchet
was fbllmv, ed 13y two triple demi-crotchets, in that care, a
on the two notes would be firft neceffary, to. reprefent the tripI.e.
iemi-crotchets, which.woul'd render th. em together'equal to the
point; then a fecond frokg, which co/,erlnő the precedel!t ftroke
and t4e point mh render all that it cover'd equal to 'th
'temi-crotch'et. .-Btit whatever quicknefs ' the notes. may hae
thefe firokes are never neceffary but when the poverd are une-
ual .and whatever inequality there may be therein i we'/hall
never waat ino/e than two ftrokes, particularly i.n feparating'
times :by Props,. hs.e may śee in the example following.
The atithor of. the new fyftem ufes the point nifo, but othe,.
ilh than i. ordinary mullc: In this, the point is equal to half
ef the ,note which precgdes it; in his, the point, which alfo mark
the prolongation of the preceding note, has no other'pover tha
lhat of the place which it fills: If the point fills a time it ia
equal to a time; if it fills a meafure, it is equal.
if' it is in a time w. ith another n&e it is equal to the half of
this time. In a word, the point is rcckon.ed as a note
thrcd as the9tes, and.to mark line's or fyncope's we may make ufe
of lveral points .togeth' of equal. or unequ.al p.owe'rs, ackording
to thole of the ames or mealufos which there points are to fill.
211 tle tilences are in wa.nt of one chara&er ohly, which
,he O. This is ulhd as the notes, and as the point. The poirll:
is arked after it to prlong a tileffe; as fter a note tO pr0qon'tl
a tbund. (Vide thc.examj2le of ghis;
7
Such is the abridgement of this new. fyCtem. We wil nok
follow the author in the account of his rules, orin the comp'a-
rifon which he makes with the characters ufed, and his own
ire muet certainly expecq he witl place all the advantage on hi
own'fide; but this prepott;cflion ihould not lead the reader who
is impartial from examining the realbus which the author gire
5h hia book. _As'the author is the compofer of thi Diionary
he' cannot mention ay thing more under this artiel% without
removing from the duty which 1;e ought to attend to hereinř
. 5/ide an air written in new charFcqers, but it will be
klfiicult to decypher the whole of it properly, without recourt
to the book itfelf becanfe an article of. this Diionary ought
to be a book, and in ;he explanation .of fo complicated an
it is impoflibl to ihy all'in a few words. , . ..
Air to ting with a Bars,
4.6 4'
.: va-,go crine rend t fine cot t o vitb il7-- 7 beli
'- : I-O .... ' ..;-.--0- ' -
o
C. ontimaed.
rimlb al cie--loal mar
3---4--$.. . x --
43
6 7 4 4 4
--$4-32'" x '- -
6
Qan4o fpun , ta in, &c.
.......... $ '4w$ ' ,
SENSIBLE NOTE, Is that which {s a major third above
dominant, or a femi-tone below the tonic. The fi is a tnfible
ß note in. the tone of ur the. fol dieils in the tone of la.
It is called fenfible note becaufe it makes the tone and tonic
be felt on whichi after .the concord dominant the ffinfible note
tang the orte way, is obliged to arcend i which occafion
that tbme treat this fenfible note as a major diflbnance, thin'
fa.ult of feeing that [he diffonance b,infi a.co_ne0 a
coaRitud but 'by tvo nots,
N U
ľ rlo not {ay that the f'enfible note is tlc f'eventh of' the tone
b˝caul, in the minor mode, this tventh note is fenfible only in
ntcndinő; for, in defcending, it is a tone of the tonic, and
the minor ttird of the dominant. (Vide Mode, Tonic, Doml-
lant.)
NOTES Ot 7 TASTE. There are two kinds of them. The
one which belongs to the melody, but not to harmony; fo that
tho' they enter into the meafur% they do not in the concord:
there are marked in full. The other notes oftaffe, entering nei-
ther into harmony or melody, are marked only with finall notes,
\vhich are not reckoned in the mealhre, and whole very rapid
duration is taken on the note which precedes, or that which fol-
lows. Vide an example.of the. notes of taffe in their two kinds.
Notes of Taffe of the firft Kind.
lotes of Tar're of the fecond Kind.
NOTHUS. Tbis is the epithet given by COme to the hypo-
phrygian mode, which ha. its final in fi, and conlbqucntlľ its
'fifth faire, which cuts it off from the authentic modes; add to
the agollan, whole final is in Ca, and the fourth iuperfluous, which
rem,ves it from the number of plagal modea.
q'O NUMBEP, THE CLEFF. Is to place in it the number
of die{is's, oc B's fiat, fuitable to the tone and mode in which we
cbu{% to write our mufic. (Vide B Flat, Cleft, Dieils.)
NUNNIA. Was, amongff the Greeks a lhng peculiar to
n. urlis. (Vide Song.)
Aa O.
Oe
'0 This cap;tal letter, form'd in a circle, or double (2 ;D, ;9,
in our a.n˝ient mufic, the fign which is called perfe
"iime'; that is, of triple m'eaire or thrce-thn'd, vth the
Yehce of the mperfe time, or double meafure, which was maikeo
by a timple C,. or an O divided on the right of Icft C or .
The .impcffe time Was fometlmcs marked by a fimplc O;
forecrimes by an O poinfed Withi% in this manne G O; or
an O barr'.d, w. (Vide Time.)
OBL1G'D. We call an oblig'd part, that ;vlfich rometimes
recifcs, that.which we'cannot remove without fpoillng the har-
mony or the air, which di;nguifiies it from the parts of fulnctk
which are added onl as a greater perfeXion of harmony but hy
the rem0valof whlch a the pmce is by no means mutilated. holb
who are in the parts of fulne[s may flop when they chooqe; the
m6c prc4gs die three: Buk'he who 'iS'hnried in he oblig'd
parts˝' d4naet..qait-.em an 'inant' without .failing in the cxe-
od o e[ht ouds or bvn dercs. h ochord or
of Pytfas comprlndd th ih ]bbds xr by
OCAVD. The r o the conConancs in th order of
[nradon. . T o;e s' 'H[.mo'ľ.k- o h conlbnaces
it.i% fter the unifon, that of all the concords whot conneio
s'the 9 mffl; the unfon is i the cbmp. utatioh of equal. ixy,
'tha't'icd-a."i"to i.' 'The ,&ve is in dofiNe com'putatio% that
s as x to a.-"The .harmobies 0f the two.lbunds agree in each
wi.tl)oy exqepion, .hich .13as no place in an.v okher interval.
' LaRly' thet ;.Wo .concords ha're tb muh:conformity that
ghy are ofth hunded iB m.eldv nd 'i hanany itlIf we
ke thc'inJ'ifferently' oe froin h btlel'. ' .... '- ' '
his inNrval is called o.ave, becau/e, to move diatonically'
froin 6necbf: [hgfe'.tcrms t0 the 0j,cr xdc mua p&l by i'CVCn
rees, Itd make'eight different tbnds be 'lie/rd.' .....
Here are the pro mrtws vhch chmaui' the 0v fo finu-
. ß '. ß ..... ", ß .'1 , .= . O. .,. .. , . . . ß
lady from all the other mtcrvals' . ' '
' I, The' oa'd 'don'fins' ,Othia i,ta bounds a,11 }he v'imiive and
orgnal'fpv.nds i t aft?q' lyt'mg abl.Oc] a iyaqp, or a col-
lc&iDn'o founds, h!'fiic ex'icht 'Of aO,' if'we' wi tO Pi'b-
Ion.that c'611ibn, 'e muti akcqfihril.' i-c't'age' ihd lhme orilkt-
* ' "' :'l ' " I '' ' .... ' ' ' ' ' ' ' ' ' '
q tcond Oav% oy lmlar ˝riess aaa th Fatrio tlnn for a
hiq' and fourtia oaave, where we /hall not find any found which
is not the replique of the firpc. Such a feries is called fcale of
mu'fic in' its firPc ochve, and'repllque in all the reit. It is in
virtue of thi.s propriet of the o&ave, that it has been called
dlapafon by the Greeks. (Vide Diapatbn.)
IL.The o've takes in alfo all the contbnance, and all their
differences; that i.s..all the timpie intervals, as well 'confonant as
diffonant, and., con(equently, the whole of harmony. Let us
efabli/h all tle confonances on a fame fundamental śound we
thatt have the following table:
xo2o co 96 9 ř 80 75 72 60
which afifľers to tlds:
5 ß 4 ß 3 . .'5 . $ . i ,
(>'. 5 ß 4 - 3 ß 8 5 .- .z
%Vhere' we" find all the conronances in this order: te mlnor
thi'rd, the major tl}?d, the foutl.f, the fifth, the.. flxth minor,
the tlxth ma. iof , and, [aftly, the o&ave. By this table, we
that the timp16 eonl"onanc. es ai-e all conkalhed between the oOave
and uniśon.. They may even be heard at a time id the extent of
an * o&ave ;,vikhhut anr mixture' of' diffonances. Strike, at the
faiie time, 'theśe four tbunds, .ut, mi, fol, ut, afcending from th
fi,'i ut to its oOave they will form together all the confonanees,
ex6ept ;th6'major fixth, which is compośed, and :will form no
oillee irtte'i-gal Take any two. o thdl% founds the'interval will
be'.alwk'ys' :oriConani: 'tis frmri th unlf0n of all the conśonance
that the c096rd which produces thetn is called perle& concord.
The 'o&aire'gi'virig all ttre eontbnances' gives, contkquently,
=!1 their kli'ffi'ence,' and by them all the. tlmple inlervals of our
mufieal'fy. pc'eh, which are only' the differences themfelves The
difference".'of"the: major and 'mi'fi0' third gives thg minoS- śemi-
tone ;"tle"tiffm-ence 'of the major third and fourth gives the ma-
jor..t%mitofie;' the difference of 'the fo.m. th and tilth gives the
major t0re; and 'thi: differi:nce of the filtl and fixth major gives
th{5 miitor ton. Moreove,-,...the .minor t%ml-tone, the major
em,ztone, I:he 'minor and' nor totles arc the only clement8
of 'all'the l'ute'rvals in our mmm.
I!!;.'Every'tbund c0nlb'nant With oue of the'terms. of the oc-
ta,2e, 's con'f0mint altb witii 'tile' o,lievi Contquently every
fotind dlfll'rtan't: with.On'% is ihtFdn:mt with the other.
Aaa 2 IV.
0 C
IV'. Lafily, the o&ave has this propriety alfo, tile mof[
Iar of all, that it can be added to itfelf. tripled, and multi'plied
at plealure, without changing its nature, and without its produ&
ceating to be a confonance.
This multiplication of the o&ave, as well as its divion,
however bounded in regard tcr t,s, by the capacity of the auditire
o,'gan; and an interval of eigh't o&aves already exceeds that
capacity. (Vide Extent.) Thff o&aves themśelves lore tbtne-
thing of the;r haanony in being nrt, l'tipied; and, beyond
certa'in meathre, aH the intervals are lefs eafy for the ear to
catch; a double aave begins already to be lefs agreeable tharr
a timpie; a t,-iple than a double; laftly, in tile fifth oave, tile
extreme diftance of its f6unds dcprives the contbnance n'early
the who?e of its beauty.
It is from the oCtav that'we draw the ordained generation of
all' the intervals by harmonic divifions and fuh-diifious.
vide harmonically the oCtave 3- 6. by the number 4- you will:
have on one fide the fourill, 3' 4- and on the' oder fide tlte
fifth, 4- 6.
Divide, in the fame manner, the fifth, Icy.: . harmonically
by the number I2. you will have the minor third, .o. . anc
the ma5or third . x.f. Latt[y, divide the ma. ior third 72- 9 o.
again, harmonically by the number 80. you will have the ml-
nor tone 7 . 8'0. or 9- 'o. and the major tone 80. 90. or 8.
We mu take notice, that there harmonic di'vifions give always
two unequal intervals the leafl3 of whi'ch is in flat, and the'
greater in fharp. If we make the fame divions i.n arithmetical.
proportion, we fhall have the finalle interval in flaarp,. and the
greater in flat. Wherefore tlie oCta'e 2. 4- a,'ithmetically di-
vided, will immediately give. the fifth 2.3' in. flat, then the ourth,
_q.'4- in flaarp. The firth. 4- 6. will firft give the ma5or third
3- 5" then the minor third 5.' 6. ancrfo with tlie reft. We fliouldl
have tile fame connections in contrary fenls. if, inilead. of tak-
ing them, as 1 do here by vibrations, we took them by the
!ength of'the chord.. 'Fhis knowledge is betides. of lttl utility
in itfelf, but it is neceffary to underpcand the ancient authors.
The complete and rigoro?s lrPcerrr.of the ocřcae is ˝ompof(-d
ośthree major tones two minor, and two ma. ior lhmi-tonev. The'
temperated t3tLem is o; fi:e equal tones and 2 lhmi-tones form-
ing together as many diatonic degree on. the feven founds of the
amut, as far as die 0ave of the firPc. But as every tone may
e divided into two lkmi-tonus,. the fame oCtave is divided allb.
ck,.omatlcally into twelve intervals,. each of a fetal-tone, tile
yen precedent of vlxich etail their namc and the five others.
take each the name of the. diatonic found neareft. to i below by
dieils, and above by B flat (ie cale.)
I do not leak here of dimlnied or fuperuous oave%
cauqe this interval is feldom changed in melody and ever
harmony.
It is forNdden, in compofi:ion, to ake two oaves together
between different parts, particularly in a timilar movement; but
this is permitted, anti even elegant, tonned on putpole, and
propos, through the whole of an air or a period: It is in this'
manner, that in tveral concerto's all the parts take by intervals
the rippieno, in oave or uniFon.
On the rule of the oave. (Vide Rule.)
TO OCTAVE. %Vhcn we force the air in a winff inrumen%
the found immediately aFcends to the oave: this is what we
catt to oave. In rengthening the inlration thus the air
being inctold in the pipe, and con,rained by the extior
is obliged, in yiekling to the quicknet of the otillations, to be
divided into two equal columns, having each the half of the
length of the pipe: It is in this manner that each of thefe halves
founds the oave of the whole. A chord of the violincello
oaves by a timilar principle, when the roke of the bow is too
rough,. or too near the bridge. It is a fault in the organ when a
pipe oaves. This happen. from its receiving too much air.
ODE. A Greek word which fignifies an air, or for, g.
ODEUM. This was, among the ancients, a place defiincd
for the repetition of the mufic which was to fung on the
age, as in the opera of Paris, is the little theatre du Magafin.
The name of oderan was givea fometimes to build'ings which
had no connexion with the th. eatre. We read in Vitruvius, lae
Pericles ordered an odeurn to bg built at Atlxens, where theI
dituted foe the rewards of mufic; and in Paufanlas, that Herod,
the Athenian, con,ruled a magnificent odium, as- the thpulchre
of his wile.
The Ecclcfiafiic writers dcfign alfo rome times the choir of
chin'oh, by the word odeurn.
OPEKA. A dramatic and lyric Ieacle, where we' ufe our
endearours to reunite all the charms of the fine arts, in the
prcfentation of a Iqonate aion, to excite, by tim alfiance of
agreeable ten/htiors; the intereft and i.11fion.
The conffitutive parts of an opera, are the pem, the mufic,
and .the deco,.ations. 13y poetry we tcak to the mind; by
fie to the ear; and by painting to the eyes; and the whole
to be reunited to move the Itcart, and convey to it, at the thm
time, the tiptoe imprflion through different organs. Of the
three par% m lul)jc doos not trmit m to.cmlider the
aiM.
and lai}, butSy ]e connexion whlc] t,eľ may ave Wt
ccond. 'WheSe(ore I-pas immediately to .
hc a o6 con,b}ning the (ounds ag,-ecably, may be viewe
nder two diffrenl afoes. Confidered as an initutlon of
ture, mufic gounds its effc by the tnfation anti phyfical plea-
fur which ?eful{s from it, by tile melody, harmony, and rhyme.
Such is Or4in'a{y the church-mufic; fuch are the tunes for
dancing, and tholh of )ngs. But as' an egential part of the
lyric fcene, whole principal oie is the imitation, mufiz becomes
oneof the fine arts, capable of painting ere,'y pi&ure of ex-
citing e,'y fentlment, of harmonizing. with poetry, giving it a
new ,'ength, embellifl,ing it with new charms, and triumphing
byjts means atthetime that it crowns
The founds of the qeaking voice, neither fuained, nor bar;
monious, are not app?ciable, and, cofequently, cannot be agree-
ably allied With thole of the tinging voice and in,-uments, at
leaR, i'n our Ianguages too much removed f,'on a mucal cha-
ra&c,-; for we cannot underand the paflhges of the Greeks in
their method of reciting, but by thppofing their language to be
ucc.ented in tch a manner, that the infle&ions of the
in a thilained declamation, form betveen themtIves mufical and
appreciql }ntervals.; fo we may t}e that their theatrical pieces
were a kind of opera, and 'tis for this fame reafon, that there'
could be nq opera prppe,'ly called tb among them.
By the diculty of uniting the air to the dit}ourfe in our
languages, it is eafy to perceive, that the interventionbf the mufic
as n fir, tial 'part, tour give the lyric poem a charaer differ-
ent fr,n that of trag.dy and 'comedy, and make a third from
itin the nature of adnama, which has its particular rules; but
thei differences cannot bc determined {ithout perle& know-
ledge o thg.igrt .added, of the methods to untie it with the
words, anl of its natural relation with the human heart: Rutlies
which bclp.ng !eli to the artiI[. than to die philotbpher' and xvhjcli
inuI be left for a pen tbrmcd to brighten evgry art to Ihew
tiot who proleti them,'the principles of their rules and to men
of ta2% the fourcos of their pleathres.
Coniinhg roy foil, then, to tbme obtbrvatlons on this tbje
more hoic;;l than i'c'albncd, I thalI fir take notice, that the
(ircckg had not in their hOttr% a lyric genus as om'tblvcs; and
whist they called by that nae was not at all timilar to. it.
they hd lauch accent in their laugunge, and but little no(
their concerts all thch' poefry was mutlcal, and all their mufic-
declamatory; lb that the. jr airs were little mre than a
dilcourlL', ired thcy really tng their vert's. as the exprel at the '
head of 'their pocms which hn given fie Latins fi), then
ourlkl vc
0 P a.9
turfe!ves, by. hniration, the ridiculous cuftom of fayi. ng,
ting," when we do not ting. "Anna virumque Cano." In
regard to what they called iyric genus' in particular, it was an
h.roic poety, whof5 fyle wa pompous an.d figured, whidh was
accompanied by the lyre or citha. ra, in preference to every
other inru,nent. It is certain, that the Greek tragedies were
rccited in a manner very {imilar to the ale, that they were ac-
co,npanied with infh'uments, and that chorufis .c. ompofed a part
of them.
But if, on this account, it is thought that they were opera%
tlke to ottrs, we murk then imagine opera's without airs, for i'
feems to me fufficlently proved, that the Gredk mufic, vithou,
even excepting the inftrumental, was nothing more than a tea
recitative. It is true, that this recitative, ,hlch reunited
charm of the mufical founds to the whole harmony of poeti'y..
and to all the force of declamation, murk have much more energy
than the modern, which cannot enjoy one of there advantage:.
but at the expence of the reft. In our living languages, which
in general carry with them the.fcent of the rudenefi of tha
climate wherein they are original, the application of the mufit
.to the words is much leO- natural. _.doubtful profody is a bat'
agreement with the regularity of meafu,'e. Syllables mute vith-.
out lbund, articulations which are rough, fotnds little hafmoni.
ous and lefs varied, are with difficulty conneed to melody
and a oetr cadenc'd b the number oflľ11ables only, receive.
'I P Y Y ' ' '
a armouv little felt in mufical rhyme, and is mceffantly oppofet
to the div'erfity of powers and their movements. Here are d;f.
ficu}ties which flould be conquered or eluded in the invention o,
the lyric poem. It was then endea_voured, by a choice of words,
turns and verlks, to make a proper language; and this languag%
which was cal}ed lyri% was rich or poor, in proportion to tlxe
t,vcetnell or roughneli of that from whence it Was &:'rived.
Having, in lbme refpeOs, 'prepared the Words for the mufic, it
was then'.necelEry to apply' the mufic to tile words, and to ren-
de' it proper in fudh a manne,' on tlc lyric ti:ene, that the whole
migIt hc taken for a .tingle arid the'three idiom, which produccd
the neceffity of continually tinging, to appear always teaking;
a neceflity which rcatbnabll/ af}'ts from a language' bei,g' litde
mufical: fo,- the Iclh fweetnefs .atad accent a I;mg.uage has, the
more the ahemalive palthge of the words to .the ;,i 5 and the air
to the ,words, b. ccom.cs. rough and tlilufting to the ear. From
thenc.e .',ri.ls the want of lbbf{itt{ting,' in tI. place of the dif-
courf in recital, a dil:O. url in rantic, which might fo nearly
hnitate it, that t'h:re fiould be only the jufne'o the concords
[;icl; c(4tld diltlngt, iilx 'it from tt;c.' words {ľide Recitation.)
" ' ' ..... '1 l.i,
This method of uniting on the. theatre the mtfJc to tile
Which among the Greeks was fufficient for the intere and il-
lufio% becaufe it was natural, by the contrary realbn could not
rupee among us by the fame ending. In lienlng to a con-
rained and hypothe{ic language we.have tbme trouble to con-
ceive what is lhid: with much noire they afford lirtte emotion.
From thence arifes the nece$ty of introducing a phyfical pica-
lure to the aance of the moral,' and to/upply, by the att-ac-
'tion of harmony what is wanting in the energy of expre/tion.
XVherefor% the lefs we know how to touch the heart, the mo'e
we mu endearour to flatter the ear. We are obliged to lbck
in fenlhtion, that plealre which lntiment denies us. Hence is
the origin of airs, choirs, tyrophony, and oF that enchanting
melody with which inodern mr,fie is often embellifhcd, at the
expence of the poetry but which the man of tafie banirises
from the theatre, when heis flattered without emotion.
At the fir rilb of the oper% its inventor, wifling to elude
what had very little nature, viz. the union of mufic to the cli/
courf% in the imitation of human life, telhired to tranlort the
fcene to the heavens and hell and thro' an ignorance of making
nmnkind fpeak they chol rather to make zods anti devils fil,
than heroes and epherds. Very ioon the marvellous became
the foundation of the lyric theart% and contented with enriching
them&Ives with a new genus, they did not even pay attention to
fi,id whether they hadcholbn one that was thitable. To
tb firohs an illufio% it was necefii, ry to drain all that liuman art
could imagine molt teducing amongfi a people wholb. mo ardent
patrons wei'e the love of pleaIbrd, and that of th fine arts.
That celebrated nation, in tvhich there remains nothing of its
ancient grandeur, but that of the ideas in the finearts lavified
all its tare and ingenuity to give this new lpe&acle all the eclat
it oodin need of. Through the whole ofItal 'eretken thea-
tres equaltothe palaces of their kings, and m elcganc% like
the monuments of antiquit with which it was filled. They
invented, to adorn then the art of perpeive and decoration,
firtiffsof every kind dililaycd their taieuts tothe utmoR. 2he
mot .ingenious machines the hold flights tempes thunder
lightning, and all the inventions of art were utkd to falinate
the cy% whiltt nultitudes of inRruments and voices afiouithed
tic ear.
$Vth all this theaion conlinued cold and every fituation
as nnintcrcting. As there ws no plot hut what ws catil
ditov'ered by thnance of lbme god, the te&ator who knuv
the whole power of hc poet let .high. quicl the fm&ion uf
prclbrviug his herbcs from the greater dangci's, Wherefre th'
preparations
ľ'epratohs ;ere immetife, and prodti'ced little eff'e,,, becaufe the
t} nitation was always fiat arid i,nperfe&; the a&ion taken unna-
.urally was uninterefclng to us; and the fenres pay little regard
:o tile illufion when tlśe heart is unconcerned; fo that or/ a com-
putatiofi of the whole, it would have been difficult to have tlr'd
'an audience With grat'er epence.
. This fpe'&acle, iraperle& as it was, became a long time the
briOni'ration o'f con0eniporari.es; who knew.ho better. They even
,congfatlitted it on the dilEoverľ of fo fi,le a genus. Here,
a' Ihid they, is a nhw. principle j6ined to thofe of AriPtotle: here
i.s 'admiration joined with teri'or and pity." Wiley did not perZ
ceive that 'this ap0arent richnefs was at bottom no more than
riga of cerility', as the floverk which cover the field before hat-
veil. It was a want Of knowing how to touch the paffions that
they wifhed t'o furprife } and this pretended admiration, was, in
effe'', no. more than a childlib ailoniflment, which they ought to
have blfix'd at; A falfe airprierS. ace o r magnificence and enchant-
nent; impofed off them to fuc h a degree, that they fpoke with.
enthufiafm f a theatre, 'hi'ch defet'ved only hlffings: They had
with tl mofi: profound belie, a much veneration for the ilage
itfelf, is for the chim.?ical obje&s which they endeavoured tO
repretknt onlt: as if there Was i greater merit in making the king
of godi fpea k flatly, than the loweft mortal; and that Ioliere's
ľalets wre not preferable ti5 Pradon's'heroes.
Who' tile authors of there firil operas had hardly any 'othee aim
than to dazile khe eye and ttun the er it was difficult for the
rnufician not to be tempted to feek to draw from his art the ex-
preffions of the thntinents tEattered ih tile poem.
ß Tile fongs of nymphs, the hymns of priefts, thocries of war-
iors, tile inernal howls, did not lb much flll there vulgar drama's,
But that tltet'e was rome-moment found Of interef and fituation,
where the fpe&ator reqtires orl.ly to take breath. Very loon
they Began' tO pei'ceive, that independantly of the m'ufieal decla-
mation, which the language ofte,a ill tuited the choice o[ tile
movement, the harmony and airs was not i,ldifferent to the things
Which they had to flay, and that, contqut, ntly, the effe& of the
rnufic alone bounded thus far to the tnt-s, might eve,i reach the
heart. The melody, wBich was feparated from Foetry only thro'
necefilty, took a part of this independanc% to gix, e itfdf beauties,
abfolut% and purely mufical: Tile harmony dilizove,'ed or
proved opened n/:w paths'tot it to plcali: anti move the lbul; and
the meatier% freed from tile hindrance of poetic rhyme, acquired
allb a kind of tparate cadone% which it held of itlIf alone.
Mufic, being hy this means become a third art of imitation
ad Wi'r IF, on ts 'language s exprefiion aml paintings, independent
1.bb of
0f poetry.' The fymphony'itfelf, taught to i]cak wltl'xo'at
aance of words and very often as lively tntiments.cae
r0m'he orcher$ as fi;om thg lips of the aos. I was thenr
that, bgginnlng to. be dlfgufied w[tli. all' this chinklng emptllels
$hdi. paegde of m.ackine, and hntai image of things tha
were never feen they fiught in. the imitation of natur% paint-
ings more inteeing and more credible. Till that tim% the
9pea had ben contued as it could be; for what bqtter
could be. made on th .gq, of a muf wlich could paint nothing,
than to are it in t. lm repmlntation of tlfings that could 'hOg xifi,
and on which no one ws in a coition of comparing the image
-ith the obje& ? Ic is impobl to know if we are affeed' by
the painting of the marvel:10us, as we flou!d be, were it prefent ;.
hereas every man may jue by himfelq the arti has given
he paons. their true language, and if the obje&s. of natu
gruely imitated, As'f0 as mufic had learnt to paint and fp9akr
the charms of fentiment loon. made thol of fable give way
he theatre w'as"pued of its jirgoa of myth610gy; intere
as fubit'ued'in the.pace o( the mavellous; the ehjnes o
poets and carprinters veg der0yed; and the lyric drama'took
more n.oble 'angigant'ic'fovm, All th could togch the heart'
wa ufe thomi with: fuccefs; they.were no ibngerin waqt
iinpoog by bis of iventiop, or ratler of folly.; and he. goda-
ffvfi[d turned off the age, 'hen tlev were abl. to repmfen,
mankind. hie.' fo, more ififibl fid qore eg!af, is a.lfo-
o(e.fqitable to th i.11ufio;.; hey faw that the macspice
mufi.w. $0 mage itflf foygotn;. that b- ving diforder.an&
. trbfible into the fob-of the &ator,. it hng;ed him from difz
fingiing tL: tender and 9athetic accents of a groaning
roine from tl,e real tines of ricf; and' flat 'Achilles in a ag
igtt chill ua with bQrror, in the very 'fam language that.
lave di gud.. us from his lips at anotler time. '
There obVervats gve caulh to a tecond reformation
lefs hnportant than the fir. They.'F'ceived tlat nothing cold
nd reafoned Was neceffary t'o the opera ;.nothing that tlie
tator could lfiea to quietl enough to refleX'on tJe. afifudit
xhat'he heard a'n(i 'tis in. hat paticulaily; that theetinfial dif-
ference'of 'the.lyric' draina '&rid timpie. tragedy cohfiR's. 'All
litic li'borai0ns, all proje&s. of. eonfpirat0n, el, Ofit]ons,. re-.
ita'Is, fenten'tious maaims,'in a'word evcry thing that fpeak$ to.-
reain only was'banied fro tle 'language' of'tlie beg?t,
the turns of the mind, maddgals, 'and evegy thi:g which pro-
cbed fro th th6ughts only.' The to9 i.tfclf of fimple gal-.
lantr , wkicl a rcfis ii'l Wit! the grea{er paflions ws hardly ad-
ltted m tragm t:tauons: wlxole eff& t almo wa] p9fis
'0 P
or we '{/ever percclvc 'bctter that thc a/tot ngs than *ltcn he
t'peiks a fong.
The energy 0f all the ft]ments, the vlence o 11 the paf-
ons, are then the principal obje or,he lyric drama 'and the il-
tufion which forms it arm, is always deRroy s faon
'the author and a0r leave the fpeator a moment to.himfelf.
Such are the principles on which the modern opera is eRlie
port01o Zeno, the Corneille of Italy, his tender papil, who:is
its Racln% have opened. and improved this new career. They
have daed o ace the heroes of birmy oa:a tlatr% which
feereed to aee 0nly to the phantoms of fa(. Cyra%
Cato himfelfg have appeared on the Rage with fncceg; and thole
fpe&ators who were moR,averfe to hearing fuch men-fing very
loon forgot that'they lung; fubjugated and ravied'by the eclat
of a muc, as ffull of noble dignity as.ofeothufiafm a'nd fire.
afily fuppofe, flint fentiments fo di.fferent frbm ourb oht
nifo expre'ffed in another tone. ' . . ' ß
Thel new poems which genius:had create, and hich it'll
ß only could fufiain, we out of the dth thole mcians who
ad only the meehanitm of their a; and who deprived of t
ß re of iaetio and the gift of imition made opera's as the
mould have made wooden oes, Hardly were .t. hecdes 0fthe acL
haaals, t conjuradon of forcerers, all th e ars which were ne
mom than a .real noir% banied from the theae; .hardty her
hey endea.voured to fabmte in xhe plae .Of this barbarous
,fracas the accts ofao% grief hreats, tdernefs tears
groan nd 11 the motiota . a troubled foul whe% oigcd to
,give fentiments to their heroes and a language to the human
heart, the Vinci's eo's Pergols's difdaining a'fervile imita-
tion of tir .predeeeffors a ,on! to tlmfelvs a n path
roteed it under the wings of gemus, and found themfele
ihdcefsful ev in their fir' aets. But we cann long con-
ß tinue in he route .of the bon GodG thout afcenOing or falling.;
.and peffe&ion is a po wherein Jr'is dicult to maintain Our
ground. After having dvoed and felt s fo'% muff% ia
ß a condition of moving by itfelf, begins to. difdain the ptr
mhiek it ought to accompy; and thinks to 'fucceed 'tter
ß her own parate beauties than by tl whh e dre
from her, cornpanic. It is try% propores to.ond er t..ide
,and featiments of the poet but takes in ibme retes, a dffert
language; and tho ˝he ob&. h t ram% the poet d the
.cian to% fcparated i their labours, Offer.' at th .fam
ß wo'refembling images, but diRin& wtfich are of mutuM injury
o each other. h'mind obliged.to' divide itfe!f choofes
ß . on one image rather than another." TKe mciag then,
'Bbb
:96 O P
if he has more art th,n the poet,. ec[ipfes him. and eff'aes h.
glory: The aftor feerag that the fpeEtator facrificcs the words
the muff ' ' .
n% facrfices in his turn the gefture and'theatrical aio
to the air and beauties of the voice, which makes the piece quits
forgot. and changes the fpeacle into a real concert. If on
he contrary the advantage is found on the fide of the. poet th;
mufie, in its turn, ill become aimoR indifferent; and the fpcc-
tator deceived by the noiff, may take the change fo far as to attri.-
but% to a bad muffclan, the merit of an excellent poet; and think
he admires macr-pieces of harmony, whilR his admiration iS
ireOed only to a well compoffd poem.
Such are the errors which the abfolute perffO[on of muff% and
its want bf applicatfon to language, may introduce into opera's in
proportlon to the concourfe of theft two cauts. %'hereon we
aould remark that the languages moR proper t0 bend under tho
laws of mealurn and melody, ae thole where the duplicity which
] have (pokeu of is lear apparent ;.becauf% the mufic being coat
eOed ˝n'ly with the ideasCf'po4try, this in its turn is conneOed
with the infleion of melody; and when the mufic ceafes to
Verve the rhym% the accent and harmony of the verf% the .verVe
gives way , and is ufed in the cadence of the mealre and muffcol
ccent. But when the language has neither fweetnefs or fiexibi-
lity the confinement of poetry bindens it from ing conneed
with the air; the fweetnefs of the melody itlklf hinders it fro
being.united'with the true recitation of verfes; and we perceiv%
in the forced union of there two ars, a perpetual conRraint which
diVeRs the ear and deRroy% at the fame tim% the-attraion of
elody and the effe& of declamation. This error is wlthou
reined ; and {o attelVpt to apply forci thc mutic to a lanffua
which'as'not m9fical , is t0 giv it a greate[ roughn&s than g
Wopld hvc had vith6ut it.
By'hat I have iaid tls far, it mu ha en, that there is
.greater fonneion betwe the eye and the decoration, and
ar an8 ufic, than'here:appears betwee n two iofes whi%h ap.
pear to hv'oothing common in them; and that, i.n certain re
pes, the opera 4onituted as it i, ia not to completely toori-
OtOUS' s't feen'i'to be. 'SVd have feen, that by deftlEg to
to the lye the 'htero ind movement b which were wnnng in the.
ufic thdy'hhd imagined the Iw inventions of 'flying maclfines;
and that until they knew how to mova us, they wet9 contonted
ith tdrprffing us; 'It i theFeforc' ver n'atural, that mufic,
Spine EaronCe'and paifieSi%'lhould banith' tb Rrolling layer
h'ot fiily 'fuppIemcns' Whidh it flood 'in no nebd 6f it ittli'/
'ho opera then phigod of all the marvellous which debafed
became an emertalnment equally touchlng anm:jeRi˝, worthy
pf pleating perlbns of tare, and interef[ing a ffible heart.
It is certain, that as much of the pomp mig'lt have been re:
.rnoved from the fpeacle as was added to the intere R of the
.tion; for tile more perions there are who a&, lefs we are em-
ployed in the obje&s which furround them .; 'but Rill the fituatim
of the fcene muPc be fuitable to the aors who fpeak therein
;nd the imitation of nature, often more difficult, and always. more
a_reeable, than that of imainarv beings, became more intreRin
a' it became more natural. ' A b'eautiful palace, pleating gardens
.Well executed ruins, pieale the eye much more than the fan;i
image of Tartarus, Olympus, or the ellariot of the fun; .an imag9
a much inferior to that which we trace in ourfelves, as m chime:
rical objg&s': it coPes nothlng to the mind to go.bey. ond poflbi:'
lity, and .tO make to itfelf models of every imitation. ľrotn
thence it happens, that the marvellous, tho' mlfplaced in tragedyg
is not fom the epic poems, where the maomaton, always m-
duPcrious and magnificent, is charged witl the execution, and
idraws from it quite a different part than that which the beR ma.-.
.chinit can form ,on our theart% or the fplendor of the mof po-
tent monarch.'
Tho' mufic, taken as an art of imitation, has Rill more con-
re&ion vith poetry than painting, that, in the manner it is ufed
.on the Rage, is npt fo fubje as poetry to form with the mufie
; double reprefentation of the fame obje&; becaufe the one ren-
ders the fentiments of mankind and the other the image only of
the place wherein they are fixed: an image which fre. ngthens the
illufion, and tranfports the fpe&ator to every part wherein the
&or is fupp9fed to b.e placed. But this removal from one place
to another, ought .to have rul. a/d boundaries: It is not per-
.mitte, d in regard to .tlfis; to ,call forth {he agility of the imag,-
nation; but by confulting...the law of nature; and tho' the fpec-
tator leeks 001y an attention to'thole fi&ions trom wilenee he
draws his whole pl'eafure, we muf riot abut his credulity tb far
as tb make him aihan{d of'it." In 'a' word we mupc remember
that we fpeak 'to' fenfible heart.s, 5ľithout forgetting that we ad-
drels ourlhlvs to reafolaab. le people. Not that wo.uld tranfmit
o the opera, tliat .rigorous unity 6f pface yhich is required in
tragedy, and'which cannot be atended tO but at'tle ex ence of
tile aion, fo that ve are exa& m one partctllar tO be abufed
in a. thuthhd ohers.' It' ould be bcfiths tq 'd.erive 9urllves
af the advantage in th clib. nge 'of ihenes, which fiake each
other mutually I, rofper; it would be expofing ou'rf˝lvc{ hy a vi-
iui d'.nif6rmlty,' to 'oppofitio'ns badly conceived, between the
,e/i which 'em. Mn continually and the fituation which change;
4it would be fP.oilifig,-' b ach other, the efteft ol e mufic 'an s that
ß of decoration; as if we introduced voluptuous fymphonies amongit
the of kings.
ro/:l/s, or lively airs in alaees
' It is th6n wlth reafon that p the changes oF the ścene are left to
lbfiic from a to aft; and For their being regular and adlniflible
it is ftifffejent tha.t they can naturally go from the place whenc
liey go out, to the place whereto they pals, in the interval of
'ime which pail'es, or'which [he aftion ľuppoFes betreen the two
ffts; fo that, as the unity of time ought to be coni:ined' nearl
'Vithn the duration of twenty-four hours, the unity of place
rhould be confined nearly within the fpace of a day's journey.
In regard to the changes of the fcene, praifed rometimes in the
frame a, they appear to me equally contrary to illufion and rea-
:ibn, and ought 'to be entirel)t atotifled fi'om the theatre.
Here then is the method by which the concurrence of the
couftic and perfpecřtive may improve the illtifion; flatter the
fenties b dfferent but analogous impreffions; and convey to the
foul the fame intereft with a double plealure. Wherefore it would
'be a great error to imagine, that the regulation of the theatre has
othing in common witlx that of mufic,. if it was only from the
.general agreement which they draw from the poem. 'Tis for
,lie imagination of the two artiris' to determine together, what
that of the poet has left to their difpofal; and to agree tb well in
that, that the fpeator may always feel the perfe& concord of
ß vhat'he fees and what he hears. But it muff be conferred, that
he ta/k of the mufician is the greateft'.' 'The imitation of paint-
;ing is always cold, becaufe it wants that fucceflion of ideas and
impreffions Which inflames he foul by degrees, and every thing is
,śaid at the"firft view. The imitti've powers of that art, with
t:veral appareni objes, are conffined in effecVt to very weak re-
pretkntation. It is one of th'e great adx, antages of the mufician
.t.o be able to paint ilfings which z:annot he hearct; Whilfl: it is im-
pofffbte for the painter to paikt t'hotb which cannot be/ben: and
'the g.reat.eft prodigy of an art vhiclt has aivity by its move-
inents only is to be able to form them as far as the repre'fentation
of repotb. Sleep, the cahn of night, flitude and filerice tllem-
fel'es enter in;co the number of muśzcal paintings, The noire
Ionetimcs produces the effect offilence
as ;vhn a man tleeps at an equal and' monotonous lecture, and
"valces at' the fameinftant itc ceaf'es; and it.is the śame thing with
.other effcS. But art has fnbt}itutions mo:e fertile, and much
icr than thole: it kn'ws how to excite, by one fentb, motion
liai'lar to thole which may be excied.by another'; and'as the
':'onneEtion ca'nnoi be fenfible but when the imlreftlon is ftronff
'lt.he pai'ntin'ftrippd o' tat ?o'ce $ive s. With-di/ficu. lty., ti.o[
i:rni'tati'ons to mufic whiclt it drawsß fsom it.- Though all natur
fhmId flutuber, he who conteroplates it. fleeps.not; and the art
of le muffclan conrifts in fubftituti.n.g,'in lieu: f the'inśeniBt.
image of the obje&, that of the movements which its prefenc
excites in-the mind of tle fpeaato'r.: Ii dodsnot directly rprei-en.
the thing, but it awakens in our' foja.1. th fame fe,,t'me. n.t.
We feel at the fight of it. ' '
ß So,' how little. foevet the painter has to draw from the partlti0.
Of the mufician., the tkilful muffclan will not leave the works o'
the painter without fom' profit. [fie will' not only agitate the
lea at plealure, excite. the flames' of a conflagration, mako rlve
flow, the rain fali, and the torrents enlarge, but he will increaf.%
{he horror of friehtful dererr; will rengthen the walls of
thbterraneous prifo, will,galm the florin, render the air peace.-
śul, the fky feene, and will extcnd througlxout the orcheffr:a.
ew and lively freflmefs.
'W' have now'feen how the union of the three arts, which
.titute the lyric fcene, fro-ms between themfelve a whole, ap.tlr
united. We hae endearcured to introduce a fourtl b hich.
mains to be fpoken
All the motions of the body, o?dereI accordl.ng tO. certai. m,
laxvs to effec the eye, take in general I:he name of geffures:
The.geure is dl, vided into two ti'nds; One is urea g.i' .an ac.c.0m-.
paniment'to the words; nd the other as a' fgpplment.
fi. rff, natural to every man who fpeaks,' is .tl. iff'ete'nľ17 .mfidiffe. d
according to'men, languages and cttarac"ters'-;.,:Th˝.f0[}cl}
art of t]>eaklng t the eyes without the affie'O.[wr,tirg;
X'no. t4ons of the body become figns of'e, onvffnti'.or. "ds tlid.ge 2
thre ismoil: laborious, left natural to us than/.he, ute'of ords'
nd tlat it' renders it ufelefs, it excludes ß it and even fuppofes
p.'rivation: this is what was called'the art ot:'pantomim. es. To-.
this art add a choice bf agreeable attlt'u.de% 'and' caffenq'd move- ß
mens, you will then have what we call the d.qhCe, whix:h by nO.
mcans,.detrvs tl˝ name'of ar, Whe n it fpaks, nothing ko...th˝.
mind..
ß This flr'ifhed,. il is our next c6ncern to know.if daelng,. be-.
ing a languag% and, eonfequently, an art capab'Ie oś imit.atloa,.
may enier with the three others in the eourfe of'xhe -lyric aO0n
or if it can' interrupt and.' fullend. this aeqion. withou't. fpoiling'
tho effecCt and unity of the piece. '
Moreov.er, I do not fee that thb laff care'may' even' demand
queffiun, For every 9r/e perceives, tlw, t all the intereft Of a tbl-'
1owcd auction depends on the continued and redoubled impreffion
Whick its'rcpretntation' nakcs on us; hat all the.objc& which.
ß śutend or divide the attcntion. are' as mant counter-chafing,
which
whkh cJetror tta of interet;c i that by d}vldlng the śpeade
other fpecacles g hch are unconcerned with it we divide
principal fuNe into indefiendat part% which have nothing
mort betwe them but 'th8 gefiiral connexion of the atter
Which cornpoles thm; and thii tally, the more agreeable
inferred fpe&acles are more thg utiation {,ould b deformed.
o.that'uppofing an opera divided. by 'fom'e d]wertmc,is whicN
may be imagined, if they fnered th principal to be forgotten,
the fpeato? at the end of each ete, Would b as llttle moved
at the beginning; and to animate him i{refl b and initire him
with a new movement we onld be obliged o begSn again for
ever. This is the reafon.why th Italians hlvebafie8 rom the
interlude of their opera's, the comic intermedes that had bee
inferred; a kind' of agreeable fpe&acl% riking and taken from
ntnr% but fo ifiaced in the middle of a tragic aion that th
two pieces would mutualty .injure each other and that one of tb
o could never intere but at.the expence of tl
It remains then to fe% if, fince te dae Cannot enter intd
the eompofition of the lric genus, .as a diffe?en't ornament we
could not make it enter as a conitutive rt; and make an art;
Which ought not to fuqend te aion, fo'rm a concurreuce with
it But now can we' admit at the fame time, tvo tan'=ua
lnch mutually exclude each other and join the pantomimic art
tO words which tend6r e fu'perfluus.? Tb'e laga'e fff t'' gef-
re being the refouree of d6mb Perfons, Or thole who cannot
derRand'eeh o'sher, becomes ridiculous between thole who fpeakz
We d 6t anfwer words B antic tricks, or eures b difcourfe
. Y g
6therwfe, I do not fee why he who under,ands the language of
anothee, oulfl not anfwer him in tlie fame tone. Supprefs tlxeff
the words if you wi to make ut of dancing. As loon as yo
introduce the pantomime into an opera, you mn inantly
.ni poetry, becaut of all th= unities, that of language is
neceffary; and it is ablhrd and ridiculous to fay, at the fame
tme, the fame thing to fle lkme perlbn, both writing, and by
word 0f mouth.
' The two reans that I have alledged are united in their whole
force to bani lb'res and divertill;rocha from the lyric drama, which:
not only fufpedd its a&ion, grit either fpeak nothing, or roughly
fuhitu,te another oppofite languag% wholb contra deLro s
ture, weakens th, interein$ pact% and, whether continued x
the tiune aion, or in an inlrtcd epilbd% equally gives a tvound
to reatbn. It would be much worte, if thclfdtes prclhnted the
fpe&ator 'with nothing but a leap without union, and a dance
without an obje&; a gothic and barbarous tiffhe, in a kind of
work wherein every thing ould be painting and imitation, .
ß ' ,. W
-''e 'mfi{ however. eonśefs, that the dne Is' c ad'ritage0ufIv
'5]aced on the iage, that it would.'be depriving i of one of its
.greatet .beauties 'to remove 'it entirely. 'So, though '.we
.ug.ht not to debafe-a trae cion by leap's, and inter-le..a e
may 'till terminate a fpetaele'very areeablľ, bv giving 5allet
after the opera, as' a i:tle entertaintrUant afe rh tr'ay..",
.his ne fleacle, wlch has rio refe'enee t6 the prec&leu, ve
may alfo make choice of nother lan.uage'. It is 'anoth nafioet
'qvhich.apISears'bn thfg': The pantomimic art o dance .be-
Coming'then the lan'guage of eonvntiori the vords fiaould be
banithedrom it'in the"r'turn; and the rantic, conti'9?ing':he
method of u. nion, is applied't6 dancing iri a fmali piece, as 'i. Was
applied t6 the drd in a.g?eaer. But befofe 'ufi'hg thi. "new
langua;ei we mUt'c dreargit ' To'beein then by giving ballets
:n a&io.h Without having firfl: e?cabiied the convention 0.f'ge/'-
tares, xs to fpeak a language o perfons who have not its die-
.tiouary and. whO, Confequently 'wiil not under,.and it. jet .the
.lea. . , - ß . .. . .
opEIA; 'Is'alCoa 'word-cod, fecrated 'to diainguffh the. dfferent
works' of the fame .axethor, afcofding 'to theoeder .in Which .they
have be4n prin. tid.. Or engraved, .and wfiich"he ma. rk himfe-lf
ge. ne?al by cyphers Thel'e- tyro woeds are print!Fully ufe.d. for
comp0fitions of.fymphony. - ' '
ORATORIO.. A kihd.of-'drarna' iri Latln or a vulgar'lan'-
guaget divided by (cents, in imitation of theatrical pieces, but
whicli is. always on rome faci'ed fubje'&; and let tO made, to e
executed ih rome c'liurch during--.Le.ne ind at other- time. ' Tl{is
cuf'com fo common' in Italy, is not adtnitted in France. The
French tnUfic is fo liitle fuitable-io the dramatic genus, tat it
is fufficlent i- for its infufficiency to be fhewn'on the thea.'tre
without ditlaying it n fle church.
-'OKCHESTRA. Th.is was, amongf tte G'reeki, the 16we'r
pit of. the theartY.; '.it. wa fortned in a half circ.lc,. and adorned
w. ith feats .on all' fides. It was c/tllid orcht:fcra bc. aufe it Was
there that the.dan. ces' were ' perforff'ed. '
,AmongR them the orc. heRra formed a part'of' the kheatre": . at.
Rome it vs. I;par.'ate;I f?o'm it, ahd filld with 'ealts appr0p'iated
to' ihe.'fenai6:s magiRraies, veRals,-''nd-'ther 'perlBns Of' rill'clue-
lion. At Pari},'the. orchctra 'of tle French and Italian play- '
houfe and what is' .bfides called'the.Parqeg'iS put to a fimila'r
fe. ' . " ' '-. ' ß ' '
'At peefent.. this w6rd is re. ore parti6ularlr applied to mufic,
and means Ibmclimes the'place whe're thole- fi(who play. on' tlxe ß
inftruments; aS the orcheRra ol the iopera-houfe ;. and. lbnaetimes
the place 'where the.whole band in. general are fixed, as .the or-
( ˝ c chefltra
cheffra of the/'piritaaa] concert at the Chatearl de Tuilleries; arg
again the colle&ion of all the t,mlhoniffs. It is in this la
fenfe that we fay of the execution of mufic, that the orcheffra
good or had, to exprefs that the inffFuments were w$11 or ill played.'
In the numerous piece, of mUfic in l'mphoniffsr fuch as'that of.
an opera, the true diffribution of an. orcheff,-a"is a care not to
negle&ed. We owe in grt art to tIis care, the aoniing
cftc0 of the lmphony in the opera of Italy. .The fir, atten-
.tion is paid towards the fabric of the.orchefira, that is, of the
materials which it cqntains. ] hey give it pmpofitions prope
for the fympho0is to be o affembled aml ributed in the
propere manner. The take care to make he afe of it of a
light thin wood, to eabli t on a vidc.with arches for fupporters
to remove the fpeators from it by a partition .placed in the pir
at a foot or two diance; fo that the body-of. the oreheCta, bein
.in a manner borne in the air, and touching hdly: any thing,
.brates and telbunds without an obacle, a as as a large
rument vhich anfwers to all he re and.lncreafcs their effe.
In rga to the interior diribution, we mu be careful,
That the number of each kind of inrumnts be proportiqned
to the effe which they oold all produce together; that, fo
inaoce, the bars ould Ot hv.iflcdby the treble, or ifle it;
that the hauthovs ould not predominate over the violins; nei
.ther tlle fecond on 'the firs. ,Secondly, That the inrument
each kind, except the baffcs, fliouid be collecd togeher fo
them to agree and move. together with ore exaneFs. ' Thirdly,
Tfiat'the baWes be difpert&l around the two harl)fichords , and
throughout he rchera, bfcauffe it is the hal which fhould di-
re and f9fiain all the other parts, and all the u,ufician flould
equally 11far it. Fourthly,: That all the Imphonifis have their
eyes on the mafl'er of his ha. rpfichord and he'maRer on.each of
them, that in the fac manner each violin be i'n by the
and the fir te the re; fo whmh realon, 5hs mlrnment, being
the moff nnmerqu, as i ought to be, th.ould be iifirbuted intq'
wo lines which regard each oder viz. the one ittig in h'ont of
th theatre, with their back to tle lt..ors.and the.others lated
oppofite to thrm, with their ba'cks tb the theatre, &c. '
The fir ortm'a Em'qpe, for the nt, mbe and intelligenc
of .fymhonjs,', th*[$ of 'pes ut tlle)eff itributet; an d
wMch torch oghi' ths; tnfl lerteO Inannri the orcltelra
at the opera-hou of the king t}f Poland at l)retilen
by tl, c illuflrious Haffe v Fol}˝ving i the 'reprctbntation of this
oreheCta, whcre witli9ut attcntion',to tb meafm'es which haw
got been taken tn their placcs We c jure better ,)v tbc eye of
:1tt}ibu'fiofi 6f the' Ordra'at the Opera-H'oufe O'f Dr'd'da
Dire&e& by le St. Haffe.
Harpfichord of the Matter do Chapcite.
Ditto of Accompaniment.
Violoncellm.
Counterbaff
F'i Vlolid;.,
S,cond Viol, with the.Back towar& tl
Theatre.
Hautboyg, the fame.
Flutes, the fame.
a. Tenors, the fame.
b. Bartitans.
. Hunting Hotre.
d. A Tribune on 'each edkli for the Timballs
aM Trtlmpet, ,
'e4 O R
]t'has been ?eiSa?ed, tat of all t. he orchcras'ofE rope, th
of Paris, tho' one of the mo numeru v aedhe,le'R
The; resloss may e early difcovered,' FirR ",5 conRruc-
tion of the orcheRra, fuak,Withi 'th ,eaRh. arid .'(Qd of ma
terals of rough wod, maffy) ad'Ioadedithi,'es ever
sefonance. Secondly, th b'.coico. fymphomRs.he great
eR numbe? of which reciv6'&,6to -ohr,7hrdl nderRand
mufic and ave no 'idea of cci6nity .. Thidly
cuRore of fcrapig, agreeing and reludlng ' great
oif witho'at ever being in Coac6rd,'. - Fourthly, 'e Frencli
genlus wMch gnerafiy .negles ad -diains' ev'hlng thac
becomes a .daily duty. Fifhlthe ,.kin iRrumens for
fymphoy, which continuing fied on place, ' itended to'
ß hello during the. time of reprefffation affd grow rotten in th
ierimc .Sithly, the bad'placing of themafier whot the fore
pari of the thea'tre and quite bed With the abrs;:'.cannot be
fuciently attefitive to his orche'ra and ka it 8e{ilad him, in'-
ead -o( fore his eyes. .SeventMyi. t infup.?fi'le noire of
his time-flick, which cover an-ifle, alI-th' e 'd( th
phon'y Eighthlv thd bd h?monx o'f their compotjSns, which;
bern never pure and ohofen; grveahfdund of a deaFenme and
Confufed colle&on nffrumems nfiead.of thm'gg' whrch may
produce an effe. Nmthly,, 't fuat cou'nt4baffes and
vloloneellos, tNe founds of which5 in. gfte?. ir method
fle the melody a deafen th&,fr. Tenthly and laLly5
the errors o the meare,.ad-th,utermine,'ciia.&e( of the'
French' mufic,. wheie' it is ,'the .ao:. l.w'ys. wih 9 dkas the
clera, 3nead of the o'rchra dire .th aob :'..'and where
the'treble introduces the :fs ie of.' [h.b:at5' :ndu&in'g 'the
treble. ' ' ' "
ORGANIC, This Wa'.ang 'tMGeeeksstpart of m-
fie w, hich was exted on i,.r:g., nd t'l' 'tp'rf had it
chara&ers its peculiar notes, -as may be- fe.e. in th .Tables
Baechius and lyp5us {Vide'M*C Notes 0 ..
TO ORt3ANZE. Th'wms:n,:˝h {nmng off the mven-
tio of the eonre .- point( ketinfnr(,,of, om.t'h{s 'in a eollec-
ton of chureh-m. ufie tn unflolx'-,t fo. ;nez }lat a pa
of tl;e choir .fging thefe!:g$ur 'ntt r, r% .f tg the other
part thi; at.thff me ti'me there crier lOtirf ...re re ut.
aPPears, by'. the examples cited hy:.l?bb.,,'ahd others
that the organization was. &loin: pra&i(: , .B )tlae infibl
n, ai the aroaeh of rhe'fi'nt..fzon tuhefie'$ follows,-that
the3 hardly ever org,nized"bu-t'by ar','thir'.,o[{ a concord
fo eafy a lb' little varicd,:.'}he coei,h OrgalzSd did
In
0 ľ
17n re,ertl to the organurn triplure, or quad,'uplum, vhlch wa
ali calld triplure or quadruplnm timply, it was the fane thing
as the identical air of the organizing parts, toned.by ,unter-
tenors at the o&ave of the belles, and by trebles at the octave of
the tenor.
OR'I'HIAN. The orthian nome, in the Greek mufic, was
da&ylic, invented according to ibme by the ancient Plrygiart
Olympus; and according to others, by the Myfian. It is on
this orthian nome, fay Herodotus and Autugelles, that Arion fung
when he threw himfell into the
OVERTL7REi A piece of fympl!ony, which we endearour to
render śplendid, flattering, harmomous, and wtfich ferves as kn
introduion to operas and other lyric dramas oF a certain ex-
te ] t.
The overtures of the Erench opera are altooff: all calculated on
thole of Lulls, They are cornpored of a continuing piece, called
Grae, whicl(is generally played tvlce, and of a dancing
called gay, which is commonly fugued. Several of there
pt;/% are admitted alfo into the Grae at its conclufion.
There was a time when he French overtures-ferved as a model
for all Europe. Mot fix. ty years. ago, they tnt from F'ranc˝
overtures, to place at the head of their operas in Italy. I have
even feen many ancient Italian operas marked.with an overture
of Lulty at their headl This is what the Italians at pretnt
contradi&, finee the whole has-had fuch a change; but, never-
thelefs, the fa& is very certain.
The inff:rumental mufic having had an aff:onif'ning progrefs
within about trty years, the ancient overtures, m,.ade lot the
fvmphoniff:s, who were little tkitled in managi'ng their inff:ruments
were very loon 'left for the French; and they have been con-
tented with nearly preferring their ditaofition, The Italians
themtlves have not been flow in fecuring themlIves from this
hindrance; and they at prefent dietribute their overtures in ano-
ther manner. They began by a lively and pleating piece of two
or four times; then they give an andante Denaijeu, in hich
they aim at dilllaying all the graces of a fine mufie i and they
finlib by a brilliant-allegro, generally of three times,
The reatbn they give for tills diff:ribution, is, that in a nume-
rous te&acle where the fpe&atocs make great noire, 'they lhould
pertade them to itenee at the firf tt. ro!e, and fix their attention
by tbme bold beginning which may tlrike them. They thy, that
tle grave of our overtures ia neither heard, or lillened to, hy any
one; and that our firff ffroke of the fiddle-flick, which we boa
of with tb great e,nphafis, Ic1 noil, than the concord of inffru-
$nent$ which prgccd<s it and with which it is contiaunded, is
1) d d more
more 'fultable fr perfuading the audience to/lumber han
tion.
.- .They add, that after having rendered the fpeator attentlve
at a neceffary that he ould be intercried with lefs noife by an
aeeable and flattering air which may ditofe him to the ten-
derhers with which he is o be infplred; and lafily to put an
end to the overture in another charaer whiclb being conneed
with the beginni ot the drama denote% by finiing with ec/ats
the filenee which the aorv at hi entrance on the flag% require
of the fpeators.
Our old courfe of overruns eaufed a plffant idea to be
circulated in France r any have imagined that there was fucl
an agreement between the form Lully's overtures and every
opera that it could not be chaned without fpoiling the rife& of
the Whole; fo that oq the beging of a fymay which oul
be in a different taR% tuch foe inanc% as an I'talian overture
they woId ty with eontem that it w a fat% and not a
overrut% as if every overture' was n a fata..
I know very well, that it would be a d'efirable thing for a pro-
Per and fenle cohesion to be twee the charaer of a
overtur% and that of the wo which int'oduces; but inea
of laying that all o,eures ould be ca in the time mould, thi,
lays precifely t eomrary. Betide% ou muians fail f
often in eatchi the'true nneion' of the mufic m the vords
in each pict% how n they caxeh the fiev and more remote con-
eions between he ordonnance of an overmr% a that of th
entire by'of' the work 'Some muians have flattered them-
lves to have caught there connerions. by coHeing, before-han
in the overrut% all the charers expreffed in the pict% as if
they would expref, the fame aion twit% d that what is to
come fixould be already paded. It is aot this. The be under-
ood o,ertur% that whicg difpoths the heart of the fpe&ator
in fuch a manner as that it opens naturally to the intere which
they endearour to give it from the very beginning' of the piece.
Ths is the real effe that a good overture mu produco. Thiu
is the plan. on which it muff be direred.
OXIPCNI. Is the name which the ancients gae, in the
crowded genus to the third found in arcending from each tetra-
chord. Wherefore, the oxiyi founds were five in number.
(Vide Apycni Crowded Syftemv Tegraehod.)
p ty ahbevitiorij flőt4ifies piano, that i, J;wea. ('id
ß Sweet;) . ß
The double PP. tigrefie, pianifllmo, th;t is, very fweet.
PANTOM[ME Ai alr 0fi which two or more dancer-exe-
cute an a&ion, wh}eh beats all0 the natme of pantomime The
airs of paritomlrnes ate getlerally a principal couplet, which
turns often in the courfe of the plece and whictl lhould be funpie,
for the reatbn given at the word Country Dance; but this couplet
is intermixed with others more lively which fpeak, as it wet'%
and form an image in the fituation where the dancer lkould pt,ace
a determined expreon.
PAPER RULED. By this name is called the paper prepared
with the ttaves entirely drawn to mark the mufic thereon.
(Vide Stave,)
There is rut'd paper of two klnds viz. that whole length
ceeds its breadths' fuch as is commonly nfed in Franc.e'; and that
whole breadth is greater than its length. This laft is the only'
one ufed in Italy.- However by a wlxim the teafen of which
know not, the roper-makers of' Paris call taper rul'd a la Rran-
0/, that which is ufed in Italy; arid Paper ruffd a l'Italienne
that which is preferred in France.
The form whole breadth exceeds its length appears m0t com-
modious in my opini6n, either becaufe a book of this form is
better laid open on a delk'or becaufe the ftaves being longer,
they are left frequently changed: Mor'over it is in the changes
that muffclans are 'rubjeSt to take one flare for another i particu-
larly in partitions. (Vide Partition.)
The ruled paper utd in Italy, has always ten flares, neither
more or lefs; and that mahes ex. aOly two lines or columns in the
ordinary partitions where we have always live parts, viz. two
trebles of vlolins the Viola the tinging part, and he bari. The
divifion being always the tme and each one finding, in the par-
itions, his part placed in like. manner paffes always from one
column to aftother without embarraflinent or fear of miI'taking.
But in the French partitions, where the nmber of Flares is .not
tixed and determirred, either in the pages or columns we are
ways obliged to hefttale at the end of 'each ttave, to' find, in
e'olmrt that fol, lows, the fia, ve coetondern to' that wherein we
are, which renders the muffclan m'o˝ doubtful, and the execution
more fubje& to a failure.
D d d a PARADIAZEUXIS.
PARADIAZEUXtS. Was, in the Greek mufic, by the tradi-
tion of old Bacchius, the interval of one tone only between the
chords of two tetrachords; and fuch is the nature of the dill.
jun&ion which aOs between the tetrachord lynneinchon, and tb.e
tetrachord diazeugmenon. (Vide there words.)
PAR AMESIS. This was, in the Greek muff6, the name of
the firec chord of the tetrachord dlazeugmenon. We muec re-
member, that the third tetrachord may be conjoined with the
fecond; then its flrec chord was the reeds, or the fourth chord
of the fecond; that is, this reeds was common to the two.
But when this third tetrachord was disjoint, it began by the
chord called paramefls, which, inetcad of being confounded with
tile reeds, was placed a tone higher; and this tone formed the
diuncion or diecanoe between the fourth chord, or the thatpod:
of the tetrachord metbn; and the firec or fharpeflr of the tetra-
chord diazeugmenon.
Paramefis fignifies near to nefis; beemule, in 'effe&, the para-
me{is was only a tone diecant, the' there was tbmetimes a chord
between two. (Vide Trite.)
PARANETE. Was, in ancient mufic, the name given, By fe-
veral authors, to the third chord of each of the three tetrachords
fynnemenon, diazeugmenon, and hyperboleon; a chord which
śome diecinguithed only by the name of the genus wherein theft:
tetrachords were ufed. So the third chord of the tetrachord hy-
perboleon, which is called hyperboleon dlatonos by Ariecoxenes
and Alvpius, is called paranete hyperboleon, by Euclid.'
ß PARAPHONY. Is, in ancient muiic, that kind of confo-
nancc which does not relhlt fi'om the lm˝ founds as the unilbn,
wilich is called homophony; nor d-ore the replique of th fame
founds as tile oc"tave, which is called antiphony; but founds really
different, as the fifth and fourth, the only paraphonies' admitted
in this mufic: for, as to the tixth and third the Greeks did not
p/ace them 'ir the rargk of paraphonies not .e.ve.n adr0ittlng them
'as confoBarlCeSo
PARENTHESIS. A den of abhreviation in the .note. It i
a finall lb'eke acroli at the tail of a minum 0r crotch.et, to expreti
its divition. into demi-crotchets, to prellrye plac% and prevent
confufiorb The parenthefts denotes' confequently, four demi-
crotchets inecead of a !mum; or two me/td of g Crotchet, '1 he
retold having no -tail, cannot bear a parenthefts i but we may alto
make e,ght clemi-e,'otchets from it, 'b3 abhrav. itiuns, lay dividing
it into two rainurns or four crotchet% to which we add the pal
renthefts. The copier thould be careful to ditlinguith the figure
of the parcnticfis, which. is only an abbreviation ot that of the
ic,ni-crotchct whirl! lhews a real power,
PRHYPATE,
AiHľATE. Tie name of the chorS w;ch immediately
i/'ollows the hypate from fharp to flat There were two parhy-
pates in the dia,ram of the Oreeks, vlz. thi parhypate hypat06'
and the parhyp'ae nefori. This word parhypate gnifid-s śub-
priacipa!, or bordeqng oa the principal. (Victg I-Iypate.)
PARODY. An air of fymph0ny, .of which a tinging air
;onned by adjufting 'he words. In rnuflc, well-compofed the ai:
is macle on th words; and in the prody the words are made oa
the air: _A_H the coupk s of a /'ong, except the firft are kinds o
parodies; and this is, in general, what is felt too muh by
inethod of murdering the l:-Ot-ody, (Vide Song.)
P2kP, T. This is the name of' every voice or feparated iielody'
whośe re-union forms the concert. To conilitute a cocord
founds mull be heard at a time, at leaft which a tingle v0ic&
t:annot do. To form, in 1ingin, a harmony or a colletfen
concords, many voices are necett'ary. The air which belongs to
each of there voices is called part and the c01Ieion of all th
pars of a tame work written bel'ow each othm' i called parti-
tion-. (Vide Partition.)
As a complete concord is cornpored of four founds, there ar
all'o, in muff% four principal part%- the tharpeil of which is called
treble, and is lung by the voices of women, children, or mufici:
The other three are the counter tenor the tenor
which atI belong to the voices of men.
Extent Of the {'our Vocal Part,
Treble Counter Tenor, Tenor. Balb.
We may here t'ee the extent of the voice irl each oś tleF
parts, and the cleft which belongs to it'. The White notes fhow
the full found% where each part may reach to an equal lielght:
and an equal dercent; and the demi-crotchets which follow fho
tile founds wilere the voice begins to be forcekl,' and which
Ought to form in palltuff only. The Italian voices aimoil always
exceed this extent in alendrg prticularly the trebles but th
voice becomes then a kind ofyeucet and whatever art it ma'
tli: 'to ˝liuil it, 'it is 'certainly tb.
Some one, or each of there parts, is rub-divided, when. we
˝ompośe with more than four parts. (Vide Treble, Tenor,
In the firPc invention of the counter-point, there were at 'firf
Bnly two parts; one of which was called tenor, and the other
dif{/ant. Laftly, a thh'd was added which had the name of trip-
]urn; and a fourth, fometlmes called quadruplum, but more com-
monly motterns. TheiS parts were Confounded very frequently
one with the other: Tis but by little and little, that, extending
themtlves to /harp and fiat, they have taker b with the moil:
feparated and mope fixed diapafons thole names which they have'
at prefint.
There are alfo inf[rumental parts. There are even inru-
merits, as the organ, the harpfihhord, the viol, which may form
fevral parts at a time. We divide aIśo the inffrumental muf˝
in four parts, which anfwer to thole of the vocaI muflc and are
called treble, fifth, tenor, and bars; but the treble is generally
Jkparated into two, and the fifth is united with the tenor a under
the common naae of viol.
F. xtent of the four InPcrumental Parts,
Treble of the Violin. Tenor. Viola or Fifth. Bafs.
We here find tile clews and extent of the four inflrumentat
arts; but we muff take notice, that the generality of inrumenta
ave not precit bounds above, and that they may be ex-
tended as far as .poflble, at the expence of the ears of the audi-
ence; whereas; m the lower parts they have a fixed term which
they cannot pals. This term is on the note which I have
marked; but I have marked above only that which we ma$
a'each without loolknng.
There are parts vhich ought to be lung by one voice aIone or
played by a tingle inffrmnent; and thot are called reciting parts.
Otlzer parts are executed by feveral perlbns tinging, or playing ia
tiniron; and are called concertant parts, or parts of chorus.'
We call a/lb part tlxe paper of mufic tin which is written the
feparated part of each muffclan. Sometimes tkveral ting or pla$
a tlo fame paper; but when each haa his own 'aa is the general
pra&ic˝
ira&iee in great plece of mufic, then, tho in this fenfe eaclz
concertant has his part, it cannot be laid, in' the other tinfe,
that there are fo many parts of concertants.whilfi the fame part
is often doubled, trebled, and multiplied m proportion to the
total number of executants.
laAP,.TITION. A colleellon of all the parts in a piece of
muff% where we fee, by the re-union of the correfponding fiaves,
the harmony which the)' form together. ' We write, for this
pu. r. pof. e, all. the parts froin cave to ftave, the one below the other,
with the cleft fuitable to each, beginning by the fharpefi, and
lacin the bars below all We arrange them, as ! have laid at
the word Coper, fo that each meafure of a cave be perpendicu-
larly placed above or below the correfpondent meafure of other
parts, and enclofed within the fame bars prolonged from one to
another, fo that we may fee, at firf fight, all hat fhould be
derftood at a time.
As in this difpofitlon, one tingle llne of muf': comprehends a
many ftaves as there are parts, we confine all there fiaves by a
ttroke of the pen which is called column, and wb. ieh is drawn
on the margin at the beginning of the line thus cornpored; then
we re~begin by a new line, to trace a new column, which i$
filled with the remainder of the fame ttaves written in the fame
order.
$% when we wlfb_ to ollow a part, after having gone thr6' ho
Crave to the end, we do not pals to that which is immediately be-
low, but we examine what rank the ave that we quit holds in
the column; we leek in the column which follows the corref-
laondent part and we find therein the continuance of the śame
part.
The ufe of partltion is indlfpenfable for compofitlon.
lie alfo who conducts a concert, mutt have the partition under
his eye, to fee if each one follows his part, and to replace thole
who are in error. It is even ufeful. to the accompanilt to follow
the harmony truly; but in regard to other muficians, we give
generally his feparate part to each it being ufelefs for him to lke
that whic.h he does' not execute.
There .at% howevers rome cafes where we join, in.. a feparat
laart other parts in timilar partitions, for the con,emenee of the
executants. Firit, in vocat parts we generally note the thorough
bali in partition with each reciting part) either to prevent the
finger from the trouhlb of reekrasing his paufes in following the
batik, or that he may himfelf accompany in repeating or' re/:itin
1i part. econdly, the two parts of a tinging duet. are marked
In'partition in ,ach feparate part fo that every śngcr having
I e e : befor
P A
before the dlalogue under.hls eye s may better enter Jnto the
tit of it, and accord more eafily with its counter-part. Thirdlya
in the'in/rumental parts, we are cautious, in confined recitatives,
to mark always the tinging part in partition with that of the
inrument; fo that in tho alternatives of unmeafured airs and
.meafured fymphony the fymphoni may take the time of the
rittornels tue without heftrating or erring.
PARTITION. Is alfo, among organ and harpflchord
ers a rule for according the infirument, beginning by a chord
or pipe of each touch in the extent of an oave or rathermor%
taken near the middle of the keys; and on this o&ave or partition
We accord all the re afterwards. This is the method we follo
for the formation of a partition.
On a found given by an inrument, which [ all fpeak of at
the word Ton% we accord in the unifon or oOave the C fol ut.
which belongs to the cleft of that name and which is und at
the middle of the key% or nearly. We then concord the fola
fth arp of that ut; then the re, arp fifth of this fol; after
whicl b we re-defcend io the 6aye of this r% on the fide of the
fi ut. We arcend to the fifth la, thgn again to the fifth mi.
e re-defcend to the offave of this mi and continue in the three
anner afcendg. fgom fifth to fiftl h and re-defcending 'to the
O&ave when we advance too much in rp: When we have
xahed fol diefis we
We then retake the fir ut and accord its arp oave; then
the fifth flat of that oave fit'the tharp of thia fa; next the
flat, fift of th oave'; laxly, the mi B flat, fift fiat of this
fi B flat, the arp oave from which mi B fiat ought to form a
rue fib, nearly fo with the ta B flat or ol dieils,
precently accorded, When this happens the partition is ju
Otherwife it is faire; and this happens from not having exal
0110wd the rules cxplai'ned gt the word odication ....
Pttig for the Cocord of tle Ogan nod Hatpfichor
'[vl--il--I---I-..l-- l.-----I' [
' '* ' fifties in aftending. - ß
P A
%rlde the above śucceffion of concords which form the parti-
tlon.
The partition belng. well formed the remaining concord
very eafy fince there ns no longer any thing more than unifonu
and oEtaves to ilnifh the concordance of the whole keys.
PASSACAILLE. A kind of ehacon, whol'e air is more ten-
der and the movement flower than in the ordinary ones. (Vide
Chacon.)
The paffacaillc's of Armeda and Ira arc celebrated in the
French opera.
PASSAGE. An ornament by which a fireke of mufic is or-
namented, in general rather fhort, which is cornpored of feveral
notes or diminutions, which are lung or played very lightly.
'This is what the Italians call alfo pa. ffo. But every finger
Italy is obliged to underiland the competition of the paffi,
whereas the generality of French fingers never remove from the
note% and form only there paffages which are written for them.
PASSg PIED. The air of a dance of the fame name, veQr
common. whole meafure is triple, is marked $ and beaten with
8
one time. Its movement is more lively than that of the minuet
the chara&er of the air romewhat timilar, except that the paffe
oPied admits the fyncope, and the minuet does not. The meaśure
f each repri ought to enter in this manner, in an equal num-
ber. But the ifi" of tle paffe pied, inffead of beginning on the
erreke of the meafure, thould, m every repnf% begin on the
demi-crotchet wl;ich precedes it.
PASTORAL. A lrural opera, whole perlena=es are fhepherds,
nd whośe mufic fhould be affort. ed to the fimplimty of the
nd manners iuppofed to them,
A pait.ora,l is alfo a piece of mufi. c formed on words relative t
a pafforal condition; or an air which imitates that of the fhep.-
]nerds, whi.cl has its'tv,eetnef% tnd.ernel's, and nature: The
Of a dance eompol'ed ila the fame chara&er, is allo called pailoral.
PASTORELLA. An Italian air in'tle pailoral genus. The
ľrench air 'aalled pafforat%..are generally.of two time% and in.
the character of the .nuttte. The Italian pailorals have more
ccent, nr grace, s mlclx .fw.eet0e. l, a0l e( fltneli. Theist
neatre is always the 6Sth.
PATHETIgC- A k, ind of dramario atld fi.eat,ica. l muff%
which tcndi towards the pairitiog and touching the nobler paf-
fieus, and more Particularly grief and ilarrow. All tl'e expreffioa
I tlx 1 rcnch mufic, the l?atletlc enus: coo.fi, ff lr Sramned
and
1 A
nd enforced f'unds, anti in śuh a flownels'of movement tat
roll fentiments of the mealare are eaced. From thence if'hap-
pens, that the French think every thing pathetic that is
and that all flould be flow that is pathetic. They even have airs
which .become gay and trifling, or tender and pathetic, according
as they are lung quick or flow. Such is an air fo celebrated in
aristo which the Hrff charaer islE[yen on there words, II
( y a trenre aas que mort cotilion traine," &c. ad the fecond on
there, ( oi vou parfez fins que rien vous artere," &c. Thi
s the advantage of French melody, it ferves for whatever
diufe.--Fiet a%,is, & cnm voler aror.
But the talian mufic has not the fame advantage: Eac atr,
each melody has its charaer fo appropriated, that it cannot b
deprived of it. Its pathetic of accent and melody is felt
every kind of meafure and even in the moff tively ovements.
The rench airs change their charaers as the movement
ped or flackcued. Each Italian air has its movement fo de-
armined, that it cannot be changed without overthrowing the
melody. The air, thus disSEared, does not change it scharaer
it Ioihs it: It is no longer an air; it is nothing in the eharaer
o the moveznt, neither can it be in the genus, n the mode,
or in the harmony; fince there are pieces eually pathetic in the
three genera, in the two modes, and all imaginable harmony.
The true athetic is in the aonate accents which is not dercr-
mined by rules; bt which the genus finds, and the heart feels,
wlthour the art being able to give its laws ]n any refpes.
PAVANE. The air of an ancient dance of the fame name,
which ha not been in ufe for ronge time. This name of pavan
xvas iven it beeante the Hgurants formed, in looking at eacN
, g
other, a kind of tail after the manner of tlw peacock's. Th
man made ufe of his cape and iord, which he utEd in this dance)
nd'tis in allufion to the vanity of this attitude that they haw
formed the reciprocal verbpavan0r.
PAUSE. An interval of time, which in the executlon ought
to pals in filerice by the part wherz the paut is marked. (Vide
Silence.)
The name of paufe may bo applied to filerices of different
rations, but it is underttood of a full meafure. This paufe
marked by a demi-bton, which, leaving one of the interior linca
of the avc detk'eds as fhr as tlxe half of the ace comprifed
between this line and the Iine immcdiate[y below. When
have tbveval pauls to mark. we fiould then marc ufo of figures,
whid I have fpokcn of at the word Rľt. '
In regarcI to the demi-paufe, which is equal to a minum or
the half of a four-ti'med meafure, i't is marked as the entire'
paufe, and with this difference, that tb.e paufe belongs to a line
above, and that the demi-paufe is below.
We mugr take notice, thaw the paufe i' always equ'al to a
i-neafure, in whatever kind of meafure it may be,, whereas the,
deni-pauśe has a fixed and invari'able power; fo that, in every'
m.eafure, which is fuperior or inferior' to- a femi-breve, or tw
re,hums, we ought not to ufe the demipaufe to mark a demi-
meafure, but other filerices which exprefs its iu-/t powers.
In regard to the other kind of panres known' in our ancient
mufic, under the name of uJblefi paufis, becaufe they were' placed
after the cleft, and which ferved not to expref filences, but to'
determine the modes; this name of paufes was given them only
thro' error'; for which resfort I tranfinit the reader to the
Reft and Mode, on that article.
TO PAUSE. To prefs on a fyllable in tinging: Wa ought
xot to paufe but on long fyllables,,and never on the e mute.
PEAN. An air of vi&ory amongft the Greeks in honour of
the gods, and particularly of Apollo.
.PENTACHORD. Was, amongft the Greeks, rometimes art
i.nftrumerit of five chords, and rometimes an order or tftern
formed of five founds. [t is in this left fenfe, that the fifth or
diapente, was rometimes called pentachord.
PENTATONON. Was, in ancient mufic, the name of an
interval which we, at prefent, call' fuperfluous fixth. (Vide
$ixt. h.) It is cornpored of four tones,.of a major femiotone, and
a minor; from whence it. receives the name of pentat0non'.whiclx
fignifies five tones.
PERFECT. This word, in mufic, has feveral fenres. When
joined to the word concord, it fignifies a concord'which compre-
hends all the confonances without any diffonance. Vhen joined
to cadcure, it. expreffes that Which bears the fenfible note, and the
dominant falls on the final. Whe, joined to the word contbnances
it e. xpreffes.a jut and determined interval, which can neither be
major or minor; fo the oOav% the fifth, and' fourth, are perfecq:
˝ontbnances; and there are the only ones. When joined to mode s
k is applied to the meafure by an acceptation which is no longer'
known and muff be explained for the undertanding o the an-
tlent authors.. They divided the time or mode, in reference t
t, he mcatbre into pert and inperfe&; and, pretending 'that
the ternary number was more per/'e& than the binary, whlclt
lahey proved by tim trinity, they called pcrfe time or mode,
tha whol mcalhrc va ot tlrcc timesi and they marked it by'
an O or. clrcle, fometlmes tingle, and fomethnes barred dS. '.
iraperle& time, or mode, fortned a meafure of two times, ant{
was marked by a divided. O or 12, rometimes firgle, and fotnetimei
barre& (Vide Meafure M6de, Polation, Time.).
PERFID.IA.. A t. erm of the italian mufic, which figuifies a cer-
tain aeOation of always doing the fame thing, and always
lowing the fme detign prefervlng the fame movement the fa,n
CharaCter of the air, the fame pffages, the fame figures of the
notes. (ľide Eleflgr> Air, Movement.) Such are the c'o'nftrained
baffes, as thole of the ancient chacons, a.nd an infinity of methods
in co. nffralned accornFanhnent or perfidiat% which depend on thet
captree of the compofers..
This term is not ured in France; and I doat know if it has
ever been written. in this fen&, otherwife than in BropardSs Dii
onary.
PERIELF, SIS. A term of clmmh-mufic. It is the inter-
potitlon of one or more notes ia the in. tonatoa of certain piecc
of rantic,. to affure their finaI and fpclfy to the choir that
belongs to them to take and putrue what follows.
The perlelefis. ls otherwife called cadence,. or froall neuma,' and
ls formed three ways ' viz. Fie, by circumvolutioa;' Secondly.;
ly intercideace,. or diatopfe or Thidly by timpie duplicatiorra
{V}de thc/'e words.)
P'ER. IPHZ;R. ES. 'term of the Greek mufic., which f/nifies
collet,on. of aotes as well afce0dmg as. fading,. and wh}ch return s
as it were on themfelves, The pcripheres'was formed of the
anacamptos and cuthis,
PE'ITEIA, ' A Greek word which has nothing correfponden.
to it in our language, an'c which. is the name of the laPc of' the
three' pa'ts into which the melopcea is thb-divided.
Melopcea.-) .
Tlle pette?a' ls according to Arifides Q.9intilia%. the art o
difcerning the founds wlqich ought or ought not, to be ufed
there whic. h fh0uld be more or lefs frequent,.and there by whlel
we ought to beg!n or finifh,
It is' the petteYa which conffltmes the modes of mufc it de
termines the compofer-in the cholee of the genus of metody
r. elative tO the movement winch hE would paint or excite in the
foul according to perlbns oe. occafions. In a word,. the petteYav.
a part of the hermo. fmenon whici regards, the melody is in thi
xeQ>e, what the. mores arein: pogtry. .
We cannot fee what moved the. ancients to give it, this name,
anlefs they took it from ,r?,˝[o,,.their games at dice: the pcttcYa
in.mufic being a rule to combine anti arrange the founds, as the
game of dice is to arrange the picc˝. callcd 7r0 calculi.
PHfLZELIAo
P I B7
' HIL2ELIA. 7ras a kind of hymn among-ff the Greeks,
Ifong in honour of Apollo. (Vide Song.)
PHONIC. The art of treating and combining the founds on
the princip!es of the acouffic. (Vide Acouffic.)
PHRASE. A continuance of an air or harmony, which forms,
without interruption, a'fenfe more or lefs finifhet, and which
'terminated on a ?top, by a cadence more or lefs perfeCt.
There are two kinds of mufical phrafes. In melody the phrafe
is conrtituted by'the air; that is, by a collection of founds fo
'difpofed, whether in connection to the tone or movement, that
they form the whole well united, which is refolved on an effen-
tim chord of the mode in which we are.
In harmony, th'e phrafe is a regular contlnuance of' coneordg
all urnted to=ether by &ff'onances, expreffed or underflood, which
is refolved 'on an abfolute cadence: according as the t}nfe is
more or lefs'finifled, the Prop alfo is more or lefs perfeCt.
It is in the invention of mufical phrafes, in their proportions,
in their inter-mixture, that the real beauties of mufic confirm.
A compotr, who punctuates and phrafes well, is a clever fel-
low; a finger, who feels, marks well his phrafes and their ae-
'cent, is a man of tae: but he who can only fee, and render
the notes, the tones, times, and intervals, without entering into
'the fenfe of the phrafes, however lure, however exaCt he may
in-every other refFeet , he is no more than a fapfcull.
PHR. YGIAN. The phrygian-mode is one of the four prln-
:ipal and moec ancient modes of the (-reek mufic. Its charaCter '
xvas bold, lofty, impetuous, vehement, terrible: According to
ahthenaus al!o, the trumpets, and other military inecruments, were
founded on the phrygian mode.
This mode, invented, they fay, by the Phrvulan Maxfyas, is
'placed in the middle, between the lytian and do%ic, and its final
is at a tone dietante from that of each,
PIECE. A work in mufic of a certain extent, fometlmes of
tlngle divifion, rometimes of feveral, forming a concinnity and
totality, formed to be executed together. So, an overture is
piece, tho' cornpored of three divifions; and an opera itfelf is fo,
.l;ho' divided by arts. But, betides this g.eneral acceptation, the
svord piece xvas allb a more peculiar one m inftrumental mutic,
and only ior certain inttruments, fuch as the viol and harpfichord.
For inttance, we do not fay, "A piece for the violin," but
'*t .d./bata ;" and we never Ihy a fonata for the harpfichord, but
a piece.
PINCH. A kind of grace proper for certain in{trurnents and
particialarly the harptlchord; it is formed by ftriking alt6rnatively
F f ś he
Big P L
the fount; of the written note, with the Found .of the {nerio
note, and obferving to I,cgin and finifl by the note which Ieav
the pinch. There is this 2liferenee betwe'cn the i)incb and tril/,
that the latter is ftruck with the fuperor noe, ahd the pinch
with the inferior. So the trill on ut is ffruck on the ut anti
re; and the pinch on the fame ut is ffruck on the ut anti ti. 'I'he
pinch is marked, in the pieces of Couperin, with a finall crof. q,
very timilar to that with which the trill is marked in ordlnai-y
mufic. Vide the figns of the one and the other at the head of'
that author's pieces.
TO PINCH. Is to ufo the fingers, inftead of the bow to
make the cho'ds of an inftrument found. Therc are chord in-
t3rument, which have no bow, and vhich are played only by
pinching, fuch as the lute, guittar, &c. but xve nifo fo'metine
pinch thole where we generally ut the bow, as the violin and
vlolincelIo; and this method of playing, altooff unknown in the
French mutlc, is marked in the Italian by the vord pizzicato.
PIZZICA'FO. This word, xw'itten in the Italian mufic, de-
notes that we muff pinch. (Vide To Pinch.)
PLAGAL. A plagal tone or mode. X'hen the oCtave is
found arithmetically divided, according to the ordinary language
that is, when the fourth is in flat, and the fifth in lharp, we thy
that the tone is i)lagal, to diftmguith it fi-om the authentic where
ihe fifth is in flat, and the fourth in fiarp.
Let us ruepole the octave A a divided into two parts by the
dominant E. If you modulate between thet two Ias, in the
śpace of an oct'rave, and make your final on one of them, your
mode is authentic. But if, modul:/ting. between thete two la's
5, ou make your finaI on the 'dominant mb which is intermediary,
or modulating from the dominant to its octave, you make tl˝
final on the intermediary tonic, in there two cat:s the mode i
placl/'e then is all the aliiTerence by which we fee that all the
tones are really authentic, anti that the diffincCtlon is onl) in the
diapatbnof the air, and iu the choice of the mte on which we
ftop, which is always the tonic in the authentic, and oftenell the
dominant in the plagal.
The extent of the laws, and the divifion 6f the'parts, has made
thel diPtinions dJfappear in mufic, and they are no longer
tnown but in that of the church. We count therein four pl:gal
or collateral terms vJz. the lcotd, fourth, fi.xth, and eiglnli
all tholk: wholi number is equal. (Vide Tones of he Church.)
PLAY. The a&ion of playing on an inPcrument. We la
full play, demi play according to the fironger or fwceter manne
of drawing the found from .an. in?rumento - - .
TO
P 0
' TO PLAY. CJn nRrnment, is to execute alrs of mufic or,
thot'c inruments, particularly thole proper to them, or airs noted
fi*r them. Ve fay, To play on the violln the bars, the haut-
boy, the flute; To touch the harpfichord the organ; To found
the trumpet; To finger the gulttar, &c. But an affe&ation of
there peculiar term Iratriers on pedantry. The term to play be-
cot=es eneral. and fuits lnlinfibly every kind of inrument.
PLIQA. A kind of l}gature in our ancient mufic. The pllea
was a fign of heftration, or ffoxvnefs, (Signurn morofitatis, a
Im-is fays). It was made by paffing from one found to another
from the tml-tone to the th, whether in atkending or falIing
and there were four forts: Fir, The pliea,- long, and afcending
is a quadrangular with a tingle afcendant ffroke to the right or
ß
with txvo rokes, one of which on the right is the greate
Becondly, The long defeendlng pliea has two defcendant ffrokes,
one of which on the right is the greater . Thirdly The
ort afeendant plica has its roke arcending from the left, longer
than that on *he rlgh . Fourthly, The defeendant has the
roke detkending from the lett. gmate[ tha n that on the right
POINT. This vord, in mufie, fignifies feverat different thin=s.
There ar% in our anelent muff% fix forts of point% viz. Point
of perle&ion, point of impeeion, pnt of inereafing point
of dlvifion, poifit of tranfiation, and i'nt of alraton.
I. The point of perle&ion belongs to the ternary dlvifion. It
renders every noe perfe&, that is foliowe& by another not% lef
'.by tlxe half of its figure; then by force of .the intermediary
pbint, the precedent note is equal to the triple inead of the
double of that which follows.
I1. The point of imperfeion placed on the left of the Iongue,
diminiflies its powers, fo,netimgs of a 5 or femi-breve,
fi.nnetimes of two. In tlxe firR care, we p femi-breve be-
tween the Iongue and the point; in the theond, we place two
femi-breves at the s'ight of two longues.
III. The point of increaring belongs to the binary divifion,
and, between two equal notes, makes that lhperior which pre-
cedes the double of thnt which follows.
' IV. The point of divifion is placed before a femi-breve, fol-
lowed by a breve in the perfe time. It takes away a time from
this brev% and makes it equal only to two fetal-brews, inRead
of three.
'1/'. If a feml-brev% between two polnt, flouict be foJlowec
by two or more breves in imperfe time, the fecond poin( tranf.-
śers its fugnification to the lafl: of there breves, renders it perfcO-
;and makes its powers three times. This is the point of tran-
fiation.
ľI. A point between two femi-breves, placed themfelves be-
tween two breves or fquares in perfccřc time, takes a time front
each of theśe breves, fo that each breve is only equal to two fcmi-
breves infread of three. This is the point of alteration.
This fame point before a femi-breve, 1301Iovcd by two other
femi-breves, between two breves or fquares, doubles the powers
Of the la of there fcmi-breves.
As there ancient divifions of time into perfec and imperqc
re no longer ufed in mufic, all there fignifications of the point
which in reality are ľery confufed, have been long aolifie3. '
fit prefent, the pmnt taken as a power of the note, is alwaya
equal to the half of that which precedes it. So, after the
breve, the point is equal to a mlnum; after the m.inum, to a
rotchet; after the otchet, to a demi-ctotchet &c. But this
method of fixing the powers of a point is not certainly the be
hat might be imagined and often caufos ufeicfs embarranents.
ORGAN or STOP POINT.. Is a kind of point which
lave fpoken of at the word couronne. It is in relation to that
kind of point that we generally call rgan-p.01nts thot kinds
uf, meafured or not mafured, written or not, and all thol
armonic fucceons vhich pats on a fgle note of the bars
vays prolonged. (Vide Cadenza.)
When this fae point, furmounted by a couronn% is writte
n the la not of an Mrs or a piece of mufic, it is then callcd
final nt.
Lal.y there is another kind of point alfo, called detached
points, xvhich are placed immediately above or below the head of
the notes: Sveral are generally placed together, and this
hat the notes thu Fointed ould be mard by equal tones of
the tongue, or bow bold ad detached.
TO POINT. I by mms of the poin b to rcnder altcrna
tively long and fiort, the collegion of notes naturally equal
ruth, for inancq a a continuance of demi crotchets. To point
them on the otc: we a a pgint after the tir[; a double demi-
crotchet on the tcond; a point nftcr the third; then a double
crotchet; and !b t)n. In this fun truer they kccp two by tw% the
thmc powcr wlxich they had. befqrc; but tlus power is ncqually
diltriblted betxc tl0 ttvo 4cmi-cratchts, lb that the lit or
1ongu% hal three quarters, and the tcond or brcve, the other
quarter. To point them in tim cxcutio% we pail them unc-
P 0 z
ual, accordlug to there fame proportions, tho' they fhould ever,
e marked as equal.
In the Italian muftc, all the demi-crotchets are always equal,
,mleli they are marked as pointed. But in tee French muti6 we
do not make the demi-crotchets exa&ly equal but in the four
timed meafure. In all the reft they are always pointed a little,
unlefs it be written" Equal demi-crotchets."
POLľCEPHALE. A fort of nome for the flutes; in honour
of Apollo.
The polycephale nome was invented, according to rome, by
the feecud Phrygian Olympus, and, aceceding to other's, by
Crates, a difciple of the fame Otympus.
ß POLYMNASTIC. A name for flutes, invented, according
to rome, by a woman named Polymnepte; and, according to
.others, by PolymneRus, fon of Colophonian me. les.
POSITION. A part of the Crave, where a note is placed to
fix the degree of elevation of the found whiclx it reprefents.
. The notes, in conne&ion with the lines, have only two different
pofitlons, vlz. on a line, or in a fpace; and thete pofitions are
always alternative when we move, or diatonically fo. It is next
the place which the line or fpace fills, and in connexion with tke
cleft', whicl determines the real pofition of the note in a general
.key.
We call alfo pofitlon in the meafure, that time which is marked
in beating, in 1owering or fixing the hand, and which is gene-
:rally called the ecroke. (Vide Thefts.)
Lattly, we call pofttion, in the playing of fleeve-inptruments,
the place where the hand is pIaced on the fieeve, according to
the tone on which we pIay, When we have the hand at the
height of the fieeve againPt the finger board, fo that the index is
.ced at a tone of the chord 3, jour, it is the naturaI pofition.
hen we 1oofen, we reckon tlae pofitions by diatonic degi'ees
wtfich the hand is diPtant from on the finger board.
POWER. OF THE NOTES. Betides the pofition of' the
notes vhi:h marks its tone, they alI have tbme determined figure,
which marks its duration on tinl% that i% w!fich determines the
powers of the notes.
The invention of this is attributed to Jean de Muris, about
the year 33 o, for the Greck had no other pover of notes than
the uantit of t11a'hlgs, vhich alone muec rove that they haJ
q Y . . p
no mufic purely nttrumgntal. However, p, Nlcrfcnne, who had
read the works of Muris, affures us ttat he law nothing to con-
firm that opinion; and ntyfelf, after having read the greateft:
part, have not been more lucky than himfi:lf, /Ioreove[, the
amination 0ś manufcripts,. in [le 'uurtcentlx at% whicl are in
he French king's library, doe not perfoad us to judge tha th
different figures of notes, which are oun therein, were of fo
new an initution. LaXly, it is difficutt to be belleyed, that
during three hundred years and more which havepaed between
'Gui Aretin and Jeanne Murks, the mufic thould have been en-
{irely deprived of the rhyme and meatEre, which are its fire and
principalß heauty,
'- However it may be, it is certaln that the different powers of
tle notes are of very ancient inyention. I find, in the earlle
times, five tbrts of fiures for them, witho0t reckoning the liga-
ture and point. There five are the maximum, the Iongue, the'
.brcve, the femi-breve, and mlnime. See Plate. A. Fig. I.
All lb'eVe different notes are black in the manufcript of GuiI-
Iaume de Machault; It is only fince the invention of painting,
thattlxey have thought of making them white, and adding ne
motes to diRingui the powers by the colour as well as the
:figure.
The notes, tho' figured the fame, had not always the fame
'equality. Sometimes the maximum was equaI to two longues,
or the Iongue to two breves; fometimes it was equal to three:
this depended on the mode. (Vide Mode.) It was the three
thing with the breve, 5n conneOion with the femi-breve, and this
depended on the time. (Vide Time.). LaXly, it was timilar
with tte femi-breve, in donneion with the minime, and this de-
'pended on the prolation. (Vide Prolatlon.)
There were then double longue, perfe 1ongue, iraperle&
.Iřnghe' perleO breve, changed brcve, najor femi-breve, and mi-
nor tbmi-brcve: feven different powers, to which four figur
'only anfver, without reckonin the maximum or minime, a not
of more modern invention. (tde thelb different words.) Ther
Were alfo tbveral mher methods of m,difying the differentpowem
of there notes, by the point, the llgature, and pofition of tha
tail. (Vide Ligature, Plies, Poin*.) .
' The figures which were added in tbecontlnuanceofthefe fiv
or fix firl}, were the crotchet, the demi-crotchet, the triple, and
even quadruple demi-crotchet, which would make eleven figpre
itt all; .but as lbrn as it was the cuom to tpa.-ate the mealur
'by bars alI the figure of n.tes were abandoned whic were
equal to feveral mealhres, as the tnaximmn, which equalled eight;
the iongucequaI to fimr; and the hrevc to two.
The lni-hreve, which equals an entire meathr% is the 1onge
power of note remaining in ulh andon which all the powers of
t} other notes have been determi.ed; and as the binary mea-
furc which had palFed a long time for leli perfe& than the ter-
nary, took laxly the trebl% and lhrvcd as the balk of all the
other
ther meaf'ures; t'o the rub-double divi{ion cartled it on the fub-
t'riple, which had alfo paffed as tile mo perfen: rometimes the
śemi-breve was not equal to three minums, but two only; tl˝
rnlnum two crotchets; the crotchets two demi-crotchets; and fo
on to the quadruple demi-crotchet; unle{i in the cafes of ex-,'
:eption, where the ib-dlvliion has been preti:rved, and exprefi7ed
by the cypher :3 placed above or below the notes.
The ligatures were alfo abolithed at the fame time, at leaft in
)egard to the changes which they produced in the power of tl
otes. The tails, in whatever manner they are placed, had no
more than a fixed fenfe, and always the fame; and latllv, tl˝
"ilgnification of the point was altľ bounded by the half )f the
note, which is immediately before it. Such is' the condition in
whicl the figures of the notes have been placed, in regard to
their powers, and where they aually are.
The equivalent tllences are explained at the article
Tl.xe author of the differtation on modern mufic, finds all thi
Io be ill imagined. I have laid, at the word 2Yore, śbme one of
Ihe reafons which he alledges.
PRELUDE. _8 piece of lyre.phony, which ferves as an intro-
duOion and preparation to a pece of mutic. In which 'tnI,
the overtures of the opera are preludes; as alfo the ritournels
which are very often at the beginning of fcenes or monologues.
Prelude is alfo a ftroke in tinging, w.hld palTes thro' the prin-
.clpal chmds of the tone, to announce t to verify if the infkru-
anent is in tune, &c.
TO PRELUDE. Is, in general to śng or play rome ftroke
of irregular fantafy, rather fhort, but paffing by the elTential
chords of the ton% either to eftablifh or to difpofe the voice, or
to p. Iace the hand well on an infcrument bef6re the beginning oś
a pece of mufic.
But on the organ and the harpfichord, the art of preluding is
more confidetable. It is to cornpole and play. extc.mpore piece.%
illed with all that compofition haa moft ingemous, n dcfign,
.fugue, in imitation, modulation, and harmony. It is chietly
in preludlng, that great muticians, exempted from that extreme
Iflavery to rules, which the eye of the critic impolks on them on
laper, makes thol tranfitions rhine which ravilh tile car of the
audience. It is here that it is not fufficient to be a good com-
poler, or to polTeli one's key well, or even to have a good and
well cxercild hand: We muir, moreover abound in that tire
ofgeniu% and tha inventive ingenuity, which t:;:d and execute
inttantly the fubjeEts more favourable to harmony, and molt flat-
tering to the ear. It i, by this grand art of prcluding that
˝˝tlcnt organiris rhine in France; tiach as tag Sieurs (21avicre
and
and Daquln, who were frill furpaffed by Motif. le P'rlnce d'Ardoi,e/
mxabaffador of Naples, who, for vivacity of invention, and force
of executio% ecllptks the mo illuRrious artiRs, and cauts the
admiration of connoiffeurs at Paris.
PREPARATION. The a& of preparing the cliftonante,
(Vide To Prepare. 5
TO PREPARg. To prepare a dlffonanee, i to treat
ltarmony, fo that by fayour of that which precedes it may
Iefs rough to the ear than it vouid be without this orecaution
zlceording to this definition, every diffonnnc6 mu prepared.
ut when, to p?epare a diffonanc% we requl'e that the found
whicl forms it ould have made a confonance before, in that
ealb; there is fundamentally only one diffonance which is pre-
pare, viz. the feventh. This preparatio% moreover is not
all neceffary in the fenfible concord becaufe then the diffonanc%
being charadefiJi% and in concord and rood% is fuciem}y
ounced; the ear attends to it admits it, and is neither deceived
on the concord or its naturn} progrefs. But when the fevcnth
is heard on the fundamental found which is not effentlal to
mode, we ought to prepare it to fuit every equivocation, to
hinder tlxe ear of the audience from inattention; and as this
concord of tbventh is overthrown and combined in feveral
thods, from thence alfo afire different methods, apparently
of preparation, which at bottom however, always return to
We mu conrider tee things in the praice cliftonantes,
˝iz. the concord which preces the diffonanc% tliat wherein it
is found, and that which follows it. The preparation regard,
bnlv the two others. For the third vide To Save.
When we would prepare a diffona'nce gularly we mu chufe
to arrive at the concord, fuch a contlnuanee of the fundamenta'[
bali, that the found, which forms the diffonance may be a pro-
1ongation in the Rrong time of a confonanc% Rruck on a wea
l'ime in the precedent concord, which we call to fynco?te.
I:rom thi preparation refult two advantages; .vz. I.
thcre is necetEqrily an harmonic conne&ion between the two con-
,x%rds, tlnce the diffonance itfelf forms thnt conne&ion; and
tbcondly, That this cliftonant% being only the prolongation of
3'onionant found becomes much Iets rough to the ea' than
would be on a found fre ruck. Herein moreover is nil that
is'fought in the preparation. (Vide Cadenc% Diffonance, Hat-
' mony.)
e re% 'b what I have ]uR fald that there is no part Farti-
culnrly dePriVed m the preparatlonof the ditlbnanc% than that
itfElf which m;rkea it heard; lb that if the treble founds the
difibnanc%.
fll''Tonnce, it is ependat on it to 6/neopate; b'ut ś the
nance is n the bafi the bat muff lyncopate. Tho there
nothin that can be more fimple the macrs of compnfition havo
errlbly conlured it. There are diffonnces never prepared thcll
us the fix'th added: others which are prepared but tEl'dom,
'us the diminied 5eventh.
ß PRESTO, This word, written at the head of a piece of:nu-
e,denotesthe quickeffand mo animated of the fiveprlncipaI
mo:ements 'eftabilled in the Italian mufic. Preffo fignifie
quick -. . Sometimes w= expret a movement ill quicker by
perlatlve preiffimo.
TO PRICK NOTES. ls to write mufic with eharaer
aeinea for that putpole, and which ace called notes. (Vide
Notes.)
There is-, n the method of marking mufic, an elegance
copy which contls lefs in the beauty of tle note, than in a cer-
tain exa&nel to place all the tigns litably, and which render
=fic thus mkc6 much caficr to execute; which has been
plained at the word Copiff.
PRIMA INTENZIONE. A technical Italian word, whlcz
],as no correfpondent in 'rench, and whlclx wants non% fince the
idea which this word exprefis is not known in the Frenelt
n air a piece diotima ;nte,=iw, is that which is forened on
thdden quite entir% and with all its parts in the mind of the
compotr i as Pallas came completely armed fi'om the brain
Jupiter. The pieces, di prima bitetziow, are thch uncommon
cokes of genius, all whol ideas are tb narrowly united3 that
they form, as it were, only one alone, and cannot be p'eCented to
the mind without the other They ace timilar to thole long
periods of Ciceco, tho' eIoquent, the tnfe of which thfpended
during all their duration, is determined only at the Ia word
and which contquently, have fo,-med only one tingle thought i
the mind of the author. There are, in arts, inventions produced
by fich efforts of genius, and all the cealbnings of which inti-
mately united one with the other cannot be formed fuccetfivelv
but are nccefihrily offered to the mind, all at the fame tim
tince the fir, without the Ia would form no fenfe, Such i%
for inanc% the invention of that prodigiousmachine of the
wzier a bas, which may be looked on, tys the philolbpher who
has detrlbcd it in the gncyclopmdia a a tingle anti only reafon-
ing, the fah,'ication of whol work is the conclufion. Theta
kinds of operations of the undcrnnding which are dieultly
expIained, even hy the analytls, ave l)rodgies forrealbn, and nre
only conceived by a genius capble of producing them: its ctFe
is lvays p,'oportion'd to the laboars of tlt br,dn which they
0 g haw
have coif an˝I; in mufic, the pieces dl prhna intenzloa% are tl'
only ones which can canre ext-afics, delights, thole trantorts of'
the foul which convey the hearer from himśelś; we feel them
we enter into them at a moment; connoiffeurs can never be de-
ceived in them. At the end of one of there rublime pieces, ruv
through one of theśe extempore airs. All whole phraśes have bcea
cmapofed orle after the other, or are only one phrare changed
into different tones and whol accompaniment is only a collecCtion
made without labour, and with whatever tare this laft piece may'
be compoścd, if the remmnbrance of the othel--leaves you any
attention to beffow on it, it will be only to be frozen, as it
were and impatient for it. After an air di prima iatenzlon%
every other mnfic lores its effect.
P[OGRESSION. A continued proportion, prolonged beyonci
three times. (ľi'de Proportionk) Tile continuances of equal
intervals are all in progrcfiion, and it is in identifying the neigh-
bouring tel'ms of different progreflions, that ve are able to
7plete the diaton}c and chromati.c fcale, by means of the moditi
cation. (ľide Modification.)
PROLATION. Is, in our arrcient mufic, a method of deter-
/ninin the power of-femi-breve notes. on that of the breve, or
of the'minimes on that of the remi-breve. Thi proladen was'
marked after the cleff and rometimes after the fign of the morley
by a circle or demi-circle, pu-nc"tuated or not punctuated, ac-
corclin to the followin ruled.
Conhderin the rub-mple dirtfinn always as the moi perfete
the prolation was divided nto perfeEt and imperfect, and eacl
into major os mnor, in the hme manner as for th mode.
The perfect prolation was for the ternary mearure, and was,
marked by a point in the circle when i' was major, that is, wher
it denoted the connection of the breve to the mni-breve; or by
a point in a demi-circle when it was minor, that is, xvhen it
preffed the connection of the remi-beve with' the minime. See
1;:ig, II, and Fig. IIl. Pkte I,
ß The imperfec' prolation was for the binary meafur% and wa
marked as the time by a tingle circle when m'ajor,. or by a denS, i-
circle when minor. ,cc Fig. IV. and 'Fig. ľ'. P[ate I,
$'ome other figns ha.vc beel finee added to the perfeEt prolationo.
.cfid'e; the circle and demi-clrcl% they made uf˝ of the cyphe1-3'
to cxprcfs the power of thre temi-breve% for that of the brcv%,
3
and of the cypher , to expref the lowers of hrce rainurns fo
lte tk mi-breve,
At prefent, all prolatlons are abolifimd. The rub-double di-
vldon has gained the point over the rub-ternary; and we muft:
have recourfe to exceptions and particular figns, to exp,'efs the
divifion of any note into three Others that are equal. (Vide Power
of the Notes.)
We find, in the Academical Di&ionary, that proatlon figni-
es trill. I have never heard, or read, any where elfe, that thi
word had fuch a fcnfe.
PROLOGUE. A kind of finallet opera, which predes the
greater, announces it, and ferves a its intodu&ion. As the
thk}e& of prologues is generally elevated, marvellous, magnifi-
cent, and full of praifes, its mufic flould be brilliant, harmo-
nious, and more tender than pathetic.' %-e ought not to8rain,
in the prologue, the grand movements we would excite in the
piece; and the muffclan mu, without being flat and tirerome
in the delivery, ill know how to manage fo as m ew hhnfelf
intereing and fre in the body of the work. This gradation
is neither felt, or rendered by the generality of compofers, but
it is itl neceffary, tho' difficult. The be way would be, not t
be in want of it, and to fupprefs entirely the prologues which
oply tire and hurry the fpe&ator, or injure the intere of the
pmce, by employing the meods of intereRing before-hand.
The French opera's are the only one% which have preferred
prologues.: They, moreover, furor them only became hey dare
not murmur again& the finefs which they contain
TO PKOLONG A SOUND. Is, in finging to, ma.n.age th
voice, fo that we may continue it a long te ithout taking
breath. There are two methods of proling a found: the
fir i in fuainlng it always equally, which is generally done o
lenets, and laboured accompaniment; the feeGrid, in rengthening
it, which is more ufed in paffages and trills. The fir method
reqaires more junefs, and the Italians prefer it: the feeGrid ha
more eclat,,and pleares the French more.
POPERLY. To ting or play properly, is to execute the me-
lody with the ornaments lhltable to it. This melody being no-
thing by the force only of the founds, and having no chara&er
by itlelf, takes on, only by. the affe&ed turnings given to it ia
its execution. There turmngs, taught by the maRers of the
tae in tinging, are what are called the graces of the French
rimtic. (Vide Graces.)
PKOPOKTION. An equality between two conne&ion.
There are four klads of cnne&ion viz. the arithmctical geo-
metrical harmoni% and counter-harmonic. We muff have the
idea of thelE different proportions to undcrffand the calcalations
wi wlfich authors have loaded the theory of mufic.
O g g z Let
P R
Let there be four times or quantities, a, b, e, cl; if'' the
ence of the fir term a to the fecond b, is equal to the differenco
of the third e to the fourth d, there four terms are in arithme-
tical proportion: fuch at% for insane% the following numbers
If, inead of havin regard to the dierence, we cornpar*
there term by the method of containing, or being contained
if for insane% the fir a is to the fecond b, as the third c is to tho
fourth d, the proportion is geometrical: fuch is that which thef*
:four numbers form, 2, 4 8, t6.
' In the fi example, the excels by whlch the fir term 2
furpaWed by the fecond 4, is ; and the excels by which th
third 8 is furpaWed by the fourth lo, is alfo 2: there four term
are then in arithmetical proportion.
In tho fecond exampl% the fi term is the half of the
cond ; and the third term 8 is alfo the ball of the fourth 6:
there four terms ae then in geometrica 'proportion.
A proportion whether aithmetlcal or geometrical, is called
nverfe or reciprocal; when after having compared the fir term
with the fecond we do not ompare he third with the fourth
as in dire& proporrion but the fourth with. the thiM, and tho
eonne&ion being thus taken, are fouud equal There four num
Bers 2 , 8 6 are in reciprocat arithmetical proportion; and
,he four , 4, 6 $, are in reciprocal geometrical proportion.
Vhen in a dire& proportion, the fecond term, or confequeneo
of the fir conne&ion is equal to the fir term or antecedent
of tha fecond eoBneion thet two terms being equal. are taken
for the Came, and written only once in,cad of twice. So
this arithmeticat proportion, t 4 4, 6 in,cad of writing tho
number twic% we write it but one% and the proportion
placed thus, , 4, 6.
In the lmo mannel,, in this geometrical proportion, , 4 :: 4 8
inead of writing 4 wic% we write only one, in this manner
When the confcquence of the fil- connexion ferves as
tecedent to the tcond, and the proportion is placed in three
imes, thi proportion is called thorough, becatlfe between the
tond references which form it, there o interruption found
therein, when it i placd in four times.
Thel three terms . 2 4, 6 ar tn thorough arithmetical
proportion, ad thcIh other three , 4 8, are in thorough ge-
ometrical pi'OpOl'tio When a thorough proportion is prolongcd
that i, when it has more tllal) [[99 Bles ov two equal refer-
ces, it is called progreffion.
So thclh four tcrm, a 4, 6, 8, form an arithmetieal progref,
n a'l;ich ma 7 be lu'olongcd as ;$ul as we [>leaf% in adding
t4qe difference to the Iac term; and there four terms, , 4, 8,
form a geometrical progrefflon, which may be prolonged in the
fame manner, as much as we pleafe, in doubling the laf term,
or in general, by multiplying it by the quotient of the fecond
term, divided by the firf, which quotient is called the expofi.tn
of the connexion or progreflion.
When three terms are fuch as the fir to the third, as the dif-
{ererice of the fir to the fecond is to the difference of the fecon
to the third, there three terms form a kind of proportion, called
harmonic. Such are, for inance, there three numbers, 3, 4, 6;
for as the fir 3 is the half of the third 6; in the fame manner the
excels t of the fecond on the fir, is the half of the excels 2 of
the third on the feeon&
LaXly, when three terms are fucl b that the aifference of the
fir to the fecond is in the difference of the fecond to the third,
not as the fir is to the third, as in harmonic proportion, but,
on the contrary, as the third is to the fir, then there three terms
form together a kind of proportion., called counter harmonic pro-
portion. So there three numbers, 3, 5, fi, are in counter har-
monic proportion.
Experience has ewn, that the connerions of three choMs
founding the perfe& m4or concord third together, formed ben
tween themfelves, the fort of proportion which, on that account,
was calld harmonic; but this is a pure proprier of numbers,
which has no nlty wth the founds, or with their effe,
the auditire organ; fo the harmonic and counter harmonic pro-
portion belong no more to the art than arithmetical proportion
the geometfical which are even of much greater utility.
We mu always think, that the proprieties of abfiraaed quanti-
ties are not proprieties ot founds; and not leek, in imitation
of Pytha oreans, rome filly chimerical analo ies between thingg
f dfferent nature.s which have Olily connerions of convention
between them.
PROPKIET. The execution of the air with the ornament
.fuitable to it and whigh are called graces in tinging. (Vide
Graces.)
PROSLAMBANOMENOS, Was, in ancient mufic,
fiattef found of all the fyein, a tone below the hypate hypaton.
This name fignis fuper-numerary, acquired or added be-
aufe the chord which nd'evs that found ws added below all the
tetrachords to continue the diapafon o' the o&ave with the mefis
and the diapafon or double oave, with the nete-hypcrboleon,
which was the arpe chord of all the fyem, (Vide Syem.)
PROSODIAC. The profodiac nome was thng in holtour
's ad Was a they fiya iavcntgd b Olympus.
?KO5ODY.
P ľ
-IROSODY. J kind of nome for flutes; and peculiar to the,
canties which were lung, amongfl: the Greeks, at the entrance of'
facrifices. Plutarch attributes the invention of profodies
C!onas, of Te aa according to the Arcadians and Thebes
g.
.cording to Boetlus.
PROTESIS. The paufe of a long time in ancient muflc,
ß vith the difference oś .the lirare% which was the paufe of a fhort
imeo
PYTHAGOREANS. The name of one of the two fes into
which .the Theoricians were divided in the Greek mufic: it
took its name from Pythageras its chiet] as the other re& took
its name from Arioxenes.
The Pythagoreans fixed all the intervals, as well confonant
as diffonant by the calculation conne&ions. The Ariox-
nians on he contrary fald that they appealed to the judgment
f the ear. But, at bottom, their difpute was only a difpute
ords; and under more fimple denominations the halves
-fourths of the ton% among the rioxenian% either fignified.
othlng or required no calculations lefs cornpored than thole of
the limm% comma's and apot0me% fixed by the Pythagoreans,
p propofing for inffanc% to take the half of a ton% what did
an Arioxenian propore ? Nothing on which the ear could place
fixrjgment. ither he knew not what he would fays
profed to find a medium propotlonate between 8 and 9' Thi
proportionate medium if the thuare root of 72 and .this fquare
oor is an irrational nulnber there was no other poffible method
of affigning this half of the tone but by geometry; and this ge-
ometrical method as not more timpie than [he reference% from
nnmber to number calculated by the Pythagol'ans. The tim-
plcity. of fle AriRoxen]ans was only' apparent; [g was a fimpli-.
gjty timilar to that of the fyffeln ef Monl; Boilclou
11 fak hereafter. (Vide lnterval Syem.]
UADrUPLE DEMI CROTCHET. A note of
cqua, to the fourth of a demi-crotchet, or tlie ßßhalf of
dou le [temi-crotchet. Sixty-four quadruple demi-crotchets are
ixeceffary for a four timed meaful'e; but a meafure is feldom
filled, or even a time, with that kind of note'. (Vide Power
of the Notes.)
The quadruple demi-crotchet is almof always united with
other notes of equal or different powera, and is tlaus figured:
i,˝nthefi;: f It takes its name from four trokes or l-
ß , which it bears.-
QUANTITY. This word, in mufic as well as in profody
floes not fignify the number of notes or fyllables, but the relative
duration whictx they ouzht to have. The.quantity lroduces the
rhyme, as the accent pt%duces the intonation. Fr%m the rtxym˝
tnd intonation refults the melody. (Vide Melody.')
Q_UARREE or BREVE. A kind of note formed thus
and which take its name from its figure. In our aaclent muti
it was fometlmes equal to three femi-breves, and rometimes two s
accordingly aa the prolatioa was perle& and imperfe.
Prolation.)
The quarre% however, is al,ways equal to two śemi-breve
but it is very tldoln ufed.
QUARTER OF A MINIME REST. A power of filenee,
which, in the Italian mutic, is figured thus, , in the Frenclx
-; and which denotes, as its nalne expreffes, the fourth .part
of a mlnime reft, that is, the equivalent of a double demi-
crotchet. (Vide Minime Reft, Power of the Notes.)
QUARTER OF A TONE. An interval introduced into
theenharmonic genus, by Yiriftoxenes, and whole computation
is fordato. (Vide Enharmonic, Scale, &c.)
We have nelthcr in the ear, or in harmonic calculations, any'
principle which can furnifh us the exa& interval of .the quarter
of a tone; and when we conrider what geometrical ope,'ation
are neceffary to determine it on the monochord, we are nearly
tempted to thine& that we have, perhaps, never toned, and never
fhall tone the qum'ter of a tone jut}, either by the vole% or any
inftrument.
The muffclans call 'al[o the quarter of tone, the interval
!fich from two notes at a tone from eacl other, is found be 2
l',vecn the B flat of the fuperior and the diefiB of the inferlo,-,
an interval which the modification caufes to vanlfh, but which
the calculation may determine.
This fourth of a tone is of txVo kinds, viz. tile major enhar-
tnonic, in the conneaion of 576 to 65, which is the colnple.-
ment 'of two femi-tones to the major tone; and the enharnlonl˝
minor, in the computation of i5 to i28, which is tile comple-
ment of the two fame femi-tones lninor with the minor tone.
Q..UATUOR. This is the name given to pieces of vocal and
inptrumental mutlc, which are Of four reciting parts. (Vide
arts.) There are no true quatuors, or they are to no parpole,
a good quatuor the parts muff: be aimoil:: always alternative,
becaufe, in every concord, tilere are only two parts, at tile moil:,
which form an ail- and which the ear can diftinguif14 at tile talle
time: the two others are only as i filling tip; and we ought
never to place any filling up in a quatuol-.
Q_UINQ_UE. A name given to pieces 9f vocal and inttru-
mental muff% which are of five reciting parts. Since there is
no true quaruer, for a inuch better realbn, there is no veritable
uinque., Each of there words, the' paffed from the Latin to
tile Freeh, are pronounced as in Latin.
Q_UICK. In Italian_ PrePto. This word, at the head of an
air, denotes the quickeft: of all the movements; and it has after
it only its fuperlative preftiffiln% or prefto affai or very raft.
ANZ DEs vACHES. A celebrated air among tile
nud which their young herdlhlan pl.ay on the bag-pipe=
while they keep their herds ell the mountalus. (Vide Mufic.)
RAV.4LEMENT. The keys, or ff:eln a l-avalelnent, is tlla:
which, inff:ead of being bounded by four ocqraves, as the ordinnry
[ey, is extended to fly% adding a fifth below the ut, a foul't]
above it, and by this means comprehending five o&aves between
the two f;t'% The word ravalement COlllCS froll the organ and,
harpfichord inakel-s and theft: arc the only inPtrUlllents on whiclx
.*.'e call colnpl-e]lend tlve oCqaves. The fllarp inttl-Ull'ents
evelt tile ut fkzldoln above, without playing t'allle; and the con-
cord of the baffles does IlOt perlnit them to palh tile ut below.
RE. A fyllable by wbich we Ibl fit tile l:cond note of tlm
gamut. This notc in natural, i CXpl'Clid by the letter
(Vide L3 and Gamut.)
I<ECHEKCI-IE.
r harpfichord, in which the mufician affects to !arch for, and.
'gather, the principal ffrokes 'of harmony and muiic, Which have
ß een executed, or which aye goin'g 'fo 'to be ixx .a qoncert. This
is ordinarily made immediately without preparation an/-l confe-
,quenfly, requi'res a great deal ol e
The Italia:ns call re'hatches, or rudertees,. thole arbltrll, or
or.an points, which the finger takes t:he liberty of making
ß Sertam notes of his part, śufnendin his raft, pafllng thro th
d,fferent (fiiorcls of the mode, and even in going out fomenmes
according o the different ideas of his genius, and the turns ot
his throa% whilff all the.accompaniment cafe% till he thinks it:
proper to finlfh. ß
RECITAL. The general name of all that is fang with a fingl
'oice, We fay a recital of the.bars, a recital of counter-tenor.
This word is applied, in tiffs fenfe, to.inffruments: We fay,
%cital of the violin, the flute, the hautboy. In a word, to rcite
is to ting or play alone on any part, in oppofition to the ch6ir
or fymphonff in general wherein feveral ting or play the .time
par{ in unilon. ß
We may alfo call recital, the part wherein the principal fub-
jea reigns, and of which all tI{ reft are only the accompaniment,
They hive placed, in the Dia[ona.ry of tile French Academy,
The recitals are not at all rubieS-to the roeafore as the airs."
recital is often an air, and confe uently mea'fured Qer%
Can the Academy, perhaps have confounded the recital wtlx
the recitative ?
' RECITING. A reciting part is that which is fun by a fin-
le voice, or played by a śn'gle inftrument, in oppofi-iofi to the
p rts of śymph0.ny anti choru% whlcb ae executed in unifon
lveral concertants. (Vide Pecital.)
RECITATION. The a&ion of reciting mufic. (Vide'T
Recite.)
TO RECITE. Is to' ting r play alone in mufic. To exe-
Cute a'recital. (Vide Recital )
RECITATIVE. A dillore're recited in a mufical and haemo-
n'ious tone. It is a method of fitlo'inc which a,,roaches nearN'
to tpeecl b a declamation in mufic, in Willell the muffclan fhould
i..m. itate, as much as pofllble, the inflexiona of the declaiming
voice. This air is called recitative, becaufe it is applied to na,'ra-
tton, recital, and is ufed in the dramatic dialogue. Tley have
paced in the DiCtionary of the Academy, that the recitative
thould he uttered diftine"tly: There are recitatives which fhoul/1
be fo, and others which' thould be furrained.
The pcrfc&ion of the recitative depends much on the' charaer
of the laugt,.,g,.; the more tile lan uae ia accented and melo-
1-1 h 1 g
dious
tlous, tle more tile recitative s nfftural, and draws near to real cl/
courfe: it is only.the accents marked in a language truly mufil
but in a heavy flat, and unaccented language the recitative
only notes, cries, falmod The words are no longer difco-
Veted. Here I thmk is the only true principle drawn from the
natare of the thing on which we 'ought to fix to.iudg the
recltaiive, an' compare that.of one lanKuae to a.nher wz. that
tlte heft recitative is tlla whein we nthe Ica. '
' A'mong the Greeks all their etl'y was in recitative
ea.ufe the language bing melodious i't w'as ficient to add tO
5 t the cadence of tile mre, and the fua;ned recitation, to ten-.
der this recitation enlirely mufical; from wlence it comes, that
thole w]o verify call it fin*inv This cuom, llax'inv ridicu-
1oufiy paWeft into other languages, eaures the poet to fay, I fing
when there is notinglng in he care. The Greeks could ting in
;peaking; but amonff us we muff citijet ting or/peak: we can-
ot do th t the fme t[me. 'Tis this very dinion Which
has rendereft the citative neceffary f us. The mufic predo
minates wo much ]n our airs; the poetry is aimo torgotten;
ur lyric dramas are too much lung to be fo always. An opera,
which flould 3e only a cdlle&ion of airs would tire almo as
much as a whole tingle air ef the fame length We muff divide
find feparate ihe airs by conveffation; but this converfation oul&
Be modified by mufic. Tile ideas outd change, but 'the' lan-'
guage muff continue the fame. This language being once given,
to change it in the cour of a piece, would be to ;peak half
rench, half German. The paffage from difcouffe to the aird
nd reciprocally, is too unequal. It ditguRs nature and the ear.
t the fame time; true interlocution ould ;peak .or ting; the
cannot do alternatively one and the other. The recitative more-
over, is the method of union herween fixe air and the words
ir is that which/parates and difiinguifies the airs ;' which quiets
the ear, affoni/hed at what pt'eceded; and dfpofes it to taffe:
what follows. Laly 'tishy alii;rance of the recitative, that.
what is only dialogue, recital, narration in the drama, may bd
rendered without going out of the givcn language.ahd Witlout
ditlacing the. eloquence of the airs.
Tile recitative is not mcafin'ed in ting;fig: . This meafure
'hich charael'iFes the airs would loil the rcCttlng declamation.
It is the acccnt whether grammatical or Ol-atorlcal wlfich ough
alone to dirc the flOWilel Or rapidity of the lbunds; in the
three manner allB their elevation or lowering. 'he compofer
in making.the' i'ecitatirc on /bnle determined meMhire has no-
thing in view but to tiX the cori'ctiondence of the thor6ugli lgal
and inufic, and to' denote, ncai'ly how the quantity of the
lab& llxould be mark'd, cadcncd and the 'crcs lam'd. The
Italiaaa
R E
]tal;ans never lna.e ufe, for their recitative, ol e any but tlae four-
im'd meafure; but the French intermix their's of all forts of
incalures.
There lafl: number the cleft' atfo with all kinds of tl'anfpofitions,
as well as for the recitative as for the airs, which the Italians do
'not; but they akvays mark the recitative in natural': The quan-
tity of modu'latlons wltll which they are loaded, and the promp-
titude of the trantitions, eauting that the trinfpofition ruinable to
ene'tone is not fo to tho i,n which t paffes: would multiply the
accidents 'on the fame notes too much, and would render the re-
citative almo impoble t iollow and very dicult to be
marked.
in effe: it is in the reckaffve that we gl, t to make ufe
the mo laboured harmonic iranfitions, and the mo ineniou
modulations. The airs, offering ly a fentiment, and an image,
endfed, laxly, within folne unity ex,preon, do not permit
the compofer to be diant from ele priipal tone; and if
wied to modulate ch in fo ort a' fpace, he would offer onl T
murdered phrfes, without unlon. taffe or 1ody :' A fuk verT.
common in the F'reh and Germa mufic.
But in the recitative, where the expreons) the fentlments,
ideas, vary every inant, we ought to make ufe of inoduatlon
ually varied, which may reprefent, by their contextures, th
fucceon, exweWed by the d'ifcourfe of the reckant. The in-
flexions of the fpeaking voice are not bounded by muficl in-
tervals. They are uncontrouled, and impoble to be determined.
Not ,einv able' then to Hx them with a certain precifion, the'
mufician,o follow the words, fioutd, at lea, imitate them au
much as poble; and for the purpofe of conveying to the mind
the aience the idea of intervals anti accents, which cannot
be expreWed in nes, he has couffe to tranfitlons which thp-
fe them: If, for inance) the interval of the m4or or minor
feini-tone is neffary, he will not mark them; he cannot: but
he will give you the idea of them by the aance of an enhar-
monic paffa. A motion of the bate is often fucient to chang:
all the ideas, and to give the recitative teat accent and inflexion)
which the a&or is unable to execute.
In regard to what remains, a it is neceffary for the audlenc
to be attentive to the recitative, and not the bars, which ought
to forin its effe without being liened'to, it thence follows)
that the bars flxould continue in the fame note as long as poble
for it is in the moment that its note changes and it rikem
another chord, that it is attended to. Thet% moment, being
uncninon and well ohofen, do not ul any great effe&; theT
novc tlxe teat0r left frequently, ax leav him m0r eafi
R E
'in the perfuaion, that he heirs fpeak[ng only, tho' the harmony'
/hould continu.ally a on his ar. Nothing denotes a worfe
eitative than thet% bfiffes perthalI ]ehpi. ng, xvhich run fro
dcini-crotc6t te tYemi-crothek 'ht? ti harmbnic fucceon
and form, under the melody of the voice another kind of me-
lbdy more flat and 'tilerome. The compofer ould kno the
it of prolonging and a'rying {ts conc6vds on the time note
he b'afs, ad cange then, on}y in tlie moment when the in-
eion of the recitative, beeping more lively, receives greatee
fi by this change of bafs and .p?effen[ rig audiee fiom
inking notice of [[. '
"The recitati 9uM rve only to unite the contexture of the
raa, to feprate ind give wih o'the aiis, io prevent the
carinefs whic he continuance of a great noire wold caufe
Ut-hoWev eut'the dia10g.'ay be, however eergi6 and
]'ngenio6 he'rci[tve may be, Jr'ought to continue no longer
han i figeffry t' i 0bier, befe it is not in the recitativ e
thlt tlie chopin f mhfic as an ih'at he era as initute'
fily to difp!ay. this Charm. Moreover, k ig 'm th that the
rror of the ItIians ligs, h &y the extrei length of thei
enes/ ike ah ill'hf'o'f this reitaie.'. Howv'er. beautiful
may be in itfelf, i tires; becahfe it ofitiaues t Io,qg; a that
ik is ohl to hear th citativh 'thai e =0 to the 0per
' DemoRhines fpdakmg the Whole day would ttre.m the end
ut i{ WoUld n řt th'nke'/olto,' thai Demohen Was a tifom
?ior. Thrift' fio:'fiy that ihe Itiliags d their reci. tative
bd, ?ay it-Very ffinkly'] finde, on the kontrary there is no part
ih muOc of Jlich hd conhoiffeurs mk fuch great count, and
liich th.y ar fq'dicult. It is wen fucient to excel in.
t{is figle pff/t, were wi bOt middling in e.vv 0er, to be railed
ih thtot'inir'y to thfi rank off thffmbR ill'Ufi?i0 arti, and
th'e clb(add Forp0:,: xtfii on i'mb,'talifed hy'-that mitliod. '
"' i'fidS :t}iat;tfio"ike'dohot leek ih ieral in the recitative for
lhe tml energy of x[hreon fis in 'tile airs; it is iil found
fOetiqs; a'nff:wh.n. it. is 0hnd it'forlhs a greteb eff& than
i;i 'h alta theinfelv6s, There';re ood opera',' whre
ph'incipal' pict6 8f rekitatlve excites' the' admiration of cormoil-
' a'urs,' fififi fi'fi inte?eff ifi"kh' whole tetcte: The effe& of there ß
pieces tbows fueietlv tlmt' the'fault imputed 0 tlxe genus lien
onl z m the method of treating t. ,
:Iofif. Tafi rliies. having..lieard, in 74, at the opera-
offfe Ancofib, a'pce'fif' i:ecitfiiie of out ti 'le line. and'
ß 4ifli6ut an3'. acopanixent btii' tli bali, form. =t mq0iiofis e.
gff, hot 6n'ly n' fli'8"rbfcffors 'of tlie el'i, ut'6n'ill th
'˝ each reprefentatlon, a profound filenee. amongf the whole au-
dienee announced the approach of this terrible piece. The
4; faces grew pale; they felt themfelves thiver; and they beheld
' each other with a kind of terror: It was neither tears nor
groans; it was a certain fenfatlon of rough and difdainful
' rigour, which troubled the foul, confined the heart, and froz.d
the blood." We fhould tranfcribe the (riginal palrage: there
efteEls are fo little known on our theatre, that our la/guage i.
aimoft incapable of epreiting them. ' '
L'Anno q.uatordecimo del Secoio prefente nel" dramma che
reprefentava in Ancona, v'era fu'I principlo dell Attoterzo
riga di recitativo non accompagnato da altri ffromenti che dal[
baffo: per cui, tanto in noi profeffori, quanto negli afcoltanti,
dertara una tale tanta co,mnozione di animo, che tntti fi guarda-'
wano in faccia l'un l'altro, per la evidente mutazione di cotore'
c. he fi faceva in ciafckeduno di noi. L'Eitetto non era di pianto.
(mi recordo benifiimo the le parole erano di fdegno); ma di
certo rigore e freddo nel fingue, che di fatto turbava l'animo.
Tr. edeci VOile fi recito il dramma, e letup. re fegui l'.effet.o fiefro
umverfahnente: di che era fegno palpabile il foretoo prevo fden-,
zio, con cui l'uditorlo tutt0 fi apparecchlava a goderne l'effetto. '
RECITATIVE 'ACCO,N/IP'ANIED. Is tlat to which, be-.
fides the thorough bars, is added an accompaniment of violins. Thi
accompaniment, which cannot by any means be fyllabic, toge-
tiaer with the rapidity of the utterance, is generally formed of
long notes ihftained on entire meafures; and we write, for this
putpole, on all the parts of the fymphonr, the word foienuto
chiefly in the baS, which, without that, would ttrike' only fiat:
and detached itrokes t'each chang of the note, as in the ordi-.
mary recitative; whereas we muff, in that care, prolong' and fur-
rain the founds, the whole power of tile notes. When the ae-
compa'niment'is neafured, this obliges us to meafure the recita-
tive, which then follows and accompanies in rome kind of ac-
companiment.
RECITATIVE MEASUR'D: There two words are contra-
diory. ß Every, recitative,'wlereln we find any 0tlier meafure
than that Of tile ve'fe% is no longer recitative. But an odinarr
recitative is often cha. nged on a fudden in mufic, aiad takes from
meaihre and melody, whatever is marked in w,'i6ng on the parta
a tempo, or a battula. This contraff, this well'managed cha,ge,
aProduces ihrprifing effe&s. In the courfe of a reckati.ľe, a tende
nd plaintivr˝fiekion takes the mufical accent, ,and is difplavccl
inlantl}, I)y the fweeteR inflexions of the mufic; tticn, being
in. the lame manact- by. foue otlter lirely-and"impetu0us reflexion,
it is rou$1l, itcrrupted to take at a monen% ttic 91i61e utter:-'
=ace o the worcls. The'e fhort and meaśu,-ed peccs, accora-
panicd, in general, wth tlutcs and horns, at' not uncommon
grand italian recitatives.
The recitative is attb meafm'ed when the accompaniment with
ivhich it is charged, being tuneśul arid meafured itśelf obliges the
vecitant to conform his voice to it. It is lei titan a meatiereel
recitative, than, as I ha.re tid above a recitative 'accompanying
I/he accompani meat.
RECITATJVś CONFIN'D. Is that vhich, being int'ermixC
wit rittornels ad frokes of tmphony, confines, as it were, the
reelrant and orchePcra, one to,yards the other. tb titat they ou,-ht'
to be attcnuve m a mutual degree. Tlmśe atternauve pafiage
of rcitaxive and melody, clothed with all the eclat of the or-
˝hefra, are the moi zouching, molt ravififing, and mr>it energi˝
larts of the modern mealare. The acefor agitated, traniortec}
x'ith a pallion which does not fuffer him to go throngh his fpeech
is interrupted breaks off' makes a fl:op, daring w[ficb time the
{n'cheftra tea,ks for him; and thel, filences, thns fiHed aff'e the
audience infinitely more than if t!e aor himfell' xq)oke all that
the mufie makes them nnderftand. Thus far, the French mufic-
/has not been abte to make aay' ufe of the confined recitative.
They have endeavoured to give ibme idea ol: it in a fcene,
.Down du l'711affe; and it appears that the public has found, thae
:a fituation when lively and thus managed, became, m.uch. more
icterefting. What would rmt the conhned recitative do in grantS,
and pathetic fcenes, if ib great an acquifition can be drawr- from.
i in a ruffle and jocular genus.
; RECLAME or CATCH WORD. Is, in church-mufic, that
part of tl'te anfwer vlich is re-begun alter the vert. (Vide;
nfwer.)
'REDOUBLED. We call a . y'. ,
redoubled interval e*er fimple
interval carried in its oave.. So the thrtecnth compoted of .
tixth and oOave, is 3 redoubled fixth; and the tifteentl b whicl
is an oOrave addzd to the oOav% is a redoubled oaveo When
nttead of aa oave, we add tvo the interval is triple; and2
quadruple when three are added.
Every interval utlot name paflks śeven in number, is alvay
at leait redotbled. To find the timpie of any redoubled interval,
throw out revert as often as you can lrm. n the name of titis ia- .
tcrval and the remainder will be the name of the timpie inter-
a'!. From thirteen throw out fi2vcn tit remains; tb the thir-
teenth is a redcuibled fixtlt. From fifteen take away twice fcven
or ibm-teen, oi«e rcgla. ills i lb tim tiftntl is a tripled unilbsl
doubled uaavc. cclprocailt
Recprocallv, to redouble nny timpie interval, add to it iven ,
md you will have the name of the fhme redoubled interval,
triple a timpie ntervat, add to it fourteen. (Vide Interval';')
lMDUCTION. A collco of noes diatonically deścendlng-J
'The term, as welt as its contrary ded'ucior, is ne longer uf
but in church-muic.
RELATION. _8 ˝onnef'tion which he two founds that fortin
an interva! have with one another, confidered by the genus of tha
interval. The relation is ju when the. interval is jui, major or
minor: it is fall% whetlzor fuperfluous or diminifhed. (Vide
I4terval.)
Amongt falfe!.'relations, we conrider as fuch in haxmony, thole
only xvholk.twe founds cannot enter into the ihme mode. So'the-
t.riton, which in melody is a fali relation, is not fo in harmon3r
but when one' of the ibunds which form it is a chcrrd unknowrr
to the mode. The dimlniflied fourth tho' banifhed from har-
naony, is not always a fatfe relation. The diminifhed and fu-
perfluous oc"taves, being not only intervals bahJilted from har-
mony, but alfo impraicable in the mode, are lways fal-fe rela-
tions. It is the fame thing with the r3i.minifled and fnlrfluoua
thirds anti fixths, tho' the la5 be admitted at profont.
in former times falfe relations were forbidden; at profen.to
they are almot all permitted i melody, but not in harmony.
'e may, however, make them ndergood provided that one of
te two founds, vhich form a falfe relation, be not admitted
a note of taft% and not as the conttitti. ve part of the concord.
We call alfo enharmonic relation, between two chords which
e at a tone of interval, the conne6tion which is found between
the diefls of the inferior and that of the fuperi. or. tt is by th
modifieation the lhme touch on the organ and harpfchord; but
in rigour, it is not the fame ibund, and there is between them
eharmonic interval. (Vide Enharmon:c.)
R. EMISS. Retail; founds are thoi which have little firength,'
t]ol which being very flat, cannot be rendered but by very
1oośe chord% or heard very near. 1Kernils is oppoid to intenh;
and there is this difference betveen remil and weak, in tho lhmo
manner as between intenii: and ih'ong that low and high are/hid
of the fenlhtion which the /bund conveys to the ear wherea.
intenfe and retails are rmher connected wth the caui that
tincos it.
IENVOI. A fign figured at ;viii, placed conmonly above
tle fave, which correlonding ;vith anodcr timilar gn, marks
that we' muft, whence is the lccond, return where the tiff?
a4d from thence follow until 'e find the tinal point. (Vide
lřint') REFEIC ussIo
' .RE?ERCUSg[O.. A śrequent repetition oF the ame
hh s what ppens in. every modulation well determin; wher
the effenti chor f the mode. thole whih cornpole the har-
monic trlad, .ould be reruek oftchef than an of the
moffg the three'chords of this trlad, the two extrem tha
the al, and minanr, }iieh. ar-properly the repuoa
of thetone,'ould oftcner ruck than that of the middle
Which is only t rercuon. of the mode.
REPETITIO. An effay particularly. made of a .piece of
c, which is'o be executed in public. Repetitions are neceffary
to certify that th copi-are exa& h the' am. may forefee
eir:part that the ma concert to they and aceo that the
ay expref the fpmt of the work and nder fathfu ly whae
ey e to fpeciy. Repetifiona fee the cofer alfo to
ge the ee of his piec% and make the changes it
. REPLIUE, This term 'in 'mudc gnifies zhe time thing a
he ave. <Vide O&ave.). Sometimes, in compofition. the
'fo a of th fame.note ia. alfo called plique. in to differene'
parts.
, here ar'necearily:'repllques in each eoncord throughout the
Ivhole df mu,of more than four prts. (Vide nifon.) "
'EPEAT. Every. part of an ai which is repeated twice
lle by-his torre. It is in,this fence that we Ay .the r repeaff
an overtur& jS at and te rec'd flay. Sometimes 'a.lfo
ß epeat. ,undeand only the. fecond part of an air. We
aH that tl repeat of Dardanus's beautiful minuel is Worth n
ling. .aly, re.at is alfo h d the pars of a rondeau
which has. often thru} and /ometim more; the fir of which'
nly is .reda. ted,...
In notes we call peat a fign which. marks thfit the part
the air whlehpr<edoa it R:ould:be repeated. which' prevents th
t;ouble of witing it twice. In his fence; we' dKingui two
ß peats,. the greater and finatler.. The'gealer' repeat is
in the-Ita!ian.manner,.,by, a double perpendicula bar wit,'txvo'
61nta byond each fide; or in th'e;renh; .b two pe?nita?
12ars a httle more dianr wh;ch travetfe". thwl!g-Rae and;
betwee wlaieh..a-pint is; placed' in ,each fpac'; ß b'ut, this feeone'
;tho is gradually aboliled: for, not being able to imltat
tle Ira!ran mufie,ehrcly, we at/ea take:the wors and fig
as th0fe yoqtl$ who think they follow Volta'ir's:yle by iinita-'
ting bin orthography.
This repeat, thus ptm&uated on the rlghZ, and: leC nerJIl;
denotes a that We mu bcin aain tvicc: as well he part whicn-
preccdea
:ľz'edes 'as ha't '(vidh śollows, to'r wich afo'n, it Ds general y
Yound near the middle of paffe pleds, minuets, gavots, &c. '
When the epeat has 'loi'nts of, the left only, it is for the repeti-
tion ol: that which-prffcede.s and When on the ight, it is for the
,epetition of what fol10w. !t'v6ukl be at lcaff to bewifhed, that thi
' 'convention, adopted. by rome, was en'tirely eLablifhed for it appears.
'to me very convement Vide the form of there different repeats.
1 E P F. A-T S.
In the Italian lorrll. In the French Form.
The finallet repeat is, when afte? a greater repeat we begin
śome others of the la{t meafnres before we finifl. There.are no
pccul;ar 'figns to 'the fmaller repeat, but we commonly ufe rome
fign of the Kenoi figured above the leave. (Vide Renvoi.)
We mutt take notice, that thole who mark corre&ly alway
hake care that th'e la{'c note of a repeat be exaly connec'Sced fo
the meafnre; b6th 'to th.at which begins the śame repeat, and to.
that which Egglns the tľ11owing, when there is one. If the refe-
rence of tlefe nocs does ot exactly fill the meafure after tt
note whiclx terminates a repeat, we add two or three notes of
that vltfch Ought to be re-begu% until we have fnfficiently fpe-
:ified how the meathre is .to be filled: Moreover as at the end
of a firfc part W have śrf'c the firfc part to repeat then the
cond part to 136o,.in; arid as hat is not filwa s done in times,
-. . y or
fimila,- parts o t,mes, we are often obhged to mark the final of
the firit i'epeit tsviee; One before the fign oF repeab with the fir
notes of the firit part; the other, after the fame fign to begin the
śecond part. We then draw a cliapeau or half~circle after that
iirf'c final until its repetition, to denote that the fec0nd time we
mu{'c pafs as null all that is comprifed under the demi-circle.
cannot render this explanation more clear, fhorter or more exa&
but the ollowing method will lhow it more perfelly.
Metliod of Repeating.
.- .
I i i IESON-
' R:EqONNANCE. A prolongation or refleehion of fi. ur
whether by the continued vibrations of the chor4s of an, inru
men b. or by the tinkling of a fonorous bod, or the colligon
the-air enc10fed i a wi inrent. (Vide Sound,.
InCrement.)
Elliptic and parabolic. vault refoud; at is refle& the foundo.
{Yid Eccho, .
ccording to Monf. Dod.art the hole, mouth, and ts parts
as the palarea the tone, the teth, te :lips, have no conne&io
;th th tone-o the voi; but their effe& . ey g.re[ iq.
fonnance. (Vide Voice.).
A very leahDie example is drawn from a mgpl inrument
cal!c(t guimba3d , 'which, if we old i with tfi fingers, ad 5tike'.
6n the langutte o tongue wilt'give no found; buf if holding
bctveen tlm teeth we the fame,' it will ;ender a found,' whic
is varied b conflnln it more 9r lefs, and is heard very far, par-'
iculrly ifi the'bars5"
n chord inrumen'ts, fuch a; the harpchord the violin, the.
vlolihcelto , the found comes fro the chord 0nly; but the refon-.
n[nce depends on the ca(e of the inrument..
RESPONSE. A kind of redoub}ed ncient which is. lung
the Roman Church after the morning lqffon, and whlch fini.
in the method of a rondeau by a repdat calldd reclame.
The 'air 0f the ;efponfe ght to be mre' ornamened thaa.
that 'of: an ornary a'ncienr, without, hofvee, zoin out of the
flat melody, or of'[ht of the mode which'we. ave' elmfen.
is not however,' neceWary for the erfe of a: efponfe to be ter-
mhinted by the final note of the md˝: it is fuffiifi [a[ tlxia
final. terminates the ret[>ont itfelL
RESPONSE. Is al/B, in a fugue, the entrance oF--the fubj
by another part' after the fir5 has made it o be hea4; but it is
'phrtiu[ai}3 in a counte h-ue, the entrance af the ihb'e& varied
from that which' has been ju heard., (de ugue. Counter
.Fugue.) i . .
REST. A kind of thick bar which perpendicularly traverfe
one or more lines of he ave and which, according to the nmk-
her' o .line.which it c0ml>rehend , expreffcs a greater 0r fm.ilee
' qufi'fi'ti'ty of eatres, which ought tO. b pafid iff filenee. '
Anciently there were as.any kinds of rcs as different power,
:of the notes, from t[e femi-brve, which is equal to a meaIhre
to the maximum, which equals eight and whol duration in fi-
lenee, was'empowered by a"re, hich, going of from offe lin
. travetYed three t>accs, and ioined tle fourth lind. ' '
..... At prelnt, the grat5 're is of 'fdur tach'lares. Thi' re
going off fi'om one fin% tr&verfca the ollowing an ia joined
tl,' third.
Kes of four Menlures. e of' wo. Menlures.':
tt is repeated once twlce or as many t}mes re ncceffar T
to exprefs eight meafures or twelve or 'every othor.multiple
four; nd we generally add a cyphe G which difpenfei with cal-
Culating the owcrs of all there res. So the figns coered b
the cypher I6, in the above plate denote a filnce o'fixtcen
menlures. I do not fee very clearly the great utility ofa, doubl
tlgn to the fame thing. So the Italians, to whom a gat
praaie of mufic always fugges the fir methMs of abridging
its figns, beain to fupprefs res; in the place of which the
{ubitutc the cypher 'which eXprcffes the number of meafure to
be counted. But aa attentio% which we mu :have in that care..
is not to confound there cyphers in the ave with ofler fimila
yphers hid may ark th fpacc of th mafum
3i Meafures .to, be cSugte. d.,
Set, in the above figure, we mu take cam to cllffinguith th
.gn.'.6.f'ihree times from that with the n.umber' of paufes to be
.counte4, ś97 .fear, that inf'cead of 3x meafuresor. [:ag'es, we ihou!d
.reckon 33!:
The tinallefl: re is of two meafures, and. trgv, e.rf'mg a. fingl
)ace is 0fi'ly'ex;efided to the line nearePc to it,
ß The ot4er le' tlences, as a meafure, half mealurea. time, demi-,
time, &c. 'ar exp?effed' by the words paufe, demi.-pauś%. &c
(Vide th.ofe word.l
It is eafy to underfand, that in combinlnff 'all there tigns.s
,may eprel, at plealure,' ilences of any dura'ion.
$Ve muff'not,con'fofind; with reits bf filenoes. other felts pre-.
clfely of the i:ame flggr a XMc'h,' under the namof initial pailless
iErved ih our arieleat 'unc t6 announce the ,node, that is
meafure; which I have h$e fpken o &t the word Mode.
RHYME. Is, in its ,!oft general definition, te proportion
that the part oś a whole fiav'hc$weeil each other. Iiis,
mufic, the difference wllich rf,u!ts. frbn quiknefs or flowncfs'
.length or'brevity of the times.
[ x.riffides. Q.9intilian divide the rhyme into three kin&, vlz.
the rh me of iramoveable bodies; whiclz rcthlt, from the ' ff to-
... y .... P.
I i ! . pomor
6rti0n of th.ei' parts, ;.
s m a..wcI1 made ftatuc; {he rJyme o[
aovement as in dancing; the walk ;veil cornpored, and the'
attitn&s of.pantomimes-; and ttie rhyme in movements of thd
oi orretiVe durg$i0 of tbund.s, in fueh-a .pro. poi-tion, that;
hether we alwfiys rike the fame elioral, or vary tile founds kom
rp ,o .flat we a.;'ays mke agreeable effes refalt from 'their
fuceffn in .thei? fiar'ion and qfiantlty. This la kind of-
fly. is tte only one which I flialt here fpeak of.
The rhy: appJied {6 the voice may be underwood either of
ords or muc. I the fir fenfe, it i from the rhyme, thae
he nnb'r and hmony of rioqueUe arife; the meafure and
Cadence o( p6ety in the fecond, *he rlyn i properly appfied
o the power Of es and is now called nleaire. (Vide
Meafure.)
.. It i a.lfo the; .nd aeceptati that flod c0aane wha
i v to fay her o { hyme .0.5 khe ancients;
. the fyllahles og Gek aguage had quantity and mo,'d
..pers, aa w. more dteed than th&e of ou˝
language; and as khe verfes Which were fufig were cornpored 0
a certain number 6F feet5 Which there fyllables formed 15ng o
Ort, 'fferentty'do. e ?he 6f' th6 mu.flarly
ft te movme thor6 f, and wai pro, fly its exa
prev '-s dlvi wall as tho into two ts, -the one
ruck the other failed." ey'conid three genera, fometimet
fo.ur, mad mor% akcolding .to the different eonneais of t timea
fieth' gener were ihe-qtal, wich Wa nifo called dayliq
vheeein the rhyme Wag divide8 into two eua! times i The doua
big, tochae or iambic, in which the dufati0h o one of ihe twd
tes Was double to that of the other, The fquialter, wlfic
was nifo catted proinc 5 whole duration, .m one of the two timesl
Was o tha 0f the ozher in numerical 0owefs as 3 to 2; an
lRly. tlie epttrlte3 le ufe', where the conne&on 0f the two
mes was .as S'ffo .
The times .o tliee thymes were fufceptible 6f moe 6r lef
owneIi, by a greater or lefs number of fvllables, of 10h2 nd
flort uote% accrdin .to the movement; 'and in thlt fe, i
ime might reeive afar as eight different degr4es of 0v6ment
by the number of t11abl'e Which cornpored it; but the o times
l'ays preCerved together the conne&ion determined by the genu
of the thyme.
Bdes that i the movement and timdon 8f the fyllables, and i
onfequentl'y, 0f the times antl'rhytne which reftIred from theme.
ere thfcptibl'e of accelei'a'ti0n and flacening at the plealure of
tle pti according to the expreflion of the words and charef
f the paons hich were to'be eXpreltd/' So from tliel
lwo neaihrs combined together s ar0fc a luantiry of poflilfle mo
dificatiaa
R I-I
ttificaton in the movement of a fame rhyme, which had no other
ounds than thole above or below which the ear was not of aa
extent to perceive their proportions.
The rhyme, in reference to the feet which entered into poetr7
was divided into thre other genera. The timpie, which admitted
only one kind of feet; h cornpored, which refulted from two
r more kinds of feet; and the mixt which might be refolved
nro two or more rhymes, equal or unequal, according to
different combinations of which ir is fufcptible.
Another fource o variety in the rhyme was the dierenc
the movements or fuccffions of this fame rhyme according to the
inter-mixture of the different vetres. The rhyme might be al-
ways uniform; that is be ruck by two times always equal
in the hexameter pentamerer adonian and anapeic refits,
or always unequal, as in the pure iambic verfes; or diverfified
that is mixed witl equal and unequal feet as in the fazons
choriamBics, &c. Bur in all thet cat, s, the rhymes even timilar
or equal, might, as I have fald, be very different in quicnsl,
according to the nature of the feet. So of two rhymes of the
fame genus, rethlting one from two fpondees, the other from two
pyrrhics. tlie fir would be double to the other ia duration.
.- Silences were alfo found in the ancient rhyme, not in truth[ a
ours to make only rome one of the parts be filent or to
g
certain charaers to the mufic but only to fill the meafure o
there verte, called catale&ics, which wanted a fyllab; fo
filenc never cgld be found br at the end of the erfe to fupp17
that fy!lable.
In regard to Lene's they knew them without douBt fince the 7
had a word to expref them. Its pra&ic% however, nm have
been very Uncommon among them; ar la this may be
lrred by the nature of their rhyme wMch was only the ex-
effion o the harmony, and of the harmony of the veres.
either does it appear that they pra&ifed trills and fyncops, or
the points unlefs the inruments formed romething timilar
accompanying the voice of which we have no
offias in hs book De Poemature Cantis & Veribus', ralfea
the ancient rhyme greatl and attributes to it all the torce
7
the ancient mufic. He fay that a rhyme detached as ours
which reprefents no hnage of things, can have no effe& and that
the ancient poetic numbers had been invented only for the very
end that we negle. He adds, that language and modern poetry
are little fuitaBle ra mufic; and that we t}all never have ood
'vocal mufic till we make crft:s avourable to the air; that is
till we confine our !angaag% and give it, after the example o[ the
ancients, the quaarity and meatbred eet b for
ß ß Our
R H
Our vetres, fays he, are precifely as if they had only one
foot; fo that we have no veritable rhyme in our poetry: and/
in fabricating our verfes. we only take care to introduce a certai
number of fyllabtes, without fcarcely taking notice of what nature
they are. Surely this is not a fit compofition for muc.
The rhyme is an effcntial part of mufic, .and particularly
the imitative. The melody is nothi,g witbott it; and by itfelf
it isfothlng, zs wc find by the effe of drums. But whence
comes the i'mpreffion which the meafure and cadence occafion
us What is the principl'e by which th'efc returns, fometime
equal, and rometimes varied, affc our :fouls, and may convey to'
them the fentinent of the paons ? Enquire o the metaphyfi-
eisa. All that we can fay lreon is, that as the melody tak
its characr from- the accents of th'e ]anguag% the rhyme draws.
its own from that of the profy 'and in that care ic.as as a
image of the words to which we will add' that certain paons
have naturally a rhymic charaer as well as a melodious
abfolut% and independant of the languag%. as forrow whicl
oves by flow and equal paces, as well as by low and flackcued
tones; joy by lively and q.uick tone% as. wel a by. arp and'
intoale tones; from whene% I.prfum% that we might obferve
in hll the other paons a peculiar charaer. but m dicul
to catch bocaufo the generality of thef other patens bein
compofed partake mor or lefs of precedents as. well ae fom
ach other.
K'HN[C.. A part of the art of muff% filch. ta the'
praice of rules of movement a rhy according the taws
of he rhymopa.
The rhymic, to fpeak a little more in details eonfis in knowlnff.
how to chulh, between the three modes eablied by the rhy-
m0pa. the mo fuitable to the charaer in quedion ; to know
and poffefs all kinds of rhymes-in their foudation.; to difcern and'
mae uih of the mo thitable on each occafion; to intermi:
'thein at he fame time in the mo expreve and agreeable me-'
thod; and lafily to diRinguifl the arfis ad theris s by the mo
'fenfibte and bcfi cadenced movemc0t.
R'HYMOPA'; A part of the mueal felenc% which pro-'
'fcribed to the rhymlc art the laws of i'hym%. aml of all that'
belongs to it. (Vide Rhyme.) The rhymopa was to
r!lymic hat the snelopa was to melody. .
The rhymopa had for its obje the movement the tim
whofe meafirc it dcnoted divifions order and mixrut% wheth
to move the paoni to change them or to calm tham. It corn-'
proheads aifo the iiece of mute movemcnts called orehefts, and:
n general of all the regular md'vemcnts. 'ut it was prlncipal
conuced with potrys bcal thfn po;try aloaa ieglated
movclnat
i6qrefi%iits of: mutc, anci as there wa no mutc pureli inftru-:
tnenral which had an independant rhyme.
We know that the rhymop'a was divided into three principal[
modes oe trop'es, the o/se low and confhed, another railed and[
ereat, and the middle trfffi/luii and peaceable; bat, betide% th
'nclent. have' left us t/othirtg But very general precepts on thi
part o their muflc and what they have fold of it has its eon.a
e&ion al.ways to the verfe and Word detained for'the mufie.
R[GADOO2T. -8 kind of dance the air of which is ttruck in
{wo tires, of a lively movement; an'd is generally diľided into
iwo repeats, phrafed from fou'r to four meafnres and beginning'
by.the la note of the fecorrd time. . ' -
have heard' fay, by a dancin'g-maffeei t'hat the name of thi
eldnee Was tlerived from that of the i'n/renkor who'was colleVi
Rigard.
RIPPlENO. An Italian word, which is fequertly founcl'
ehureli-m.ufic, and is timilar to the word Chorus.
RITTORNEL. A iroke of fymphony which is afecl' after .th
manner Of prelude to a head of the air, by ,ihih te air is or
dlnarily i'nnou'nced; o' at the end, t6 imiiate and cefti'flr tb=
end o'f th fame air; or, in the middle, to repofe the voic'
ftren then' th'e exprefli'on, or lira l to embellifh the iece
g . .. P.Y . P . .
In recueds or part,ons Of antrant Itahan m'ufi% the rittornet
'ure often defigned by fhe words fi' fu0na, which fignifies thall
the inflru-ment which' ace0mpanie fhould repeat wha the
'has fu'n=e
Rittornel comes from' the Italian IittOrnell%..and ggit{s
f/hall retnrff. At prefent, that fymphony ha'taken .a moie
liant character,. and alm6f{ inrtependant of the vocal, we pay nia'
more 'attention to timpie repetitions Vq:hezefoi'e the
ornel has grown' oBfolete. .
ROLE. Tire fepa'vat'ed paper Which' contains tile mu_qe that
concertant ought to exeeut% and is called part in a eoncer% 'but
roll in an opera. herefore, we ought to dit'ciCxbnte a part
each ,nuśrclan, and a: roll to e'ery a&or.
I.OMANCE. An' air on .whieh we ting a froall p6eni of the'
'fame name, divided'by couplets, whole fubiff& is ficherally ß ś6t-ne
amorous,. and often- tragic hifory.. As tl{e rom'nce
written in a timpie touching ftyle, and a rathe antique
the air ought to. anfWer fo the chara&er of the wordi: No or-
naments'; a' fweet, natural, rural melody which may produce it
them very clearly be heard, and requires not'too g.eat an
ef ľoi˝=,. gk w=l ˝ompofe˝l romance which has nothing foaring;,
R 0
oes not immediately aff'eO; but each couplet adds fometMng to
the ˝ff'e& of the preceding; the intereL augmcnts inlenfibly, anct
we find orfelves fometilnes melted into tears, without being able
to direover the charm which has produced that effe&. It is
certain experience, that every accompanilnent of inruments
weakens this impreffion. For the air of a romance, we require
pnly a ju, clear v9ice, whicl proaouncqs wetl aad ting, with
. ROMANEgUE. n air for dancing.
ONDEAU. A kind of air with two or more repeats an
Whole form is fch that after having finied the fecond repea h
we retake the fir and fo on returning always and finiing b 7
the hm0 repeat ith. which we began, For this purpofe we
.ould fo condu& the modulation, thct tke oud. of each repea
might be fuitable to the beginning of all the re2; and that th
{rid of all the re2 may fuit tle beginning o.f that fi.rfi..
The grand Italian airs, and all our arietta's, are in rondeau, a.
.11 a the greate2 part of French piec for the haxpfichord.
The qutJnes are magazines of a contrary fenfe, for thole wh9
o}1 them without reflexion, Such is for muficians that of
.ronda's. A great difcernment is neceffary to make a choice of
Wo' vich are proper to them. It is ridiculous to place a
complete hought in rondeau, divided into two branches. It
xidiculo. us. t0 put in rondeau a comparifon, whole application
ade oly n the fecond branch, in re-taking the fir, and finiflx-
'ing by it.' 'L21y'i it is ridiculous to place in rondeau a general
Jlought limited by an exception, relaiv e to the condition of him
ho fpeaks; f0. that, forgetting the exception which has referenco
to himfell, he may [ni in re-takiog thegeneral thought.
' But every time. that a fentiment expxeff4d in the fir2 branch,
'brings with it a reflexion wch 'enforces it, and places it in the
fecond; eyer 7- ill. n0 that .a dcfcripgion of tke condition of him
.who fpeaks, filling the fir b.ranh, clears a c0mparifon in thc re-
'tonal; every time th.at an armTation in the fir2 brancl contains
ts proof, and'its confirmation ia the fecond ;. la21y, every tim
.tht the fir branch contains, ttxe propofition of doing a thing,
.and'the feeond the refon of the propofitionl in there differeat
gales, and [n others timilar, the rondeau is. always well placed.
RULE OF THE OCTAVE. An harm.omc formula, pub
'lied the fir time in 7eo whic determines,.' on the diatonic
motion of the bari, the concord fuitable to each degree of the
'tone, as well in major modc as in0.r. 4 'a well iending as
he contrary.
We find this formula cyphered her, on. th 0.1 o[ the majgr
. god% nd ,again on the o&avc in
it u
II. ut 'of the
moae
m08 mlnot
Provided 'that 6e tone be well aetermlned we atl not mif-
ke in accompanying on this rule, as.long as the anther conti-
flues in the .timpie and na'tural harmony whicN the me bears.
f he leaves hat 'mplicity by fuppo(ed concords, or othee licerices,
i is his buffhers to eprefs it by fuitable eyphers, which he alf
ought to do at each change 9F the to; but all that is not
phered ould be compamed according to the rule of the oc-
tave; and this rule ould be udied on the fundamental bar%
have k right eompeehmfi6 o its fenfe.
It is hwever unlucky, that a formula, defined to the
tSee of elementary ules m harmohy, flould contiin a fault again
there fame rules. It is to give early 'inru&ions to beginner t
franrefs the laws tha are given them. This fault is in the ac-
companiment of the xth note, vlth which the concord cyphere8
by a 6, offends again the rules; for we can find no union;
the fundamental bali defcends diatonically from a perfe& con*
Cord on another p?r-fe&.concord. A liberty to be formed int
eule.
We might manage that there Could be an union, by adding
venth to the pe?fe& concord of the dominant; but then thim
feventh, becoming an ave on the following now would not
preferred 3 and the fundamental bars, deftending on a perfe
concord ditonilly, after a conem'd of feventh, would make
'movement quite intolerable.
We mht ultb give to' this fixth not% the concord of finallee
xth, the fourth of which would fomn an tinion; but this would
be fundamentally a concord of teventh with minor third, wheg
the diffonaneu thould not b prepared which i alfo againR tlt
rules. (Vide To Pre(are.)
We might eypher fixth fourth on this xth note, and it would
be then the perl& concord of the theend; but I am in doubt
lhg mtcian would approV ß variatio lh I underRb0d a* that
avarlatlon which the ear does not adopt, an8 on a coneor8 wlic
ternoyes too much the idea of the winelpal modulation.
'We.might change the concord of the dominan% giving it
'fiith fourih in,earl-of ihe feventh and then the timpie fix
would fuit very well on the 'fixth .note which follows; but the
fAh fouah'would fuit very ill on the dominan% unlefs it wa
followed by'zheperfe& eonrd or-the feventh, which woul
bring back fle dieulty: A rule, which ferves not only
ra&ie% but as a model for pra&iee, ould never be drawa
from e theetic'eombinations reje&ed by the ear; and each
mote, particularly t nanq ohld convey to it its proper
cOneord.whev it has one.
I look on it'then as a eertn firing'that Our rules are bad, or
ß lhat the eod of xth with which xve accompany the fixth
mote in afeending is a fault that 'ould be eor:&ed; and that
ß O accompany this note rlarly, as .is neeary in a formula,
.ere is only one eoncou to give i% viz. tha: of the feventh; not
m'fundamtal feventh which, in this toovein% not being able
. to be prefeed but by another feveh would be a fault; but a
"feventh varied by a ceord of fixth added on the tonic: It
-olea% at zhe neord of the tie is the ly one which can
relarly infert beeen the perf coneord or of feventh
the dominan and the fame concord on the fenfible note which
immedialy follows. I .wi rome ingenious perfons ma r fin
this eorre&ion good: I am fur% at lea that they will find it
4elar.
TO KULE THE PAPEK. Is to mark on fair pape% the
.aves to mark the muc on. .(Vide Ruled Paper.)
:RULE.-A workman whofe.profob cobra in ruling tho
pers for mufic. (ide Cop.)
--RULING. The.method by which the paper is ruled. ˝ Thi
uling iroo black." ˝ There is plealure in writing norma
noat ruling." (VideßRuled Paper.)
iS 'rhis"letter wrieten alone in the reciting part of a concerr
ß , ß .fignifies tblo, ;,'nd is then alternative Wxth T which. figni-
:ties 'tutt
SARABAND. The air of a dance, which bears the fame
'ramc, which'feemg to have bcen tranfmitted from fipain'and waa
'ffomrl dd 'with. caKatnctto'$. This dc . go Iongee
urecl, unlf's in fme-old. French opera The alr 0ś' the farabanc
is at three ow tim=s.
TO SAVE; To lave, or pgre a. diffonanee is to, tofolye it
accordi to rule of th confonanee of a following conco,
here is a movement preferibed to. is both in. the fffndamntal
bars of th cliftonant accord and in e part which forms the
fonanee. Them is no method of faving which i not
from an a& of cadence; it is then by th nature of &e cadence w-
would ma- that thc movemt of th fundamental bs is deter-
mined'. (Vide Cadence.)
In regard to the part which fos the diff6nance, it ought
ther to continue in its place, nor to move by disjoint dogre; but
it ought to arcend 0r defeend diatonically, aeebrding to the naturg
of the dffona'nce. aers fay, that the m4or diffonanee oughe
to arcend, and the minor to defeend; which is not without eep-
tion, fince in certain ehoMs of harmony, a feven as weIlim4or ,
ought not to arcend, but fall; unlffs in the concord, termed ve
5ncorre&Iyy concord of fuperfluous feventh: It in. better then
fay, thit the feven. and eve diffonance deriving from it, ough
to deftend, and that thefixth added .and every diffonance d-
ring from it, od rife. This is a. rule ally genel and with-
out any excepfio It is the fame thi wi the law of laving.
the cliftonante: the are diffonanees which we may prepare;
ere is no off% that we uld not.fave,
In rega to the fenfibl note improperly calle&
an, if it ought to arcend, it is left by e le of fa the
d.iffonani than by that of t diatonic. movement, and efee
the orteR way; and effe&ually there are cafes, tt th
integrrupted cadence, where this fenfiNe note d not arcend.
In concoMa by fuppotion, a fame concord furnies two diffo-
mances as the feventh and ninth the ninth and fourS, &c. Thefg
cliftonames ould then hve en prepared, and ought
laved; that is, we mug pay attention to fll that has a diffo
ot only on the fndamental bafs but alto ore the orough.
SCE. This name is given to the diatonic fuceeon o
feven note% t're mifa f la ds of the.gamut, baufe there ote
ure fou.ud in e manner of fcaleson the.ves of our mu-
fie. Thi, gnumerafion of all the diat0nie fouad of our fyRem
xand in 0rder, which we call fcale, was called by the Greeks
ttrachords beesure in effe& their fcfle was cornpored. of only
founds, Nich they repeated from. tetrachord to tetrhords g
do from o&ave to ave. (VeTetrachord.)
Saint Gregory was they liy the firR who changedf he te
hoMs of the aneients into a heptachord, or fyRem of feign. ng
t tM e of whiclb glnniug another o&ave,. w
nds repctd in f order. Tlxi. covcr i vc i
ous, and it muff appear {ingular, that the Greets, who Caw very,
clearly the properties of the o&ave, fhould, in fpite 6f that, ha. re
though thoy ould continue attached to their tetrachords. Gre-
gory expreffed there feven notes by the fir revert letters of
atin alphabet. Gul Aretin gave'names to the fix fir but
megle&ed to give one to the feventh; which in Fraoce has fince
been caiJd , and which has no other name yet than B mi among
the other european .nations.
Wo mu not think that the conne&ions of the tones and
tones, of which the fcale is cornholed. are thins nutely arbitrar
nd that hy other dvfiona as good an order, and different con-
e&ions could have been given to the found of this fcale. Our
diatonic fyffem is tter in certain refpe&s, beeaufe it is engend'er
by tho eontbnances and the diffence there are between them.
Let a perfon hear fays MonI. Sauveur fevera} times the concot&
of the fifth and that of the fourth, he is naturally ted to imagine
the difference which is betwixt them. It unite'd, and conjole.&
with thole in our mind and partakes of their graces; this is the
ajor tone. It is the fame thing with the minor tone which is the.
ifference of the minor thiM and the fourth, and the major femt
tono which is that the fame fourth in jor third '=. Morevo
wer tho major tone, the minor tone and the major femi-tone, ar
.the diatonic dgrees of which our fcgle is ˝0Ofed a accordins
he fowin$ refcrgnccs,
ß ro make a prooF oF this calculation, we mutt comp.ofe all the
Coone&ion$ comprifed between two conibnant terO$: and we lhalq
nd that their produ& ives exa&ly the refereace of the
ance; and if we re.umt0 all th terms of the fcalej we
nd the total eonne&ion in rub-double numerical powers; thaC
) au x to ) which iG in cftc& the eaa& conaction of two
lcmc tcm vi of the' ut to i oavc.
The feale we have now feen, is that which ig callecl natural or
-diatonic; but the moderns, dividing its degrees into other finallee
intervals, have derived from it another fcale; which they-have
called femi-tonic or chromatic fcal% becaufe it proceeds b.feani-.
tones.
To form this Fcal% w have only dDded into two equal
terval% or fuppoFd Fo each og th five endr tons of the oav
wkhout dRngung the maor ton from th mnor; whch
with th two mjot fm-tones which Wer alread Fou,
a ucccon of twelve fcm-tons on thirteen eoncucve ounds
from one oavo to th other.
The u og th cale s to giv th meto-] oF mo,'luatn om
whatver not w choof% as fundamental; :.I of bcin
only to form any interval on ths not% but to eM[ a diaton
feale n t timHat to th datonc Feal of ut. A/]fiI w
conteted to hay% as ton% a not of th amut taken at plea-
fur% wthout troubfing ouclws if th Founds by which the
duladon ought to pafs w wth that not% and between
elves in Fuitabl rfrnees th Fm-tonc Fcalc was little
cffary; whatever fa dcfis, whatvet fi B fiat composed what
was called th arps of muff% there wrc only two touches
add to the datonlc kys. But tinct w hav thought to have
the neeety of eRabling a prfe fimfitud btwecn
fernt tones, t has bn neceffary to find methods o[
?g the fame ars and the Fame ntervs hgher or 10wr
ang to the ton which We may haw choFn. The chrotc
fcal s then bom of [ndfpenfabl necety; and t[s by t
mean that w convey an air on Fueh deec of the kys as
would chooF% and that w render t ealy on t nw
fuch as it may' have been' imagined for another. ' .
There five dded founds form no new degrees in made; but
they are all marked on the nearer deere% by k B fiat if the
aree is higher, by a dieflu if it is lower; and the note alway$
kes the name of the degree on which it is placed. (Vide
lat and Dieds.) .
To ag% h0ever the conne&ions of there new intervals, we
mu knd: that the two parts or femi-tones which mpofe the
ajor tone, are $n the references of x$ to .6, and xz8 to
and that the wo l:icb eompof the minor tone aWo, are in
eferenes of 5 to x6, and g4 to 5; fo that in dividing the
whole o&av$ according to the fcale of fetal-tonic, we have 1 iu
term, in the references placed on the following figure.
Chromatic
SC
Chromatic Scal tIawr from Monf. Malcolm.
we muR take notice that this divifion drawrvfvom l'on
qfalcotm, feems to' want juRnefs in many rs. Fir the f
i-tons which ough therein to be min, ar maj; and that
1 dies in In, which ought o be mjor, is miner, n the fcond'
lac% fvl. majo thids s t o.g la i ut dic and'of mi
fol dis ar t-rong by a co r which tour render them in-
foe. Laly the ddle fcmi-ton, beinff here fabtu--
'd iJ place of g-' fmi:-tone maximum, giv:s falfe inval
wherever i ufO; O e we ought not to .foet .that'
,middle mi-o i grer than majo iffelf i e mid bc
een. he im an .
better ' mo tura dlvin' wId. tkn: be, divid
.e jor to twmi-tone; the ne minor from a
Sr'the r mum from $ to 3 leawng the mmor-t di
vided i g fi-nes the one ma the oth0v minor as
e te aboe.. There are i'11 two otfiermi-toni'feales whic -
are derived tr to o drent meth v. idin. t
by femi-te.
-The 'fiis mae ki hae r thmeBaI'd .
dle, bee te to terms of'th$ jor tone, and another betwixt'
thotk'0f minor tog% whie dvid t one d, t other to
into tvo fe-tones eual j i divide
6
into and -- atimetlcatlI the mba ning t
7
of the chords; t when they reprefente the vlbrions g
lengths of the ehot& art teclpr a in harmic proptn
a6 8
as one whh laces t ter fetal-tone io flat.
x7 9 9
a tEc f x the miaor to -- is arithti;112 divlde
it
s c
nto'two reml-tones or riprocaIly one --but this lark
x9. so 9 'o
]ivifion is not harmony:.
.The whole otave thus calcul;gd gives the gre exef
fM i the flowing fcale.
Chromatic Scale by on. Malcolm,
6 t 8 9 x6 7 x8 9 x6 x
onf. Salmon relates, in his Philofophicl Traufaious tha
e made, before the Royal Society, a tryal of this' fcale on chords
exa&ly divided according to thefe pr6portiona, and that
ere rfe&ly in nrd with the other inRmmcnts touch b
R hands.
Monf. Malcolm adds, that having calculated and compg&
there nne&ioas he found a greater number of 'faults in this
fcale than in the precedent; but that the eors werg conderabl'
fs, which makes fe compenfafion.
LaRly, the other femi-tonic fcal is that of the Arixeniana
hich P. eenne has. ve largely treated, and which M. R
eau has eeavoured.to renew in there luff times. It con
in metrically dividing the o&ave by eleven meths pror-
ioned in twelve fetal-tones perfe&ly equ'al. As the conne&io
are not rational, I will not give here tofe references which can-
mot expreffed but by the formula itfelf- or by logarithms off
ß he terms of progreon between'the cxtrem and a.
odication.)
As in the diatonic and chromatic genus the haaniRs.add
third, viz. the enharmonic, this thiFd genus ould have its fcala
alfo at leaff by thppofition; for tho' the truly enharmonlc in-
ervals do not exiff in our keys, it is yet certain, tha every
harmonic puffage fuppotss them; and that the mind, corre&ing
the fenration of the ear on this point, paffes then' from one idea
o another, onl through favour of this interval undeood.
. '
every tone was exa&ly compoted of two minor femi-tones, ever
nharmomc .interval would be null and this genus'could
loger exi. But as a minor tone. itfelf contains more than two
.nor temi-tones, the complement of the turn of there two
tones to the tone, that is the 'tace which remains bceen
dieils of the.inferior note, and the B fiat of the fuperior is pre-
.1 cal'moaic !agcrval caR c00nl I ihc-fxtlx
s c
the tone. This fourth of the tone is of twolkinds, viz. te
d the minor enharmoni% whole connections may e found
at the word garter ff a one. '
T explanation ought to fuce to every reader, for the
conception of th enharmoMc fcale Which I have calculated
,ete inferred. '
.' Enharm0nic Scale.
Ut utreb,.re, re,mifi, mi, mi ,a, Ca, folb,.
I, foI, iab, Ia, la, fib, fi, fl
ofe ho uld chute a clearer account of this pont mu
rn to the word Enharmonic.
SCENE. We diKingui in lyric mufic the fcene from the
molo% in thab there is only one a&or in the monologue and at
leatwo fpeakers in the fcen'e. Confequently in the onologue
e chara&er of the mufic ould be one, at la in regard to the
effon: but in the feehess the mufic ould have as many diffe-
rent chara&ers as there, are fpeakes. In effe& as in fpeaking
each one always continues the fame voice s the tfame accent, and
generally the ame Kyle in all that ho fays fo very a&0r, in th
didrent paons he expreffe$ ould always preferve a chara&er
peculiar to hims and which may diinguf'him from another
a&or. The grief of an aged man, has not the fame tone as that
Of a young one; the paon of a Billingfgate fi-woman, has dif-
ferent accents from that of a warrior; A Barbarian c never faI'
ß , zo.," rofe.mooCo.
,utt then in fcenes render not only the chara&er.we
would paint but that of the perfon whom we make to fpeak.
This chara&er is partly denote by the kind of voice appropfiate8
to each part; the urn in tinging of a counter-enor is different
ffrom that of the bars tenor. We place more gravity in the aira
of ba trebles and more vivacity in thol of fi:arper voice.
But befide there differences, the ingenious compofer mu
individual ones t0 chara&erize his pertbnages, fo that one all
know in a moment by the pechliar accent of the reci. tative or
aiq if it i Mandane or ra ' i, Off,re. or Mes Whom
ß ve hear. I agree that there are only men of genlu.% who feel, and
mark there differences; but I fay however, that it is only in the
bfervati0n of thems and others timilar, that we are able to produce
tle illufion.
SCHISMA. A fnlall interval, which is equal to the half of a
Comma, and whoth numerical powers are c0nfequently mute, fince,
t'0 expret's i in numbers, it would be necelTary to find a proportio-
nal medixam between 8o and 8 .
SCHOENION. A kind of nome for flutes in the ancient Greek
ß uufc o
scHOLIA. A kind t)f long among the ancient Greeks, whole
qara&ers were extremely divertitled according to fubjes and per-
gons. (rlde Son)
SECOND. An interval of a conjoint degree wherefore the
tonc movem'en'ts ace all made on the intervals of the fecond.
There are 4 kinds of feconds. The fir called dlminifhed fecond
i's made'on a majo't tone, whol inferior note ls conne&ed by a die-
ils,. and the fuperior by a B flat; fuch, for infance is the interval
0f the re ] fla't, t6 the ut dieils. The eonne&ion of this fecond is
froin $'?5 to 384; but it is of no ufe, unlefs in the enharmonie ge-
nus: the interval alfo is found null in virtue of the modification. In
t'ega'rd ro he interval f one note to its diefis which Broffart calls
xliminithed feeond, it is not a fecond, it is a changed unlfon.
The fecond which is called minor fecond, is conituted by the
major fetal-ton% as of to ut or of mi to fa; its connexion is
t"rom x 5 to 6, The third is the major fecond, which forms the
interval of a tone; as this tone may be .major or minor, the refe-
rence of this fecond, is from $ to 9 in the tiff[ car% from 9 to xo
in the fecond-; But this difference is null in our mufic.
Lafdy the fourth is the fuperfluous tcond, cornpored of a major
tone and a minor femi-tone, as from fa to fol dieils '- Ira conne&i-
on is from 64 to 75-
There are in harmony two concords which bear the name of
cond the tirf is timply called concord of tCond. It is a concord
of varied feventh, whol diffonance is in the bars; from whence it
ollows ver clCarl , that the baf lhould rico ate to re are it.
ß Y y y P P p
(Vide to Prepare.)
When the concord of feventh is dominant, i.e. when the third
is major, the concord of the fecond is called concord Of triton, and
the tyncope i not neceffary, becaufe the preparation is not fo.
The other is called concord o fuperfluous fecond. It is a con-
toed varied from that ofdiminilhed:feventh, the feventh of which
itllf is conveyed to the bars.' This concord is equally good with
or without a fvncope. (Vide Syncope.)
SEMI. A vord borrowed from the Latin, which fignifle half,
VFc ut it iri muff% initcad of the hemi of the Oreeks to compofe
S E
feveral' technical words very barbaroufly, the half Greek and the
half Latin. This word, before the Greek name in any interval
whatever always figMiles a diminutlon not the half of this inter-
val, but only a minor fetal-tone; wherefore feml-diton is the mi-
nor third; femi-diapent% the tall fifth; femi-diateffaron 3 the dimi-
niflaed fourth.
SEMI BREVE. Is, in our ancient.mufti, a power of notes or
meafure of a time, which comprehends the fpace of two minime's,
that is, the half of a breve. The femi-breve is however called
round, becaufe it has that figure; but formerly it was in a lozenge.
_Anciently the femi-breve was divided into major and minor, the
major is equal to two thirds of the perfe& breve, and the minor to
the other third of the fame breve; wherefore the major femi-breve
contains two mia;ors
The femi-breve, before the mlnime was invented, being the note
of lefs power, was not rub-divided. This indivifibility, they fay,
is expreffed in forne meafure, by its figure of a 1ozeng$ terminated
above below, and at the. two fides, by points. Moreover Muris
proves, by the authority of _Arifotle and Euclid, that the point is
indivifible; from whence he concludes, that the lmi-breve enclofecl
between four points is indivifible as themfelves.
SEMI TONE. Is the finalleft of all the intervals admitted in
mociern mufic; it is nearly equal to the half of a tone.
There are feveral kiudiof fetal-tones, two are diffinguifhed in
pra&ice, the major, and the minor; three others are known in har-
monic calculations viz. The femi-tone maxime, the minime and
the middle; tile femi-tone major is the difference of the majo-
third to the fourth, as mi. fa. Its conne&ion is from S to (b and
it forms the fmalle of all the diatonic intervals.
The mnor femi-tone is the difference of the major third to the
minor. It. is marked on the fame degree.by a dieils or a B flat; It
forms only one chromatic interval and its reference is from o&
to 2..
Though we place a difference between there two femi-tones by'
the ;nethod of noting them there is none however on tile organ
and harpfichord; and the fame ihmi-tone is tbmetimes major and
tbmetimes minor, rometimes diatonic anti rometimes chromatic, ac-
cording to the mode in which we are however in pra&ice. V˝ call
femi-t6nes minor, thole, which being marked by.a }3 flat or diefis
do not change their degree; and fetal-tones major: thofe whicl
form.an interval of the lecond.
In regard to the three other femi-tones admitted only in the-
ory .the .lhml-tone. maxime is the difference of tile tone major to
the timi;tone minor, and its conne&ion is from $ to. a7o The
middle femi-tone is tlxe difference major to the tone major, and its
connexion i śom Z8 to $5' .aily, the śemi.ton minime,
$ c
is the dierence of the fetal-tone maxime to the middle fetal-tone,
and its connexion is from x25 to x25, of all there intervals,.there
is only the major femi-tone, ,hkh, ha quality of fecond, may be
foreermines admitted into harmony,
SEMI TONIC. A femi-tonic or chromatic fcale. (Vide Scale.)
SENSIBILITY. A difpofition of the foul which infpires the
compofer with the lively ideas which lie wants; the executant, with
the lively idea ofthere fame exprefllons; and the uditor, with the
lively imprefllon of the beauties and errors of mufi˝ which he i
made to hear. (Vid Taffe.)
SENSIBLE. A fenble concord is that which is otherwfe called
dominant concord, (Vide Concord.)
It is prac"ticed only on the dominant of the tone; from whence it
receives the name of dominant concord, and it always bears the
fenfihle note for third of that dominant, fi'om whence it receives
the name of fenfible concord. (Vide Concord.)
In regard to he fenfible note. (Vide Note.)
SEVENTI-I. A diffonant interval varied from the fecond,
which is called by the Greeks, hepachordon, becaufe it is formed
- of feven'founds or fix diatonic degrees. There are four forts of
them. The firff is the minor feventh cornpored of four tone,
three major and a minor and of two major feml-tones, as from
mi to re: and chromatically of o fetal-tone% fix major and fou
minor. Its conne&ion is froin $ to 9'
The fecor:d is the major feuenth, compofed diatonically' oś five
one% three major and two minor, and of a major femi-ione; fo
that no more than one major femi-tone is neceffary to cornpole an
odave as from ut to ii, and ehromatically of fetal-tone% fix
major, and five minor. Its conne8ion is from 1 to $.
The third is the diminiflaed feventh it is compofed of three tones,
two minor and one major, and of three major femi-tones, as from
ut diefis to fi B flat. Its conne&ion is froin 7.5 to x28.
Tile fourth is the xCuperfluous feventh, it s compofed of .five
tones, three minor and tvo major, a femi-tone major , and a remi-
xone minor as from fi B flat, to !a dieils, fo that there is only
comma wanting to it to form an o&ave. Its connection is from
;8 to 6o, but this laft kind is not ufed in muff% unlels in rome
˝nharmonic tranfitions.
There are three concords of the feventh.
The firft is fundamental, and bears timpier the name of feventh,
but when the third is major, and the feventh ninor, it is cfiled lin-
fible or dominant concord. It is cornpored of thq third, the fit'th
and the feventh.
The feeond alfo is fundamental, and is called c=neon! of dlmi-
nifhe41 fcventh; t is compoled of the minor third .the fallb fith,
M m m and
and the dlmlnfhed feventh whole nme it takeg that is, oś' thee
minor confecutive tos, and 'is the only concord, which tku
formed of equat intervals: It is made on the fenfible note
(Vide Enharmonic.)
The third is called concord of fuperfluous feventh; it is a con-
cord by fuppofition formed by the dominant accord; 'low which
the bars makes the tonic be heard.
There is alfo a concord of feventh and fixth, which is only a va
flation of the concord of the ninth. it is only praifed in e or-
gan points on account of its duration. (Vid Concord.)
SERENADE. A ncert given in the night under t wlndow
of rome one.
tt is genesfly cornpored of inRrumental mufic; fomet;mes how-
ever the voice is added to it. We call fetehades alib the pieces
cornpored or executed on thefb occafions. The me of ferenade
has been long obfolete; they continue no longer but amongff the
lwer people, and that is a pity. The filenee of the night, whic
banjoes all confufio% makes the mufic fuperio b a renders
more delic/oas.
This word, Italian in its origin, comes without doubt from fero-
o, or fm the Latin rerum, in the evening. 'hen the concert
is performed in the morning or at break of day, it is called aubade.
SESUI. A particle often ufed by our ancient muffclans in t
compofition of words fering to exprefs the different torts
Whey called SeCqui Alter's, the meafurcs whole pr;ncyal
was equal to the half more than its ordinary power% that is, three
of the notes of which otherwife it would have only equalled tw
which ha place in all the triple mcafures whether in majo
where the brevc itCelf without ints was nal to three fcmi-
breves or in the minor where the fcmi-brv equalled three mi-
'They called the triple,alfo fefqui alter marked by this n C
, &uble fefqui fourth, the tripl marked C , and Co on with the
8 4
ß eR. Seffqui dito% or hi dito% in the Greek muff% is the intervM
of a minor third.
SEXTUPLE. A name given rather improperly to meafures o
two times compod of fix equal notes, three for each time. Thef
kinds ofmeafures have been alfo called by thllt improperly"
timed meafures."
We nmy reckon five kinds of there fextuple meafus, that is, as
many' as there are different powers of the notes, from that which
is compofd of fix rouads or femi-breves called in France triple of
s
{ix for one, and which is cxpreffed by this cyphcr to that
I
tr,ple of fix for fixteen, cornpored only of fix double demi-crotchets
6
only, and which is marked alfo--. The greater part of there dif-
6
tin&ions are abolifhed, and in effc& they are rather ufelefs, trice
all there different figures of notes, are le{'s different menlures than
modifications of the mo'ement in the fame kind of menlure
which is Rill better marked by a tingle word written at the head
of the air, than with all the confution of cyphers and notes, which
only ferve to increafe the difficulty of an art which is puzzling
enough in itfelf. (Vide Double, Triple, Time, Meafure, &c.)
SHARP. The alteration of a note or an interval by a dieils or
]3 flat. This is properly the common and general name of the
cidental dletis's and B's flat. The word is no longer in ufe, but
there is no other fubituted in its place. The fear of ufing fuper-
annunreal terms daily enervates our language; the fear of uting old
terms decreales it daily: Its greateft enemies will ever be thole whi
purify it.
They called fharp a-lfo the chromatic touches of the keys, whleh
we now call, white touches, and which were formerly made black,
.becaufe our rude inceftors had not the ingenuity of making the
keys black, to give a greater eclat to the Ladies fingers. We call
at prefent cut fharps, thole of the touches which are broken to
fupply the Ravalement.
TO SKIP. We tkip a tone, when giving a Flute too muh
wind, or in the pipe of a wind inerrnment, we force the air to be
vided, and make inftead of the full tone of the flute, or pipe, onllr
śome one of its harmonies. When the tkip is of an entire oOave,
it is called to o&ave. It is clear that to vary the founds of the
trumpet and french-horn, we mutt neceffarily tkip, and it is only
in tkipping that we make o&aves on the flute.
SI. One of the lven fyllables which they make ufe of in France
to fol-fa their notes. Guy Aretin in compoting his gamut, invent-
ed only fix of there fyllables, becaufe he only changed in hexa-
chords the Greek tetrachords, tho' in the end, his gamut, as well
as ours, was cornpored of feven notes. It happened from thence,
that to name the feventh, it was neceffary every movement to
change the names of the reR, and to name them in different man-
ners: an embarraffmeut which continues no longer, fince the inven-
tion of g, on the gamut, from which a muffclan, named de Nevers,
made, in the beginning of this century, an exprefs work.
Bropard, and tholi= who. have followed him, attr. ibute the inven-
tion of li to another mullcain, named Le Maire, betwixt the middle
and end of the lafl; centur}'; others give the honour of it to a certain
Vandel
,Vander PulIen: 0tlaers arcend as far as ean de tVfuris, about
]rear.x 33 o, and the Cardinn! Bona, fays, that about the eleventh
age, ;hih was that of Aretin Ericius Dupuis added a note to the
tixth of Guy, to avoid the difficulties of the di.vifions, and facilitate
he ffudy of mufic.
But, without attending to the inventions of V..ricius ]Dupuls,
avhich without doubt died with. him, or on which Bona, later by five
centuries, maoYfa'se been deceived; it is even eafy to prove, tha:
the invention much later than .lean de Muris, in. whole wri-
tings we fee nothing fimil to it.
In regard to Vander Pullen, r cannot fay any thing as I am not
. acquainted with him Le M-aire now remains, in whof6 fayour the.
voices of all feem to unite; !f the invention conrifts in having
brought into praRice the ufe of this fyllable fi I do not fee many
zeafons for difputing the honour with him. But if the true inventor-
is he, who has firft found the necety of a feventh fyllable, and
%vho las added one in confequence we need not fearch far
o find, that Le Maire has no. claim. to this title; for e find
treveralparts of P. J[erfenne's writings, the neceffi, ty, of the fe-
venth fyllable to avoid the divifions; and he witneffes that
śeveral had invented or pra&ifed this feventh fyllabte. nearly in.
the fame time; and amongf others, Gilles Grand J. ean., writing
aatter of Sens; but that rome named that fyllable cid. othei
.eli, others ni others ti, others za, &c. Even. before P. Mer-
.$'enne, we find, in a work of Banchieri, monk of Olivet, printed:
n x6x4 and entituled Cartella di Mufici, the addition of the
ame feventh fyllable; he ca[Is it Bi by B iharp, Ba by B flat,.
and he affures ur that this addition has been very much ap
proved at Rome. So that all the pretended' invention of Le
llalre confit[s, at the moff in having written or pronounced.
i, inffead of having written or pronounced Bi or Ba, Ni or
and this is what has immortalized Le 1Malre. As to what remalns.
the ufe of the fi is known only in France, and in fpite of what the
monk Banchieri fays of it, it is not even preferved in Italy.
SICILIAN. A kind of air for dancing, in the 6-- 4 or
aeafures of a movement much flower, but yet more fpecified than.
the ji.
SIGNS. Are, in general, a.11 the different charaers made ufe of
to mark the mufie. But this word is more particularly underoo&
ef the diefi B's flat, B's fharp, points, repeats paul'es, guidons
and other fmall detached characters, which without being r. eal
aote, are modificafion of notes and of the method of executing
them.
SILENCES. Signs anfwering to the different powers of the
otes, which, put in the place of thole note mark that the lithole
ff hcir time lould he paffed in fileace0 '
Tho
'ľhd there are lo powers of dit'erent note, from the maximu
to the quadruple demi-crotchet there are however onl
ent chara&ers for the lences; or that which oght to
pond to the maximum, has always failed, and to expefs its u-
ration, we double the re fou. meafure% being of aa
with the 1ongue.
. There different filens are then, firR, the re of fo meafures,
which is equal to a longue; Secondly e re of two roeslates,
equal to a breve; Thirdly the paufe equal to a femi-breve
Fourthry the demi-pf% equal to a minime; Fifthly'the minime
-eR, equal to a crotchet; Sixthly the demi-minime re equal to
demi-crotchet; Seventhly the quarter-mlnime reR equM to a don-
ble demi-crotchet; Eighthly the demi-quarter mlnimereR
o a triple demi-crotchet; and Ninthly the fixteenth of a ming
reR uat to a quadruple demi-crotchet.
We muR take notic% that the point has no place among filericeS
as among notes; for tho' a crotchet and mlnime r ma be
equal power% xt s not cuRomary to pmnt e latter to exprefs
powers of a polned crotchet bu-t we ought after the minime re
o write alfo a demi-minime reR. However as fome point the
lences alfo, the executant tour be ready to all.
SIMPLE. In doubles and variations the firR couptet or
nal air, fuch as it is now marked, is called e mple. (Vidg
ouble, Variations.)
TO SING. Is, in its moR genel acceptafion to form Rro
and varied founds by the voice. But it is moR generally the for-
mation of diWerent inflexions in the voice, fonorous agrab
the es% by intervals admitted in mufic and within the les o{
modulation.
We ting more or lefs agueably, in proartion as the ice
more or lefs greeable and fonorous; the ear more or lefs juR
the organs more or lfs flexible; the taffe more or lefs formed
and more or le pra&ifed in the a of fin. To which we
ould add, in imitative and theatril mufic, the degree of fen-
fibility which affe&s us more or lefs with the fentiments we
to render. We have alfo mo or lefs difpotion towards finging
according to the climate in which we are born and according t
the more or left accent in our natural language. For the more
accented the language is, and, confequently the more melodi
ore tliofe who fpeak it have ihe facility 6f tinging it.
' There has bn compofed an art ofngi, that ia obferv
tlons on thole voices whxch lung the her; there have en
pofed rul for facilitafin and improving the ufe of this natural
endowment. But there rgmaln many difcoverie, to be mad%
the Cafi OrtC gad fC nC Of aCg at art.
SINGER. A muffdan who tings in a concert.
SINGING MASTER. A muffclan who teaches the 'eading
f vocal mufic, and fining on the notes.
The functions of the tinging-mailer relate to two principal ob-
jes. ' The tiril, which regards the culture of the voice, is to
]raw from it all that can be given in regard to tinging, whether
by the extent, by the juilnefss by the found, by the nimblenefs,
or by the art of enforcing and fweetenlng the founds, and learn-
ing io manage and modify them with all /he ingenuity poffible.
The fecond obje& regards the ffudy of the figns, that is, the
art of reading the notes on the paper, and the cullom of decy-
phering it With fo much facility, that, at the opening of the book
is'e may be able to ting every kind of mutie. (Vide Notes.)
.A third part of the funions of the tinging-mailer regards the
knowledge of the language, particularly of the accents, of the
quantity and belt method of pronouncing thean; becaufe the er-
rors of.pronunciation are much more fenfible in a long, than in
converfation and a well cornpored vocal, fhould be only a more
energic and more agreeable method of marking the profody and
accents.- (Vide Accent.)
SIXTH. The fecond of two irnperfe confonances, called
]exachord by the Greeks, becaufe its interval is. formed of fix
founds, or fie diatonic degrees, The fixth is a natural confo-
nance, but only by combination; for there is not in the order of
confonances, any timple or dire& fixth.
To conrider the fixth only by their intervais we find four
kinds tvo confonant and the diffonant,
The confonants are tiffS, the minor fixth cornpored of thre
tones and two femi-tones major, as mi ut. Its relation is from
five to eight. Secondly the major tixth, cornpored O f four tones
and ß major femi-tone, as fol mi. Its connection is from three
to five.- The diffonant fixths are; firil the d'maiaifhed fixth
cornpored of two tones and three major femi-tones as ut dletis
1/ fiat; and vhofe relation is from 5 to' 9 . Secondly, the
śuperfit'.ous fixth cornpored of four tones, a major femitone and
a minor femi-tone as fi B fiat and fo! diefis, The relation
this tilth is from 7 to
There two lail intervals are aever ufed in melody; an.d the d,
nlnilhed fixth is omitted in harmony.
There are revert concords vhich have the name of tilth. Th
firR is timply called concord of fixth; it is the perfe& concord
vhofe third is conveyed to the bars. Its' place is on the mediant
of the tone, or on the fenfible note, or on the fixth.
The fecond is called concord of fixth-foarth. This i alfo
the perle& concord, whole fifth is conveyed to tlxe bari. It
iaevcr made but on the dominant or on the tonic.
Th
s o
-rhe th}rd is called c9ncord of finallet {ixth. It is ,a c.o, nq.ord
f feventh whole fith is conveyed to the bars. The fmal!e
fixth is conveygd ordinarily on the fecod note of fie toae or
the. fiktli.
The fourth is the concord of fith a..d fifth, or greater fixth,
t is nifo i con'cord 0f feventh: bt whole third is cQnveyed to
zhe ba'Es. If the fundamental concoi'd is domlnant: thn the con-
c6fd of greater fixth lofts this nme, and is called concorg of fae
fiftI. (Vide Falfe Fifth.) The greater fixth is commonly placed
only on the fourth note of the tone.
The fifth is the concord of fixth added. A fundament con
cord: compofed as that of the greater fixth, of a third, a .fifth,
a majo? fixthl and hich is placed in the fame moaner on th
mn}c 8r fourth note. We can then diingui theft two con-
cords only by the method of faring them; for.if the fifth ,de-
icends and the fixth remain% t ts te concord of-gr.eater fixtll,
aria th bfs forths a perfen cadence; but if the fifth remain.s, an4
the fixth afcends it is the concord of fixtk added; and the fun-
a,nental hals forms an irregular cadence. Moreovera a,. after
having ruck thi! concord, are maers of one of there t
methods, this keeps the audience in fpence on the true founda-
tion 0f the concord, until the end lxas determined it: and 'tis this
liberty of choafinga that Moor. Raau calls dble-employ.
(Vide that word.)
The fixth concord is that oi major fixth and faire fifth whick
is no more than a concord of fmaller fixth in mir node,
which the falfe fifth is iubRituted in plat9 of the fourth; or
exprefs mvfelf differently: it is a ccord of diminied taventh.
in which he third is conveyed to the bars. It is pNced
the fec0nd note of the tone.
LaXly, The feventh concord of fixth, is that of the fuper-.
fluous tixth. h is a kind of fmaller xth, which is nger
but on the fixth nora of a minor tone deftending on thg domi-
nant; as then the fixth of this fixth note is naturally maior;
{s rometimes rendered fuperfluous by addi to i a difis. That
4%perfluous fixtk then becomes an original Concord, which is
overthrown or varied. (Vide concord.)
8;LOWLY. This word anfwers to the Italian largo, and de
notes ..flow movement. The fuperlative found,. very fiovlya
marks {h flowe of all the mo. vementst
SOL. The fifth of the fix tyllablcs invented by Aretin, toproy.
nounce the notes of the gamut. The natural tbt anfwea. t th
letter G. (Vide Gamut.)
TO SOL FA. Is, in tuning the founds, to pronounce at the
fame tie th'e fyllables of the gimut which correfpond to them.
! hxs cxercile tha by Inch thole eg Who Iea.'n
that the idea of theśe diff'erent fľ11ables uniting in thel.r mnc
that of i:he intervals which have-relation to it, tlef, efy. llables aś-
fi them to recall there intervals,
' Ariecides Q.9intiian teaches u% that the Greeks had four fyl-
lable.s or denominations of notes to fol fa, which t. hey repeated.
at each'tetrachord, as we repeat feven in each Getave. Thelc
ßour fytlables were the following,. te, ta the, the. The firPc
a'nfwered to the fir found, or the hypate of the firit tetfachord
'and the following; the feeend to the prhypate the third to the
tichanGs; the fourth to the here.; and fo on in re-beginning :.
a method of fol-fah% w icb flewlng us clearly that their mo-
dularran was conf. nccl within the extent Of the tetrachord and..
that the homologot, tbunds, preferring both the fame. conne&ionsz.
and the fame names, f,-om one tetrachord to another, we.re re-
peated from fourth to fourth, as among us from oOave. t.o oc-.
tare, proves, at the three. time, that their harmonic generationa
had no relation with ours, and was edablifhed on principl.es en-..
titely different.
Guy d'rezzo, having fubfiituted his hexachord in the place
of the ancient tetrachord, fubfiituted alfo, to fol-fa it, tix other
śyl}ables to the fourth which the Greeks ufed differently. There
fix fyllab}es are the following, ut, re, mi, fa, fol, la; drawn, as
every one knows, fi-om the Hymn of St. John Baptitt. But:
every one does notknoxv, that the air of this' hymn, as it is now
tung in the Roman-church, is not exa&ly that frovo which Are-,
tin took his fyllables fince the founds which bear them in thia
.h.ynn, are no.t there which be. at them in his gamut. We find,.
an an ancient manufcript.. in the library of tlm Chapter of Sens,
this hymn; fuch, probably, as it was lung in the time of Aretin ;t
and in which .each of the fix fyllables is exaOly applied to the
correfpondent found of the gamut a as a.y be feen in Fig. Vt.
Plate I.
' It feems that the ufe of the tx fyl!ables of Guy' veas not very
loon extended out of' Italy, tinct 1Vluris witneffes having heard in
]Paris, the fyllables, p,-o, t% do, no, a, inftead of thot. But in
tim% there of Guy gained the day, and we,'e received in France
u in the reft. of Jtlrbpe. There is now Germany alone where
they fol-fa by the letters of the gamut only, and not by fylla-
bles; fo that the note which in fol-falng we call la; they call A
that which We call ut, tbcy'all C. l'or tle diefis'd notes, their
,udd an. s to the letter, and'pronot, nce that s is; tb tlat, for in-
qance, to lbl-fa re dieils, they pronounce dis. They have allh
gdded the letter h, to remove the equivocation of i, which is b
only by being b fi,qt; when'it is b tha,'p, it is h.
ß They know in tbl-i'aing no othe,' b flat than that alone.; in-
ead of the b flat of every other not% they take'the dietis of
that
ß $ 0 367
l[/t Wh;clx'is eI'ow'; fo f6r tab flat, they f'oi 'a Gs; or
at, D s.; and this method of fo-faing is 3o rough and
that one mu' 'be a German 'to .make ue of it and 50 bCome ..
that means a great muffclad. ' ''
Since the ablime:nt of the gamut 0F Aretln,' they have
qndeav0u8, at different imes, to fubitute other fyHables ia
the roo of his. As te voice of'the three' fir is rather n11
onf. Sauveu'r, in' ch'anging the method of pricking the notes,
hang4d alfo that of fol-faing; and named the eight ot's of
'o&ave by the 'eight following iX41'able, pn, 'a, ga( da tb, bo, I%
'o. There names had no better fuccc taan the notes; ' but
o the fyllable do, it xvas prior to NL Sauveur. The' Italians have.
always ufed it, indeed of ut, t0 fol-fa, though hey name it
nd not do, in the gamut. In regard' to the addition of fi'.vlde
In regard o the notes chaedt by dlefis 'or b flat, they-eonveF
the name of the note to the natural, and-that caufes, in the. me-:
thod o fol-aing,. many diculties which M. de B0ile19U,!3ks '
Wopofed to remedy, by adding five notes to complete.the"cJ3(.
matie.ve'm3 and 'giving a partilar nam4 to bach note. ' 'There'
naes Xv.ith die ancients, are in all abt twelve in number a
many as there -are chords in thiv fyem, viz. ut, d% r% me,
f, , fol, be, a-f,-fi By-means of there' five 'notes added, an'
of the names which they bear, all the b's flat and diefus34'an-
nqhilated a; my- be feen at the:word Syem in the ekpofitiOn
Thereae different meh6d of'[ol-faing, vlz, by fiiVifions;'b
tranfpofition' and in the" natural. ' The fir method is th in0'.
ancient ;..the 'fecon'd the bc'; and' the third' the mo general ia
]France. 'Seyeral nations lxave preferred, in 'the" divifions. the
ancient nomenclator of the'fi-fyllables of 'Aeetln. ' .
Oths have retrenched them, s the Engli,'ho fol-fa'.'on'
there four fyllbles ohly, mi' fa fo15 In. The French on the
contrarye. have added.a fyllable to confine, under different harness'
all the feven diatonic founds of the oave. '
The inconveniencies of Aretin's method are cqnfiderable for
thro' the not renddrin the gamut cornpirie' the f Ilables of that'
gamut figrely nexther the fixed touches of the keys, nor the.de-
grees of the tone'.nor even' the Htermmed ntervals. By the.
divifions, la fa, you may form an interval of mhjor tliird in defcend-
ing, or minor third in afcending' as may be cfily 'fern b y the
gamut, &c. (Vide Gamut.)
It is Rill warfz in the 'Englifla nethod. We find every
merit different inte, rvals whlclt cannot be expreffed but by the
tme l11ables; and-the time names of tlte notes return in everI
fourth, as ililaong the Greeks,' initearl of reiurning' oniy arevery
o&,:e, il in the mo'dern fyRem. '
. 'The method 6f f01-faing eRa˝lied in Frahce, by the addition
-'fi,-i e?finly m'nch..fupe?iob to all this; for tlie gamut being foun
complete, the divifiofis become ufe}efs and the analogy of the
o:aes i.i p.r[ely obferved. But the muffclans have again fpoilt
t[is.e[lmd; bY th ra,ge imagi'nation o rendering.the hames
o['th'e'fi6fls always fixed and aeter'mined on th touches 0f tke'
keys } f6 that thef touches have all a double'. hame, whilR th'e de-
grees 'of a tranfpold tone have none i an erro h.ich loads, uni-
vrfally, thd memory with all the diefn' or B's flat of the clefts.
Which rem'oi from the names of the no[s the expreffi řn of tim.
ifi.teryal's proper to them; and which effaces, laly a uch p9f-
fine, all the traces of modulation.
t6rr6 are no, ought not robe fuch, or fuch atouch
t!e keys, but feh a ehordof the tone. In regard to the fixed
tUch[, it i' by the letters 0 the alphabet that they ate exreffed -
He t9uh wh %on call ut, I call C flint winch you call
IeilI D; They are not fiff at t invent': they are figns en
trely eahqd by hish ! very .clearly determine tle funda.
nta! of'i, tone. gut ts toe ing o'nce determieds tell me
I be,' lB' ybur 'iurn',' how yon name tl tonic'whil I name uti
find' te: feeoffal nt% which I 'ame r% and the mediant which
For the.e ,ames relative to the tqne and the mode, are een,
tal; 67 ihe dtefminarion of idea,, =na the
Bogs, I we' give it a due reflex. io n, we fiaall find s that.what the
refich 'u'fihs call tbl-fa in ,tturai' ii entirel out'of'nature.
bt'eeritBly'gaia fucce 0 in inv; ever one mu feel the eo
trary, that nothing t more natural haa tO. fot-fa. by tranfpofi
tion when the n{ode ts tranfiofed, ' ": ' '
We.hige, i'n Iealy, a reuc'ii of, leftohs. f9l-fi elled. Sol-
ggi;" This rFeueil compohd by 'the celebrated Leo for the
ff of l%mners s verv hghl eReeme
. 8 O. hj Irahah word i anglat'td m muff, and applie d
t6 i ie.e which is t'n With a' ngle' voice, o;' wf ich'i la
.: .... :.. . .. ......... . .. . P Y ß
qn one tnrument, wtth a timple accompa'Bnnent f, ha(s, or har-
hob'd.; 'a' this is wtkt diingui'fhi' tli folo r'0m.'tlie recitai,.
W'icl,mBe. aeemnpa. nied by the Wh[e beh Ca ' in the >ieces
....... ' ,, , , ........... , , ' :..l .
cllcd concerto s we wtte [a.s tlto word fol on the rmct al.
...... . ............ . . q P . p,
part when t remtes, ' '
ONTA, -A piece of inffrumental muff% 6ompetl of three
or f6ur. confeuti've pieces o"differeni chra&e,:i. he fonat
iiaat7. f{[ g[m=ats ß what. tk eatgt.iO..' th9 0ico.
S 0
"-he śoraa s ordlnarBy made. for a {ingle inrument which re-
eltes, accompimled by a thorough Bars; and in fuh a compgfition
We re attached to'hatever is mo favourable to make the in-
run[ fplendid,. for wlich we labour; hether by the turn
ngng, or by the choice of the founds which are mo fuitable
to that kind of inrument, or by the boJdnefs of the execution.
Ther are alfo fonata's in tri%. which'the Itgfias eneral
finfonle; but when they pals three parts or there s rome one
ieclting, they take the name of c0ncerto (Vide Concerto,)
here are feveral kinds of fonata'. The Italians reduce th.em
to two principal forts r the one 'hich they call $ooate di
natas for a private room which are cornpored. of fryetel fam.-
liar or dancing tunes fh narl as th.ofe recurils hich i'm
Franc% they call fuites... The other kind is called
Chiefs, church fonat'% in tke competition of which tre oughg
zo enter more labou% pain% harmony, and airs more f$itable
e dignity of the place. Of vhatever ki0d the nata's my
hey genetly bgn by aa adagio; and after having pgffed .b.
two or th.ree' different veents fini by an allegr%
pre0.
Now, tat in, ruiners om the mo importan part of mufic
the fonata' are extremely a-la-mode, as well. as crecy kind of
mphony; he vocal: 15only acceay and the air acmpanies
e accompanlmen We reive 'this ill tae fom there who
wiing to.itr0gee lhg turn 0f Italian mufic in lanKuae not.
fufceptible of it, have obliged us to endearour to' ak .wi
inrffments hat wa ipoble for us to form with. the voic
I darg to foretell that fo unnatural t.e cannot continue.
u6c, purely harmonY% is trifling :' to pleafe con,surly, and:
preven la.no it ought o be railed to the rank of imitative.
arts; bu its imitation xs not ala:ys immediat% as ofe of poetr
and painting; the ords is. de method, by which the mufic dez
trmines'oftene the obje& w. hol 'image it offers us.;. and it
b tlxe touching founds of the human voice, that this inae
d{vakens in our tbuls the tntiment wbicl it ought to produ.
Whods not feel how far th puve Cymphony in which we leek
only' to render the in.Rrument brilliant. is, from that energy
an all the. trifles. of Meet; Mondon,illes violin ri me'as.
two founds of Mad. Maures volde ?.. Symphony animates the
muff% and adds to its expreon. the' it does not fupply the place.
f it. To kno what 'all this: fracas of faata's' would mean,
ith which e a. ra"loaded we mu do as the ignorant painter
who was obliged to write under his figures, ." This is a tree. ''
Tll. i is a an7' e And ehi. s h a herin."
ON. kind of very ort lyric poem, hleh generally a;.
ia asreable fu'bjes to whick a tul iu .added,
S 0
familiar oeca6ons; as at table, with one C6end% wht ne
miffref% and even alone to remove, for iome moments t veari-
śomenefs, if we are rich; and to fupport poverty and labour Vitl
more refolution, if poor.-
The ufo of ibngs feelns o be a natural confequence from tia:
of words, and, in effe, is not lefs general; for wherever they'
śpeak, they ting. It is only neceffary, for the conception of them,
to extend the organs, give an agreeable turn to the ideas we are
&lighted with, and fortify by the exlrefiion , of which the voice
is capable, the fentiments ve xvould cbufe to render, or the image
we would paint. The ancients had not the art of writing at the
time they had of tinging. Their laws and their hifories, the
praifes of tbdir gods and heroes, were fuag before they vere
written. And from thence it happens, according to Arif'cotle
that the fame Greek name was given to the laws and longs.
All the I ric oetr was ro erlr contiffin; Of fons only
Y P Y P P ......
but I ought to confine royfell here to fpeakmg of that which bore
this name particularly, and which had its character in the moil:
complete manner, according to our ideas:
Let us begin by longs for the table. In the mo dli}ant times
fays MonL de lt' N&uze all the ,uef, according t6 Dicearchu%
l-lutarch, and Artemon, lung together, ana in the fame rain
the profiles of the Divinity. Wherefore i there ibngs ,vere veri-
table paan% or facred cantics. The gods were not diiurbers of
their fea% and thus ditklained not to admit them to their Plea
l/reso
- In the end the őuetts lung fucceffively, each in his .turn, hold--
ing a branch o[ myrtl% which pafid from the hand or.him who
had fu. ng, to'him who lung next. LaXly, when rnufic was ira,-
proved in Greece, and the lyre was ufed in feas, the/-e wet%
fay the authors already circa, only the ingenious who were qua-
lified to ting at table, at leafi, when accompanied 'by .the lyre,
The other% obliged to confine themthlves to the branch of myrtle,
gave rit% to a Greek proverb, by which tbe'y tid, thai a rnan-fun
with the myrtl% when they woukl tax him with iffnorance.
Thole'longs accompanied with the lyre and of vhich Terpan.
tier was. the [nvento% were called fcoliae, a word which figniiiea
oblique, to denote according to Plutarch, the difficulty of the
Jbns' , or, as Artemon will have it the irregular. fituation of tboth
who lung; for, as they were obliged to be in,,enious for this me
thod of tinging, each one dtd not: fit in his rank, but only thole
who unde'i-ood mufic, which were difperld here and thor% and
placed obliquely with relations. to each other.
The fubjet% of the fcholi-' were drawn not only froin love and
vlne or plealure in general, as at prolent, but from bittory allb,
War and even morality. $acl i'a
d&'xth
s O'
eath of I-erm]as, his friend and 'ally, which occafioned the au
thor the accuKtlon of impiety.
to impoten , , ' hir. Fearch
"irtue pure and Iovely Among the Greeks a death foe
"thee was reckoned enviable; the Fufferlng with conaney
"dread calamity more than praiFe-worthy; Such are c feed
"of immortality which thou expande over the heart. The
"fruits are more to be valued than gold than the love of pa-
"rents, or the mo tranquil fiumbers. For thee the god-lik
"Hercules, and the fon of Led% endured ten th0uhnd
"and the Fureels of their exploits proclaimed thy pawer. It
"thro6gh love for thee that jax and chilles derrended to
"tonian man'ohs; and 'twas in view of thy celeial beautK
"that the Prince of Atarnes deprived himFell of Sol's bright
"beam: a prince immortatiqed for ever. The daughters of
norv all eTer ting his glory when tuning their Foft lyres to
hoFitabl Jv% and the value of a fineere and laing friend-
' fifip." -
11 their moral longs were not fo grave as that: here is one of
a different tafe, taken from Athenmus.
"The chief of all blengs is health; the fecond beauty; th
"third riches honely colle&ed; aqd the fourth the juvenil=
e dvs we paqs with our friends."
In egard to the fcholi, which onfi of love and win% w
may ju0ge of them by the feventy odes of nacreon which remain
t 0 us. But even in there kind of longs, we may fee that love of
their country and liberty mo clearly in% with which th
Greeks were ever animated.
"Vin˝ and health fays one of there longs, for my Clitagorg
"and 'myqelf with aance from the Theffalians." That
betides that Clitagora was a Theftallan, the Athenians had for-
merly receive d furrout from tile Theffalians: again the tyranny
of PyfiKratides.
They had alCo longs for the different profelons. Such ver*
t!ae longs of the fl{epherds; one kind of which failed bucoliafin,
as abfblutely. the tbng of thole who drove the herds; and th
othe% which s properly the paKoral was an agreeable imitation
of it. The long of the reapers called the Lytlerf% fo called
from the lbn of Midas: who took a plealure in that employment.
The long of the millers called Hyme% or Epiauli% as this taken
from Plutarcl b "Grlnd Mul% grlnd for Pittacus who reignm
"in fplendid Mirylea% delights in eatiago" becaufe Pittacura
was a great Olutton. The tbng of the weaver% xvhich warn
called glint; the yule long of the wool-ca'ders; that of th
nurls a which was call Catabaucalcfis or Nunnia; tlxe long of
loversa
37z S 0
lovers called Nomon; that of the lad{es; cjl[ecl (2alyee; anc
.I-larpalyce, that of young girls. There two longs, by
the rex, bec,ime alfo fongi of love.
For partidular occafios, they had the marriage f6ng, Calleel
.lr-Iymenea, Epthalamum; the f6n of Dates on merry occaiorm;
a%{- l,imentations, the Jaleme; and:Linos for funerals, and other'
nournful bccafi0ns. This Linos'was lung altb by the _YEgvp-
ai,ris and called by them Maneros, from the name of one'
Imir princes, at Whole burial it had been lung. By a paffage oś
.nripides, cited by Atbenmus, we may fee th,2t the Linos all0
ßnight exprefs joy.
.aRly, there were alfo hymns or longs in honour of the gods
.mud heroes. Such Were the Jule*s of Ceres and P, roferpne; the
]Philtalin of pollo; the upinges of Diana, &c.
This genus palTed from the Greeks to the Latins, and feveraI
a>des o.f Horace are gallant or bacchie longs. But this nation
ore warlike than tenfual, made s for a long time, but'a trifling
afe of mufic and longs, and never ,'tpl>roached on this point to
Ihe graces of the Greek.
It feems that muSe ahvays ren-/alned rough and d;fcordant:
mnongtt the lomans. What hey lung at marriages, was rather
a/:Igmour than longs; and it cannot be prefumed, that the fatyv
-ieal longs of the tbldiers, at tlm triumph of their generals, had
a very agreeable melody.
The moderns have their forgs Ifo of different kinds, accordin G
to tI.ge. eiius and taPre of each nation. But the French bore off
he pahn from the reft of Europe, in the art of eompofing them;
if not for the tm-n and elody.of the airs, at leaf} for their wit i
the grace and ingenuity of tle words, th6' in general the wit and -
śatyr, fhew much better than the fentiment in thch a eompofiti0n:
They pay more attention to this amufement, and have ever ex-
celled in it. This hgppy people are always gay, turning every'
tling into merriment: tleir ladies are very gallant; the gentle-
men very diffipated; and the country produces excellent wlne;
I-1oľ can they then refrain from eohkih'ually ti}ging .; We havg
frill tbme ancient longs of Th'ibault Comte de Champ/tgne, th&
nott gallant man of his time, tt to mufie by. Guillaume de
chault; Marot has made feveral which remain; and thro' favotr
of he airs of Orl,nd'o and Claudin, we have hlfb lveral of the
Pleyade of Charles IX. I flall make no mention f rfiore modern
longs, by which the muficians, Lambert, dr/t{ouffet, Ia (3arde
and others, have gained , name; and amongft xqhom we find am
many poets as tilere are Gens dc Plaifi'r, in a nation which is giver'
molt t6 it, though not all tb celebrated as le Comte de Coularig$
& l'Abb˝ de Lattaignant. INcitler have P4'oyerme a.n.d Lan..,;
. gdo
ti.ecoc aete/'ated fi'om their tirPr talents Ve fee in there pr
wnces an air of gamty reign throughout whmh nceffantty tnvte
the people to tinging and dancing. One of Provence, they
menaces his enemy with a long, as an Italian would attack hi with
a rapier.. Other Countries have alfo their provinces for fit.ging.
InGreat-Britaln it is Scotland; in Italy, it is Venice.
Our longs are of feveral forts but in general on Lox, e or Vin%
or rometimes on Satyr. The love longs are, the tender airs whictt
are alfo called' tkdous; the romances, whofk charaOer is tQ move
the foul infenbly by the tender and lively recital of rome amorous
and tragic hi,cry; the paoral and runic longs, many of vhic
are made 'for dancing, as the Muqettes the Gayors, &c.-
The drinking longs are generally airs of bafs or ffmi-breves for
tlte table. It is with great reatbn that few are made for the trebl%
for them is not a viler and more dituing idea of debauchery than
a drunken woman.
In regard to fatyrle gongs, they are comprizeal under the name of
audevilIes and dart their rays indifferently on vice and vlrtu%
by rendering them equally ridiculous; which ought to profcribe thg
vaudeville from the lips of perfons of morality.
We have alto a kind of gong which is called parody. There
are words adjued as we can on airs of the violi% or other infiru-
merits, and which are rhymed either well or ill without paying
attention to the menlure of the veres or to the chara&er of the
air or to the fenfe of the words or even often to common deli-
cacy. (Vide Parody.)
SONOROUS. Which renders a found ( A fonorous metal '
From thence, "A fonorous body". (Vide corpo
Sonorous is ald particularly, and with excellence of all that ren-
ders mellow, rong clear, ju tbnds and well tuned. A
rous bell"
SOTTO VOCE. This Italian word fpecifies, in the places
which it is written that we mu only ting a demi-voix, or play
onl 7 ademifiu. Mezzo forte, and mezza vote, fignify the three thine
SOUND. When the agtatmn commumcated to the air by the
collifion of a body ruck by anot[e% reaches as far as the audilive
0rgan it produces a tnfation called noil. 'But there is a refound-
ing noire katled found, Searches on the abfolute tbund belong
to the phTfician. The mullclan examines only the relative found.
He only examines by lnfible modificatlo% and it is according to
this la ide% that we enqui.re into it in tltis article.
There are three principal obje&s to tic confidered in the found;
'the ran% the fore% and the modification. Under each of thelb re-
lotions the found is conceived as modifiable. 1;'ifil from Hat to
O o o tharp,
0
fharp; fecondly from frong to weak; thirdly from flarp to fweat
or from the dull to the lively, and fo reciprocally.
I firft tuppofe, that whatever may be the nature of the foun//
tliat its vehicle is the air itfelf; in the firft place, becaufe the air is
the only intermediary body of the exiftence, vhich we are per-
felly a'ffured of, be(ween the fonorous body, and the audilive or-
gan: fince we muPc not multiply the beings without a ne6effity;
as the air is fufficient to explain the formation of the found; and,
moreover, beeaufe experience teaclaes us, that a fonorous body rend-
ers no found in a place quite deprived of aii'.
If ve would imagine another fluid, we may eafily apply to it all
that I have laid on the air in this article.
The refonance of the found, or to fpeak more clearly, its perma
hence and prolongation, can afire only fi'om the duration of the
agitation of the air. As long as tlxis agiiation continues, the tiaa-
ken air incerrantly ftrik˝s the audilive organ, and by this means.
prolongs the fenthtion of the found.
But there is not a more imple method of conceiving this durz-
tion, than by fup?oing in the air vibrations which fucceed each
other and thus renew the impre,on every inftant. Moreove ,
this ,-agitation of the air, of whatever kind it may be, cannot be
produced but by a timilar agitation in the parts of the lbnorou
body. Moreover, it is a certain facet, that the parts oftle fonorous
body undergo fuels vibrations. If ve touch the body of a violin-
cello at the time we draw the found, we feel it ake under our
?and, and we fee very fentibl- the vibrations of the chord' continue,
till the found is extinguifhed. '
It is the fame thing with a bell, which we make found by ftriking
]t with the clapper; we teel it, we fee it even fhake, and we per-
ceive the grains of thud leap up, which are throvn on the furface.
If the chord Iootns, or the bell burrs, there is more flaking and
more found. If tlxen, neither this bell nor this chord can commu-
nicate to the air any movements, but what themfelves have, we
cannot doubt but that tle found 1)roduced by the vibrations of the.
fonorous body, exteuds itfclf by timilar Vibrations vhich this body
communicates to the air.
_All this being thppothd, let us ih'ft examine what conftltutes the
a'elation of tbunds from fiat to
I. Fheon, of Smyrna, flys that Lafus of Hermione, as well as
the Pythagorean Hyppals of Mctapont, to calculate the relation
ofconlbnances, made ul of two tlmilar veffels, which refounded
unifon. That leaving one of thel cmpty, and filling a quarter
Of the other, the percufiion of each prodt/ced the contnance of a
śourth; that thn filliag the fccond a third then again the half
tim
s o
the percufllow of the fecond had produced the confonance of the
fifth, then of the oCtave.
Pythagoras, according to Nichomachus and Cenforlnus, managecI
in another manner, the calculation of the fame conneCtions.
utended, they fay, different weights to the fame fonorous chords,
artd determined the references of the different founds on thole
which he found between the hanging weights; but the calculati-
ons of Pythagoras are too juf'c to have been made in this manner;
fince every one knows at preśent on the experience of Vincent
lileus, that the. founds are together, not as hanging weights, but
in the rub-double computation of thelb fame xvcights.
Laftly, was invented the monochord, called by the ancients Ga-
non Harmonicus, becaufe it gave tle rule of harmonic divifions.
We muf'c explain its principles.
Tvo cho,'ds of the lme cornpofition equal, and equally extend-
ed, for,n a perfec"t unifon in every fenfe. If the lengths are une-
qual, .the fhorteft will give a fharper found, and make more vibra-
tions in a given time; from wlxence we may conclude that the dif-
ference of founds froin fharp to flat, proceeds only by that of vi-
brations formed in the fame fpace of time, by the chords or fono-
rous bodies which make them heard: wherefore we exprefs the
:onne&ions of founds hľ the nmv, bers of vibrations which give
them.
We alfo know, by as certain experienc% that the vibrations
the chord equal in every other refpe, a,'e always reciprocal in
the lengths. So the double chord of another, will make, at the
tme time only. the half of the number of vibrations of the latter,
.and the relation of the founds, which they will caufe to be heard is
called oCtave. If the chords are as. 3 to =, the vibrations will be
as to 3, and tlle conne&ion of the founds will be called fifth, &co
( Vide Interval.)
We fee by this means that with moveable bridges it is eafy to
forxn On a fngle cho,-d, the divifions which produce founds in all
offible conneCtions, whether together or with the entire chord.
'śhis s the monochord which I have ju mentioned. (Vide
1Vl.on ochord.),
Ve may 'rerder fliarp or flat founds by other means; two
chords of equal length do not always forin the unifon, for if the
one ig,'eate' or le!-extended than the other, it will form left vi-
brations in equal ti,xies, 'and confequentlt, will give a fharpe:
found. (Vide chord.)
It is ealy to explain on thef'e principles the confru&ion o chor
intrument, iixch as the Harpilchord, and the playing of Violinn.
or BaiTes, which by the different impreflion of the tingers or move-
able bricl/es On 'tlx8 cltords products the divefilly of fbunda drawn
fro
śrom thole in{}rument. %re mu reafon in the fame manner
the wind inf'rruments. The holes, as in the flute and haut-boy
śerve to fhorten theln, to render the found more fh.rp tn giving
more wind, they' are made to oave, and the found becomes ftitl
fharper. The co!mnn of air forms the fonorous body, and tho
different tones of the trumpet and french-horn, have the fame prin-
ciples as the harmonious founds of the violincello and violin &c.
(Vide harmonic found )
If we make orc of thegrand chords of a violin or violincellc
vefound with rome fm-ce, in pafi{ng the fiddle-ick rather nearer to
the bridge than ordinary, we fl:ail hear di0dncVtly; however little
our car m. ay be exercifed or ttentivc, betides the found of the en-
tire cho,-d, at leaśt that of its or, ave,that of the oave of its 5tha
and that of the rtouble ocrtare of its third; ?e fhall even fee fhake
and refom3.d all the chords, acendirg to the unitbn of thofe
qhefe accelTary t5ounds alwa,s accompany any fiaund whal;foever
but when this principal Ibun is flarp: the other are lefs tbnfible.
We call there the harmonies of the principal fiund; it. is by
them, according to Monf. Rameau, that every bund is apprecia-
ble and 'ti in them khat himśelf and' 1VIonś. ?artini have foughl;
the 'pr{nciple of all harmony, but by routs di,'ely oppofite.
Vide harmonic fyem.)
( One difficulty which remains to be e?lained ir the tleory of
the found, is t9 know hcw two or more founds may be heard at:
the fame time. When we hear, for inftance,,the rw.o lbunds of the
fifth, one of which forths two vibrations, whilft the other makes
3three, we cannot welt conceive how the three mars of air may fur-
nifh at the fame time there different numbers of vibrations diPtin&
śrom each other; and fill lek, when it makes more than two fonds
together, and that they are at[ dilTonant with each other.
ß Mengoli and others manage the bufinel by comparifons' It
the falDe thing fay they, as'whh two tones thrown in the water
at the three time, and whole different circles lie crot ways without;
confounding each other. Mont2 de Mairan, gives a more phi[otb-
phicalexplanation. The air, according to him, is divided into
particles of different fizes, each of which is capable of a cculiar
P , .
tone, and .hfceptible of no other; fo that in every found whmh
formed, the particles of ah' analogous to it on[y, are lhaken, thole
and their harmonies, whi[ft all the reft remain tranquil, till moved
in their turn by founds corretondent to them. So that we lleat'
at the fime thne two founds, asve fee two colours; bccaulb, being
pro. duced by different parts they afro& tlm organ in diffgrenr
This fyffem is ingenious, but the imagination is with difficulty
xmlted to the infinity of the particle iv. the ir; dieśing in fize, and
m(bility
mobility, which ought to be expanded in each point of the fpace,
lobe always ready on neceffity, to render an infinity of all the pof-
fible founds i every place. When they are once arrived at th
drum of he ear, we have Rill lefs conception, how, in fcriking
veral together, they can produce a fhake capable of conveying tha
fenration of each in particular to the brain. It appears, that thi
difficulty has been rather removed than refolved. They alledge
vain the example of light, whole rays meet in a point without con-
founding the objeEts; for, betides that one difficulty is not refolved
tiy another, the fimile is not exaPc, fince the obje ;s feen with-
out exciting in the air a movement timilar to that which a fono-
rous body mupc occafion to be heard. Mengoli feems defirous oś
preyelating this objeEtion, by fa ing that the maffes of the air
charged, as it were, wth different founds, Pcrike the drum only
cefiively, alternatively and each in its turn, without paying too
great attention, how he t:hould employ thofe, which are obliged to
ait ill the firPc have difcharged their office; or xithout explaining
how the ear, fcruck with fo many fucceffive impreffions, can dif-
tiiguifft thot which belong to each found. Irx regard to th=
harmonies which accompany any found foever, they offer rather
new care of the precedent difficulty, than a feparatembarraffinent;'
for as loon as it is explained how many founds may be heard at
time, we may eafily explairx the phcenomena of harmonies. Fox:
inftarlce, let us fuppof6 that a found puts in motion the particleg
of air futLeptible of that fame found, a.nd the particles fufceptible oś
:fharper founds ad infinitum, from there different particles there will
then be founds,whole vibration beginning and finjib. lug exaEtly with
the fonorous body, will be continually aided and renewed by thole
of the other; there particles will be thole which give the unifon.
Next comes the oc"tave, whole two %ibrations concording with on
of the principal tbunds, are. affifted and enforced by it from. two to
two: conlquently, the oPtave will be fenfible, but lefs than tha
unifon. 'I'hen coius the twelfth, or oEtave of the fifth, which f9rma
three prccii vibrations, whilPc the fundamental found makes one
vhcrefore, receiv'ing a frefh fcroke only at each third vibration, tha
twelfth will be let'tnilble than the oEtave, which reccivcs this
trcfi fcroke at the fecond. By following tha fame gradation wa
find the concourfe of vibrations more flow, the rokes lefs ren.ewcd
and confequently the hartxlonies always lefs fenfible, 'until tile re-
ferences ai-e cornpored to that point; that the idea of the concur-
rence not ihfficiently freqtlent, be effaced, and tha vibrations ha.
vlng tlfe time to be extinuilhed before they arc renewed the har-
monic is no longer heard at all.
Lafdy, when tile referen. ce ceafes to ba rational, the v{brationa
lao tonget concur, Thof˝ of t. ile tharper ibund ilwaa ;oritrary,
378 g o
are very loon Prfled by thoFe of the chord and thls fharp found is
abfolutely diffonant and null.
Such is the reaśon why the firf harmonies are heard and all the
rift are not re. But [ have written already too much on the firft-
I'
qua ty of tae found. Let us now paśs on to the repr.
II. The force of the found depends on that of the vibrations of
the loneroes body, the more there vibrations are Prrong the more
vigorous the found is, and is heard at the greater diPrance. When
the chord is fufficiently extended, and the voice or inprrument not
too much forced, the vibrations a[vays remain itbchronous, and
conśequently the tone continues the Gme, whether we ftrengthen
or weaken the founct; but in Prriking too forcibly xvith the bov, in,
flackening the chord too much, in tinging too high, we may make
the vibrations lore the necelTary ilchronifin for the identity of the
tone; and this is one of the rcafons, vhy, iu the French mufic,
wherein the grand merit is to fcream} we are more fubje& to ting
falfe than in the talian, where the voice is moderated with moro
fweetncfs.
The quickneśs of the found, whiclx would feem to depend on its
force, does not re. This quickneśs is always equal, and conpranta
nlefs accelerated or retarded by the wind; that is to fay, that the
found, fkrong or weak, will be always uniformly extended; and
two śeconds will always go twice the diprance it would do in one.
ccorcling to Halley and Flamppread, the found in England goes
o7o French feet in afecond and at Peru, 274 fathom% accordinő
to Monf. de la Condamine. P. Merfenn% and Gaffendi have
lured us that a favourable or contrary wind neither accelerates oe
retards the fouhd; but fince the experience that Derham and the
_Academy of Sciences have nadc on this fubjc, this paffes as an
error.
Vithout flackenlng the motion the found is weakened in extend-
ing itśelf and this weakening, if the propagation is fre% if it is
not prevented by any obPracle, or flackened by the wind, ordinarily
Ibllows the realbn of the tZluare of difkanccs.
II[. In regard to the difference, xvhich is found alśo between the
founds by the quality of the moditidatlon, it is evident, that it holds
neither to the degree of elevation, nor even to that of the force. It
will be in vain for a hautboy to place itlizlf in unifonwitha flut%
it will be in vain to fweeten t:hc tbund to the fmne deffrce. Tha
tbtnd of the flute will always hay% a je ne fids qoi ofnellow and
fwect, that of the hautboy romething rude aud thartb which.will,
prevent the ear from confounding them; without mentioning tlz
diverfity of the modification of the voice. (Vide Voice.)
There is not an inttrumcnt which has not its peculiar ten% vhic[x
h.s no coaacitlor'witlx th.t of .n0thcr .nd ttxe organ alone ha
twenty
'twenty methods of playing all of a different modification. No
i3ne, however, that I know of has examined the found in this
tlcular; which as ;yell as the refc will perhaps be found to have
t-ome difficulties; for the quality of the modification cannot depend,
either from the number of vibrations, which forms the degree from
flat to flarp, or from the greamefs or force of there fame vibrations,'
ß a'hich forms the degree from ffrong to weak. We mu then find
in the fonorous body a third different caufe from there two, to ex-
plain this third quality of the bund 'and its differences; whiclx
perhaps, is not too eafy.
The three principal qualities which I have mentioned enter all,
though in different proportions, into the obje& of mu% which
found in general.
In effe&, the cmnpofer does not only conrider if the found which
he ufes ought to be high or low, flat, or arp, but if they ought
to be rong or weak, difguing or fweet, dull or pleating: and he
diRributes them to different inruments and different voices,
recitatives or choruffe% at the extremities or in the medium of the
inRruments or volces with the dolce and forte, according as thel
are fuitable.
But it is true, that it is only in the comparifon of founds from flat
to arp, that the whole harmonic fcicnee cons; fo that,
the number of founds is infinite, we may fay in the fame fenfe,
that this fcience is infinite in its objes. We conceive no preciI
founds to the extent of founds from flat to arp, and however
froall the interval may be, which is between two founds, we flaall
always conceive it d[vifible by a third found; but nature and art
ve limited this infinity in the praice of mufic. We very room
find in inRrmnents, the bounds of praaicable founds, as well in
fiat as in arp; Lengthen or orten a fonorous chord to
certain pmnt, t will have no more a found. 'e can neithe
augment or dimini, at will, the capacity of a flute, or the pipe
of an organ, neither its length. There are bounds paffed which
meither can any longer refound. The breathing has alfo its inca-
lure and its lavs. When too weak, it renders no found, whe
too Rrong, it roduces onl a piercing cry, which it is impoblľ
to appreciate. Laaly, t s agreed, by a thouland expemences,
that all fenfible founds are confined within a certain lhtitude,'
paffed which, either too flat or too tharp, they are no longer per-
ceived, or become inappreciable to the ear. Mon/. Euler has,
in 'three refpes, fixed its limits; and according to his obfcrva-
lions,/hewn' by Monf. IJiderot in his principles of the acouRic,
all fenfible tbunds are cornprized between dm numbers 3o and
552; that is to thy, that, according to this grcatgeometrician, the
flatc found perceptible to the car forms 3 o vibratlona a fccond,
anti
-nd the fharpf ? vibrations at he śarne tme an interval,
hich narIy comprehends eiőht oavcso
On the other land, we śe˝ by the harmonic generation oś śounds
that amidff their infinity, there are very few which can be adtnitted
into the harmonious fyftem. For all thośe which do not form
conśonances with the fundamental śounds, or which do not ariśe
mediarely or immediately, from the differences of theVe confo-
n'ances, 8ught to be proścribed from the fyftem. This is the rea-
fon, that however perfe ours may be śuppofed at prevent, it is
however bounded to twelve founds only in the extent of an
tare; from which tvelve, all the other oEtaves contain no more
than replfiques. If we chufe to reckon all theśe repliques for fo
many different founds, in multiplying them by the number of oc-
taves, to whikh the extent of appreciable founds is confined,
fhall find ninety-fix in all, as the greateft number of praEticabla
founds in our mufic on the fame fundamental found.
We could not reckon,.with the śame precifion, the number of
'ounds pra&icable in ancient mufic. The Greeks forined, as it
were, as many fyftems of tnufic as they had d'ifferent methods.of
tuning their t&rchords. It appears, by reading their treatiVes
mufic, that the number of theśe methods was great, and perhaps
undetermlned. Moreover, each particular concord changed the
founds of half he fyftem, that is; of twa moveable chords in each
tetracho}d. So that we plainly' fee, that thcy had founds in a tin-
gle method of concord; but we cannot julfly calculate how nmch
this number was multiplied in all the changes of genus and mode
which introduced new founds.
In regard t:o their tetrachords, they diPringuifled the founds
into two general claffe's viz. the fable. and fixfid' founds, whośe
concord'never changed; and the moveable founds, whośe concord
Changed with the nature of the genus. Tle fir were eight in
all, viz. the two extremes of each tetrachords. and th.e. chord
proflambanomenos; the śecond were alfo at leaft eight in number
lmetimes' nine or ten, becaut two adjoining fdunds were rome~
irnes confounded in one, and rometimes feparated.
In the p)'˝ni genera, tliey divided the ffahle fountIs into two
linds; one of which contained three founds, called apycni, be-
caufe the 7 formed neither femi-tones, or finallet intervals in flat
there three founds. apycnl, were the proflambanomenos, the neta
fynnenenon, and' the nete. hyperboleon. .The other kind took
the name of founds ba,'ypycni, becaul they formed the flat of
the tinaller intervals: The tBunds barypcni were five in number
iz. tlte hypate h aton, the h ate melbn. tl˝ mcfis.the para-
YP . YP
mcfis and the h˝c dmzcugmcnono
The.
'.e moveable tones were rubdivided in the/'ame manner into mefo-
'hycni founds, Whi-ch were alfo five in nutnber, viz. 'The fecond
in arcending of each tetrachord; and in five other founds c'lled
ipbycni, wltich were the third in arcending of each tetrachord.
(Vide Tetrachord.) .
Ifi regai'd to the tvelve founds of tle modern fyftem, their con-
e0rd 6.ever Chah=, and they continue i.,nmoveable. Broffard pre-
tends, that they are all moveable, foundirig ,t on the,r being to be
changed by dieils or B flat; but it is one thieig to change the chord,
and another 'to change t'he concord of the chord.
FIXED SOUND. To have vhat we call a fixed found, ve
muft be affu,'ed, that this fouhd Would always be the fame, in all
times and in all places. Moreover, we 'inuft not think it fufficient
or this putpole, to have a pipe, for infkance, of a determined
length; for firt}, the p'ipe always continuing the fame, the weight
of the air will neverthelefs Change; the found will ;[lter ind become
flatter or i'harper according as the air is lighter or heavier. For
tile fame teafen, the found of the ,-me pipe will again change witN
the column of the atmofphere, according as this fame pipe is railed
or lmvered, in 'mountains or in vallies.
In the fecond place, this pipe, whatever may be its competition,
will be fubjecq: to the vai'itions that beat and cold cauts in the
cli,nen6ons of every body. The pipe fimrtening, or lengthening
itfel, will become proportionally fharper or flatter, and froin there
two combined caufes, comes the difficulty of having a fixed found,
and the alnioft impoffibility of being allured of the fame found, in
wo places at the fame time, or twice in the fame place.
If we could reckon exa&ly the vibrations which a found mak'e
in a given kline, we might, by tile fame number of vibrations, be
afrured of the identity of the found; but this calculation being
1'
'mpoffible we can on y certify the identity of the found by that
of the inftruments which give it, viz. The pipe, in regard to its
dimenfion; and tie air, as to its weight. Monf. Sauveur propo-
td, for this purpofe, a inethod, which by experience did not thc-
ceed. Mont; Diderot has fince pr9pofed rome more pra&icable,
and wtiich conrifts in grnduating a pipe of a fufficient length, that
its divifions may be jutc and iznfible, in competing it by two move-
able parts, by_ which it may be Icngthened or flmrten&l, according
to tile dimentions proportional to the alterations of tile air, expref-
fed by the thermometer, in rcgard to their temperature, and by'
the barometer as to their weight'.
Vide the principles of acouftic by that author to forin a judg-
tnent of it.
FUNDAMENTAl-. SOUND. A fundamental found is that
which fervcs as a foundation to the conco,'d. (Vide (]oncord,) or
totlie tone, (\'id˝ Tone.)
P p p Fundament.t
$gz S 0
Fundamental bar's, is that which foryes as a i6incati6fi t6
mony. (Vide Fundamental Bars.)
_ fundamental concord is that whole bat's is tundamental, and
whofe founds are arranged according to the order of their genera
tion; but as this order removes tlxe parts extremely, we connec
them by combinations or variations, and provided that the bai
continues the fame, the concord dogs not on that account fail to
bear the name of fundamental.
Such is, for inf[ance, this concord ut mi fo] confi'ned in zn in-
terval of $th. whereas in the order oś its genieration ut lot mi,
comprehendsřa oth, and even a 7h tince the fgndamental ut'i
not the gth of śol, but the oave of that $th.
HARMONIC SOUNDS. A tingular kind of foands, whicl
r drawn from certain inffruments, fuch as the violin and the
olincello, by a particular motion of the fiddle-flick, which is drawn
earer to the bridge, nd the finger lightly placed on certain divifi-
ns of the chord. Their founds are very different for their mo-
difications and for the tone, from what they would be, if the finger
was confant[ľ fixed. In regard to the ton% for inRance, they will
give the $th, when fley would have given the 3d, the 3 d, when
they would give the 6th &c. As to the modifications, . they are
much fweeter than thole which are drawn full from the fme divl-
tion by carrying the chore} owards the flagVe and on account of
this śweetnefs, they are called fluted founds. One muff, to have
a clear judgment of them hv heard Mont'. Mondonville draw
on 'his'violin or Monf. Bertdud or .his vioti'ncello,. the confe-
rUences of thefe beautiful founds. By ftidi the finer flihtlv
om fharp to flat, from the middle of a chor2' which ve touh a
the fame time with the bogr in the aforelaid manner, we her dlf-
in&ly fucceflon of harmonic founds from flat to fharp; which
ery much affonithes thfe uufkilled in the theory of them.
The principle on which this theory is founded is, that . chord
Eeln divided irto two. commenfurable parts to' 'ther and confe
g .... g ,
quently wth the ermre chod ff the olacle which i placed at
I]e .ont of divifion hinders only imperfe&ly the. commtinication
of vibrations from one lart to another,. every time that the chord
founded in this ftate xt w11 not render fle found of the entir
chord, nor that of its greate part but tha of the finallet parr, if
it meaśures exa&l T th6 other or, if it does not meafu.re i?, the
found of the greatet aliquot common to there two part,
Let a chord 6 be divided into two parts 4 and tha havmo.
hie found will refound by the length of th fmall part e, which i
aliquot of the greater part 4; but if the chord $ is divided by 2'
and 3, then as the finall part does not meaśure the greater, the
harmonic foun will.˝.nllr refound, according to the halś z of thi..
fame'
s o 383
fame finallet part, wlich half i the greatef common' menlure oś
the two prts 3 and , and of the whole chord 5-
By means of this law drawn from obfervation, and conformable
to the tryMs made by Monf. $auveur, at the Academy of Sciences
all the marvellous difappears, With a very timpie calculation
we affign to each degree the harmonic found which anfwers to ito
In regard to the finger flldiag the length of the chord, it gives only'
a continuance of harmonic founds, which fucc'eed each other
pidly in the order they ought to have according to that of the di
vifions On which we pafsthe finger fuccefively, and the points
which form no exa& divlfons, ośwhich form thofe that are too
cmnpofed give no fenble or appreciable found.
1, ale of f'-2'arraqic $unds jnle and appreciable on the ollncelloo
The chord vidi
The minor thircl
The major thircl
The fourth
The fifth
The minor fixth
The maor fish
The oave
-The unlfon.
The x9th or double oave of the fifth.
The 7th or double o&ave of the fame
major third.
The double oL;Lave.
The t=th or o&ave of the fame fifth,
The triple o&ave.
The t7th major Or double .ave
the third;
The oave.
We here find a table of harmonic founda which may facilitate
the fearch of them, t thafe who. detre to pra&iee them. The firt
column denotes the founds which the dlvilions of the inpcruments
would render when touched in full; and the fecond the fluted
śounds Correfponding when the chord is harmonically touch'd.
A.fter the firPc o&av% that is, after the middle of the chord, ad-
vancing towards the bridge, we again find the fame harmoaie
founds in the Came order,-on the fme divifions of the tharpePi
octave, that is, the nineteentl; on the minor tenth the feventeenth
on the major tenth &c.
[ have made, in this table, no mention of the harmonic found
relative to the fecond-and feventh; firPc, becaufe the divifiona
which form them, having'only very froall aliquot together, would
render their founds too lharp'to he agreeable, and too difficult ta
be drawn by the firoke of the fiddle Pclck; and moreaver, becaufe
one mut enter into the fub-divifions to much extended, which
cannot be admitted but in pracqice; for the harmonic tbund of
the major tone would be the twenty-third , or the triple oave df
the fecond; and the harmonic Of the minor tone would be the
twcnty-fourth or triple oave of the minor third: But what ear
Ppp a i
$ P
is fine enmagh, and what hand fufiiciently juec, to difilngulfh ancl
touch, at will, a minor or a major tone ?
The whole play of the marine-trumpet i, in harmonic founds,
which is the reafon that we cannot draxv every kind of found fronl
it with eatS.
TO SOUND. We fay, in compofition, that a note founds on
the bars, when ir enters into the concord and forms'a harmony,'
allowing th difference of the notes ', which are thole of tafie, and
śerve only to figure, but have no found. We alfo fay to found
note, or a conci>rd, to exprefs the frikiag or eauting a Tou9d to be
heard, the harmonv of that note or that concord.
SOURDINE. h fanall infirument of coppe: o,' filter, which is
applied to tke b.ridge of a violin or. violincello, to render the tounds
weaker, by intercepting and preventing the vibrations of the en-
tire body of the inttrument. The fourdine, by wea!zcning the
t'ounds changes their modification, and gives them' an' ekeceding
moving and mournful characr. The French muffclans, vho
think t13at fi fvfiet play produces the fame effe as th fourdine, and'
who do: not admire the'trouble of placing and difplacing, make no
ufe o; J;t:; bt3t they make u. fe of' it with great effe& in all the or-
chettra of Italy; and it is becaufe the word fordini is' found very
often in their' fymphonies, that I have made an ,,rticle of it.
There are fordial alfo for the French-horn, for t]xe'harpfidhorda
SPACE. A. fair interval, or dif[ance, which is found in the
ttave between a Iine, and that whlcli follows i immediately above
or be}ow. There are four fpaces in the five lines, and two betides;
tle one hbove, the other below the entire ftave: We find, wher/
neeeWary, tliefe t;o indefinite fpaces, by addiiional lines added
abovd'or below, the which augment the extent of the Rave, or fur:.
nifl hew/paces. Each of thel fpaces divides the interval' of two
lines ˝'Iilch terminate it, into tw9 diatonic degr'ees viz. one from
the inferioi- line tO the ti)ace,.and the other from the tace to the
fuperi'or line. (ľide'Stave.)
SPICCATO. An Italian word, which, w. ritten on mufic,
noteu fironE and-well'det.scl,ed founds. ' ' '
SPONDAULA. Was, arnOnEff the ancients, a player on tle
flut% or 'rome other fi.ni'lar intk't ment, who, while the lhcrifiCe
was offered played'in the ear"of the pricfl rome fuitable air, to
prevent his. liftening to any thiug vl,ich might interrupt him, '
This word is for,ned from tl Greek wr0vl˝, a' libation, and
,uX0r, 'a Flute.
SPONDIASM. Was, in the mof ancient Greek mutic, an
rotation in the harmrode genu when a chord wa accidentally
"' elc'vatdd
eievatecl three dlefis:s above its ordinary concord fo that th
śpondiafm was precifely the contrary to the Eclyfis.
ß STABLE. The liable chords or founds were, betides the chord
proflambanomenos, the two extremes of eaclx tetrachord, which
extremes founding the diatepafon or fourth together, the concord
never changed, as did that of the chords {n-the middle, which
xwere extended or flackened, according to the .genera, and on that
account were called moveable chords or founds.
ß STAVE. The Praycot line ofmulic is cornpored of five parallel
lines, on or between which the different pofitions of the notes
mark their intervals or degrees. The Prave of church-mufi˝ has
only four lines: tt formerly had eight, according to Kircher, each.
marked with a letter of the gamut; tb that there was only one
c'onjoint degree from one line to another: When the degrees w. ere
doubled, b.y placing notes in this manner in the intervals, the ftave
of eight lines being reduced to four, was found of the fame
tent as before.
To this number of five lines in mufi˝, and four in that oś.the
church, are added, additional or accidental lines, when n˝cetrary,
and the notes patk the extent of the ave above or below. This
fixtent, in a Prave of mutic, is in the xvhole of eleven notes form-
ing ten diatonic degrees, in ˝hurch-mufic of nine notes forming
eight degrees. (Vide Cleft, Notes, Lines.)
ß 8TOP. Is tle termination of the phrafe, on which termina-
tion the air repofes, more or lefs perfectfly. The Prop cannot-be
aftab[it..ed but by a full cadence; if the cadence is avoided,
h'e6 'd/m be no true Prop: for it is impoffible for the ear to repofe
on 'a cl'iffonance. We te by this means, that there are precifely
s may:'ki'd' of Props, as forts of full cadences (Vide Cdence,)
and .the:different Props produce in muff% the effe& of the punc-
tuation n difc0uHe.
.' some coilrodney' *ery im roped , tile loops with the filenee
ß . ., ß p . Y
tho'-: th'efe tro things'are very dxfferent.
ß STRUCK: This is 'the tihae when the hand or foot is lowered,
and' (vlien we beat' o 'ma'rk the rneafure. (Vide Thetis.) ..We
firike:with the foot in ge'neFal only the firPr time of. each meafure,
b'ut thole' WhO cu'in' tlvo, the' mealhre of four, rike alfo the third.
Iri' Prriking' the meafiu'e' With ;he hand the French never beat but
in tlhe tirpr tim%"and' mark the ref by different movements of. the
hand; bu't tle Italiahs:Pcrilre khe two firPr of the meathre of three,
and ril the third. ' 'They ftrike in the fame manner the two firfi:
in the meafure"0f' f9ur,"and'ralf˝.'/.he two others. There move-
ments are more fimple, and appear more convenient.
STYLE. The diPrinuCtive char/Eter ofcompolition or,execution.
This characr varies greatly)'a˝cOrdifig to the countries) th
of
s u
of the people, the genius of authors, &e. aeeording to matters
place, fuect, expreffon, &c.
We fay, in France, the ftyle of Lull]r, ofRameau, of Mondon-
ville, &c. In Germany, the ftyle of Haffe, of Gluck, of Graun.
In Italy, the ftyle of Leo, of Pergolefis, of Jom'elli, of Butaneflu.
The fty. le of church-ufic is not the fame as that for the theatre
or a private room. The/'tyle of German compofitlons is lively s
divided, but harmonious. That of the French compofition is flat s
rouh. ill cadenced, monotonous. That of the Italian
tion,'flourifhing, pleating, energetic.
The dramatic or imitative ffyle ix proper for exciting or paint-
ing the paffions.' The ffyle of the church is śerio. us, najeffic,
grave. The ftyle of the Motet, where the artiff affects to fhe
himfell as /'uch, is more claffic and ingenious, than energetic and
affecting. The hyporchematic Pcyle is peculiar to jolt, pleafur%
dan˝ing filled with lively movements, gay and Well expreffed.
The tmphonic or inftrumental ftyle. As every. inftrument has
its touch, its fingering, its charaer peculiar to t, it alśo has its
ftyle. The melifmatic or natural ftyle, which is firff prevented to
perfuns who have not yet ftudied. The vle of fantaler, little
united, filled with ideas, free from every ctnfraint. The chorale
or dancing ftyle, which is divided into as many different branches
as there are. charaers in dancing.
The ancients had alfo their different ftyles. (Vide Mode and
Meleepea.)
SUB-DOMINANT. A name given, by Monś. Rameau, ta
the fourth note of the ton% which is, contEtiuently , in the fame
interval of the tonic in deli:ending, as is the dominant in arcending.
This denomination happens from the affinity which this author
finds by variation, between the minor mode of the thb-dominants
and the major mode of the tonic. (Vide Harmony.)
SUB-M.'EDIANT. Is alśo, in Monś. Kameau's ľocabular3,
the name ot the fixth note of the tone. But thls fub-mediant
as it ough to be in the three interval of the tonic below, as is
the mediant above, fh0uld form a major third under this tonic
and eorifequently minor third on the rub-dominant, and it is on
this analogy that the fame Monf. Rameau effablifles the principal
ofthe minor mode; bur it would folloxv from thence, that the
major mode of a toni% and the minor mode of its fub-dominant
muff have a great affinity; which is no thch thing: fince, on the
contrary it is very tIdom that we pals fi'om one of thetE two
modes to anothe% and that the' altooff entire fcale is altered by'
fuch a modulation.
I may be deceived in the acceptation Of there two precedent
words, not t, aving Monf. Rameao's writiugs before me whilff I
write this article.- H% pcrhapb underland timply by fub-domi-
nant
tant, the note, which is a degree below the dominant; and by
'ub-mediant, the note which is a degree below the medianr.
What keeps me in fufpenfe between thetk two fenfes is, that in
each the thb-domlnant is the fame note fa for the tone of
but it would not be the fame thing with the fub-mediant: It
would be Ia in the firff tenfe, and re in the fecond. The reader
may verify which of the two is Monf.'Rameau's: vhat may be
tte'lSended on, is, that what I have given is preferable for the ufe
of compofition.
SUBJECT. A term ofcompofition. This is the principal part
of the defign, the idea which ferves as a foundation to all the reft.
(Vide Deftga.)
dktl the other parts require only art and labuor: this depends onl3r
on the genius, and, tis in this, that invention entirely conilLs. The
principal rubjeers in mufic, produce Kondeau's Imitations, Fugues
&c. (Vide thole $Vords.)
dk barren and cold compofer, after havi.ng difcovered with diffi-
culty rome fcattered fubjecřt, only turns it and changes it from
tnodulatlon to modulation; but the artiff who has fire, and a clear
imagination, without fuffering his thbje to be forgotten, gives it
a new air every time it is reprefented.
SUPEKFICIES. _A_ combination, either of the founds of a con-
cord, beginning by one of thole founds, and takirg the reft ac-
cording to their natural connexion, or, from ihe touches of the
keys which form the fame concord. lVrom whence it follows, that
a concord may have as many fuperficies as there are founds which
cornpole it for each may be the firff in its turn.
The perle& concord ut mi foI, has 3 fuperfi˝ies. By the frtfl:
11 the fingers are ranged by thirds, and the tonic is under the in-
dex by the fecond mi fol ut, there is a fourth between the two
laft fingers and the tonic is under the laff; by the third fol ut mi,
the fourth is between the index and fourth finger and the tonic is
nder the latter. (Vide Variation.)
As the diffonant accords have generally four 1otnds, they hav
alfo four fuperficies, which may le/)und with the fame facility.
SUPER, SUS. A name formerly given to trebles when they
were very tharp. ß
SUPEKNUNIER. AR. Yo Was the name of the loweft chord in
the Greek fyffem; they called it altb in their language proftarnba-
nomenos. (Vide that Word.) .
SUPPOSITION. This word has two fnfes in mufic. Fir
when tveral notes arcend or fall dia.onically in a part on the
fame note of another part; theft: diatonic notes cannot then all
form a harmon'y, or enter at the fame time into the Ihme con-
cord, There are rome then counted lbr nothing, and thole are
note foreign to harmony whiqh are called note b3' lhppofitin.
The gefieral. rule is, when the notes are equal that all thb
Which ftvike on the ftrong time bear the harmony, thole wh.icix
pals on the weak time are notes of Ikppofition, which are placed
for the air only and to fcrm conjoint degrees. Take notice th
by rong and weak time I underand lefs the principal times.
the meafure than the parts themfelves of eac h time.. So if there
re two equal notes in a fame time it is the fir which bears
the harmony: the fecon is of fuppofition; If the time
CompoSed of four equal notes, the x and 3 d bear the harmo-
ny, and the 2d and 4th are the notes .of fuppofltion, &C'
Sometimes this order is perverted: we pat the fir note bF
fuppofition, and we make the fecond borne, but then the pow r
ers of this fecond note are generally augmented by a point at th
expence of tl!e fir.
11 this always fuppofes a diatonic m0vcmcnt by njoin
degrees; for when the degrees are disjoint there is no fuppo;
fition and all the notes ought.to enter in the concord.
Secondly, we call concords by fuppofition, thole where the
thorough bars adds or fuppofe a new found below the funda-
mental bars: which occafios that fuch concords always exceed
the extent of the o&ave. The diffonance of concords by
pofition ould be always prepared by fyncopc's, and laved in
defcending diatonically on the founds of a concord, under vhich
the fame fuppofed bars may a& as fundamental bars, or,.. a
leaas thorough bars. Vhich occafions the concords by .fup-
pofition, well examined may all pals as pure fufpnfions. (Vid
8ufpenfion.)
There are three forts of concords by fuppofitont All are concoMa
of the 7th: The fir, when the added found is a thiM below the
fundamental, fuch is the concord.of the 9th, if the concord of th
9th i, formed by,the mediant added below the fenfible concord
the minor rood% the concord then takes the name of fuperfluou
The fecond kind is when the fuppofed found is a 'sth.below thi
fundamental as in the concord of 4th, or xth, if the concord
fenfible and the tonic fuppofed the concord takes the name
fuperfluous 7th. .
The third kind i that xvhcre the foppored found is below a con-
cord of diminifled 7th if it is i third below, that is that the
fuppofed found be the dominant the concord is called concord
fecond minor and third major. it is very little in ufe, if the fouled.
added is'a fifth below, or that this found be the mediant the con
rd iscalled concord of 4th, or fupcrfluous 5th and if it is a 7th
below, that is, the tonic tthlf tle concord takes the n;tme ot
nor 6th and fuperflt:ous 7th. In
in regard to the variations of there different conco,-d% Where
ih: fuppoffed found is tranffl>ortcd in the thperior parts, being ad-
mitted only by licence, they ought only to be praaild xvith Choice
ad circumffpeaion. We may iind at the word concord all titore
which may be tolratd.
SUSPENSION. There. is fiffpenfion in every concord on the
bars, from which we Iain one or mfre founds of the preceden
concord before we pat to thol whick belong to it; as if when
the balk paWcs from the tonic to the dominant, [prolong rome mo-
mentson that dominant, the concord of the tonic whidhprecedes
it befor% relblvingit on its own, it is a fulenfion.
There are fulenfions xvhich at'e cyphered and enter into har-
mony.
. When. they are dffOnant, they are ahvays concords by fuppofi-
tion, other fufpenfions are only of tae } but whatever may be
their natur%we 0ughk ahvays to tkbjeSc them to the three following
L The fupenon ough alwa to be made on the roke of
measure, or at lead on a itrng tme.
i. It ought alway to be diatonically reqolvd, whether i
tending or falling, that is that each part, which has fupended
ought not immediatel to aVced or fall, but a degree to arrive
the natural concord of the note of the N which has borne the
fufpenfiOn.
III. Every ft?penfi0n fyphered ought to be hved in defcend-
ing, except the tingle tknfible note, which is fared in rifing.
By the method of thcth.preeautions there is no fuqention But
what may be praifed with tceel becaute in that care the ear
prefenting on the bali the movement of the parts, fuppofes before-
hand the concord which tbltows. But it belongs to the tae alone
to ehootb and diribut% a Fropos the fu0enfi0ns in tinging and
harmony.
TO SUSTAIN. s to make the founds continue exa&lv their
whole po'er% without fuffcring them to be cxtinguifixed be(ore the
end, as tnuficlgns very often do, and particularly iynphoiis.
. SYLLABLE. This name has been giv9n by lbme of the
clents, and Nichomachu amontk the re2 to the confonace off
the fourfib which they commonly called diatcqron, Whicl alfo
proves by etymology, that thcy looked upon the tetrachord as we
(Io on the o&av% as comprehending all the radical or cornpored
tBund.
SYMPHONIST, A compofer of Church mufic. This term
is become technical finco it has been ulbd by Monf, L'Abbe
Betfl.
SYMPHONY, This w0rd formed from the Greek =du witlb
and 'u tbund fignities, in ancient muff% that union of the foundq
q q which
S
which form concert. It is a fenfiment recelvec, and, i bell'eve
'demonecrated, that the Greeks underMood not the harmony in the
śenfe which we at prefent give to this Word.
Their fymphony formed no concords, but refiffted from the con-
currenee of federal voices or inttruments,. or of infruments joined
with the voice, fitig.ing or playing the fame part. This vas dcm'˝
two ways, where the whole conere-ted in' unitbn, and' the fympho-
nľ was then nore particularly called fiom'oph.ony, where the half
o{' the concertants wa.q in the o&ave, or even m the double o,9cav
of the other, and this was called antiphony. We find the proof
of there dieciniong in' the problems of Ariftotle, Seion 2 9.
-At pref_ent, the Word fymphony is applied to all inerrumenta[
mufic, as well for pieces whietľ are dePcined only for inPcruments
as Sonata's and Concerto's,. as for rhot, where the inftruments are
ound mixed with the 9oiee, as in our Operas, and in feveral forts
of mufic. We difiuguifh vcal re. uric .into mmqCwithout fyma
phony, which has at Ieat'c a treble of irecruments, violins, flutes,
or hautboys. We fay of a piece, tlm it is in grand fvmphony
when betides the bars arid treble ir has alfo two othe.r ini'trumenta'l
parts, vlz. tenor, and 5th of the violin.
The mufic of the King's Chapel, that o7 feveral Churches and[
of the Opera-Ltoufe, are almo always in grand iymphonv.
SYNAPIffE. The con. iunecion of two tetrachardi, or mgre pre-
cifely the refonance of 4th or diatcffaron, which is made between'
the homologous chords of two conjoint tetrachords. Wherefor%
there are three fynaphes on the Ieccm of the Greeks. The one
between the tetrachord of the hypates, and that of the metis
the other betwixt the tetrachord of the mefis and that. of the.
conjoint and the third between the tetrachord'of the disjoint and-
that of the hyperboles.. (ľide Syem, Tetrachord.) -
SYNALVLIA. A' concert of feveral nnficians, who, in Ancienlr.
rimfie, played and anfwered each other alternatively on ftutes.
ß vihout any union of the voice.
Monf. IMalcolm wlo doubts whether the _Sncients had a
tle cornpored o'nly for inftruments, does not fail to cite this fynau-
lia fi'om xM'hen;eus, and he is in the right; for there fynaulia'
were no more than a vocal mufie played by inftruments.
$ľNCOPE. aX prolongation on the ftrong time of a found b-'
[un on the 'weak time; wherefore, every lyncopated note is in'-
counter thne, and every colic&ion of fyncopated notes is a move-
ment in counter time.
We mxtft take notice titat the fyvcope does not exif lefs
lmrm0ny tho' th'e tbund whicli forms it inftead of hcing continued'
flould be ftruck by two or more notes, provided titat the dito-
tition of thet notcs which repeat the lhme.lbund be conformablo
to thu dctinition. 'h'˝
$ Y'
'i'he f,vncope has its uśes in melody, for the exprettion and
taffe of finding, but its principal utility is in the harmony for the
prac'tice of"d. iffonances. The firff part of the fyncope irves for
the preparatton. The difl'onance is fruck on the fecond, and in a
śucceflion of diiTonances, the firft part of the following fyncop˝
ikrves at the fame time to fare the ditronarme which precedes, and
and to prepare that which follows.
Syncope is from '2u with and x0'Tr'oJ t cut, becaufe the fyncope
S:uts off from each time, oppofing, as it were with the other.
Monf. Rameau derives this w. ord from the noire of the founds
vhich knock againff each other in rome knd of diff'onance; but
the fyncopes are anterior to our harmony and there are often
fyncopes without a diiTonance.
SYNNEMENON. Is the name which the G-reeks gave to their
third tetrachord, when it was.conjoint with the feeend, and divi-
ded from the fourth; when on the contrary it was conjoint to the
fourth and divided from the feeend, this fame tetrachord took the
name of diezeugmenon. (Vide that Word.)
SYNNEMENON DIATONOS. Was, in 'Ancient muff%
the third chord of the tetrachord fynnemenon in the diatonic ge-
nus, and as that third chord was the fame as the feeend of the te-
trachord of disjoints it bore alto in this tetrachord the name of
trite diezeugmenon. '(Vide Trite, Syffem Terr.achord.)
This fame chord, in the two other genera bore alfo the name
of the genus in which it was ufed, but then it was not confoundeR
witIx the trike diezeugmenon. (Vide Genus.)
SYNTONIG. Is the epithet by wh. ich Ariffoxenes diffln
guifhes that of the two fpaces of the ordinary diatonic genus
Where tetrachord is divided into a fetal-tone and two equal tones;
whereas in the flat diatoni% after the tEmi-ton% the firff interval
.is three quarters of a ten% and the .other five. (Vide Genus
Tetrachord.)
Betides the fyntonic genus o.f Ariffoxenes, called alfo dintone di-
atonic, Ptolemy effablithes another, by which he divides the tetra-
.chord into three intervals. The firff of a thmi-tone major; the
śecond of a tone major; and the thirst of a tone minor. This fyn-
tonic dietonic of Ptoloiny remains, and it is alfo die only diatonic
of Didymu, allowing this differece that Didymus having pla-
ced this minor tone in flat, an. 4 th.e major tone m tharp, Pt?toinr
varied that order.
We may fee, with a cape of the eye the difference of there two
fyntonic genera, by' the conne&ions of the intervals wkicL cmn-
poi th ttrachord in each.
Q. q q 2 The
sľ
The $ynt0!!ig of Ariftoxenes
" 6 6'
-- +
20 20 20
$ 8 9 3
The SyntonicofPtolomy -- + -- + -- --
6 9 .To 4
There were alśo other fyntonic.% and they reckoned 4 principal
kinds, viz. The ancient, the reformed, the temperated, and the
equal But it is Iofing time, and abufing that of the reader, to
examine every one of there divifions
YNTONO LYDIAN. The name of oneof the modes in
anment mufic. Plato gqys, that the mixo-lydian modes and fyn=
.tono-Iydian are peculiar to'tca'rs.
We fee in the fi book of Ariides dntilian a li of the
iWerent modes which we mu not conlbund with the tones
rehich bear the fame name, and which I have fpoken of at the
word mode, to be conformable to thc modern cuRore introduced
x'ry improperly by Glarean. The modes were different methods
o' varyilg the order of intervals. The tones differed as at prethnt
by their fundamental chords. It is in the firCt fcfe that we mu
.drRand tle l?ntono lydian.mode of which P!tb fpeaks, and of
vhlch, befides W have no other explanation.
SYSTEM. This word having feverat azcvptations, will oblige
le to reader it avcrv lohg artigle.
To begin by the t;roper and technical fenfe, I all fir fay
that the name of fyacm xva given to every cornpored interval, or
onceived as comp.ofcd of o$her finallet intervals, which confidered
as the elements of the lflem, are caUed diaeme.
There are an infimtv of &ffcrent intervals, and confequently an
infinity allb of pofiibl 13-2rms. To confine mytlf here to folne-
,hing real, I fiaall only qcak of the hacmonic lyricres, that is of
lhol} whole elements are cithr confonances, or differences of con-
bmnces, or diffm-cnccs of tholh differences. (Vide Interval.)
The ancicnts divldcd the ?fiems into general and particular.
They called b. arthrda fij7(m, all ;hat xvas cmnpoti'd at leak of two
intervals; heh as are or may be conceived,thc o&av% the 5tlb the
4th, the 6th and even the third. 1 haw l9ken of the particulat
'ems at the wore] intcrval.
The generalyems, which wre more commonly called dlav
grams were for,,cd by thelhn'pfall the particulartficms, and
,'mlL'quentiy ccmprthcudcd all the 1ounds ulk-d in mutic.' I cony
fine myMf here to the cxanhalion of their tln in tile diatoniq
genus; the digerence of the cliropatic alld 9nha[l}loni9 being fuf-
ntl? cxpla}nd il their 'tiglft W0
we ought to judge' of the condition and progrefs'of the ancient
fyfre,n, by thotE of the inecruments deffined for their execution.
For there inftru,ncnts accompanying the voice in unifon ancl
playing all x hich they lung, muff form as many different founds
as there entered into the fyftem:
The chords of there firff inecruments were always touched, a vide,
there were tten as many chords neceffary as the f.yftem c0ntainecl
founds, and 'tis by this means that, xqnce the origin of mufic, we
may deter.mine on the number of the chords of the inf'crument,
the number of the ibunds in the fyffem.
The whole fyffem of tlxe Greeks Was at firff cornpored only
four Ibunds at the moff which formed the concoM of their lyre
or cithara. There four founds according to fome were by con--
joint degrees according to others they vere not diatonic; but the
two extremes founded the o&ave and the two middle divided
into a fourth on each fid% and a tone in the midd in the follow-
ing manner
Ut Trite Diexeugmenon
Sol Liehanos Melon
Fa . Parhypate Melon
Ut Parhypate Hypaton
This is what Boetius c11s he tetrachord of Mercury, tho'
orus advances that Mercury's lyre had only three chords. This
fyem did not long cpntinue confined to fo few founds. Clxorebe,
on of Athis King 0f ydia, added a 5th chord; Hyagnis a 6th
Terpander a 7th to equal the cumber of tlxe planets; and laKly
ychaon of Samos, an 8th." '
Tltis is what Boetius fays bt Pliny fays that Terpander
ying added thre chords to the four ancient,: played th' on the
cithara with 7 chords; that Simonides joined to it an 8th, and
Timotheus a 9th Nicomgchus the Gerafinian attributes this
8th choM to Pythagoras the 9th to TheophraKus of Pieria then
a xoth to Hymus of Colophon and an xxth to Timotheus of
Miler. Pherecrates i Plutarch mdkes a more rgpid pr0grefs to
the fyem; he gives z2 chords to the fyem of Menalippedes,
and as many to that of Tit0otheqs. nd as Pherecrates was
contemporary xvith this great muffclan, fuppofing him effe&ually
to have laid whgt plutch mak him f;j, hi witneflmg is
great weight on a fa& which he had before his eyes.
But how can we he affured of the truth amid to many contra-
dic2ions, either in the d6rih e 0f uthrs' or"in the order of fa&a
;rs they are reported ? For iRancc the tetrachoM of Mergury
evidently gives the o&ave on the diapafon. How then could it b%
that after the addition of three chords, the whole diagram ould
be found diminifl;ed degrc% and red6ced to an interval ' of 7th
This
$ľ
'This is however what the generality of authors would feem t
anderftand and amongff the reft Nicomachus who fags that Py-
thagoras finding the whole fyftem tompored only of t'o conjoint
.tetrachords which between their extiemities formed a diffonant
interval, rendered it confonant in dividing there two tetrachord
by the interval of a tone s which produced the octave.
However it be, it is a certain thing at leaif, that the fyffem of
the Greeks was infenfibly extended as well above or below, and
that it attained and even paffed the extent of the dis-diapaibn or
double ocqave, an exte;nt which they called fyftema perred, urn,
naximum, immeilatum, the grand fyftem, the perfeEt fyttem;
that betwix its extremities which formed together a
confonance were cortained all the fimple confonances, double, di?
rec"f, and varied all the particular fyfems, ad according to thema
the greate interval which can have place in melody. -
ß This entire fyfkem was eompofed of four tetraho.rd, 3 conjoint
and x disjoint, and a tone betides, which was added below all
to cornpleat the double od'tave, from whence the cho. rd which for
rned it, took the name of Proflambanornenas or added. Thi
could not, it feer0s have produced more than x founds in the din-
.tonic genus; Ir hs however tormed 6. This is that the disjune-.
tion making itfelf pex'ceived rometimes between the fecond and
third tetrachord, fometin3. es between the third and fourth; it hap-
pened in the firfr car% that after the found In, the fharpef'c of the
śecond tetrachorl followed in aftending th natural which be-
gan the third tetrachord; or, in tle fecond care, that this fame
found Ia beginning itfelf the third tetrachord, was immediatelr
followed by fib fiat; fqr the firft degree of each tetrachord in the
diatonic genus, was always of a. femi-tone. This difference pro-
duced then a 6th founti on account of he fi which was natural
on one fide, and b flat on the other.
The 6 founds were reprefen.ted by x 8 names; thai is to fay
that thc ut and re being either flaarp tbunds or the middle of the
third tetrachord acco. Ming to there two cafes of disjun&ion,
name was given to each of there two found which determined its
pofition.
But as the fundamental found varied according to the mode
there followed irom thence for the place which each mode occu-
pied in the whole fyftem, a differen. ce fi'om flat to fharp, which
multiplied fi:'eral founds; for if the different modes had tiveral
cornmob founds, they h. ad allb .fore. e peculiar to each, or to a fe
only. 'So, in the tingle diatonic genus the extent o_f all the founds
admitted in the x$ modes numbered by Alipius is of three
raves; anti, as the difference of the fundamental found 6f each
.mode, to that of it ncighbou, wa only of lni-toae it is evi-
ß ' dem;
s ľ
tent tJxat all this fPace graduated from fetal-tone to femi=tone
produced, in the general diagram, the uantit of 4 founds rae-
- . .q Y 3 . P
iśed in the ancient mufic. If, deducing all the rephques of th
fame founds, we confine ourfelves within the bounds of an oave
we all find it divided chromatically into 2 different founds,
in the modern mufic; which is manifeled by the infion of the
tables placed by Meibomius at the head of the work of Alipius.
Thefe reraarks are neceffary for eradicating the err o thofe
who believe in the faith of rome modetns that ncien't mufic wa
empo'fed in the wh'ole.of 6 f6unds.
In regard to file enl5armonic genera and chromatic, the tetra-
chords were therein found very well divided according t0 other
proportions, but as khey alwayscontalned equally 4 founds, and
confecufive intervals, in the fame manner as the diatonic genuf,
each of there founds bore the fame na in their genus, whlc
eorrefponded to them in the other for which rfon I have glvm
no paftlcular ables for eac h of thefe genera.
The curious may confult thole which eibomus has placed a
the head of the work of AriRoxenes. We all find 6i one for
enharmonic genus, 3 for the chromatic, a for the diatonic, ac
cording to the dilotions of ea'ch of thefe genera, in the riox-'
enian SyRem.
ch was, in its perfeion'- the general vem ' of the Greeks,
hich remained nearly in this condition to the xth century; the
time, when Gui d' rezzo made a confiderable change. He.ad-
ded below a new chord which he called Hyporofimbanomenos i
0r hb-added and above,. a 5th tetrachofd Whlch' he Called e
tetrachord of the fur- arp.
Betides that, he invented, they fay, the b flat n'gceffary fo dif-
tinguiing the fecond chord of a tetracord conjoint wth,ghe fi
chord of the fame disjoint tetrachord; that ;'s to fyi that he fixed
that double fignific1on of the letter B, which St. Gregory. before
hhn, had ah'eady agned to the note fl. For fince it is certain
that the Greeks had, for a long time thefe fame conjuions and
disjunions of tetrachords and Confequently, figns to exprefs caen
degree in thefe two different cates, it follows thence that it wa
not a new /bund introduced in the fyRem of uy, ut only a new
name, which he gave to this found, reducing by this means to onto
ime degree, what amongR the Greeks forme two.
We mu altb lhy of there hexachords fubRtuted in th place of
their tetraclords, that it was lei a change to the fyem, than to
the methocl, and that all which refulteH from it, was another
thod of. lol;falng the ihme founds. (Vide Gamut To
Sob fa.)
We eafily concclve tlmt the inventon of the c0unter-pont, to
wlatever author it is due tour ver fuon draw back the bounds
thi
this fyftem, Four parts ought to have more extent than 6tie
a16ne. The fyffem was fixed to four ocaves, and this is the exten
of the keys in all the ancient organs. But at laff they found them
felves incommoded bylimits, whatever fpace they might contain,
they went beyond them; they extended above and below; they
formed keys a ravalement; they forced the voice; and at laff
gave fo much extent to this tyffeh, that it hag no greater bounds
than thole of the violin.
s we cannot even 1oofen to de[cend the 1owe chord of the
rdinary baffes does not pals the C fol u b but we all equally
find the method of obtaining on that fide the tone of the generai
fyffem; that is even xvhat they have begun to do, and I lok
at as a certain thing, that in France the tone of the opera is lower
t prefent than at the time of Lully. On the contrary, that
the inffrumentaI mufic is afcendefi as in Italy, and thetE differen-
ces become fufficiently fenfible to be perceived in pratice.
In Plate II. Fig. I. Is given a table, of the entii'e fet of keys a raval-
lement and of all the founds contained therein in the extent of five
SYSTEM. ]a alo either a method of calcu!aton to determine
'he relations of founds admitted in muc or an order of figns
hlied to express them. t is in the fir fenVe that the ancients
iRinguifled the ythagoreaa fyen b and the Arioxenian.
{Vide thoe Words.)
It is iu the fecond that we at preent difiinguifl the yem
ui that of Saueu% of Dems and $ouhaiti c. of which
have fpoken at the word note.
We mu take notice that ome one of thee yfiems bear ths
me in either acceptatlon as that of . Saeur wh]ch give
atthe fame tlm% rules for determinlngtberelati0ns oflundsand
otes to express them g as may be feen in the cmoirs of
author expanded in thoe of the Academy of Sciences. (Vide
eride% Eptamerides, Decamerides.)
Such is all another lcm ill newer, which being in manua
fcript and perhaps never incndcd to be fcen enh'ety b the Publi%
is deterring to have an extra her% whi4h has been communica-
ted to us by the author Mon. Roualle d Boi6gel% counVelior
the grand counfel alread mentioned in rome articles of this
onary.
The fir thing necery ia to determine the exa relation of
the founds in th diatonic and chromatic gener% which being don
in an uniform manner for tle tone% conlcqucntl dit]erls
modificatiom
The wlmte fyem of Monq. de Roigclou is fmnmaril confined
in th four formil which I m goh to tral fcribe, after havhg
put rite reader in mhd of the rules blithzd in d]flcx'llt ?arts
s ľ
%his D{ionary 6n the method of comparing and eompoflng the
intervals, or f61ations which exprefs them. We muF then rernem-
ber I. That tO add 'o'ne interval to another, we. muff eompofe its
efe?ences ś, for inltanee, adding the $th -- to the 4th --
6
have or --: that is the
II. To add an interval to itfelf, we mutt only double its
me&ion, śo to add a $tk to another 3th, we muff oillr faire the
reference of the $th to its feeond power-- ---- --.
IlL To eonne& or fimplify a redo,abted interval, 'śuch as thiu
,--, it is fuflieient to add the froall number to it&If, one time o
9
more: that is, to lower the o&aves until the two terms, being
nearly eonneqed as poble, give a flmpl interval. So from --,
9
we have as a pfodu& of the redoubled $th the reference of
major ton% I will add, that in this diqionary, I have always
preffed the eonneions of the intervals by thole of the vibrations,
whereas Monf. de Boiśgelou expreffes them by the length of the
chords, which renders its expreons inverfe to mine. -S%
reference of the $th by the vibrations, being-- ism--by the lcngtlm
of the chords. But we ha!l now fee. ihat this e0nneion is ap-
proached only in the fyffem of Monf. de Boiśgelou.
There are however' the four formnl of ibis author with
their explanation.
Formul
{ 7 ś 4 r + x ------ o.
7 x .
Th
The Explanation.
ConneOion 'of ehe oave 2 i.
Conne&ion of the 5th n ;
(2onnetion of the 4th o_ -- n.
r
Connecetion of the interval whiclx comes from the $th n. ,
ConneXion of the interval which comes from the 4th 2 n.
"- Tie number of 5ths o'r 4ths of the interval.
ś. The number of the combined oaves .of the intcrvaI.
t. The number of fetal-tones in the intervaI.
x. The dl'atonc gradation of ihe intervaI. That is the numIer'
of major and minor diatonic feconds of the interval.
x + x. Gradations of the terms from whence the interrl
takes its name.
ß The firf'c care of each formulze is placed when the interval come
from 5ths. The fecond calk of each formulze is placed when
the interval is derived from 4ths.
To render this clearer by examples, let us begin by giving
names to each of the x touches of the keys.
There names, in the arrangement of the keys propośed by MonL,
de Boifgelo% are the following:
Every ;nterval is formed .by the progreffion of 5ths br
conveyed to the oave. For inffance, the interval fi ut is formed
by this progr9tli0n of S fourths, fi mi la re tbl ut,.or by this pro.
grcffionof fifths, ti fi'de be math (a ut.
In the three manner the interval fa la is formed bY this progref-
lion of 4'fifth % fa ul fol re la, or by this progreffion of 8 fourths
fafamabedefifimala.
Since that he conne&ion of every interval which is tlerlved
! g S r
from$hs isn,2. and that which comes from4th% is2 :n. it
follow
s Y 89-9
follows from thence that we have for the conneCt[on of the inter-
val fi ut, when it comes from 4ths, this proportion
This is the method of proving the analogy.
The number'of 4ths from whence this interval fi ut is &rived
eing 5, the conne&ion of that interval is of --n fince the con-
ns&ion of the 4th is : n.
Bdt this connexion --n, would defign an interval of feml-
tones, fince each 4th has five femi-tones, and that interval has
fourths. So, theo&ave having only xz femi-tnes, the interval
fi ut would pals tvo o&aves.
Then that the interval fi ut may be lees than the oave, we
mu diminifi this reference 2 : n. of two oavgs; that i's,'oE
te connexion of z: . Which is done by a connexion cornpole8
o'f the dire reference 2n, and of the reference x2 inverfe
of that --, in this manner : z+x. a+::2. n::2:n. The
interval fi ut, moreover coming from fourths, its conne&ion, as
s r s r 5
kave laid before, is a: n. Then : n :; a :n. and again s
3 and r == $.
S% reducing the letters of the fecond caffe of each formulm to
e correfpondet gormul we have tot C 7 s 4r x
ox=o, and for D
When the tme interval fi ut comes from $ths it gives this
r s ß ?
proportionn::: n:. So we have r= 7 ;=4 andconfe-
qently, for the A of the fir ormul t 7 r t = '4849 +
o. nd for B. ax56 + r= xa 57
In the frame manner the interval fa la coming from 5th
tis proportion n: :: n :., and conffcquently we have r
and s . The fame interval coming from 4th% give.this
proportion, 2: n :: 2: n.
It would be too tedious to explain here the method of finding
tl:e corms&ions, and the whole which concerns the intervals by
the method of formula. It will be placing an attentive reader on
Zhe rambl% to give him the computation of n and of its powers.
K r r a Computation
o $ ľ
Coinptation ot the PoWers of n.
n -- $ is an experienced truth.
'herefore, n 25 n = &e.
he precifo Computations of the three fi Po.wers of a;
4 z ' 3 4
' n 5, n = VS, n V 2 7.
he nearer mputations of the three fir Po*ers of n.
3 3 3
The nneion 3 then, which till now has been thought t
ave ben that o the true tb, i only a relation o'f approxima-
tion, and gives too Rrong a' 5th; an d from thence the al prin-
dl of the modification; which is'called fo only. through abuf%finc
e 5th mu be.wvk to be true.
Remarks oa the tnterv.als.
An interval a given number of fetal-tones, has always two,
iWerent conneaions5 lhe one'as coming fro m 5ths, and the other
as coming from 4ths. The rum of thet tw6 powers of r in thefg
o conneaions equal xz,an'd that of the two powers of s equals ?
That nf the two connerions of 5ths or 4ths, in vhich r '!
ler, is the diat0ni iteryal the other is the chromatic. So.
the inteal fi ut which hs there two conneaioas : n amd n: 2.
is a diatonic interval, a! oming from 4ths, and ks connexion is
a n; but this fae interval fi Ut, is chromatic as comi fro
lths, and its conneaioO is n: 2, becaufe in ;he firR care r + 5 is
lefs than r = 7 of tlv tecond.
On the contrary, the qtetvl fa la, which has its two conneai
onsn. 2 :and2: n: is datonlcintherRcafe, wherelt come!
from 3ths, and chromatic in the fecond where it comes from tks.
The interval fi diatoniC, is a !cond minor: Thd interval
utj chromatic, or rather the interval fi fi dkfis (for then ut is taken
fi diefis) is fuperfluous' nifon.
The interval f la diatqnic, is a m4or thkd: The interval fa la
chromatic, or rather the intetv mi dlefis I (for then fa is take
mi dieils) is adimithed fo'urth: So with the reR.
It is evident, I. That to akll ditqnic interval there correfponds
a chromatic of tke fe numar of fi-tones 'and vice verfi.
There
There two {nterval of the fame numler of feml-tones, the one
dlitonic and the other chromatic, are called corretonder, t in-
tervats.
Secdly. When the powe{ of r is equal to one of there numbers
o, , e, 3, 4, 5, 6, the interval is diatonic, whether that this in-
terval comes from 5ths or 4ths; but if the K is equal to one
of there numbers 7, 8, 9, o, x x, e, the interval is chromatic.
Thirdly. When'r 6 the interval i in the fame time diato-
nic and chromatic, whether it comes from sths or 4ths, fuch are
the twointeals fa'fl called triton and fi fa, called falfe fifths.
6 3
The triton fa fi is in the reference n: e, and comes from 6
4 6
fifths: the falfe 5tk fi fa is in the connexion : n, and comes
from 6 fourths: where we fee, that in the two cafes we have r
6 So the triton, as a diatonic interval, is a major 4th and as
chromatic interval as fuperfluous 4tk. The falt} 5th fi fa, as
diitoffic iraerrol, is a minor 5th; as a chromitic interval, a dimi-
nixed 5th. ere are but thfe two i'ntervals and their replique
which are lble 'to be at the time time diatonic and chromatic.
The diatonic intervals of the 'fame name, and confequently ofth
time gradation, are divided into major and minor. The chromatic
!tevals are divided into diminied and fuperfluous. To each di-
atonic interval minor, there correfponds a chromatic fapefluous
interval; and to each daonic maior ipterval , there corrcfponds
chromatic diminied interval.
Every interval in arcending which comes from 5ths is mafor or
giminied, according' as tka inteival is diatonic '0r chromatic;
and reciprocally every 'major or diminied interval comes from
fths.
Every interval n afcendlng which comes 'from 4ths, is minor or
fuperfiuous, according as tat interval is diatonic or chromatic,
and. vice verfa, every ninor 0r thperfiuous iterval comes from
fourths.
It would be th contrary if the'interval Was taken in defcending.
Of two intervals, colrefpondant that i% the one diatonic and the
other chromati% and which confequently come, the one fi'om 5thss
and the other from 4tlis, the greater is that which comes 'from
4ths; and it furpaffes that which comes from 5ths in regard to the
gradation by an unity ann, )n regard to the intonatio% by an in-
terval, whole connexion is z: n: that is, z8. =5. This inter-
val is the dinfihigd retold called commonly grand comma, or
quarter of the tone; and here is door' oened to the enhaic
To proceed in placing the reader in right view for the
ptulir to th roVnt of th Xheory of m% I haw
given
4oz S ľ
given the two; table of progreffion performed by Monf. de Boil:
gelou, by vhich we fee xvith a cape of the eye the conneaions qś
cact interval, and the powers of the terms of thole conne,Sion
according to the number oś 4ths or 5ths which cornpole it.
Progreffion by 5ths beginning by fa.
8 3 xo $ 7 z 9 4- xx 6
n n n n n n n n n n n 2
Progreffon by 4ths beginning by fl.
z 4- 3 6 z 4-
We fee, in there formulm, that the femi-tones are really
primitive amt elementary intervals which cornpole all the
which has engaged the author to 'make for this fame fyCem a con-
riderable change in the chara&ers by chromatically dividing the
ay% by intervals, or equal degrees, and all of a femi-tone; where-
as m the ordinary muff% each of there degrees is rometimes a com-
ma, rometimes a fetal-tone, rometimes a ton% and rometimes
tone and a half; which leaves to the eye the equivocation and to
the xnind, the doubt of the interval, fince the degrees being the
rayne, the intervals are rometimes the fame, and tbmetlmes dif
ferent.
For tlis reformation it is fufficient to make the ave of-o llne
inead of 5and to afllgn to each pofition one of the xa notesof the
chromatic keys before mentioned according to the order of there
notes which always remaining the fame, determine their interval
with the nice precifion, and render'all the diefis's B's flat,' or B'g
flarp abfolutely ufele% in whatever tone we may b% and as well
i the cleft as accidentally. I have here given the chromatic
fcale without cltlxer dieils or b flat.
ql Jl Ut dg re ma mi fa fi ' fol' be la lk' fi ut
S Y'
arrtI alFo the diatonic fca!e.
mi fa śoi la fi ut
-towever little we praftice on this new method of pricking and
i-darling the mufic: we fluall be tierprized at the neatnors, and tim-
plicity which it g,ves the notes, and the fimplicity it conveys in
the execution; without its being poflible to fee any other inconve-
nience in it, than that it fills a little mo,-e fpace on the paper,
and perhaps may dazzle the eye, in the quicker parts, by the mul-
titude of its lines, and particularly in the fymphonľ.
But as this f)em of notes is abfolutely chromatic, it feems to
me to be inconvenient to fuller the denominations of the diatonic
degrees to be fubftltuted in the place of it, and that according to
Monś. Boifgelou, ut re ought not to be a thcond, but a third; nei-
ther ut mi a third but a fifth; nor ut ut an oc"tave, but a twelfth;
fince each t%ml-tone really forming a degree on the note, flmuld
tlśo take its denomination; then x+ x being a}ways equal to t in
the formulae of that author, there formuIe would be found ex-
tremely fimplih.'ed. Thi fyftem betides, appears to me.equally
profound and advantageous. It would be a defi,-able thing for it
to be explained, and publifhed by the author, or śome ingcniou
theorician..
SYSTEM. Lafdy is the collocation of rules in harmony, drawn
from rome common p,'inciples which gather them together, whikb_
form their union, from which they flow, and by which we form
computation of them.
Until our age, the harmony, born śucccffively, and, as'it were
by chance, had only feattoted rules, ettablifhed by the ear, ;con-
fir-reed by cullom, and whicl appeared abfolutcly arbitrary. Monf;
Rameau is the firfir, who, bythe fyftem of the fundamental bars, haa
given the principles of thefe rules. The fyftem on which thig
di&ionary has been compoIkd, being fufficintly explained in the
principal articles, flaall 'not be treated Of in this, which is already
too long, and which there fuperfluous repetitions would extend to
an excels. Betides, the plan of this work does not oblige me to
expofe all the fyftems, but only to give a true explanation what
fyftem i% and to ftrengthen, when neceWary, that explanation by
examples. Thole %vho would wifia to t%c the diffut%d oblhurc
of MonL Rameau by his writings, lain out with a'clearncl
which it could not have been thought thtLcptible, may have re-
courfe to the elements of mufic by Monl; D' xlembert.
Mon.
404 S_ ľ
Mont..qerre, of Geneva, havlnE found %//'onś Rameau s lrnc
pies inFuflicicnt in lnany rcFpes planned another Fyffem on his
in which he preten to cw that the whole of harmony is'borne
on a double fundamental baFs: and as this author having travelled
in Italy was not ignorant of onF. Tar6ni's cxpcrimcnts he
compo&d from them joining them with thole of Rameau a mixed
Zyffem which was'prind at Paris in 753 under this Title EWay
on the Principles t Harmony." The facility that each one has
o confulting this work and the advantage to b found by reading'
the whole of it dpenFe with my giving any account of it to the
public It is diCerent with that of the illuffrious MonF. Tartini
which remains t0 bc tpoken of; the which as it is written in a
reign language often profound and alws diFcd cannot be con-
fuhed but by few pc0le the greateft pat otwhich are difcouraged
by the ob&urity of tc bk before they have entered upon its
beauties. I a-11 as briefly as poffible; make an extra of this
new Cyffem whlch if it is not that of nature. is at Ieaff among
aJl that have been yet ublied, hat, who( principle is the
timplc and from which the whole laws of harmony teem .to ar(e
lcaff arbitrarily.
Syffem of MonF. TartinL
-hcr are three meoda of calculating the connerions of
founds.
I. dn cutting on the monochord, the entire chord into its parts
by movabl b6dgs, the vibrations or founds will the inve
proportmn of the length of the chord and its parts.
II.- In extending equal chords, by unequal Weights, ihg found
w be as the fquare roots of the weights.
III. In extgndg by equal eights, chords, equal in thickhers
lad uncqu in iggthor'cqual in lth and unequal in thlckncfs,
the founa' will 'be in te iverfe proportion of the fuirc roos
ih dimcon,. wherein th difference is found.
!a gner, the founds are always together in the invcffe pro-
rtion of th cubic roots of fonoroug dies.' The founds of the
hords ao moreover chaed three ways, viz. 'in altering either
the. tcknc, that is {he diameter of the thicknefs or the length,
or tcnfi0n. !f all this is equal the chords are in unifon. If only
0ng of ihefg s changc th founds follow, in inverfe proportion,
ti concaons 0f tll alterations. If two or all the three ar
chaggcd, th founds arc, in invcrfe proartion, as the roots of the
˝omofd cOunai0ns. of the alterations. ,Such arc the principles
9.f"11 thcpnomcaa, hich we obfcrvc in comparing the con-
n&ions ofth fgund% and thof of th &mentions of the fono-
Thi"
S Y
'his being Uiderft. ood, having placed every hing neceffary,
touch on the organ the key which renders the loweft note
śo116ws i
All the other notes marked above, yeill refound at the fame tlm%
and etill you will hear only the fiattefk found.
The founds of this feries being confounded in the flat found) will
form in their connections3 the natural confequence of the fraealOha
I I I I I I
, which confequence is an harmonic progreffion.
2 34.56
This fame feries will be that of equal chordsi hung by weighr
I % I I I I
Which would be as the fquares , &c. of the
x 4- 9 6 :l 53 B
abo vefald fraions.
And the founds which there chords would render are the faro%
expreffed in notes in the example.
By this means, all the founds which are in harmonic progrefllon
aftel' the unity, are re.united to form one only fenfiNe to the ear
and the whole harmonic fyftem is found in the unity.
There is no found which makes any refonancc but fi'om its all-
3
quots becaufe in every other fraetion as this would be it ia
5
found after the divlilon of the chord in equal parts; a remainde%
whot vibration ftrike again each other, flops the vibrations of
the equal parts, and are equally prevented by them; fo that of the
two founds which would refult from it, the weakePc is dcfroyed
by tlie fhock of the rePc
Moreover, its aliquot being all comprifed in the feries of the
! I l
fractions .... ' &c. before given, each of there aliquots is
x ', 3 4
what Monf. Tartini calls unity or harmonic monad, from the
concurrence, whence a lbund rcthlts. So, the whole of harmony
being neceflhrily comprild betwixt the monad or cornporing unity
and tile full tbuad or co,npofed unity, it follow tlmt harmony has,
S ff
S i
on both fides, the unity for its term and conrifts in thae
˝iTentially.
The following experiment, which-ferves as die principle o all
artificial harmony, places this truth even in a cle=rerlight.
Every time that two rong rimes, true and luria{ned, are heard
at the fame moment, there refutts from. their fimck a third found
more or lefs fenflhtc, in proFortion to the fimplicity in th connec-
on of the two firR, and the nicety of the ear in the audience.
To render this experiment as 'fenfibte as pobl% we td put
two hautboys of a good goncord at rome paces of interval, and
place ouriklves between them at an equal diance from each. If
we ould be in want of hautboys, we mayatake o violins, whlcb
tho' the/bund ould be weaker, may, by being toched wkh force
and junefs b fucient to make a third found be diinguifiaed.
The produ&ion of this third found by eack of our confonanee
N as follows:
Conromance. _ _
Th poduced
n8 we may ontJ-n'u i't below he cofonSces all the
Jervals repretknted by the aliqts oi unity. ß
WhC oave gNes none, and that is the ont interval oxpted.
Who 5th gives the unifon of the at (ou.nd an unifon.-which
with attention we cannot fail to d-ii. ngulfh.
Whe thircl founds produced by the ather interva.ls re all in
Whe 4th gives the oave of the alar found.
he mjor third gives the oave of the at/oaad d. the
nor fixth, which is vaned from i.r, gives the double o&ave. of tlz=
arp found.
The minor third gives the m}or tenth of the flat (od; bu-t
the xth major which is vmried from it, giveonly the major tentl}
of the arp {bund._
he mor tone giveu the sth, or dohi o&ave of the flat found.
The minor tone gives thc zTth , or double ave in the major
third of the flarp found.
The femi tonc major gives the ad or triple o&ave of the fharp
fnd. '
LaRly, the fcmi-gone mlnor,.veu th z6tlof.l flat found. ß
V'e fee, by aomparlng the four laft intervals, that a char/ge hard-
iy perceptible in the interval, chang? very tnfibly the produced
or fundamerital found. ' So, in the major-tone, confine the interval
by lowering the fuperior found, or elevating the inferiol'
N, imme.diately the produced found...will afcend a tone,
Form the fame operation on the major femi-ton% and the pro,
duced found will deVcend a $th.
Tho' the production of the third found is not confined to theśe
intervals, our notes not being able to exprefs any more compofed
.it is uVeleVs for the prevent to go below thole.
We fee ia the regular movement of the conśonances which.com-
pofe this tahl% that they are all conneCted witIx one coinmort bafs
and all p'oduce exa&ly the fame third found.
Here then, by this new pha-oomenon, is a phyfical demonitratioa
of the unity in the principle of harmony,
Ih the Phyfico Mathematic Sciences, fuch as mufi% the demon-
ß /rati'ons lhould be very gebmetrical, but phyficall deduced from
the Mng demonfirated. 'Tis then alone that the union
,calculation to phy% furnifhes, in eablifhed truths, both on
ler[ence and geometrically demonftrated, the true principles of this
art. Otherwife geometry alone will give certain theorems, but
ľithout uśe' in praetice: Phyfic will give particular faCts but with',
out union together, and any general law.
The phyfical principle of harmony is one, as we have/'een and
it revolved l'n an harmonic proportion. Moreover, thefe two pro-
prieties are fuitable to the circle; for we/hall Voon perceive, that
the txvo extreme unities of the monad and founds are found therein
and in regard to the harmonic proportion, it is found alt6, fince in
vliatever point C, we unequally c'ut the dimmeter A B, for which.
,fee Fig. II. Plate
The fqt. are of the ordinated C D, will be a proportionate hat-
:nomic meaus between the two rectangles of the parts A C, and C
B, of the diameter by the ray; a propriety which is fufficient to
efi:abliflx the harmonic nature of the circli. For, tho' the ordl
mated parts are geometrical mean, betxveen the parts of the diame-.
zer, the t;-luare of thet ordinated parts being harmonic means
tween tht: re&singles, their conne&ion reprefenting fo much the'
more cxa&ly tholi: of the fonorous bodies, than the conne&:.ons of
theth chords, xvhere the hanging weights are altb as the fquares,
whiltt the 1ounds remain as the roots.
From the diameter A '3 divided according to the fries of the
I I I I
/ira/lions .., which are in harmonic progrcffio% let
3 4 5 6
8 f f a there
there be clran the ordnatecl C C C
ang, gg; Seeg. Hl. Plate II. '
The dameter reprefents
te fame competadons gves the toliowng founds.
X -0 -
0
- To avoid the fra&ions let Us give 60 parts tO the dlam. eter the
!
śe&ions will co,ntain there entire numbers, B C 3o; B G;
i i I
3 4 5 6
1.
From the points where the ordinated parts cut the circle let u,
draw on each fid& chords to ghe tw9 extremities of the diameter;
the rum of the fquare of each chord, and of he fquare of the corZ
,efpocdant chord, which I call its comglemeb will'always be
quaI tO the fquare of the diameter. Th fquares of the chords
will'be always together as the correlpondent abfciffes dnfequently
alfo in harmonic proportion, and in the fame manner will reprefeg
the above example allowing the exception of the fir found.
The fquares of the complements of there fame chords will .B0
t9gerher as the comptenents of the abelWes in the diamegeq coq.-
eunfiy i th fOH9wng prporti9s
C -- -- 39.
3
6
land will re?relent the founds of the following example,
G. E. e. eb.
p " t:
on which we ought to take riotic% in pafiing that this example s
Compared to the following)
$. R.
an.d to the firif, gives the natural foundation of the rule of ,contrary
movements.
The fquares of the ordinated parts will be in the following pro-
loftions to the fquare 3600 of the diameter:
A B = x -- 3600
C C C -- -- _-- 900
G, G G -- -- _-- 800
9
a 3
% c c --- -- = 675
x6
--"-- ' 4
e e e =-- = 576
g, g g --. -- = 500
36
and will reprefent the frorods in the above example.
Moreover) this laff feries which has nothing homologou in the
divifions of the diameter and without which we cannot howevee
compleat the harmonic fyfiem flaews the necey of feeking in the
roprieties of the circl% for the true foundations of the 5
P ....
which cannot be found cth=r ia e raght hn% or m the abffra-
d numbers.
I defignedly' pat's all the other propofitlons oś Mont. Tartinl, or
:lae nature of Arithmeti% of the harmony and geometry of the
tirol% as well as on the bounds of the harmonic feries given by the
fextuple computation; becaufe i'ts profs expreffed only in cvphers
ettablifh no general demonffratio'n; and, &hat is mot%' bSr often
comparing heterogeneous magnitudes, he finds proportions svhere
ve cannot even fee connections. So, he would prove that the {'quare
of a line is a proportional means of fuch a computation, he makes
n'other proof, but that loch a number is a proportional means be-
abftra,..c'c.
tween two fueh other numbers. For the furfaces and
numbers not being of the fame nature, cannot be compared.
Monf. Tartini perceives this difficulty, and endeavors to prevent
it; we may fee his reafonlngs in his book. ,
This theory being eftablifled, we mu now deduce its given proofs
tnd the rules of the'harmonic art.
The o&av% which engenders no fundamental found, not being
effentlal to harmony, may be removed irom the conffitutive parts
of tile concord. So, the concord, reduced to its greateft fimplicity
.fl.. ould be confidered wi.thout it. It is then compoti:d of th˝lE three
I I
term% x which are in harmonic proportion and where th
3 $
! r
two monades are the only true elements of fonorous unity
3 $
! !
for the frattion is the element and the fraeion is ottav
!
f tt/e monade .
3
! !
This perleft concord produced 'by a/ingle chord and whoft
$ 5
terms are in harmonic proportion, is the general law of nature,
which fcrvcs as a baśs to all the fciences of founds; a law whicl
phyfic may endcavour to explairi but whofe explanation is utElefs
to the rules of harmony. .
T. he cal.culations of the chrds a, nd pendant weights ferve'to
gi,e in numbers the conneCrtio, ns of the founds wlfich cannot be
confidered as quantities but by favoc of.thet calcula. tions. ,
The third /bund, engendered by the concurrence of two othe%
is as .the produ& of their quantities; and when in a common
thegory ihi third found iS always found the fame, tho' engenderect
by different intervals it i b that tile pr0du of the g0nerations
are etlual together.
Tlds
g Y
'lh]s is manlfeffly deduced from the precedent propofiri0ns.
%Vhat, for inffance is the third found which refults from C
andGB? It is the unifon of CB. %Vhyfo? Becaufe in
two harmonic pľoportions, whole fquares of the two ordinate
parts C, C C, and G, G G, are proportional means, the fum of.
the extremes are equal together, and confequently produce the
fame common found C B or C, C C.
In erie&, the rum of the two recq'angIes B C, by C, C C, and of
A C, by C, CCisequal to the finn of the twore&anglesofB
.by C, C C and of G A by C, C C: for e_ach of there t5vo ruins
as equal to twice the fquare of the ray. From whence it follows,
that the found C, C C or C B, fhould be common to the two
chords; moreover, this found is precifely the note of the luff plate.
Whatever ordinated parts you may take in the circle, to compare
them 2 by 2, or even 3 by $, they will always engender rlm fame'
third found reprefented in the plate; becaufh the r.etangles of th
two parts of the diameter by the ray, will always gve equal rums.
But the otave X Q.engender harmonies only in fnarp, and by'
no means the fundamental found, becaufe we cannot elevate the
ordinated part on the extremity of the diameter, and confequently
the diameter and the ray in their harmonic proportions, have any.
common product. .
Inffead of harmonically dividing the diameter by the fra&ions
! I ! I
, which give the _natural f),ffe. m of the major con-
23456
cord, if we divide it arithmetically into 6 equal parts, we/hall have
t]-/e fyffen of the major concord varied, anti th. is variation gi.vcu
exaśtly the minor concord. See Fig. IV. Plate
One of theśe parts .ill have the 9th that i% the double
of the $th, tvo will give the I2th, or the o&ave of the $th, three
will give the otav% four the $th, and five the minor $d.
But, as loon as uniting two of there founds, we leek the third
found, which they engender, thefe two tbunds inroad of the:
found' C X
will never produce as fundanental, any but the found E b; whlc}z
prove% that neither the minor concord,. or its rood% are given b,r
nature, If we make two or more intervals of the minor concora
/ound toghc% the fundamental tbunds will be mukiplied and in, '
relation,
relation to there founds, we fhall hear fcvcral major concords; af:
the fame time, without any minor concords.
So, by an experiment formed in prefence of eight celebrated
profeffors of mufic, two hautboys and a violin founding the white
notes together marked as follows:
---- b
fide founds marked in blank n the iame figure, are dnl
vz. Thofe wMch are marked aftde as olows fr the nteaI
which are abov%
and thole marked next, for the intervals below.
In judging of the horrible cacophony, which fhould refult from
itxis concinity, we thould conclude that all mufic in the minor mode
would be infupportable to the ear, if the intervals were true enough
and the inruments fufficiently frong to render the engendered
founds as fenfible as the generators.
I beg leave to remark, en paint, that the invefe of two modes
marked in a precedent plate, is aever bounded to the fundamental
concord which conPdtutes them, but that it may be heard through-
out the whole air, and harmony; which, note'd in a dire tnl
within the major mode, when we reverie'the paper. an.d place clefts
at the end of thole lines that are become the beőtuning, prelhnts
another ]kite of air and harmony in minor mode, exa&ly the in-
ľerfe of the fir, wherein the bal becomes the trebl% and rico
verfa. , This is the cleft of the method of cornporing then double
cano:? which I have fpoken of at the word canon. Monf. Settel
before mentloned who has very clearly explained in his book this
harmonic cur;ofity, introduces :i fymphony of this kind compol;:d
by Monf. de Merambeff who thould havre had it engraved.
That
"hat Would have been ce'rtairlly be:tP than hayling ;t e:eeuted.
A compofition of this natfire mutt be better to prefent to the eye
iha'n the. ear.
We hae feen ha from l:he harmofiic divifion of the djameter
i, efults the major rood% 'arl rro'tit the arithiriet'icltl divifion, the
minor mode. It is betides a known thing of all the theoricians
that the conne&iorl of the minor concord ai'e found in the arith-
metical cli'vitlon of the $th, To find th6 fit;f{ foundation of the mi*
hot mode in the harmonic fyllem it is fufficient to l'hew in thin
i-yem tlie arithmetical di.viiion of the 5th.
The vbole harmoriii: i'yllem is founded on a double eomputation
he c0nneion of the entire ch6'rd to its oave., or of the diameter
to the ray; and 0ri tle fefqui aiier eofnputation which gives the
11rPc harmonic or fundaniental found to which all the repc a?c
t:onne&ed.
Moreover, if in the double comprltati0% we compare ftlccefllvely
he fedond note G. and the third F ofthe feries P.tothe funds-..
mental found O.a.- and to its flat o&ave which iS the entire ˝hord
W'e/hall find that the firft is aft harm0riic means and the fecond an
arithmetical means between thofe two terms.
In the fam'e matmet; if in the fefqui alter computation we com-
pare fuccefilvelfkhe 4th note % and the 5th eb of the Came feries
to the 'entire cliord and its $th Gi qre fhall find that the 4th e
an harmonic means, and th* 5th eb an arithmetical means be-
tWi'Xt the two terms of this 5th'- The 'minor mode fhen being
lounded on ihe arithmetical divifion of the 5fh, and the note eb
taken in the feries of the complements in the harmonic fyllem
giving this divifion, the minor mode is founded on that note in
the harmonic fyllem.
After having found all the eonfonanees in the harmonle diviliorl
of the diameter, the major mode in the dire& order of there con-
fonan'˝e% the minor in their retrograde order, ahd in their ˝om'
ptement% there remains to examine the third exampl% wlfich
prell'es in notes the conne&ions of the ti:lua?es in the ordinated
parts and which gives the fyPcem of diffonances.
If we join, by confonances, the fufceffive intervals of the above
exampl% we fhall find that to fquare the ordinated parts is to
double the interval whleh they reprefent. So, adding. a third
tbund, which repreti:nts the tituare , this added found wall always
double the interval of the confonance as we fee in the following .
plate.
Thus the firPc note K of the above example doubles the oave
the firPc interval of the other example; the fecond note L doubles
tile fifth the fecond interval; the third note M dorahies the.fourth
T t t the
the thirci interval, &c. and tls this doubling of intervals
expreffed as follows
C c-
- o '- ,o --? ' ,T
Generation of Diffonances.
which is
Leaving axqde the oave oF the fifi interval, which engendering
no fundamental {ound ought not to pals as harmonic, the adde
note L forms, with the two which are below it, a thorough geo-
metrical proportion in fefquialter computation, and the following,
always doubling the iritervals, foein alfo always geometrical pro-
portions.
But the proporti6vls ahd progreohs harmonic and arithmetical
ß vhich conRitute the confonant major and minor fyffem, are oppo-
fed, by their nature, to the geometrical progreiilon; fince this
refults eitntlally from the fame conne&ions, and the others from
connerions always different. Then, if the tWO proportions har-
monic and arithmetical are confonanf the eometrlcal proportion
will be neceffarily cliftonant; and, confequently the xayfem 'which
efults from the former example, ig'ill be the fyem of diffonances.
ß 'But this iyffem drawri from th6 f'quares of the ordinated parts is
xnlted tO the two precedent, dra(vn from the fquares ofhords. The
cliftonant fyRem is then united in yhe fame manner to the aniverfal
larmonic lyRere.
It follows from thence, flr, That every concord w11 be difl'o-
nant when it contains two timilar intervals, others than the o&ave;
whether there two intervals be found conjoint with, or feparatel
from the concot&' Secondly, that of thefe two intervals, that
which belongs to the harmoleic or arithmetical fyfem flall be con-
fonant and the other cliftonant. So in the two examples S T of
cliftonant concords in the followin late, the intervals G C and ˝ g
P . .
are ˝onfonan G and the interval's F and e g dxf/'onant
In conneing however each term of the diffonant ferles to the
fundam'ental found or engendered C of the harmonic ferieswe thai[
lind that the diffonance which rcfult from this connexion will be
the
e following, and the 0nly direEt ones which ˝m be eftablithecl
o, the harmonic fypcem.
I. The firft is the 9th, or double 5th L,
IL The fecond is the x t th, which mupc not be confounded with
the timple 4th, provided that the firpc 4th, or fimple 4.th G C, beinl
in the particular harmonic fyftem, is confonant; which is not the
fecond fourth, or xxth C M, foreign to this fame.
III. The third i the t,th or ihperfluon fifth, which Monf.
Tartini calls the concord of a new invention either becaufe he
firPc difcovered its principles, or becaufe the fenfible concord in mi-
nor mode on the mediant, which we call fuperfluous $th, ha never
been admitted on account of its horrid roughneff, .ľid.e The
lfice of this concord a la Francoife,
tr
7 tr
l.nd the pra&ice of the fame a ? Italieane,
Before we conclude the enumeration we have begun, ! fioul(!
take notice, that the fame dipcinEtion of the two fourths confonant
and diffonant, which l[ have made before, thould be underpcood ira
the fame manner of the two major third of this concord and the
kwo minor thirdu of the following. .
IV. The 4tl and Iapc diffOnance given by the ferle th 4th
It that in, th ouqave of the 7th, a 14th which i reduced to the
ifi. mple only b I lieeric% and accordig to the right which we attrb;
T t t a but
4x6 ß $ Y
bute ta qtt.felves n the cu/om oś i, nd. lf['ere.ntty conśotnc$1ng th
If t. diXonant fyem is geduced from'the harmonic fem the
rules of preparing and aving the dionances are not lefs
and we % m the contonant and hrmonlc ferle% the preperationS
of all the tounds in the arlthmetlal feries. !n effe ompadng
the three feries 0 P We alway 6nd in the fuccve pogreffion
of the founds of the feries O, not odly 'as 'e have fee% the tim-
pie omputation% which when doabled give the founds 'of the
fedes but alfo the fdme intervals which the founds of the'two
P and fo together. So that' the'feries 0 always prepares'
beforehahd, what the two feries P and immediately produce. ß
S% the fi interval of the ferle O is 'that of the chord, a rid%
to its oave, and the oave is nifo te interval or concord whic
the firR found Of th feries podgce% co.mPa, re. go the firR found
of the feris B.' ' '
In the time manner, the fecod intvl 9f the fri.e O (alway
eckoning from th entir chord) is a lath; thw interval or con
cord of the cond found o,f the fedes c0mpared' d. the feconA
found of the feries P is nifo a 'xzth. '
he thiid on each fide, is a double oavea and f on.
Morover if we compare th feres to the et. ire chor
We all śnd e,aly the. fame intervals wIich the frieSo?
beforehah'd, viz. th cave, 5th, ,[h fimj0r 3 d, ad min r d. '
'From whence it fOllqw, that the p?ticuIar harm.,nic śeries givea
precifel% 'not only the ˝xemr;lar' and mode! Of the'twb fedes arithś
efical-ad g˝ore'tdcal, ,vhiCh it engendei', 'and which vith it
Cornplea t the univerfal har.monic fyfem; bu[ alib prefcrlhes to
one, the rder ofth'e fouqdss and prepares for'the 9th'er the ufe of
i:h liffonnces. ' ........ '_ .... , -
ß 'Thi'irepa-ation, elven by the harmonic fefies, is exacuv me
me whlclfis igf{'dlJ[i/led in l(raie; for'ihe 9th duble'd' froth the
$h, is al(o prepared hy a movement of t'he 5ih. The t th'dou-
bled, from the th. is nbcra'red bv'a no4ement of the th T'he
9r śuperfl9.9us 5tli, d0bl.ed from the major thn'd ts prepared by
mqvement of major" third; lately the a, th, or 'fallh 'sth, doubled
.' ..... ','.'. i, /.., .", '., ..' .,,'.
fi'om the minoľ third, is nifo vreaared' bv , movement of tl e
inor tird.i ' '
'!i {s t'rfe tlat we mu not leek thefe prep, arations in the move-
I0IO '.Ci}!le ,u,n'.d..a!..urtaJ .ia l. onś. l,a.˝au ' s. ffltcm S. b.ut which
are
are not f6 in that of Monf. Tartlnl; and it is truo alfa that th
fame diffonances are prepared in feveral different ways, either by
the variations o.f harmony or b 7 a fubftituted bars; but the whol
depends on the fame p[inciple ad this is not th$ place to ent
nto a detail of rule.
That of refolving and faring the diffonances arifes from the hme
principle as their preparation: for as each diffonance is prepared
by the antecedent conne&ion of h harmonic fyma fo it is fared
y the confequent conne&ion of the fame fyem. ' '
8% in the harmqnic eries the conne&ion , where the progref$
3
9f 5th being that whole 9th is prepared and doubled, the folIow
3
!ng conne&ion r pogrefs of &th is that whole time 9.th ought
to be fared. The 9th ought then to. defcend a degre% to leek
she 'harmofiie feries'the nifon of the fecond proer, 'and onfe-
%tlg t'; &av9 0 f the fundamen$l foun& - ' ' c
Genrl Syem qf Diffonances
D / F E '
I-- ....... -"
By followhag the fame method, we all find that the r th
ourd iq t fame manner deftend degree on the unifon E of
hrmonic feries according to the ˝orrefpondant reference , that
te uth or fagerfiuous fth 6 iefis, ough t to redefeen8 on
(ae qatural aeco.rding to the reference { and we fee the
6
fon till now unkn0wn why the hags ought to aftend to prepare
the diffonanees ahd the treble defeend to fare thlm. ß We may
lfo ke noti that the 7th, which, in Monf. Rama's fyEm
,e fir and tmo the only donanee, i, ple. te' 1 N that
of Monf. Tartini; fo much it was decreed there authors fhould
contradi&ory in every circumffaace.
If we hive clearly underflood the generations and analogies
the three orders or fyftems, all founded oa the firft, given by
ture, and all reprefented by the parts of the circle or their powers,
we flaalI find firif, That the particular harmonic fyftem, which
gives the mtjor mode, is produced by the fextuple divifion in hat?
montc p'ogreffion of the diameter, or the entire thoM, confidered.
as the unity. Secondly that the arithmetical fyffem-from whence
the minor mode refults, is produced by the arithmetical ries of
the complements; taking the fmaller term for the uniy, and raifing
it from term to term as far as the fextple computation, which at
laff gives the diameter or the entire chord. Thirdly that the geo-
metKcal fyffem, or the cliftonant i glfo drawn from the harmonic
yffem by doubling the powers o each interval; from whence it-
oIlows, that the harmonic fyffem of the major mode, the onIy one
immediately giyen by atre, rvs as a princple and foundatioq
to the re.
By what haa been yet fald, we fee that the harmonic fyem is not
cornpored of parts which reunite to torm the whole -but n the
contrary it is from the divifion of the whole, or the integral unity
that the parts are drawn; that the concord forms t6 itfelf do
founds but that it gives em; and that laxly, wherefoever tke
armonlc fyem has a place, the harmony does not defiv; f
the melody;but the melody from the harmony.
Th eemeats of the diatonic melody are contaid in the
five derees of the fcale or o&ave of the ma'or mode beginnin b
. . . g
C, from which a derived ao the fce of the minor mode, be-
ginning by A. . .
This rede not being exa&ly in the order of the M,quots ,s na
more than that which the natural divifions of horns, trumpets, and
ther timilar inruments produce, as may be feen in the plate by
,he comparifon of there two fcales, a comparifon, which ews
the fame time the caufe f the faire tone given by. there in-
r.umen.
Diatic Scale.
. Scale of Aliquots.
i I I ' I I I i I
$ Y
1LIowever, the Common fcale, tho' not n concord wth the ferles
of the alkluots , has not a 'Jefs phyfical and naturaforlgin to be
explained. '
The portion of the firfc feries O, which determines the harmonic
fyfcem, is the fefquialter or $th C G; that is, the o&ave harmd
nically divided.
Betides, the two terms, which correfpond to' there in the ferles P
of the complements, are the notes G F. There two chords are the
middle; the one harmonic the other artificial, betwixt the entire
chord and its half, or between the diameter and the ray; and
there two middle G and F being conne&ed both to the fame fun-
damental, determine the tone and even the mode, fince the harmo-
nic proportion predominates over it; and they appear before the
generation of the minor mode, having no other law than that
which is determined by the harmonic feri˝s, from whence they are
derived; the ought each to bear the chara&er, vlz. The'perfe&
major concord, cornpored of major 3d and $th.
If then we conneff and range fuccefllvely, according to the near-
eR order, the notes which confcitute there three concords, we fhall
have very exaly, as well in mufical notes, as in numerical con-
neations, the oave or ordinary diatonic fcale rigoroufly efta-
blifhed.
In notes, the thing is evident by a tingle operation.
In numerical conneRions, this is aimoft as eafily proved, for
fuppofin, 36o for the length of the entire chord, there three notes
'C, G, 1 , will be as x8o, 4o 7o; their concords will be as
follows:
and the entire fcale śeduced from it, will be in the conneions
marked as follows:
Tone Tone [Semlton [ Tone Tone[$emltone
a.ior. [ Mi,,or.[ Mnor. [ Tone
_ Minor. [ Major I Major.
- zo. 160. 144. 35' zo. zo8. 96. 9 o.
Where we fee that'all the intervals'are iuft, except the perfe
concord, D F A, in which the $th D A i; weak by'a omma, aa
well os' the minor third D F, on account of the minor tone D E;
but in every fyfiem this error or an ecluivalcat one is inevitable.
In
in. regarcl tb the other alterations, which the necety
fame touches in different tons, introduces into our fcate), id
ifieafion.) The fcale bg on eablied,
' ' notes C G F from whene it is derived, is th formation'o th
hre cadences which givln a progrefs of fndamntal notes from
one to the other. are thbafs%f a' mod.ula. tion G being an harmo-
ic.means and an arltetical means betwixt the two terms
of the av% the paffe from the middle to the treme forms
cadsnee which kes. its name frcm.he middle which produces it
G C is then an harmonic cadence, F C an arithmetica-t,. and we
callß mixt cence, that wMch pang from the arithmetical means
to the harmonic means is eompof of the two before refdlving
on, the trcme.
.l
I-tarmoni Cadence. Arithmetical Cadence. Mixt Cadence.
Of there three. eaclences, the.harmonle is the princlpaJ ancl th
firft in order: Its effe& is of a flat harmony, fcrong, and termina'
ting in an abfoliate fenf&
The arithtnetical: is weak', t:weet, and leaves a foraethlng frill t
be derire&- The mixt /zadence fufpends the fenfe, and'produces
nearly tl effe. of ttieirterrogative and admiralire pointa
From the natural fuccefllon of there three cadences, ruth'as we
fee it in a former plate. There refults exa&ly the fundamental bari
. oś_thefcale 4 and.fromtheir different intermixtures-isderived the m
thoct' of treating. any tone, and modulating on. ik a feries of airs
for each note.of'.the cadence. is fuppofd5 to.bear the perśe doncord
ß as has been laid before.
Irt regard to what is. called "The Rale. of the O&ave", it is evi
tent, that tho' we fiould not even admit the'harmony which it
śpecifies as pure and regular, as it is found onl ttxrough dint of
art"and:du&ions, it can never be propofed in clualiy of princi-
ple and a generaI law.
The compofers of the 1$th age, the generality of .whom wer
xcelIent harmonifts uthd the whole fcale as a fundamental baf
of as many pe'rfe& concords as it had notes, except'the 7th on
account o(the falfe $th; and this harmony well Condu&ed, would
have formed a very reat effe&, if the perle& concord on the men
diant had not. beer/ndered too h.rfh ly there two faire relations
with.the concord Whicl, precedes it and that vhich foI10wSa
$Y
ß To render this ferles of perfe& concords as pure and fweet as
.pcsflible, we muff reduce it to this other fundamental bays, whiclt
śumifhes with the precedent, a new fource of varieties.
As we find in this -formula, two perle& concords in minor third,
viz. D A, it will be neceffaxy to leek Xbe analogy which the major
and minor tones fhould have together in a regular modulation.
Let us corr. fider the note. eb of the example P, united to the
.two correfpondent notes of the examples 0 and'Q. taken as
fundamental: it is found by this means aS the' Bale, or foundak
lion of a concord in major third; but taken-as an arithmetical
xneans between the entire chord and its fifth, as in t.he example
of the other plate: it is .then found mediant or fecond bale of th
xninor mode: So this three note, confldered under two different
eferences, and both deduEted from the fyftcm, gives two hartno-
,-airs; from whence it follows, that the fcale of the major mode is
a minor third above the analogous fcale of the min6r mode.
Wherefore the.minor mode analogous to the fcale of ut, is that
-of In, and .the minor mode ?alogous to t:hat of fa, is that.of re.
Moreover, la and re, gve exa&ly, in the fundamental bays of
the diatonic tkale, the tw.o'minor concords analogous to the two
tones of ut and fa, determined by the two harmonic cadences of
nt to fa and.of fol to ut. The fundamental ba, wherein we make
there two concords enter, is then as regular, and more varied than
..the preceden.t., which only contains the hagmony of the minor
.mode.
In regard to the two la diffonances n an'r of the example' q, as
they come from .the diatoni. c. genus, we will not yet fpeak of
t lie nl,
The origin:of the meaśure, the periods., phraf'e% and all the mu-
-fical rhyme, is found alf'o in the generation of the cadences, in
their natural (eries, and ,thei different co. mbinatioris. Firft, the
ß means beiog immogenous to its extreme, the two members of a
cadence ougkt in their firf'c fimplicity to be of the fame nature and
$qual powers. Confequently the eight notes Which form the four
kadences, the fundamental bays of. the fc-ale, are equal together
ahd forming alfo four equal meafu,'es, one for each cadence, tlm
whole gives' coinpleat f'enfe, and an hnrmonic period.
Moreover, as the whole harmonto fyftem is.founded on the dou-
ble and fefqui alter computation, which on account of the
is confounded with the triple powers, in the fame manner every'
good and fenfible meafure is refolved on that of two times, or that
of three, all which is below, often attempted, and always unfuc-
cefsful, not being able to produce any good eftcO.
From the different foundations of ha,-mony given by the three
forts of cadence, and from the different methods of i,atermixing
thcm arifcs the variety of the tnfes of phrat% and the hole me-
U u u Iody,
422 S ľ
lod(; of whlch the ngenous muffet, an expreffes all that of the
hrafes for dffcourfe, and pgnuates the founds as correl as the
Grammarian does the words.
From the meafure gven by the cade'nees, there refults alfo the
exa expreon of the profody .nd rhyme: for as the ort yllable
res on the long n the.faro(manner' the'nte which prepaTes the
cadence n rfing, fuffa]ns itfelf and paufes on the note which re-
folves t n rkng; which divides the tmes nto rong and veak
as the fyllabIes nto long and lhort.
Ths fiaews how we can, even n oferv]ng the quanfitesreverfe
the profody and menlure the whole eote terns, when we ffrke the
fiart fyllables and rafe the long; tho' we ould thiuk we obferved
their relative durations and mufical owers.
he ufe of dffonant note by conjoint degrees n the weak times
of the meafur% s alih deduced'from principles eabled thereon
for le us fuppo15 the datonc and meatbred fcale as follovs
it is evldent that the note fuained or ruck in the bars x infiead
of the notes in the bal z, is only 'thus tolerated becaufe alway