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DUKE
UNIVERSITY

LIBRARY /'•

Treastire %oom

MUSICAL GRAMMAR^

IN FOUR PARTS

I. NOTATION, I m. HARMONY,

II. MELODY, I IV. RHYTHM.

BY DR. CALLCOTT,

ORGANIST OF COVENT-GARDEN CHURCH.

" The better Music is known and understood, the more it will be
valued and esteemed."

Simpson's compendium, 1678.

FIRST JMERJCJN, FROM THE LAST LONDON EDITION,

BOSTON :

PUBLISHED BY WEST ^ BLAKE, AND MANNING ^ LORING.
Manning & Loringi Printers.

r C I-

The Author's Preface,

THE design of the following Work is, to
compress in a small volume, the leading princi-
ples of Practical Music. From the analogy
which exists between Music and Language, the
Author has presumed to adopt a classification
first suggested by the German Theorists, and
to entitle the whole a Musical Grammar,

He has endeavoured, by Examples selected
from the best Authors, and intermixed with
Musical Characters, to render the instructions
more satisfactory than if they were merely
verbal ; and he only regrets that, in many in-
stances, they could not be made more exten-
sive, without injuring the due proportion of the
parts and the portable size of the book.

The Author takes this public method of an-
nouncing, that he has not abandoned the design
formed nine years ago, of compiling a Musical
Dictionary. His original plan* merely pro-
fessed to comprehend an abridgment of Wal-
ther, Rousseau, &c, but, when the friendship of
Mr. KoUman (Organist of the German Chapel
at St. James) had assisted him with some valua-
ble treatises, he found it necessary to relinquish
the idea of immediate publication ; and, un-
willing that many more years should elapse
without shewing the world in what manner his

* March 1, 1798.

iy rSE author's preface.

researches had been conducted, he ventures to
lay before the Public a specimen of what may-
be expected from his labours.

He is very happy to avail himself of the
present opportunity of returning his most
grateful acknowledgment for the assistance he
has obtained from public and private libraries
of this kingdom, and for the great attention
shewn him by persons not more distinguished
by rank and birth, than by love of science and
of literary pursuits.

To the Profession also, in general, he con-
siders himself highly indebted, not only for the
loan of scarce books, but also for occasional
remarks and useful hints on various musical
subjects, on which it was necessary to consult
them.

The completion of a Dictionary from the ac-
cumulated materials of nine years, will require
no small portion of time and expense to render
it worthy of the public patronage. The present
small volume is, in the mean time, submitted
by the Author to the world with a considerable
degree of diffidence ; and he hopes that the
various professional occupations in which he-has
been incessantly engaged, will be an excuse for
any small inaccuracies which may strike those
who are conversant with the subject.

ADVERTISEMENT.

AS the present edition of the " Musical Grammar" has not
received the advantage of being revised by its excellent Author,
a short account may be necessary, of those Additions, and Alter-
ations, which have been thought essential to its improvement.

The divisions of the Work, in the former edition, were consid-
ered too minute. The same subject was frequently continued
through several articles, by which means references were multi"
plied, and the attention of the Student unnecessarily distracted.
In the edition now offered to the Public, the Articles are consid-
erably compressed ; according to the suggestions of Mr. Jousse,
a Professor who has studied the Work with a degree of attention,
which will always strongly recommend him to thofe who are in-
terested in its success.

Complaints were also made, of the difficulties the Student en-
countered, from the Examples of Harmony being given only by
figured bases ; which presupposes a degree of knowledge, pos-
sessed alone by those who have made a considerable progress in
Musical Science. The principal of these Examples have, here,
been illustrated by Mr. Horsley, who has long been in habits of
the greatest intimacy and friendship with the Author, and who,
from this circumstance, may be thought qualified to develop his
intentions, in such passages as were before rather too concisely,
and sometimes even obscurely expressed. But the most impor-
tant alterations, in the present Edition, are those in the Fourth
Part, on Rhythm,* which was probably undertaken by the inge-

* Animadverted uf on in the British Critic for April and 'Juntj 1807.
A 2

«y ADVERTISEMENT.

nious Writer more hastily than a subject demanded, on which an
exact comparison was professed to be drawn, between Musical
Metre and Ancient Prosody, and which required a very close
investigation of both. This less perfect part of the work has
been carefully revised, and rendered correct in the erroneous
passages, by Mr. S. Wesley ; and from this Gentleman's well-
known learning, and great musical talents, the Work has,
throughout the whole progress of reprinting, derived very con-
siderable advantages.

No pains have been spared to render this Edition worthy of
the very flattering reception with which the Public honoured
the first. The Editors are most sincerely attached to the Author,
not only by admiration of his talents and acquirements, but by
the still more powerful ties of affection for his virtifes and benefi-
cence : and they most fervently hope, that this will not prove
his last effort to enrich the Musical Literature of England.

ADVERTISEMENT TO THE AMERICAN-
EDITION

IN the cultivation of Music, two distinct objects are to
be acquired ; Sci e n c e and Taste. Taste is improved by stud-
ying tlie compositions of celebrated Masters, and by endeavouring,
both in writing and performing, to adapt the melody to the subject.

While several pubhcations have lately made their appearance in
this country, which have a tendency to refine the public Taste,
it is a fact, that we have no work in circulation which is calculated
to acquaint the learner with the principles of Music as a Science.
Hence the indigenous productions of the United States, with a few
exceptions, have been found very exceptionable, and have exposed
the authors to the sneers of Eurcpean critics.

To remedy tliis evil, some elementary work of merit seemed to-
be indispensably necessary; and tlie high reputation of Doctor
Callcott's Musical Grammar satisfied the American Editors that its
republication must, in all probability, be acceptable to the public.
But few copies of this work, (v/hich indeed has but recently ap-
peared in England) have reached tliis countrj^ and those could not
\y^ purchased but at a price which has been considered dispropor-
tionate to the size of the volume. The Publishers have sought to re-
move this objection, and have spared no pains to secure elegance (^
typography, and, what is more essential, to preserve the corrections
of the original edition.

By a due attention to this little volume, it is confidently believed,
that the student may obtain all that is necessary to discriminate be-
tween false and correct harmony, and to compose conformably to
the established rules ; an acquisition which certainly must be desir-
able to the votaries of Music ; and what, to every Christian, must
be an object of consequence, it will tend to introduce dignity and
purity into those native compositions, wliich are designed for the
use of worshipping assemblies.

Maij^ 1810.

CONTENTS.

PART I.
THE NOTATION OF MUSIC.

Chap. I. Of the Staff, 1

II. Of the Clef 5

Sect. 1. Of Clefs in general,

2. Of the G, or Treble Clef, 7

3. Of the F, or Base Clef, 8

4. Of the Counter Tenor Clef, 10

5. Of the Tenor Clef, 11

6. Of the Soprano Clef, 12

7. 'Of the Mezzo Soprano, the Baritono, and

high Treble Clefs, 13

m. Of the JVotes, 14

Sect. 1. Of Notes in general,

2. Of the Tune of Notes, 20

3. Of the Tune of Notes, 25

4. Of the Accent of Notes, 41

IV. Of the BestSy 46

V. Of the Sharps, Flats, Isfc 49

Sect. 1. Of the Sharps,

2. Of the Flats, 52

3. Of the Naturals, 56

4. Of the double Sharp, 58

5. Of the double Flat, 5^

VI. Of Graces, Characters, Marks of Exfiression,

and Abbreviations, 61

Sect. 1. Of Graces,

2. Of the Characters, 73

3. Of the Marks of Expression, 79

4. Of Abbreviations, 83

X CONTENTS.

PART II.

MELODY.

Pa^e

Chap, I. Of Intervals^ 85

Sect. 1. Of Intervals in general,

2. Of the Names of Intervals, QB

3. Of the fourteen Diatonic Intervals, ... 90

4. Inversion of Intervals, 100

II. Of Consonant and Dissonant Intervals, .... 104

III. Of the Genera, 109

Sect. 1. Of the three kinds of Melody,

2. Of the Chromatic Scale, and its Intervals, 111

3. Of the Enharmonic Scale, and its Interval,

the Quarter-tone, 119

IV. Of Keys or Scales, and their two Modes, Major

and Minor,. 123

Sect 1. Of Keys or Scales,

2. Of the Major Scales with Sharps, . . .124

3. Of the Major Scales with Flats, .... 126

4. Of the Signature, 127

5. Ofthe Minor Scale or Mode, 128

6. Of the relative Minor Scales, 131

-7. Ofthe Tonic Minor Scales, 132

8. Of Transposition, &c 133

V. Of the Qualities of the JVotes nvhich comfiose the

Scale, 136

Sect. 1. Of the Tonic, Dominant, &c

2. Of the characteristic Notes, 140

VI. Of Ancient Signatures, 142

Sect. 1. Of ancient Signatures in general, . . . .

2. Of ancient sharp Signatures, ...... 144

3. Of ancient flat Signature*, 145

CONTENTS. XI

PART III.

HARMONY.

Fage
Chap. I. Of the Triad, 143

Sect. 1. Of the Consonant and Dissonant Triads, .

2. Inversions of the Triad, . 153

3. Of the Dh'ect and contrary Motions, and

the rules for their use in Harmony, . . 157

4. Of Harmonical Progression, 159

11. Of the DoTiiinant Seventh, its Inversions, Reso-
lution, and of Modulation, . 165

Sect. 1. Of the Dominant Seventh,

2. Of the Inversions of the Dominant Seventh, 171

3. Of the Resolution of the Dominant Seventh, 174

4. Of Modulation, 179

HI. Of Discords, 186

Sect 1. Discords of Transition,

2. Discords of Suspension, 192

3. Discords of Syncopation, 200

4. Discords of Addition, 201

rV. Of Cadences, 216

Sect. 1. Of radical Cadences,

2. Of medial Cadences, 221

V. Of Sequences, . 225

Sect. 1. Of dominant Sequences, " .

2. Of mediant Sequences, 226

3. Of inverted Sequences, 227

4. Of simple Sequences, 229

5. Of compound Sequences, 231

6. Of irregular Sequences, 233

VI. Of Licenses, 235

Sect. 1. Of Pedal Harmonies,

2. Of the extreme shaip Sixth, 237

3. Of partial Modulation, 240

4. Of the inile of the Octave, 242

5. Of Chromatic Modulation, 245

6. Of Enharmonic Modulation, 247

301 COl^TENrs,

PART IV.

RHYTHM.

Page

Chap. L OfJccent, 251

Sect 1. Of simple Measures,

2. Of compound Measures, 256

3. Of mixed Measures, 258

4. Of Emphasis, 260

n. Of the Musical Footy 263

Sect. 1. Of simple Feet,

2. Of compound Feet, , 267

III. Of the Musical Casure, 269

IV. Of the Phrascy 274

Sect. 1. Of the regular Phrase,

2. Of the uregular Phrase, 279

3. Of interwoven Phrases, 283

V. Of the Section, 286

Sect. 1. Of the regular Section, ,

2. Of the irregular Section, 289

3. Of the interwoven Section, 291

4. Of the Codetta, 295

VI. Of the Period, . . . . , 298

Sect. 1. Of the Tonic Period,

2. Of the Dominant Period, 301

3. Of the interwoven Period, 304

4. Of the Coda, 308

MUSICAL GRAMMAR.

PART I.

THE NOTATION OF MUSIC.

CHAP. I.

OF THE STAFF.

Art. 1. Five lines drawn over each other, ^
form a Staffs* or support for the notes of
Music j thus.

On these Lines, and in the Spaces between
them, the heads of the Notes are placed.

2. The Lines and Spaces of the Staff are
counted upwards, from the lowest to the
highest,

LINES 13==^= SPACES if^^^^

* Sir John Hawkins (vol. i. p. 427) writes the word Stave for
Staff— Dr. Burney, v. ii. p. 87 : " The regular Staff of four lines
was not generally used in the church till the 13th centur5%"'
B

2' I. NOTATION.

Every Line, or Space, is called a Degree :*
thus the Staff includes nine Degrees, viz. five
Lines, and four Spaces.

3. The Notes of Music consist generally of
two parts, a Head and a Stem.

The Head is either open or close (that is,
white or black ;) and must always be placed on
a Line, or in a Space.

The Stem may turn up or down, without
making any difference in the Music.

V^HITE NOTES.
On Lines. In Spaces.

-8

BLACK NOTES.
On Lines. In Spaces.

4. When more than nine Notes are wanted,
the Spaces above and below the Staff are used,
and two more Degrees are gained 5 thus.

* Christopher Simpson, Compendium of Practical Music, 1678,
(3d edit) p. 2.

CHAP. I. STAFF.

5. If more Notes than these are required,
then added Lines* are drawn above or below
the Staff, and the Notes are placed on them ;
thus.

Line
above.

Line S •
below. > !

tg==l

:=p:

Efe

EpESEE^S^S*Et=

Any number of Lines may be added above
or below ; thus the Degrees of the Staff are in-
creased at pleasure.

6. In Music for Keyed Instruments, when a
Staff is wanted for each hand, they are joined
together by a Brace ; the upper Staff for the
right hand part, and the lower Staff for the left.

* The added Lines were formerly called Ledger or Leger,
short or hght lines. The latter term is adopted by Mr. Holdeni
in his Essay (1770) p. 21, art 56.

4 I. NOTATION.

When more than two Staves are joined to-
gether by the Brace, they contain Music for
different voices, or instruments, to be perform-
ed at the same time. This union of Staves is
called the Score,*

* Dr. B. ii. 440 : ^' The word Score probably originated from
the BaVy which, in its first use, was drawn through all the parts,
as it should be still, of a piece of music in partition or fiarsiiura"

CHAP. 11.

OF THE CLEF.

SECT. I— OF CLEFS IN GENERAL.

Art. 7. The Notes of Music are named from
the first seven letters of the alphabet,

A, B, C, D, E, F, G.
When the Melody, or Tune, exceeds these sev-
en, the same series of letters must be repeated.

8. A Clef* is a mark representing a letter,
placed at the beginning of the Staff, to deter-
mine the names of the Degrees, and is always
situated on a Line. There are three Clefs :

The F. The C. The G.

These are commonly called the Base^ the Tenor^
and the Treble*

9. The sounds of Music are distinguished
by their difference in respect of pitch, and di-
vided into High and Low : the high sounds are

* Sir J. H. writes Clifjr, i. 431; ill. 51, 89; iv. 162.--Dr. B. ii. 90:
" Clefs were originally nothing more than the letters cf the alpha-
bet, placed opposite to notes of the same name/'
B2

6 I. NOTATION.

placed in a Staff with the G Clef, and called
Treble ; the low sounds are placed in a Staff
with the F Clef, and called Base.

10. The upper sounds of the Base, and the
lower ones of the Treble, are also called Teri"
or^ and sometimes placed in a Staff with the
C Clef.

11. These three Clefs are five Degrees dis-
tant from each other ; the C or Tenor Clef,
being the Note where the Base ends and the
Treble begins. The G or Treble Clef, is five
Degrees above ; and the F or Base^ is five
Degrees below, both inclusive.

E3:

fgabcdef

1 2. All the Degrees of the Staff depend upon
the Clef; and consequently take their names
from that Line on which the Clef is placed.
It must always be remembered, that these Clefs
are representatives of the letters, f, c, and g.*

* The utility of Clefs, in respect of human voices, is explained
by Dr. B. ii. 457.— See also Malcolm, p. 332; and Rolden, p.20.
art. 54.

CHAP. II. CLEF. 7

SECT. n.--OF THE G OR TREBLE CLEF.

13. The G Clef* must turn on the second
Line of th^ Staff; all the Notes on that Line
are called g ; the other Degrees take theicl^
names from that, as the Clef Line..

,.,0n the Clef Line.

The nine Degrees of the Treble Staff are.

egbdf face
14. The Degrees above and below the Staff

are,

The other added Degrees are reckoned from
these, whether above or below.

* The G Clef is a compound character of the letters G and S,
for the syllable Sol. In old Music, the two letters, g and s, are
sometimes seen distinctly marked. — Turner's Essay (1724) p. 34;
Dr. Pepusch, Treatise on Harmony {IT 31) ; Rameau, Treatise
(1752.) — Sir J. H. iii. 105, ascribes the earliest use of our present
character to Lampadiiis (1537) ii. 408 ; iii. 54.

t NOTATION.

SECT. III.— OF THE F OR BASE CLEF.

15. The F Clef* must be placed on the
fourth Line of the Staff, so that the two dots
are in the third and fourth Spaces : all the
Notes on that Line are called f ; the other De-
grees take their names from that, as the Clef
Line.

f....r

„.On the Clef Line.

The nine Degrees of the Base Staff are.

^g^

e g

GB d f a Ac
16. The Degrees above and below the Staff,

are.

F b E

* The F Clef is a compound character, formed originally of
three Notes, one placed on the Line, and two others in the adjoin-
ing Spaces ; thus,

The C Clef was d^tinguished from the F, by ha^'ing only the
two Notes in the Spaces ; and these Clefs were adopted in the
Gregorian, while coloured lines were used for the more ancient
Ambrosial!, Chant. Franchinus Gafurius, Praciica, lib. i. cap. o,
fol. 4, b, edit. 1496 and 1502.

CHAP. n. CLEF.

If. The Note C, on the added Line* below
the Treble, and on that above the Base, are
exactly the same sound ; thus the lower Notes
of the Treble may be expressed in the Base,

EpP

c d e

and the higher Notes of the Base may be ex-
pressed in the Treble.

c b a

18. The same Notes mna^'ue thiib written in
both the F and G Clefs,

ai:

b c d e f

* When the added lines between the Treble and Base fre-
quently occur, it is usual in old Music to find the C Clefs in both
upper and lower Staves,— See Scarlatti's Lessons, ii. 12.

I. NOTATION.

SECT. IV.— OF THE COUNTER TENOR CLEF, OR C
ON THE THIRD LINE.

19. When the C Clef is placed so that the
two cross strokes enclose the middle Line, it is
called the Counter Tenor ^*- or Viola Clef.

.♦.On the third Line.

The nine Degrees of the Viola StaiBF are.

faceg gbdf

These correspond with the Notes in the Treble
and Basf* Cipfs^ given in the Example of
Art. 18.

20. The Counter Tenor Clef is used for the
high voices of men in Vocal Music, and for the
Viola or Tenor Violin in Instrumental Pieces.

* This is also called Alto and Contralto. It borrows the two
lower lines of the Treble for its upper Degrees, and the two
upper lines of the Base for its lower Degrees. The middle line
is the added one between the Treble and Base. This Clef is used
b Handel's 400 Songs, ii. No. 130 : **0 fahest of Ten Thousand;"
iii. No. 192 : " See the conquering Hero comes ;" v. Na 379 :
" Hide me from day's garish eye."

CHAP. n. CLEF. 11

SECT. \.—OF THE TENOR CLEF, OR C ON THE
FOURTH LINE.

.21. When the C Clef is placed so that the
two cross strokes enclose the fourth Line, it is
called the Tenor Clef.*

@ ....On the fourth Line,

The nine Degrees of the Tenor Staff are.

dface egbd

These Notes are five Degrees above those in the
Base Clef, Art. 15, p. 8.

22. The Te?2or Clef is used for the middle
voices of men, and for the Violoncello or Base
Violin, in Instrumental Music, when the pas-
sage ascends above the Base Staff.

* The Tenor Clef borrows the lowest line of the Treble for its
upper Degi-ee, and the three highest lines of the Base for its lower
Degi-ees. The fourth hne is the added one between the Treble
and Base. — Examples of this Clef may be found in Handel's
Songs, L No. 49 . " How blest the Maid;" No. 57: " But ob, sad
Virgin ;" ii. No. 148 : " What passion cannot."

12 I. NOTATION.

S^CT. VI.— OF THE SOPRANO CLEF, OR C ON THE
FIRST LINE.

23. When the C Clef is placed so that the
two cross strokes enclose the lowest Line, it is
called the Soprano^* or Canto Clef.

....pEiB

,On the first Line.

The nine Degrees of the Soprano Staff are.

iSi^i

cegbd dfac

These Notes are three Degrees below those in
the Treble Clef, Art. 13, p. 7.

24. The Soprano Clef is used for the voices
of females and children. In Italy and Germany,
no other Clef is in general use for the Harpsi-
chord ; the G Clef being reserved for the Vio-
lin, Flute, &c.

* Tlie Soprano Clef borrows tlie four lowest lines of the Treble
for its upper Degrees ; and the first line is the added one between
the Treble and Base. — These three C Clefs, the Soprano, Alto,
Tenor, with the Base F Clef, form the four regular Clefs of Cho-
ral Counterpoint — See Dr.Boyce's Catliedral Music, 3 vols. 1760;
and new edition 1788. This Clef is also used in Handel's Sengs,
iii. No. 176: " Hark he strikes the golden lyre;" and in his thir-
teen Italian Duetts.

CHAP. IL CLEF.

SECT. Vn.— OF THE MEZZO SOPRANO, THE BARI-
TONO, AND HIGH TREBLE CLEFS.

25. In old Vocal Music, the C Clef is placed
on the second Line, and called the Mezzo So-
prano.

acegb bdfa

26. In old Church Music, the F Clef is placed
on the third Line, and called the Baritono.

Bdfac cegb

27. In old French Music, the G Clef is placed
on the first Line, and called the Hig^Treble*

-w.:

gbdfa aceg

* These three Clefs are inserted here, chiefly to shew how
entirely the other Degrees depend on the Clef Line, and to im-
press on tlie mind, that the Clefs themselves are the letters C, F,
and G. Examples of these two first Clefs are found in Padre
Martini, Saggio di Contrappunto, 1774. The la&t G Clef is used
by Betiiizy (Exposition de la Musique, 1764,) in some of tlie
plates at tlie end of his work.
C

CHAP. m.

OF THE JVOTES.
SECT. I.— OF NOTES IN GENERAL.

Art. 28. The Notes of Music represent
sounds, with their difference of pitch, and their
duration in time.* These two qualities are
called the Tune and Time of Notes. ^

29. When to any series of the seven letters
the eighth is added, the whole number is term-
ed an Octave ;t and the word is frequently used
to express the two extreme Notes of the series,
the first and the eighth.

30. That series of the seven letters which
begins and ends with C, ascending or descend-
ing, is most satisfactory to the ear.

cdefgabc

* Our present Notation was considerably improved (if not
invented) by Guido of Arezzo, and Franco of Cologne. Sir J. H.
i. 422 ; ii. 17, 140, 217, 237. Dr. B. ii. 35, 134, 152, 443.

t The seven letters were forrjierly called Sefitmaries ; but, as
they are incomplete and imperfect in their melody or tune with-
out the eighth, they are now termed Octaves. Butler's Princi-
ples (1636,) p. 13.

CHAP. m. NOTES. 15

31. On keyed instruments, these Notes are
performed by striking the long keys, whose
names are known by their situation with respect
to the short keys, which are generally black.

32. The black keys are placed in alternate
divisions of two and three^ throughout the key-
board ; and, as the long key between the two
short ones is always D,* the other six letters
may be readily found from that ; E being the
next long key towards the right hand ; C the
next towards the left, &c. &c.

S3. The Ct nearest the middle of the instru-
ment, is the Tenor Clef Note ; the next G to-
wards the right, is the Treble Clef Note ; and
the nearest F towards the left, is the Base Clef
Note,

34. To distinguish the different Notes of the
same letter from each other, the Germans have
adopted a literal Notation, called their Tabla-
ture^l which, from its ingenuity and utility, de-

* The ke>s which enclose the divisions of two short ones, are
C D E ; and the remaining four, F G A B, have the other di^ ision
of three short ones between them.

t The number of Keys varies on different instruments ; but the
C nearest to the middle is always the Tenor Clef Note.

X The German Tablature was invented in the 16th centuiy ;
a specimen of it may be seen in the tract entitled Monochordum
Andrea Reinhardi, Lipsiaj, 1604 (z, 23,) in the Saville Collection,
Oxford. Dr.B. u. 121.

16 I. NOTATION.

serves to be more universally known than it is
at present.

35. The lowest series of seven Notes, which
includes both the divisions of short keys in the
key-board (beginning with the two^) is called
by the Germans the great Octave* being ex-
pressed by capital letters ;t thus.

C D E F G A B

SQ, The next series of seven Notes is called
the small Octave^ expressed with small letters j
thus,

c d e r g a b

37. The next series commences with the C
Clef Note, including the G Clef; and being

* On some old instruments, (particularly Organs,) the lowest
Note on the left hand is the great C ; but, in general. Harpsi-
chords, &c. extend downwa^'ds to F F. The six octave Grand
Piano Fortes reach to C C below, and as far as C, four times
marked in the Treble, on the right. It has been observed, p. 14,
that these Octaves are in reality only Septenaries.

t In our old scales, the letters below the Base A were made
double, and those above the Treble Staff termed in alt ; but the
Septenai'ies were then reckoned from A, not from C ; and the.
limits of Base, Tenor, and Treble, not accurately defined.

CHAP. TIL NOTES. 17

expressed by a small stroke over each letter, is
called the once-marked Octave.

x: d e f g a 5

38» The last series in general use is called
the twice-marked Octave,

gyii

c d e f g a b

89. The few Notes below the great Octave
are marked with double capitals, and called
Contra Tones. Those above the Treble form an-
other series, called the thrice-marked Octave.*

40. Any musical example, in which all the
Notes are of equal length, may be expressed by
this Tablature, without the assistance of the

* If these Notes were arranged by Septenariesircim G, on the
first line of the Base, then the appellations of Base, Tenor, and
Treble, might be more appropriate ; the Base Septenary would
end with the F Clef; the Tenor C Clef would be the middle note
of its own series ; and the Treble would begin with its own G
Clef. This is the Gammut given by Butler, p. 13, 17. The
more ancient Scales formed their Septenaries from A, and the
Gammut at G was added below. Gkreanua Dodecachordon
(1547,) lib. i. cap. 2, p. 3.

I. NOTATION.

StafF or of the Clef. According to this Nota-

tion, we may observe,

The F Clef Note is the small £

The C Clef Note is the once- marked c.

The G Clef Note is the once-marked g.

41. The descending series of these Octaves
is expressed in Notes, thus in the Treble,

cbagfedcbagfedc
and thus' in the Base,

aiiE|esS£|

cbagfedcBAGFEDC

42. In vocal Music these Notes are sung with
the syllables introduced, about the year 1022,
by Guido^ a Monk of Arezzo, in Tuscany :
UT, RE, MI, FA, SOL, LA f called by his
followers the Hexachord,

The French retain the original six, with the
addition of SI for the seventh.!

* A particular account of Guido may be found in Sir J. H.
i. 422 ; Dr. B. ii. 72 ; M. La Borde (Essai 1780,) iii. 345.

j- The addition of the syllable Si was introduced by Le Mairc.
Sir J. H. i. 435 ; Dr. B. ii. 98.

CHAP. III. NOTES. 19

UT, RE, MI, FA, SOL, LA, SI, UT.
cdefg abc

43. The Italians, for the sake of a softer pro-
nunciation, have changed the UT into DO.

DO, RE, MI, FA, SOL, LA, SI, DO.*

44. This general Scale of Notes was for-
merly called the Gammut^\ from the Greek
letter Gam?na^ placed on the lowest line of the
Base Staff, or great G of the German Tabla-
ture.

* The change of Ut to Do, is mentioned by Sir J. H. v. 197 ;
Dr. B. ii. 93.

f This succession of syllables invented by Guido, was also
applicable to the two other Notes, F and G (which form our
Clefs,) and their following sounds. Hence arises the word Gam-
mut, or Gamma Ut, it being the Ut, or first sound of the G Hexa-
chord, denoted by the Greek letter T. Dr. B. ii. 87; Butler,
p. 17 ; Ornithoparcus (Dowland's Translation, 1609, p. 10.)

The celebrated Pinissian Chapel-master, C. H. Graun, em-
ployed the following syllables — da, me, ni, fio, tu, la, be, which
are adopted by Hiller, in his Anweisung zum Gesange (2d edit.
1798 ;) not, like those of Gnido, to ascertain the intervals of the
Sca.le, but merely to accustom the vocal student to sing upon all
the vowels, intermixed with the principal consonants.

30 I. NOTATION.

SECT. II.— OF THE TUNE OF NOTES.

45. Tli€ Tune of Notes depends upon their
relation to each other, and upon the distances
between them. The intervals between the De-
grees of the Scale are unequal ;* and, as some
are nearly twice the distance of others, the
words Tone, and Semitone, are employed t-o
express them.

46. Those Notes which on the key-board are
not separated by a short key, are said to be
distant from each other one Semitone ;t those
which have a short key inserted between them,
are distant two Semitones, or one Tone, Thus,
the distances between B C and between E F, are
Semitones j and those between C D, D E, F G,
G A, and A B, are Tones ; — therefore, every
series of the eight regular Sounds, or of the
Octave, contains five Tones, and two Semi-
tones.

47. The greatest care must be taken not to
misunderstand the words Note and Tone,\ A

* Holden, p. 2, art. 7; Malcolm, p. 229 (of Degrees,) chap,
viii. §2.

t An exception to this rule is found in those organs which have
what are called short Octaves, and in which the two lower Keys
are tuned to G G and C C, although close together like B C.

X Even the accurate and learned Butler uses these terms in

CHAP. Iir. NOTES. 21

Note is the Sound which is heard, or the mark
which represents it on the StafF; but a Tone
is the distance between two Notes, which are
called by the names o£ two adjoining letters,
and separated by one single key of the instru-
ment. Thus, the distance from A to B is a
Tone ; and therefore A is a tone lower than
B, and B a Tone higher than A.

48. The same observation must be applied
to the Semitones, which are sometimes called,
though improperly, half Notes, The distance
from B to C is a Semitone ; therefore B is a
Semitone lower than C, and C is a Semitone
higher than B.

49. By comparing the sounds C D E F with
the following sounds G A B C, we find that the
distances of both these fourths* consist exactly

a vague manner (p. 22.) He first says : " From Mi to Fa, and
from La to Pha, is but half a tone ; between any other two Notes
there is a whole tone." Then he adds : " But in singing, how to
tune each Mte and half Note to his fellow, cannot be declared
by precept."

* The ancient term for the fourth was Tetrachord ; and since
the theory of Rameau has been known, the old ideas on the
subject have been, with some variation, revived. Most of the
modern writers (particularly Holden) have thought it necessary
to consider the Octave as composed of two fourths, which are
disjoined or separated by a tone. As a Practical Introduction
to Musical Science, this arrangement may be considered as
correct ; although theoiy does not allow the perfect mathemut-

I. NOTATION,

of two Tones and a Semitone ; therefore any
Tune formed by one, will be exactly similar
to that of the other.

!^3=i^£iEf

i=g^

S0» These two fourths, taken in succession,
form a Scale^ of which the chief sound being
C, is from thence called the Key Note* The
descending series of this Scale corresponds
with the common tune of eight bells.

Scaie of C.

Ascending,

Descending.

§rzd

^=p

ical equality of the fourths, in respect to the places of the Tones
which compose them.

* The term Key is used by Dr. Pepusch, in the sense of
Church Tone, or Ecclesiastical Mode. In this species of Music,
the chief Melody, or Plain Chant, was confined to tlie natural

CHAP. in. NOTES.

SI. The effect of these Notes to the ear, de-
pends upon the position of the Semitones. This
may be easily perceived by playing eight Notes,
from d, or e, or any other part of the Scale,
which will not produce the same melody.

ii^^i^^

^^m^

32, But if the same letters, in any Octave
higher or lower, are taken, the same Tune will
be heard.

In this series, the two Semitones of the Oc-
tave are found between the third and fourth.

sounds of the Scale. Treatise on Harmony (1731,) p. 65 ; Sir
J. H. i. 360. — A particular account of the eight Tones of Itali/,
and the twelve Modes of Gcrmaiiy, mry be found in Mr. Koll-
mann's Essay on Musical Harmony (1796,) chap, xviii. p. 124;
also in Sir J. H. ii. 410—440.

24 I. NOTATION.

and between the seventh and eighth, of the
ascending Scale.*

33, This series of sounds, which is performed
on the Organ, &c. with the long keys, is called
the Natural Scale, to distinguish it from that
which employs the short keys intermixed with
the others, called the Cbro??iatic, or Artificial.!

54. In the Vocal Scale of the Solfeggio, the
place of the Semitone is ascertained by the syl-
lables ??u fa and si do ; between all the others is
the distance of a Tone. J

55. As the whole doctrine of Melody, or the
Tune of Notes, must depend on a right concep-
tion of the two Semitones, and their places in
the Scale, great attention should be paid to this
part of the subject by every Musical Student.

* The reason why the Semitones fall m these places, and in no
other, may be foimd in the theoretical writers, Dr. Holder (1731,)
p. 112 ; Malcolm, p. 229 ; Mr. Holden, p. 16, art. 43 ; Maxwell,
Essay on I'une (1781,) p. 5.

f Malcolm calls this the Semitonic Scale, p. 291; and the shoft
keys Artiticial Notes, p. 292. Its more usual name. Chromatic,
will be explained hereafter. — Antoniotto (1760) terms the Minor
Mode Artificial, p. 35.

X The word Tone will be used throughout this Grammar in
this sense, and no other ; although it is applied also to the quality
of sound in a voice or instrument. Thus it is sdd, " A fine Tone
is produced from the Violoncello," &c.

CHAP. III. NOTES. 25

SECT, in.— OF THE TIME OF NOTES.

56. The duration of a Note, with respect to
Time, is known by its particular form ; and the
distinction between Notes in this respect, is
shewn by making them white or blacky and by
the Stem and the Hook, (See Art. 3, p. 2.)

The three principal Notes are, the Minim^
tTie Crotchety and the Quaver,"^

57. The Minim is a white Note with — j

a Stem, made thus, ^^d —

and is as long as two Crotchets, or four Quavers.

6%. The Crotchet is a black Note with '^^'X^
a Stem, made thus, ~f~

and is as long as two Quavers.

59. The Quaver is a black Note with

a Stem and a Hook, made thus, — [- — ■

and may be divided into two Semiquavers, or
four Demisemiquavers.

60. The proportions of these three principal
Notes to each other, are therefore as under,

One Two Four

Minim. Crotchets. Quavers.

* Butler, p. 27, 28, has given a long account of the origin of
these Notes, from Gafurius, Glareanus, and Listenius. See also
Sir J. H. ii. 146 ; Dr. B. ii. 167 ; Malcolm, p, 388 ; Holden, p. 34,
«rt. 63.

26 I. NOTATION.

61. When the Quaver is divided into small-
er portions, the two following Notes are em-
ployed :

The Semiquaver^ which is made like f!{ —
the Quaver, but with two Hooks, J

being half the length of the Quaver ;
and the Demise?niquaver^ which has
three Hooks,
being one quarter the length of the Quaver.

Their proportions to the Crotchet are.

One Two Four Eight

Crotchet Quavers. Semiquavers. Demisemiquavers.*

62. In slow Music, especially that in the
church style, two longer Notes are used j the
Semibreve and the Breve.

The Semibreve \ is a round white ZHZZH
Note, without a Stem, ^^e —

and is as long as two Minims, or four
Crotchets.

* The Demisemiquaver also is divided in modem Music, and
the Notes marked with four Hooks : these may be called half
Demisemiqu avers ; and those which have five Hooks, quarter
Demisemiquavers. Playford, Introduction (14th edit. 1700,) p. 8.
calls the first of these a Demiquaver ; winch term is also used by
some other writers. See Holden, p. 25, art. 64.

t The Breve and Semibreve are in daily use for our Choir
Service. See Bovce's Cathedral Music.

CHAP. III. NOTES. 27

The Breve is a square white Note, z"^^^Z

and is as long as two Semibreves, four Minims,
or eight Crotchets.

The proportions of the three white Notes are.

One Breve. Two Semibreves. Four Minims.

G3. The proportion of our modern Notes,
both white and black, is, therefore,

One Two Four Eight

Semibreve. Minims. Crotchets. Quavers,

64. Those Notes which are made with
Hooks, may be grouped* together by two,
three, or four, &c.

Quavers.

Detached. Grouped.

* The term Grofifio^ or Group, is commonly limited to those
passages of four Notes in which the first and third are on the
same Degree, and the second with the fourth are a Degree higher
and lower. Koch's Lexicon, p. 684, art. Grop^io, die Walze.
Play ford (p. 20) calls these Hooks, when joined together, Tyes ;
a term which, he also remarks (p. 19,) is used for what we now
denominate a Slur. As the word Tye is also applicable to the
Ligature or Mndy the term Group, has been preferred by tiie
Author.

I. NOTATION.

Semiquavers*

Detached. Gi*ouped.

Demisemiquavers.

Detached. Grouped.

This method is not only convenient rn writing,
but assists the eye in ascertaining the propor-
tion of the Notes, and is of particular use in
Vocal Music, to distinguish the Notes which
are to be sung to each syllable.

65. Every Musical Piece is divided into
equal portions of time, called Measures, These
are ascertained by straight Lines, called Bars,
drawn down the Staff. All the Notes, therefore,
contained between two Bars, constitute one
Measure.*

* In ccufimon language, tlie word Bar is used improperly for
Measure. Dr. Burney (article Bar^ Dr. Rees' Cyclopaedia) ac-
curately limits the signilication cf the term as above. Dr. B.
ii. 191. The parts cf the Measure are called Ti?neSy by Mr,
Kollmann, Essay on Hannony (1796,) p. 73.

CHAP. in. NOTES. 29

66. Every Measure must contain a certain
number of Notes, according to the Time mark-
ed at the beginning of the Movement. Thus,
in Common Time, each Measure includes a
Semibreve, or its value in Minims, Crotchets,
or Quavers, intermixed as the Melody requires.
The exact length of the Measure is known by
regularly dividing the Time into equal por-
tions, whether the Notes themselves are long
or short ; as every Measure must be precisely
equal in time, during the continuance of the
Movement.

67. There are two chief species of Time,*
Common or equal — and Triple or unequal
Time. In the first, we count two, four, or
eight, in every Measure j in the last, we count
three or six.

68. I. Common or equal Time, contains
one Semibreve, two Minims, four Crotchets,
eight Quavers, or their value, in every Meas-
ure. This Time is known by a Semicirclef

* The Germans adopt a third species of Time, containing
four equal parts in a Measure ; which will be noticed hereafter^
in treating of Rhythm.

t The old doctrines of Ti7?ie, Alode, and Prolation, may be
found in Morley, Ravenscroft, and Butler. See an account of
them, and of the original signification of this mark, in Dr. B. ii.
183, 4j4 ; Sir J. K, ii, 155.

L NOTATION.

placed at the beginning of the Staff, after the
Clef, thus :

(Handel : See the conquering.)

-e-

69, The barred Semicircle is used to denote
a quicker Movement, and is called Alia Breve ;
because it was formerly written with one Breve
in a Measure, thus :

(Orlando Gibbons, Dr. Boyce, V. II. 59 :

0 clap your hands. )

i^'p^^^^i

This is now more commonly written with
one Semibreve in a measure, by dividing those
of the Alia Breve into halves.

(Handel, Saul^ Dr. Arnold's edition of Handel's
Works, No. 1 12, p. ^Q : Our fainting courage.)

Il^^iiiiilllii

70. All other Measures are marked by
figures, placed one over the other at the com-
mencement of the StaiF.

CHAP. III. NOTES.

The figure 2 above the figure 4, indicates
two Crotchets, or one Minim, in each Measure ;
and is called half Time^ being the division of
the Semibreve.

(German Hymn, Pleyel.)

71. The most usual Measures expressed by
figures placed at the beginning of the Stafi*, are
the following :*

9
\6

Of these Figures, the upper one shews how
many parts are contained in the Measure j and
the lower one represents a word, shewing how
many of these Notes constitute a Semibreve.
2, signifies Minims ; 4, Crotchets ; 8, Quavers^
&c. ; as in the following Table :

C3 Three
C2 Minims

C3 Three C3 Three
C 4 Crotchets C 8 Quavers

C6 Six
C4 Crotchets

C6 Six C 9 Nine

C 8 Quavers c 1 6 Semiquavers

C 1 2 Twelve
C 8 Quavers

* Grassineau's Dictionaiy (1740,) p. 292, article Triple,
contains a long dissertation, translated from Brossard^ on the
ancient method of marking these Measures.

32 I. NOTATION.

72. When it is necessary to lengthen a Note
by half its value, a dot* is placed after it.
Thus, a dotted Minim is as long as a Minim
and a Crotchet, or as three Crotchets.

A dotted Crotchet is as long as a Crotchet
and a Quaver, or as three Quavers.f

73. 11. Triple, or unequal Time.
Of this Time there are three different species
in use ; namely,

1. Three Minms, "j

2. Three Crotchets^ > in a Measure. |

3. Three Quavers, J

* The dot is also used for other purposes, viz. to mark those
Notes which are to be played distinctly; as also to shew tlie
place of repetition, See. as will be explained hereafter.

■j- All the Notes of Music may also have a double dot after
them, which makes them longer by three-fourths. Thus a
Minim twice dotted, is equal to three Crotchets and a half,
or to seven Quavers, &c.

% These three species are very similar, particularly if the
two last are performed slowly ; the accents of all three being
alike.

CHAP. III. NOTES.

(1.) One dotted Semibreve^ or three Minims^
in every Measure ; thus,

(Handel's Italian Songs, No. 64 : Verdi Prati —

-d— :;i:^-?i-^-^-§— O'-^-s:

(2.) One dotted Minim^ or three Crotchets^
in every Measure*

(H. S. I. No. 66 : Fell rage— Saul)

(3.) One dotted Crotchet:, or three Quavers^
in every Measure.

(H. S. 11. 128 : No^ let the guilty tremble — Saul.)

74. When two Measures of three Crotchets,
or of three Quavers, are united in one, by the
omission of a Bar, the Time is called Com-
pound Common ; — Common, because every Meas-
ure is equally divided ; and Compound, because
each half is a single Measure of Triple.

S4f I. NOTATION.

in. Compound Common Time has three
species, in general use :

1. Six Crotchets^ "^

2. Six Quavers^ > in every Measure.

3. Twelve Quavers^ J

(1.) Six Crotchets^ or two Measures, of three
Crotchets each, joined in one.

(H. S. II. No. 1 24 : Every joy — Solomon.')

(2,) Six Quavers^ or two Measures, of three
Quavers each, joined in one.

(H. S. IV. No. 287 : Sound an alarm — Judas
Maccabaus.)

75. When two Measures of six Quavers are
further united into one, they form a double
Compound of twelve Quavers in each Measure,
and are equal to four Measures of three Qua-
vers. The omission of the Bars makes some
difference in the appearance of the Music, and
influences the counting, according to the de-
gree of quickness in which the piece is per-
formed. But, in other respects, the division
of the Measure has no power of altering the

CHAP. m. NOTES.

6 3

8^^ 8

real nature of the Time or Tune j nor can the
Auditor perceive whether the Triple Time
performed be expressed by the figures

(3.) Twelve Quavers^ or one Measure of
twice six Quavers^ or four times three Qua-
vers.

(H. S. I. No. 54 : The peasant tastes — Joseph."^)
The same Melody in six Quavers :

The same Melody in three Quavers :

It may perhaps be useful to those who do
not perfectly understand the value of the
Notes, to separate this double Compound into
single Compound and into si?nple Triple ; and
also to turn three Quaver Time into six and

* See also the Pastoral S}Tnphony in the Messiah, and tlie last
Movement in CorelU*s 8th Concerto.

I. NOTATION.

twelve Quavers, by striking out the interme-
diate Bars which separate the Measures.

76. IV. Compound Triple Time.

Compound Triple Time is formed by divid-
ing the Measures of simple Triple into nine
parts, and by dotting the Measure Note * of
the original Time. Of this there are three
species :

J. Three Minims divided into w«^ Crotch-
ets.

2. Three Crotchets divided into nine Qua-
vers.

3. Three Quavers divided into nine Semi-
quavers.

(1.) Nine Crotchets^ or three Minim Time,
divided into Triplets.

(HandeFs Italian Duett, No. 5, p. 31 : Va
Speme — Randall's edit.)

The commencement of this Movement, and
its other Measures, are simple Triple ; thus,

;3;

g -^^ -.^..-

* By Measure J\'ote, is meant that which mcr.sures the Time
m the lower of the two figures, Art. 71, p. 31.

CHAP. lU. NOTES.

By thus changing the Notation, the advan-
tage is gained of presenting the siniple Meas-
ures clear to the eye, without the incumbrance
of a dot to each Minim.*

(2.) Nine Quavers, or three Crotchet Time,
divided into Triplets,

(H. S. IV. No. 319 : Consider, fond shepherd —
Acis and Galatea^

^=P^i^

The commencement of this Song, and the
other parts, are In simple Triple ;* thus.

^^^^m

(3.) Kine Semiquavers, or three Quaver
Time, divided into Triplets.

(Hr S. n. No. 156 : Hush, ye pretty ivarbling
choir — Acis and Galatea,')

Malcolm, p. 401.
E

I. NOTATION.

The vocal part of this Song is in simple
Triple ; thus,

77. From these two species of Compound
Time (Common and Triple,) arise various
kinds of mixt Measures, which are in some
parts equally, and in others unequally divided.*

(H. S. IV. No. 315 : 77/ to the well-trod stage —
VAllegro.)

^spli^pj

The Triplets! of Common Time, which are
here found in the place of each Crotchet of the
Measure, have sometimes the figure 3 placed
over them ; but are generally known by being
grouped together, and then form one of the
single parts of the whole Measure.

The same use of the Triplet occurs in Triple
Time, when the Measure Note is divided oc-

* Gio. Bat. Doni rem?i.rks, that our Morley placed in differ-
ent parts, two Notes against three, and three against fcur, in
the same Measure or Battuta (Annotationi sopra il Conripen-
dio. Roma, 1640, p. 57.)— See Dr. Bm-ney (ait. Battuta, Dr.
Rees' Cyclopedia.)

t Kollmann, Essay on Harm. p. 75 (chap. xi. § 11.)

CHAP. III. NOTES.

casionally into three parts instead of two ;
thus,

(H. S. V. No. 328 : Far brighter than the
7jwrning.)

^^.^lipi

In slow Common Time, when the Quaver is
the Measure Note^ and is divided into three
Semiquavers, instead of two^ then the Time is
really 24 Semiquavers.*

(H, S. III. No. 240 : Cease, 0 Judah— Deborah.)

5aE

A similar passage of Semiquavers is found in
the Triple of Quavers.

(H. S. I. No. 14: The enemy said — Israel in
Egypt.)

~^^^^^

When the Measure itself is compound, as

Holden, p. 20. art. 27.

40 I. NOTATION.

Sisc Quaversy then the Triple Subdivision is

Of this, an example may be seen in H. S»

in» No, 181 : The raptured soul — Theodora.

The same number of Triplets* (viz. six) is
also found in the simple Triple of three Crot-
chets^ and in the Compound Triple of site

18
Quavers, An example of ^ as derived from

may be found in Dr. Haydn*s 2d Sonata,

18
Op. 17, p. 10 J and another of^ as derived

from in the same author's 3d Sonata, Op. 1 3,

p. 16.

78. There is also a species of Time, called
Quintuple^ which contains five Crotchets in a
Bar J but it is very seldom used.

Tartini considered this Quintuple propor-
tion as unfit for Melody, and impossible to be
executed. Time has shewn, that neither of
these judgments was well fovmded.f

* The Germans, in imitation ef these (which they term
Trioies,) place sometimes 5, 7, &c. small Notes in the Time of
4, 6, &c, of the same denomination, and term them Quintoles,
Septimoles, &c. Koch's l^exicon (1802,) art. Triole, &c.

t I'artini, Trattato (1754,) p. 114. Dr. B. i. 82. Mr.
Reeves' Gypsey Glee: "O who has seen," contains a last
Movement in five Crotchet Time — "Come stain your cheek'"
— which produces a very good effect.

CHAP. III. NOTES. 41

SECT. IV.— OF THE ACCENT OF NOTES.

79. The Bars of Music are not only useful
for dividing the Movement into equal Meas-
ures, but also for shewing the Notes upon
which the Accefit is to be laid.

The Measures of Common Time are divided
into four parts ; of these, the first and third
are accented ^ the second and fourth unac-
cented. In the course of this Work, the ac-
cented will be termed strong parts, and the
unaccented, weak parts of the Measure,*

(H. S. 11. No. 119 t Praise the Lord— Esther.)

Strong weak S. w. S^ w. S. w.

80. The Measures of Triple Time consist of
three parts ; the first strongs the two others
weak ; although the last part is rather strongs
in comparison of the middle part.f

* See Rousseau, Dictioniiaire (1768,) art. Temjis ; Sultzer's
Theorie (1773,) art. Tact.

The author has translated the Temjis fort et foible of the
French writers rather than the Temjio buono e cattivOy of the
Italians, or the Gute und Schkchte Tactzeit of the Germans,
See Koch's Lexicon (1802,) art. Tact.

t Dr. Burney (art. Accent^ Dr. Rees' Cyclopaedia.)
E2

I. NOTATION.

(H. S. III. No. 233 : Up the dreadful sieep —
Jephtha,)

ii^iiiiiiiiiE

S. w. s.

81. In slow Common Time the Accents are
more frequent ; but they are found in the same
proportion on the first, third, fifth, and seventh
Quavers, which are the strong parts, while the
second, fourth, sixth, and eighth, are the weak
parts.

In three Crotchet Time^ when divided into
Quavers, the first, third, and fifth Quavers are
strong ; the second, fourth, and sixth, weak.

In six Quaver Time^ the first and fourth
Quavers are strong ; the others weak.*

82. From the nature of Accent arises the ne-
cessity of beginning some Movements- with only
part of a Measure ; thus,

(1.) With a single weak part.

(H. S. III. No. 163 : The smiling dawn — Jephtha.)

w. s.

* An example of the same Melody in these two different
Measures, may be found in Dr. Arnold's Lessons, Op. XII.
Lesson 2, p. 4.

CHAP. m. NOTES.

(2.) With a half Measure.

(H. S. III. No. 1 62 : Welcome as the cheerful day
"^Jephtha,)

E=E

liii^

The following Melody, barred in two dif-
ferent ways, produces two opposite effects, the
Accents falling upon different Notes.

Scotch Air— C(?r« riggs*

Original Melody.

i^^smi

33i*=^2=

The same, barred differently.

iipiii^^

83. When the Composer intends that the
weak parts of the Measure should be made of
more importance than the strong parts, such
deviation from the regular Accent, in this
Work, will be termed Emphasis,

In passages like the following, the Quavers
are often grouped together according to the

44 I. NOTATION.

Emphasis, and not (as in general) according to
the Accent.

(Haydn's Symphony, No. III. performed at
Salomon's Concert.)

SiipSpipip

Accent Emphasis. Accent

In the two first Measures of this Example,
the Quavers are grouped according to the Ac^
cent ; in the third, according to the Emphasis^
contrary to the Accent ; and in the fourth,
the Accent again resumes its importance.

The Italian words, Rinforzando, Sforzato,\
or their contractions, Rinf. Rf. Sforz, Sf,
are often used to mark the Emphasis, and
sometimes are placed over accented Notes.

As every species of Measure may be subdi-
vided by Accents, according to the degree of
quickness in which it is performed ; so also the
weak parts of every Measure may be' occa-
sionally made emphatic at the pleasure of the
Composer.

* The Germans divide Accent into two principal species —
Grammatical and Rhetorical : the first is here termed Accent,

the last, Eviphasis. ^

t The difference between Rinf. and Sforz, is explained by
Mr. Shield (introduction to Harmony, 1800,) p. BQ,

CHAP. in. NOTES.

84. To this species of effect may be referred
all syncopated or driving * Notes, which begin
on the weak, and end on the strong part of the
Measure.

(Vanhall's Overture in C — periodical. No. 42.)

In this Example, the Emphasis is on the
syncopated Minims, which begin on the second,
and end an the third part of the Measure.

(H. S, It- No. 6: How vain k man — Judas
Maccahiieus,)

In this Example, the Emphasis is on the
syncopated Crotchets, which begin on the
second and sixth (or the weak,) and end on
the third and seventh (or the strong) parts of
the Measure.

* Morlev (edit. 159r,) p. 90 (edit. 1771,) p. lOa Butler, p. 64.
Simpson, p. 19. Pepusch, p. 57. Rameau, p. 112. Holden, p. 34,
art. 98. Kollmann, Essay on Harmonv, p. 96 (chap. xui. § 21.)
Dr. R. i. 103.

46
CHAP. IV.

OF THE RESTS.

Art. 85. When, in the course of a Move-
ment, silence is required for one or more parts
of a Measure, that silence is denoted by a
Rest, or Rests, which are counted exactly in
the same time as their corresponding Notes
would be, if performed.

The Rests of the white Notes are made in the
middle of the Staff j thus.

Rest of the Breve. Semibreve. Minim.

( 1 .) The Breve Rest extends from Line to
Line.

(2.) The Semibreve Rest is made below the
Line.

(3.) The Minim Rest is made above the Line.*

The Semibreve Rest is also used in Triple
and Compound Time, to express the silence of
one whole Measure j and the Breve Rest is
used for the silence of two Measures.

* The Rest of four Semibreves, or two Breves, passes through
two Spaces. This is only used m the single parts of Instrumental
Pieces. Rousseau, art. Baton.

CHAP. IV. RESTS. 47

In this last instance, the figure 2 is generally
placed over the Rest ; thus.

::3=^SEp5=§EpS

86. The Rests of the black Notes are made
thus.

=3=

(1.) The Crotchet Rest turns to the right,

(2.) The Quaver Rest turns to the left.

(3.) The Semiquaver Rest turns to the left,
and has two marks.

(4.) The Demisemiquaver Rest has three
marks, and turns to the left also.

As the Rests are inserted in the Measures,
to fill up the Time when no Sounds are to be
heard, the Performer should, of course, pay
particular attention to the termination of the
Notes which precede them.

In playing Keyed Instruments, the Rests are
often much neglected ; and, unless the Player
carefully raise the finger from the Key (but
not too far) at the exact commencement of the
Rest, the intended effect is destroyed.

48 I. NOTATION.

An instance of the great attention necessafy
to be paid to these signs, is shewn in the fol-
lowing Example, where the variety of these
three Measures wholly depends on the Rests,
the Music being exactly the same in every
other respect of Tune^ Time^ and Accent,*

'sS=B^z^^

* The Author is induced to insert here, in addition to these
i-emarks on the observance of Rests, the excellent ideas of C. P.
Em. Bach (Versuch. edit. 17S7, p. 85, Vom Vortrage,) upon the
time method of playing Keyed Instruments.

An abridgment of his system is thus attempted in a few lines.

" To form a clear ^ fileasing^ and exfiressive Performer, three
things are requisite :

" 1. To play correctly^ by covering every Note with the finger
before it is struck (when possible,) so that, in the most difficult
passages, the motion of the hands may be scarcely perceived
(p. 13.)

" 2. To make the Instrument sing-y by taking one finger off the
Key at the instant the other strikes the following Note ; and by
never playing the Notes short or detached, except when expressly
marked (p. 88.)

" 3. To play ivith expression, by forcing the finger down upon
the Key (already covered and lightly touched,) according to the
Accent or Emphasis " (p. 93.)

On this subject see also Clementi's Introduction, p. 15. Dus-
sek's Instructions, p. 8. Hulhnanders Principles, p. 19.

\ I

49
CHAP. V.

OF THE SHARPS, FLATS, IsTc.

Art. 87. In explaining the tune of Notes
(Art. 45, p. 20,) the two different intervals of
Tone and Semitone have been noticed. Every
Tone in the Natural Scale, is divided into two
Semitones, by an intermediate Sound. This
Sound is produced, upon Keyed Instruments,
by striking the short Key inserted between two
long ones, which are consequently Tones to
each other.

SECT. I.— OF THE SIL\RPS.

88. When the short Key is to be played,
instead of the natural Note below it (on the
left,) then the same letter is used, with the
additional term sharp,*

* The character now used for the Shaip, was originally
designed to represent, by its four cross lines, the four Com-
'mas of the Chromatic Semitone. Such is the signification of
the mark given by Bontempi (1695,) p. 205, from the Recane-
tum of Vanneo (Roma, 1533;) but Marcheto de Padua, who
first employed it (1274,) does not mentioa tlus circumstance.
See Gerbert, Scriptores Ecclesiastici (1784,) iii 73, 89. Dr. B.
ii. 163,351. Sii' J. H. i. 78.

I. NOTATION.

S9. Thus, to make another fourth similar
to the upper one of C (Art. 50, p. 22,) with
two Tones and a Semitone, and placed imme-
diately above it, at the distance of a Tone ;
the F natural must be omitted, and the F
sharp taken in its stead.

sHp^^gggj

The character placed before F is called a

Sharf,*

90. These two Fourths united, form a new
Scale, of which G is the Key Note, exactly
similar to C, but five degrees higher. Its de*
scending series proves, by the Melody, that
the Tones and Semitones are between the same
Degrees of the Scale.

91. As the Scale of G is made complete by
this alteration cf the F alone, F is reckoned the

first Sharp,

* The Germans consider this Character as an alteration of
the letter B, and call it a Cross (Kreuz,) or latticed B (Gegit-
tertes Be, B cancellatum,) Adlung (Hiller's edit. 1783,) p. 251.
Sir J. H. iv. 163. They also add the syllable IS to the names
of those letters of the Scale which are sharpened. Thus Fis,
Cis, Gis, Dis, Ais, Eis and His, signify F, C, G, D, A, E, and
B Sharp.

CHAP. V. SHARPS, FLATS, Sec. 51

For a similar reason (that of forming a new
fourth above the upper one of G Scale,) C is
termed the second Sharp, ^ Thus the series of
Sharps ascends by fifths ; which, in respect of
the Letters^ is the same as descending by-
fourths.

F C G D A

12 3 4 5

These sharps are performed, on Keyed In»
struments, with the five short Keys above ;
that is, on the right hand of the long ones :
the division of twof consists of C sharp and
D sharp ; the remaining three are F sharp, G
sharp, and A sharp.

92. But, since there are no short Keys be-
tween E and F, nor between B and C, which
are only Semitones to each other (Art. 46, 48,
p. 20, 21,) F natural is employed to express
E sharps and C natural to express B sharp.

When these Notes, E and B, become sharp-
ened, their own long Keys are never used ; and,
by their introduction, the series of Sharps is
extended to all the seven Notes.

F C G D A E B

* The French use the term Diese, derived from the Gi-eek
word Diesis, and annex it to the syllables oi Guide. T'hus,
Fa-diese signifies F sharp ; Ut-diese, C sharp, &c.

t See Art. 32, p. 15.

52 I NOTATION.

SECT. II.— OF THK FLATS.

93. When the short Key is to be played, in-
stead of the natural Note above it (on the
right,) then th^ same letter is used, with the
additional term flat*

Thus, to make another fourth^ similar to
the lower one of C (Art. 50, p. 22,) with a
Semitone and two Tones, placed also below it,
(extending to the left,) at the distance of a
Tone, the B natural must be omitted, and the
Bflat taken in its stead.

The character placed before B is called a

Flat.

* Tlie mark now used for the Flat, was originally the letter
B, introduced to avoid the Tritone or ftharp. Fourth^ between F
liiid B natural. By the ancient writers (Guido, &c.) it was
termed B-?nollc' ; that is, the soft, or (according to some) the
moveable B. See Gerbert (De Cantu, 17r4, ii. 72.)

Walther's Lexicon (1732) contains a long article, and an ex-
tract, from Simon de Quercu (1509) on the subject. Before
tlie literal Notation of the middle ages, and its present api^el-
lation, B fiat was employed as the Trite or third sound (de-
scending,) of the Synemmenon or conjunct Tetrachord of the
Greek Scale.

CHAP. V. SHARPS, FLATS, &c. 53

94. These two fourths united, form a new-
Scale, of which F is the Key Note \ exactly
similar to C, but five Degrees lower. Its de-
scending series proves, by the Melody, that
the Tones and Semitones are between the same
Degrees of the Scak.

95. As the Scale of F is made complete by
this alteration of B alone, B is reckoned the
first Flat,* For a similar reason (that of form-
ing a new fourth below the lower one of the
F Scale,) E is termed the second flat. Thus
the series of Flats ascends by fourths, which,
in respect to the letters, is the same as descend-
ing by fifths.

B E A D G

12 3 4 5

* This character was formerly of such importance, that it
is enumerated by Gafurius among the Clefs (see the Note, p. 8,)
and was accounted the Clef of the F Hexachord, as the other
two Clefs, now called Tenor and Base, were of the G and C
Hexachords. These letters were selected from the seven, to
shew the places of the three Semitones, in the three different
Scales of Giddo, termed natiirale^ durum^ and molle ; and, being
the highest sounds of the two which formed each Semitone, were
always sung with tlie syllable Fa,
F2

54 I. NOTATION.

These Flats are performed, on Keyed Instru-
ments, with the five short Keys below ; that is,
on the left of the long ones : the division of
two consists of E flat and D flat ; and the other
three are B flat, A flat, and G flat. For the
reason given (Art. 9*2, p. 51,) concerning the
Sharps, B natural is employed to express
C fiat^ and E natural is employed to express
JF Jiat. Thus the whole series of seven Flats
is completed,

R E A D G C F*

1 2 S 4 5 6 7

This series is exactly the reverse of that
given of the Sharps (Art. 92, p. 51.)

It must be recollected, that every one of the
short Keys has two difierent letters for its
name, according to the natural Note for which
it is employed.

Thus, the middle Key of the three short ones
is equally used as the third Sharp in the place

* The Germans add the syllable <fs to the names of the letters
which are flat (except B, which retains its original signification;)
and their series, B, Es, As, Des, Ges, Ces, ar.d Fes, correspond
to the Scale given above. See also Dr. B. ii. 7^y 392, upon the
subject of B flat.

The French use the term himol, from the Latin, and annex it
to the Vocal Syllable: thus, ^i banol is B Hat; Mi bemol, %
flat, &c.

aiAP. V, SHARPS, FLATS, &c B5

of G natural below it, and as the third Flat in
the place of A natural above it.

96. When any number of Sharps or Flats
are placed after the Clef,, at the beginning of
the Staff, they affect all the Notes of the same
letter in every Octave throughout the Move-
ment, and are termed the Signature,

Those which occur in the course of the
Movement, in addition to the others, are term-
ed accidentals'^ to distinguish them from those
of the Signature, which are essential to the
Scale of the original Key Note.

The accidental Flats and Sharps only affect
the Notes which they immediately precede,
and those of the same letter which follow them
in the same Measure ; but, if one Measure ends,
and the next begins, with the same Note, the
accidental Character which alters the first Note,
is understood to affect the second.

* Naumberger (of Reading, Berkshire,) in his translation of
Turk's Klavier Schule (1804,) p. 4, translates the German,
term, Versetzung-zeichen, Marks of Transfiodtion. Kollmann,.
Essay on Harmony, p. 8, calls them Acddentals. See also
Malcolm, p. o&5. Holden, p. 21, art 57,

56 I. NOTATION.

SECT, ni.— OF THE NATURAL.

97. When any Note, which has been ele-
vated by a Sharps or depressed by a Fiat^ is
to be restored to its original place, the char-
acter called a Natural* is employed ; which
lowers the sharpened Note, or raises the flat-
tened Note ; thus,

gE«^E3EiH

i^E!Hi

The Natural^ although a very ancient char-
acter, was not used by Morley, Simpson, or
Playford. They always employed the Flat to
take away the Sharp, and the Sharp to take

* Gafarius (Practica, fol. 2,) asserts that the charactei' of
the Natural, or B Quadrum (?. e. Quadratum,) is formed of
two Greek Gammas joined invertedly {corwerdm conjuncta ;)
but it is generally described as a Gothic or square B, made in
that form to distinguish it from the round B, which expressed
the Flat.

The ancient printers, not having a proper type cast to rep-
resent this character, used the small letter h ; a specimen of
which may be seen in the Dialogo of Vincentio Galilei (1581,)
p. 4. Adlung (edit. 1783,) p. 196, attributes the German
method of using the letter H, instead of B natural, to the same
cause. See Kollmann, Essay on Composition (1799,) p. 52. Sir
J. H. V. 254.

CHAP. V. SHARPS, FLATS, &c. S^

away the Flat^ in the same manner as we now
use the Natural.*

Hence are found, in old Music, the Sharp
before B, and the Flat before F ^ not, as now,
to represent B Sharp and F Flat ; but merely
to take away a preceding Flat or Sharp.

The Natural, although evidently an accidental
Character, and a more general expression for
the two others (the Sharp and the Flat,) is
sometimes placed essentially at the beginning
of a Strain, when a former part of the same
Movement has had a Sharp or Flat in its Sig-
nature. (See Steibelt's Sonatas, Op. 37, Tur-
kish Rondo, p. 10.) According to its power,
therefore, of raising or lowering any Note of
the Scale, the Natural must be always consid-
ered as representing a Sharp or a Flat.\

* The Germarv Scale of the natural Notes is A, H, C, D,.E,
F, G; not A, B, C, &c.; the B is always reserved to express
B Flat.

The French call the Natural Blquarre (Rousseau.)

f In Handel's Song of Pious Orgies, Judas Maccabaus (No. 1^)
the Natural is frequently ennploycd ;. and, in one paiticulai'
Measure, sharpens the Treble and flattens the Base. More con-
cerning these characters may be found in Butler, p. 21 ; Simp-
son, p. 5 ; and Holden, p. 16, art. 43. Turner (p. 51,) calls. the
Natural a Mark of Restoration,

58 I. NOTATION.

SECT. IV.~OF THE DOUBLE SHARP.

98. After all the Notes of Music have been
made sharps the same series of letters begins
again, and F, being the first, takes the name of
F double sharp*

It is performed, on Keyed Instruments, by-
striking the long Key G natural -, which is
not, however, to be reckoned then as a Tone
from F natural, being placed on the same de-
gree as F (Art. 47, p. 20,) and also consisting
®f two Chromatic (or Minor) Semitones.

* The Double Sharp is sometimes marked with a single
cross, thus, -|-, which, according to Vanneo (see the Note,
p. 49,) originally represented the twa Commas of the Quarter-
tone, or enharmonic Diesis, and which properly represents the
distance between the F double sharp and the G natural.

Keeble (Harmonics, 1784,) p. 196, censures Kircher and
Zarlino for the improper use of this character. See Kircher,
Musiirgia (.650,) i. 145, 659. Zarlino (1589,) i. 363. Salinas
(1577,) p. 121. Padre Martini, Storia (1757,) i. 97, 100. Lemnie
Rossi (1666,) p. 45. Sir J. 11. i. 110.

CHAP. V. SHARPS, FLATS, &c. 69

SECT. V.^OF THE DOUBLE FLAT.

99. In the same manner, after all the seven
Notes of Music have been made Jlat^ the same
series of letters begins again with B ; and that,
being the first, takes the name of B double

It is performed by striking the long Key A
natural two Chromatic Semitones lower. It is
worthy notice, that, as the first Sharp is the
lowest, and the first Flat the highest of the
three short Keys which are near to each other ;
♦so the first Double Sharp and the first Double
Flat (the only two in general use) are played
with the two long Keys which are enclosed by
F sharp and B flat. v

* ITie Germans have sometimes employed a large B, as the
character of the Double Flat. The difficulties arising from
this mark are stated by Turk (Klavier Schule, 1789,) p. 50.
Dussek, in his Introduction, p. 36, unites the two B's with a
kind of hook, similar to the gi'ouping of Quavers (Art. 64,
p. 27.) The German names for the Double Sharps, are, Fisfis,
Ciscis, &c. ; and for the Double Flats, Bebe, Eses, Asas, Desdes,
Sec. Adlung, p. 251

60 I. NOTATION.

100. As these two Characters, viz. the
Double Sharp and the Double Flat, seldom
occur, the mode of restoring the single Sharp,
or Flat, after the use of the double Character,
varies with different authors.* Some use a
single Sharp or Flat ; some employ a Natural,
or else unite the single Sharp or Flat with the
Natural ;t thus, fcq «, N b ; and others again
ieave the passage to the ear and judgment of
the performer, who ought (they suppose,) if
able to play in seven Sharps, to know how to
restore the altered Note to its proper situation,
without any particular mark.

* Even in respect of the Double Sharp, instances are found
in Handel, where it is not distinguished by any particular
mark, but where only a common single Sharp is placed against
F, already sharp in the ^gnature. See H. S. i. No. 9: Fly

from the threatening.

I Some of the writers in Germany are (as Turk, p. 52, ob-
serves,) precipitate in their judgments, and therefore fre-
quentlv erroneous. G. F. Wolfe (1783,) p. 22. Lohlein (1765,) p,
XI. fubel (1767,) p. 9. Merbach (1782,) p. la

CHAP. VL

OF GRACES, CHARACTERS, MARKS OF EXPRES-
SION AND ABBREVIATIONS,

SECT. L— OF GRACES.

Art. 101. As the German authors, C. P.
Emanuel Bach, and G. D. Turk, have treated
at large on the subject of Musical Graces {Ma-
nieren^*) a short sketch of their doctrines will
here be given.

102. The principal Graces of Melody are,
the Appoggiatura, the Shake, the Turn, and
the Beat ; vi^ith the Mordent, Beat, Slide, and
Spring, peculiar to the Germans. The chi^
ornaments of Harmony are, the Arpeggio, Tre-
mando, &c.t

* Bach, p. 45. Turk, p. 207.

t The old English Graces, published by Simpson (Division
Viol, 1667,) as defined by Dr. Colman, are divided into two
classes, — ^the smooth and the shaked Graces. In the first class are
tlie Beat, Backfall, double Backfall, Elevation, ^ringer, and
Cadent; in the second are the shaked Backfall, close Shake,
shaked Beat, shaked Elevation, shaked Cadent, and double Rel-
ish. (See also Playford, p. 100.)
G

I. NOTATION.

103. I. The Appoggiatura* (Vorschlag) is
a small Note placed before a large one of
longer duration, from which it generally bor-
rows half the value, and always occurs on the
strong part of the Measure.

The Appoggiatura, as wiitten.

As performed.

i04. Sometimes, however, the Appoggiatura
is only one quarter of the Note it precedes, as
in the following Example ; thus,

-t-

l=l=ili

* Dr. Barney, art. Ajifioggiatura. Dr. Rees' Cyclopaedia. . '

CHAP, \l. GRACES, CHARACTERS, &c. G3

105. When a small Note follows a larger
one, and depends upon that for its time, the
name of After-Note {NachschlagY will be
used in this Work, to distinguish it from the
Appoggiatura.

This Grace always occurs on the weak part
of the Measure.

SE^E~isppy=^=ii=]

106. The Germans divide these Notes,
which do not constitute the essential^ but the
ornamental parts of Melody, into two classes.
I. Passing Notes {Durchgehende Noten ;)
and II. Changing Notes QVechselnde No-
ten ;) but the Appoggiatura, when it is a sus-
pension of the large Note before it, as in the
Example just adduced (Art. 103,) does not
belong to either class. These will be explained
in the Third Fart of this Work, upon Har-
mony.

* The German word A^achschlag', is also used to express the
turn of the Shake.

I. NOTATION.

107. 11. The Shake'' (Triller) consists of a
quick alternate repetition of the Note above,
with that over which the mark is placed ; and
commonly ends with a turn from the Note be-
low. It is usually defined thus*:

Written.

Performed.

1=^1

In this Example the upper Note is accented :
there are, however, instances in which the
Composer seems to have designed that the
lower Note^ or that over which the Shake is
placed, should be accented j thus,

(Handel's second Organ Concertos, Dr. Arnold*^
edit. No. 124, p. 9.)

Jgig^EgEiS

The principal or written Note of the Shake
(over which the Character is placed,) is called
by the Germans the Haupt-ton ; and the second-
ary or superior Note, the Hiilfston,

* Bach, p. 51. Turk, p. 252. Sir J. H. iv. 469. Dr. B.
iii. 528, 616. Clementi, p. 11. Dussek, p. 6. HuUmande!.

p. 2r.

CHAP. VI. GRAeES, GHAIL\CTERS, &c. 6^

108. The following method of practising
the Vocal Shake, has been communicated to
the Author of the present Work by his friend
Mr. Greatorex, to whom it was given at Rome,
in the year 1786^ by 5^«/jr^///V Chapel-Master
to the Pope.

^ '

Hi'

«..And so descending through-
out the Scale>

Performed' in practice thus :

^J^M.

f^-n=

109. A series of continued Shakes, on
Notes rising or falling by Degrees, is called
by the Germans Triller Kette^ and by the
Italians Catena di Trilli^ both signifying a chain
of Shakes,

I. NOTATION.

110. The Passing Shake* (Prali Trillef)
is expressed in Germany by a particular char-
acter ; and its definition varies with different
Masters, and in different passages. The ex-
planation of Dr. Arnold (Op. XII. p. 38) is
therefore given here, with the mark he adopted
for it.

Written.

The Mordenie of the Italian School is used
in similar passages, and performed thus :

Some remarks on the various methods of
performing these Graces, are given by de-
menti (Introduction,) p. 11.

* Turk, p. 272.

CHAP. VI. GRACES, CHARACTERS, 8cc. 67

111. III. The Turn* {Doppelschlag) employs
the Note above and that below, in the follow-
ing manner :

Written. Perfoimed.

Thus, or thns.

Thus, or thus.

112. The Inverted Turn begins from the
Note below.

(Dr. Arnold, Op. XII. p. 38.)

Written. Performed.

The Turn on the dotted Note is in frequent

Written.
CV) OO

iliii^il

* Bach, p. 61.

6S^

r. NOTATION,

113. IV. The Beat* is the reverse of the
Shake (but without the Turn,) and made gen-
erally at the distance of the Semitone below ;
therefore all the Natural Notes, excepting C
and F, require the Note below them to be ac*
cidentally sharpened for the Beat.

Written.

'^m

The Beat upon B natural, however, is sel-
dom made with A sharp, on account of the
great harshness arising from the vicinity of the
Semitone B G.

In some cases of regular ascent, it is recom-
mended not to make the Beat with the Semi-
tone, unless particularly marked. (See Cle-
mentiy p. 11.)

Battement. Turk, p. 281.

CHAP. VI. GRACES, CHARACTERS, &c. 69

114. In the Half Beat (Zusammenschlag)
the inferior Note is struck only once, and at
the same time with the principal Note, but is
immediately quitted. This is frequently used
upon the Organ, and particularly in the Base.*
It may be written by a small Note, like a short
Appoggiatura, and is very similar to the Ac-
daccatura\ of the Italians.

*-i^5^i

115. In the Third Part of this Work, upon
Harmony, will be shewn how the Diatonic
Suspensions and Transitions arise from the
Appoggiatura and the After Note ; while the
Chromatic Licenses are derived from the Ac--
ciaccatura or Half Beat* These Graces are
therefore of very great theoretical importance^

* KoUmaD, Essay on Composition, p. 98, terms it a Base-
Grace^ and shews how it is employed to strengthen the parts, and
to supply the want of Pedals.

t Dr. Burney, art. Acciaccatura. Dr. Rees' Cyelopaedia^
Gasparini (Armonico Prattico, 1729, edit. Sd,) p. 63.

I. NOTx\TiaN.

116. V. The German Mordent* {Beisser)
is a species of Beat, commencing with the Note
itself, and is either long or short ; thus,

Lcng,

Short.

This differs considerably from the Mordenie
before described (Art. 110, p. 6Q^) being made
with the next Degree below. That of the
Italian School always employs the next Degree
above,

117. VI. The German Beat\ {Anschlag)
consists of two small Notes, which form a Skip^
and descends one Degree upon the principal
Note.

Written.

Perfoiined.

iip ii^&ii

In the Translation of Turk (p. 26^) Naum-
berger calls this Grace a double Appoggiatura.

* Bcxh, 7Z. Turk, 275.
t Bach, 77. Turk, 241.

CHAP. VI. GRACES, CHARACTERS, Sec. 71

118. VII. The German Slide'' {Schleiffer)
consists of two small Notes, which move by
Degrees ; thus,

Written.

Performed.

±-\

119. VIII. The German Spring\ {SchneU
ler) consists of two small Notes, like the Italian
Mordente, but very distinct \ thus,

Written.
f » » 1

Performed.
I t

120. All these Graces are liable to the
occasional alteration of any of their Notes, by
Sharps, Flats, or Naturals ; and, in that case,
the Composer is expected to mark them as they
are to be performed.

* Bach, ^Qi. Tm-k, 245.
t Bach, 83. Turk, 251.

72 I. NOTATION.

121, To these Graces of Melody may be
added those of Harmony ; the Tremolo (Be^
bungy) or reiteration of one Note of the Chord j
the Tremando^ or general shake of the whole
Chord ; and the Arpeggio (Brecbung,) or imita-
tion of the Harp, by striking the Notes of the
Chord in quick and repeated succession.

122. Clementi (Introduction,) p« 9, has given
an explanation of two different characters used
for a Chord (or combination of several sounds
struck together,) upon Keyed Instruments.

(1.) When a Waving Line is placed verti-
cally before the Chord, the Notes are played
successively, from the lowest ascending to the
highest, and retained down the full time of the
Chord.

(2.) When an Oblique Line passes through
the Chord, it is played as before, with the ad-
dition of a Note* where the oblique Line is
placed J but this added Note is not to be kept
down*

Written. Played.

-^m

* This added Note is the Acciaccatura before described,
(Art 114, p. 69,) and answers to the Zusa?nmenscMa§- of the
Germans. Turk, 279.

CHAP. VI. GRACES, CHARACTERS, &c. 73

SECT, n.— OF THE CHARACTERS

123. Those Characters used in Music which
do not form a part of any particular class, like
the Clefs, Notes, Rests, Sharps, Flats, Natu-
rals, or Graces, are the Tye or Ligature^ the
Pause, the Repeat, the Direct, the Single
Bar, and the Double Bar. But, as the Tye
is similar in form to the Slur, it will be classed
among the Marks of Expression in the next
Section.

1 24. The Pause * is placed over a Note,
to signify that the regular time of the Move-
ment is to be delayed, and a long continu-
ance of the Sound made on that part of the
Measure.

(H. S. 11. No. 82 : Bless'd the day— Solomon.)

* Butler, p. 58, calls the Rests Pausen, and the Pause a
Close. The Italian term is CoronatOy Zaccharia Tevo (1705,)
p. 53; and the German, Fermate^ Petri, (Anleitung, 1782,)
p. 145. Holden, p. 37, calls the Pause a Hold.

The Pause, when found on the last Note but one of a Mel-
ody, is a sign for the Vocal or Instrumental Performer to
introduce such extemporary passages, previous to the final
Shake, as are generally temied a Cadenza,
H

L NOTATION.

125. If the Pause is placed over a Rest,
then a stop of considerable length is made 5
and the part must be silent.

(H. S. I, No. 31: Let festive jo f-'^Behha^zar,)

gisn^iiii

126. The same character is employed for
another purpose in those Songs of Handel,
Hasse, Vinci, &c. which have a second part,
and are marked Da Capo.*

(H. S. II. No. 157 : As when the Dove^—Acis
and Galatea.)

The Pause, m this Example, only shews the
Note upon which the piece is finally to termi-
nate ; but it is not always followed by the
Double Bar.

* Da Capo are two Italian words, which signify from the be-.
ginning, and are frequently joined with al Segno, which mean,
that the Performer is to return, and to commence the Repeat
at the sign.

CHAP. VI. GRACES, CHARACTERS, &c. 7^'

127. The Repeat* (S) is a sign employed to
shew the place to which the Performer must
return to repeat the passage. It is usually
found in Rondos and Da Capo Airs ; and it
marks that place, in the first strain, where the
repetition is to commence. This mark is called
in Italian, Segm, or the Sign,

(H. S. I. No. 153: War he sung — Alexander's
Feast.)

128. The Direct f (w) is a sign employed
at the end of the Staff, to shew upon what
Degree the first Note of the following Staff is
placed.

(Rameau, Treatise, p. 168.)

* Mark of Repetition. Morley, p. 74. Simpson, p. 19. Mal-
colm, p. 411.

t The Direct is called by Morley (p. 22,) Index or Director.
Butler, p. 37. Holden, p. 38, an. 113.

76 I. NOTATION.

129. The Single Bar * has been already-
mentioned (Art. 65, p. 28) as dividing the
movement into equal portions or Measures. It
is considered in Germany as a mark of the
grammatical Accent; since the first Timef of
every Measure is always a strong part, and is
distinguished by a particular pressure.

When the inner sides of two Bars are dotted,
all the Measures between them are to be re-
peated. See an instance of this kind of repe-
tition,

(H. S. I. No. 68 : Sm not, 0 King— Saul.)

The word Bis (twice) is sometimes placed
over passages of this kind, whether the Btrs
are, or are not dotted.

* Butler, p. 33, terms the ancient thick single Bar the imfier-
feet Close. Simpson, p. 19. Malcolm, p. 411.

t Tlie Author is induced to adopt the expression of the
ancient authors, and to call the parts of the Measure, Times,
Art. 65, p. 28. See also Malcolm, p. 399. The particular utility
of the term will appear in the Fourth Part of this Work, upon
Rhythm.

CHAP. VI. GRACES, CH.IRACTERS, ace. 77

ISO. The Double Bar^ is placed always at
the end of a Movement, and is sometimes used
at other parts, to shew the rhetorical termina-
tion of a Strain.

If the Double Bar is dotted on one or both
sides, all the Measures on the same side with
the Dots are to be repeated from the begin-
ning, or from the antecedent Double Bar.

131. When the rhetorical termination of a
Strain does not coincide with the grammatical
Accent, the Double Bar is then totally distinct
from the Single Bar, and the Measures are only
reckoned between the single Bars, although the
Double Bar may intervene.

(H. S. V. 374 : Above Measure— Semele.)

This Double Bar does not affect the Measure
in which it is placed, but the time is kept ex-
actly as if it were not inserted.

* Ornithoparcus, p. 52, calls this a i^fs^ General; considers
it as analogous to the other Rests described. Art. 85, p. 46,

and places it in the same class of characters;
H 2

78 I. NOTATION.

132. As it appears, from the preceding ob-
servations, that the Double Bar is very different
and distinct from the Single Bar, the gram^
matical use of the latter must not be con-
founded with the rhetorical employment of
the former.

1 33. If every piece of Music ended with a
complete Measure, and if the necessity of com-
mencing with single Times (Art. 82, p. 42,) did
not sometimes exist, the Double Bar might be
neglected ; but, as it is important to mark the
termination of those Strains which have their
last Measures incomplete, this character is
adopted, and the Double Bar bears the same
relation to the Strain as the Single Bar does to
the Measure,

134. Every Measure contains a certain
number of Notes (Art. 66, p. 28,) which are
terminated by the Single Bar ; and every
Strain* includes a certain number of Measures,
which are terminated by the Double Bar,

* The rhetorical division of the Strain into Phrases^ Sections^
and Periods^ with the utility of the Cxsure^ will be explained
in the Fourth Part of this Work, upon Rhythm; and, as the
Comma, Semicolon, and Full Stop of Elocution, have all their
respective analogies in Musical Punctuation, by the Phrase,
Section, and Period ; so also the Colon is found to resemble
that final part of a Movement which is termed the Coda.

CHAP. VI. GRACES, CHARACTERS, &c. f9

SECT, m.— OF THE MARKS OF FJO'RESSION.

135. The chief Marks of Expression are,
the Slur, and the Dash or Point ; to which may-
be added the Tye, or Ligature.

1 36. The Tye * is an arch drawn over two
Notes on the sa?Jie Degree, uniting them into
one. Upon Keyed Instruments, the first only
is struck ; but the finger is kept down during
the time of both.

(H. S. IH. No. 180: Our fruits — Josepfj.

^isl^lpipi

137. The Tye is also used to express those
syncopated Notes which, in ancient Music,
were divided by the Bar,

(Corelli, Concerto I. Opera 6th.)

e^n^i^is

* See Ncte, p. 27, of this Work. Holden, p, 38, art 114,

I. NOTATION.

1S8, The Slur* is a similar arch, drawn
over two or more Notes, upon different De-
grees, and signifies that all the Notes are to
be played as smoothly and as much united as
possible. In Vocal Music, it is placed over or
under all the Notes which are to be sung to the
same syllable.

(H. S. III. No. 191 : Our limpid streams'-^
Joshua.)

eEEEEg

139. When the Slur is placed only over
two Notes, the second is generally made shorter
than its proper length. Formerly, this effect
was produced by exact Notation.

(H. S. I. No. 1 : Fious Orgies^^ Judas,)

^ In the Translation of Turk (p. 26,) the term Slur is ap-
plied to the Grace, Art. 118, p. n, called Schleiifer, or a
Slide.

CHAP. VI. GRACES, CHARACTERS, &c. SI

140; The Dash * is a small stroke, placed
over those Notes which are to be performed in
a very short and distinct manner.

(H. S. in. No. 182: Descend^ kind pily —
Theodora,')

141. The Point is a mark employed by
many authors instead of the Dash ; but its
principal use is to distinguish those Notes
from which an intermediate effect, different
from the Slur or the Dash, is required, and
yet uniting both.

(H. S. I. No. 61 : Comfort ye— Messiah,)

-pr-S^ ^±.^-5. j«_»M.-,^ -^ii^^ 1 l-i^-.

When these passages are performed on
Keyed Instruments, the finger is not kept
close, as in the Slur^ nor raised, as in the Dash,
but dropped gently on the Note, and taken off
before the Time is wholly completed.

Holden, p. 39, art. 114.

82 !• NOTATION.

142. There are other Marks of Expression,
which have been lately adopted, to express the
effect of certain Italian terms.*

(1.) Crescendo^ or increasing the sound
from soft to loud, is marked by an angle, <^
the lines extending to the right.

(2.) Diminuendo^ or diminishing the
sound from loud to soft, by the contrary >
sign.

The union of both,t indicates
that the first part of the passage
is to be softy the middle loud, and ^^

the last soft again, as the figure
shews.

(3.) Rinforzando is denoted by smaller marks
©f the same kind, > < which are to increase
or diminish the Not^ as marked.

* Clementi, p. 9. Dussek, p. 45.

t Mr, Shield (p. 14.) See also Art. 83, p. 44j of this Worfc»

CHAP. VI. GRACES, CHARACTERS, 6cc. Bi

SECT. IV.— OF ABBREVIATIONS.

143. When the same Note, or similar pas-
sages, are to be repeated, much time is saved
to the Composer and Copyist, by the use of
Abbreviations.

A single stroke, over or under a Semibreve,
or through the Stem of a Minim or Crotchet,
divides them into Ouavers ; a double stroke
into Semiquavers ; and a triple stroke into
Demisemiquavers ; thus,

,(H. S. I. No. 18 : Let the bright Seraphm —
Samson,^

?B^=^S^^

144. These passages, in Italian Music, had
formerly the word Crome^ (Quavers,) or 5^-
microme (Semiquavers,) annexed to them. At
present we often use the term Segue^ to signify-
that we must perform the following Notes in
the manner in which the first are marked.

%4 I. NOTATION.

145. Another kind of Abbreviation is very
frequently used in modern Music, viz. group-
ing the Stems of Minims like those of Quavers
(Art. 64, p. 27.)

(Pleyel's Duos, Viol, and Violonc. Op. 12,
p. 2, Violino.)

Written. Performed.

Several other species of Abbreviation are
given in Koch's Lexicon, art. Abkurzung ; and
also in Clementi, p. 8. Shield, p. Ii24, ice.

KND OF TBE FIRST PART.

PART 11,

MELODY.

CHAP. I.

^F INTERVALS,

SECT. I.— OF INTERVALS IN GENERAL.

Art. 146. A particular succession of single
sounds forms a Melody"^ or Tune ; as in the
following Example :

..-_,-•...

iSiSp

(fiod save the King.)

* This simple and popular definition of Melody, only pre-
sents an outline of the true idea annexed to the term. In a
more extensive sense, Melody implies not only the progres-
sion of one single part, but also that general result of the va-
rious parts in Harmony which produce the effect of Melody
by the proper distribution of their sounds. Prinz seems to
have been the first who distinguished between the Monodic
Style, in which the Melody is confined to one single part,
and the Polyodic Style, in which the Theme, and its dependent
subjects, are distributed among the different parts of the
composition. These two epithets, Prinz appears to have
taken from Kircher; and this profound and original view of

II. MELODY.

147. Melody has, in respect of Tune, two
distinct Motions ; that of Degrees^ and that of
Skips*

A Melody proceeds by Degrees^ when it
moves to the next Line or Space above or be-
low, as in the following Example :

(Lei ambition fire thy mindX)

148. A Melody proceeds by Skips ^ when it
omits one or more Degrees, as in the following
Example :

(Wben warlike ensigns. \)

feifpj^p|EiEpi5§£]

Melody has been very ably developed by Nichelman of Ber-
lin, who clearly proves, that those pieces which are produced
by the iV/o/zor/^c design of the Composer, are far inferior. to tlie
Polyodic aiTar.gement of the same ideas. In this last class we
may place the Motetts of Palestrina, the Choruses of Handel,
and the Symphonies of Haydn. See Prinz (Satyrical Com-
poser, Part. III. chap. xi. p. 97 ; chap, xviil p. 131,) 1696.
Kircher (Musurgia, i. p. 531.) Nichelman (Melodie,) 1755.

* These expressions in Italian, are di grado and di salto.

t Composed by John Weldon (1699) in the Judgment of
Paris, and afterwards introduced in the Comic Opera of Love
in a ViUage. ^r J. H. v. 63. Dr. B. iv. 653.

% Occasional Oi-atono, 1745 (Handel's Songs, i. No. 13,)
Dr. Arnold's edit. No. 104j p. 222.

CHAP. I. INTERVALS. 87

149. In general, Degrees and Skips are inter-
mixed ; as in the Melody of the Easter Hymn,

(^ Jesus Christ is risen to-day,*)

1 50. The Degreest and Skips of Melody are
both called by the general term Interval ; which
is the distance between two Sounds, or their
difference in respect of Pitch. Every Interval,
therefore, implies two Sounds ; one acute^ the
other grave ; in common language, high and
low ; and as, in measuring, it is usual to con-
sider the termination of distance more than the
space contained ; so, in Music, the Notes which
limit the Interval, are both called by the name
of the Interval itself. Thus, from the F Clef
to the C Clef, is contained the Interval of a
fifth, both terms inclusive ; and C is said to be
a fifth above F, and F a fifth below C.

* Printed by Walsh in IfOS, in a Collection of Divine Songs
and Hymns, entitled Lyj-a Davidica, The Air is found at
page 11, but written in Quavers.

t The word Degree has already been applied to the five
Lilies and four Spaces of the Staff; but it is necessaiy to extend
its signification fuither, and to comprehend in it the term Inter-
val; since, in the Chromatic Semitone, B flat and B natural are
on the same Degi-ee, and yet produce diiferent Sounds, forming
thereby a distance or Intenal.

88 H. MELODY.

SECT, n.— OF THE NAMES OF INTERVALS.^

151. The names of Intervals are derived from
the number of Degrees which are contained be-
tween the two Sounds ; both extremes being
reckoned inclusively. Thus the Interval of a
Second consists of two Degrees j and as these
may be distant from each other, either by one
Tone, or by one Semitone, there are consequent-
ly two kinds of Seconds, viz. a Major Second
or Tone, and a Minor Second or Semitone.

352. The Natural Scale of Music, which,
proceeding by Degrees, includes both Tones
and Semitones, is called Diatonic ; a word
compounded of Dia and Tonic, from the Greek
Dia through, and Toms, a Tone ; because
the greater number of Intervals in the Scale,
viz. five out of seven, are Tones.

153. The Diatonic Scale includes all the dif-

* The inaccuracies, which sometimes occur in very respec-
table Authors, concerning Intervals, arise from adopting the
terms of common language witliout sufficient precaution. See
KoUmann's Thorough Bass (1801,) p. 2. Shield, p. 4.— For
example, the distance from one place to another may be two
miles, as the Interval from the Note C to the Note D is formed
of two Semitones ; and as, when we aiTive at either place, we
say this is (the end of) tw'o miles ; so at D we say this is (from C)
a Tone ; and at C, this is (from D) a Tone ; yet the two Sounds
only form the Interval of two SemitoTies^

CHAP. I. INTERVALS. 89

ferent Intervals* formed by the Natural Notes,
and also all those which are produced in trans-
posing the Natural Scale higher or lower, by
the employment of Sharps and Flats. Those
Intervals which exceed the limits of the Oc-
tave, as the ninth, tenth, eleventh, &c. being
only replicates of the second, third, fourth,
&c. are omitted here, but will be particularly
noticed in treating of Harmony.

Those Intervals which are less than the Dia-
tonic Semitone, as from F to F sharp, &c. will
be distributed, with all other Intervals derived
from them, into proper classes in the third
Chapter of this Part, upon the Genera*

* It may not be improper to remark, that a considerable
difficulty arises from the distribution of Intervals upon Keyed
Instruments, and that the Student does not readily perceive
how an Interval is to be found^ between two Keys, as B and
C, or E and F, which are close together. The method of stop-
ping the Violin, or the Frets on the Guitar and Lute, shews
the nature of Intervals much more clearly. For instance, the
third string of the Violii:i is tuned to tlie once-marked D (Art. 37,
p. 17 ;) but when shortened by one-ninth of the space be-
tween the Nut and tlie Bridge, will sound E, a Tone higher ;
one-sixteenth of the remaining length being further taken,
the sound F, a Semitone higher, is heard. A just idea of In-
tervals is hereby obtained ; and, as the latter is nearly half
the magnitude of the former, the Interval from D to E is
called a Tone, and from E to F a Semitone, being real Spaces
taken upon the length of the string.
I 2

90 U. Mei^ODV.

SECT, m.— OF THE FOURTEEN DIATONIC-
INTERVALS.

154. As the Intervals take their names from
the number of included Degrees, so also their
species are ascertained by the epithets. Major
and Minor, given them, according to the num-
ber of Tones or Semitones contained inclusively
between their extremes. If the Intervals were
all equal in the Scale, eight Degrees would form
only seven Intervals ; but, as there are two dif-
ferent distances of Semitone and Tone, for
which the Notation by the Staff alone does not
provide, there are consequently fourteen Diato-
nic Intervals, These are distinguished by the
term Major or Minor, greater or lesser, and, in
some few cases, sharp or flat.

155. I. The Unison^ or the same identical
sound, although it cannot properly be reckon-
ed an Interval, is always considered as such,
when employed in Harmony; it is therefore
inserted here among the Intervals of Melody^
The present opportunity may be taken of im-
proving the Student in the practice of the seven
Clefs, and shewing their practical utility.

CHAP. I. INTERVALS.

Example of the Unison, or the same Sound
being the once-marked C (Art. 37, p. 17) in
aU the Clefs.

-e-

-e—

^^3

ilEi

-a-
c

Example of the Descending Scale of the
ence-marked Octave in the G and C Clefs.

gli=pliEi=liiiiil

CB "'AG FE DC

Descending Scale of the small Octave (Art.
SQ, p. 16) in the C and F Clefs*

jiEi^E^^^ilEE;

^ZSlZ

C B

A G

F E

D C

156. II. The Minor Second is formed by
two Sounds, at the distance of a Diatonic Se-
mitone, as B C and E F. C is a Minor Se-
cond higher than B, and B a Minor Second
lower than C. The same is true with respect
to E and F, This Interval is sometimes called
the Flat Second ^ and the term is useful in

92 II. MELODY.

Harmony. It is found also in the other Scales,
between F sharp and G, B flat and A, &c. as
in the following Example :

:e_a-.i 1: ~=r-ie

:zzi=zizqIi:qz±:iqzz§z:±:

All these are Diatonic Semitones, and form
Minor or Flat Seconds.*

157. in. The Major Second or Tone, al-
though composed of two Semitones, does not
consist of two equal parts. This is evident from
the Notation itself; for, if the Tone from F to
G be divided by the Sound F sharp, then the
Intervals between F sharp and G, or the Dia-
tonic Semitone, will not be the same as that
from F to F sharp, or the Chromatic Semi-
tone. The former changes one Degree, the
latter remains on the same Degree ; and hence
the former is, according to" the theory of Zar-

* From this statement, the nature of Melody, when Sharps
and Flats are emploj^ed, may be readily perceived ; for, after
a Sharp, the part rises^ and after a Flat the part falls. Thus
also E and B have the effect of Sharps, and the Melody in
general ascends to F and C ; on the contrary, F and C have
the effect of Flats, and the Melody in general descends to E
and B. The importance of these remarks cannot be justly
appreciated till the transposition of the Natural Scale into two
Sliarps and into two Flats, and also the use of Uie SeiDitone la
Harmony, is understood.

CHAP. I. INTERVALS.

lino, Rameau, and Pepusch, something larger
than the latter. The Tones and other Inter-
vals of the Natural Scale are, in this Work,
separated into Semitones, &c. by the character
called a Direct*

:qZ±zdi:i55!zz§:z:

The other Tones introduced by transposi-
tion, are.

:=±:i©Z3

TIIIQZ'^ZD

;:iizEE±~Ed

&c,

158. IV. The Minor Third is composed of
three Degrees, and contains a Tone and a
Diatonic Semitone between the two extremes j
thus,

gE-:EEEEE|EEgEE|.-iEiEgE|:iE5EiE|

It is also divisible into three Semitones, two
Diatonic and one Chromatic ; thus.

j~" — "^^"i-pg-f^-^^-^-]

94 II. MELODY.

159. V. The Major Third* is composed of
three Degrees, and contains two Tones between
the extremes ; thus.

It is also divisible into four Semitones, two
Diatonic and two Chromatic ; thus,

^—-e^^-^-w^'^-^-^^ ^

160. VI. The Perfect Fourth is composed
of four Degrees, and contains two Tones and a
Semitone between the extremes 5 thus.

-e-

It is also divisible into five Semitones, three
Diatonic and two Chromatic j thus.

— e-^A\A.

•^

"w^ — ^ — ^— j

* The Major and Minor Thirds were formerly called S/iar/t
and Flat Thirds. These equivocal terms were justly rejected
by Dr. Boyce (in his Cathedral Music,) and changed to greater
and lesser.

CHAP. L INTERVALS. 95

161. VII. The Sharp* Fourth is composed
of four Degrees, and contains three Tones be-
tween the extremes, called by the Ancients, on
that account, Tri-tone.

■j:nz^\

■w — e —

It is also divisible into six Semitones, three
Diatonic and three Chromatic ; thus,

^ S""^^ — v/^i^Ji^T — '^=^^^^'

162. These seven Intervals (the Unison in-
cluded) may be considered, in a practical point
of view, as primary ; since, if they are rightly
understood, all the remaining seven are easily
known, being Only compounded of these. Thus,
the Fifth is formed by uniting two of the
Thirds ; the Sixth, by the Fourth and Third ;
the Seventh, by the Fifth and Third ; and the
Octave by the Fourth and Fifth. Compared
with the Unison, Second, Third, and Fourth,
as primary ; the Fifth, Sixth, Seventh, and
Eighth, are secondary. This arrangement,
however useful in the analysis of Melody, is

* The reason why the terais, Perfect and Sharfi^ are used to
the Fourths, while Major and Minor are applied to the Sec-
onds and Thirds, will appear in the next Chapter, upon
Concords and Diseords.

96 n. MELODY.

imperfect with respect to Harmony, and the
theoretical classification of the Diatonic In-
tervals.* The true series comprehends the
Unison, Octave, Fifth, Fourth, Thirds, Sixths,
Seconds, and Sevenths, in the mathematical
division of a musical string.

163. Vm. The Flat Fifth is composed of
five Degrees, and contains two Tones and two
Semitones (not three Tones :) it may be di-
vided into two Minor Thirds.

^ — ^.

eeIIeIeeI

It is also (like the Sharp Fourth or Tri-tone)
divisible into six Semitones ; and when joined
with that Interval, completes the Octave.

164. IX. The Perfect Fifth is composed of
five Degrees, and contains three Tones and one
Semitone : it may be divided into a Major and
a Minor Third,

'Zj — "^^ — ^ — grt^T — ^ — '- §i::

It is also divisible into seven Semitones ;
and, when joined with the Fourth, complete*
the Octave*

* Butler, p. 46. Malcolm, p. Ti. Holden, p. 44, art. 127.

CHAP. I. INTERVALS. 97

165. X. The Minor Sixth is composed of
six Degrees, and contains three Tones and two
Semitones : it may be divided into a Minor
Third and a Fourth.

It is also divisible into eight Semitones ;
and, when joined with the Major Third, com-
pletes the Octave.

166. XL The Major Sixth* is composed of
six Degrees, and contains four Tones and one
Semitone : it may be divided into a Major
Third and a Fourth.

•v/ ^ ^•-

•■Kjf -W"

••W-

It is also divisible into nine Semitones ; and,
when joined with the Minor Third, completes
the Octave.

* This Interval is that upon which the ancient system of
the Hexachord is formed.

98 H. MELODY.

167. XII. The Minor Seventh"^ is com-'
posed of seven Degrees, and contains four
Tones and two Semitones : it may be divided
into a Fifth and a Minor Third.

:e-:^-^:-

It is also divisible into ten Semitones ; and,
when joined with the Major Second, or Tone, F
completes the Octave. ^

168. XIII. The Major Seventh is com-
posed of seven Degrees, and contains five
Tones and one Semitone ; and may be divided
into a Fifth and a Major Third*

— HZ HZ — '^ — — i AN*-—— — j

.3. '^-^

It is also divisible into eleven Semitones ;
and, when joined with the Minor Second, or
Semitone, completes the Octave.

* Tikis Interval is also composed of two perfect Fourths ;
ail example of which may be found in the subject of the last
Chorus in Handel's Alexander's Feast, Let old Timotkem.

CHAP. I. INTERVALS. 99

169. XIV. The Octave is composed of
eight Degrees, and contains five Tones and
two Semitones : it may be divided into a Fifth
and a Fourths

It is also divisible into twelve Semitones,
and may be considered as the replicate of the
Unison.

As the Octave consists of thirteen sounds,
and therefore has only twelve Intervals, it
must be recollected, that the fourteen Diato-
nic Intervals, just described, are obtained by
reckoning the Unison as one of them, and by
distinguishing between the Sharp Fourth and
Flat Fifth ; both which are, upon Keyed In-
struments, performed with the same Keys.
The seven Notes of the Scale form seven dif-
ferent species of Octave, according to the
places of the two Natural Semitones ; and from
these species, divided each into two parts, by
the Fifth or by the Fourth, arise the eight
Tones of Italy, and the twelve Modes of Ger-
many.*

See the Note^ p. 23, of this Work.

100 H. MELODY.

SECT. IV.— INVERSION OF INTERVALS.

170. When the lower Note of any Interval
is placed an Octave higher^ or the higher Note
an Octave lower, the change thereby produced
is called Inversion,

Thus a Second — becomes a Seventh — —

-o — e- -e-

a Third ZZ---Z-. a Sixth —

a Fourth — - a Fifth

■e-

_ :§- --9:

171. The different Intervals (seven,) reckoned
from each of the seven Natural Notes, form the
following Series :
. Five Major and two Minor Seconds.

Three Major 2Lr\dfour Minor Thirds.

Six Perfect and one Sharp Fourth.

To these may be added their Inversions :
Two Major and^'y^ Minor Sevenths.
Four Major and three Minor Sixths.
Six Perfect and one Flat Fifth.

CHAP. I. INTERVALS. 101

172. All the Major* Intervals become Mi-
nor^ by inversion, and all the Minor Intervals
become Major ; the Sharp Fourth becomes the
Flat Fifth, and the Unison inverted becomes
the Octave.

173. The Major Seventh of the Key, from
its resemblance to the Tritone (its higher Note
being one of the tu^o Sounds which form the
Sharp Fourth,) is sometimes called the Sharp
Seventh.

174. Rameauf terms the Intervals of the
Thirds Fifths and Seventh^ fundamental j and
derives the others, viz. the Second^ Fourth^
and Sixths by inversion, reckoning them dovi^n-
ward, from the Octave of the former, accord-
ing to the following Scheme :

______^__ Seventh j

Fitth I

Third I

B C D E F G a

i Fourth
Sixth

j Second

1 15, All these Intervals are found in the Dia-
tonic or Natural Scale ; and, when this Scale is

* Tiie epithets, Sharp, and Flaty were alwa)^s used, instead
of Major and MinoVy by the old writers, Simpson, Piayford,
and also Pepusch. See Art. 159, p. 94.

t Principles of Composition^ p. 3.
K 2

102 n. MELODY.

transposed to any other pitch, higher or lower,
by the use of Sharps or Flats these Intervals
remain the same, as will be more fully seen
hereafter. The remaining Intervals, which
are commonly intermixed with these in the
general tables given by Authors, and which
belong only to the Chromatic and Enharmonic
Scales, are omitted here, but will be inserted in
the third Chapter of this Part, on the Genera^
(p. 109.)

176. Of all the Diatonic Intervals, the two
^hirds^* Major and Minor, are by far the
most important, and ought to be very per-
fectly understood ; since upon them depends
the Nature of the Scale or Mode ; and the
Thirds give their own epithets to the whole
series of the seven Notes, the Scale itself being
called Major, when the Third is greater^ and
Minor, when the Third is lesser,

177. There is another distinction, in respect
of Melodies formed of Diatonic Intervals, which,
although in some measure obsolete, is yet useful
for the Student to understand. Those Melodies
which have their principal Notes contained be-

* See Ramcaii, p. 6, and Simpson, p. 35. It may be ob-
served, that the alteration of the Thirds, by sharpening the
upper Note of the Minor, or fiatteniiif^ thai of the Mnjorj,
does not change their Diatonic uaturc,.

CHAP. I. INTERVALS.

lOS

tween the Key-note and its Octave, are termed
authentic^ direct^ or principal^ as in the fol-
lowing Example :

(Waft her^ Angels*')

178. Those Melodies, on the contrary, whicli
have their principal Notes contained between
the Fifth of the Key and its Octave (or Twelfth,)
are termed plagaly oblique^ or collateral^ as in
the following Example :

(Streams ofpleasure.f)

feiisi^i=pi

By these two divisions of the Octave, au-
thentic and plagal, are formed the arrange-
ments of the eight Italian Tones, and twelve
German modes before mentioned.

* Jephtha, 1751 (Handel's Songs, v. Na 367,) Dr. A.'s edit.
No. 120, p. 170.

t Theodora, 1750 (Handel's Songs, iv. Na 268,) Dr. A."
edit. No. 8, p. 18L

104

CHAP. IL

OF COJVSOJVAjYT AJVD DISS0A''AMT ln-tervals.

Art. 179. Although the terms Consonant
and Dissonant are chiefly used in Harmony,
yet they are applicable, in a great measure, to
the classing of Intervals in Melody.

1 80. The Diatonic Intervals are therefore di-
vided into Consonant and Dissonant. Those
which are most agreeable to the ear, as, the Oc-
tave, Fifth, Fourth, both the Thirds, and both
the Sixths, are called Consonant ; those which,
when compared with the others, are less agree-
able to the ear, as both the Seconds, both the
Sevenths, with the Sharp Fourth, are called
Dissonant*

The term Dissonant is thought, by some
Authors,* inapplicable to the Degrees of Me*
lody which seem more natural to the human
voice than the Skips* This, however, is a pre-
judice, which a further consideration of Har-
mony will remove.

181, The foregoing arrangement shews the
propriety of distinguishing the species of Sec-

* Principes Elementaires de Musique, du Conservatoire,
p. 16.

CHAP. n. CONSONANT INTERVALS, &c. 105

©nds. Thirds, Sixths, and Sevenths, by the
epithets Major and Minor, according to the
number of Semitones included between the ex-
tremes ; while the appellation of Ferfed is
reserved for the Fourth and Fifth, with the
terms Sharp and Flat, when altered a Semi-
tone higher or lower.

1 82. The Thirds and Sixths, whether Major
or Minor, are always consonant ; the Seconds
and Sevenths always dissonant ; but the Fourth
and Fifth are consonant only when perfect j
when sharp or flat, they are dissonant. The
alteration of these two last Intervals, therefore,
places them in different classes \ and, although
the terms Major and Minor have sometimes
been applied to the Fourth and Fifth, in the
present Work those terms will not be used.

183. The Consonant Intervals are subdi^
vided into perfect and imperfect. The Unison
(or Prime,) the Octave, Fifth, and Fourth, are
called perfect, because they are immutable,
never changing from Major to Minor (or the
contrary,) but becoming dissonant whenever
altered by a Sharp, Flat, or Natural.

184. The Thirds and Sixths are called im-
perfect, because they are liable to change from
Major to Minor (or the contrary,) still remain-
ing con3onant.

106

II. MELODY

185. The Seconds, Sevenths, Sharp Fourth,
Flat Fifth, with all the Chromatic and En-
harmonic Intervals, are dissonant.

186. According to this classification, every
passage of Melody which moves by Degrees,
consists of dissonant Intervals ; but, as every
other Note is, in general, a transient sound,
placed between two consonant Notes, these Sec-
onds have not that harshness which is found in
the passages which move by Skips, as the
Sharp Fourth, Flat Fifth, Minor and Major
Sevenths, &c.

187. AH dissonant Seconds in Melody, are
either passing or changing Notes j* and these
are either regular, when found on the weak
parts of the Measure, or irregular, when used
on the strong parts. If, therefore, these orna-
mental Notes are taken away, a series of con-
sonant Intervals will remain.

(Thou didst blow.^)

^ipi^H

y— ftf^^ tg; E^fe I

t-zv-^jz

* Art 106, p. 63;

t Israel in Egvpt (Handel's Songs, iii. No. 230,) Dr. A.'s
edit. No. 97, p. 214.

CHAP. n. CONSONAOT: rNTERV.\LS, &c. 107

The foregoing Melody may be reduced to
Consonant Intervals, by taking away the alter-
nate Semiquavers, where regular, and omitting
two when irregular ; it will then appear thus :

i^^iiiifei

188. The concordant series of Thirds and
Sixths, from the varied succession of Major
and Minor Intervals, is extremely pleasing to
the ear )* and most passages of Degrees (like
that of the preceding Example,) are reducible
into Thirds^ intermixed with Fourths^ by tak-
ing away the passing and changing Notes.

189. A great part of every Duet is composed
of Thirds or Sixths ; and these Intervals, with
the occasional introduction of Fourths and
Fifths, allow a double Melody to continue
throughout a Movement.

190. A successive series of perfect Fifths is
not to be found in Melody, and hence is forbid-
den in Harmony. In Melody^ they would ex-
ceed the limits of our regular Scale, as well as
the compass of the voice ; and, in Harmony^ they
would produce new and unconnected Scales, of
which the species, Major or Minor, would be

* Shield, p. 65.

108

II. MELODY.

undetermined, through the omission of the
Thirds and Sixths.

191. A more correct idea of passing Notes
may be obtained, by considering the Scale as
divided into three parts, the two first concor»
jiantjy and the last discordant ; thus^

11.

ni.

S^^^^ipe

In the first part, or the Tonic Division, the
passing Notes are, the 2d, 4th, 6th, and 7th of
the Scale j thus.

In the second part, or the Subdominant Di«
vision, the passing Notes are, the 2d, 3d, 5th,
and 7th ; thus.

In the third part, or the Dominant Divi-
sion, the 3d and 6th are the only passing Notes ^
thus,

•d-5— ^

:^zfci:^-=fc!d

109
CHAP. III.

OF THE GENERA.
SECT. L— OF THE THREE KINDS OF MELODY.

Art. 192. That Scale of Music which pro-
ceeds chiefly by Tones called Diatonic^ has
been explained (Art. 152, p. 88,) and consti-
tutes the principal part of every piece of Music.

193. When all the artificial Sounds are in-
serted between the natural Sounds, a Scale is
formed of Semitones alonCj and called Chro-
mafic*

194. When a Scale yet smaller in its Inter-
vals is formed, which contains in some places
Quarter 'tones, it is called Enharmonic*

195. These three Scales, the Diatonic, the
Chromatic, and the Enharmonic, form the
three Genera or kinds of Melody now in use ;
and, although the terms are borrowed from the
Greek authors, yet the modern ideas annexed
to them are considerably different from their
ancient signification.

196. The origin of the term Diatonic Genus
has been explained. The Chromatic takes its
name from the Greek word Chroma^ colour^ be-
cause the interspersed Semitones give an orna-

110 n. MELODY.

mental effect to the Diatonic or simple Melody ;
and the Enharmonic was so called, from its
supposed excellence, being En-harmonic, that
is, extremely musical.

197. The two last Genera (Chromatic and
Enharmonic) are never used alone, but always
intermixed with the Diatonic. Hence it has
been asserted, that all the Genera, except the
Diatonic, are irretrievably lost.* That they are
lost to us, in the precise sense of the ancient
descriptions, is undoubtedly true ; but we still
retain the term Chromatic, in a signification
extremely analogous to its primitive meaning,
and it seems proper also to retain the terms
Diatonic and Enharmonic,

198. The French Theorists! mention two
other compound Genera, the Diatonic-enhar-
monic, and the Chromatic-enharmonic ; the first
containing a succession of two Diatonic Semi-
tones, and the last a succession of two Chro-
matic Semitones. These terms and classifica-
tions are more curious than useful, since, ac-
cording to Dr. Pepusch, the Diatonic-enhar-
monic is the same as the Toniceum Chromatic

* Sir J. H. i. 110, 128; ill 89, 153. Dr. B. i. 461; iii. 292.

t M. D'Alembert, Elemens de Musique, 1762, Part. I.
Chap. XX. xxi. p. 112. M. Bethizy, Exposition, 6cc. 1764,
p. 180.

CHAP. in. GENERA. 1 1 1

of the ancients ; and the two subsequent Minor
Semitones are found in the soft Chromatic of
the Grecian system.*

SECT. II.— OF THE CHROMATIC SCALE AND ITS
INTERVALa

199. The Chromatic Scale generally ascends
by Sharps, and descends by Flats, as in the
following Example :

l^igliiSi

S^E^g^^ipi

200. From this Scale several Intervals, not
yet described, arise, which are all discordant,
and are chiefly used in Melody, although they
appear sometimes, by license^ in harmonical
combinations.

201. The Chromatic Scale consists of thir-
teen Sounds, which contain twelve Intervals
between them. Seven of these have been al-
ready described, among the Diatonic Inter-

* See Dr. Pepusch's Letter to De Moi\Te, in the Philosoph-
ical Transactions, 1746, No. 481.

112

II. MELODY.

vals y* the remaining five form another species
of Intervals, called Extreme or Chromatic,
Of these, the Chromatic Semitone, the extreme
sharp Second, flat Third, and flat Fourth, are
simple or primitive ; the extreme sharp Fifth,
sharp Sixth, flat Seventh, and flat Eighth, are
compound or derivative.

Chromatic Semitone.

Extreme Shaip Fifth.

— — . .^ —

■ZZQ—EQZZ

Extreme Sharp Second.

Extreme Shaip Sixth.

■■■ ■ ■ ' ■"-——'

^V/'^

_o_^§—

— 0

Extreme Flat Third.

Extreme Flat Seventh.

^^Z—t^—

"la ^

.. *0,. —

Extreme Flat Fourth.

Extreme Flat Eighth.

,__„,„. , „ 1 _ ,„_

^e—

• -n,^ ■

202. I. The Chromatic
tance or interval between
same Note elevated by a
by a Flat.

Semitone is the dis-
any Note, and that
Sharp, or depressed

* Padre Martini (Saggio di Contrappunto, 1774, p. 17.)
has enumerated another Interval, the extreme sharp Thu'd,
•with its inversion : this will be noticed hereafter.

CHAP. III. GENERA.

113

Example of the Chromatic Semitone ascending :
(Sweet bird^ that shunn^st*)

iiiiisi

Example of the Chromatic Semitone descend-
ing:

(Turn not, 0 Queen.'i)

mil

203. This Semitone was termed by the Py-
thagoreans Apotome^X and the Diatonic Semi-
tone was termed Limma. They contended,
that the Apotome, or distance from B flat to B
natural, was larger than the Limma, or dis-
tance from A to B flat. It is now, however,
demonstrated, by the experiments of Mersenne,
&c. &c. that the theory of Zarlino and Salinas

* L'AUegro, 1739, Dr. A.'s edit. No. 150, p. 39, H. S. i.
No. 58.

t Esther, 1732, Dr. A.*s edit. No. 138, p. 115, H. S. v.
No. 360.

X Sir J. H. i. 73. Tiie temn Apotome was also used by Sa-
lomon de Caus (Institution Harmonique, 1614,) and thence in-
serted by D'Alembert and Rousseau in the French Encyclo-
psedie. He terms the present Enharmonic Diesis Afiotome Ma-
jor ^ and the present Minor Comma .dfiotome Minor (page 5 )
L2

114 n. MELODY.

is true ; namely, that the Interval from A to
B flat, is the Major Semitone, and that from
B flat to B natural, is the Minor Semitone,
contrary to the Nomenclature of Boethius and
the Pythagoreans.

204. In the Chromatic Scale, the Semitones
are alternately Chromatic and Diatonic ; and,
as there are only five of the former, while there
are seven of the latter^ two Diatonic Semitones
will be found in succession, at the place where
the natural Semitone occurs.

Ascending. Descending.

205. From this important Interval (the
Chromatic Semitone) arise all the other Chro-
matic Intervals : they are all Diatonic Dis-
tances, increased or diminished by this Inter-
val; and hence they all take the additional
Chromatic Epithet of Extreme.

206. IL The extreme sharp Second con-
sists of a Tone and a Chromatic Semitone, be-
ing composed of two Degrees. Upon Keyed
Instruments, this is the same as the Minor
Third \ which, however, consists of a Tone
and a Diatonic Semitone, and therefore con-
tains three Degrees.

€HAP. in. GENERA.
(To vanity and earthly pride,*')

115

207. IIL The extreme flat Third consists
of two Diatonic Semitones, being composed of
three Degrees ; and is the Minor Third, dimin-
ished by the Chromatic Semitone. Upon
Keyed Instruments, this is the same as the
Tone which contains only two Degrees.

This Interval being very harsh for Vocal
Music, the intermediate Sound is generally in-
serted, as in the following Example :

{Prophetic raptures A)

ggifegi

In this passage the A, between B flat and G
sharp, is only a transient or passing Note.

208. IV. The extreme flat Fourth consists
of a Tone and two Diatonic Semitones, being
composed of four Degrees ; and is the perfect
Fourth, diminished by the Chromatic Semi-
tone. Upon Keyed Instruments, this is the

* Joshua, 1747, Dr. A,'s edit No. 58, p. 86, H. S. L No. 25.
t Joseph, 1746, Dr. A.'s edit No. 110, p. 161, H, S. i. Na SB.

116 II. MELODY.

same as the Major Third, which contains only
three Degrees.

(0 mirror of our fickle state**)

The E natural here, is taken instead of E flat.

209. These three last Intervals, viz.
The extreme sharp Second,
The extreme flat Third, and
The extreme flat Fourth,

When inverted, become the following :
The extreme flat Seventh,
The extreme sharp Sixth,
The extreme sharp Fifth.

210. V. The extreme sharp Fifth is the per-
fect Fifth, increased by the Chromatic Semi-
tone, and consists of four Tones,t forming five
Degrees. On Keyed Instruments it is the same
as the Minor Sixth, which consists of six De-
grees. This Interval is seldom found in Mel-
ody ; but its inversion, the extreme flat Fourth,
is generally taken in its place.

* Samson, 1742, Dr. A.'s edit. No. 50, p. 28, H. S. iv.
No. 289.

t Called also Tetratonon,

CHAP. m. GENERA. 117

It is also divisible into two Major Thirds.

~=z:BE:^:iS*iEIzEE^iiEIzEE^E

211. VI. The extreme sharp Sixth is the
Major Sixth, increased by the Chromatic Semi-
tone, and consists of five Tones,* forming six
Degrees. On Keyed Instruments it is the Mi-
nor Seventh, which consists of seven Degrees.

It is also divisible into a Major Third and
sharp Fourth.!

112. VII. The extreme flat Seventh is the
Minor Seventh, diminished by the Chromatic
Semitone, and consists of four Tones and two
Diatonic Semitones, forming seven Degrees.
On Keyed Instruments it is the Major Sixth,
which only consists of six Degrees.

It is also divisible into three Minor Thirds.

:=z:=z:=:;;A=fe5=i===izQ=:

g=5Z^=I===^=3

* Called also Pentatonon.
t Shield, p. 77,

118

11. MELODY.

Examples of this Interval in Melody are not
uncommon.

(They loathed to drink.*')

(^And with his stripes.f)

213. Vni. The cKfreme flat Eighth is the
Octave, diminished by the Chromatic Semi-
tone : it is never used in Melody, but is some-
times found in transient passages of Harmony.

:z:sazrz=i:z=r=:

feq

^e-

* Israel in Eg>T)t, 1738, Dr. A.'s edit. No. 93, p. 20.
t Messiah, 1741, Dr. A.'s edit No. 10, p. 94

CHAP. m. GENERA. 1 1 9

SECT, m.— OF THE ENHARMONIC SCALE AND ITS
INTERVAL, THE QUARTER-TONT:.

2 1 4. When a series is formed by uniting the
ascending with the descending Scale of the
Chromatic Genus, a new kind of Music arises,
by the use of the Interval formed between the
sharpened Note and the Flat of the next suc-
ceeding Note above. This Scale is called En-
harmonic^ and contains Intervals smaller than
the Semitone •, which, although not exactly
half the Semitone, are, however, from their
near approach to that quantity, called the
Diesis* (that is, the Division^) or Quarter^
tone,

21 5. To form this Interval, it is necessary
that, of any two Notes which are distant by
the Tone, the highest should be depressed, and
the lowest elevated, by the Chromatic Semi-
tone. Thus, from G to A is a Tone. Now,
if G sharp be taken instead of G, and A flat
instead of A, the diflFerence between these ex-
tremes of the two Chromatic Semitones, G
sharp and A flat, will form the Enharmonic
Diesis^ or Quarter-tone*

216. To understand this, it must be observ-

* This was also called Afiotome Major by SalonKHi de Caus.
See before, Ait. 203, p. 113, of this Work. Sir J. H. i. 110 j
ill. 142, 155. Dr. B. i. 29 ; iil 530.

120 II- MELODY.

ed, that the Interval of a Tone, in the theory of
Harmonics, is not always the same. That Tone
which is between the Fourth and Fifth of the
Scale,* is supposed to be divided into nine
small parts, termed Commas ; while tbat which
is between the Fifth and Sixth of the Major
Scale, is divided only into eight Commas. The
Diatonic Semitone consists of five Commas,
and the Chromatic Semitone of three, or four,
according to the magnitude of the Tone.

217. The two Chromatic Semitones, there-
fore, being taken from the Minor Tone (of
eight Commas,) leave a residue of two Commas
for the Diesis or Quarter-tone : hence on the
Temple Organ,t and on some other Instru-
ments, the Tones from G to A, and from D to
E (which are naturally Minor, or of eight Com-
mas,) are divided into three parts, by two dis-
tinct Keys, one for G sharp, another for A flat j
also one for D sharp, and another for E flat.
But upon Keyed Instruments, in general, the
Temperament, or method of tuning, is such,
that the single short key between the two long-
er keys serves for both purposes, that between
G and A being tuned higher than G sharp, and
lower than A flat.

* The Diazeuctic Tone of the ancient system*
t Sir J. H. ill. 144; iv. 354. Dr. B. iii. 439.

CHAP. III. GENERA.

121

218. The Enharmonic Scale divides each
Tone into two Chromatic Semitones and the
Quarter-tone; thus.

i^^

-4-^-4

219. In some examples of the Enharmonic
Scale,* the Intervals, F flat and E sharp, as
also C flat and B sharp, are inserted ; but they
do not belong to that Scale. This distance,
as Dr. Pepusch observes, is smaller than the
Quarter-tone.

^^^^^m

This arises from the division of the Diatonic
Semitone into two Quarter-tones, and a smaller
Interval, termed the Hyperoche^ which is found
by theoretical calculation to be nearly a Comma
and a half.

* Shield, p. Sr.

t This term was first adopted by M. Henfling in the Ber-
lin Miscellanies, 1708. For a more particular account of the
«mall Interv^als in Music, see the articles Esdiaton^ HyfierochCy
and Interval, wliich first appeared in the Supplement to Cham-
bers' Cyclopaedia, 1753, probably written by George Lewis
Scott, Esq. the editor, and which were inserted afterwards
in the edition published by Dr. Rees, in four folio volumes,
1788, 1789.

122

II. MELODY.

220. Such are tlie three modern Genera, the
Diatonic^ Chromatic^ and Enharmonic : they
are (as before observed. Art. J 95) derived
from the ancient Grecian Scales, but are used
in a manner extremely different. #

Dr. Pepusch,^ in defining the six Genera of
Aristoxenus, namely, two Diatonics, three
Chromatics, and one Enharmonic, observes,
^bat the Syntone or intense Diatonic, is in gene-
ral use ; that enharmonic passages are some-
times found ; and that two of the Chromatics
might be brought into practice ; for instance,

The Sesquialter Chromatic ; thus,
And the Tonioeum Chromatic ; thus,

But, he adds, that the soft Diatonic, and
the soft Chromatic, are not to be found in any
modern production*

* Sir J. H. i. 109. Dr. B. iv. 638. In the Dictionaiy of
Chambers (just quoted,) at the artide Gcnei'a, an able analysis
of Dr. Pepusch's ideas is given, probably written b}' the same
Author, as it also first appeared in the Supplement.

12S

CHAP. IV.

OF KEYS OR SCALES, AXD OF THEIR TIVQ
MODES, MAJOR AXD MLYOR,

SECT. I.— OF KEYS OR SCALES.

Art. 221. A Diatonic Scale, of which the
Notes bear certain relations to one principal
Note from which they are all, in some respects,
derived, and upon which they all depend, is
termed a Key; and the principal Note is
called the Key Note^ or Tonic,

222. Every Scale in which the two Diatonic
Semitones are found between the third and
fourth Degrees, and between the seventh and
eighth Degrees, ascending from the Tonic, is
termed the Major Mode of that Key ; because
the Interval between the Tonic and its Third
(or Mediant,) consists of two Tones ;: that is,
of the greater Third. The only series of this
mode among the natural Notes, is that which
commences with C ; and hence this Key must
be taken as an example of all the Major Scales.

124 II. MELODY.

223. Every Scale in which the two Diatonic
Semitones are found between the second and
third Degrees, and between the Jifth and sixth
Degrees, as ascending from the Tonic, is
termed the Minor Mode of that Key ; because
the Interval between the Tonic and its Third
(or Mediant,) consists only of one Tone and
one Semitone, that is, of the lesser Third. The
only series of this mode among the natural
Notes, is that which commences with A ; and
hence this Key may be taken as an example of
all the Minor Scales.*

=iiiliiiiigiri

SECT. II.~-OF THE MAJOR SCALES W^ITH SHARPS.

224. In the First Part of this Work (Art.
89, p. 50,) it has been shewn how the intro-

* The necessary variation of the ascending Scale, in the
Minor Mode, from the descending Scale, will be explained
hereafter. Malcolm, p. 265. Pepusch, p. 20. Holden (Part. I.
Chap. ix. p. i.) art. 257, p. 90. Sir J. H. i. 163, has entered
minutely into the subject of our two modern Scales, with
their Transpositions ; and their extensions to three Flats ant^
ftnir Sharps, are noticed also by liim, iii. 144.

CHAP. IV. KEYS.

125

duction of Sharps changes the pitch of the
Tone, without altering the relative Intervals of
the Scale. All the other Major Keys with
Sharps are constructed in the same manner,
viz. by sharpening the Fourth of the former
Key, to make a new sharp Seventh, or leading
Note, to the following Scale j thus,

G, o?ie Sharp. D, two Sharps.

A, three Sharps.

E, four Sharps.

;ii?ii

B, Jive Sharps

F sharp, six Sharps

rsliifcilgiii

225. In this last Scale^ the sixth Sharp E
is, on Keyed Instruments, performed by means
of F natural ; but it cannot be called by that
name, nor situated on the same Degree ; for,
in that case, only six letters would be used in-
stead of seven ^ and, between D sharp and F
natural, the Chromatic Interval of the extreme
flat Third would be found, which does not
belong to the Diatonic Series.

M 2

126

II. MELODY.

SECT, m.— OF THE MAJOR SCALES WITH FLATS.

226. It has been also shewn (Art. 93, p. 52,)
that the introduction of a new flat takes place
on the Seventh of the original Key, which then
becomes the Subdominant or Fourth of the
next Scale : hence are formed all the following
Scales with Flats :

F, one Flat.

B flat, two Flats.

E flat, thi-ee Flats. A flat, four Flats.

E — m'z.'ZZ — t'tz i"^^"ZLl"lZZ!tZ — — —

D flat, Jve Flats. G flat, six Flats.

-^h^^^^f

■b-d

22Y. In this last Scale, the sixth Flat C is,
on Keyed Instruments, performed by means of
B natural ; but it cannot be called by that
name, since, between B natural and the next
Degree in the Scale (which is D flat,) the Chro-
matic Interval of the extreme flat Third would
be found, which does not belong to the Dia-
tonic Series.

CHAP. IV. KEYS. 127

SECT. IV.— OF THE SIGNATURE.

228. When the whole number of Sharps and
Flats are placed at the Clef, instead of being
occasionally inserted before each Note as they
occur, such collection of Sharps, or of Flats,
is termed the Signature^ (Art. 96, p. 55.)

Signatures of Scales with Sharps,

^§=8^-1=] ^'

Signatures of Scales with Flats.

&C.

229. Two examples of the Signature ex-
tended to the first double Sharp and to the
first double Flat, may be seen. Art. 98, 99^ p.
58, 59.

230. The Scale of F sharp with six Sharps,
being the same on Keyed Instruments as that
of G fat with six Flats, all the Signatures be-
yond six may be expressed by a smaller num-
ber, by changing the name of the Tonic.

Thus C sharp with seven Sharps, is the same
as D flat with five Flats ; and C flat with seven
Flats, is the same as B with five Sharps, &c,
&c. &c.

12S n. MELODV.

SECT, v.— OF THE MINOR SCALE OR MODE.

231. The Minor Scale not only differs from
the Major, as before observed (Art. 223, p.
124,) in the place of its Semitones, but also
in the variation of its Scale, of which the
ascending series differs from the descending
one.

232. The Minor Mode requires, that when-
ever the Seventh of the Scale (which is natu-
rally a tone below it) ascends to the Eighth,
it should become sharp, as the proper leading
Note or sharp Seventh to the Tonic. Now,
the insertion of this essential Note in the Sig-
nature, would appear irregular, as in the fol-
lowing Examples :*

trz:

It is therefore always omitted in the Signature,
and placed accidentally before the Seventh
which it is to elevate, whenever the Melody
requires its use.

* If this irregularity were adopted in the three first Exam-
ples, the essential leading Note would appear as if it were in-
serted by mistake one Degree too high.

CHAP. IV. KEVa 129

233. That this leading Note or sharp Sev-
enth is essential to the Key, although not to
its Signature, may be proved by performing
the subsequent Melody, omitting the sharp F.

(Our fears are now*)

-4- _««.«sff»- f^ -,

In which instance, the harshness produced by
F natural, if taken instead of F sharp, is ex-
tremely perceptible.

234. As the Signature, therefore, does not
decide the Key or Scale of the Movement, a
careful observation must be made, whether any
accidental Sharps or Naturals occur in the first
Phrase or Section. If any such are found, the
Tonic is on the next Degree above them ; but,
if none are used, then the Signature itself deter-
mines the Major Tonic, which is always the
Note above the last Sharp, or the fourth Note
below the last Flat.

235, The accidental Sharp used in the Mi-
nor Mode, raises the Minor Seventh of the

* Deborah, 1738, Dr. A.*s edit. No. 145, p. 219, H. S. ii.
Na 133.

130

n. MELODY.

Scale a Chromatic Semitone : hence the Minor
Scale may be said to belong to the Chromatic
Genus ; and its true essential Scale is thus
formed :

^m-

236. In this series is found the harsh Chro-
matic Interval of the extreme sharp Second
(between F natural and G sharp;) to avoid
which, the Sixth is made sharp, to accommo-
date the Seventh : thus the accidental Scale of
the Minor is formed with two Notes altered
from the Signature.

p^^i^iii

237. But, in the descending Scale, the essen-
tial leading Note is depressed, to accommodate
the Sixth : thus the natural Scale of the Sig-
nature remains unaltered.

liiilii^i

CHAP. IV. KEYS.

131

SECT. VI.— OF THE RELATIVE MINOR SCALES.

238. The Minor Scale whose Tonic is found
on the sixth Note ascending of that Major
Scale which has the same Signature, is termed
the Relative Minor^ because its Signature is
similar to that of the other.

Major*

G, one Sharp. D, two Sharps.

3:*=tejE:i:=~-'-'-^*—

in^irgiiii

Relative Minor.

E, one Sharp. B, i'u)o Sharps,

iHgiiiiiiili

These Tonics, it may be observed, are one
Degree below the last Sharp of the Signature.

239. In the Signatures with Flats, the Rel-
ative Minor (or Sixth of the Key) is always on
the third Degree above the last Flat; thus,

Major.

F, one Fiat

B, two Flats.

Relative Minor,

D, one Flat. G, two Flats.

:~^™:q:d:q:3:rr^~t=f::fL-ff:i:r:i::rl:rJ:]

132

II. MELODY.

SECT. VII.— OF THE TONIC MINOR SCALES.

240. Every Major Scale, when its Third and
Sixth are depressed by the Chromatic Semi-
tone, becomes a Minor Scale on the same
Key Note, and will be called, in this Work,
the Tonic Minor.

241. But, as the Signature requires that the
essential sharp Seventh should not be inserted
at the Clef, the Tonic Minor must have in its
Signature another Flat, making in all three
Flats more, or three Sharps less, than the
Major Scale of the same Key Note ; thus.

F Major.

F Minor.

j^-="-

^^m

C Major. C Minor.

=i:---=3::fc~:z::

iPiiligjp^

G Major.

G Minor.

In the last Example, the F *, E fc?, and
B ti, are all to be considered as Sharps, when
contrasted with the F fc), E b» and B b, of the
Minor Scale,

CHAP. IV. KEYS.

D Major.

D Minor.

■^m^^m

In this Example, the C fc|, F hj and B b>
of the Minor Scale, are all to be considered as
Flats, when contrasted with the C «, F «,
and B fcj, of the Major Scale.

A Major. A Minor.

iiiiiim

In this Example, the G h, F iq, and C fcf,
of the Minor, are all to be considered as Flats,
when contrasted with G «, F «, and C «, of
the Major Scale.

SECT. Vni.— OF TRANSPOSIl ION, &c.

242. That change which arises from the per-
formance of the same Melody in a higher or
lower pitch, is called Transpositi&n,

243. Every Melody in a Major Scale may
be transposed into any other Major Scale, by
altering the Signature according to the pitch of
the new Tonic. The same alteration may take
place in every Minor Melody. When, how-

1S4 II. MELODY.

ever, any tune is performed in the Relative, or
in the Tonic Minora which tune was originally
Major, such change is not called Transposi-
tion, but Variation,

244. When, in the course of a Melody, the
Tonic is changed, and the original Scale
altered, by the introduction of a new Sharp or
Flat, such change is called Modulation, This
will be further explained in treating of Har-
mony,

245. Every Scale has two others immedi-
ately connected with it ; one on the Fifth
above, which adds a new Sharp to the Signa-
ture ; the other on the Fifth Mow (or Fourth
above,) which adds a new Flat to the Signature.
These two Scales will, in this Work, be called
Attendant Keys ; an epithet given them by
Dr. Boyce, in his Manuscripts.

246. As every Major Key has a Relative
Minor, and as this Relative Minor has its two
Attendant Keys, hence arise, from every Sig-
nature, six Scales,^ nearly connected with
each other ; three with Major Thirds, and
three with Minor Thirds.

* Mr. Keeble (Harmonics, 1784) describes these Scales
(p. 68, 71,) and terms them auxiliary. Padre Martini (Saggio>
P. II. p. 37,) has given a Table of them.

CHAP. IV. KEYS. 135

247* Of these, two are principal, viz. the
Major and Minor of the Signature itself; and
four are subordinate, viz. the Attendant Keys,
both of the Major and of the Minor : these
require another Sharp or Flat, to complete
their Scales, when a Modulation occurs.

248. Thus, in the Major Scale of C, its Jt-
tendant Scales are G (its Fifth) with one
Sharp, and F (its Fourth) with one Flat j to
which are annexed the Relative Minor A, and
its two Attendant Scales, viz. E Minor with
one Sharp, and D Minor with one Flat.

249. The same arrangement takes place in
every Key ; and it is necessary to observe, that
when the Minor Key is first taken, the Major
Key of the same Signature is called the Rela-
tive Major, and is found on the Minor Third
above the original Minor Key-note.

JS6

CHAP. V.

(9F THE QUALITIES OF THE NOTES WHICH
COMPOSE THE SCALE.

SECT. I— OF THE TONIC, DOMINANT, &c.

Art. 250. Every one of the seven Notes which
form the Scale of any Key, Major or Minor, has
an effect peculiar to itself: from this effedl they
derive particular names, which are these,

25 J. I. The Tonic^ or Key-note, before de-
scribed (Art. 221, p. 12fJ,) is that chief sound
upon which all regular Melodies depend, and
with which they all terminate.* All its Octaves,
above or below, are called by the same name.

252. II. The Dominant^ or Fifth above the
Key-note, is that sound which, from its imme-
diate connexion with the Tanic, is said to gov-
em it ; that is, to require the Tonic to be heard
after it, at the final perfect cadence in the Base.

253. III. The Subdominant^ or Fifth below
the Key-note, is also a species of governing
Note, as it requires the Tonic to be heard after
it in the Plagal Cadence. It is the Fourth in the

* This only relates to the chief Melody, or to its Base ; the
internal parts of Harmony, as will be hereafter s^hewn, con-
clude upon the Mediant or Dominant.

CHAP. V. QUALITIES OF NOTES. 13?

regular ascending Scale of seven Notes, and is a
Tone below the Dominant ; but the term arises
from its relation to the Tonic, as the Fifth below.

254. These three principal Sounds, the To»
nic. Dominant, and Subdo?ninant, are the radical
parts of every Scale ; of the Minor, as well as
of the Major. All Melodies whatever are de-
rived from these Sounds, and are wholly de-
pendent upon them.

255. IV. The leading Note, or sharp Seventh
of the Scale, is called, in Germany, the Sub-
semitone of the Mode* This is always the
Major Third above the Dominant, and there-
fore, in the Minor Scales, requires an accidental
Sharp or Natural, whenever it occurs.

256. V. The Mediant, or middle Note be-
tween the Tonic and Dominant ascending, varies
according to the Mode ; being the greater Third
in the Major Scale, and the lesser Third in the
Minor Scale*

257. VI. The Submediant,* or middle Note
between the Tonic and Subdominant descend*
ing, varies also according to the Mode, being
the greater Sixth in the Major Scale, and the
lesser Sixth in the Minor Scale.

* The Submediant in tlie Major Mode, is the relative Minor
Key-note ; and the Mediant in the Minor Mode, is the relative
Major Key-note.

138

n. MELODY.

258. VII. The Supertonic,* or Second above
the Key-note, has seldom been distinguished in
England by this or any other appellation. In
theory it is considered as a variable Sound, be-
ing a Comma higher in the Major Scale than
when the Mode changes to the relative Minor.t

259* The effect of the principal Notes above-
mentioned may be impressed on the mind by
the following short phrases.,

I. Tonic and Dominant.
(We praise thee^ 0 God.\)

EE53=

iSSi

II. Tonic and SubdominanL
(^Break bis bands of sleep asunder, ^^

igE|^P^J|^

* This is a translation of the French term Sutonique ; and it
may be observed, that in the descending Rule of the Octave, the
Sixth of the Key might be called Sufierdominant {Sudominante,)
from its analogy to this Note. Bethizy, p. 15.

t This alteration is explained by Mr. Maxwell, in the Essay
on Tune, p. 23, and by Rousseau, in his Dictionary, art. Dia-
commadque.

% Dettingen Te Deum, 1743, No. 17, p. 1.
§ Alexander's Feast, 1736, Na 66, p. 85.

CHAP. V. QUALITIES OF NOTES.

139

III. Tonic and leading Note.
(The people that walked*^

IV. Tonic and Mediant.
(Softly sweet in Lydian measures,^)

V. Tonic and Submediant.
(In the battle Fame pursuing.l)

260. The Signature of two Sharps has been
chosen for these Examples, that the effect of
the same Tonic (and of its relative Minor in
the third Example from the Messiah) may be
perceived in performing them all.§

* Messiah, No. 9, p. 43. Hi S. iv. No. 301.

t Alexander's Feast, No.. 66, p. .58. H. S. ii. Na 154;

:|: Deborah, 1733, No. 144, p. 173. H. S. L No. 70.

§ The further utility of these denominations will appear here-
after. In Harmony, especially, the terms Tonicy Dominant^
Subdominant, and leading JVote^ -will frequently occur ; the two
former, as the principal and governing Notes ; the two latter^, as
'he characteristic Notes cf the Key. (See Art. 191, p. 108.)

140 II. MELODY.

SECT, n.— OF THE CHARACTERISTIC NOTES OF
THE SCALE.

261. The leading Note and the Subdomi-
nant are the two characteristic Sounds, by one
of which every Scale, whether Major or Minor,
is known, and its Tonic immediately ascer-
tained.

262. Thus, in sharp Signatures, the leading
Note is a species of Index, which points inva-
riably to the next Degree above, as its Major
Tonic : this is always the last Sharp in the
Major Mode.

263. In flat Signatures, the Subdominant is
also a species of Index, which points to the
fourth Degree below, as its Major Tonic : this
is always the last Flat in the Major Mode.

264. In the Minor Modes whose Signatures
have less than four Sharps or four Flats, the
Subdominant, being always one of the natural
Notes, is not apparently a characteristic of the
Key ; and therefore, in those Modes, the lead-
ing Note is the only certain Index from which
the Key-note is to be found.

265. The great importance of these two Notes
appears evident, when, in occasional Modula-
tion, the new Key is required to be found by
their assistance. In all flat Signatures (F Ma-

CHAP. V. QUALITIES OF NOTES. 141

jor, B flat Major, E flat Major, &€.) the lead-
ing Note is a Natural ; and this is the sharp
Seventh of the Key, as in the following Ex-
ample :

(See the tall palm,*)

Here the Natural B is the leading Note of
the new Key C.

266. In the sharp Signatures, on the con-
trary, the Siibdominant is distinguished by a
Natural^ and requires, in Modulation, the
alteration of the Sharp in the Signature.

(When warlike ensigns,^)

Here the Natural F is the Subdo?ninant of
the new Key C.

267. Hence it appears, that whenever the
characteristic Note of the new Key is marked
by a Natural^ that Natural always has the
efiect of a Sharp, or of a Flat; of a Sharp,
when it is a leading Note ; of a Flat, when it
is a Siibdominant, \

* Solomon, 1749, No. 90, p. 216. H. S. iv. Na 294,

t Art 148, p. 86.

% See the remarks in Art, 97, p. 57, in Note.

142

CHAP. VI.
OF AJVCIEMT SIGA^JTURES,

•^^^.^

SECT. L— OF ANCIENT SIGNATURES IN GENERAL.

Art. 268. In the Music of Corelli, Geminia-
ni, Handel, &c. the general rules of finding the
Tonic, either in the Major Mode, by the cha-
racteristic Notes of the Signature, or in the
Minor Mode, by the leading Note accidentally
inserted, are not always sufficient.

269. When, instead of the complete series
of Sharps or Flats of the Signature, the last
Sharp or Flat is suppressed, and inserted acci-
dentally when requisite (like the leading Note
of the Minor Mode,) such deviation from the
usual method of Notation, will, in this Work,
be termed the Ancient Signature.

270. Thus, in the seventh and twelfth Sona-
tas (or Violin Solos,) of Corelli, Opera quinta,
the Signatures* appear to be either C Major, or
A, its relative Minor ; but the Accidental Notes,
C sharp and B fl^t, shew that the real Key is

* Although the term Signature is defined. Art. 228, p. 127»
to be the number of Sharps or Flats at the Clef, yet the word
will be also applied to the two natural Keys of C Major and
A Minor.

CHAP. VI. ANCIENT SIGNATURES. 143

D Minor, and that the B flat, which is used in
the modern Signature, is omitted at the Clef.

271. Examples of the ancient Signature of
D Minor, may also be found in the third and
fifth Concertos of Geminiani, Opera seconda,
and in the fourth Concerto of Opera terza.
For instance, the first Movement of his third
Concerto begins thus :

iEliiiili^lta

Here the Key is known to be D, by the ac-
cidental C sharp, and to be also D Minor, by
the natural F, which remains unaltered, as in
the Signature.

272. The same ancient method of Notation
is sometimes found in the Key of G Major,
where the Sharp of the leading Note F, is in-
serted accidentally when requisite ; as in the
following Example from the first Chorus of
Handel's Oratorio of Saul, How excellent thy
name, 0 Lord, One of the intermediate
Movements commences thus :

(The youth inspired by thee, 0 Lord,)

144? II. MELODY.

Here the Key is known to be G by the Sharp
before the F, which is used in the second
Treble as a Third below the A : and the B
natural of the Clef shews it to be G Major.

SECT. II.— OF ANCIENT SHARP SIGNATURES.

273. The ancient Signature of one Sharp, is
applicable to the Keys of D Major and B
Minor; but the sharp Signatures of this an-
cient method are never found in the Minor
Mode; for, as the Second (or Supertonic) of
the Key would then require an accidental
Sharp, the irregularity before-mentioned (Art,
232, p. 128,) would perpetually recur.

274. In the Solos of Corelli (Opera quinta,)
however, several instances occur of the ancient
sharp Signature in the Major Mode ; viz. the
sixth and ninth Sonatas in two Sharps are in
the Key of A Major ; and the G sharp is acci-
dentally inserted.

275. The eleventh Sonata of the same work
bears the Signature of three Sharps, and is in
the Key of E Major,* the D sharp being in-
serted accidentally.

* Handel's Diiett-, in the Oratorio of Athalia (Jjvs in gentld
train ap^iearin^,) ib also In this Key, aiicl has thii> Sigiiature.

CHAP. VI. ANCIENT SIGNATURES. 145

276. The ancient Signature of four Sharps
is found in Handers beautiful air, Re77di il
sereno at cig/io, from the Opera Sosarmes,*
This is in B Major, with the Sharp to its lead-
ing Note A<f occasionally inserted*

SECT. III.— OF ANCIENT FLAT SIGNATURES.

277. The objection to the sharp Signatures
(Art. 273, p. 144,) does not apply to the Flat,
since the Second of their Minor Modes is not
affected by the Flat. For this reason, and from
the variable nature of the Sixth or Submediant
in the Minor Scale (Art. 236, p. 130,) the an-
cient flat Signatures are very frequently found.

278. I. The Signature of one Flat belongs
to B flat Major and G Minor. The following
Example, in the opening of Corelli's fifth Con-
certo (Opera sesta,) is in B flat Major.f

iieESEfii

* Introduced by Dr. Arnold, 1786, in the Oratorio of Re-
demption, to the words, Lord, remanber David.

t This will l3e mentioned hereafter, as a very striking instance
of the use and effect of Harmony in deciding the Key and Mode,
independent of the Signature.
O

146

II. MELODY.

279. The eighth Concerto of Corelli opens
with this Signature in G Minor, as in the fol-
lowing Example :*

^mriiiiiip

280. II. The Signature of two Flats belongs
to E flat Major.

(Cease thy anguish.^)

Erfiziz

281. The Signature of its relative Minor
Mode C, is very common.

(Thejlocks shall leave the mountains, X)

iZTzzzzniw:

iS=MiE

282. III. The Signature of three Flats^ is
unusual in the Major Mode of A Flat, hut ex-
tremely frequent in the Minor of F. Handel,

* This also depends upon Hannony fcH' the decision of its
Key and Mode. The Melody, as it here stands, might be
equally in B flat Major or G Minor; but tlie F sharp, which
accompanies the C in the second Measure, decides the Kej':.

t Athalia, 1733, No. 3, p. 125. H. S. ii. No. 93.

:j: Acis and Galatea. 1720, Na 30, p, 72. H. S. iv. No. 320.

CHAP. VI. ANCIENT SIGNATURES. 147

indeed, has seldom (if ever) used the modern
Signature in this Mode.

(Te sons of Israel.*)

283. In this Example, the E natural is the
leading Note, and points to the Key-note F ;
of which A flat is the lesser Third, and decides
the Mode,

* Samson, 1742, No. 53, p. 172. H. S. L No. 19.

END OF THE SECOKD PART.

148

PART m.

HARMONY.

CHAP. L

OF THE TRIAD.

SECT. I-^OF THE CONSONANT A>ID DISSONANT
TRIADS.

Art. 284. Two or more Melodies, heard at
the same time, form Harmony ;* and the dif-
ferent combinations of Notes in Harmony are
termed Chords,

^1^5, The union of any Sound with its Third
(Major or Minor) and its perfect Fifths forms
the Harmonic Triad,! or common Chord.

* Dr. B. i. 136. Harmony was formerly (according to Tine-
tor — see Dr. B. ii. 458) synonymous with Melody, and the term
Counttrfioint was applied to what we call Harmony. This term
is derived from the ancient Points or Notes, which were placed
counter or opposite to each other on the Staff The Examples
in this Third Part will be given in Counterpoint ; that is, heads
of Notes, without their Stems, v/ill be used.

t Triad, in Music, signifies three different Sounds combined
together^ at the dibtance of a Third and a Fifth from the lowest;

CHAP. I. TRIAD. 149

This is termed the Major or Minor Triads
according to the nature of its Third.

Major Triad. Mmor Triad

13 5 13 5

286. When the Octave of the lowest Note
is added, four Sounds are heard in the Har-
mony.

Major commcn Chord. Minor.

287. There are alsa, besides these two Con-
sonant Triads, two Dissonant Triads -,* one
Diatonic, the other Chromatic.

I. The Diatonic Dissonant Triad, or dimin-
ished Triad of the Germans (B, D, F) consists
of two Minor Thirds.

* Marpurg (Handbuch, 1755) adopted this classification,
which. Kiraberger rejected. KoUmann follows the system of
this last ingenious Writer, and considers the diminished Triad
02

150 HL HARMONY.

II. The Chromatic Dissonant Triad, or super-
fluous Triad of the Chromatic Scale (C, E, G
sharp,) consists of two Major Thirds.

The Consonant Triads are formed of the two
dissimilar Thirds, Major and Minor, united ;
the Dissonant Triads are formed of two similar
Thirds, both Minor or both Major.

288. In the Natural Diatonic Scale (Art. 50,
p 22,) there are six Consonant Triads j* three
Major and three Minor.

Major Triad. Minor.

All the Major Triads become Minor, by
flattening their Thirds j and all the Minor

as a consonant Harmony. The Author of this Work prefers
the arrangement of Marpurg, which seems most agreeable to
the theoretical doctrine of Harmonics.

* From these Triads are derived the six Scales before-men-
tioned. Art. 247, p. 135. The primary and secondary Scales
of Mr. Keeble (p. 68,) are reckoned in the Major Mode,
1st, 4th, and 5th C, F, G, 2d, 3d, and 6th D, E, A, ascending,
and are inverted in the Minor Mode (p. 71.)

CIL\P.I. TRL\D. 15:1

Triads become Major, by sharpening their
Thirds ; thus.

289. The Diatonic Dissonant Triad has (by-
license) its Third sometimes flattened and
sometimes sharpened ; and thus are formed two
altered Triads,* which are very seldom used.

These altered Triads consist of a Major and
an extreme flat Third, and are consequently
both Chromatic.

290. The Prime^ or lowest Note of the Triads
was called by Rameau its fundamental Base.f

* See Heck (Thorough Base,) p. 20. The German Authors
term these Triads anomalous. See also KoUmann (Essay on
Harmony, 1796,) p. 34.

f The Root being placed one or two Octaves below the Chord
of the Accompaniment, makes no difference in its derivation;
the radical Base depending always on the three combined Sounds
of the Triad, whether in dose or dispersed Harmony. For an
account of Rameau and his system, see Dr. B. iv. 609. Sir J. H^
V. 384. See also a veiy satisfactory account of the discoveries
of Galileo Galilei, by Dr. Bumey, art. Base fundamental^ in
Dr. Rees' Cyclopedia, lately published.

152 III. HARMONY.

In this Work, the term Radical Base, or simply
the Rooty will be adopted.

291. The Roots of the two Consonant
Triads are easily understood, as every radical
Base must have a perfect Fifth ; but the Roots of
the two Dissonant Triads (Art. 287, p. 149,)
and of the two altered Triads (Art. 289, p. 151,)
cannot be explained till the nature of Discords
is known.

292. When the three Sounds of the Triad
are taken as an accompaniment, and the Root
remains in the Base, the Chord assumes three
different positions.

1st position. 2d position. 3d position.

The first position is that of 3d, 5th, and 8th.
The second, of 5th, 8th, and 3d,
The third, of 8th, 3d, and 5th.
It must be observed, that the second posi-
tion, in reality, consists of the Fifth, Eighth,

CHAP. I. TRIAD. 153

and Tenths and the third position, of the
Eighth, Tenth, and Twelfth of the Root;
but, as the Tenth and Twelfth are Octaves of
the Third and Fifth, and as they are repre-
sented by the same letters, they are also called
by the names of Third and Fifth, whateveE
may be their distances above the Root.

SECT. II.— INVERSIONS OF THE TRIAD..

293. When the lowest Note, instead of be-
ing the Root, is the Third or the Fifth of the
Triad, such change is termed Inversion,*

294. The Inversions of the Triad differ from
its Positions ; as the former relate to the whole
Harmony, including the Base, and the latter to
the Accompaniment alone, independent of the
Base. Hence every Triad has three Positions,
but only two Inversions ; for, when the Root is
in the Base, the Chord is called Direct, what-

* Dr. Pepusch (p. 8,) calls the two Inversions sufiposed
BaseSf and terms the Chord of the Sixth the unccmmon Chord ;
not because it is unusual or improper, but in contradistinc-
tion to the common Chord, or that of which tlie lowest Note is a
fundamental Base (p. 16.)

354 ni. HARMONY.

ever may be the Positions of the Accompani-
ment.

295. I. The Chord of the Sixths is the first
Inversion of the Triad, when the Base Note
becomes the Third of the Harmony, instead of
the Root. This Chord, in the figures of Thor-
ough Base, is expressed by a 6 : to which also
belongs the Third of the lowest Note (or Fifth
of the Root ;) and, in the practice of Counter-
point, the Octave of the lowest Note is either
omitted, or, if four parts are requisite, the
Sixth or the Third may be doubled.

296* The same arrangement takes place in
the Minor Triad,* and its first Inversion j in

* An ingenious Theorist, Pizzati (Scienza de' Suoni, 1782,)
reckons the Minor Triad dissonant (p. 313,) because it does
not produce the third Sound of Tartini, &c. On the con-
trary, Kirnherger (1774) asserts, that the diminished Triad is
consonant y because it is used in Harmoiiical Progression, like
Uie other two Triads.

CHAP. I. TRIAD.

155

the first Inversion of the Diatonic Triad,
B, D, F, however, the Sixth is never doubled,
but the Octave preferred, when four parts are
requisite.

iii

Root

297. A stroke through the figure six, thus g,
elevates the Sixth Note from the Base, a Chro-
matic Semitone j and, when used on a Minor
Sixth, makes it the first Inversion of the Disso-
nant Triad 5 thus,

When the same mark occurs on a Major

156

III. HARMONY.

Sixth, it makes it the first Inversion of the alter-
ed Triad (Art. 289, p. 151 5) thus,

These two Chords, which are of great im-
portance, will be hereafter distinguished by the
names of the sharp Sixth and of the extreme
sharp Sixth ; the first always accompanied by a
Minor, and the second by a Major Third.

298. 11. The Chord of the Foiirth and
Sixths* is the second Inversion of the Triad,
when the Base Note is the Fifth of the Har-
mony, instead of the Root. It is expressed,
in Thorough Base, by a 4 under a 6, and, in
four parts, the three positions! of the Triad

* Kirnberger considers this Harmony, when suspended, as
dissonant (see Mr. Kollmann, Essay on Harmony, p. 31 ;) but
Marpurg has, in the Appendix to his Essay on Temperament
(1776,) shewn that the classification of his opponent is not
well founded, and that the theory is not strictly true.

t Mr. Shield (p. 3) has given the Positions, without distin-
guishing them bv this name ; the hiversions are described by him
(p. 26) under the Titles oi* first and second Derivatives.

CHAP. I. TRL\D. 157

are used as its Accompaniment (Art. 292,
p. 152,) without any regard (as in the Chord
of the Sixth) tO the omission of one Note, or
the doubling of another (Art. 295, p. 154.)

f^m^^

6 6 6 6

4 4 4 4

m=~^~<^=^^EEE=^=^

SECT. TIL— OF THE DIRECT AND CONTRARY
MOTIONS, AND THE RULES FOR THEIR USE
IN HARMONY.

299. Before the Harmonical succession of
Triads can be rightly understood, it is neces-
sary to explain the different Motions of the
parts which constitute Harmony. Two of
these are essential, viz. the direct Motion and
the contrary Motion.

300. In the direct Motion^ the parts move
the same way, ascending or descending.

158 ni. HARMONY.

301. In the contrary Motion ^ one part rises 5
while the other falls.

^=-i— F~^— ''—*— F— -i-^

302. By the knowledge of these two Mo-
tions, the power of avoiding many harmonical
irregularities may be obtained, and the fol-
lowing rules* of Harmony correctly observed.

I. All consecutive Octaves and Fifths must
be avoided in the direct Motion.

Octaves and Fifths by the The same avoided by the

direct Moticn. contrary Motion.

II. All unnecessary Skips are to be avoided,
and all the Chords are to be taken as closely
and as much connected as possible.

III. AW false Relations, (such as the extreme
sharp Second, &c.) are disallowed, unless for
the expression of some particular effect.

IV. All irregular Motions of the parts in
Harmony are to be avoided. Every Major or

* The ten Rules of Pietro Aron (1523, Dr. B. iii. 155) wer^
afterwards extended to twelve. See Cerone (El Melopeo, 1613
p. sn,) and Lorente (El Poixjue, 1673, p. 293.)

CHAP. I. TRIAD. 15a

sharp Interval ought to ascend, and every Mi-
nor or flat Interval ought to descend ; that is to
say, the pari in which those Intervals are found
in combination, is to rise after the Sharps and to
fall after the Flat, This rule, however, is always
subordinate to that of avoiding Octaves or
Fifths,* and is not regarded when the Melody is
to produce an effect opposite to the rule. The
internal parts of Harmony, however, are to be
regulated by these observations.

SECT. I\;— OF HARMONICAL PROGRESSION.

303. The term Fr agression^ will be used, 111
this Work, in contradistinction to the term
Modidaiion^l to signify that succession of
Triads or perfect Chords, which, by being con-

* Nicolas Burtius (Musices Opusculum, 1487,) the Guido
nian adversary of Bartholomew Ramis, was a Pythagorean
follower of Boetliius, and admitted no Conscnances but Oc-
taves, Fifths, and Fourths. He calls the Thirds and Sixths
allowable Dissonances {dissonantia compassibiles^) and has given
(fol. e, 5) five Precepts, of Counterpoint, which will ever be
classical, particularly that of avoiding Fii'ths and Octaves in
succession.

t Tonfuhrung, Koch's Anleitung, ii. 139.

X Tonausweichiing, Koch's Anleitung, ii. 169.

160 HI. HARMONY.

fined to the Scale of the original Key, only
admits the Tonic and its two attendant Har-
monies, occasionally interspersed with the rela-
tive Tonic and the two Harmonies attending
on that Scale ; whether the original Mode be
Major or Minor.

Although a change into the relative Scale
implies a partial Modulation, yet in all cases,
where the new Scale remains undecided,* by
the omission of the leading Note^ and the origin-
al Tonic still continues a predominant Sound,
the term Progression will be retained.

304. As the Scale consists of seven different
Notes, it is evident that two Triads, which only
contain Jive Notes (one Note being common to
both,) cannot decide the Key. Hence the fol-
lov^dng Examples, although perfectly similar
in Notes, appear, by means of the Accent, to
be in two different Keys, and are therefore
equivocal.

In the Key of G. In the Key of C.

ri^:|:^i:=p:zi^:I:|E=

305. If, however, three different Chords are
taken, the Key may be decided : this is per-

* Particularl}^ in Sequences, as v/ill be explained Iiereafter.

CHAP. I. TRIAD.

formed by the Progression * of Tonic, Sub-
dominant, and Dominant. ^ ,

5Ei;

islf^^E^Eg^Eg

^^Ef^EE3^^EEEE

=z?:±r-=zzz=i=^z=E?=3

306. Thus, in the Tonic Harmony,-j
are found the 3d and the 5th

In the Subdominant, the 4th and . Root of

of the

6th

the
Scale.t

And in the Dominant, the 2d and
7th

307. The Major Mode, with its relative Mi-
nor, and the four attendant Harmonies, may
be thus arranged :

Tonic. Dorat. Subdt. Rel.Min. ItsDt. ItsSubdt.

* The following excellent observation of Dr. Pepusch (p. 8)
cannot be too often, or too strongly, impressed upon the miixl
of tlie Student, viz. all melodies have the perfect

COKCORDS OF THE KEY THEY ARE IN FOR THEIR FUN-
DAMENTAL BASES.

t This arrangement is like that before given (Art. 191, p. 108,)
'vhere the Chords are shewn detached in Minims.

1^^ III. HARMONY.

308. The Minor Mode, with its relative
Major, and the four attendant Harmonies, may
be thus arranged :

Tonic. Domt Subdt RelMaj. ItsSubdt. ItsDt

eE^^=i====T=— =^==^

309. The relative attendant Harmonies are
very seldom used, particularly the relative
Subdominant, or Second of the Major Mode
(as D in C Major ;) but, in modern Music, this
Harmony more frequently occurs, and will be
further explained hereafter.*

310. The motions of the radical Bases or
Roots of these Chords, are reducible to sixy
divided into three classes.

I. The Dominant! Motion, or ascent of the
4th or 5th.

II. The Mediant Motion, or ascent of the
3d or bth.

* Dr. Pepusch, although he expressly allows the Harmo-
Tiies of A, and of E, in C Major, makes no mention of D,
p. 18.

t The Dominant Motion is tlie foundation of the perfect and
impeifect Cadences, as the Gradual Motion is of the false and
mixt Cadences : these will be explained in the Fourth Chapter
of this Pait.

CKAP. I. TRIAD.

16;

III. The Gradual Motion, or ascent of the
2d or Tth.

These may, of course, be inverted, and be-
come the same descending ; as the Directs to-
wards the remoter distances shew in the Ex-
ample.

I. Domii ant-
Ascent of 4ih,

n. Mediant.
3d,

in. Gradual.

and Cd-

'\^'

^rrzzzrzz:

Descent oi 4th, 5 .,

and 2d.

l=?EE^El=^S=^EE?EHi^E

311. Of these Motions, the Dominant and
the Mediant are regular, having a Sound com-
mon to both Chords ; but the Gradual is irreg-
ular, as the Chords have no connexion with
each other.

312. When the Melody moves regularly, by
Degrees ascending or descending, the following
Progressions* in the Base are often employed.

See Koch's Lexicon, art. Drey klang-, i 491.

164 HI. HARMONY.

I. Dominant Motion by Fourths.

Rising Fourths and falling Fifths.

Ascending Melody.

Rising Fifths and falling Fourths.

II. Mediant Motion by Thirds.

Rising Thirds and falling Fourths,
Descending Melody. ^ ^* F- •»- y — ^

Rising Fourths and falling Thirds.

Ascending Melody. ^^ y #• ^

IIL Gradual Motion by Seconds.

Rising Seconds and falling Thirds.
Descending Melody.

mE^=~tEE=^

Rising Seconds and falling Fourths.
Descending Melody.

^.g^gjgj

165^

CHAP. II.

(DF THE BOMIKA.YT SE VENTH, ITS IJ\/TERSIOjYS,
RESOLUTIO.V- AjYD OF MQDVLATIOjY.

SECT. I.—OF THE DOMINANT SEVENTH.

313. When a Minor Seventh is joined to the
Major Triad, a Chord of four different Sounds
is formed, and, as this only occurs when the
Fifth of the Key is the Base Note, the Harmony
is -called the Dominant'^ Seventh.

The Note which forms the Discord in this
Harmony, is the Subdominant or Fourth of
the Scale ; and being a Minor Interval, re-
quires the part in which it is heard, to descend
one Degree.

* The Dominant before-mentioned (Art. 252, p. 136,) de-
rives its name from the ancient Church Tones, in which it was
the Fifth in the Authentic, and the Octave in the Plagal Scales,
but always a Fifth above the final or modern Tonic. Mer-
senne, in his leai'ned work, entitled, Traite de I'Harmonie
TIniversellc, first published in 8vc. under the assumed name

166 in. HARMONY.

314. In the Major Mode, this descent is a
Semitone, as in the following Example :

In the Minor Mode, the E becomes flat, and
the descent is consequently that of a Tone.

315. The Major Third of the Dominant,
which is also the Sharp Seventh or leading
Note of the Scale, must ascend. Thus, in the
Major Scale, the two characteristic Notes are
united, and form, between themselves, the In-
terval of the flat Fifth, of which the Root is
the Dominant : thus.

$■

i===i

"W-

316. In all regular progression, the Domi-
nant Seventh requires the Triad of the Tonic
to succeed it ; and hence its Base-note is called,
by Rameau, the governing Note or Dominant
of the Key*

of Le Sieur de Sermes (Paris, 1627,) has given the following
explication of the term :

" II faut remarquer que le Pseaume est dit se charter en fa,
en la, Sec. non qu'il n'ait que cette seule note ; mais pjirce
qu'clle est plus souvent repetee que les autres ; de la vient
qu' on I'appeile Dominantey car elle s'entend plus souvent que
les autres, et gouverne le ton." (P. 248, 249.)

CHAP. II. DOMINANT SEVENTH.

167

317. The Dominant Seventh is used, like all
other Discords, either by Transition^ Addition^
or Suspension ;'^ and must in all cases be re-
solved^ that is, taken away, by the descent of
the part in which it is found. As a passing
or added Note, it is employed without prepa-
ration; thus.

I. By Transition.

n. By Addition.

318. But, as a suspended Note, it must be
prepared^ that is, heard in the preceding Har-
monv ; thus.

:E^i=l§j

-zw-—:

In this instance, the F prepares the Seventh
in thejirst Harmony ; is heard as a Discord in
the second^ and resolves, by descending to E,
in the third.

* Every Discord of Suspension must be prepared, struck,
and resolved ; hence arise the three terms, Prefiaradon, Percus-
sion, and Resolution, described by Padre Martini, Saggio di
Contrappunto, p. 27.

168 III. HARMONY.

S 1 9. There are several other Sevenths, used
in Harmony, upon the different Triads of the
Scale (whether Consonant or Dissonant,) in
both Modes. These sevenths,* although not
exactly Chords of the Dominant, are never-
theless used in its place, to avoid Modula-
tion 'y as will be hereafter explained in the fifth
Chapter of this Part, on Sequences. They also
preserve a uniform motion in the progression
of their Roots, (Art. 312, p. 164,) and, at the
same time, produce a Melody, descending by
Degrees, in the original Key. These are,

320. I. The Minor Sevenths with Minor
Thirds, on the Triads of A, D, and E, which
belong to A Minor.f

* M. Framery (Encyclopedic Methodique, art, Dominante)
controverts the Nomenclature of Rameau» Bethizy, &c. in
■which these Sevenths are called simfile Dorninants^ and the
principal one Tonic Dominant ; and she\vs that the term ought
to be confined to the Fifth of the Key: this arrangement is
followed in the present V^'^ork.

t The first inversion of this Chord, taken on the Subdom-
inant of the Major Key, is in the system of Bameau a fun-
damental Chord with the added Sixth. It will hz shewn
hereafter, that the Root depends upon the Key or Scale, and
that Die Seventh, D, F, A, C, has D for its root in A Mmor,
and F for its Root in C Major.

€HAP. II. DOMINANT SEVENTH. 169

321. n. The Major Sevenths with Major
Thirds^ on the Triads of C and F, which be-
long to C Major. These are often found in
passages of Transition, as the Directs shew in
the following Examples :

322. III. The Minor Seventh with the Fiat
Fifthy upon B.

In C Major. In A Minor.

This belongs either to C Major, or to A
Minor, according to its Resolution, as shewn
by the Directs. If, however, the Dominant
on E should require G natural instead of G
sharp (as shewn by the last Directs,) the Chord
becomes part of a Sequence, and the Minor
Mode of A changes.

323. IV. The extreme Flat Seventh* upon
G sharp in A Minor, formed of three Minor
Thirds.

q5:zzzzz|:zzzi:iZ!^z=zz

* Or equivc-cal Chord. Shield, p. 122.
Q

170 HI. HARMONY.

324. The Seventh, consisting of four Sounds,
zdmits of four different Positions ;* thus,

1st. 2d. 3d. 4th.

The first position is that of 3d, 5th, 7th, and
8th.

The second, of 5th, 7th, Sth, and 3d.
The third, of 7th, Sth, Sd, and 5the
The fourth, of Sth, 3d, 5th, and 7th.

These positions, like those of the Triad
(Art. 292, p. 152,) contain the Tenths Twelfth,
and Fourteenth of the Root, when the Third,
Fifths and Seventh, are taken above the
Octave.

* In general, the Octave to the Root is omitted, otherwise
a Chord of Jive Sounds would be employed ; a combination
seldom necessary. Pasquidi (Thorough Base, p. 20) has uni-
formly given the Chord of the Seventh full, with four Notes in
the Accompaniment; but this appears irregular, as three
Notes are generally sufficient. At a final Cadence, indeed,
the Doniinant may be taken thus, D, F, G, B, but then the
following Tonic ought to consist of C, E, G, C.

CHAP. U. DOMINANT SEVENTH. 171

SECT, n,— OF THE INVERSIONS OF THE DOMINANT
SEVENTH.

325. This Harmony, which consists of four
different Sounds, has, consequently, three In-
versions, besides its direct form of 3d, Jth,
and 7th, just described.

326. I. The Chord of the Fifth and Shth,
is the first Inversion of the Dominant Seventh,
when the lowest Note becomes the Thirds of
the Root. In Thorough Base, it is expressed
by a 5* under a 6 (to which the Third is un-
derstood,) and, in practice, the Octave of the
Base Note is omitted.

=EfEgr=|Ep=E;|z=gEj

6 6 6 6

7 5 5 5 5

:t=±=:?:=z=rz?:=:=z:tz=]

* It is often usual to omit the six, and to express this Chord
by a five singly, with the sti*oke throLigh it, thus i[, like the
sharp ^ (Alt. 297, p. 155;) and, as this alv/ays implies the
flat Fifth (Art. 163, p. 96,) the Sixth and the Third are con-
sequently understood. This Inversion is employed in the
Hailstone Chorus {Israel in Egypt,) and finishes the Sequence
of Sixths, to the words, " ran along upon the ground"

172 HI. HARMONY.

327. II. The Chord of the Third and
Fourth is the second Inversion of this Har-
mony, when the lowest Note becomes the
Fifth of the Root. It ought, according to
its derivation, to be expressed by a 3 under a 4
(to which the Sixth is understood ;) but, as the
Fourth* (or proper Root of the Harmony) is
not pleasing to the ear, it is usually omitted.
Thus, the Chord appears as a simple Sixth,
and also as the first Inversion of the Diatonic
Dissonant Triad, D, F, B.

zliEZ=i?^z=lp:iz:i=|==:l— r|— j

6 4

7 5 3 6 6

i — -in .g — :i — # ^ ^ — J

• 'b- ^ J

* Mattheson (Orch. i. 1713, p. 128,) rejects the Fourth from
among the Concords, and asserts its dissonant nature. Handel,
Corelli, &c. have uniformly omitted it in this Harmony. The
theory of the one, and the practice of the others, seem to be,
in this instance, justified, by the want of Melody in the in-
termediate part, when the Fourth is inserted. In modem
Music, however, this Inversion is used complete with consid-
erable success, when the Tonic Base both precedes and fol-
lows it See an admirable instance in the Opera of Mote-
zuma, by Sacchini, at the Chorus, " JVeWorrory p. 62, 65.

CHAP. 11. DOMI>fANT SEVENTH. 173

328. III. The Chord of the Second and
Fourth * is the third Inversion of this Har-
mony, when the lowest Note becomes the Dis-
cord, and the Triad commences on the next
Degree above. It is expressed by a 2 under a
4 (to which the 6tb is understood,) sometimes
by a 2 alone.

eEEEE=E;=E^Ep>EE>E;tEj

* As the third Inversion of the Dominant produces a very*
great effect, the compositions of the best Masters afford fi'equent
examples of its utihty. In the last Chorus of the Messiah
{Amen,) before the final pause, this Inversion of the Dominant
Harmony of A, upon the Base Note G, Is a remarkable instance
of the sublimity of Handel

174 in. HARMONY.

SECT. Ill— OF THE RESOLUTION OF THE DOMI-
NANT SEVENTH.

329. The descent of the part in which the
Dominant Seventh is found, is called its Res'
olution ; and, as before observed, (Art. 314,
p 166,) that descent is either a Tone or a
Semitone, according to the Mode.

330. This Resolution of the Seventh, occa-
sions two apparent irregularities,* viz.

I. The four Sounds of the Dominant, fol-
lowed by the three of the Triad ; in which the
last Harmony is weakened by two parts be-
coming Unison.^

^f=$^-

========i=3E3i3t

■=r?"H^^=^-

BE:?=~E:?EFEE?=:=E=E

* See the remarks cai Pasquali, in the Note, p. 170.

t The Unison parts are placed in the middle Staff, with Stems
turning both ways.

CHAP. II. DOMINANT SEVENTH. 175

11. The omission of the Fifth in the Tonic
Triad, when the antecedent Dominant is taken
without the Octave to the Base ; thus.

►=E|=r=^==^^==g=y

^==g— =:dz=z=£^=^=zz=|E=zii:J;

33 1. When, however, instead of the Octave,
the Fifth or Third of the Dominant itself is
omitted, the subsequent Triad can be taken
complete j thus,.

In all these Examples, the Minor Seventh
(or Subdominant of the Scale) descends j and
the Major Third of the Dominant (or leading
Note of the Scale) ascends.* (See Art. 315,
p. 166.)

* Rousseau, art. Sauver — Koch and Sulzer, art Aufibsung^
have written long and useful articles on this subject. See also
Shield, p. 69.

176 III HARMONY.

S32. Two instances also occur, when this
general rule of resolving the Seventh by the
descent of the Melody, is apparently neglected.

I. When, by license, the Base itself takes
the Resolution j*

Thiis, instead of

E^=#l^^

^EEgEEpE|=g;

6
4^

11. When, after the third Inversion (Art.
328, p. 173,) the Base, instead of descending
a Semitone, descends a Fourth to the Tonic,
and another part takes the Resolution ;

Thus, instead of

4 4

2 2 6

m^'Et^~~l^t^'E

■W-

* Kollmann, Essay qti Harmony, p. 38. Holden, p. 65.

CHAP. n. DOMINANT SEVENTH.

/ (

333. A more unusual license is taken in the
following Example, from what are called
Haydn's Sonatas, Op. 40,* where the Base
descends to the Root by the contrary motion^
and the Seventh is resolved by the intermediate
part, as shev/n by the Direct.

33;

i=i=Pi=i^3~fei— |:

S34. The same Base, in respect of the let-
ters, but in the direct motion (which may be
found in some attempts at Composition,) is
decidedly false, and ungrammatical (as at A ;)
although the very same Melody, on the Tonic
Base continued (as at B,) is frequently and
very properly employed.

CA)

(B)

-- — i=-

g:=|^:g~rr:

5~i— *--— i

* The two first of these three Scnatas were composed by
Pleyel, and only the last in G by Haydn.

178 HI. HARMONY.

335. Not only the Positions of the Domlbant
Seventh may be changed, but the Inversions
also may succeed each other, previous to its
Resolution.* Great care, however, must be
taken, in the arrangement of the parts, to pre-
vent transgressing tiie rules given, p. 15S.

SSQ, I. The Jirst Inversion, or Chord of the
Fifth and Sixths resolves by the Base ascending
a Semitone, as in the following Example (at A.)

II. The second^ or Chord of Third and Fourth^
resolves by the Base descending a Tone (as at
B ;) and,

IIL The third, or Chord of Second and Fourth,
resolves by the Base descending a Semitone (as
at C.)

(A) (B) (C)

^=EEE:==Ei=E:^EE:i^=EyE:

664^

337. The other Sevenths (p. 168,) when
used in Sequences, have similar Inversions ;
and the same method of Resolution is gene-
rally applicable to them all.

' * Rameau, p. 84.

CHAP. II. DOMINANT SEVENTH. 179

SECT. IV.— OF MODULATION.

338. As all changes of Key are known de-
cidedly by the use of the Dominant Seventh,
the different Modulations from both Scales will
be now explained.

Modulation from the Major Scale.

339. I. To the Scale of its Subdominant.
The principal^ and most simple change of Key,
is that which, by adding a Minor Seventh to
the Tonic, makes it a new Dominant ; and
hence the Subdominant becomes a new Tonic y
thus,

i=i=^;

340. This Modulation being continued,
forms a circle of descending Fifths * (or as-
cending Fourths,) of which the following series
is part :

M7 ^1 ^1

^wjit—'z—^:z':z—z—^—W—-z^
_s::rzzz?:ii:_:xz:?:z=rzi_zz=zz=:pEzd

b? b7 b7

Shield, p. 46, 78.

180 III. HARMONY.

341. IL To the Scale of its Dominant. The
second change is that which, by retaining the
Octave of the Tonic itself, as a Seventh, and
by making the Base ascend a Tone in grada-
tion,* descends from the Supertonic to the
original Dominant $ thus,

342. This Modulation being continued,
forms a circle of descending Fifths (or ascend-
ing Fourths,) of which the following series is
part :

7 7 7

^ !_ ^ ^

'^'

?E=iE~iE='EE?E^EJ

7 7 7

« _ , _ « «

r^—fL—t—i

S^S, These two Modulations are in continual
use ; the last, or Dominant change, in the for-
mer part of a Movement ; and the first, or
Subdominant change, towards the conclusion,
to restore the original Tonic. The Subdomi-

■ - - -

> Hoklen, p. 72, art. 210=

CHAP. 11. DOMINANT SEVENTH. 181

nant Modulation only requires two Roots, but
that of the Dominant requires three,

344. III. To the Scale of the Subdominant
or Relative Minor.*= The third change is that
in which the Base rises from the Tonic to the
Mediant ; and, making that a new Do7ninant^
by the addition of the Seventh, descends to the
Relative Minor Tonic.

345. A similar Modulation being continued,
forms a circle of Keys, in which the Major and
Relative Minor succeed each other alternately,
and of which the following series is part.

t)7

SZ^

— .— — —

•_—._.

This Modulation requires four Roots, pre-
vious to the alteration of its Signature ; but the
sudden addition of the Seventh (especially
after the Minor Tonic,) is rather harsh and
unexpected.

* Rameau, p. 67.
R

Ig2 m. H,\RMON\^

846. IV. To the Scale of the Mediant^ or
Relative Minor of the Dominant. The fourth
change is that which, through a previous Mod-
ulation into the Dominant, makes the origin^
Mediant a Tonic j thus.

TSL

** V

€ i. ■ -

- ^~

■■"' w

#--

.....

•■—

— .—

..J

347. V. To the Scale of the SuperiGmc, or
Relative Minor of the Subdominant. The
fifth change is that which, by making the
Submediant a Dominant, forms a new Scale on
the Supertonic j thus.

■*7

348. This change, although apparently
simple, is in reality very remote, as before ob-
served, Art. 309, p. J 62, and will be hereafter
more particularly considered.

CHAP. n. DOMINANT SE\EXTH. ISS

Modulation from the Minor Scale.

349. I. To the Scale of its Subdominant.
The principal change, like that in the Major
^lode (Art. 339, p. 179,) is made by adding
a Seventh to the Tonic, and sharpening its
Third, to form a new Dominant j thus.

350. 11. To the Scale of its Dominant. The
Hcond change requires an additional Harmony
(borrowed from the Sequence of Sevenths*) to
alter its Signature, previous to the use of the
new Dominant j thus,

This vriil be mere iully esplaiiied hereafter.

184 III. HARMONY.

351. III. To the Scale of its Mediant or
Relative Major. The third change is made by
the reversed Gradation,* or the descent of a
Tone J thus.

S52. IV. To the Scale of its Submediant.
The fourth change adds a Seventh to the Me-
diant, as in the Minor Modulation before
given, Art. 345, p. 181.

=^EF^

S53. V. To the Scale of its Seventh. The
ffth change, which is very unusual, is made
from the original Subdominant with a Major
Third j thus,

* Shield, p. 20. Diatonic Succession of Chords. Holden,
p. 72. Rameau, p. 116.

CHAP. n. DOMINANT SEVENTH. 185

354. Although no Modulation is complete
without the use of the Dominant Harmony,
which contains always one^ and in the Major
Mode both^ of the characteristic Notes of the
New Scale (see Articles 261, p. 140, and 3l5,
p. 1 66 ;) yet the order in which this Harmony
is given in the foregoing Examples, is not in
all cases necessary to be observed.

S55. Modulations are continually formed
from one Scale to another, by means of Tonic
Harmonies alone ^ but, in those instances, it is
proper to introduce the new Dominant as soon
as possible, to decide the Key ; otherwise, the
equivocal eflfect, before adduced (Art. 304,
p. 160,) would frequently occur.

356. The limits of the present Work will
not allow a more extensive consideration of
this important branch of Harmony. The
changes here given are the foundation of all
regular Modulation ; and, in the Chapter of
Licenses^ a more ample explanation of irregular
Modulation will be found.

186
CHAP. III.

OF DISCORDS.

Art. 357. Discords are used in Harmony,
either by Transition, Suspension, Syncopa-
tion,* or Addition.

SECT. I— DISCORDS OF TRANSITION.

358. Any Note which passes by one Degree
between the other Notes of the Triad, forms a
Discord of Transition ; and, if found on the
weak part of the Measure, is termed a passing
Note.

(Handel^ 4tb Sonata,^)

^=EcSESi

The following radical Base shews which are
the Discords of regular Transition, and which
are Concords, in the preceding Example.

fe:

* The Discords of Suspension and Syncopation must be reg-
ularly prepared, struck, and resolved (Art. 318, p. 167;) but
those of Transition and Addition require, as their names infiply,
5iO preparation.

t Dr. A. No. 47, p. 29.

CHAP. III. DISCORDS.

187

359. The Notes of irregular Transition are
found on the strong parts of the Measure, and
are called by the Germans, Changing Notes,
(Art. 106, p. 63.)

In the following Example, a particular in-
stance of irregular Transition occurs.

'^^^^mm

{Overture to the Messiah.)

_^ J y^

3ioi=:pz=ii:zii=z=Ez3iizEzz:p:i:zjEz:]

The last Note but one (viz. the F sharp) is
here taken as a Discord by irregular Transi-
tion, which the radical Base placed below de-
monstrates.

360. The Notes of regular and irregular
Transition are intermixed in the following
passage.

HI. HARMONY.

(Thus saith the Lord,*^

361. In modern Music, all the Discords of
Transition may be reduced to Appoggiaturas
or After-notes (Art. 105, p. 63.) Thus, the
Quavers in the following Phrase may be turned
into Crotchets preceded by Appoggiaturas.

(Pleyers Sonata 1 , to the Queen*)

Rondo.

i^iiii^iiJii

362. The reduction of this Phrase shews the
real Notes of the Harmony, and explains the
nature of irregular Transition,! in which Ap-
poggiaturas are always employed.

-X ± i

-e-

* Messiah, Dr. A. No. 6, p. 19.

t Morley observes (p. 81) concerning Passing Notes, that
it is impossible to ascend or descend in continual Deduction

CIL\P. III. DISCORDS.

189

363, When the Notes of Transition are pro-
longed, they appear as integral parts of the
Harmony, and are sometimes marked* with
the figures of Thorough Base ; thus,

(Corelliy Concerto Stb, Dr, Pepusch^s edition.)

f I I

iHiiiEife^

se±:

=.'^—:

without a Discord;" but he seems to condemn (p. 79) those
■which are now teraied Discords of irregular Transition. See
some excellent remarks on these Discords in Dr. Bumey, ii. 462.

* A stix)ke also drawn over the Notes, instead of the
figures, is used as a mark, to shew the continuance of the first
Harmony. Emanuel Bach (Versuch, 2d Part, p. 25) has pro-
posed several methods of distinguishing the Notes of irregu-
lar Transition from those of the Harn^ony. He prefers the
oblique stroke ; a specimen of which may be seen in Heck,
p. 12. Mr. Kollmann (Essay on Harmony, p. 50) has explained
the two kinds of Transition in the class of Accidental Chords.

1^90

HI. HARMONY.

These two intermediate Notes between the
Tonic and the Dominant descending, are Dis-
cords of regular and irregular Transition.
They are explained by an After-note and an
Appoggiatura, as in the following Example :

=±h—^±=t^z±z

364f. The same Base Passage (a Semitone
lower in D Major) is employed by Handel ; in
which the Notes are not transient, but each
bears its own proper Harmony, according to
the reversed Gr^idMon from the Dominant.*

(Hallelujah — Messiah.)

r r f ^

r-"-r

* The Hypotliatonic Cadence of Mercadier de Belesta
(1776, p. 28;) a progression which will ever remain claasical^
notwithstanding the objection of M. La Borde, and his re-
marks upon M. Levans, iii. 646, 654. (See also Lampe's Tho-
rough Bass (1737,) p. 26.)

CHAP. ni. DISCORDS. If 1

365, In passages of double Transition, par-
ticularly when regular, the slow time of the
Note does not affect the Harmony of the Root,
as in the second measure of the following Ex-
ample :

(He was bruised — Messiah,^

:p=(t:

1 ^ 5 6 6*5 9 8
^ 3 4 b3

4-k- — 13 J—

/7 5 u 9 8

^ 3 ^ b

366. in this passage, the Harmony of D flat
is succeeded by that of F, and the transient
Fourth and Sixth are unnoticed in the radical
Baseo

192

III. HARMONY

SECT. IL— DISCORDS OF SUSPENSION.*

1. Of the Fourth,^

367. The Fourth^ accompanied with the
Fifth and Eighth, is an Appoggiatura, con-
tinued in the place of the Thirds on the strong
part of the Measure. It is generally prepared,
and is resolved by descending one Degree.

(Corel! 1 9 Concerto 10, p. 140.)
43 43

§1111^1:11111

368. It has two Inversions, viz. the Second
and Fiftby which suspends the Sixth (Art. 295,

* While Ramcaii, iii France (1722,) was confusiiig his Sys-
tem "with a false Theory of these Discords, Fux^ at Vienna
(1725,) explained them in a few words, as simple Retardations
of the following Note: "Notas ligatas haud aliud esse, quam
Notse sequentis Retardationem." P. 70.

t This Chord, under the title of eleventh Heterodite (that
is, used only in part, or in an imperfect state,) makes a con-
spicuous figure in the Theory of Rameau. P. 41, 96, 98, 8cc.

CHAP. III. DISCORDS.

193

p. 154,) and the Fourth and Seventh^ which
suspends the Fourth and Sixth (Art. 298,
p. 156,) the two Inversions of the Triad.

1st Inversion.

2d Inversion.

EIBg^g-eE^EEE^j

II. Of the Ninth. "^^

369. The Ninths accompanied with the
Third and Fifth, is an Appoggiatura, conti-
nued in the place of the Eighth. It is, like
the Fourth, generally prepared, and always
resolved.*

* The intermixture of the Discords of Supsension with
those of Transition, is beautifully exemplified in the opening
cf Pergolesi's Stabat Mater. (See Mr. Shield, p. 66.)

1^94

m. HARMONY.

(Corelli^ Concerto lOtb, p. 140.)

I J

1-^iS-

=pr:±=p:=:p=r^=

pi_?-E:^-:i- -i--^

"^>

9 8

370. The double Suspensions of the Fourth
and Nintb, and of the Seventh and Ninth, fre-
quently occur. An early exainple is found in
€arissimi.*

K — !l-:H-i"P~-b»*--i —

* See his " Plorate filix Israel," pointed in Kircher, i. 604.
This passage is also used by Corelli, and bv Hanc'el, in Sam-
son, "Hear Jacob's God," ' Sec. Dr. B. iv. 146. Sir J. H.
Jv. 92. La B. iv. 460. (See also Rameaii, p. 97.)

CHAP. IIL DISCORDa

Ids

371. The Chord of the Ninth has two In-
versions ; one figured with a Seventh^ followed
by its Resolution the Sixth, on the Third of
the Root ; the other figured as Fifth and Sixths
on the Fifth of the Root.

372. The following Tonic Pedal or Organ-
point, is a very important study for the Chords
of Suspension.*

(0 the pleasure of the plains. ^y

I I

'3:±z=i=ii:4:irJeri;ii-zi=fc

iliiiiiiiiii

5— 6 — 5 — 4 — 3
43 5443 32 1

7 —
9 8 4 3 6 5

\ Radical Base.

* The Abbe Roze (see La Borde, torn. iii. p. 476) shews
clearly that these passages form a species cf Sufiiiosition^ in
which the Holding Note is not considered in the Radical Base,
art. 9, p. 482.

f Acis and Galatea. Dr. A. No. 28, p. 8. See a similar pas-
sage in the celebrated air of Vinci — " Vo solcando im mar
crudele." The remarks of Tarlini (p. 148) are also impoitant.

196 HI. HARMONY.

III. Of the Appoggiaturas of Suspension,

373. Although every Note of Suspension
may be reduced to an Appoggiatura,* yet, in
modern Music, some Notes are more particu-
larly used as such than others, and differ from
those just described by greater freedom in their
resolution.

374. Any part of the Dominant Seventh may
be retained on the Tonic Base, and afterward
proceed according to its proper motion, (Art.
33], p. 175.)

375. The Ninth also may resolve by ascend-
ing into the Tenth, and the sharp Seventh (or
leading Note) must resolve by ascending into
the Eighth.

* The opinion of Emanuel Bach is very decisive on this
subject ; he even agrees with Fux, &c. that all Ligatures and
Dissonances may be reduced to Appoggiaturas.

"Man kann alle Bindungen und Dissonantien auf diese
Vorschlage zuruck-fiihren." — Fersuc/i, p. 45.

This is, however, extending the term somewhat too far, as
the essential Sevenths of Kirnberger, which are used in the
Sequence of descending Fifths (Art. 383, p. 200,) cannot be
considered as Appoggiaturas {Verschlagc,) although they are
bound by the Ligature {Bindung.)

CHAP. m. DISCORDS.

197

376. In this ascending Resolution of the
Dominant Seventh, the figure of the suspended
Ninth often becomes a Second ;* thus,

377. In Diatonic Sequences, as will be
shewn hereafter, every Note of the Scale may-
bear single or double Suspensions.

All these Notes are nothing more than the
retardation or retention of a Sound, longer
than the duration of its own Root, upon a new
radical Base.f

* In modem Music, the whole H^nnony of the Dominant
is often retained m the place of the Tonic, and the radical
Base Note of the Tonic itself suspended tiU the latter part of
the Measure. This will be further explained in treating of the
ensure.

-j- That peculiar effect which is produced from an internal
Melody by the employment of Suspension, has been well de-
scribed by Rousseau, art. Unity of Melody. In this valuable ar-
ticle, while he wishes to exalt his favourite branch of Music,
Melody, at the expense of Harmony, he actually proves the
superiority of the latter, and praises these beautiful effects
which, without Harmony, could not exist.
S 2

198

III. HARMONY.

IV. Of Anticipation^ &c.

S78. When a Note is diminished by half its
value, and the following Degree . employed to
fill up its time upon the former Base, such
change is termed Anticipation. These antici-
pated Notes are considered wholly as relating
to Melody, and are not noticed by the figures
of Thorough Base.

|^ESEi|E|E:3=3E±=|4=i=33

379, In the foregoing example, taken from
the Lexicon of Kochf (article Vorausnahme^
the first Measure (A) contains the simple
Notes ; the second (B) shews the Anticipation
in**- Quavers; and the third (C) repeats the
same Anticipation in syncopated Notes.

* The term Anticifiation is used in a different sense by
Heck, p. 53.

t Anticipations are considered by Koch as After-notes,
■which may be tied on to the chief Note of the following
Melody.

CHAP. III. DISCORDS.

199

380. The Postpositions of Dr. Pepusch,* are
in reality nothing more than irregular Suspen-
sions, being the reverse of the Anticipations^
and used in the following manner :

^=Piii^E^=i

381. Many other Chords of Suspension may
be formed, by combining all the preceding in
different ways. Hence arise the Second and
Third,t the Sixth and Ninth, &c. &c. ; which
may be found in Kirnberger, Kollmann, Shield,
&c.

* Treatise on Harmony, IfSl, p. 49. '^Postposition^ or
Retardation of Harmony, is the putting a Discord upon the
accented part of the Bar, followed by a Concoixi on the next
unaccented part, but net prepared and resolved according to
the rules for Discords." Example 150, 131, 132.

t This Chord, which arises from a Suspension of the Base,
is described by Emanuel Bach, p. 91 ; Heck, p. 54 ; and Shield,
p. 50.

200 HI. HARMONY.

SECr. III.— DISCORDS OF SYNCOPATION.

S82. The Discords of Syncopation* only
differ from those of Suspension! by constitut-
ing part of the radical Harmony, and by not
being merely Appoggiaturas.

383. The Diatonic Sequence of Sevenths, is
one of the principal passages in which these
Discords are used.

j/^^ I r^ . ./"^ . ,

7 7 7 7 7 7

384. The German Authors, previous to the
writings of Kirnberger (1774,) seem to have
classed the Discords of Suspension with those

* The term Synco/iCy or Syncopation, signifies the division
or cutting through a Note by a Bar, or Accent expressed or un-
derstood.

t The term Susfiension is used in its most extensive sense in a
former article (p. 167, Art. 317,) for the purpose of shewing
the difference between prepared and unprepared Discords.

CIL\P. m. DISCORDS. 201

of Syncopation ;* but his arrangement of
Chords, into essential and accidental^ establishes
that difference between them which is adopted
in this Work.

SECT. IV.— DISCORDS OF ADDITION.

385. When any Discord which has not been
heard in the preceding Harmony, is united to
the perfect Triad, it is termed in this Work a
Discord of Addition,^

386. The Discords of Addition are the Sev-
enth^ the Ninths both on the Dominant j and
the Sixth on the Subdominant ; these are par-
ticularly useful in distinguishing those two
Harmonies from that of the Tonic.

I. Of the added Seventh.

387. The whole Second Chapter of this Part^
from p. 165 to 185, relates to the Dominant

* Heck places them together, p. 13 ; and Heck was well
versed in the Musical Literature of Germany.

f The Discords of Addition^ although implied in the writings
of Morley, p. 143; Simpson, p. 67; Pepusch, p. 40, 168, Sec.
were not fully established until IVIr. Holden's Essay appeared
in 1770. The term Addition is now adopted in France by
M. Langle (1801,.) but in a less extensive sense.

202 m. HARMONY.

Seventh, particularly Art. 317 r where the dif-
ference between the added and the transient
Seventh is shewn. The third Section, p. 174,
treats of its Resolution ♦ which term is equally-
applied to the descent of the Seventh, whether
used by Transition, Suspension, Syncopation,
or Addition.

IL Of the added Sixth.

388. As the Dominant Harmony is distin-
guished from that of the Tonic by its added
Seventh^ so the Subdominant is distinguished
from the Tonic, and from the Dominant, by
its added Sixth.*

389. Whenever the Melody of a single part
(as at A,) or the Harmony of the whole (as at
B,) requires it, the Subdominant may have its

* Theorists are divided m their opinions concerning the Root
of this Chord; but a great majority of Authors are in favour
of its derivation from the Second or Superionic of the Key.
(See Shield, p. 21, 22, &c. 8cc.)

Rameau seems to haAe been the first who classed it as a
theoretical Chord ; but Morley (p. 160, 2d edit.) gives a speci-
men of its practical use, and even allows it in Count er/ioint^
where Concords are chieHy employed. Holdcn follows D'Alem-
bert and Serre, and inclines to the doctrine of Double Funda-
mentals. Marpurg and Kirnberger unite in rejecting this Chord
as an addition, and both censure Rameau.

CHAP. m. DISCORDS.

20S

own Sixth (or Supertonic of the Scale) added
to its Triad,

(A) (A)

^=z^:izz?zz?^:iz:^zz?;izztz:t±ri:zdJ

6 5

©-+-

Sixth added for the Melody.

(B)

'■B^ —

-e —

^^ilHI^I

Sixth added for tlie Harmoni/.

390. The Fifth and Sixth on the Subdomi-
nant may be prepared by the Tonic, by the
Submediant, or by the Dominant,* as radical
Bases ; thus,

* The preparation of the added Sixth by the Dominant, is
found in the final Cadence of Steffani's Motet, Qui diiigit

204

III. HARMONY.

S=ii^ eIPe ii=l^

'D
6

D
6
5

•a-

By the i on/c. By the Submediant. By the Dominant,

S91. This Discord may resolve two ways,
VIZ. into the Tonic (on its second Inversiony)
or into the Dominant Harmony.*

— rozziizzDzz::

) — p. ^ —

a— *~e —

6 6

5 4

lEpElilEJ

^EEiE|EgEj iEElEl^^

Added Sixth. Tonic.

Added Sixth. Dominant.

392. The Inversions of this Harmony are
seldom used ; one instance, however, occurs
in Handel's Overture to Esther.

* Rameau has resolved it also into the Tonic Base, as an
irregular Cadence. (See also Playford (1700,) p. 163.)

CHAP. in. DISCORDS.

y r ■ I \.^^^

393. When this Harmony appears in the
form of a Seventh on the Supertonic, it fre-
quently constitutes part of the Diatonic Se-
quence of Sevenths, and, as such, may be ac-
counted radical^ like the diminished Triad of
Kirnberger.

7 7

6 7 7

^IpHip^Hi

206 ni. HARMONY.

394. Rameau"^' estimates the Root of this
Harmony by its Resolution, calling it D when
followed by G, and F when followed by C.
Heck t considers it as a compound of both the
Harmonies of D and of F. Dr. Boyce (in his
MSS.) and with him the Author of this Work,
thinks, that the Root is decided by the Scale
of the Key in which it is found ; thus.

._j^_j_g__g_^_^zjj=gz|-^=g:J=o=B

7 1

D in A Minor. F in C Major.

395. Koch, in his Lexicon (art. Verbindungs
Accord,) has placed his accidental \ Harmonies

* Rousseau, Art. Double Emfiloi.

t Heck, p. 74, says, "The ascending Fourth of the Scale bears
its own natural Harmony with an additional Sixth, in order to
prepare the succeeding Fifth, and is thus compounded of two
common Chords, tliat dL D and F."

X Koch terms the three Harmonies of the Key essentia^ and
the thi-ee relatives accidental, (See before^ Art. 305, p. 160.)

CHAT. ffl. DISCORDS. 207

in a different point of view. He considers
them as connecting Chords, and seems to agree
with Kirnberger,* who asserts that, by a spe-
cies of Transition, the Harmony of the Triad
is thus united to another of its Inversions.

* r "P"

6 &

5 4

In these Examples, the middle Harmony is
said to pass^ or to be wholly transient.

396. Which of these opinions is nearest the
truth, the Author does not at present presume
to decide ; but the consideration of the Minor
Mode with the imperfect Fifth on its Super-
tonic B, authorizes him to assert, that the sys-

* See Kirnberger (die wahren Grundsatze, p. 34.)
Heck thinks that the Seventh used by Transition (as in this^
passage) does not resolve at all (p. 14.)

Keeble also (p. 90) has accounted for this Seventh in a
imilar manner, under the name of Extaision.

208

III. HARMONY.

tern which makes that Note a radical Base,
cannot be true.

A Minor.

izzzo:

--r

7 ^

:^.——z—ii

III. 0/ /Z'^ added Ninth*

397. "When to the Chord of the Dominant
Seventh, the Ninth is also joined, a Chord of
five Sounds is formed. It rises from the Root
by regular Thirds,! in the following manner :

-Q- -Q-

Iii C Major. In A Minor.

* M. Langle (Nouvelle Methode pour chifFrer les Accords,
Paris, 1801,) has completely overthrown the doctrine of Ra-
meau concerning Supposition, and the absurdity of imagining
Sounds wide?' a fundamental Base.

t The constmction of all Chords by uniting Thirds, was a
favourite notion of Rameau's ; it has had some success ; but

CHAR itL DISCORDS. 209

398. This Harmony being generally used in
four parts, the radical Base is commonly omit-
ted ; for the leading Note is always sufficiently
powerful to guide the ear to its proper Root.
In this form, the two Chords have been already
described, x^rt. 322, and 323, p. 169.

399. The added Ninth* of the Dominant is
really the Submediant of the Scale, or Sixth
from the Tonic ; it is consequently Major in
the Major Mode, and Minor in the Minor
Mode. Thus, although there is but one
added Seventh^ there are two added Ninths.

400. The omission of the Root forms a
Chord of the Seventh (Art. 322, p. 169) on

the simplicity of Kiraberger*s system of Suspension has
evinced its fallacy, particularly in the Chords of the Fourth
and Ninth. Marpurg extended it beyond the Chord of the
Eleventh to that of the Thirteenth ; but it will not be easy to find
examples to justify any addition after the Mnth.

* Mr. Kollmann (Essay on Harmon^-, p. 43) tei-ms this
Ninth a Suspension of the original fundamental Note. Such is
also the System of Kiruberger (p. 19 ;) but the Nomenclature
is defective, since the above Harmony is used generally with-
out preparation, and in some instances actually rises fron%
the Dominant by thirds. See Handel's Chorus in Israel in
Egypt. — '* The Jieofile shall hear,^^ at the words, " till thy fteofilc
fiass over.'^ — See also the opening of Haydn's celebrated Overture
in D, composed for Bach and Abel's Concerts; where, upon
a Dominant Pedal Base, the Fourth is suspended, and the
.Vinth added. ,,

T 2

210 III. HARMONY.

the Leading Note, which may be known from
the other Sevenths (either of the Sequence or
of Suspension) by its resolution into the Tonic.
It may sometimes be prepared, but is generally
used without preparation.

<H 1-

7 7 .

— a-+ — " — -H — ^ d

Prepared. Unprepared.

401. None of the Inversions of this Seventh
are employed in the Major Scale, but all are
used in that of the Minor.

402. This Chord has been considered as a
combination of the Dominant and Subdomi-
nant Harmonies, since it contains the B and
D of the former, and the A and F of the latter,
while the resolution of D and F falls on the
same Note.*

* This explanation of tlie Chord corresponds with the sys-
tem of M. Bemetzrieder, whose Calis (Appels) are precisely
the four Sounds of this Harmony. Legons de Clavecin,

CHAP. UL DISCORDa 211

Dominant. Subdominant. Union. of both.

403. It is observable, that the above com-
bination of Sounds includes every Note of the
Scale, excepting the three Notes of the Triad
on the Tonic, and that it also decides the
Mode of the Scale, since the Sixth or Subme-
diant is part of the Chord of the Subdominant,
which is Major or Minor, according to the Key
(Art. 399, p. 209.)

404. The same Chord in the Minor Mode,
consists of three Minor Thirds ;* and its ex-
treme Notes are the sharp Seventh and Minor
Sixth of the Scale. It is of such great impor-
tance in modern Music, that it is termed the di-
minished Seventh (Art. 323, p. 169,) or Equiv-
ocal Chord. In the resolution of its parts, it

p. 220, Paris, 1771. Translation by Bernard, 1778, (p. 317.)
The union of these two Harmonies, G and F^ is a system far
more plausible than the combination of D and F in the added
Sixth (Art. 394, p. 206.)

* Rameau, p. 100, terms this Harmony a bor rowed Chord,
because the Dominant " lends her Fundamental to the sixth
Note of Minor Keys." This explanation is very obscure,
although it is finally reducible to the theory of Kimberger.
(See Art. 399, p. 209.)

212

III. HARMONY.

conforms to that of the Major Chord in the
last Example (Art. 402, p. 2iO.)

:§:

}-m

405. This Harmony has a great advantage
over the former (Art. 402,) since it decides the
Key ; for the Harmony of B v^ith a Seventh,
may be in A Minor or in C Major.

:5:=:-J:i;1:=q:i:

u:ct::3

It:

Added Sixth.
Radical Base D.

Added Ninth.
Radical Base G.

Added Ninth.
Radical Base E.

But the Seventh of G sharp can only be
found in the Key of A Minor.*

406. The radical Base of this Chord may
be found in extreme Modulations by two
methods.

I. By the Major Third below the last Sharp.

II. By the Semitone below the last Flat.

* J^ce the Note in the preceding page.

CHAP. in. DISCORDS. 2 1 3

When Naturals occur, the observations con-
cerning them (Art. 97, p. 57) must be strictly
regarded.

407. This Chord is not only considered as a
direct Harmony, but all its three Inversions
are occasionally employed.

"tSsCJ Vf!\

6 6

i§ 41- 4

7 5 3 ^2

Supposed First Second Third

Radical. Inversion. Inversion. Inversion.

408. In those Keys where the Clef does not
agree with the Modulation, the second Inver-
sion* requires a Flat or Natural under the
sharp Fourth.

* The effect of this Harmony is truly sublime in HandeFs
Deborah. See the first Chorus, "immortal Lord," at th-e
words, " whose anger, when it awful glows,"

214

IH. HARMONY.

-m

- - - -y j- t-

4f
« b 6

iaigEli^^g^^iisfl

409. These two Chords of the added Ninth
have been termed Chords of Major and of Mi-
nor Substitution ;* since they are considered
as derived from 'the Dominant Seventh, by
substituting the Ninth in the place of the
Eighth,

They are also styled Chords of borrowed
Harmony ; since the Seventh and Ninth are

* The Abbe Roussier (Traite des Accords, 1764, p. 158)
seems to employ the terms Substitution and borrowed Harmony
{Emprunt) as Synonymes. Neither term is found, as an ar-
ticle in the Dictionary of Rousseau. (See Holden, p. 100.)

The principle of Supposition, from which Rameau has
deduced these Chords, by placing Sounds below the Funda-
mental, is now (except in Pedal Harmonies) deservedly foi'-
gotten.

CHAP. m. DISCORDS. 21 S

supposed to be derived or borrowed from the
Subdominant.*

4 1 0. All these Chords are liable to have any
of their Sounds suspended on the following
Tonic Harmony; and hence arise many fig-
ured Bases, too numerous to be inserted within
the limits of the present Work.

"^ Mrs. Gunn (Introduction to Music, 1803, p. 207, 209) h^s
given this explanation ©f borrowed Hannony^ which differs from
the original idea of Rameau, although it is not inapplicable te
the combination. (See Art. 402, p. 210.)

216
CHAP. IV.

OF CADENCES.

Art. 411. A Cadence * in Harmony consists
of two distinct Chords (the last of which is
generally accented,) and is used to terminate
the Sections and Periods of Musical Rhythm.

SEx3T. I.~OF RADICAL CADENCES.

412. When the Bases of both Chords are the
Roots of their respective Triads, the Cadence
is termed Radical; and, of these radical Ca-
dences, there are four in general use, the Per-
fect, Imperfect, False, and Mixt ;t to these
may be added the Flagal or Church Cadence,
which is only a variation of the Imperfect j
and the Authentic^ which is only the ancient
term for the Perfect,

* The term Cadence was formerly applied to the final Melody
of a Musical Close. See Morley, p. 73, and Butler, p. 66. The
Germans adopted the Latin word Clausula in the same sense.
See Walther's Lexicon, 1732, p. 171.

t Sec the origin of the Cadences before explained. Art 310^
p. 162.

CHAP. IV. CADENCEa 21 V

413. I. The Perfect Cadence* consists of

the Dominant Harmony, followed by that of
the Tonic j thus.

^ ^9 + 2=

B=^i

^3s^ \—a— ^ —

In C Major. In A Minor.

The first or leading Harmony is always
Major.

414. II. The Imperfect Cadencef consists
of the Tonic, followed by the Dominant with-
out its added Seventh, and is the former Ca-
dence revefsed,

* See Rameau, p. 38, of the perfect Cadence.

t This is tei-med by Rameau (p. 43,) the irregular Cadence,
and he wishes extremely to have the Sixth added to tlie lead-
ing Chord. This fancied impixDvement has been, with g^at
propriety, rejected by subsequent Theorists. See Kimberger,
Die Kunst, p. 97 ; and Kollmann, Essay on Harmoi^y, p. 59.

:218 in. HARMONY.

lEEfekp S=i=lii^

■o- _ ^

B=E=I^ ^^

In C Major. In A Minor.

The second or final Harmony is always
Major.

4 J 5. III. The False Cadence* consists of
the Dominant, followed by the Submediant (in
Diatonic Gradation) taken in the place of the
Tonic. In the Major Mode, this Cadence
forms the Interval of a Tone ; in the Minor
Mode, only a Semitone; and it is used instead
of the perfect Cadence, from which it is de-
rived.

In C Major. In A Minor.

* The false or flying Cadence is placed by Rameau (p. 87)
among the Licenses.

CHAP. IV. CADENCES. 219

416. IV. The Mixf Cadence* is the Direct
Gradation of the Subdominant to the Domi-
nant, and is used instead of the imperfect Ca-
dence, from which it is derived.

yy^ Ie

eEEiE

^1^ OEEjEI^

111 C Major. In A Minor,

417. The Plagal Cadencef only differs from
the Imperfect as to its place in the Scale, be-
ing the progression of the Subdominant to the
Tonic. This is used as a final Cadence in
Church Music, particularly in the Hallelujah

* Tartini, p. 102. Rameau has also mentioned another
Cadence, which he terms interrupted {biterromfiuey) from the
Dominant to the Mediant. (Code de la Musique, 1760*
p. 88.) — Of this progression at a RJiythmic Close there are
few, if any, practical examples.

t This is tlie Cadenza Aritmetica of Tartini, p. 103. For the
etymology of the terms Plagal 2l\\6. Authentic^ see Dr. Bumey,
ii. 13. See also the Rev. Mr. Jones of Nayland's Treatise
(ir84,) p. 20 ; and the Cadence he alludes to in Dr. B. ii. 484.

220

in. HARMONY

Chorus, Messiah, and in the Coronation An-
them, Zadock the Priest.

—e

SEEi;

In A Minor.

In C Majca*.

The final Chord of this is always Major.*

418. The Authentic Cadence is the same as
the Perfect (Art. 413, p. 217,) and is only
so
(See Art. 177, p. 102.)

termed in contradistinction to the Pla^al.

* Hence arises the necessity of varying the Third of the last
Harmony in the Minor Mode, and of changing it to the Ma-
jor Third. Dr. B. iii. 114. See also the observations of Mr.
Shield, p. 40. Formerly it was usual to terminate eveiy piece
of Music with the Major Third, whatever might be the CSi-

deiice. (See Pad:^ INlartini, Saggio 1, p. 14, 23.)

CHAP. IV. CADENC^ 221

^GT. IL-jOF medial CADENCES.

419. When the leading Harmony of any
Cadence is not radical, but inverted, the Ca-
dence is, in this Work, termed Medial^ and
is used to express an incomplete Close.

420. L Cadence of the Leading Note.-^
This is the first Inversion of the Dominant,
and is used instead of the perfect Cadence.*

^giiiSgg

6 5 4 6

5 6 3 2 5

421. II. Cadence of the Sharp Sixth. —
This is the second Inversion of the Dominant,
and is sometimes used as a final Cadence on

* See examples of all these Cadences in Handel's Judas Mac-
cabsus, "We worship God." Dr. A, No. 42, p. 144.

222 III. HARMONY.

the Tonic, as in No7i Nobis Domine ;* but more
generally on the Sixth of the descending
Scale, when it commonly bears a suspended
Seventh.

s:=:dr:

6 6 6 1^

l^^Hi^iii

422. III. Cadence of the Major or Minor
Sixth » — ^This is the first Inversion of the mixt
Cadence, and is chiefly used in the Minor
Mode. It is also liable to the antecedent Sus-
pension of the Seventh.

* Dr. B. il 305. iii. 92. Sir J. H. iil 289.

CHAP. IV. CADENCES.

22S

-©- VC(0 I III

=i==i:^:=5j=dzi=dr=i=iri~o:=M
-rg-rt— e:-ji — P-f-p g^-T:^§:Tfl

iiHieiiliiii

7 6

423. These Cadences may also become pro-
tracted^ by using other Harmonies on the Dom-
inant. Thus is formed what Dr. Pepusch calk
the Grand Cadence.*

5 6 5 5
3 4 4 3

::ziz=q:

424. To these may be added those decep-

* Godfrey Keller (1731, p. 161) caUs the 5th and 4th Cadence,
common; the 6th and 4th Cadence bears its own name; and
that given in the Example above, is called the Great Cadence.
(See Dr. Pepusch, p. 55.)

224

III. HARMONY.

iive^ Cadences, which, by varying the final
Chord, avoid the final Close.

6 5

4 S 6

6 5
4 3 6

* Antoniotto, p. 99,

225

CHAP. V,

QF SEQUEJVCES.

Art. 425. Any similar succession of Chords
in the same Scale, ascending or descending
diatonically, is, in this Work, termed a Se-
quence,*

426. All Sequences are particularly distin-
guished by the irregularity of making the
Leading Note a temporary Root, to avoid Mod-
ulation out of the original Scale.

I. Of Dominant Sequences.

427. The principal descending Sequence is
that of Sevenths ;t an example of which has
been already given (Art. SS2^ p. 200,) derived
from the progression of rising Fourths and
falling Fifths in the Dominant Motion (Art,
312, p. 164.)

* The great distinction between a Sequence and a Modu-
lation, consists in the Scale or Key remaining unaltered in the
Sequence, and being changed in the Modulation. (See Art.
303, p. 160.)

t Dr. Bumey calls it a chain of Sevenths, ii. 217. Tlie
term Sequence was probably fii'st employed by Pasquaii. It is
found in Rameau (p. 10,) in. the more extensive sense of Pre-
gi'ession.

226

III. HARMONY.

n. Of Mediant Sequences,

428. The principal ascending Sequence is
that known by a 5 followed by a 6, on a grad-
ual Progression of the Diatonic Scale. It is
derived from the Mediant Progression (Art,
312, p. 164.)

In this, and the following Examples, the
Directs shew the Radical Base.

-Q — i: — D — I — H — I 3

5 Q

5 6

?ES^^iiiSeg3E^^^

5 6

\v- —

g===d=I=cl=~^=T

E^iE?EiEEBEg

5 Q 5 6

3E~:E5riE^:!£t

-^-JA^.Q-,

111

CHAP. V. SEQUENCES. 227

This Sequence, like that of Sevenths, ad-
mits of the Leading Note,* as a temporary-
Root ;t and it seems to have been for the sake
of elucidating these passages, that Kirnberger
and Kollmann have admitted the diminished
Triad among the consonant Harmonies.

III. Of Inverted Sequences.

429. The principal inverted Sequences are
those derived from the Sequence of Sevenths \\
and of these, the most usual is that of a 7,
followed by a 6 on the gradual descending Pro-
gression of the Scale,

* Art. 255, p. 137.

t Nothing but the rhythmical arrangement of the passage,
which divides every Semibreve into two Roots, permits this
departure from the first principles of Harmony, viz. that
every radical Base must bear a perfect Fifth (Art. 291, p. 152,)
and that all Melodies belong to the three Chords of the Key
(Art. 305, p. 160.) These two Rules are liable to no excep-
tions, except what arise from the nature of the Sequences and
the Licenses. Dr. Boyce, in his Air of " Softly rise," has used.
this Sequence v^ith great effect. Shield, p. 74.

:j: This may also be considered as a simple Sequence of
Sixths, v,'ith Suspensions of the Sevenths; and, iu Hke man-
ner, the ascending Sequence of Fifth and Sixth may be ex-
plained by Anticipation. (See Art. 378, p^ 198.) In Mr.
Koiimann's Essay, p. 49, the Sequences are thus explained.

228

HI. HARMONY.

__^„:^-^:i:^J^-.,J_-^-,^d--^\

-e

:sz:

5 6

-e-

7 6 Y 6 7 6

.Q ^ ©

izzzE?— L~§?=y=a~zi==i-fl

7 6

'^ -^- -W- -—r

430. It is not unusual, in the first Inversion
ef the Sequence of Sevenths (that of the Fifth
and Sixth,) to leave every other Harmony as a
simple Triad, in the following manner :

CHAP. V. SEQUENCES.

229

PSlii^igll

'=^*=F=F^=F

-P-P-T-S

^^^..

'-^•

-AV^

IV. Of Simple Sequences.

431. A descending Scale may also be ac-
companied by a simple Sequence of Sixths
alone. The Theory of this Progression is in-
volved in some difEculty ;* but the uniform
Practice of Authors, both ancient and modern,
has established its use.

* Rameau observes of this Sequence (p. 90,) that Zarlino
expressly forbids it (Istitu. Hannoniche, edit. \57o, p. 291 ;)
but its high antiquity, and its great effect in Modem Music,
render it classical, notwithstanding the defect of the false Har-
mony on D, derived from the imperfect Triad of B (Art. 28T,
p. 149.) See Dr. B. ii. 76. Lampe, p. 39. Shield, p. 66, &c.

230

in. HARMONY.

Q) — I — f-i 1 — -t--! P— {— -e — p-f Jj

6 6 6

^^m^^^m^

432. The same series may take place ascend-
ing ; and the effect is nearly that of the Me-
dial Sequence of 5 and 6, as the preceding
series of the descending Scale resembles the
inverted Sequence of 7 and 6.

6 6

, P :§:__

CHAP. V. SEQUENCES.

231

V. Of Compound Sequences.

4B3, Compound Sequences are those wliicli
by employing the Chords of Suspension, change
their Harmonies on the alternate Base. 0£
these there are various kinds : one of the prin-
cipal is that of descending Thirds with alter-
nate Ninths J* thus.

H— r-H I^T- H l-T-H i-T--H T '. ;-

434. These Sequences also may be doubly
compounded, and then bear double Suspen-

sions.

Shield, p. 30.

232

IIL HARMONY.

I I

-MiTi^

9 5 9 5

4 3 4 3

9 5 9 5

7 3 7 3

435. To these may be added the partial Se-
quences of two similar Harmonies, frequently
found in Handel, &c. 5 thus.

6 6

5 5

4 4
2 2

eHii^gg^lP

CHAP. V. SEQUENCES.

2SS

VI. Of Irregular Sequetices.

436. It is not unusual to find an ascending

Scale accompanied with 7 and 6, with 9 and 8,

9 8

or with their Compounds ^ and . which form

irregular Sequences.* These Chords belong
regularly to a descending Series.

7 6 7 6

^EEE

E?ElEpEE§EE

' 'w-v-j-i

=ZD=i=3ti:*=*:*

— e —

,^~r-=—

9 8 9 8

< /: iiniz^zzzzp :

* Lampe, p. 37, gives an example of these Sequences, in
which, by the contran'- motion, the necessity of dividing the
last Harmony is avoided.

\V 2

234 IW- HARMONY.

In these Sequences, the unaccented Harmony
must be divided in half, after the Resolution of
the Discord, to prepare the following one, as in
the antecedent Example ; the 7th is then pre-
pared by the 8th, and the 9th by the 10th.*

* That the present Classification cannot comprehend all the
Sequences which have been or can be invented, is sufficiently
obvious. (See Shield, p. 10, 6cc. &c.)

235
CHAP. VL

OF LICEJVSES,
SECT. L—OF PEDAL HARMONIES.

Art. 437. When the Dominant Harmony is
taken unprepared upon the Tonic Base as a
holding Note, whether preceded by the Tonic
or by the Subdominant Harmony, the passage
is termed a Tonic Pedal Note or Organ Point.

~t— r — 1 i-T- T,

a 7

3 4

^=2z: J:^o=||=:d:^ J=o=:: '^=5-=^ j j

In the Chord of 4 the Dominant Note itself
2,
is generally omitted, for reasons before given
(Art. 327, p. 172;) and the Chord appears
(independent of the holding Base) like that of
the sharp Sixth on the Supertonic.

236 ni. HARMONY.

438. When also any Chords, or Sequences^
are taken upon the Dominant Base, as a hold-
ing Note, a similar passage is formed ; and the
Base then also becomes a Dominant Pedal Note
or Organ Points

439. Not only the simple Dominant, but its
compound derivative, the added Ninth (Art.
397, p. 203,) may be taken on a Tonic Pedal.
Hence arises the Chord of the Sixth and Sev-
enth^ or the Thirteenth of Marpurg.* This is
used in the Minor Mode on the Tonic, and
sometimes, by extreme License, on the Domi-
nant.

8 ^7 8 8 §^7

5 6 5 5 6

3 4 3 $$4

* Marpurg's aiTangement of Chords, into the Consonant
Triads, Dissonant Triads, and Sevenths, in i\\t, first class, and
into the Nmth, Eleventh, and Thirteenth, in the second class,
is clearly explained by Turk {General Base, 1791,) p. 98, 100.

CHAP. VI. LICENSES. 2S*r

440. Not only these, but any other Chords,
whether of Suspension, Sequence, &c. &c.
may be taken on the Tonic, or the Dominant,
as a Pedal Base ; and some instances occur, in
which these Sounds may be retained in a supe-
rior part, as in the following Example from-
Mozart, Op. 11.

SECT. II.— OF THE EXTREME SHARP SIXTH.

441. When, upon the first inversion of the
mixt Cadence (Art. 422, p. 222,) the Sixth of
the Submediant (or Fourth of the Scale) is ac-
cidentally sharpened, the Chord of the extreme-
sharp Sixths is formed.

* See Art. 297, p. 155. Rousseau asserts, that this Har-
mony is never inverted. Framery (Art. Accord,) has shewn,
from a Passione of Paisiello, that its inversion may be used :
and we have an example in Weldon's x\nthem, "Hear mv cry
i»g." Dr. Boyce, Cath. Music, U. 218.

238

HI. HARMONY.

This Harmony, when accompanied simply
by the Third, has been termed the Italian
Sixth,

i=f©— il

:dzz:

Root B.

By this alteration of the Fourth, the Species
of Cadence is changed, from the first Inversion
of the Mixt to the second Inversion of the
Perfect (Art. 421, p. 221 5) and it is consid-
ered as a License, because the Root bears a
flat Fifth, while at the same time the Third
continues Major.

The radical Base, therefore, of the extreme
sharp Sixth, is the Supertonic of the Key ; and
its Fifth is allowed to be defective, that the orig-
inal Minor Mode may not be totally destroyed.

442. When to the simple combination of
the Italian Sixth the Root itself is annexed, a
Chord of Thirds Fourth^ and Sixth is formed ;
and, as this Harmony is only found in the

CHAP. VI. LICENSES.

239

Theory of Rameau, it may be properly termed
the French Sixth.

Root B,

443. A Harmony still more remote, but ex°
tremely powerful, is formed upon this Chord,
by inserting the added Ninth on the Root, as a
supposed Dominant to the real one.

This occurs with great effect in the writings
of Graun, &c.* and therefore may be called
the German Sixth,

* See tlie example in Shield, p. 36. The Music of France,
Italy, and Germany, cannot be illustrated in a smaller com-
pass than by the use of these three Chords. The feebleness
of the French Sixth, compared 'vvith the elegance of the Ital-
ian, and the strength of tlie German, leaves no doubt of their
superior excellence. The admirable genius of Graun knew
%vhen to employ Italian sweetness, and when to change it for
German force.

240

MI. HARMONY.

:=rig:ri~:a:rzM

6 5
4 §$

Root B.

It requires, however, a continuation of its
Third and Fifth on the Dominant Base (as a
new Fourth and Sixth,) to prevent the consecu-
tive Fifths.

SECT. III.— OF PARTIAL MODULATION.

444, Whenever the Dominant and Tonic of
a new Key are employed without the Subdomi-
nant Harmony, such change constitutes a par--
iial Modulation.

445. One change of this kind arises when
the Seventh of the Major Mode is flattened, and
the Modulation returns again through the
Leading Note to the Tonic j thus,

CHAP. VI. LICENSES.

241

8 7b 3 4t- 6 6 5

4 3

446. Another change towards the Dominant
is also frequently used ; thus.

i^iiE|iiiliiii|

4^ 6

Many other changes occur, to the relative
Minor (or Submediant,) to the Mediant, to the
Supertonic, &c. some of which are peculiar to
the Music of the last forty years.

242 III. HARMQNY.

SECT. IV—OF THE RULE OF THE OCT AVE.

447. It may appear singular to class this
celebrated Progression among Musical Li-
censes ;* but, as the descending Scale equally
includes a partial Modulation, and rejects
the original Subdominant Harmony, so essen-
tial to the constituent parts of the Key (Art.
305, p. 160,) the propriety of the classifica-
tion appears obvious to the Author of this
Work.

448. When a Diatonic Scale in the Base is
accompanied with Harmony according to this
Rule, the Roots, and their Inversions,! are thus
intermixed :

* Rousseau ascribes the invention of this Rule to de Laire,
1-710. See his Art. Regie de V Octave.

t In the Minor Mode, when the accidental Scale is em-
ployed, the Sixth must be sharpened.

CHAP. VI. LICENSES. 24:

Ascending Scale.

r— e-

4 6 f

3 6 5 6 '^

3E=SEi^E!^^

iDzzHiziizizizmr:

'J Radical Base

.A^A aV^ Q — •

449. The descending Scale makes a partial
Modulation into the Dominant, like that given
m Art. 446, p. 241.

Descending Scale.

9 — e — e— 5g;n— e^^Q — e— e

6 g. 4 6 6

4 2 4

3 3

-e

-Q-

The Directs placed over F, on the Snpertonic, shew thf

244 KI. HARMONY..

450. In the Minor Mode, the Inversion of
the mixt Cadence takes place, which, in modern
Music, is generally varied by the Italian Sixth.

The Directs mark the Roots of the Chords.

6 6

I j^ — e — n — ;::: t-©"

-A*/- -A\^- '-A>^- -aV^-

The remainder of the Scale coincides with
that of the Major Mode.

451. Although this Scale is given in the
above form by most of the Theoretical Wri-
ters, yet, in practical Music, such is the prev-
alence of partial Modulations, varied Se-
quences, &c. that the Rule is not often found
complete.*

fimdamental Bases of the French Theorists. The Hyperdia-
tonic Cadence of Mercadier de Belesta, p. 27, coincides with
tlie under Notes.

* See a striking instance in the Scales of Emanuel Bach,
p3iven by Mr. Shield, p. 82. Geminiani also (Art of Accomp.
Op. 11) very strongly objects to these Rules, because " they
are uncertain and precarious." The Example before adduced
(Art. 363, p. 189,) shews that the descending Scale may be
extremely varied, and that it may employ an Inversion of the
Subdominant Harmony with great effect .

CHAP.Vr. LICENSES. 2^

SECT, v.— OF CHROMATIC MODULATION.

452, When the Chromatic Semitones are in-
troduced between the Notes of the Diatonic
Scale, Chromatic Modulation is formed, in
which the Key is continually, although par-
tially, changing,

453. As the Diatonic Sequence of Sevenths
is used to avoid Modulation, so a Chromatic
Sequence of Sevenths consists of Dominants
alone, and the Scale changes at every Chord i
thus,

fci7 fci7 lq7 bi7
$$ ^ « $$ ^7

This Sequence forms a descending Chromatic
Scale.

X 2

246 m. HARMONY.

454. In a similar manner may be formed au
ascending Chromatic Sequence, derived from
that of 5 and 6 ; thus,

i3E5iE^EEiE?gE^

~a:

This also makes a partial change at every
other Harmony.

455. In Modern Music, a species of Chro-
matic Transition is employed, in which the
Semitones occur, not as parts of the radical
Harmony, but as Appoggiaturas, After-notes,
or Acciaccaturas.*

456. The following Examples, from the
celebrated Opera of Mosart^ the Zauberflote,
are instances of Chromatic Appoggiaturas.

* Geminiani (Treatise on Good Tat e, 1749, p. 4,) asserts,
that the Jcciaccature had been then in use above an hundred

CHAP. \X LICENSES.

(" Wie stark ist nicht")

247'

I _ J' ■ E.._

(" SchneUe Fusse.")

m X-- —

^pii^^a^^i:

457. The Acciaccaiura or Half Beat, is also
used with great effect in a Terzett, from tHe-
same piece.*

(" Seyd uns zum zweytenmal.")

SECT. VI.— OF ENHARMONIC MODULATION.

458. The last and most difficult branch of
Harmony, is that which arises from the sud-
den change of Key made by the Enharmonic
Diesis (Art. 214, p. 119.)

459. When any one of the Sounds of the
equivocal Chord (Art. 323, p. 169) is called by

* The Half Beat may also, in some few instances, I^e found
on the Semitone above, taken- as a Flat. See Cleraenti, Op. 2,
Sonata Ima, first Movement.

2*8 in. HARMONY.

a new name, and placed on a new Degree,*
the Root, Scale, and Signature, all change at
once.

:=s:±:r=r=i=r,-^

I^Eiife^

RtxDt E, Key A Minor. Root G, Key C Minor.

460. As this Harmonyt consists of four
Sounds, each of which may be altered by the
Diesis, the two following Modulations arise
from the same Chord.

Root B flat, Key E flat Minor. Root C sharp. Key F sharp Minor.

* Although the temperament of Keyed Instruments autho-
rizes the expressions here used, yet it must be upderstood
that, in other Instruments, the difFerence between G sharp
and A flat can be made, and is in theory always to be con-
sidered as a real Interval.

j- The Harmony of the extreme Jiat Seventh has attracted
the notice of all the Theorists who have written on the sub-
ject of Chords in Modern times ; and its complete discussion
would fill an ample treatise. The well known Air by Handel,
in Samson, "Return, O God of hosts;" the "Alma del gran
Pompeo," in Giulio Cesare (see Dr. Burney, Commemoration
of Handel, p. 63;) "Vouchsafe, O Lord/' in the Dettingen
Te Deum, &c. Sec. are all passages which might justify a par-
ticular Analysis, and which the Author hopes, on a future occa-
sion, to lay before the public, (See also SliiekVp. ^8:)

CHAP. VI. LICENSES. 248

461. As the Chromatic Octave upon Keyed
Instruments consists of twelve different Sounds
(exclusive of the Diatonic Eighth or Replicate
of the first,) there are but three different
Chords, in respect of the Keys themselves, on
the Key-board. These, in their simplest forms,
are the added Ninths of D, A, and E, Domi-
nants of their respective Minors.

siillElElrSEJ

Each of these Chords, by the use of the
Diesis, may change into three other Harmo-
nies ; and thus an immediate step to any one
of the twelve Minor Modes may be gained.*

462. These Chords may also, under certain
limitations, succeed each other chromatically,
descending or ascending.

'ZZlQZZtZ^

fm]

Root B Root E Root A

(Descending.)

* Mr. Corfe, of Salisbury, in his Thorough Base simfilified,
a work lately published, has given (p. 43, 8cc.) a Table of these
Chords^ as used in the twelve Minor Keys, 6cc,

250

III. HARMONY.

Part of the ascending Series is the same in-
verted, as before given, Art. 461, p. 249.

463. The last and most unusual species of
Enharmonic Modulation,* is that which changes-
the Dominant Seventh into the German Sixth.!
A remarkable instance occurs in Handel's Solo-
mon, at the Chorus, Draw the tear from hopeless
love y thus.

M^^

Radical Base. . >7
b b7 «

4 n

S=i=^l=i=y=^l

to express the words, full of death and wild:-
despair.

* Rousseau, Art. Enharmonique^ does not mention this Modu-
lation ; although it is extremely worthy of notice, being formetl
upon a Chord so apparently pei'fect as the Dominant Seventh.

t Art. 443, p. 239.

END QF THE THIRD PART.

251

PART IV.

RHYTHM.

CHAP. L

OF ACCEjYT,

SECT. L— or SIMPLE MEASURES.

Art. 464. The disposition of Melody or
Harmony, in respect of Time or Measure, is
termed Rhythm.*

465. Those branches of Rhythm which are
necessary to be considered in the present
Work, are.

1. Accent.

2. The Musical Foot.

3. The Musical en-

sure.

4. The Phrase.

5. The Section.

6. The Period.

466. Accent has been already described
|(Art. 80, p. 41) as part of Notation ; but it
must be now examined more accurately, since

* Dr. B. I ri. Sir f. H. ii. 11. Malcolm, p. 385. Holden,
t>. 25.

252

IV. RHYTHM.

upon this peculiar arrangement of Sound, all
Rhythm depends.

467. The necessity of dividing the Notes
of Music into equal portions of Time, called
Measures (Art. 65, p. 28,) may be shewn, by
considering the subsequent series of Notes.*

iEili^igiEii

468. The above cannot be performed, as
Melody, without making certain points of di-
vision, on which a pressure must be laid. It
may, for instance, be accented two ways in
equal Time ; thus.

"I'rochaic Rhythm.

— o — o

Or thus,

Iambic Rhythm.

liliSiii-lii

!:fc=E:ifcE=E

* Koch, Aft. TacU

CHAi^ I. ACCENT.

233

I. Dactylic Rhythm.

11. Anap^stic "Rhythm.

oo — oo — oo —

III. Amphibrachic Rhythm.

469. These passages are also distinguished
by the different Harmonies they bear in each
variation of Rhythm.

I. Dactylic.

^ifsiiis^glp

II. Anapxstic.

:::i:=d:=d:

III. Amphibraclilc.

iiEiiii:iiiliiiB

254

IV. RH\nrfl:M.

470. The simple Measures of equal Time
consist of two Parts^ and are subdivided into
four Times : the Parts are Minims in com-
mon Time, and Crotchets in two Crotchet
Time; and the Times are Crotchets in com-
mon Time, and Quavers in two Crotchet
Time.*

i^=i^i^§

^i=g|iii^l

47 1 . The simple Measures of unequal Time,
also consist of two Parts, one double the length
of the other ; but the Times are only three :
hence arises a varied expression, according to
the value of the Notes in quantity.

;3E

;f3

~F-

* Koch terras a Part, Tacttheil, and a Time, Tactt;li«dcT.

CHAP. I. ACCENT.

25o

472» In the further division of simple Meas-
ure, the Accents are known by the Groups,
which are regulated by the Times of the Meas-
ure, as before noticed (Art. 80, p. 41 j) thus,

473. In Triple Measure, the same arrange-
ment of Groups is in general use j thus,

H. S. vol. ii. No. 92: '' Daughter cf Gods' * —
Hercules *

A thousand pleasures reign

474. These inferior Accents, which belong
to the Times of the Measure, do not, by any
means, destroy that great and predominant
Accent that belongs to the first Note which
follows the Bar, and which is accompanied by
the THESis,i or depression of the hand in
beating Time. The JjiSis^l or elevation of
the hand, always follows on the weak part of
the Measure. (See Art. 81, p. 42.)

* Dr. A. No. 35, p. 60.

t The jXiederschlag of the Germans.

% The Aufschlag of the Germans.

256 IV. RHYTHM.

SECT. II.-OF COMPOUND MEASURES.

475. The Accents of compound Measures are
exactly similar to those of simple Measures,
which are only their halves, and which differ
chiefly in their Notation, and their appear-
ance to the eye.

476. The Germans and also the French,*
consider the Measure of four Crotchets as a
species different, not only from that of three,
but even from that of two Crotchets (Art.
67, p. 29 ;) a distinction which arises from the
nature of Accent, and which is thought of
importance by those Authors. It is considered
by somet of them as a simple Measure j but
it really seems merely to differ from that of
two Crotchets, by the omission of the alternate
Bar.

* Principes de Musique du Conservatoire, p. 40.
t Kollmann, Essay on Harmony, p. 73.

CHAP. I. ACCENT.

2S1

477. In compound Time, the difference be-
tween six Crotchet and three Minim Measure,
or between six Quaver and three Crotchet
Measure (both of which contain an equal por-
tion of Time between the Bars,) is only known
by the Accent. The Groups, indeed, regulate
the Accent to the eye, and shew the compound
Time of six Quaver Measure by their equal
division.

478. Thus, in the Example before-men-
tioned (Art. 81, p. 42,) the simple Measure
contains the Quavers grouped by Sixes, which
have one strong Accent on the first, and two
inferior ones on the third and fifth Notes ; thus.

479. In compound Time, the Accents are
as under :

S w w S \v w S w w S w w S "W w S w w

480. The compound Triples of nine Crotch-
ets, or nine Quaver^, take their Accents from
the simple Measures, as before, Art. 76, p. 36.

Y 2

258 W. RHYTHM.

SECT, ni— OF MIXED MEASURES.

481. The mixt Measures before described
(Art. 78, p. 38,) take their Accents from their
Measure-notes ; and the Groups decide the al-
teration made in the Time marked at the Clef.

482. Thus, in the Air, " Whither my love"
(La Rachellina of Paisiello,) although the Mel-
ody is written in two Crotchets, the Accom-
paniment is in six Quavers j* thus,

^"4:"" t~^fci it""^t"i^ ^^^"
~bJ Hw ~CLL CJ -f\ I ^h\

483. If, however, any variation in the subor-
dinate parts of these mixed Measures should
be requisite, they must be changed to their

2 . f\

relative Compounds ; thus, - will become -

4 8,

3 9

- will become ~ ; and common Time will be-

4 8

come —
8.

* There is some doubt whether this Melody should be
played as written, or as if it were compound ; tliat is, one
dotted Crotchet, one Crotchet, and one Quaver, in the first
Measure.

CHAP. I. ACCENT.

259

484. The following passages from Koch,
will shew the necessity of using the compound,
instead of the mixt Measure, in two Crotchet
Time,

485. The same variation takes place when
the compound is taken, instead of the mixt, in
three Crotchet Time.

,_«..

^SigiS=

486. In a similar manner, Handel uses the
compound twelve Quavers for the Accompa-
niment of " Mirth admit me of thy crew,'' in
G* (L'AUegro,) while the vocal part, and the
Base, are written in simple common Time.

H. S. i. No. 59. Dr. A. No. 150. p. 26,

^60 IV. RHYTHM,

SECT. IV.-OF EMPHASIS.

487. The particular sense in which the term
Emphasis is employed in the present Work,
has been explained (Art. SSy p. 43,) with ap-
propriate Examples.

488. The Emphasis is distinguished from
the Accent (as before observed) by its occur-
ring on the weak parts of the Measure ; by
the different grouping of the Quavers, Semi-
quavers, &c. ; and by the emphatic marks
of Rf, &c. (Art. 142,. p. 82,) placed over the
Notes.

489. In performing on the Piano Forte, a
great difference seems to exist between them ;
since Accent always requires pressure imme-
diately after the Note is struck, and Emphasis
requires force at the very time of striking the
Note. Thus, Accent may be used in the most
Piano passages ; but Emphasis always sup-
poses a certain degree of Forte.

490. To the same species of effect which
is derived from Emphasis, may be referred
the Tempo d'lmbroglio (^della Confusione^ of
modern Music, in which the Music, although
written in one kind of Measure, is really per-
formed in another.

CHAP. I. ACCENT.

261

49 1. Among the simplest instances of this
nature, is that change of Time used by Corelii,
Kandel, kc. &c. which forms one single Measure
of three Minims, from two Measures of three
Crotchets each, as in the following Example
from the Passione of Graun :

iz^-p^:i=

P~-§

492. A more singular Example may be
found in the final Chorus of the Pilgrim, by
Hasse ;* in which the Time, though apparently
three Crotchets, produces the effect of two
Crotchets in a Measure.!

^^3ig

■^—

-9- -9-

* See Turk (Klavierschule,) p. 93.

I A very beautiful passage of this nature mav be found in the
terzette " Conrade the Good." See Shield, p. 92, at the words,
" Melting strains, ease his pains." This elegant and scientific
com.posidon is the production of Sarti, and was originally set to'
part*t of a Miserere iii the Russian language.

262 IV. RHYTHM.

493. In the last Movement of Haydn's In-
strumental Passione, Op. 45, generally known
by the name of the seven last words, several
passages occur, in which, as in the preceding
Example, the Time changes from three to two
Crotchets, In the final Section, the Time changes
to four Crotchets, &c. As that Movement is
termed ii Terremoto, or the Earthquake, this con-
fusion is particularly appropriate.

26B

CHAP. 11.

-OF THE MUSICAL FOO'I\
SECT. L^OF SIMPLE FEET.

Art. 494. A small portion of Melody, with
one principal Accent, including the value of
a Measure, is termed in this Work a Musical
Foot.

The knowledge of this Rhythmic subdivision
of Melody is of great importance in practical
Music; as the Singer must not take breath,
nor the Performer on Keyed Instruments sepa-
rate the Notes, in the middle of a Foot.

495. It has been usual with some Authors*
to apply the names of the ancient poetical
Feet to corresponding musical passages ; but
the difference between ancient and modern
Quantity and Accent, leaves a doubt concern-
ing the propriety of using the terms of Grecian
Rhythm.

" Prinz, Sat. Comp. P. HI. p. 100. Mattheson. Volkom.
X'apel. Meister, p. 164.

264

IV. RHYTHM.

496. An English Trochee^* as Actor^ hateful^
&c. may be represented in Musical Notation
several ways, as in the following Example :

497. An English Iambus^ as Reject^ observe^
may be represented by the opposite Rhythm.

-4-

yiiiliiiila

498. The other two dissyllabic Feet of the
ancients, viz. the Spondee^ both syllables long,
as pale moon^ and the Pyrrhic^ both short, as
level^ may, in respect of the Measure (which
is guided by the Accent) be always considered
as Trochaic in the English language, with some
small occasional change in the value of the
Notes.!

* Lindley Murray's English 'Grammar, 4ih edit. (1?'98,) p. 20'i.

t Dr. B. i. p. 7^.

X See Examples of this variation in the Cadences of the Glee,
" Sigh no morc-^ icdia;" by R. J. S. Stevens, and the Madrigal,
*' Hince, first I saw your face ^ by Ford,

CHAP. II. MUSICAL FOOT. 265

499. The difference between the two dissyl-
labic Feet is well exemplified by the word £)£-
SERT^ which, when set to Music as a Trochee
(desert^*) signifies a lonely place. Thus, in
the Messiah, " Comfort ye my peopleJ^

Make straight in the desert.

JOO. The same word, set to Music as an Iam-
bus (desert^) signifies merit. Thus, in Judas
Maccabaeus.

With honour let desert be crown'd.

The effect of these Feet, in respect of de-
ciding the Key by means of the Accent, has
been before exemplified. Art. 304, p. 1 60. An-
other instance of Harmony and Rhythm being
united to determine the Key, in contradistinc-
tion to the Signature, may be seen, Art. 278,
p. 145.

* The liberty of marking the accentual difference of Poet'

ical Feet by the signs of Quantity, is taken by Koch, Art. Me

iru?n, 6cc. &c.

266

IV. RHYTHM.

501. The English Feet of three syllables may-
be divided into three classes, answering to the
Dactyl^ the Anapast^ and the Amphibrach of
the ancients.

I. The Dactyl^ may be represented by the
words labourer y possible ; and in Notes, thus,

pEgii^iigpli

11. The Anapast may be represented by
the words contravene^ acquiesce ; and in Notes^
thus,

u u ~

o o —

liliiiiiiiiiil

III. The Amphibrach may be represented
by the words delightful^ domestic; and in
Notes, thusj

u —

gii^i

CHAP. II. MUSICAL FOOT.

267

SECT. II.— OF COMPOUND FEET.

502. As a Musical Foot is equal in value ta
a Measure,* although it differs in i^ccent, on
account of the place of the Bar ; so in the
compound Measures the Feet are double, and
may be resolved into two by dividing the Meas-
ure. (See Art. 75, p. 34.)

503. The following Trochaic Example from
Haydn, Op. 40, Sonata 3, might be resolved
into single Feet of two Crotchets in a Measure,

iilsiHi^ES

504. The same may occur in the Iambic
Measure, as in the following Example from
Haydn's first Symphony (Salomon's Con-
certs.)

iiB=S||5?^EJliSE§^i=

x-i a..—

* Kollmann, Essay on Harmony, p. 80, jnentioiis the simi-
larity cf the Bar (Measure) in Music to the Foot in Poetry,
but does not shev;- their accentual difference.

268 TV. RHYTHM.

505. An Example of the compound Foot in
six Quaver Time divided by the Bar, is found
in Haydn, Symphony 3d (Salomon^^ Concerts.)

Foot. Foot.

506. The difference between compound and
simple Feet, may be further exemplified by
the following extracts from the Messiah, in
addition to the remarks given in the preceding
page.

(" 0 tbou that tellestP*)

:iS.z:

Strengdi, lift it up, be net a - - fraid.

(" I know that my Redeemer J^^;')

P:::=i=^-±z^=:f:fz:?-3i:;^=t-Lr5-y

I know that vAy Re - - deem - - er.

The second Measure of both Examples is di-
vided in the same manner ; but the Accent, and
consequently the Feet, are entirely different.

* Dr. A. No. 9, p. 36.
t Dr. A. Nc. 12, p. 183.

CHAP. III.

OF THE MUSICAL CMSURE,

Art. 507. The term Casure is used in this
Work in the signification annexed to it by
Koch, as the Rhythmic Termination of any
passage which consists of more than one Mu-
sical Foot. In other words, the Cassure is the
last Accent of a Phrase, Section, or Period, and
is distinguished in all the simple Measures by
the place of the Bar.

508. The utility of this distinction will ap-
pear, by considering the two methods in which
the Music might be composed to the lines,

" Conquest is not to bestow
*' In the spear or in the bow."

Dr. Arne's Judith.

^' -3- "" 3-

If these Measures were not divided as they
are, the Caesure, which now is properly placed
on a strong part *, would fall on the weak
part tj contrary to the nature of Accent,

270 IV. RHYTHM.

509. The Caesure,! in ancient Music, most
frequently occurs in the middle of the com-
pound Measure, and thus appears to a modern
view irregular and incorrect.

510. The exceptions to the Musical Caesure
falling upon the last syllable of the line in
Poetry, are few, but very important.

511. From the nature of Harmony,^it some-
times occurs that the three last syllables may
belong to a Melody derived from the same
Chord y in that case, the Caesure is thrown
back, as in the following Example :

•* So> shall the lute and hai*p awake,

'* And sprightly voice sweet descant run."

Handel's Judas Maccabcziis.

fei=ip^gp

Here the Caesure falls on the third Crotchet
to the syllables descant run^ instead of being
placed on the last syllable run.

I The term Casiira was used by Prinz (Sat. Comp. P. I.
p. 33) in two senses ; the first of which con*esponds with that
here given. See Dr. Burney, Art. Ca^surei. Rees' Cyclopsedia,
vol. V. p. II.

CHAP. m. MUSICAL CiESURE.

271

312. It appears that the Caesure, or Rhyth-
mic Termination, is not always the last Note
of the passage. The Melody is often prolonged
after the Csesure, by varying the Tonic Har-
mony jt thus.

513. The whole Chord of the Dominant is
also often retained (see Art. 376, p. 197) upon
the Caesura ; as in the following Example from
Mozart's Duett in C, Op. 14, p. 11.

514. The Air by Handel in the Occasional
Oratorio,J of which the subject is here given,,
will be found an excellent study for the correct
position of the Caesure.

pi^miipili

Pro - phet - ic visions strike mine eye.

t Koch, Art. Casiire.
± H. S. i. No. 11.

IV. RHYTHM.

515. In the following instance, Handel has
not been so careful, since the Caesure comes in
the wrong place, and the Bars are consequently-
erroneous. It should begin, like the Example,
Art. 508, p. 269, with the half Measure.

(H. S. L No. 47 : Alexander Balus.)

Strange re -verse of

hu - - man fate.

516. In the old arrangement of compound
common Time, it was usual to change the place
of the Caesure ; sometimes forming the Cadence
at the beginning of a Measure, and afterwards
repeating the same Caesure in the middle of a
Measure. The Airs of Pergolesi, Jomelli, &c.
are remarkable for this rhythmic variation.
See a particular instance in the admirable Song
by Haase, Paliido il Sole.*

First part.

Second part.

feiiiiiiiii

* Dclizie dell' Opere, torn. ii. p. 146. Dr. B. iv. 378, 5-46.
Si- J. H. V. 325, 419.

CHAP. III. MUSICAL C.ESURE.

27S

J 17. In the National Dance Tune called
Polonoise or Polacca, a considerable excep-
tion to the Rule of the Caesure occurs, as it
falls "there on the weak part of a Measure j.
thus,

-^iSiiiip

318* An instance also of equivocal Caesure
might occur in the Common Melody of Sally
in our Alley * which is properly barred thus :

EfeiEliElEb-fet

519. This might be barred differently, for
the sake of throwing the Caesure on the last
syllable of the second line, contrary to the Ac-?
cent of all the other Feet.

* This Air was composed by Harry Carey, and begins. Of
all the girls that are so smart. See Sir. J. H. v. 184." Ur. B. iv.
300, 652. The style of Mel(xly which distinguishes this Tunev
hias -been often imitated with considerable success^,

274-

CHAP. IV.

OF THE PHRASE,

SECT. L— OF THE REGULAR PHRASE.

Art. 520. A Phrase {Eimchnitt) is a short
Melody, which contains no perfect nor satis-
factory Musical idea.

521. The Phrase is generally formed of two
Musical Feet in simple Time, and therefore
contains the value of two Measures \ thus,

(Beethoven^ Op, 2.)

522. In the compound Time of the older
Writers, a Phrase sometimes consists of a single
Measure ; thus.

(« 0 had I JuhaVs lyrer)

Phrase.

CHAP. I\^ PHRx\SE.

275.

523. Koch has used the mark of a Triangle
(a) to express the Phrase, and places it over
the final Note.* In Musical Punctuation, this,
sign seems analogous to that of the Comma (,)
in language.

524. Riepel, of Ratisbon, in 1754,1 has ana-
lyzed the rhythmical arrangement of Musical
thoughts with great success.

525. He divides Musical Phrases into two
species — Perfect^ when concluded by the Tonic
Harmony ; and Imperfect^ when concluded by
the Dominant.

:fcJz3zil±=^==3z^?EiiirE==d

Imperfect Phrase.

Perfect Phrase.

526. In the works of Kirnberger, the term
Ccesure seems equivalent to the term Phrase ;
and the rejection of the word Einschnitt is, as
Koch observes, a defect in the tlieory of that
able Contrapuntist, I

* Anleitung (1787,) vol. ii. p. 360.

t De Rhythmopoeia, Tactordnung, p. 23.

% Koch's Lexicon, Art. Absdtz,

276

IV. RHYTHM.

,527. The Phrase is subject to all tTie varie-
ties of Accent that distinguish the Feet of
which it is formed ; and the two Measures of
the regular Phrase should always be complete.

(" Rasserena*^ — Sacchini*)

528. When the same Phrase is repeated per
ionos^ that is, a Note higher or lower, a slight
variation may occur.

(^Non vi turbate — Gluck^^^
A

:=jz=rqqi3r^rzr:

:i:zza:?zz

529. The too frequent repetition of the same
passage in various Keys, particularly on the
Chromatic Modulation (Art. 454, p. 246)
ascending, as found in Corelli, Dr. Green, &c.
is termed by the Italians Rosalia.\ See Koch,
Art. Transposition*

* Corri's Select Collection, vol. i. p. 29.
t Ditto, vol. i. p. 23.
± Dr. B. iii. 613, iv. A5,

CHAT. IV. PHRASE.

277

530. Koch makes three remarks upon the
harmonical construction of the Phrase, which
apply to what has been already observed from
Riepel.

First, That the Phrase frequently terminates
with the Subdominant Harmony.

wmm^^-

Secondly, That, as the Phrase is an incom-
plete passage, the Caesure may be made on a
Discord, particularly the Dominant Seventh.

^T ^~~

Thirdly, That the Caesure may also take
place on the Inversion of a Chord.

A A

278 IV. RHYTHM.

531. Rousseau (Art. Phrase) has defined the
term in a more extensive sense, very similar to
that applied to the word Section in the following
Chapter. He distinguishes between Phrases in
Melody, and Phrases in Harmony. These last
seem to correspond with the Dominant, and
Mediant Sequences. See Art. 427, p. 225.

532. Heck, in his Musical Library (p. 11,)
describes the Phrase, Section, and Period, un-
der the terms Section, Period, and Paragraph.,
and considers the term Section as synonimous
with Rhythmus.*

5SS, Holden also (p. S5) uses the term
Phrase in a general sense, and appears to include
all rhythmic varieties in its definition.

534. The Rev. Mr. Jones, of Nayland (p.
48,) calls the Phrases Clauses ; and considers two
similar Phrases following and depending on
each other, as antecedent and consequent ; upon
which succession he makes some very just and
useful remarks, referring to Corelli's 8th Con-
certo at the close of the Adagio, Handel's Air in
the Overture to Berenice, '&c. &c.

=*<" The comfiound Rhythm of Kollmann, Essay on Harmony,
p. 80, and tiie term Bhyt-fnnuss in Shield, p. 89, seems to corres-
pond with Phrase or Section,

CHAR IV. PHRASE.

279

SECT. II.— OF THE IRREGULAR PHRASE.

625, Whenever, by repeating one of the
Feet, or by any other variation of the Mel-
ody, three Measures are employed instead of
two, the Phrase is termed extended or irreg-
idar.

(Kreicsser, Op, xi. Waltz the 2d.)
^ A

-m

li^ESdEEB

tfl;

526, A beautiful Example of two extended
Phrases, the latter of which contains a Measure
of double Time (Art. 491, p. 261,) is found in
Handel.

('^ He was brought as a lamb,^^*)

sni^siiiiiij

537. The contracted Section resembles the
extended Phrase, in the number of its Meas-

* Redemption, p. 273.

280

IV. RHYTHM.

ures, both consisting of three Feet ; but the
Phrase is always an imperfect Melody, whereas
the Section always terminates with a Cadence.

53S. A Phrase is often extended by continu-
ing the Harmony of its first Measure, as in the
following Example ;

(Clementiy Op. 2, Sonata 4.)

539. A Phrase also becomes irregular, when
a Measure foreign to its subject is introduced
by way of prelude \ thus,

{Mozart, Op. S, Duetto,)

540. In some passages, the variation of the
Csesure Note, by an Appoggiatura, or by other
means, will give to a contracted Section the ef-
fect of an extended Phrase,

CHAP. IV. PHRASE.

28i

541. The following Example from Haydn's
Creation is of that nature, and is therefore
equivocal ; as its Melody indicates an ex-
tended Phrase, and its Harmony a contracted
Section,

(" Now vanish J ^)

'm^^m^^.

542. The next passage is, however, more
somplete, and really terminates the Section.

eeiesse:

— •«-^*-,

i:z:

:zirir:

Hence appears the propriety of terming the
first an extended Phrase.

543. In Choral Music of the Ancient School,
the contracted Phrase seems to be, in many
cases, equivalent with the compound Foot.
See an instance before adduced, in *' The fiocks
shall leaver Art, 281, p, 146.

A A 2

282

IV. RHYTHM.

544. Thus also, in the sublime Chorus,
*' For unto us a Child is horn^^ the first Phrase
is little more than a compound Foot.

For unto us a Child is bom.

545. In Fugues by Augmentation^ Feet be-
come Phrases, Phrases become Sections, &c.
In Fugues by Diminution ^ on the contrary.
Phrases become Feet, &c. as in the following
Example :

(« Let all the angels of God.'''')

Subject in Phrases.

546. The Answer by Di?mnution changes
Crotchets into QuaverSj Quavers into Semi-
quavers, &c.

Answer in Feet.

* Messiah, No. XI. p. 127.

CHAP, IV. PHR.\SE.

28i

SECT, in.— OF INTERWOVEN PHRASES/

547. In Figurate Counterpoint, anciently
termed Descant^ where Imitations, Fugues, and
Canons are. employed, the Phrases, as they
occur, are interwoven in the different parts.

Thus, the extended Phrase to the wordd,
" shall be revealed^'' is interwoven in the vari-
ous parts.

(" And the glory of the Lord*' — Messiah.)

548. The union of Phrases towards the end
of a Fugue, &c. is sometimes even closer than
a Foot, being at the distance of a Crotchet
only. Many examples of this style may be
found in the Madrigals of Wilbye, Weelks, &c.
In Italy, this is called Lo Siretto Delia Fuga*
the knot of the Fugue.

* P. Martini, Baggio, torn, it p. 39.

284

IV. RHYTHM.

549. The Accent of the words, however,
will not always permit them to agree with so
close a union of the Music, as the alteration in
the following Example will shew :

(" Te sons of Israel***)
A

i±^=tz=^zi

— ^-..

■^-i

550. A similar passage is introduced with
great effect, at the end of " The flocks shall
leave^* where the Violins re-echo the same
Notes (in the Octave above) as are sung in the
preceding Time^ to the words, " Z)/V, presumptu*
ous Acts J*

ggiE^pg=i=^

* Joshua, p. 4. Redemptiorij p. 166.

CHAP. IV;. PHRASE.

285-

551. In those pieces of Music termed Can-
&72s^ in which the same Melody is continually
heard in the different parts, the Phrases are, of
course, united throughout the whole composi-c
tion.

Of this kind of Music, the finest specimen
now extant is the celebrated Non Nobis Dcminey*
by Bird ; which will ever remain a lasting or-
nament to the taste and science of the country
in which it was produced.

The Phrases of this Canon are as follow.

Non no - bis Do - mi - ne non no - bis

Sed nomini tu - o da glori - am -

A A

iliril^

Sed nomini tu - o da glori - am.

* See before, Art. 421, p. 221, and La Borde, tonfi. ii. p. 100,
Dr, B. ii: p. 305, in a Note.

286

CHAP. V.

OF THE SECTIOM

SECT. I.— OF THE REGULAR SECTION.

Art. 352. A Section (Jbsaiz) is a portion
of Melody, formed by two regular Phrases, the
last of which is terminated by a Cadence.

353, The Section takes the name of Tonic,
or of Dominant, according to its final Har-
mony ; as in the two following Examples from
Haydn's Creation.

(" T/je heavens are ielling,^^)

Dominant Section.

Tonic Section

rf:T:gxz«:i.»_|

,zo:zz

=t:==

554. In Music of the older School, the Sec-
tion often consists of two Measures only, as in

CHAP. V. SECTION.

287

the Example, « 0 had I Jubai's lyre,'' Art. 522,
p. 274.

555. Koch has also adopted the mark of a
Square (n) to express the Section, and places
it, like the Triangle of the Phrase, over the
final Note. This Sign seems analogous to that
of the Semicolon (;) in language.

556. In the Arioso, or Legato style of Mu-
sic, it is usual to find Sections which are rot
subdivided into Phrases, as in the following
Example.

(J. B. Cramer,'' Ex. 41.)

557. Koch makes also three remarks upon
the Section t (Art. Absdtz^) as relating to its
Punctuation, to its Rhythm, and to its Har-
mony.

* Studio pel il Piano-forte, Op. 30, p. "2.

t Pmz, in 1696, used the Latin term Sectio, as signifying
a part of Melody teriTiinated with a formal Cadence. *' Sectio
istein Theil der Melodey, so sich endet mit einer Clausula for-
ttmU:' Sat. Comp. P. I. chap. viii. p. 26.

288 IV. RHYTHM.

'Firsi^ Its conclusion, or the form and liar-
monical disposition of the Cadence, termed by
Koch, its inter pundal nature. Upon this de-
pend the classification into Tonic, Dominant,
or even Subdominant Sections, the variation of
the Caesure Note, &c.

Secondly y Its extent in the number of Meas-
ures and in the similarity of Feet (see Koch,
Art. Metrum,} termed its rhythmical nature.
By this the regular Section, or Rhythm*
(Vierer) of four Measures, is distinguished
from the irregular Section, whether extended
or contracted, &c. &c.

Thirdly^ The extent and variation of its
component Harmonies ; or the degree of its
perfection as to being dependent or indepen-
dent of the adjoining Sections, termed its
logical nature.!

* See before, Art. 532, p. 27S.

t -Turk (Klavierschule, p. 336^) has entered fully ii\to the
doctrine of Rhythm, and has invented a mark (similar to "that
of our passing Shake, see Art 110, p. 66,) which he places
over the final Note of a Foot, Phrase, Section, cr Period, to
"fietach them from -each other.

CHAP. V. SECTION. 289

SECl'. II.— OF THE IRREGULAR SECTION.

5S8, Irregular Sections are of two classes,
contracted of less than four Feet, and extended of
more than four Feet.

I. The contracted Section differs from the
extended Phrase by its terminating with a Ca-
dence, as before observed (Art. 534, p. 278,)
and generally consists of three Feet.

II. The extended Section may consist of
five, six, seven, or more Feet ; and the Sec-
tions are distinguished from each other by the
similarity of Time or Modulation in their re-
spective Feet.

III. The extended Section of five Feet* is
formed by various methods. The following
Example from Koch augments the two first
Notes of the regular Section.

559. The Section of six Feet consists either

* See two Examples of tliis kind in Siiield, p. ?9.
B B

;90

IV. RHYTHM.

of two extended Phrases of three Feet each ;
thus,

{Mozart^ Duett^ Op. 3.)

Or of three regular Phrases of two Feet each ^
thus,

(.Avison^ Book iv. Concerto iv. />. 31.)

560. The limits of the present Work will
not admit any further Examples of more -ex-
tensive Sections.

CHAP. V. SECTION.

29-1

SECT, in.— OF THE INTERWOVEN SECTION.

561. When the regular Section is so united
to the following one, that upon the Caesure
Note of the first the second commences, the
Section is not only contracted, but interwoven.

562. Thus the following Section, which is
regular in a former part of the page, is inter-
woven in this Example.

{Mozart, Op. 3, Duetto, p. 7.)

56S» When the subject of a Fugue consti-
tutes a Section, the Answers are interwoven at
the Caesure of the Melody. Thus, in the
Overture to Esther,

i^JE^fl^Eflg^gliigSp-]

The second Section commences in the middle
of the fifth Measure on the Caesure Note.

292 IV. RHYTHM,

564. In the ancient style of Music, great
efFects are produced by interweaving Phrases,
Sections, &c. ; and also by intermixing sub-
jects of different Rhythms.

Thus, in the final Chorus of Steffani's Mo-
tett, the original plain Song,* '^ Qui Diligit^'*
is introduced with unexpected effect in the
Base, while the other parts are singing the
Descant, " Frangere Teiunu*'f

In the Chorusses of ?Iandel, these efFects con-
tinually occur. A remarkable instance may be
seen in that of " Wretched lovers'^ (in Acis
and Galatea,) at the words, " Behold the

monster^ Polypheme.

* The Ca7iio Fermo of the Italians, cr Choral of the
Germans.

t The " Qui dUigit" of the Abbate Steffani is at present

unpublished; but it would be a useful stu^y for Fuv^jiey &c.
if printed with annotatiwis.

CHAP. V. SECTION. 293

563, In compound Time, the interwoven
Sections commence at the half Measure, and
consist of only a Measure and a half. The
following Example is taken from the Duett in
the same Motett of StefFani, Qui Diligit.

iM^^lii

566, From this union of the parts arises the
custom before-mentioned (Art. 515, p. 272,)
of placing the Caesura in the middle, instead
of the beginning of the Measure.

567. It is also usual to protract the Harmo-
nies of an interwoven Section, so that it shall
appear regular in the number of Measures.
Such is the following Section, in the last Cho-
rus of Graun's Passione.*

4 6 6

2 5 5

i£

* Der Tod Jesu, or the Death of Our Saviour. See Killer's
edition (1785,) p. 68.

B B 2

294

IV. RHYTHM.

568. In this instance, the prolongation of
the Tonic Harmony in the first Measure,
makes the Section appear regular, although it
is really interwoven.

569. In Vocal Music, the Harmony of a
Section is also protracted for the sake of ex-
pressing the words, as in the Glee of the
" Red Cross Knight^'' by the Author of this
Work ; the first Section of which, if regular,
would have been expressed thus.

Blow, warder, blow thy sound - ing horn.

But to give greater effect to the words,
" Blow, warder, blow,^' the two first Notes are
augmented to Minims ; and the Section, as
written in common Time, appears contracted,
although it is really extended ;* thus.

^E=3^f

Blow, warder, blow thy sound - ing

horn.

* This Section is consequently similar to that exemplified
before. Art 558, p. 2S9, being really five Measures of two
Crotchet Time.

CHAP. V. SECTiON. 295

SECT. IV.— OF THE CODETTA.

570. A short Phrase, or any other passages
which does not constitute part of a regular
Section, but serves to connect one Section or
Period to another, is termed in this Work a
Codetta.

The term is used by Sabbatini, the successor
to Vallotti at Padua, in his Trattato sopra k
Fughcy* in a more limited sense.

571. In the Duett of Mozart, referred to
(Art. 559, p. 290,) the following Phrase unites
the minor Period to the original Theme.

-*#--

572. The extempore divisions made at a
close by Singers or Solo Performers, and term-
ed Cadenze or Cadences ad libitum, are all a spe-
cies of Codetta.

573. In the repetition of a Strain, the pas-
sages marked first Time and second Time,
generally contain each a short Codetta ; one to

* Vinezia (1862,) tcm. ii. p. H9.

296 IV. RHYTHM.

lead back to the commencement, the other to
lead forward to its continuation,

(WbelJII, Op. 25, />. 16.)

First Time. Second Time.

i^^iiiy^

574. In this example, the short Attacco* of
each Time is not, as in general, a separate
Codetta, but very ingeniously makes part of
the original subject,

575. In the Da Capo Airs of Handel, &c.
(Art. 126, p. 74,) a Codetta is generally in«
serted, to lead back to the Theme. Thus, in
" 0 the pleasure of the plains, ^'

-^^w—

5^6. The most successful Composer in this
style is Graun, who, in his celebrated Te De-

* Padre Martini, Saggio, torn. ii. p. S. Dr. Bumey (Art.
AttaccOy Dr. Rees' Cyclopedia,) defines it, " a kind of short
Subject or Point, net restricted to ail the laws of regular
Fugue," 6cc.

CHAP, V. SECTION.

297

um,* has used the Codetta at the end of seve-
ral Movements, to unite them to the next.

Thus, after the final Cadence of the Air,.
" Tu^ ad liherandum^^ the following Codetta
IS inserted in different Modulation.

With what great effect this passage leads
into the following Theme, the adjoined Ex-
ample will demonstrate.

se^iiiiiii

* Several of the best Movements from tliis excellent Com-
position, are now printed in the Selection of Sacred Music
publisliing at BirchaU's^ hy the Rev. Mr. La Trobe.

298'

CHAR VI.

QF THE PERIOD.

SECT. I— OF THE TONIC PERIOD.

Art. 577. A Period consists of one or more
Sections, occasionally interspersed with inde-
pendent Feet, Phrases, or Codettas.

Thus, the Air of God save the King (Art.
146, p. 85,) consists of two Periods; the first
Period contains one extended Section (Art.
559, p. 290,) and the last, two regular Sec-
tions.

578. When one or more Periods are termi-
nated by a double Bar (Art. 130, p. 77,) they
are termed Strains,

579i The Period always ends with a radical
Cadence, like the Section (some few instances
excepted. Art. 424, p. 223,) and answers to
the full stop (.) in language.

580. Those Periods which terminate with
the perfect Cadence, are, from their last Har-
mony, termed Tonic Periods.

CHAP. VI. PERIOD. 299

581. The following Example of a Tonic
Period, is taken from the third Sonata of
Pleyel^ dedicated to the Oueen.

First and third Sections.

"^fffff ~E~'^r J

iiiiiiiij [^Hii

Cadence of the second Section. Cadence of the fourth Section.

This whole Period consists of four regular
Sections, and is distributed into eight regular
Phrases.

The third Section is a repetition of the first
by the Violin, while the Piano Forte takes the
Accompaniment. The fourth Section is similar
to the second in respect of its leading Phrase,
but differs in the final Phrase, by terminating
with the perfect Cadence.

582. In the Example above given, all the
transient Notes are omitted, and none but the
chief Sounds of the Harmony retained. (See
Art. 187, p. 1'07.)

:300

IV. RHYTHM.

583. As the Sonatas of Kozeliich are partic-
ularly distinguished by the regularity and
clearness of their Rhythm, another instance
of a Tonic Period may be taken from his
Opera 21, Sonata 2, in A Major.

^ggi^gg^i

584. The second Section consists of one
regular Phrase repeated ; thus.

ig^iisiii

5S5, The third Section (with the omission
of the passing Notes) concludes the Period;
thus,

586. Many more Examples might be given
from the works of the Bachs^ Vanhall, Hayd?7y
Mozart, &c. &c. since the variety of Periods, I
in respect of their component parts, is as great
in Music as in any other language.

CHAP. V PERIOD.

301

SECT, n.— OF THE DOMINANT PERIOD.

587. When a Period concludes with an im-
perfect Cadence (Art. 414, p. 2170 it is term-
ed a Dominant Period.

An example of this Period may be found in
Kozeluch, Op. 23, Sonata 1.

588. The second Section, being interwoven
with the third, is contracted, and consists of
three Measures only. (See Art. 562, p. 291.)

589. The third Section is formed of two ex-
tended Phrases with one Measure repeated, and
concludes on the Dominant ; thus.

C c

302 IV. RHYTHiM.

590. It is to be understood, that the terms
Tonic and Dominant^ relate only to the na-
ture of the Cadence, not to the Modulation of
the Period.

591. It not unfrequently happens that a Pe-
riod, after modulating from the original Tonic
to its own Dominant, may terminate with an
imperfect, or even with a mixt Cadence, in the
new Key.

592. The final Chord, in this case, will be
the Supertonic of the original Scale, made a
new Dominant.*

593. As the knowledge of Feet and Phrases
is very important, to prevent the bad Delivery
(Vortrag) of vocal or instrumental pieces ; so
also the distinction of Sections and Periods,
gives the Performer an opportunity of length-
ening or contracting his Performance at pleas-
ure.

594. The following hints may be useful, till
a more extensive Analysis of Rhythm can be
given.

"* An instance of this termination of a Period, may be seen
in the popular Sonatas of Clementi, Op. 22. The first Period
of the first Soniita concludes on the original Supertoriic E,
with the Major Third as a Dominant to the new Key A Ma-
jor, as a Modulation from D Major.

CHAP. VI. PERIOD. SOa

f. Every Section and Period may be re-
peated, provided the Codetta (if any) leads
back to the original Note.

II. Every repetition of a Section or Period
may be omitted, due care being taken to play
the last Codetta (if any) instead of the first. .

III. Those Sections and Periods which con-
tain Solos for the Violin, Flute, &c. when not
practised with the Accompaniment, should be
omitted ;* and the two sets of Sonatas by Ko-
zeluch. Op. 21 and 23, w^ill admit of these
omissions with great propriety.

IV. In ail omissions of Periods, great atten-
tion must be paid, to make the harmonical
conclusion of one Period agree with the har-
monical commencement of the next, and to
join the passages by their attendant Keys.

V. The difficult Modulations at the opening
of the second strain of a Sonata, may be some-
times omitted, for the sake of gaining time ;
but every person who wishes to excel in Sci-
ence or Execution, will practise those passages
much oftener than any other in the Movement.

* Particularly where the Molin Melody is not inserted in
small notes, or in a separate line. When they are inserted, the
passages may be sometimes introduced on Keyed Instruments-
with good effect.

304

IV, RHYTHM.

SECT. III.-- OF THE INTERWO\TEN PERIOD.

595. As the Periods of modern Music are
distinguished by the accuracy of their phrase-
ology (being for the most part regular ;) so
those of the old School are generally inter-
woven^ and the Caesure Note of one Period
becomes the first Note of the next.

The Fugues of Sebastian Bach are highly
celebrated throughout Europe, for union of
Periods and closeness of Harmony.

596. The first Fugue of his twenty-four
pieces,* entitled Das wohltemperirte Klavier^ is
formed on the following subject.

^^^^m

The Jirst Period terminates in G Major, on
the middle of the tenth Measure.

The second in A Minor, on the beginning
of the fourteenth Measure.

The third in D Minor, on the middle of the
nineteenth Measure.

* First set of Fugues in all the twenty-four Keys, Maj«a'
and Minor.

CHAP. VI. PERIOD. 305

The fourth^ in G Major, on the middle of
the twenty-first.

The Jifth^ in C Major, on the beginning of
the twenty.fourth ; whence the sixth, and last
four Measures conclude on the Tonic Pedal.*

597. The third Fugue by Handel (Op. 3,)
of two subjects in B flat Major, contains a^
greater number of interwoven Periods.

i^:-g

The Jirst Dominant Period of two contracted*
Sections ends on the Caesure Note of the sev-
enth Measure.

The second on the fifteenth Measure.

The third on the Middle of the thirty-first.

The fourth on the middle of the thirty- fifth.

The ffth (a Tonic Period in D Minor) on
the Cassure Note of the forty-fourth, &c.

598. Another instance of a Fugue on two
subjects, much longer than this of Handel, is

* The Tonic Pedal of this Fugue is really a Coda. See a
ropy printed by Mr. Diettenhoier, in the thii'd Set of his
Fugues, published by Messrs. Goulding and Co.
C c2

30* IV. RHYTHM.

that by Domenico Scarlatti^ vol. ii. p. 62, on
the following Theme.

'1^^

599. All the Fugues in Handel's Chorusses,
in his Overtures, in his Lessons, in his Violin
Sonatas or Trios, in the Symphonies to the
Chandos Anthems, &c. &c. are master-pieces
of learning and effect.

600. Among all the various methods of in-
terweaving the Periods of the Fugue, none has
more effect than that of making the Tonic Har-
mony of the final Cadence a new Dominant.

This may be performed diatonkally* by
flattening the Third of the leading Chord
(Art. 424, p. 224,) or chroniatieaUy^ by the
Modulation given in Art. 453, p. 245.

* This is the Clausula Ficta of the older School, in opposi-
tion to the Clausula Formalisy or perfect Cadence. See Fux
{Gradus ad Parnassum,) p. 155.

CHAP. VI.. PERIOD.

Diatonically.

iziziz3!!ili!iQ?Y?ii_izzizi^iz

5 7 6 5 —

4 b b 4 4 3 b7

^^H^

-AVJ-

Instead of

5— ■
4 3

^im^

The same effected chromatically.

'^^^^m

^iHliiii;

308 iV. RHYTHM.

SECT. IV.— OF THE CODA.

60 1 . The concluding passage of many Move-
ments, when it occurs after a protracted perfect
Gadence (Art. 423, p. 223,) is termed the
Coda^* or final Period.

602. The length of the Coda may be various ;
in some pieces it contains several Sections, in
others merely a single Phrase.

603. The following short Coda from Haydn ,
Op. 40, will serve as an Example :

g5:^zQ=i:z:z:z:r:s::z:z:ziE£Ef^ — lizzz™

In this passage, the two first Measures of the
Coda might be omitted, without injuring the
Harmony.

604. When the Coda consists wholly of the
Tonic Harmony, the open or right Pedal of
the Grand Piano Forte, which raises the
Dampers, may be employed with good effect.

* In Modern Music, the Coda is generally preceded by a-
long shake on one of the notes of the Dominant Harmony.

CHAP. VI. PERIOD. 309

605. Instances occur in Kozeluch, Op. 40,
Sonata 1, in F Major, p. 11, and in Op. 41,
Sonata 1, in B flat Major, p. 9, where he uses
the term Aperto (open) for this purpose.

606. In foreign printing, the abbreviations
C. S. con Sordini^ with Dampers (or Mutes,)
S. S. senza Sordini^ without Dampers, are
used for the same purpose. (See Woelfl's So-
natas, Op. 27, Paris edition.)

607. In ancient Music, the Coda generally
occurs on the Tonic Pedal ; and in Minor
Movements it is used as leading to the Plagai
Cadence (Art. 417, p. 219.)

608. There is a style of Coda peculiar to
Italian Bravura Airs.* (See the conclusion of
the Chorus in Haydn's Creation, The heavens
are telling,')

609. In Rondeaus, &c. the Coda is placed
as a separate Strain, with the term itself an-
nexed. (See Shield, p. i05.)

610. But, to shew what great effects are de-
rived from this addition, after the last perfect
Cadence of the Movements has been heard, the

* The Harmonies of this Coda are five, the Tonic, Subir.e=
diant, Subdominant, Dominant, and Tonic. The Siibdcmi*-
nant generally bears its added Sixth. Art 589, p. 202.

310

IV, RHYTHM.

Hallelujah Chorus of Handel's Messiah may
be adduced. The last Section before the Coda,
closes the Period with the perfect or authentic
Cadence (Art. 418, p. 220 j) thus.

2zP"zfzfii~+

m. ^^ffc-.#.-..#.-J

E*^

Ep^i

and he shall reign for ever and ever.

This is followed by a Coda on the Chords of
Subdominant and Tonic, concluding with the
Plagal Cadence.

Uliiiiiisa

Such were the simple, but sublime Notes,
which occurred to the genius of this truly great-
Composer ; and the Chorus in which they oc-
cur, will ever remain a striking memorial of
tlie immortal talents of Handel.

END OF THE FOURTH AND LAST PART.

INDEX.

N. B. The words or lines pi-inted in Italics, are references either
to Musical Examples, or to their Titles.

Page

Abbreviations

Alia Breve

Abkiii'zung

Abyia del gran

248

Absatz

287

Altered Triads

151

Above Measure

Alphabet

Accent 41,

251, 263

Al Segno

Accentual difference

265

Alto Clef

Acciaccatura

69, 246

Ambrosian Chant

Accidental Chords

189, 201

Amen Chorus

173

Accidental Harmonies

i 206

Amphibrach

253, 266

Accidental Minor Scale 130

Anapsst

25^, 266

Accidentals

Ancient flat Signatures ^45

Acquiesce

266

Ancient sharp Signatures 144

Actor

264

Ancient Signature *■

142

Added Lines

And he shall reign

310

Added Ninth

208

And the glory

283

Added Note

167

And with his strifies

118

Added Seventh

201

Anomalous Triads

151

Added Sixth

201, 211

Anschlag

Addition 167,

, 186, 201

Antecedent

257

Adlung

56,59

Anticipation

198

After-notes 63, 188j

, 198, 246

Aperto

309

Ais

5(}

Appels

210

312

INDEX.

Page

Appoggiatura 62, 188, 200, 246

Beat

Appoggiatura of suspen-

Bebe

sion

196

Bebung

Apotome

113, 119

BeethoveUy Op. 2

274

Arioso

287

:Bequarre

Arpeggio

Bemol

Arsis

255

Berenice, Overture in

I 278

Artificial Scale

B flat

S2y55

Bind

Asas

Bis

As when the dove

Black Keys

Attacco

296

Black Notes

Attendant Keys

134

Blow, warder

294

Auflcisung

175

B molle

Aufschlag

255

Borrowed Chords

211

Augmentation

282

Borrowed Harmony

214

Authentic

103

Brace

Authentic Cadence

215, 220

Bravura

309

Authentic Scales

165

Break his bands

138

Auxiliary Scales

134

Breve

Avison, Concerto in

G 290

Brechung

B sharp

But ohy sad virgin

BackfaU

Bar

4, 28, 267

Baritono

Cadences 216,

221, 223

Barred Semicircle

Cadenza

73, 295

Base

6,8

Caesura

270

Base fundamental

152

ensure 78,

197, 269

Base Violin

Csesural Cadence

271

Base Grace

Csesural Variation

280

Baton

Ccesures, remarks on

272, 275,

Battuta

293

INDEX.

fil3

Page

Capxellatuin 50

Chromatic Octave

249

Canons 285

Chromatic Scale 24, 102, 109,

Canto Clef 12

111

Canto Fermo 292

Chromatic Semitone

92,112

Catena di trilii 65

Chromatic Sequence of

CeasCy oh Judah 39

Sevenths

245

Cease thy anguish 146

Chromatic Transition

246

Ces, C flat 54

Cis

Chain of Sevenths 225

Ciscis

Chain of Shakes 65

Classes of Maipurg

236

Change of ensure 272

Clauses

278

Changing Notes 63, 107, 187

Clausula

216

Characteristics 140

Clausula ficta

306

Characters 73

Clausula fonnaUs

287, 306

Choral 292

Clefs of C, F and G

Choi-al Counterpdnt 12

Clef Line

Choral Music 281

Choi-d 148

Close Harmony

151

Chord of extreme sharp

Coda 78,

308, 310

Sixth 156

Codetta

295

Chord of Fifth and Sixth 171

Codettas of Graim

297

Chord of Fourth and Sixth 156

Collateral

103

Chord of Second & Fourth 173

Comfort ije

81, 265

Choixi of Second and Third 199

Commas in Music

49, 120

Chord of Sixth 155

Common Cadence

223

Chord of Sixth and Ninth 199

Common Chord

148

Chord of Sixth and Seventh 236

Common Time

Chord of Third and Fourth 172

Compound Common Time 34

Chroma 109

Compound Feet

267

Chromatic Appoggiatura 246

Compound Measures

256

Chromatic Dissonant Triad 150

Compound Sequences

231

Chromatic Enharmonic 110

Compound Time

Chromatic Modulation 245

Compouiid Triple Tin

ae oG

3i4

INDEX.

Page

Concords

202

Delizie dell' Opere

272

Connecting Chords

207

Demisemiquaver

Conrade the good

261

Derivatives

156

Consecutive Fifths

158

Des

Consecutive Octaves

158

Descending Base Series

Consider^ fond

Descend, kind fiity

Consonant

104

Descending Scale

243

Con Sordini

309

Descending Treble Series

; 18

Contracted Section

279, 289

Desdes

Contralto

Diacommatique

138

Contrary Motion

157

Diatonic

Contra-tones

Diatonic Dissonant Triad

14«

Contravene

266

Diatonic Enharmonic

110

CorellU Concerto 1st

Diatonic Genus

109

Corelli, Concerto 8th

35, 189,

Diatonic Intervals

278

Diatonic interweaving

306

Corn Biggs

Diatonic Scale 88, 101, 109

Coronata

Diatonic Sequence 197, 200

Counterpoint

148, 202

Diatonic Succession

184

Counter-tenor Clef

Diazeuctic Tone

120

Crescendo

Die, presumptuous Jicis

284

Crotchet

Diesis 51, 120

Di grado

Diminished Seventh

211

Diminished Triad

149

Diminuendo

Da Capo

Diminution

282

Dactyl

253, 266

Direct

75,93

Da, me, ni

Direct Chord

153

Dash

Direct Gradation

219

Deceptive Cadences

223

Direct Motion

153

Defective Fifth

238

Director

Degrees 2,

5, 86, 106

Disalto

INDEX.

31.^

Page

Dis 50

Discords of Addition 201

Discord of Fourth 192

Discord of Ninth 201

Discords of Suspension 192

Discords of Syncopation 200

Discords 186

Dispersed Harmony 151

Dissonant 104

Dodecachordon 17
Dominant 134, 165, 168

Dominant Caesure 271

Dominant DivisiMi 108

Dominant Motion 162

Dominant Pedal Note 236

Dominant Period 301

Dominant Progression 163

Dominant Section 286
Dominant Sequence 225, 278
Dominant Seventh 165, 250

Doppelschlag 67

Do, re, mi 19

Dot of Expression 81

Dot of Repetition 76

Dot of Time 32

Double Appoggiatura 70

Double Bar 77

Double Compound 34

Double Dot 32

Double Emploi 206

Double Flat 59

Double Fundamentals 202

Page
Double Shaip 58

Double Suspension 194, 231
Double I'l'ansition 191

Doubling of the Sixth or

Third 154

Draiv the tear 250-

Dreyklang 163

Driving Notes 45

Durchgehende 63

Durum 53

Ecclesiastical Mode 22

E flat 53

Eight Tones 21, 103

Einschnitt 274, 275

Eis 50

Elevation 61

Eleventh 89, 209

Emphasis 43, 260

Enharmonic 58, 110

Enharmonic Diesis 118

EnhaiTOonic Modulation 247
Enharmonic Scale 102, 109, 118
Equal Time 29

Equivocal Csesure 273

Equivocal Chord 169, 211, 247
Equivocal Harmonies 160

Eschaton 121

Es 54

J16

INDEX.

Page

Fagt

Eses

F Clef

E sharp

Fell rage

Essay on Tune

.138

Fermate

Essential

Fes, F flat

Essential Chords

201

Figurate Counterpoint

283

Essential Leading Note

128

Figures of Time

Essential Minor Scale

130

Final Notes

287

Essential Sevenths

196

First Flat

Hvery joy

First Sharp

Exception to Casure

273

First Time

296

Expression

Fis

Extended Phrase

279

Fisfis

Extended Section

289

Five-feet Sections

289

Extension

207

Five Sounds

170

Extreme flat Eighth

118

Flat

Extreme flat Fourth

115

Flat Fifth

96,99

Extreme flat Seventh X17, 169

Flat Second

Extreme flat Third

115

Flat Third

Extreme Interval

112

Flute Sections

303

Extreme License

236

Foot

263

Extreme sharp Fifth

116

Force

260

Extreme sharp Second

114

For unto us

282

Extreme shai-p Sixth :

117,237

Fourth

21,22

Fourth and Nintii

194

Fa-di^se 51

False and mixt Cadences 162

False Cadence 218

False Relations 158

Far brighter 39

Four positions of the Sev-
enth 1^0
Fra7igere telum 292
French Sixth. 239
Frets 89
F shai-p 50
Fundamental Base 153
Fundamental Intervals 101

INDEX.

31?

Page

Gammut 17, 1&

G Clef 7
Genera 102, 109, 121

German Hymn 31

German Scale 57

German Sixth 239

Ges 54

Gipsey Glee 40

Gis 50

Glareanus 16, 24

God save the King 85, 298

Gothic B 56

Governing Note 139

Graces 61
Gradation 154, 190, 219

Gradual Ascent. 226

Gradual Descent 228

Gradual Motion 163

Gradual Progression 163

Grammatical Accent 44, 76

Great Cadence 223

Great Octave 16

Greater Scale 102

Grecian Rhythm 263

Gregorian Chant 8

Groppo 27

Grouped Stems 84

Grouping 38

Groups of Quavers, &c. 27

Groups of six 257

Groups of three 257

Gxcups and Times 255
Dd2

Page

Hailstone Chorus 171
Half Beat 69, 247

Half Demisemiquavcr 26

Half Note 21

Half Time 31
Hallelujah Chorus 190, 310
Handel's 2d OrganConcerto 64

HandeVs Fugue 305

Harky he strikes 12

Harmonic Triad 148

Harmonie universelle 165

Harmony 148

Haupt-ton 64

Haydn's Creation 281
Haydn's Overture in D 209

Haydn, Op. 13, Op. 17 4a

Haydn, Op. 40 177

Haydn's 3d Symphony 44

Heads of Notes 2

Hear Jacob's God 195

Hear my crying 237

Heteroclite 193

He was brought 27^-

He was bruised 191

Hexachord - 18, 97

Hide me from. y^

High Treble^ 13

His 50

Hold 73-

Hooks of Quavei^, 8cc. 24

H(nv blest the maid It

Ho^v exQclkm 143

318

INDEX.

Page

Page:

Jfoiv "tain is viaii

Inversion of Dominant

Hiilfs-ton

Seventh

171

Hush, ye pretty

Inversion of Triad

153

Hyperdiatonic

244

Inverted Intervals

101

Hyperoche

121

Inverted Sequence

227

Hypodiatonic

190

Inverted Turn

Irregular Seconds

106

Irregular Cadence

217

Irregular Cxsure

270

Iambic Example

267

In-egular Modulation

185

Iambic Rhythm

252

In-egular Motions

158, 163

Iambus

264

Irregular Phrase

279

I knonv that my

268

Irregular Sequence

233

ril to the well-trod

Irregular Transition

187

Imbroglio

260

Immortal Lord

213

Italian Coda

309-

Imperfect Cadence

217

Italian Sixth

23a

Imperfect Close

Imperfect Concords

105

Imperfect Phrase

275

Important Intervals

102

Jesus Christ is risen

Index

Joys in gentle

144

Intense Diatonic

122

Interpunctal

288

Interrupted Cadence *. •

219

Interspersed Semitones

109

Key-board

Intervals

85, 121

Key-note

Interwoven Period

304

Keys

li?S

Interwoven Phrases

283

Knot of the Fugue

283

Interwoven Sections

291

Koch's marks

275, 287

Jn the battle

139

Koch's remarks

277

Inversion

100

Kozeluch, Op. 21

300

Inversion of added Sixth 202

Kozeluch, Op. 23

301

Inversion of Dominant

214

Kozeluch, Op. 40, 41

308

INDEX.

119

Page

La Rachellina

258

Large B

Last Accent

269

Last Flat

140

Last Sharp

140

Latticed B

Leading Note 125, 140, 160

Ledger Line 3

Legato 287

Lesser Scale 102

Let all the angels 282

L.et ambition SS

Let festive joy 74

Letter H 57

Letter h 56

Let the bright 83

Licenses 235

Ligature 27

Limma 113

Lines beyond the Staff 3

Long Keys 15
Lordy remember David. 145

Major and Minor

Major Mode

123

Major Second

Major Seventh

Major Seventh with Ma-

jor Thii-d

169

Page

Major Sixth 97

Major Third 94
Major Third at a Close 220

Major Triad 149

Make straight 265

Mark of Repetition 75

Mark of Restoration 57

Mark of Transposition 55

Measures 28

Medial Cadence 221

Mediant 126

Mediant Motion 162

Mediant Progression 163
Mediant Sequence. 226, 257

Melody 85

Melting Strains 261

Mezzo Soprano 1 3

Mi Bemol 54

Mi, fa 24

Minim 24

Minor Mode- 124

Minor Scale 128

Minor Second 91

Minor Seventh 98
Minor Seventh -with fiat

Fifth 169
Minor Seventh with Mi-
nor Third 168
Minor Sixth 97
Minor Third 93
Minor Triad 149
Mirth admit me 259
Mixt Cadence 219

320

index:

Page
Mixt Measure 38, 258

Modes, Minor and Major 123
Modulation 134, 159

Modulation from Major

Scale 179

Modulation from Minor

Scale 183

Mordente 66, 70

Morley's Fifth and Sixth 202
Mozart's Duet in C 271

Mozart's Duet in D 290

Mozart's Op. 11 239

Musical Czesure 269

Musical Close 216

Musical Foot 263, 267

Musical Punctuation 275

N»

Natural 56

Naturale 53

Natural Minor Scale 130
Natural Scale 24, 101

NelVorror 172

Nine Crotchet Time 36

Nine Quaver Time 37
Nine Semiquaver Time 37

M, let the guilty 33
Mn nobis Domine 222, 285

Won vi turbate 276

Notes 73

Wow vanish 281

Page

Oblique 103

Oblique Line 72

O clap- your hanck 30

Octave 14, 99

O fairest often 10

Of all the girls 273

O had I Jubal's 274

Old Graces 6l

O mirror of our 116

Omission of Periods 303

Omission of Roots 209"

Omission of the Fourth 172

Omission of the Octave 175

Open Pedal 309
Organ Point 195, 235

Ornamental 63
O the pleasures 195, 296

0 thou that tellest 268

Our fainting courage 30

Our fears are notu 129

Our fruits^ while yet 79

Our limpid streams 80

Overture to Esther 291

Overture to Messiah 187

Pallido il Sole 272

Paragraph 278

Partial Modulation 240

Partial Sequence 232

Partition, or Partituta 4

INDEX.

321

Page

Parts of Measui'es 254
Passing Notes 63, 106, 186

Passing Shake 66, 288

Passione of Graun 261, 293

Passione of Haydn 262

Passione of Paisiello 237

Pause 7o

Pedal Harmonies 235

Pedals 69
Perfect and Imperfect

Cadence 162

Perfect and Sharp 95

Perfect Cadence 217

Perfect Concords 105

Perfect Fifth 96

Perfect Fourth 94

Perfect Phrase 275

Period 78, 298

Pha 21

Phrase 7^, 129, 274

Phrases in Harmony 277

Phrases in Melaiy 277

Phrases of Rousseau 278

Piano passages 260

Pilgrim, by Basse 261

Pious Orgies 57 ^ 80

Pitch ^

Plagal 103

Plagal Cadence 216, 219

Plagal Coda 310

Plagal Scales 165

Plain Chant 22

Page

Pleyel, Op. 12 84

Pleyel, Igt Sonata 188

Pleyel, 3d Sonata 299

Point 81

Points 148

Points of Division 252

Point of Em. Bach 296

Polacca 273

Polonoise 273

Polyodic ^5

Positions of a Chord 152

Postpositions 199

Prsell-triller 66

Praise the Lord 41

Prelude 280

Preparation 167
Preparation of added Sixth 203

Primary Intervals 95

Primary Scales 150

Principal 103
Principal goveniing Note 139

Progression 1^9

Progression of Rameau 225

Prophetic raptures 11-5

Prophetic visions 271

Proportion of the Breve 27
Proportions of white

Notes, 8cc. 27

Protracted Cadences 223
Punctuation 7&y 275

Pyrrhic 264

Pythagoreans 1^3

322

INDEX.

Page

Replicate

249

Quadrum

Resolution

174

Qualities of Notes

136

Resolution of added Sixth

203

Quantity

263

Resolution of Dominant

Quarter-tone 58,

109,

,119

Inversions

178

Quaver

Rest, general

Qui diligit 203,

292, 293

Restoration .

Quintoles

Rests

Quintuple

Retardations
Return, 0 God
Rhetorical Accent

19S
248

Rhetorical Termination
Rhythm

77
251

Radical Base

151

Rhythmical

288

Radical Cadence

216,

298

Rhythmical arrangement

227

Radical Harmony

200

Rhythmical close

219

Radical parts of the

Rhythmical termination

269

Scale

137

Rinforzando 44, 82

,260

Rameau's added Sixth

202

Rondo

Rameau's System

151

Root

151

Rasserena

276

Root with flat Fifth

238-

Red Cross Knight

294

Round B

Regular Clefs

Rule of the Octave

242

Regular Motion

163

Regular Phrase

274

Regular Section

286

Relative Attendant

162

Relative Major

134

Sally in mcr alley

275

Relative Major Key Note

137

Scale of C

Relative Minor Key Note

137

Scale of F

Relative Minor Scale

131

Scale of F sharp

127

Rendi 7 sereno

145

Scale of G

Repeat

Scale of G flat

127

Repetition of Sections

303

Scales

123

IKDEX.

523

Page

Scales with Flats

126

Sforzato

Scales with Sharps

124

Shake

Schnelle Fusse

247

Shaked Graces

Score

Shaked on Dominant

308

Second

Shaip

Secondary Intervals

Sharp Fourth

95, 99

Secondary Scales

150

Sharp Thu-d

Second Flat

Si-Bemol

-54

Second Sharp

Si Do

Second Time

296

Sigh no more

264

Section 78, 129,

286, 278

Signature

53, 127

See the conquering

10,30

Signs of Quantity

265

See the tall palm

-141

Similar Notes

Segno

Simple Feet

26S

Segue

Simple Measures

251

Semibreve

Simple Sequences

229

Semicircle

Since ^r St Isaiv

264

Semicolon

287

Single Bar

Semicrome

Single Cross

Semiquaver

Sin noty 0 king

Semitone

Six connected Scales

134

Senza Sordini

309

Six Crotchet Time

Septenaries

Six Feet Sections

289

Septimoles

Six Quaver Feet

268

Sequences

225

Six Quaver Time

34, 257

Sequence of Sevenths

200,225

Sixth Flat

126

Sequence of Sixths

171

Sixth Sharp

125

Series of C

Skips

104

Sesquialter Chromatic

122

Skips of Melody

Seven Clefs

Slide

Seven Letters

Slur

27,80

Seventh and Ninth

194

Small Octave

324

INDEX.

Page

Smooth Graces

Supposition

195

SoftB

Suspended Notes

167

Soft Chromatic ni, 122

Suspension 167,

186, 199

Soft Diatonic

122

Sutonique

138

Softly rise

227

Sweet bird

113

Softly sweet

139

Syllable Si

Solfeggio

Syncopation 45,

186, 200

Soprano Clef

Syntone Diatonic

122

So sliall the lute

270

Sound an alarm

Space

Spondee

264

Spring

Tablature

Square B

Temperament

120

Staff

Tempo Buono

Stem

Tempo d'imbroglio

260

"Streams of pleasure

103

Tenor

Strong parts of the Bar

Tenor Clef

Stroke through a figure

155,

Tenor Violin

171

Tenth

Subdominant 136, 140

Tetrachord

Subdominant division

108

The eiiemy said

Subject in Phrases 282

Submediant 137

Subordinate Scales 135

Subsemitone 137

Substitution 214

Successive Fifths 107

Superdominant 138

Supeitonic , 138

Supertonic Root 205

Supertonic S^^'enths 205

Supposed Bases 153

The flocks shall leave 146, 281,
284
The heavens are telling 309
The people that 139

The fieofde shall 209

The raptur'd soul 40

Thesis 255

The smiling dawn 42

They loathed 118

The youth inspird ' 143
Thirteentii 209, 236

INDEX,

525

Page

Thou didst blow

106

Triplets

Three Crotchet Time,

33, 257

Trioles

Three Inversions

171

Trite

Three Minim Time

Tritone

52,95

Jhree Motions of RacU-

Trochaic Example

267

cal Base

163

Trochaic Rhythm

252

Three Positions

153

Trochee

264

Three Quaver Time

Tu ad liberandum

297

ThiLs saith the Lord

188

Tune

20,85

Jime

Tuning

120

Times

29,76

Turk's Mark

288

Times of Measures

256

Turn

Tone, Interval

Turn not^ 0 queen

lis

Tonioeum Chromatic

110, 122

Twelve Modes

23, 103

Tonic

136

Twelve Quaver Time

Tonic Division

108

Twelve Rules

157

Tonic Minor Scales

132

Twice marked Octave

Tonic Pedal

195

Tw^o Crotchet Time

31, 259

Tonic Pedal Note

235

Two Liversions of Triad, 153

Tonic Period

298

Tye

27,79

Tonic Section

286

To vanity

115

Transition

167, 186

Transposition

133

Uncommon Chord

153

Treble

Unequal Time

Tremando

Union of Phrases

283

Tremok)

Union of Thirds

208

Triad

148

Unison

90, 174

Triller

Unity of Melody

197

Triller, Kette

Unnecessary Skips

158

Triple

Uji the dreadful

Triple Subdivision

Ut diese

Triple Time

Ut, re, mi

326

INDEX.

Page

Walze

Variation

134

War he sung

Variation of the Tonic

Waving Line

Harmony

271

Weak parts of the Bar

Va speme

Welcome as

Verdi firati

We firaise thee

138

ViQla,Clef

What passion

Vioifii

When warlike

80, 141

Violin Sections

303

White Keys

Violoncello Clef

White Notes

Vocal Music

JVhither, my love

258

Vo solcando

196

Wie stark

247

Voudisafe, 0 Lord

248

Wretched lovers

292

Waft heVy angels
Waltz

103

279

Zadock the priest
Zusammenschlag

220
69

LIST OF TREATISES

QUOTED IN THE PRECEDING WORK,

With References to the Histories of Sir John Hawkins,

Dr. Burney, and the Essay of M. La Borde^

for a more particular Description.

Iftbe Pages in Parentheses refer to the present fVori^]

ADLUNG (M.Jacob,) Anleitung zu der Musikalischer Gelahr-
theit, 8x0. Erfurt, 1758 ; new edition, 1783, by Hilier, (p. 56, 59.)

.\LEMBERT (Jean le Rond d',) Elemens de Musique, Paris, 1752,
Lyons, 1762, (p. 130.) Dr. B. iv. 612, 626. La B. iii. 541.

ANTONIOTTO (Giorgio,) I'Arte Armonica, fol. London, 1761,
(p. 24, 224.) Sir J. H. v. 393. Sec also the Monthly Re\1ev.%
1761, vol. xxiv. p. 293, 299.

ARON (Pietro,) Inslitutio Haitnonica, Bononise, 1516, &:c. (p. 158.)
Sir J. H. ii. 341. Dr. B. iii. 154. La B. uL 33L

BACH (Charles Piiihp Emanuel,) Versuch iiber die wahre Art
das Clavier zu spielen, 1753, 1759, 1780, &c. (p. 48, 61, 189, 19^,
199.) Dr. B. iv. 595. German Tour, vol. ii. 244, 263.

BETHIZY (M.de,) Exposition de la Theorie, &c. 8vo. 1754, 1762,
(p. 13, 110, 138.) Dr. B. iv. 626. La B. iii. 575.

BONTEMPI (Gio. And. Ang.) Historia Musica, fol. Perugia, 1695,
(p. 49.) Sir J. H. iv. 255. Dr. B. iii. 542. La B. iii. 336.

BORDE (M. de ki,) Essai sur la Musique, 4 vols. 4to. Paris, 1780,
(p. 17, 190, 195, 285.) Dr. B. iv. 628. Monthly Review, voL Ixii
p. .376.

328

LIST OF TREATISES QUOTED.

BURNEY (Charles, Mus. Doc. Oxon,) A General History ct
Music, 4to. London, vol. i. 1776 ; ii. 1782 ; iii. iv. 1789. Monthly
Review, vol. liv. p. 203, 438 ; vol. Ixvii. p. 177; vol. Ixviii. p. 30;
vol. Ixxxi. p. 289, 426, 537; N. S. vol. i. p. 121, 265.

BURNEY (Charles, Mus. Doc. Oxon,) The Articles in the New
Cyclopaedia of Dr. Rees, 1803, 1806, 4to. Accent (p. 41,) Jcciac-
cai:tra (p. 69,) Apjioggiatura (p. 62,) Attacco (p. 296,) Base
fundamental (p. 152,) Battuta (p. 38,) Caesura (p. 270.)

BUR11U3 (Nicolas,) Musices Opusculum, Bononize, 1487, 4to.
(p. 159.) Dr. B. iii. 155. La B. iii. 337.

BUTLER (Charles,) Principles of Music, 1636, (p. 14, 17, 19, 20,

25,45,57,73,75,76,96,216.) Sir J: H. iv. 38. Dr. B. iii. 365, 403.
CERONE (R. D. Petro,) El Melopeo y Maestro, Napoles, 1613,

(p. 158.) Sir J. H. iv. 70. Dr. B. ii. 96, iii. 537. La B. iii. 337.
DONI (Gio. Battista,) Annotazioni sopra il Compendio, 4to. Roma,

1648, (p. 38.) Sir J. H. iv. 185. Dr. B. i. 72, 116, 459, iii. 1731-

La B. iii. 338.

FRAMERY (Nicholas Etienne,) Encyclopedie Methodique, 4to.
1791, A. to C. (p. 168, 237.)

FUX (John Joseph,) Gradus ad Parnassum, fol. Vienna, 1725,
(p. 192, 306.) Sir J. H. v. 32. Dr. B. iv. 5^5. La B. iii. 341.

GAFURIUS (Franchinus,) Theoricum Opus, 1480, 1492. Prac-
tica Musica, 1496, Sec. Harmonica, 1500, &c. (p. 7, 53, 56.)
Sir J. H. ii. 307. Dr. B. iii. 152. La B. iii. 341.

GASPARINI (Francesco,) I'Armonico Prattico al Cimbalo. Ven.
1708, 1715, 1729, &c. (p. 69.) Sh- J. H. iv. 320, v. 226. Dr. B.
iv. 574. La B. iii. 344.

GEMINIANI (Francesco,) Treatise on Good Taste, fol. 1749,
(p. 244, 246.) Sir J. H.v. 238, 389. Dr. B. iv.461. La B. iii. 627.

GERBERT (Martin,) Prince Abbot of St. Blaise, De Cantu et
Musica Sacra, 4to. 2 vols. 1774; Scriptores Ecclesiastici, 4to.
3 vols. 1784, (p. 49, 52.) Sir J. H. i. 21. Dr. B. German Tour,
ii. 318. La B. iii. 629. Monthly Review, vol. Ixxiii. p. 454.

GLAREANUS (Hen. Lor.) Dodecachordon, Basil, 1547, (p. ir.)
Sir J. H, il 410, ill 123. Dr. B. iii 249. La B. iii. 345.

LIST OF TREATISES QUOTED. 329

GRASSINEAU (James,) a Musical Dictionaiy, 8vo. 1740, (p. 51.)
Sir J. H. i. 86.

GUNN (Mrs. Anne, late Miss Young,) Introduction to Music, Ed-
inburgh, Svo. 1803, (p. 215.) British Critic, vol xxv. p. 64.

HAWKINS (Sir John, Knight,) A General History of the Science
and Pi-actice of Music, 5 vols. 4to. 1776. Montlily Review, vc;).
Ivi. p. 137, 270 ; vol. h ii. p. 149. ,

HENFLING (Conrad,) Specimen de novo suo Systemate Musico.

In the Berlin Miscellanies, vol. i. part 3d, p. 265—294, 4to. 1710,

(p. 121.)
HILLER (John Adam,) Anweisung zur Gesang,. 4tc. Leipzig,

(p. 19, 50, 293.)

HOLDEN (John,) An Essay towards a rational System of Music,
oblong quarto, Glasgow, 1770, (p. 3, 6, 8cc. 201, &c.) Monthly
Review, vol. xlvi. p. 121.

HOLDER (Dr. William,) A. Treatise on the Natural Grounds and
Principles of Harmony, Svo. 1694, (p. 24.) Sir J. H. i. 309, iv. 541.
Dr. B. iii. 598.

JONES (Rev. William, of Nayland,) A Treatise on the Art of
Music, Colchester, 1784, (p. 219, 278.) Monthly Review, vol.
Ixxv. p. 105, 174.

KEEBLE (John,) The Theory of Harmonics, 4to. 1784, (p. 58, 134,
150, 207.) Dr. B. iv. 265, 663. European Magazine, vol. vij.
Monthly Review, vol. Ixxiii. p. 186, 353, 431.

KIRCHER (Athanasius,) Musurgia Universalis, foL Roma, 1650,
(p. 58, 86.) Sir J. H. iv. 204. Dr. B. iii. 576, La B. iii. 353.

KIRNBERGER (John Philip,) Die Kimste des reinen Satzes, 4ta
Berlin, 1774, (p. 154, 207, 209, 211, 217.) Dr. B. iv. 598.

KOCH (Hen. Christ.) Musikalisches Lexicon, 2 vols, large 8vo.
Frankfort, 1802, (p. 27, 40, 6cc. Sec.)

KOLLMANN (A. C. F.) Essay on Musical Harmony, fol. 1796,
(p. 23, 28, &c. &c. &c.) Monthly Re^•iew, N. S. vol. xxi. p. 27.
Critical Review, vol. xviii. p. 88, British Critic, vol. xvi. p,
169, 393.

Ee 2.

330 LIST OF TREATISES QUOTED.

KOLLMANN (A. C. F.) Essay on Musical Composition, fol. 1799,
(p. 56, 69.) Monthly Review, N. S, vol. xxxi. p. 127. Critical
Review, vol. xviii. p. 219. British Critic, vol. xvii. p. 399.

LAMPE (John Fred.) Method of teaching Thorough Bass, 4to.
1737, (p. 190, 229, 233.) Sir J. H. v. 371. Dr. B. iv. 655, 672.

LANGLE (H. F. M.) Nouvelle Methode pour chifiVer les accords,
8vo. Paris, 1801, (p. 201.) La B. iiL 441.

LORENTE (Andrea,) El Porque de la Musiea,. foL Alcala, 1672,
(p. 158.) Sir J. H. iv. 265. La B. iii. 354.

MALCOLM (Alex.) a Ti-eatise of Music, &c. 8vo. Edinburgh,
1721, (p. 6, 20, &c. &c.) Sir J. Hi v. 215.

MARPURG (Fred. William,) Kandbuch bey dem General Bass,
&c 1755, 1757, 1762, &c. &c. (p. 150, 156, 236.) Sir J; H. i. 15.
Dr. B. iv. 518. La B. iii. 355..

MARTINI (II Padre Giambattista,) Saggio di Contrappunto, &c
Bologna, 2 vols. 4to. 1774, 1775, (p. 13, 58, 112, 167, 220, 283, 296.)
Dr. B. iv. 575. La B. iii. 355.

MATTHESON (John,) Orchestre, 1713. Der Vollkommene
Kapellmeister, fol. Hamburg, 1739, (p. 172, 263.) Sir J. H.
V. 25L Dr. B. iv. 66.

MAXWELL (Mr.) Essay on Tune, 8vo. 1782, (p. 24, 138.) Dr. B.
iiL 164. Monthly Reviev/, vol. Ixv, p. 437.

MERCADIER (de Belesta,) Nouveau Systeme de Musique, 8vo.
Paris, 1776, (p. 190.) La B. ill 653. Monthly Review, vol. Ivi.
p. 386.

MERSENNE (Marin,) under the name of De Sermes, Harmonic
Univei selle, 8vo. 1627, (p. 165.) Sir J. H. iv. 104. Dr. B. iii. 583.
La B. 111. 357.

MORLEY (Thomas,) Introduction, 1597, foL (p. 45, 75, 188, 201,
202, 216.) Sir J. H. iii. 334. Dr. B. iii. 99.

KICHELMAN (Christopher,) Die Melodie, 4to. Danzig, 1755,
(p. 86.)

ORNITHOPARCUS (Andreas,) Micrologus, translated by Dow-
land, 1609, (p. 19.) Su- J. H. u. 391. Dr.B.iU.247. La B. iii. 361.

tIST OF TREATISES QUOTEB. 3^1

PEPUSCH (John Christ.) a Short Treatise on Harmony, 1730i
1731, (p. 7, 22, 45, 101, 111, 124, 153, 161, 199, 201, 223.) Sir
J. H. V. 194, 344. Dr. B. iv. 636.

PETRI (John Sam.) Anleitung zur praktischen Musik, second edi-
tion, 4to. Leipzig, 1782, (p. 73.)

PIZZATTI (Giuseppe,) La Scienza dei Suoni, small fol. Venez.
1782, (p. 154.) Dr. B. iv. 576,

PLAYFORD (John,) Introduction to the Skill of Music, 8va edi-
tion 14th, 1700, (p. 26, 27, 101, 204.) Sir J. H. iv. 468. Dr. B.
iii. 59, 417.

PRINCIPES Elementaires de la Musique, par Cherubini, Gossec,
&:c. &c. Paris fol. (p. 104, 256.) British Critic, voL xxv. p. 369 ;.
vol. xxvi. p. 361.

PRINZ (W. C.) Satyrischer Componist, 4to. Dresden, 1696, (p. 86,
263,270,287.) Sir J. H. iv. 246. Dr. B. iii. 576.

RAMEAU (Jean Phil.) Traite de I'Harmonie, 4to. Paris, 1722,
(p. 7, 45, 102, &c. ace.) Sir 1 H. v. 384. Dr. B. iv. 609. La B.
iii. 464.

REINHARD (Andreas,) Musica, Lipsis;, 1604, small 8vo. (p. 15.)
Dr. B. ii. 121.

RIEPEL (Joseph,) Anfangsgriinde, &c. fol. Ratisbon, 1754, (p. 275.)
Dr. B. German Tour, vol. ii. p. 318.

ROSSI (Lemme,) Sistema Musico, 4to. Perugia, 1666, (p. 58.) Dr.
B. iii. 539. La B. iii. 362.

ROUSSEAU (Jean Jaques,) Dictionaire de Musique, 176S, Art
Baton (p. 46,J Beguarre (p. 57,) Diacommatique (p. 138,)
Double Emfiloi (p. 206,) Enharmonique (p. 250,) Regie de
l^ Octave (p. 2^2,) Sauver (p. 175,) Temfis (p. 41,) Uiiite (p. 197.)
Dr. B. iv. 628. La B. iii. 667. Monthly Review, vol. xxxviL
p. 547.

ROUSSIER (M. I'Abbe,) Traite des Accords, 8vo. Paris, 1764,
(p. 214.) Dr. B.iv. 627. La B. iii. 678.

SABBATINI (Luigi Ant.) ^rattato sopra le Fiighe Musicali, 2
vols. 4to. Venezia, 1802, (p. 295.)

332 LIST OF TREATISES qUOTED.

SALINAS (Franciscus,) De Musica, 1577, fol. (p. 58.) Sii- J. H. iii,
123. Dr. B. iii. 291. La. B. iii. 366.

SHIELD (William,) Introduction to Harmony, 4to. 1800, (p. 44,
82, &c. &c.) Monthly Review, New Series, vol. xxxiii. p. 154 ;
Critical Review, N. A. vol. xxx. p. 133; British Critic, vol. xviii.
p. 46, 157.

SIMPSON (Christopher,) a Compendium of Practical IVIusic, 8vo.
&c. 1667, (p. 2, 45, S7y 61, 75, 101, 201.) Sir J. H. iv. 398, 405.
Dr. B. iii. 421.

SULZER (John George,) Allgemeine Theorie der Schonen Kunste,
large 8va 2 vols. Leipzig, 1773, (p. 41, 175.) Dr. B. German
Tour, vol. ii. 208.

TARTINI (Giuseppe,) Trattato di Musica, 4to. Padua, 1754,
(p. 40, 219.) Sir J. H. v. 375. Dr. B. iv. 562, 575. La B.
iii. 368.

TEVO (Zacharia,) 11 Musico Testore, 4to. Venezia, 1706, (p. 73.)
SirJ.H. V. 27. Dr. B. i. 114. La B. iii. 369.

TURK (Dan Gottlob,) Klavierschule, Leipzig, 1789, (p. 59, 61,
&c. &c. &c.)

TURNER (William,) Sound Anatomiz'd, in a Philosophical Es-
say on Music, 4to. 1724, (p. 7, 57^

"VANNED (Steffano,) Recanetum de Musica Aurea, Roma 1533,
(p. 49.) Sir J. H. ii. 408. Dr. B. iii. 158. La.B.iu.370.

W'ALTHER (John Gottfried,) Musikalische Lexicon, 8va Leip-
zig, 1732, (p. 52, 216.) Sir J. H. v. 260. Dr. B. iv. 585.

ZARLINO (Gioseffo,) Institutioni Harmoniche, Venez. 1558, 1562,
1573, 1589, fol. Dimostrazioni, 1571, 1589. Sopplementi 1589,
(p. 58, 229.) Sir J. H. iii 106, 232, iv. 287. Dr. B. iii. 162.
La B. iii. 372.

%ot1x ^osjrital CoUectiott.

JUST PUBLISHED,

And for sale by WEST & BLAKE, Na 56, CoRNHiLft,
AND BY MANNING & LORING, No. 2, Cornhill,

{In one volume, royal quarto, iirice three dollan,')

THE COLLECTION

PSALM AND HYMN TUNES,

SUNG AT THE CHAPEL OF THE LOCK HOSPITAL.
From the last London Edition.

Lock Hosfiltaly near Hyde-Park Corner y May o, 1792.

THE music which is adapted to the hymns that are
used in the chapel of this hospital, hath been generally ali
lowed, by competent judges, to contain a great variety of
the finest specimens of sacred harmony that have ever been
introduced into public worship.

For the first edition of these hymn tunes, we are princi-
pally indebted to the musical talents and benevolent exer-
tions of the late Rev. Mr. Madan, who proposed, by pub-
lishing this collection, to assist the devotions of the pious
Christian, and by its sale to contribute towards the support
of this charitable institution.

But it is not v^-ithout concern, that the governors of this
hospital complain before the public, that this little source
of profit (the portion of the pitiable objects of this charity)
hath been repeatedly plundered by the lawless invaders of
literary property.

Many of the tunes have been published in a complete
form, by piratical printers of music ; while another class of
nien^ actuated alike by vanity and avarice, by altering and

mutilating the music, have attempted at once to defraud
the several composers of their honour, and the indigent of
their subsistence. To preserve the public, therefore, from
the imposition of surreptitious editions, and to secure, as far
as possible, the profits arising from the sale of this work, to
those for whose benefit they were primarily designed, a new
and correct edition of the music is now published, by the
direction of the governors of the hospital.
By order of the committee^

JABEZ FISHER, Secretary.

Advertisement to the American Edition,

WE have now the satisfaction of presenting to the lovers
of classical sacred harmony, a work of the first celebrity ; to
the acknowledged merit of which few musicians are stran-
gers, though scarcely a copy has lately been found for sale,
even in London. The avidity with which many good
judges seized the occasion of promoting the republication
of this collection, induced us to hazard an ample edition ;
trusting for our remuneration to the taste and liberality of
a discriminating public.

There is a character or style peculiar to every writer of
music, however distinguished : but the Lock Hospital Col-
lection displays all the variety that can be desired ; being
selected from the most approved productions of the greatest
masters in Europe. In this compilation will be found
beauties from the pen of the Rev. Dr. Madan, the original
Editor ; from Dr. Worgan, Dr. Heighington, Dr. Burney,
Dr. Arnold, F. Giardini, M. Vento, C. Lockhart, F. Ales-
sandri, and many others of the first rank in the science.

As to die style of the mechanical execution, we feel a
confidence of having completely fulfilled our engagements,
and an assurance of meeting the expectations of our patrons.

The performer wull observe, that through the whole
work, the air or principal is placed next above the bass.

That this publication may prove useful in diffusing a
taste for correct and refined composition, and by its animat-
ing and pathetic melodies promote the fervour of Christian
devotion, is the sincere desire of

THE AMERICAN PUBLISHERS.

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Full text of "A musical grammar, in four parts. I. Notation, II. Melody, III. Harmony, IV. Rhythm"

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