RUDIMENTS OF
THOROUGH
BASS,
FOR
YOUNG HARMONISTS; AND
PRECEPTS FOR THEIR PROGRESSIVE ADVANCEMENT, EXEMPLIFIED BY NATIONAL AIRS, SOLFEGGIOS, SERENADES, CAVATINAS, DUOS, TERZETTOS, GLEES, MADRIGALS AND CHORUSSES— INSTRUMENTAL GROUNDS, VARIATIONS, PRELUDES, MODULATIONS, EMBELLISHMENTS, SONATAS, TRIOS, QUARTETTOS, CRESCENDOS, CADENZAS, OVERTURES, AND SYMPHONIES: WITH
ANNOTATIONS, ANECDOTES, FAC-SIMILES, AND
A HARMONICAL SYNOPSIS; ALSO,
A SUCCINCT ACCOUNT OF THE
^im
anU ^rosmsi /
of
tf)t
^^ilj^armonic ^otittUt
RECENTLY ESTABLISHED IN LONDON. BEING
AN APPENDIX TO AN INTRODUCTION TO HARMONY. BY
WILLIAM SHIELD, MUSICIAN IN ORDINARY TO HIS MAJESTY.
LONDON: PRINTED FOR THE AUTHOR, J. ROBINSON, N°. 5, PATERNOSTER
AND SOLD BY
an
ROW
T.
DAVISON,
Lonibanl
street,
Whitefriars, Loudon.
TO
JOHN CROSDILL, AS A
TESTIMONY OF REGARD FOR
AND OF GRATITUDE FOR
HIS
ESQ.
HIS SUPERIOR TALENT,
GENEROUS FRIENDSHIP,
THE FOLLOWING PAGES, WHICH WERE CHIEFLY WRITTEN
UNDER THE ROOF OF
HIS RESIDENCE,*
ARE RESPECTFULLY INSCRIBED, BY HIS OBLIGED
AND FAITHFUL SERVANT,
WM. SHIELD. *
At Escricke,
the seat of Richard
Thompson, Esq. where the author not only experienced
the gratifying advantage of hearing the best music, but of examining the best foreign theories
with accomplished linguists, and
from
his
memory.
many
other encouraging auxiliaries, which can never be erased
CONTENTS AND INDEX.
TM Rudiments of Thorough-bass. Names
of the distances produced with the notes of the diatonic or natural scale common chords in short progressions Ascertainment of the difference between a major and a minor 3d by the keys of a piano forte Observations on the scale of the minor mode, and figuring common chords common chord with its 3d minor succeeded by one with its 3d major (an enter
Three
....... ..... ......
positions of
A
taining progre sion)
—
inversions
— consecutive
ibid
3
4
.
Of the imperfect or diminished fifth The impropriety of skipping too much
I
2
ibid
5ths and 8ths
and doubling intervals
An
arch recommended for the signature of the diminished or imperfect fifth
ibid
Major and minor 3ds more easily comprehended and remembered than major and minor 6ths, evinced by an ingenious young Lady Chord of the fourth and sixth, or second inversion of the common chord Explanation of a dash through figures, and inversion of the imperfect or diminished fifth
Two
.
.
... .
.
.
.
.
specimens of favourite simplicity for the flute and violin, with chords and a bass under the melodies Erroneous remark of a great poet on the discord of the seventh The fundamental discord of the 7th mixed with concords in a useful exercise for singers as well as accompaniers Four difl'erent chords of the 7th in three positions witli inversions prepared and re solved, and in sequences rotation of sevenths which modulate to different keys Sevenths produced with the notes of the ascending scale in the minor mode and their inversions in different positions prepared and resolved Notation to prove that the same keys, which sound the chord of the diminished 7th will also sound three different chords Twelve methods of going ou: of a chord of the diminished 7th Controversy bet^\ een a learned Doctor and an ingenious composer, about the reso lution of the diminished 7th . Anomalous or spurious chords of the 7th which contain diminished 3ds Inversions of the same, which produce Italian and German 6ths An approved progression of German 6ths upon a chromatic and enharmonic bass
A
.
.
....
.....
.
.
.
6 ibid
7 9 ibid
10 11
12 ibid
13 ibid
ibid
14 ibid
ibid
CONTENTS AND INDEX. Chords by Supposition.
—
Different chords of the 9th with five sounds, and their full signatures elevenths with ditto thirteenths with ditto examples of the 9th prepared and resolved examples of the 1 1th prepared and resolved of the 13th Different branches of the 1 1th in cadences, in several keys . chromatic descent in the bass, with deluding enharmonic upper parts . Simple appellations of the many-named chords, as they were recommended to be transcribed and studied by a voluminous composer of Italian operas, for early exercises contrasted by extracts out of a capital work, lately published in
—
—
—
—
15
.
.16
.
A
ibid
.
...
—
Paris
Example shewing how the position
.
best masters arrange chords .
.
.
.... by supposition .
.
.
17
com-
.
and partly for various instruments, intended
Sections, partly for the voice
in
ibid
.
as auxili-
and to the performance of a figured bass, when the principals embellish the melody 13, 19 . rule of the octave in six major keys which gradually rise in pitch, with a short aries to taste
.
The
modulation between each
An
.
.
ascent and descent, with the bass, harmonized organist, in
1591
.
.
.
.
.
.
.
.
Three sublime specimens of syncopation, vocal and instrumental Duet for one vioUn, ditto for two violins (or oboes), quintette and which is the diatonic scale ascending and descending Elegant Cavatina, humorously described by the Spectator No. Magnanimous Conquerors, a madrigal . .
KATIONAL
A
.20
.
.
by Queen Elizabeth's favourite
.21
.
trio
;
ibid
.
.
the base of
.22 .23
.
.
5.
.
24, 25
.
.
AIRS.
Song, composed long before the time of Carolan harmonized for two sopranos and a base . Callino, one of the most ancient Irish tunes, supposed to have been harmonized for voices by the reputed composer of the bewitching and deathless music to characteristic Irish
.
Simplicity, an elegant Irish melody,
Macbeth
Gwyr
.
.
....
.
verses describing an excursion in North Wales The fine old tune of Shenkin for three voices, and a Welsh ground for a harp . John Anderson my Jo, with a singular compliment to national melodies . Todlen hame, with an anecdote a great Italian master's blotting many a quire of
Difyrrwch
Dvfi, with
modern
—
The The
28 ibid
29 30
.
—
26 27
—
...
paper to no purpose a second part to the Broom of Cowdenknows the same air as it was sung by the original Macheath and Polly, in the season of 31 1727-8 . . . . Braes of Ballenden, with an accompaniment to the song part for a harp or piano forte, and ritornels for an oboe, violino, viola, and violoncello, composed for four of the most distinguished performers in 1771 . . 32, 33, 34 Keel Row, for the piano forte, the small Northumberland pipe, the harp, and for the violin
.
—
.
.
.
.
The Black and the Grey, (a lilt) the Little Lambs (a pastoral ballad) The Running Fitter, and a description of a hopping Can to the Kye wi me my Love, or the Widow's Ditty to her Child Esperance en Dieu, the motto of His Grace the Duke of Northumberland .
duet)
.
.
.
.
.
.
.
.
.35 .36 .37 .
ibid
(a vocal
.
Songs sung by twelve Canadian voyagers on the river Thames, Jan. 2,1813
.38 .
39
40 of ditto, entitled Derriere chez mon Pere, arranged as a glee for three voices .41 Remarks on musical and poetical accents citations of musical rhythm . The original music to the poetry of Tasso, resembling recitative as much as air 42, 43
One
—
CONTENTS AND INDEX. Surprizing Modulations
—Melting
strains
vii
—and seasonable Mementos.
Prelude, which modulates through a circle of keys, melodiously and harmoniously An interesting memoir of a late extraordinary musician, with a chromatic compo. sition attached to it Marcia di Lutto del Reggto. Real' Palermo, one of the many instances which have proved the powerful effect of music over the passions of the greatest heroes An ingenious accompaniment for clarionets, oboes, and trombones, to a striking vocal . passage formed with two notes only few extracts out of the Messiah, with additional accompaniments censured by some professors, and applauded by others serenade, with an obligato accompaniment for a mandoline, which may be played
...
.
A
.
.
.
A
on
a violin or a piano forte
.
.
45 4G
.47
.
.
44
48 49
.50
.
.
.
FAC SIMILES OF ORIGINAL, MSS. Fac simile of the master's instructions to his favourite disciple, how to harmonize four bars of melody with different counterpoints imitations of Fugues, &c. 51,52,53 of an exercise upon a ground by a doctor in music, who enriched his sacred compositions with excellent instrumental accompaniments, before the glorious models of Handel were produced 54, 55, 56 of three airs in Princess (afterwards Queen) Anne's lute book 57 of a recitative and air, with judicious alterations, both by the poet and 58 composer . A Pathetic March, which is not a fac-simile, but an excellent model for the com-
—
.
.
.
.
.
.
.
.
•
poser of trios
.
.
.
.
.
.
.
.
.
.
.59
.
Facsimiles continued. of fragments of recitatives, to shew how singers, with different pitched . CO may be accommodated without altering the harmony of Fly soft Ideas, in Artaxerxes, reset for Miss Catley . 61, 62, 63
voices,
.
SACRED COMPOSITIONS.
The The
method of playing the Hundredth Psalm contrasted with the new . Nations tremble at the Dreadful Sound, a most wonderful chorus, with the motive for publishing it in this work . 65, 66, 67, Important communication to the author during a journey to Taplow Deeper and Deeper still, an agitating recitative, replete with the most affective transitions of passion, preceded by the greatest of modern composers' liberal and judicious acknowledgment ot its pre-eminence ibid, 70, . Divine resignation to the Will of God . . From the in, perfect to the perfect 5th, with similar motion interrupted cadence Prayer for Good Friday . . Non Nobis Domine, the finest specimen of canon that ever flowed from the pen of a sacred composer, with those passages, beyond the reach of art, defended, which have been censured by hyper-criticks Canon by twofold augmentation, sung at the annual commemoration of a late old
.
.
.
.
.
A
.
.
'
—
A
.
.
.
.
.
Doctor in Music by
his distinguished pupils
.
.
.
64
6S 69
71 ibid
ibid
72
.73 .
ibid
viii
CONTENTS AND INDEX.
•
SECULAR.
A cheerful canon
as it was performed, when a lady who presided at the dinner table gave the signal for her female guests to withdraw . O'er the smooth enamelled Green, a syncopated canon for two sopranos and a bass . Come let us unite, a short ditto for 4 voices . . .
.74
.
THE HAiiMONiCAL SYNOPSIS, Nine chords of the seventh, every key
and
(in four parts, .
.
copy fvom or refer
fo
15 ibid
to.
their inversions) to every note in
all .
.
Chords of the 9th, of the 11th, and of the 13th every key
.
.
7G, 77
....
(in four parts) to every note in
. . 78, 79 Description of a stringed instrument, played with keys, which sustained chords with ibid vast power and magical intonation Extracts accompanied with apposite remarks, questions, answers, and anecdotes of several illustrious musicians, who by a residence amongst us have greatly contributed to the improvement of our national taste . ibid . . The consequence of an able director of a great genius .
.
.
.
.80
.
.
,
.
CADENZAS.
A cadenza for Do.
a violin, violoncello, clarionet, voice,
for an oboe, violin,
and violoncello
and horn (with annotations)
.
.
8
I
.82
.
CRESCENDOS.
A universally admired
climax, description of the sun's rising, succeeded by a recita. of voice termed a mezzo soprano Do. with a group of shakes upon notes which excite strong vibrations, and prove the composer's extensive knowledge of the instrumental powers of an orchestra 84 succinct account of the rise and progress of the Phil-Harmonic Society lately established in London 85 . . Letters of two distinguished Doctors in Music, illustrating passages in classical works and part of the Introduction to Harmony 86, 87 An Italian Advertisement, describing the qualities and powers of a delighting keyed tive for that species
.
.83
...
A
.
.
.
.
.88
instrument . . . Miscellaneous opinions, retractions, &c. &c. of the author, and other musical professors
.
.
.
.
.
.
.
.
.
.
.
89,
90
—
APPENDIX. C!)otous|) The
9SaS2i.
is supposed to be capable of performing elegant melody, particuhe be endeavouring to acquire a knowledge of practical harmoni/ ; therefore the superfluous elements of the Jbrma^ have not swelled the size of this volume, as its title only promises those essentials which will (it is hoped), be of greater importance to the student of the latter. The chords in Thorough Bass being denoted by figures set over or under bass notes, what those figures indicate has been preferred for the commence-
reader
larly if
ment of the following
instructions. figures 1, 2, 3, 4, 5, 6, 7, 8, are directors for the addition of unison, second, third, fourth, fifth, sixth, seventh, and octave to a given bass ; all
The
of which (except the first) are sounds more acute than the said bass. It has appeared extraordinary to many, that the unison, being the selfsame tone, should be designated by 1, as 2, 3, 4, 5, 6, 7, and 8, are elevations by degrees, on which account they are in many works called steps : architects and musicians number their scales differently, as the former's^r^^ step is an elevation. However, we will suppose musical intervals to be spaces between two sounds, although the counting of them has been productive of as much altercation, as *' whether the first day of the year 1800 was the commencement of the present century !" We must use part of the terms which ingenious harmonists have established, though, perhaps, others more proper might be sometimes invented. Here follows the notation of the abovementioned intervals, in the natural
>_^_M_^:__
key of C, with a major
3rd.
^^—ji=g—y^=^i—^^~ Unison,
2d
3d
4th 5th
The five horizontal lines are, by all writers, but by very few practitioners, collectively called a staff, for which the readers of old books will find Although these latter eight notes (being stave.
6lli
1th
• 7" \
8th or octave.
-v
—
~5~Tl~3~Il~'j
^T^ ^ z^pjzmZ m
3d 4th 5 6
7
__
sth
^zEr-E~—— E--=^Ez ^ _J_t^=BEi:^fbf=E /
in the treble staff) are an octave higher than the former eight on the bass staff, they are still called unison 2d, 3d, 4th, oth, 6th, 7th, Sth, and more frequently used as such in thorough bass, than the real distances.
C, E, and G, (played or sung at the same instant,) produce that concord of sweet sounds, called in England the common chord, with its 3d major. will be oftener wanted than the next arrangement of this ; fundamental chord includes the octave to the bass.
But concords with four sounds
those with three
therefore,
Either the 3d, or the .5th, or the octave, may be placed next to the bass, which different arrangements of the upper parts are termed three posiComposers, by a more enlarged dispersion, tions. produce three more positions, which the fingers cannot reach, therefore the exhibition of them is reserved for the article under the head of dispersed harmony. The following short progression employs the common chord of C, the common chord of F, and the common chord of ; each of which consists of a fundamental bass, a major 3d, a perfect 5th,
G
and a perfect 8th, in different positions. From which example the reader will perceive, and it will be useful hereafter to bear it in mind, that to ascend a 4th, or descend a .5th (with the bass notes), is considered by harmonists equivalent. Beginners are recommended to play the chords which lie next the bass first, and afterwards the different positions alternately^ as that mode of practising all the examples may greatly facilitate the gratifying accomplish-
ment, reading and performing from scores. The interval between C and E is greater than that between A and C therefore, the former has been called a major, and the latter a minor 3d, 3 Performers on the Piano-forte maj compute distances by the short and pfcp,B Es:
minor 5d.
major 3d.
;
2
4.
qC3?C
3
4
.5
;«*=?^Srr
^^~ long keys of that instrument, naming minor 5d. major 3il. the key which sounds the lowest note 1, and the next key above it 2, proceeding in the same manner up to 4 for a minor 3d, and to 5 for the major.
common chord to appears, the chord bass the In the
The
A is
with a minor 3d, if the octave to said to contain four parts.
and is first succeeded by the perImmediately it appears again, but with a succeeded by the common chords of F, C, and F, with major Sds, minor 3d, E with a major 3d, when it appears again followed by D with a following example begins with
it,
fect chord of E, but with a major 3d.
D
;
minor 3d, E with a major 3d, which the said common chord of A with a minor 3d succeeds for the conclusion ; all of which chords are comprised in eight bars, and in three positions. good compositions sel_d— eL,__J_J_-s'—J-^— „ r3=t:
m^^^^^^^^^m^
iiS^iiii^iiiigSip ;i
dom end
with the 5tk
above.
or with the 3d.
this positherefore, tion is preferred, beit conclude* cause with the key note uppermost.
Those who have only studied the elements of melody will perceive the reason why the is made sharp in the chords which stand above E.
-«-i
G
-
a •-
But lest they should have forgotten that the ascending scale in the minor mode of comprizes
A
2Zj-p g p-^-| ^p:f_t_L_L__, here inserted. Harmony should never destroy the character of melody besides, the conclusion of a composition in three or four parts, without a major 3d being heard in the chord immediately preceding the final key note or last chord, is displeasing to modern ears (those of Scotchmen or Irishmen excepted) I hope that I shall not be misunderstood in this place, by any one supposing that I am arraigning the taste of the Caledonian or Hibernian bards whom I venerate ; for, had I not been partial to their original simplicity, I should not have succeeded in those imitations of it, which have by many been denominated my happiest productions. The sharp placed above or below the bass note E, -...-,?—. is the signature which instructs the accompanier to play a major 3d il_ i_ and perfect 5th ^ with it; for, were 3, 5, 8, placed singly and hori* zontally, or al-
G sharp,
it is
;
|
8 together perpendicularly 5 and the sharp omitted, the accompaniest who 3 obedient to the letter (or :i=d: (S"l"~l~ ^"^ ^ harmonious ear rather the figure) of the ) would prevent a repelaw, would play a minor i ^^-=^r: petition of such an ^ 3d - ~rz unsatisfactory con-
s
^?~*^ 3 5 8
8
5
is
i
elusion as this.
3
An accompanier with a fine ear (although he often corrects a careless signature.
A
common chord with
jor, is
may be
without science,)
its 3d minor succeeded by another with an entertaining progressioii.
its
3d ma-
These two bars also afford important It is information relative to signatures, a general rule to count every interval from the bass in conformity to the nature of the key therefore, the sharps and flats denoted by the thorough bass signature are here accidentals, expressing maa natural is also used here to signify a major 3d, because jor and minor 3ds the same bass note first carried a minor 3d denoted by a flat. The horizonis called a mark of continuation, and tal short line drawn from the figure 5 implies that the said sound which expressed that 5th must be a part of the succeeding chord.
—
;
:
—
The
When F
is
imperfect or diminishedJifth.
placed above
B
thus
feet 5th is heard ; called so beed to be nearer to each other (by a
duce the perfect fifth which in the same manner as before. ;
will
and sounded together, the imper—J— =r cause its two notes are consider-
minor semitone) than those which proappear evident when the keys are counted "
Perfect 5 th.
Imi). r'ect.Ttb.
pEJ^P^JJEJ^ 12 It
is
3
4
5
6
IeI^E^^^ 2
7
3
4
5
accompanied in three parts with a minor 3d,
6
7
8 thus
^—
or
thus
qiirlzz^znq
thus
and
in four with a
3d and 8th
not customary either to begin or end a composition with it ; therecommon chord of A with a minor 3d, the common chord of F with with a minor 3d, precede it in the a major 3d, and the common chord of following example. It is
fore, the
D
Two
perfect chords to
precede
m^
C and F it
in this
with their 3ds major
example.
l=§^^^EiE±E|
L—
^1
Here follows the same bass, but in triple time ; the chords over which hop too much, the example may be useful by exposing that impropriety. It may likewise revive absent minds the three positions of six chords.
fcut
in
isz:
H^l^liil^
arch formed thus ^^ has been almost universally recommended by didactic the signature of the imperfect for writers composers have almost voluminous 5th but preferred a figure. For I have universally as examined many living works, even down to the year 1605, when thorough bass was invented, and have seldom discovered the arch, although I cannot help being an advocate for it when the chord is succeeded as in the above examples and in the following phrase ; which (although it consists but of four bars) comprizes three species of common chords.
A small ;
^^^m^
Inversion.
If I have been sufficiently explanatory, the reader will be well enough acquainted with the most perfect chord in harmony to proceed to the inversion of it. Fundamental
first
chord.
inversion of it.
A chord is said to be inverted when the bass and one of its upper parts have changed places. Thus the common chord of C, by the 3d being taken for its bass, is converted into a chord its 6th having been the fundamental bass of the called the 6th chord from which it is derived. ;
The second inversion is effected by taking the 5th for a bass, by which transformation it becomes a chord called the 4th and 6th the 4th having been the fundamental bass of the common chord from which it is derived. ;
Any of the notes which compose the chord of the 6th may be doubled for a fourth therefore, the chord of the 6th is said part to contain four parts when the 3d or the 6th The 8th may also be to the bass is doubled. doubled, but the latter does not appear in the following short progression, as it consists of only two perfect common chords and their ;
Bad Better
^rgilBiiii;
Best
S:
^ES:
3j—
-^
:i
i^lB^i^
inversions.
This arrangement of the chords in the first staff is objectionable, because they not much for thorough bass, but produce one of the most unpardonable trans-
only skip too
c
;
gressions, by ascending and descending with perfect 5ths and octaves terms for which, are, consecutive 5ths and 8ths, and similar motion.
:
the technical
As the 3d and 6th were doubled for the fourth part in the last example, the 8th and 6th are doubled alternately in the next ; in which every bass note is marked with a 6, except the first and last, as iew compositions begin with the chord of the 6th and none end with it. N. B. The third is the 6th's favorite companion ; for, (in such excursions as the last) it is always welcome whether it be invited by a figure or not. striking instance has induced me to believe, that notes which produce major or minor Sds will be more easily comprehended and remembered, than those which generate minor and major 6ths ; although the latter be the inversions of the former. An enthusiastic admirer of Correli's fifth opera being highly delighted with his lovely daughter's thorough bass accompaniment, while he was feelingly expressing the soothing Adagio at the commencement of the ninth solo, attributed the effect to her judicious arrangement of the chords. When this fascinating performance was concluded, he was anxious to know whether she was perfectly acquainted with inversion ; for he classed her uncommon genius above her harmonical knawledge, from her frequent beautiful digressions from the thorough bass signature, which he feared might be beyond her comThe interrogatories were first confined to 3ds, and the replies were correct prehension. g-j-e:^ but when we proceeded to 6ths, as erroneous, she called the interval bea minor 6fh; where- l^=irr:a— tween E and C a major 6th, and that between F and Yet there is an easy mode of ascertaining the qualias the reverse is exactly the case. interval be minor, its inversion must be major. This docif any ty of inversion ; for, wall consequence, be fully illustrated hereafter. of great trine being
A
D
^—
Second inversion of the common chord.
In the following short progression the chord of the 4th and 6th is twice introduced; first upon the bass note C, and afImmediterwards upon G. ately after the double bar the Tk common chord to C stands: its first derivative (the chord of the 6th) is next; and its second inversion (the chord under all of consideration) follows which chords are in three posi-
H
:
tions.
too high
6th, which is the second inversion of tlie common chord the eifect of which imwith a minor 3d in three parts is written thus By pressively proves that no composition should either be- 05—2= gin or end with it. playing the following four bars it will be twice heard, which may appear extraordinary, as the right hand strikes the same notes for the fundamental chord and its two inversions. But all the parts of harmony are calculated from the bass ; and when the 3d of a common chord is selected for the bass, it is simply called the chord of the 6th, although it be accompanied with a 3d but when the oth of a common chord is taken for its bass, it is called the chord of the 4th and 6th.
The chord of the 4th and
of
A
:
;
£^^
ii^l^^^
It was necessary to mark a 5 above the sharp in the common chord to E, because was preceded by a 6 on the octave of the bass note bearing the same name.
it
When the figures 4 and 6 are thus affixed to A, the signature indicates these notes for its accompaniment. The 4th being perfect and the 6th minor, prove that the 4th and 6th to A, and the 4th and 6th to E (as above), are of the same species ; and the .zrrzzaz latter may be called a transposition of the former. Both these chords are introduced in the two following examples, the last contains three species of the chord called the 4th
^
and
6th.
The dash through the g and the 4\. raises those intervals a minor semitone ; in consequence of which, where they occur, a sharp is placed before F and in the treble
D
line.
Inversion of the cJiord called the imperfect or diminishedfifth. It has been already observed, that when B, D, and F are written thus, and sounded together, the combination presents to the eye and to the ear the imperfect common chord ; but when B, by inversion, is made the highest and D becomes
;
:
8
the lowest note, the union loses a
little
of
its
character and
all its
name
—
;
for
it is
in
chord of the 6th ; and when F is placed r^ g" - the lowform called a ^j ' — g ;^— -— comes a chord of the 4th and 6th. In the est, it then beimperfeet common chord, the 3d is minor and the 5th diminished ; in the first inversion of it, the 3d is minor and the 6th major ; in the second inversion of it, the 6th is major and the 4th is said to be extreme sharp. It will appear strange that B, when placed above F thus, 7^^-^rr should be called an extreme sharp 4th, as both notes are in the diatonic scale Szna::^: of C in the major mode, particularly as there is ±±^iz not any 4th to which the epithet sharp is given ; and the same B, when placed above D, is ^-^-^ only termed a major 6th. 5^=^::= position of chord loo high for thorough Neither this chord nor its two in-cLd versions are so often used as the same notes which compose them are, for three parts of another chord, which cannot be classed with common chords. But in the following example both the inversions of the chord under consideration are introduced and, for the sake of uniformity, this
—
^
Tlie
this
m
)iere
.
':
bass.
is
>
in four parts
and
in
three posi-
tions.
Descending with an imperfect 5th to a perfect, is better than ascending to it ; yet both should be avoided as much as possible. chord and its inversions may be repeated several times in various positions, before any of them are succeeded by a chord of a different description.
A
^ T**
i ^
i^
£ Some
*
FEEEE^
!
i^^i^
^^
particular masters have figured such basses as the above in the following
man*
ner. _
^ 4
6
4
3^
AU:d -i
6-\^.
6
^^
6
3 ^^H-g-i
But, where motion has been given to the bass with the parts of one chord, the generality of composers have conceived that a thorough bass signature would have been superfluity. I will close this exhibition of concords with two specimens of favourite simplicity the 'one ancient (or rather old), the other modern (but not new), which do not employ more chords than those already given, and which I hope have been so thoroughly un-
derstood as to be well remembered.
-
J
^
fhrf^rt-jm^mj^rt^mnr^rtir
Flaut
When
performers of taste embellish an Air, the highest notes of the chords should differ from thf melody
':r::J^^^^^-^i
Denoted by the thorough bas& signature
Violin
J ^7^'
I^ r'»
-^"
iji|jiij
"
't
^t
'
tt
^
y| CS*#
^ ^^^^i
^^^^^MS P £3E Wt tf
^ Jif
I
customary
f
r
J
1^
4^^-f^^-4tt
^
ri
I
"*
1* i
f
|bt
J
i^-i
-..
-m
three chords in each bar.
^^
t\
==1^
l.i
m
^^ liuu] \
^
SE T-»-
ftE
I
i
to strike
y
except at the end of a section, or phrase*
if
it is
i
^^^e I
'i
'
"When movements of this description are performed in moderate time,
Chords
^^ 9
rTTbtTi r-h' J
i
r
i
J^'T
i
i
'
'^f
I
1
^
We shall now treat of Discord. Discord,like tliat of Musicks various parts. Discord that makesthe harmony of hearts, Discord that only this dispute shall hring, Whohest shall love the Prince serve the King.
&
The Necessity of douhle Rhimes, and ordering of the words and numhers for the sweetness of the Voice, are the main hinges on which an Opera must move; and hoth of these are without the compass of any art to teach anotherto perform; unless Nature in the place has done her part, by enduing the Poet with that nicety of hearing, that Discord of sounds in words, shall as much offend him, as a Seventh in Musick would a good Composer.'' If a seventh had heen offensive to all good Composers, Alexander's Feast would For altho' some spiritless Compositions con have afforded hut a mawkish treat; sist entirely of Concords, it never will he in the Power of Music to imitate the Passions, I so strongly described in that Nohle Poem, without the aid of Discord; and the reader it^
'
of the following pages will perceive that the seventh
is
the Root, or Foundation, of all
musical Discord; therefore the meaning of our great Poet must have been the impro^ per treatment of it. {
Ct)
In the
Key
of
D with
a
minor o.
,
the Ancients inserted
B
flat as an accidental, thr
Moderns mark
it at
the cliff.
—
^
a
10 The .
>r
-when
iTvtorval fcrnid a .seventh
major ^«ns minor
formd vith any two
notes of the Diatonic Scale in the maior j
}<{>«
Yet \dien each note,of the said Scale, has a 3,
minor
—Ui ^
a.
S
.
and
mode can onlvtemaic j /
a^.
placed above it.
-•
ihxis
Ta
T ^
^^
^
- It exhibits
four species of harmonious compound, called
chords of the
se-
venth: In those numbered 1 and 4, the 3^^ are major , the 5 V^^perfect,and the ^ .major ; In numbers 2,3,ande,the 3^,^ are m inor,the 5 . perfect, and the ^*l'^ minor. In >i?5,the 3^is major,the 5\^ perfect, and the ^t^minor. In N? ^ the 3. is.minor,the 5 . ]mperfcct,and the ^ . minor; The different qualities of the 3^^ and 5*-^^ have been found a little perplexing,to those who have studied the whole of them together ; It is therefore recommended to begin with n95» without no ticeing the others,until that most agreable of all Discords, has made a lasting impression on the mind. "Another song,requires another day." It is the first chord in many modem compositions, and few of any age end li-ithout its being the penultimate harmony, as ^i lien it is followed by the common chord of the Key note,they form the most satisfactory concluding perfect Cadence , The improving practitioner shall now be relieved from the tiresome monotony, which a restriction to the Keys of C Major, and A Minor,^has hitherto occasioned; Previous to Tvhich,it \\ill be necessary to acquire. readiness of striking the chords to chromatic basses, which a daily practice of the following Ascent, will - amusingly facilitate, as the Discord, under consideration, appears in each alternate bar,preceeded by tw.o P \ ; concords i Vocal Performers frequently improve their intonation,by sustaining the highest notes of swh - exertises,with crescendos,and diminuendos,Vhen particular effects are wanted, parts of a chord are oilen ^ "** "Q" Omitted ; The fifth of the full chord of the seventh, is here retrenchci to render the progression of the notes, * which lie next to the bass, more melodious, ,
.
i
=
.
E^ ^—A ^ ::
zr 4. •
\rj\
t]r.)
ftp
I
XT
JIL ^•^-2ir«^-^
iy^i h^i^iw '
vrr
H—
^E
-rr
23:
22:
ZfM stei^i'-lluliJ': i'li^y hb:"»'
^ •
•
M*
sn:
fe Z»i
•
^«i=^
ib»*
\>^
io. 32:
^
i^
2ZC
to:
f
11
;
»•
b:
;l^5]ti^i-'
1^.
'
Fe:
jcr
tzn:
|
'
jl^l'V
feg hrz
40-
22
»:
!' l
!
^
v^
-7T~t
Tzaz
:e=^
^m
;?^^
bg j^i#
;r:g 5 6 3 4
^
a) This ai Tommodating Elipsis,is noM so universally understood, to mean C henceforth f/ery other Key, vt-ill be described in the same concise manner.
-witli
»«-*.
> 5 5 3 22:
22 a
major
3. and
A with a minor 3. that
^
1
—
11 Inversions of the four sounds which constitute the Chord of the seventh. The first of which is called the fifth sixth, figured thus 5 the second Inversion is the chord called the third and fourth figured thus % the third Liversion is the chord called the second, There are likewise various positions of the Fundamental figured thus, 2 or thus \ % In the following Exaimples they are placed upon the accente*! Discord and its Inversions
There are
tliree
&
•,
,
•,
.
hass note of each bar, and their resolutions on the succeeding unaccented part, {a) :th »th Theminor 7 major O. & perfect 5. upon £ Chord of theminor 7. major o. and perfect 5. upon G .
with
ositionl
^
CT7
its
with
inversions
zmmz
1=^
^*=r
Hn-tH
:«.=*:
i
!
ff^
..
irr
".
,
Interrupted
Cuficntc
^
o ^
5
7^*^
^li
Position
X'*«
*!.
II
1^^ ^^* B a.7'ir
4f
top, / [
-
6
I
DZ J \
rrrrr .1, ^i_,
S
I
ll'l^
if
.
..I I
^i
ih.T^^^
II
(
^'
g
;
Perf. e^4-.
7
The minor
but with a minor o ?. prepareo & resolved
3l
V
iitjt
n
m
T^
^^
4^n
ik VA
'
•*-^«^
Ih i *=^F
II
II
P. rffct
i|
vlltji
i
inversions
its
i
_
m
p
iT^
ii 7
The Major
6"
-rth
7
•
accompanied with a m J }or 3. & perfect
^^
This
Q ^1
^
Q ZM n^ §i
last
Chord
TTFf
E^— il -•
•-
is
disagreeable to the ear without being qualified by preparation & reso_ ingredients! lution & the ingredients^ to rencfer it palatable,are^fc not so readily obtained as those of other mix _ It bears a tures: 4' conspicuous part in a
Si
^F^
V" ^
!
1
i
M
=^=T ^*-r
m
i
progression which some
A S E. -. yC * Authors term QUENCE, and others A^^ CHAIN of SEVENTHS
^dE
t
«
'
I
31
^
i
IX-1
which are linked in seven different
manners upon __^
-;^
this bass.
Foundation \Cl)
Two
Doctors of great celebrity prefer the terms strong and weak parts of the measnre to accented and unaccented. inaccentea. .5'." may b« omitted,and the octuve to the bass, or to the third (if minor) taken instead of it; Bat the \7 - of the 3? when is major ought never to be doubled. When th( note which forms the Discord is part of the preceding Chord, the former is prepared: and when it descends one degree,'
^The th(
y
KO)
it
!<^
)
latt(r
is resolved. orists will not ul'ow this to oe a chord fourth astending or a til th descen in^.
Some Thi
.1
_
'
o,f
the seventh because
its
bass rises a second instead of proceeding bv leaps of"
12
.
Wlien accidents are added^a modulation takes place, which altered Froj^ressions (according to the opinion of some Authors) oug;ht not to retain the appellation of Se- ^ quences, as the sharps and flats lead to new keys: perhaps Rotation might prove an acceptahle Term, hut I am almost afraid to coin new names for old Articles, havingprovoked sarcastic Wit, hy calling this useful director -=^r2:r>- a Rhomhus.
air
su:
*'
In the
Key
C major
C major
of
led by
T^
to
G
by
BPto
by
by
.
In the above Examples, the major 7^** in this chord
jjj
(Q
\ 1
t
|
gWith the
ll II
Resolved by descending a tone to the 3?
?
?
~/ gp
?
li
7
•
7
7
~B
j.
IH All
T
to
hT
A mine
F major
.
s^
N^III.
*™
notes of the
^ ^^ hT^Ip^
may
be arranjred 3 chords of 7*.^'v.l]ich cannot be formed with those of the
:i^^E
major mode
I
Position I
'
I
/a»
Q
^
II
F —H m -7rM| 1
I
~
'78 '
all of whirlh are pro duced^by duced the mixture by th of G#wi th the natu .
ral notes
mm
preparf d It is
7
Bp
to
^"* it as frequently ascends as, imitone to the 8 .
Ascending Scale in the minor mode of A,
(<"/)
?
G^
& resoUed
^6 hr^'^
ii
I ^ . ^ d^ resol. prep. &
hoped that the youngest practitioner will be enablid to play the chords in various and sometimes with fi\t sounds wh
positiooi,
^
Chord of the diminished
& its
6"
=S= 7'.'
o
P
Inversions followed lij tneir most natural resolutions iny positions.
Pi
.
The diminished 7".' in its simplest form, followed by its most natural resolution has already been exhibited But its artful transfbrmations,]"nversions,deceptive resolutions and surprises perhaps never will be circumscribed by Leg-islation; For the sameke- s of a ^=^ Piano Forte which sound this favorite equivocal chord when written thus ^ will | ;
.
_^
also
&this
sound this
(^
[hi
transformed into a chord of the diminished
7
S JV
&this
Any of which maybe
.formed of three minor 3.^
or the S.^ may be dispersed by different positions and the chord
still
retain its ilame.
N.B. The Discords are expressed by Semibreves and their resolutions by Dots
^
^
2
are all minor resolutions,Bnt in these days of extravagant modulation, the diminished 7^.^ is followed by Concords with malor 3^^ Twelve methods of going- out of a figured in Rosseaus Dictionary, &the upper chord of the diminished seventh are noted manner by one of his worthy ingenious Countrymen parts were arranged in the following
The above
&
1
'9 V
3
#
7
-
4.
5
6
&
^
^^ I
^^
^,
.
^^
^^
4.
|o
"vr
f^
.
I
i
*
'#CH-^
In 1753 a learned Doctor in music censured a favorite Instrumental Composer when he discovered "^N? 8 in his Concertos, the Question Answer of these two Disputants are instruction from their being so apposite that the reader may receive both amusement
&
quoted here
&
'
/
,
" Suppose the Question were put to a young Practitioner in ThoroL^iBass what are sharp in the Bass v/ith a seventh figured to it ? Would not his trie proper Consequents of should be the following Note the Answer be the sharp is a plain Indication that its find Resolution I will expect to in E natural ?^J To this is Fnatural Seventh which need only observe, that as the Question is put to a Learner, So the Answer is such as a Learneronly could give But if he had put the Question to a Master, he would have shewn that otherwise it would be a liim, that these Resolutions may be varied many; ways \ ain attempt in the Composer to produce Variety in his Work, seeing every Novice might beforehand suggest, when any particular Chord was struck,what next was to follow.
G
A
G
j
.
;
&
&
t
^
14<
There are two more chords of the Seventh, which cannot he formed with the notes of the Diatonic scale, on which account some Denominators have termed them Anomalous and others Spurious ^^ ,,1-t^B ^ j,| fl ^^^ diminished ^? hetween ^ tt' that the most licentious D sharp & F natural is so discordant^^ ttHh l ~~^ It Composers prefer the following arrangement of the sounds: |!g It; N? II n? i Because the two notes which produced the exploded diminish.^ "< *^ ~^o^ ed third, from a change of position, are at the distance of an i extreme sharp sixth in N9 I. M tr^ ^^^ ^^ Interval is a tenth hetween them in H*^ modern Compositions have heen greatly enriched s^ ^#H' N? II ^ As the he s t by their [nversions, they will he much employed in the illustrations of fashionable
—
1^^
harmony
The
a
N9I.
Discords are expressed by Semibreves and their resolutions by dots.
»^;
With Inversions
&
§: i»E
,\
tscr
7
5
Resolution?*
6
4^
^ 5
m
^
.V
Italian 6' th-
=Cn
^^^^^
^1N9II
t 2
^1
With D?
Those who resolve the Chord called the German sixth in this manner offend the cultivated Ear with consecutive 5^^^ which may he avoided hy holding- on This chord the 3^^ and 5^!^ to part of the succeeding hass note ^0^^^^^^3| ^^^^-^^^^^ \C^^'" tohring made heen is such an universal favourite that an effort has it under the eye of the young harmonist upon almost every hass note and so arranged that it may he practised with pleasure in the following progression which has been -honoured with the highest approbation of thosv^ unaccustomed to flatter.
A
^i^yv^
^rj^iff^^^^^^^f^f^ mz
I
9 u T^T~nra
^
'"
bo
4 I
-'\
J
I
p*f
l?6'o
^Y
S \^
tJ
i
kJ
f
'*^H
M '»
5
^
e
*
V
'
^W ^H "^
^ »'^
^
i
i
"
'-^
r
TC
'^
^
^ 5
4^
Having exhibited the nine sevenths and their Inversions we may now proceed to those more extensive compounds called Chords by supposition.
t|j
^
^
1
Chords by Supposition XS Before the Theories of R am EAu&MARPURGbecame prevalent, these chords were described l)y different appellations, Modifications and Foundations the numerous adherents to the Doctrine of those celebrated Authors, are of opinion that Corelli's favourite antipenultimate chord (the %) is a branch oftheNe plus ultra of A MEAU termed the eleventh: Marpurg^s Ne plus ultra soars a 3^ higher, in name, bybeing called the thirteenth. Many respectable Authors consider them to be Suspensions, Appoggiaturas &c; But wiiatever may be their proper titles and classifications,
R
the consequence to an accompanier
toknowwhat strin^to strike when bass notes are figured
is
accurately. Different Chords of the
9
with five sounds and their full signaturess
.
Elevenths with
.
•
J=^=*fc
^^~rI ^^r
^
'1,
J
hi
^i
'\
^\
i-
T^
^—lo-
T
II
i
Ezicr
Ml
\
\
I
I i
?.
II
D?
Thirteeiiths withP*! ThirteeMhs with Tf
% 1I
I I
f
R
I
^m
hM T T
.1
^
l
"
\
i 11
^1
I g XT
^M
"
Several of these chords are extremely harsh hut ^^en they are judiciously arranged in a pro gression of harmony they prevent sweetness from becoming satiety, which will be evident to those who practise and examine the best of the selections in which they bear so conspicuous a part. Positions which differ from the above, and omissions of some of the sounds, and figures, render chords by supposition more agreeable to the ear and less embarrassing to the eye than when they lie in their flill state in the order of thirds. The ninth is prepared by w— 6 or bv a Ath- D 4-f-4 J i i I never read but one Author who asserted that the a 3. j¥ • ,
^f
n ninth"
I
"^
^_
^
M
I
maybe
prep^
_^^
I
n
ir
by an
8^!^
& this
is
his
i?
example
^
which no pure harmonist has followed. The ninth resolves by descending a degree, its bass may remain stationary or ascend a 29 .34 or 4<^P .th
Examples
of the
9
.
prepared
J.Jl i
J J 1- | j
ci
H
-
"^
f
'._
& resoived
(,^;:l;;^u;jll^tT^TTty]jlTff^Vsl;?rJ,|k;llll^^ 9,8 e 9K
Ja
y 9,8
?c
6' ,
9 8
6'-
iirn;r;;i^!ii,ii|if -Q
,
J^-: -y p
I t X I J= It
^
_ Examples -
>
„
.
nth
of the 11 L
•! .|
i
prepared
^
9 ^ ^ 5 ^
I T|.irrNi^^r.ji-i
,.
&
nth. „. .. A. a4< resolved. V.B.ThellN.B.Theli- is figured by a^| .
.
\
A
^,
|
1
• •
lrrl ^'"^^iT77^^llMn
I*
'
f
^
4<
(^^p \3
.
is
7
m
fii^ured
'^^ 2
#
'f^
'
jj i^
i
iirnnT
'n Urnr?f Examples of the
i ;l'it»i|lte'll!il»iH; ltiMi:lTT?*^I"t.l|^ Spt v»«*^^
i
^#^
i
m^ ^ P i^
Qfi 7 ?
Off 7 f
by
a
4^
i
l
'-! !
13*.^
ii
KB.Tht
^^y
4-^X"^i
3
lg 6
F
^^^^^^^^^^fa JL^^J *
*
o'
4^
^
f
is*^ I
J
Is
.
,
i
to
The chord of the 2^ & 5^^ is a hranch of the Eleventh which has not appeared in the pre hecome ceding Examples It only contains three real parts which may he inverted so as to of practice ^th the render &5th 4
|
lai
fo!
:
^
tk
o ^-" as ^eH as instructive they these three chords a little entertaining ^ troduced in the following rotation of Cadences in which the trehle of one hecomes the hass ol is-cj^s. several keys alternately in scvciai other aiierii
m
'
'
g^ L'y i^ l
l|
|
l|
'
ll
i ,
yfVl
V
'l!
l ,
rUl
l
l
;
^ I
I
I
i
VlV
l
P
KTPhinr^
-A
Hi n nffnifi'^lii'i' J,^i,'!i^ ill
V
I
I
ll
I 1
''.!
;'
'
^''
l
I
J
^'!
ll
;
r-Li'^
l
^
-I
i
2 \'
" I'l
ll
'"'i'
l|"l
|''
l
|'
n|1fflfrrPJ .It>^ I
#
^ ii
'
i
^
^ 1.11 J J ., ^ I'Jh ;!
I
^a
J
1
1
I
I
i'J
cJ
I
.
I
'
i
i
|
|
I
i, :|
.
1
J
I
,
l
I
I
J ||
i
I
»J|
d
1
'
!
ll
'i
>
l,
t
flju'r
ilflfi#^-H|;M^Jl^Vi|lVi''''|
U=rri ru^Lr^i[^Tt^r7Pf ^^.i-i"n T ^ II J| L L J J J 1..^4|-u|-^ J »J|J j| I
6"
1
:
d
;
ii
rJ
J
-., |..=i
;
I
i
< ^
||
-<\
H @: r
li
I
^-fe
feMr
4^ b,
^
f #
i
How^ to cheat the Ear hy unexpected mutations, is now the favourite study of artful Composers; hut such progressions as the following could not ohtain tolerance in 1725'.'^'^^ The discerning reader will perceive that the discord of the 4^^!^ ( see the heginning of eachhar) is properly prepared and resolved* hut the sudden transitions from the Diatonic, to the Chromatic, and to the Enharmonic Genus, are authorised more hy *^
fashion than theory.
Hi (O)
i|
.
ii"'
I"' What anadmirablt Mas or was censtiredfor "i
I'
'
l
I
tinn.hii ///(7!,his
iM
I '
M
persevering Schc'.ar Scholar rendered a
I
1
,
1
,i
i
lone- before Model lon^
|
i
1
^^^-
centi.7>^ the end of the century.
'
.
A VoluminousConiposer of Italian Operas
me
17
he had ne\er been instructed to call any parts of harmony C ho r d s by s tj p> o s i t i o n But that after he had filled a large Book with Exercises on the sevenths &their Derivatives, his Master g-ave him the in various keys, with their appella following Chords to arrange in different positions ^
told
that
&
tions affixed to
^'
w^'J"'
Thus:
them
^
^^^^
11^1
\S'^
f^
-'i
i
^i— ?^k
'
i*'^}
I
t.
l&6fl^i
,
-
**-^-^^"^l^^
I
&
of the 13^ Chords of the ninth, of the ll^^ Extracted out ofa capital Work lately published in Paris
_
Th« 9*^ prepd
M
XX
^
S
X:
i^ od
..
.
1
ID"
8
^
6^
r
C^h
u
1
3
ZCX
:^
i
iCr
II
i" iM^ i
byaV.
/-th
4^3 i
minor,! by a
II
I
the
i; i
The4^*'^canbere-
5*^0? double t'u,'':?'.'
i
ki-as^ 9 H
i g=oT^=o= i
o=
mintir. solved in thrrna.
54
74^3
e-lH
5.
v.f ^'id
9 8
8
I
Of the Eleventh or Fourth
'rh.4^^^prepd 'tu
^ l.ythe S\f
4<
i O:^
9
9 8
8
.9
&g
i
:zd:
9 8
In4< Parts
i
i
zo
9
5*.*^
or by a
Or in the minor
III
i.
4 3
4.4^6
"ii'-riir> ui- ii'i'iriinrMiH^ i
a
t
accompanied by a note of re solution that is to sayby the 3* brought by contrary motion it mustbe at the distance of an ll^Pin order to form the 9 on the 3 -y-
When the Discord of the fourth is
.
Of the Thirteenth This
Disi ord
Uth 8^
i,v the th^ bv
m
is practised "
ordinarily on
gd
'i d ll r
i
l
l
thf-
^,h
3«
cf the
mode
6
i S^
S=5
.
it is
.
prep.
& 5;;th
-js,
rJ
r
I
|
^
I
I
'
I
'
-icJ||
'
!
i
The
Discord
is
generally
8i the
Moderns seem
to have treated
^"
Parts; the most usual resolution bass
I
must ascend
to the
3
.
known because
little
it is little
used, notsniting- either the severe
Theory has scarcely been considered^ The Ancients have notT«tntion<
,'^
i-H :g=5 ;s=5 B"^* ij
^
last
or free stile .consequently its it.
i^i- :rr
.
.
is
it
but superficially^
made on
the
O
.
Yet
it
it
cannot be employed in less than 4'
can be on the 3. But for that reason the
similar to the precedmg articles.
5
When
the Chords by Supposition are exalted thus, they appear more orna ^ mental than useful
.'lir n
II
y 9
^'
" 11 5 fe>:
~
"
^^ ^^ following example shows fT I I "r" II r^ n " how the best masters arrange ^ " 9 " ? " b' them in their Compositions ^ ^ ^ ^ II
-
'^
II
II
II
• II
H
L^'^Nr^^Pjj
<
18
retentive Practitioners of the preceding- examples must soonbe sufficiently qualified to following" portions of classical compositions without the chords beiii^ written ahove their laasses, as heretofore-, and should their positions be well chosen the Performers of
The
accompany the
the melodies and their Accompaniers will experience reciprocal Aid. N.B.Thehisrliest notes of tne chords should not b e the same as thos e of the Violin parti
—
'
.
—T^r—rr——--^?"
^\
~^
\
——
In those p^ces\viierefheinelodY proceeds b\^ The treble of the iV^ islliebase of the 2^
ski ps the chords should niovehy the sttialllistdegreesX
I 6 4^65 The Archetype of many eleganf
6 6
^j[_J.jJ Jj
i
|||j^»
i
n
followed bya
Coinposifioiis
siecfioii
with a spirited bass
1 The upper part of these Sonatas was composed expressly for aViolin.but I hav^ repeateillyhadthe gratification of hear'ng it most chamiingly perlbrmed on a\'i()lonceiio accompanied uitli a Piano Forte by one of the best Condiicter s of Ancient music, who preserved the composers harmony by playing those passages of the base an octave lower which,in their original situation would have pro
&
G
G
V^hen the admirable composer of the subjoined Trio was preparingheld
it
it
for Publication
He
of the greatest importance to figure his basses accurately.
x^°t^ long& short Strains are f requ.ently played twice :||: and many Performers are anxious to introduce graces, llounshes, or variations during the repetions. But all such additions as are * prejudicial to the harmony siiouldbe avoided. Variafi«)U ^"ZfiT^. ""jlT -^i iii^i.^ _ •
'
^
iTheine.
•
i
.
^—
^-.
,
m_
-^
-P-
-F-
-P^
fi*
M ^ a
J.v
The diligent Student who press them either hy the Voice
unites a natural taste with an acqiiltcd ag-iJity, and can o\ ^ or upon any Instrument must feel taut there are manvpi^flis which lead to excellence and those wanderers who are apt to lose flieir way niig"ht find it hy foliowing that unerring" Guide a figured base. ;
Taste
& EmbeHishments
A
Vocal Exercise for the intonation of 2^ 3^ ding, accompanied with a moving- figured hase.
4<
.
5^]^
and
^ Do re do mi no do ta fa (losol doi no f: n r? /?/?/?
J\ >l
la sol ini ini fa re
6^?^
^ dt) Do mi do
si
iv
t:
h
J'tJ
no la do sol do fa do mifasolla
m
(
Ascending- and Desoen -
sirlo
do
SI si SI
t=:it
3(i);6
4^3
do
±±i
Riffi
Out Jt line
T •1
-4.
I
•
/ V^
Qf«>rJ^J^esiug:er-t(rcolour athisplea"siire~
recommended
ofthe presenrr^^
'^"^
"~
~^-~-^
jv
1=^^
to practise the outline with steadiness, and the Riffioramenti with ^''''^ ^^^ **^'^^ exercises of the most accomplished '^^' Italian singer
—s
•
20
,
Vs many of the St'lcctious Jiavc sevt»n sharps, or Ave Flats, marked at tiip c]iff,a frequent practice of a feM Sc«I' s, in these difficult Keys, may enable Performers to acquire a facility in the execution of tl»m; and that the Rule of t!ip' ottave may be played sticcessively, without shocking the Ear , in six different major Keys which gradually rise inpifch \
short Modulatioji
added between each of them.
is
nVi. • •
if "^
t »
—
•
^«
>- ;
»
—•—•— —1«*
#«
>
> *» »
•
i
ff
;
S o
•
•
#
^
'
I
^^
XcS TTQ^^^^^^^-'QuolJf.J tO ixN. II.
XT
Is a
minor semitone higher in pitch than n9 I
'
;
xr *
4-
*
'
•
«
*
•
i M ast=^ [^"'^\^Vii}\r'\ii^^i
^
— -i— —0-
\yo
#0
I
I
^
j^Q
^^zB!Sef= 2
i
-^
70
I
I
f
'
\
f{^^t^^
#0
I
^laijJkiU
Q-e-o-Q
^^'t#;inono-^^^^"^-on,|jrp^
t°
=tei:
1^^
I
Naor
#o
I
trnr
higherthanK?!. i
III. Is a quarter tone al?oveK92. faltho' sounded
.
N. IV. A minor -—a
f^
a
f
:e^O
• t
semitone above N?3. and id »
>
m
•
—
•
»
>
a
Ai-ith
.
n9i1. tone higher than N.
^^''
!
!
•5-
5
•
pi
•
q
l_R
!
-l-:^:
J!—;*! —v>.: —-TT —•-2—2— —
I
•:
•-
•
• !
•
-r-T
OO
^e^ o o
NB
I
•
'-
'
-
'
Q
g e-7-v
Ibg
^
mjnor3^abov?^N9l.^ semitone above k9 4. and a mjnor 3. abov(PN9l ^.
^^
^>l
I
.>!
^^
^3 a
C;
m.
K-p
— —•**— — —
'-'OqI
1, «
TT-^
.
>^-^^-^<
^^
A major
V.
major semitone
*
*
is
N
the same keysj and a
h
^
^tt:
1
1
^
"^
^ I'q i
ih
li
N9VI. a minor semitone above
n9 5.
and amajor 3v higher thany9l
^#|^.J^K»% '
n
'-\
l
'
I
n
I
l
.J
. I
-I
jlC
i:J
iij
l
i h1.jJ. .
J i
I
|V^
j,
I Xn^ r.a'.";i6 ^=^^
4 iP^^ 'iu
1^
i
in the minor mode of A. fg. ^nT^
3? ^^3
t
:,oi;i<^oll' -
'
g^,.,
(jd
»
^
^ fe^ O n
^
i !:);#
j-
*
=rpi^
t.A
'
'I
'I
If
I'Vf
^^q:_U
^
f
"
r
f
f
M#'
'#^ f
=£=it
ir
-i
J
J
J IrJ r^^ ^JiJ
J
J
IJ
r
^^ m
tr
I I
-z
i
U
1^
In B minor.
kPr: ' •
lit;
:
• -^-•--i-
I^=a s==
;. '
»;il!lli:ll;.j l !;! •
•
..oflotfo^'^t^^o-o
"oo.oir
— 21
The accompaniment
to simple basses (which are not figTLred) is g;enerally conibmi-
Rule of the Octave But to those of Grandeur and Variety other chords are ingeniously mixed. That sound which is begxm on the unaccented part of a measure and is contniued until a bar divides it, is called a syncopated note, more especially if it accompanies two able to the
.
.
different chords.
An Ascent &Descent with the Bass,Composed by Queen Elizabeths favourite Org-,St.in 15.91
9
§~5
5
6-
6
«
6
W~5
8
6
6
6
-^^
f
Syncopation is one of the most lasting beauties of the Ancients, for be the best part of modern Composition. obnj, A J.^^^' i J.
—
oboi
r_g ^
tf
it
^
»
continues to ^^ ^ —
(|:
The Syncopated part of Music is seldom original, therefore its admirers are astonished and delighted whenever they hear the following unique Specimen, which flowed from the pen of a Composer ''Whose matchless strains disclose, Alcestes' suiferinp;;s, Iphigenia's woes'.'
^
Vio.l"i'
.
V5().2'l°
Oboe Viola Bassi
j^-^<—i^bi. Ai.i;j— fl^^— a-i^-ji-i— JI7.-:— ji7J-^--n
u<^^;^i-^^ig;'i-_jbi-i;i.
Ae.
\
^ The ^ '^ J^
j^j.
j-j.
h
"
,
passing notf
,
s
are false relations but I hope they
,
mtiII
not be
condemned unheard
r
i
22 FOTJK
DUET. For
MOVEM'NTS OF TRIPLE M EASURE. im^rhich Sjncopation is effectively introduced
orid
V.olin.
r
i
J,jJJ,fj
i
J
i
'
i
Uki££i
^ff?Tr'frn"i ^¥ffT
^4^
For t^o violins or oboes
^
^uMtnf,finn\n.]\ini^^^ #H«
mi
CrriLrr rffirrvi'f i
For two violins. Tenor, and two violoncollcs
:
i
c^rnrr
rif
f-
ltitTe
it ;
1
The laucr of ^^bich play the'notes ofthe Scale
(only) Tv-ith octaves.
Viol, no 1™.°
JUr^
-^^J^V-i
i|J
wnfffr^f^ i i
|
^^rrcL:^''^^^iy:^ 4^'' '
"
J
^ I
^
I
Violoncell
For two Violins, and
a Bass;
constrainM
^as
'
lO
•
i
• '
'
'^'
'i'
Q
^ '
hJ
m ^
i
before) to the notes ofthe Dintonic Scale
r4fe¥Wfr^ ^^^^^^^^^^^^ Violirioln?
violino24o
^^'i
'
I
j
^F=^ ariJ.i,-l-h-
j^y:^ iiiU-'ii-^ij. s^5*^5?^5B; ^ J
i
^
l
^
U. U. ^=i:
i^.
^=
^i
i
i
j.N
i
^'
>i
'I
^^T^ l^
H^ylr
ll
to the Encomium of a musical Historian, and the humour of the Spectator n9 V; I have so often been applied, to for the following beautiful Cavatina,that I employed a friend to write engli^h words to it, restricting him to the measure and accent of the original Italian.
Owing
23
Adag-io.-
^^*mtTr^i^ n i~^^^.ft 1 \
2. Verse
B^
Sad « Swell
^^ ly
plea, sing
the
anguish
t
:
ma
j?]
^^
sadly plea- sing
m^i^
f-
Bird of
>
J:.r3 ..ji i
^psiipi
t
m^'J^U'h^r,^y^[.^n i kj—Ed" sor_row sad_ly pleasing Bird of sor_roM' sweetest Minstrel ^»
r^
'r'^jni'i'
g-
Grove
G
6
bor_
from thy
yu
Song
I
^^
bor- row Tender
^ ^ n
f
6
From thy m ournfu l Song
I
bor_ row Ten_ der
r^ r^ t
^^
1
B A
.
llsSwell the thrilling H:
II*
Plaint with plaint
swell the anguish tones of anguish
I'll
still
,
V
.-ll
combine ;:|1
flowing sorrow^ltlanguish Forth thy Heaxts despair and mine. Sweetest Minstrel. Let thy flowing sorrow languish
Till the
,
Plaint
with plaint
l''ll
still
combine.
the
m
^
nn
n
^y^^-f-f-r
I
^'vt^
Svicetest Minstrel of
Lm^'^'Uu^ I ^ tow rj N^
From thy mournftil Song
Grove
'"r^g
-
'
P-
,yj^^rn>
G
ot the
^\
\
o :2 3
-a
a,
O
—
THE MAGNANIMOUS CON9UERORS.
^4?
pcrrormanco ol the follo\*Tng fine old ^ludri gal, will afford a delicious trout to the lovers of pure harnio^ It is here first publisli'd with english words, in the adaptation ol ,n\es,rorm*d hy the urion of flowing Melodies^ vvh'th,spe< lal care lias been taken to preserve the syncopated beauties,which are so judiciously dispersed throug/itout this symetrtcal Composition: and for the accommodation of Ladies,the real sounds of the Contralto andTenor Parts, are rOTTC-ct
\
expresso<(
bv
Treble.
W=^
Second Treble.
^
First
The
real
^
iheir favorite cHffs
sounds
!'*'
of 1 lie CountcrTtnorj ~
P
Heroes famd for their
Va ^
Heroes fam'd for their
Q^u
.r
J^
He ^~!I^ _ roes famd for
their
i
lour.
He _ roes
va _ ^ _ lour»
J
xt Va _ _ lour,
I
^
Treble
famd for
Heroes
The
real
ex pressed by the Bass cliff.
leroes famd for their
\
W
9
^
J
.1
^
inspire the
r
the
Ca _ _ _ rol
fif f
».*„. J in r
r
Xzr
^
mighty
rfitrrn
va-lour inspire the Ca_
£
=^
Pr F^
W
f
i
itnv^^
r Ca -
J
jl.l
J
^
-.
-.
^ rol
rol
The
,l|,.|.,||,.|^
J
|
^ ^
in-spire the Ca- rol
Ca- rol
^
^
for their
*-=&
-.
•
.-I
=11
.J
inspire the Ca-. rol
^rol
Ca ^
- rol
i
'
g
~
- rol
f
The
rol
.-I
The
The
*
cr own'd with l^aurel are croMTi'd with Laurel
£
rrrtj mighty Con ^
ri r
rol inspire the
inspire the
rol
are
mighty Con^^ querors are crown'd
i
«,
I Con ^ ^ querors
^
Ca_
in spire the Ca- rol inspire
^w
f^m
in_ spire the
the Ca _ — — _ _ — rol
^ « spire _
Valour their
,1
Ca- rol
J
|
in_spire the
^m
9
J
J
f
fam'd for their Va_lour inspire the Ca_ rol
spire
^^
He _ — « roes famd
^N^ —
Va - _ lour.
-^^^
^^
Bass.
_
_
^^
sounds
of the Tenor,
l>'^u
in _
Va _ _ lour.
their
-i
-#
M-ith
Laurel
cr own'd with Laurel
are
^
1s=s
4 j i
1
j
4
^
j-j'
I
*
*
querors are crown'd with Laurel are crown'd with Laurel ft.
^
1^
mighty Con^ ^querors
are
I
^
crown'd with Laurel
:siffc
a=a. mighty Con-^ querors are crownH
liith
Laurel
are
virtue hath triiimphd
.r
^
gf
Vir^ tuc hath tri«
V=¥^
P
crOMnd with Laurel virtue hath triumph
*»
2J
^^
^
i
Vir^tue hath
J
-
Jus ^
ends
- - - umph'd Jus- tice
^i
the
ends
Jus-.i!ce
quar-rel
Ji;s
fof
^
Branchy es
f
^
iSt
i^^
Doves com_fort the
^^^ and
Branch _ (S
-ip—
_
i'J
es
^
com^
poves
3.nd
O
rel
^^
- rel
- rel
^ —JT
-
live
-
-
In
O -
- live
O
- lue
^
\'ictors
£ _ _ -
-
i
»
Vanquish'd
fort the
^
^EE
crcs
"Vir_tue hatli
^
crs
"V1T_
fort the Vanquisli'd
cres
^
_
0-
f
f-
-*—r-
Branch _;
<
Doves com_fort the
and
s
^^ cres
Vir
Vanquishd
«
tuc hath
^
p.
,
E
,
f.
tri_umph'd
Jus
umphd
Jus^tice
rl
fue hath
tri
r
f
mJ
Jus_
tico
ends
tice
m tri
_ timphd
^^
quar _ _ - rel
-
^ the
ends
the
quar « -
quax_rel
m
quaX -
ends the
jus
_
tice
F * Jus
-
jus
_.
tice
I
p
•
ends the
-r-f-tf-f
rel
Jus -
e ends the
vir_tue hatii
rel
^ i -
rel
1
quar - « rel
the
^
ti(
- .
^^
I*
E
_
quar -
ends the
ends
tice
^
victors
the
33:
F
^=^=^
Jus ^ tice
r
tri-umphH
the
if
- umph'd •
r
ends
«
.
vir_tue hath
bless
M-ho
cres
5M!^
I
i
Doves com_fort the vanquishd \^hohless the victors
EBl
tri-
O -
Ji^
J
-I
^
quar -
^ com
IV
^
^^
Vanqu!sl)'dT*liobiess the
fort the
^^^5= _'
rel
i
r
:1?=T:feSp Brancri
-
O
^^ quar -
the
vanquishd
^
i:
ends
^ m
^
Doves
and
rel
quar-
Jus - tice ends the
^ com—
X
and
Branch— es
mm
quar - - - rel
T
quar ^
the
M
r
snds
ends the
eirt's
- tice
•
^e^
Jus - - tice
-.
^
1
-i
/tice
¥
quar- - -rel
the
^ ^ -
'-'^—4-™-^
atzar
JUS- tice
quar ^ - -
1
^ ^^ ^
i
J
I
^s—
vir-tue hath tri-umph'd
-^
,1
ends the
tri^umpU'ti Jus ^ tice
i
J
'
Q
S:
quar—
-
quar -
-
i
^ rel
rel
— —
'
^
526
have endeavour*d to court attention to this part of tlioAppendixwithllie Lan^-ii.toc of profound Critick and sublime Composer who has raised the importance of national melodies hy his discriminating Ey^ and harmonious Pen. *^'It may seem necessary to apolojriz<- for having dedicated so large a portion of the work to a subject hitherto considered but of little importance*, it is a subject, however which I am not disposed to view in that light; onp wherein much remains to be discovered, and the study of which every lover of nuisi-p may prosecute, I am aware that some of the most eminent writers on the art ha\e b
;i
The following Air is here published with the permission of the accurate Editor of a most valuable collection of the Ancient music of Ireland-. It is most assuredly genuine as my friend's veracity was never doubted and liis opinion of its merits is happily expressed in the subjoined note which exactly corresponds with
my ownr^
Andantino Suirifoso
=pc=^?=
^^
In _ spiring Toiiiif of
chearing wine
more
Once
i
th^-m
Help
see iUeeflow
me
to raise the
^X^ ^fe i Mav_o divine pro_pifiafe ihy May
lay
f '
sweeps the field
_
>^
naine*^
-—
Of
anid
'
-
v^.j r.^
swells the frumpoffaine
—B— —
—
•
(.
^ ^g
ISZ *^
May— o
»
^
^
«»f
rr.
m
w}if)seva_l()i
>
. > ^ ^ y. ^ . Mayheaviishighpowrfhe Champion shield & deathless
— 7 r^_ % r TS5 V glo _ rys sons Tn()u glorious heir thou branch
^-
m:: ^'^^
-^ /r
-*
1
i
•
.'
be
hii
7"
honors
De_seH me noi
hiii
This ionj; is very ancient^ and composed lotij^ before the time of Carolan, by. a poor dependent of Lord Mayo, whom he had taken frMTi motives of benevolence under his roof, and whom the fear of rontinuing in his lordships disgrace after having incurred his dis _ '« ;... ". '^irt^l to o,i«. of f 'if finest productions that ev«r did honour to any Country , /
21
Several Ladies, who do credit to their Instnictors by correctperformanc* s ofA'oral harmony, particularly requested that the following- beautiful Irish Air might bf arrangjpd for two sopranos and a base, placing- every note of its elegant melody on the first staff that it mig-ht
be occasionally
sung"
by one voice
SIMPLICITY'' K \
Sweet child
^
AfFETTUOSO
C0>J
na _
of
[yftrr
P
m
ra
1
J
^
t^^
I
^^
M
breasf
hi'j^n breasf
i
^ — ;-gj-/3 mm
J
w
I
.
'
L
'
ri
'"^^^m
clasp
fhee xiiee
in to
iivv inv
Lef
me
clasp
fhee
fo
my
i^
in
^
w
p
fea_fiue Lef
kS
•
^
p
iiame^ SiiP_pli _
?
r
ci
-iy
*
I
•
ineclaspfhee f o jny
"!n~r^ !
Thou werf
name
m
-^
i
Sweef
fiire
r
me clasp fhee fo
leS-fiire Lef
r-r^^ \^
n.l
^-though fjiy humble
ii»
Love_ly
i-
'
«Vf
Alf hough f hy huin_bl e
T
i
na_fiire Sweef Child of iia_fiire
Sweef Child ild
=^=^F^
1
' j—
—.r
^
breasf Sweef Child of
ine
Love_ly
na_fiire
Sweef Child of
e
[
er ^a_ture Lef
DOLCE MANIEB A
breasf •^
Love
f lire
ir in
ly
^
^;
"lyjii
^^ for
Al _ _ fhoughfhy humble
Mans ib_
names si m_
pA I.
_
li
_ _ ci_fy
_pli__(rr_ty
Sweef child of
in foafure
Thou
shalf
Sweef Child of na_fnre
Thou Thou
shalf
na_fure Love_1v
e_ver
be ca
ress'd
shalf e_ver
be
ca
ress'd
e_ver
be
c^
ress'd
r
28
The following Curiosity
I
.
be one of the most ancient Irish tunes, although
is said to
Book of harmony dated
16'7^. was printed in a most excellent A more familiar notation than the original has heen substituted and hass added. it
a figured
'
Caufusl CaiitiKll
fHJMU^^^^Ui'^me^^' Callino CalHno
E^
^
^PE
Callino Call Hi 110 no i
CailmoCasjrc CallinoCasjrore
me
i
!
i
I
:
Ee
loo
-^-^4-0
^
ELvii Ee
loo
^
^
I
E_va Ee
Miff ^^rrjj 'ffT"-
J I^P
I
j^lJ J^^_«-l
-e|-
E_va
Hl-
J-
vJJ .
E_va Ee
CallinoCas^-tore
Med ills Bassas
I
loo
loo
loo
lee
loo
loo
loo
i;i-/|i,M^.^ 4^
4^
1 Ti lee
I have conjecturally surmised that the harmony to the above church-like melody, and to many other tunes in the said book, was added by the reputed Composer of the bewitching and deatless music to Macbeth, by whom the Editor was addressed
A r,d
Thus "xhoii k!iidFrieiid,whos>e pairjs
To
?iztA
cares
LiJive
been
thus by another learned Contrapuntist
of thy f')rmei- Publications, wei^e ( ollectef^, but all these selected are with so niuch care, that such a lunnei-ous store In so goo"! method, neer were done hefoi-e. This Book shall prove (where men have souls to sing)
'^'^Those
pu])lish ^h:s h.Trsnon ious >I«Tgaz"nie',
Enjoy -thy Labours^ whilsi we sing Peace to our Nation, Honour fo the King.
A
jntisical
companion for
a King.''
The following Air although
it
is
is supposed,by many, to have been the production of Ireland published in a Collection of ancient British Harmonv with the Welsh
DiFYRRWCH GwYR DvFI
title
* ^5 In the
^ Autumn
I
J^-
^
m^ ^ -
Snowden
^
at
^
breakof theday, AKd ere
:£
b
^^
J ;
Ef —
»
made an ex_cursion in Whales,
^ left lofty
A Ground base is one of thepeculiar qualities ofWelsh composition
Over
ma_ny
^
J
.
tlTe
sun setting
neath the green sliadesLovesBeniyls were cjhaunted by Peasants and Maids
I
^1^
E
S
On the Island of Anglesea great was my bliss Adhere the wild Irish waves lovely Llanidan kiss
a
PP »=t ^ jnountain surrounded with dales
^
arriv'd a^^Tni^stay
1
evaleof Llang»)lTenDe_
" -p-
.
^
Round the island I saild in the Anglesea Yacht, W^hile the hearts of the Passengers beat pit-a-pat,
—
#
2.'>
B^irHs or Mnistrels, Whether the laws of Counterpoint were known amono^the ancient do n<^s,n^^ their Historians f-^^ts that/^Tlu^Uelsh is a very Vestionahle point; One of different parts, so that when a in unison like other people, hut in many ^^-^J^^;^^^^^ voice as there arc tones of meet as is usual in Wales, one hears as many different parts and
performers"
Persons The fine old tune of SHEXKIJfm^yhe. su»ginthedescribedmannerhy 3
f^^ Of
-I
i
1^
1^
^
O^
-G-.
J
,T^ no._blo race was Shenkin
^
^8^
&
^ :
!
1 1
n<)_ble
noble
riT
lg
»
I
no_bie Die noble no—
race
no_ble noble
race
1
'
J
_,_r rfb
E Love pursued hui
crvi_el
Love pursued hur
Those who
W
^^C
-
i^ Birf hiir
cru
cru
_
_
.^.n^ sh^uKTn Of
of
race
of
ITed
is
_ _
_ _
and^aitSrncf: cru_el
rzrr^ el
^el
no_b!e racewas > •
race
ciai-eT
1
.
^
II r sued hui love piir_
I
ace was
Shenkin
C[
pur_ sued
love
pur _ sued hur
hiu'
strain thus:
i i
Dal'Segno'><
ble noble race
iof
no_ble racewas Shenkin
no_bTe
—
love
^enkin Of no
^^
g—-Q
Str: -f 3:
love. Since ci'u_ el
-
^ no_.ble
^
^^5 Jtn-T-^
_____
vs.is
no_ble
goneSir.ce
&
_ _ _
fled _
renowis is
_ H*^—^*»
#-^
r
of
^
^J^fin
are partial to variety, and divisions, may sing: the
no_ble race
"m
& goneSince
But bej- renown is fieri
The line of Tudor ThfnmThVim ThximThum ThiimThum ThumThiimSinci
Love piir sued hiir Bui hur re_nown
ciai_el
of
^
-ff^-£^^ff
^S^M
rHhi
l'
\—
The line of Tudor
*i
of
race was Sheiilcin
T^ race.^The lineof Oweii Tii_noi «N
I-
3=pqt
*
-^—t^-
-
crii_el
n(i_.ble
d
4
ShenJcmOf
ii(>_We i-acewas
of
Animato
^^
«.. rave -was i ci«.'.
-»—
&E
of
p
i%'-i blp isf-Jis?
'*
Of
SheivKisi
-j:
Of no
m
noble noble race
^^
_^^
J^^T"
i
ble
met
' There is a Professor, at present, distinguished by the title of Bard, who eminently proves his pretensions to it by lineajje, rfnrmance and publications j in one of his works he truly observes that a famous English composer admired the following "Wehh Ground so much that he imitated it in a C tch. ^
p<
I
The ascension to a sharp 4" . was an ancient prohibition is now an admitted difficulty and when accurately tuned a modern beautr* *" * The harmony of th" Cadences mi;^l-,t have been more complete, hut the original base and melody of an AncientAir ought not to be mutn.it'J. ( vvhen effective J
30 and more useful,to add spiiphonies and accompaniments for the Harp than lor an Orchestra; In conse(jiience of which many excellent col lee or keyed Instruments tions have been recently published, But as I consider such additions to he protected property, I have not included any of them, in my Examples. To a northern Editor I am g-reatly indebted for transmitting" me the following- apposite Anecdote, But I should swerve from my g-eneral rule, and publish inattention to other Editors, were I to exhibit more of the party^s names than less difficult,
It is
their Initial letters . " This leads me to
R
mention a circumstance which MT the husband of B communicated to a party of us, of whom M!" G was one. He said that himself thought so highly of the Symphonies and Accompaniments which he composed for my Scortish and ^\^lsh Melodies, that he had a great number of the framed and hung- on the walls of his rooms in Vienna at the time of R's visiting him'. .Such a singxdar compliment to our national Music from so great a man, seems not unworthy of being" recorded.''^
H
MSS
unite the refinements of the German school with these artless strains; But the most learned musician of his time accompained them with such figured basses as the following, the sympbonies excepted, which for /«'.s ears,and Judg-ement, would have been too chromatic.
The moderns
^
Slow
jdfe Lttnt :^
::S=
ite?:
i
TT
W
i^ 166 5
J
i.i
^
^
p-^
t35
b7
5
grnnriT?
^
^'rrx;1^ri'r ;|J^:j7Zr^ 6'
'
Aiidt rboii
my
Jo'
6''
6
!
-r
;
«.
John
i
^
t j»
^|.
^^
32
^ vrj ^^
Johiiwiauv»c'>%ei'efli-h^ac_ciuaintjYourlockswereliltp the
A6'
.5
J
6 — S^
u
I
nr
i
I
6
r ri r raven,yoiir boiinybi-oviwas brent-, But nowyourhrerwis bald John,y«irlod
7
665
27 Verse John Anderson my Jo John, ^e clamb the hill fhegither^ And mony a canty day, John, weve had wi' ane anitherj Now we maim to^f er down,John, and hand in hand well go. And sleep fhegither at the foo^, John Anderson my Jo.
"^
1
hiv.
hiard the first FE sang shjrp
Ijy
those
who
vvere deaf to Scottish beauties
.
31 Harmonist (so frequently alluded to in this work) Condescended to acVioloncello toaji 100 Scots song-s, cept of an eng-agement to set accompaniments for a Violin Fo appear uncouth to generally 8c when he viewed some of the words & passages which reigners, he requested that he might refer to me^ instead of a Glossary^ while he played his The Violin part to Todlen hanie sang the melodies accompaniments with a Piano Forte, Vocal a Duetj after which he obformed we melody, the pnned so delighting, that with it, served til at when he was first requested to harmonize this Air, he proposed to relieve its monotony by a progression to some of its relative keys; But the attempt convinced him that contrasts would destroy its character & prove less pleasing than its repeated modulations
The
universal.
&
&
&
:
&
passage. Moderately Slow^
^ - - ^ e56&. 9S15 ^r^r^ ^ professed in this Art &a admirer of the original genius Scotch great Sz. A songs (some of which he publ ished with an accompaniment) used to say, that he had blotted many a quire of Paper to no purpose, in attempting to compose a second strain to tliat fine little Air which in Scotland is known by the name of The Broom of Cowden knows An ingenious German accomplished what baffled the Italian by annexing the fol ^
^?14:^
lowing to
^^^
S
-5
-*'•
:«'.
.9873
it
Violins
-
,'
I
I I
Jl
J
&
Polly in the season of was sung by the original Macheath ranged by one of the most learned Contrapuntists of that Period, Slow-
The Air
The Mi-ser
CI
)
The
as
it
thus a
shil.ling sees,Wiuch hes o -bligd to
C marked
prisetit M^ichrsth sings the It will .i|) leur stranjjc that a flat
pay
"]»Vith
sij^hs
resigns
it
hy dejfJ-ees,And
17
27
fears'tis
8 ar-
gone for aye.
flat in the sixthbar which produces an effect that has deliKhtcd oiif greatest Theorist a natural. bi!t so it is in the Doctors Score.
should be used for
»
.
m
A favorite singer
ol '.efollovMng elegant Scot-, melody, was accompanied the year l?7l by lour of the greatest perforniers in Europe, and the voice w^s supported, but not overpo-wered byahe e^^pres. sive finger of its ingenious Harmoni^er, ^g/^^\
3^2
^
oboe
Sol
P
m-P
\
Violino.
^^^^^^M ^
]E ^ A
Viola
r'-M<
•"''"'•
I
I
r
'I
Larg-hetto
i
']
I
i
ir
r
r
1
^
^'
'
Be_neath
ir'^f cirr
^
'1
green
a
siiade
a
-•
—
:;^==it
loverly young Swain
Oik-
Piano Fortfc only
'
% his
r
pain
sad
so'
Ijhp f
3
i_i \
so
5-ef
sT^eetlv
nfl
|v....=j,-^YCj;^j *
*
I'l
^ir \*
J j jg winds ceasd tj^ breathe and
The
oe
J
.1
J
i
L^ the
i
nqgjj^j.
iij
Foun_ tains to
0^—4-f
j
r
•
flow
war
hied his
^^^^ _,
P ^_.^ r
f
ItfXzt
.'^4^
Rude Winds with com
rf-^^^-^^-.-^^W^^^ I
^
he
pas_ sioncoul**
^-t^fr^^i;p^!li'-:j.'^j'
Mjuno Forfe
ELT
l^'l
^
g
f The composers of Symphonies and accon-prniments
m
f=^
to ScotishSongs,mayprofitbythisexcellentmodelfofashicnothersb
|
33 Ritornel
Ipu ^mk:m^\ Ritornel for the end of the 2^ Verse
^
aJttt;
VT
h
r4tA
•&
^?z:^3ES3qi
£*
+=to:
.!!nl^,n.fe.^-4l^
'
• I
.i^iij^jUj,jJ^
at
the end
jj^
^
>Jl[]>^,
:i^_.
coda..„^
displaying their Fancy and Fcelin^,which .^idicnces too often applaud during the conchirliTig Symphony. Yin
I
.
.
—
,
Dm ing my Infancy,! m as tairg^u to play and sing the folloTving Airs, which M'ere then cailed Bordfer Tunes , and as many of my Subscribers Honour thi r n:ilive Counties .Durham , Westmorland, and Northumberland; for their gratification and to augnicnt the Collectors stock ol printed rarities,these hitherto neglected Flights of Fancy may prove conspicuous figures in the groups of national Melodies . I
"
.
:
.
^^ h
THE KEEL ROW. In this form sxnig
-w
"
ith a V(
5S,orplayed4^ piavecH Wjvioderatcly mon comp:.ss,or Moderately Gay1.^^
upon any fashionable
^-^-.-y--^ -^
^
.
>
^
Instrument
1
it
have frequentlj-heard \nth this haciney'd
Piano Forte
ment
accompani-
.
when it is used for a Dane e more than tMO crotchets in/ a bar would fatigue the vampers of Basses and render the gaity of the Me-
lody inaudable
^
Harp or any Key U Instrument .
Foi^the
^iifltfifM^CO' j'' !»[[;irJiJiiJiJf i
i
(a) This natural simple Air, is an universal favouriteand performd by the Duke of Northumberland^ Piper,in a characterestick manner, which notation cannot well, describe,! hav« various copies of it, but as theyhave been composed for an InstriLniont seldom heard M-ith astonishment, except on the borders of England, a publication of them might have proved, an unessential part of this Work , Therefore the arrangements for the Piano Forte, Harp,Violin,andvioloncello,became a natural preference.
—
—
J
*\
S6
The BL ACK.and the GREY.
^
M
»
ft
vJ'^# »
^
^
r
^-
1*
*r
^
'^-
vj
-5
• i
^
•
j
*
j
*!—
*
-*
'#:li
*f ^
• A
f f
t
•
•
1*
——
•^ N^ -rr «T^ -F ^LP^ff ImJ ^mI — 5 J-^ bdy— id ^r^ —f—it
'
>
>, 1
ff
F
«i
^-
1
-a*-
^^^ U
U .^
'
^^^^^p^i^^^^^^^^^^g ^ ^
ijTjiMH--^
IfuRii
tffa i
N;
THE riTTLE LAMBS.
\V^V^^
fflli/a-J. Lmj ^giiji_ijLi^
^^ ^ ^ ^
^ ^ i i VV y.^ V
m
i
9
9
a=^
A
—
i
dull
dews off the
sluggards, the
^^
^
i
- ducts his sweet Lass, To
the-
r
" r
r
.Hills of
the
'
r
r
And
^m grass.
±
-
ijiLf
fV^j
ye
walcc
f
^ \
t^r
Borders, for to hear the
little
i
V^.j
£
j
&
^^ ^ ^ t/ig^^
each blooming
^
H
§
:j
shep^ herd, con-
M rnu'TIf
Lambs, Crying
ma
^ ^ ^ Pause
the^
Sym
last lime onli
loss of their
for the
g
^ .
2
Crying
it is
r
Dams. £
p
T
1-
i!
T
.3 chcering,the month
.
Tho Maidens are Marbling their pastoral hiys, The S-H-ains are all skippingJikeFairies and Fais, Ajul besides
fr
.
a pleasure, lor tohf ar the little Lambs, the loss of their Dams .
ma ma ma ma,for
being may. "All nature is The Suns brightest Iustre,enlivens the day, On the -white bTossomclHawthomyire perch'd the pretty birds* who sing to the Heart ,more than Mt/sic,'with words .
The shepherd and shepherdess envy not wealth. The treasures they prize are Contentment and Health, And long may they nurture their innocent Lambs, That bleat on iho Mountains
rf III
for loss of their
Dams
.
|
37
THE RUNNING FITTER. The chromatic Semitones tion of
it, has
in this tune, give it a
ton^ been considered
iniuuj
tlie
modern
colour, but -uiiether
it
he an Orjginal,or
a
Copy, a neat cxecu
necessary attainment,hy the preferred Hopping iWusicians. (aj
[irtL^tar
A Hoppingjis
(a^
in
tlie
an annual Festivity, peculiar to the northern parts of England, at Mhich,Relatives,and Friends, mingle m.erry Dance, and the whole scene, is a graii Tying Picture, of activr content «
GAN TO THE KYE Wi ME MY LOVE.
Or the Widows Bitty
her Child.
to
This affecting little Song would have enhanced the value of the most voluminous Collection of National favourites' Therefore its first appearance in print here, is a strong proof that it did not originate either iaScotlandjreland.orVales
> S
Gan
expressive
-<
K
r
J
\\k
^
f
\
h
^^
\
low and
111
to the
sing ditties
Kye wi me
_to_thee
:
my
love,
Gan
to the
CItshie thv Pet
Tears in her eyes are flowing, Be- cause
little
Kye wi
is
^
a ^
Colly lies dead. ^"^
r-|J.M'J
r.
round her poor
I'lul
I'
f
n
1
-j.j.|j
Battle,
>Tr
shed.
firstlings
^^
All our fine herd of Cattle thy vigilant Sire possess'd. After his falLin
ifi' J. ^ i
b
.1'
*
Over the moor and through the Grove,
me.
lowing
I
iiiJi J'
By REBEL
Jr.
Chieftains
I
.11
»f^
were prest:
itoippfff^f^eTI
r r r r f. r r r r f iiiM r KINE nowis allour property,Left by thy Fathers Will;Yetifwenurseitwatchfully,W&maywingeerenou^ still. GantotheKye I
I
I
i
'
|
1
n
'
88
ESPER^'j^CE Ejr JDIEU,
The motto of his Grace
(r4vtM
\
'^^'
'
'
it '^^^^'k^^'
AS
^-
I
n-
r emphatical
M
'
f^-"
^
I
r--^
>
^
M
l
M
— — I
I
'
—
r-f-i« I
\.
^1
J
i
r
r
Mr'
r
^
\
r
I
f
i
IJ
J
^^ •
^
af-fribufes sublime.
r \A
[
of Northu mberland.
r-¥
mann&r
mer ,_ cy Are
r-f-r I
r
r "
rif
^
I
courase,irirthfc
J^——i-^-L-^
—
'
1
^^""^^ '" * *>°l^
1
^iy-^tt
c^
Duke
the
i
f
i
i
-
J
fJ
r
Th^ no-ble line
^
rl ol
r
r
•
r r
[r
•
r
P^r
r
cv
1 g
p "Will
1
17
Percys con_so _ la
7-:«,
.
n
r
r
A PPercy's
p
for
Es_peranceen Dieu
^E^ is
con_sola _ tor
ts— peraiiceen
Verse afft
m
i^
^
^
E _
li
-^-
'
r
mem
_ zabel zabe^h s re zabelK
^m
•
i
^
_ h rniice
if yEmploys
Nil ^
J' f he
' '
!I 1l
I
'
graceful tongue,
i^
J ir S r r. E _ _ li _ zabefh^ re - s^m _ blance By
rir'
I i
it^i
E_li _
zabeth's remeirJ T?;oceSmvloysthe grafe^l tongue, ^^oiiSc^e^ V^^
E_li^ zabeth's
resemblance B\
_^
The fen_der MTo—fher lov_ingWife A
pat -tei-n to
pur_
E_
sue,
"
-^^
a ge
II
rw _
*^^
'^h
and youth
r
c
li
- za
^ n
is
ri
r clos'd
r
za closd a
vir_tuoiislife Wit J
closd herlife With °^ Beneficent^
us
r
f.
life
_ perance en Dieu
With
IVitli
-
^4
'
Wilth
Xs-perance en Dieu 1
With Es _ pe_rance en Dieu
Es _ perance en Dieu
A d<
m
n Es_peZranceei ^
life W^ith
r.
E_li
^
r
f ^ mor_tal
nr
^ :f i-r riri rr f The ten_fieV to pur_ piirl sue, -tern To lvto_ther lov_ pat_tern r Mo_tlier in^Wife A pat lov_ ingWite ^— -^ r"]!! fWithfreqnentswelJs&softenings ^n
sung:
Es _ pe _ ranee
f
With
en
With
TEs_pe: perance en
Dieu _ _ _ _
Es _ pe _ ranee en
spending family was raised to the height of Contentment, after which the Father and Son /h,^^^V-f* ^naving been temporary Border Musicians^ composed and sang the above Duet in the different manners described in the Vari;.tioiis Distress was bounty s Cue, and Gratitude was due.
.
one of the
ro afl alacrity,that I shall hold in remcnThr in* e,intror.ur((l nv Columbia River, and mannd partly with Canadian voyagers, who sanp
greatest promoteTS oftHisAppcndix,-w'ith
(>HTiers,and Captain of a ship
hound
to the
native Airs,vhile they paddled us,-with astonishing velocity, from lh< sliore to the ship, as -^voll ;isup .-ind down During which,I pencir
'i-ir
ititutc
o
on revisal appeared an Archetype of those, which more graceful, easy, and flowing Melody, but less so than the third.
the following lines,to the first Tune, -^rhich
second
is
a
arc supprtisst d.
^^
THE FAIR.
-
iJh«rzando
Nothing their bliss can check. And should the Damsels be kind, We
~f^
rinf
Love shall play.
® ^ '°^^ ''**^ Annette, chorus, to the second It she's a pretty Brunette, Ringlets col colot'irdwth otird with jet. iet, part of the Tune. Curl on her Sw an likeNeck, if the Damsel be kind, if the Damsel be kind.
lj
Tenuto
•X "
•
:2z
^
WU
bo gay I'll be eay, H* Jlrjcy shall dance in themind Joy shall dance in the mind, Love shall play. Love shall play. La,ra . La,ra. I
-
Rinforzando forzando
"** i
*
#sr
.
The Canadian Canoe Mens
2, time Chorus with
Song-.
^m
i Moderate
while our fleet
Ca^noe we paddlo,Thro
^S ra la
g
ra an
la ra la
^
t
5
^ ra
1 r'
^^^^^^l I
. Stave if we spy Tar in danger, Swift Me f'y to his relief,
Sym
^
•
Ic)
'd;
\
Howf
3^
^
conclusion
la
ra
sz:
1
^ ^
^
}L :^
tinsulisFar.tnri' this iJiis tinsutisfactorj'
ra
Waves, Safe with in our
,
.
f fir }^for rOP ^vant ^van» of nf fJm the
is
:
^t H
f
kfev nntt^lnffi ier rote JntheBas:
Stave
be Friend, or stranger. Soon we dry his Pumps of grief.
La ra la.
La
"W^ethci he
(a)
i ll
.
La
Sweet to sav-e a fellow Creature; Sweet to feel the blest reward. Glowing Hearts, and smiling Features, we that ply Canoes, regard.
'
(h)
silvL ry
the rippling
buoyant Cradle .Thus we sine our merry merry staves.
chorus
Joy shall dance in the mindj
be gay,For
Tm ^a^^^^ffrtr^'^fl^CB-^zJt itfi*
^
11
ra la
sherzando, means in a playfiil manner ^ Forzand6,orsforzando, or their abbreviations, fz,or sf,to force, or give emphasis,to one note, Rinforzando, or rinf, to swell the group of notes, to which either of them is affixed. Temito.to hold on the notes of the chord their full length. This last Technical Term, stands under the chord of the dimimshd seventh, which is followed by a too fashionable resolution,that I have heard one of the greatest Theorists oflhe .
Age censure
.
'-•
I
4^0
Derriere CHEZ mokPere js the french
'*
to the following- Air
title
which has been
a collection of Chansons deV6yag-e,but not for three voices; Whoever attempts to unite regxilar poetry with this melody will find it a difficult 'will lessen its impressive undertaking: ^Any alteration of its oddly measured Phrase
puhlished
iii
orig-inality.
^ ^ ^ w^
,
Vivace ma kon troppo Presto
fc
P
l-\
i^
On
W^,
•
^
^EE^±
the margin '
On
the margin
of
s:
lake, WJier«*
a
m
flu*
_
i-i
vii
_ lef .
F=F ine_ an _dfer, Where
Where the
lake,
a
_
ri
vii _ lets
^^^^^^^^m wan—der
T of -ten
r r' T'-^ wan— der Stands my
-^ Ml
i
my
of —ten
r
i^
:t=
j
r
fa_thers sol
-^
^
the minstrels
^ ^
1=^
I
r
r
r
tunes are taught With
i
^
I
r
^
^-J-r^
which our sim— pie
In
house^
fa—thes-s
)a
sol
fa
J|.
the minstrels
me_an_ der,"V\^ere
1
sm
J^
:
g
ot
Stands
[
house^
Careless Jacques
J
-
.1
oft
is
at
fault
^
i
I
hen the Calch and Glee We
And
take.
While /hile the tune_fiil tune_fii
take,
MTiile
! sub_sti _ tutes
sw
J
Harj)
de rol de rol
ex_cit< ex-cixes
'
t
^^
3
ex-cites
us, While
r
the
we
bloom, ci>rn
No w
the one lea/d plant^ in
bloom, Corn
\
de_
i
r m
'
f
i''^
is
In [n
us
li'ghts
our
the tune _f\il
fa-thers fa -the
m mj
t=m-
har-mo _ ny
th^ oiieleafrl plants
r
de_
hai"_ino _ ny the har_ino
While hile
Now
r
Glee
^1
vts.
i Harp
Then the Catch and
J
StE
^(f
tol
^1
J
our fa_thers
In
lights us
J
house
house
Fruit
is
niellolv,
^
Herbs
the hills and
yel-low. Fruit
is
mellow,
Herbs
the hills and
i
f yel-low,
r
'
f
f
So AVE
I
^
dales
uer filme Be _ hinci mj- fa-fheA
housej
F^^
Two
J
J
f
r
i
J
.j
i
r
prcf _
rds 3,
com —
ir~r:
r dales
' -P-^ X per-fume Be _ hind
'T The musical and
.
my
fa-thei's house;
and end pro poetical accents will be at variance ttnless the Verse* to the first Section begin with Trochees * 2 ^ t^d -.r iu feet of the i£. strain Yet the air is one of simplicity s charms.
miscuously with fennale Rhiines-.l None of t lie- measures of english Prosody will express the limping
.
>
•
•
'•
Didst thou hf.ir those \»rsfs? „ than the Verses would bear I heard them all, aid more too^ for some of them had in them more feet
Yes
-J
I
_
1 «=4=^ ffl
^ 1 y
^ r
_ on
^
^^
-p-
r
,
and
_ pleiely
'
Taiighf
iap_py by hap_py
Shephe Shepherds
pipes, Ten
Taughf
by hap_py
Shepherds
pipes,
hr{\hl
'
J fhe
ly,
swee-t
, r
mounfains,
^
m
'
E_ choes from the •
!
.ni
!
r.
I'
ijigfl<)cJ
up _
iugflocJts
up _
,m
my
^i ^i
i
fa _f hers
house.
r?^4-^-i
U" c;
\:
_.
Tend
.'
neighb'ring fountains Charm
d
»
4.1
my
_ on the mounfains^ E _ choes from f he neighbouringfounfams Charm
fa_thers
house.
3^ Verse
i
tt
J
3'
\
^
When
.
^
I
.1
J
J
i
ijj
^
? *
J,„.. C.J.. ™,r happy wives Sur_ round my i
.1
=t iappj^ wives Sur_ round
my
2
s
m
^i
_ vers -K^
None de_
cei
J
J
^-,-r
I
f=f=^
Then
fi_nest pel_try
the
^ ^ ^m ^ ^ ^ J
^I-^T,,..k fathej"\
fathers
J
I
_ vers
—
La
bouiTi r
^=j
J
J
r
T= r They smile and sing ting ting ting ting "WJu'le
house
They smile and sing ting ting ting ting ting
I
^
^
1
J
p
hours Sons are
j
?;
F
1
em _ ploym^nt
full
None H^e grievers
Hap _ py with em _ ployment
full
None are grievers
ne_ ver
Sons are 1
^
•
f
.
dull Be _ hiiid -TZ^^ .
ne_ ver
dull
1
^
fc
:
I
I
Salterello
Hap _ py with
tinka tinka ting
\
the boatmen's
house
^^ La
^
J,'
the boatmen's
g
s ^
.^
^
Then
fi_nesf pel_fry
J
bea _ _ _ vers
their
cei
i with
J
j
Spiccato
I
ting ting ting ting
None de_
jl
J
f
i
-r
bundlinjg
La _ den
^
i=il
^
:
La _ den with the
W^hen theten oarM skiff ar _ rives
i
J t
I
r I .^ I the fen oard skiff ar_ rives
my
1
Be _ hind
j
fa-ther's L
house.
fa_thers
house
\
my
The- six Chapters of musical Rhythm in which the following" citations occiir,deserve in the memory of every Composer. "The disposition of Melody or Harmony in respect of Time or Measure is termed Rhythm. The knowledge of this Rhythmic suhdivision of Melody is of gfreat importance in practical music as the singer must nottaT
to
be registered
,/2..
( annot omit remarking to the glory of Tasso tJiat the greatest part of the Gondoliers can recite by heart tJ}c fpart of the Jerusalem Deliverotl,t]iat many knOM it entirely and spend the night in their Boats singing it alternu. \\\ Ix liom one -Vessel to another, that it it is assuredly a most inimitable BARCOROLLE. Homer alone had the Jionctrr ') lore tiimself ot being thus celebrated, and no other Epic Poem has since met with similar renown" I transcribed (his article from Rousseau's entertaining Dictionary,( for a inemorandum,)the night before I left London, for Italy, \^il're.I easily obiair.edthe Music of these Curiosities, and I exhibit them to the reader without the alteration of a note,>i ord, or :rtcident. 1
We
L'K <
Passag-allo.
NB- Those who cannot recollectthe most striking Passages of Tasso, — L, ^-1 . t » \ K V N k . N K k m
CE, -K-i
Canto
I
arme a
pietose
,
.
ijiotation,
or place the
.
e'l
•
pencil them underneat^ the
i
.
1^
'
r
Poem on the music Desk.
^trrr-^i^q
"^ j.p^
i.}\J^\i
Ritornello
^:^r^rff=^^m
^m h^^grVj-^.4^¥f^.fW?7
^
:*M
m
TtdUJJ
Mv
i :i£i=a tj^N'*^
—
*—t-i
2^=i
.rW^4^.j^ |
?^
^
^i
Canto
*-rT
^
m
0.
Yt tl ^3
i^vlt ^
^ ^
V
t
43
OTTAVE FIORETINA #]•—
y\
^'v,,[
V
j^p^-^-frrT-
1-^
Intanto Eminia
fra
ombro_
1
XT
BS5 PE
se
se
f
9
I
i^
Danti^ca sel_va
piante
ia
1^
*i
dal CavalJo
ti-^z e^
scor „ _.
_
5 #6 S
i=Js
^
^ ,N
V
-V-
^^
Ne piu gover na
_ ^ __ta
^^
^
man
ilfren la
i%' KV
P= E
mante
tre
=s^
bp niezza quasi par tra
i
it=£:
4?:
viva e morta.
a^
i
6-
^3
3
si raggira e tante corridor che in sua balia la porta
che alfin dagli occhi alfriii pirrsi delcgna e sever chic omai ch altri la Segua ,
Vertante strade ll
#
Ed
TASSO alia
n
fiUAMtM^Vi Er_
In_tanto
nii_ nia
Veneziana
fra
1
i' \
ombrose
.
iM^niM\ \-Uf pian ^ te
I>anti_ca
sel
_
^m
\
i
va dall
._
Cavallo
(T
'
-i'UYl'^'^ scor
_««^
I
'C
C-'T-
Ne piu governa
iu
f^fT:\risp^fi%t(' tra \nva e
pa
m i
i
i
m
—-
^W
Per tante strade >i^
j,
X
fin
da
gliocchi
raggira
^^
al
M
trui
flT
"
mor
E mezza quasi
te
Jt
i
^=3
^-.___-.«___ ^^_^.^«._ta
e^tan- ^
pursi
_
^
te
^^
't
-i
n ^^m^fm iM ^^^^ o
t {l\Wff^
\ti
»r
f
si
lamantre m:in
fren
il
^ ll
M:y
^
le ^
^5^ i
1^ ^ "
FfT^ N r7 )^ .
..
^ . gna
^ Ed
e
ch altri
so _ ver
i
^
se
P che
al
j^^
fc=h la
^
por_ta
corridor che in suabalia la
^^
di
P V
gua
chio o^
44.
—
-
,
Each succeeding Key, in the foUowihg Circle, has one sharp more marked than the preceding , and the last sharp is a semitone heloM' the key note. ,
•xy,
J
ji
;
P ^-fMr^ riJ£J jiiJjia,,;i"fiJrfni
.
J
-r r r f r
Prelude.
beginning
m
f^
pTr
,
at the
C
I' l
UiUi
^m
l:tp
<
iA^'i Mr fTHTF ttT
J-
I
f
JII^N
J
ri ^„ijj,i ¥j'j i
^^ S
A
# i
^J
J
J
i
-
JS
'""^f
£:±=±
^^m r
T T
^'T^
j
.
i
^
^J =^J.
^
From here
ii^
rrr ^f.f^r#,.. ^ ^^fjflf^' K
f
'r
^
i^^ J-
f
^
»r
^ «=j
j
i
II
—
i
The numher of
flats is
l-
reduced by degrees until the modulation announces the Key of C; and the
i ;):J>K J 'J'
i
last flat is a
^^
^
VT^-^^H^i
4. above or a
jbelowithek Key nlote.
5*.
^^^^^^
'J
^r
'V
r
I
ng
1'^ r-ir-^
The modulations in this artfulPrelude
T'f'TV
i
I
.
pi f^rJ
i
are effective,evenwhenexpre,ssed
I
m \
ffi r
/f
i:.'t
ih''i,^i-frf
ZZIE
m
jii
by Instruments, subject
m
i
r
f-
+ to
temperament. But
^^^
,iU^IMiUll H "'V\hj.^'^^l^^^ OiJ
.
tf
r
I;
J
J iJ
I
J
ll
.
they are rendered more captivatingby laptivatinc: dv the lately invented E EUHARMONIC
j'{ij.jj,ji^j,4
^
^^ iyj
m^ f—
J
i
i
.
;|}
ii
i
r=r
ORGAN; For which Desideratum the musical
i
j;
i
;/,j!.
^
w5rld have great obligations to a worthy ingenious clergyman,from whose hose Essay tReAuthor. of this work has deriv
much information
izi
4J
Toihe_honouiLof that great Musician,T\5io has produced so many of the mod|ern Composers archetypes; it should he
of his Heart,by administering to the appeals of misfortune
,
A
singular incident of this nature,occurred to him,us follows:
As he was walking one day, near tlie suLurb^of vienna,he was accosted by a Mendicant, of a very prepossessing appearance, and manner, who told his tale of woe,with such effect,asto interest M.strongly in his favour*. But the state of his purse,
not being correspondent with the impulse of humanity, he desired the Applicant to follow him to a Coffee House . As soon as they entered the House, M. drew some music paper from his pocket, and in a few minutes composed the Menuet, M'hich is annexed to this Memoir, which with a Letter,from himself, he gave ttf the distressed Man,desiring him to take composition from M.was a Bill payable at sight,andthe happy Beggar -them to his Publisher, who resided iri the City . was immediately presented in return for the M.S. to his great surpri««t»"with five Double Ducats.
A
Menuetto
^:^
Wp^
1
ua tgin^
i
1
1
1
f
t
^w^ gg B i
i
:
-n
r
r
:
0m ^
i
rf
\^
r
mi';;r""^if
ij.
~im.iTfi^ ^C.*r
i
r
^m j^jN_i
f
ifrMi
n
\
~p
\^% iP^'^^^\rvMM \
/
'
I
^F=f=^
5 Tfceabove Composition and anecdote /> Iwere 'were p ProFessor,\vhosemle
!>
T
Marcia
4<6
di
Lutto
r
—
Palermo.
del' Reg-g-^? Real'
3Snr
ci;irmetfi
oboe
corni in C sol fa
Cor n.
E
in
-S
latfa
#
IJ
J
,Mj ^uii-us- ^—
^^=^j=^
^
i
T r
r
I
T
?r ^Tf
r
r
^NJ WJSN
J'
^
JIi:jt31
i
i
^ ^ ^^^ ^^
Canti •^
~XN
Fagotto
_« u j„ _; o _ so_li_ta-xi_
T„ In
^^7
P?
'
^^ -lor
a
^
l
-<
Ji.-« scogUo ,
fr^>
'ffl
i-
l
miro :
• r
e
il
||
'.|' l|
-
I
r^^
jj .j -ITj dhndcilmio do. 'i
J .'^ipr-r-'C:
:st
i
|'im'mi'l
r r
f
do-lor
/^
j^ j^jj
f fiN if 7flj*^
j
1
interno mio cor doglio
j
p
J :4,,i
J
f^
I
it l^^,ily l>,\T!^iqf^' \
J/71JJ
l
'J l/ff/
[I^T-t^f^t^^c^^
di videilmio
_ -i jj^,-^.i_J i_ e te ilsendiparteinpar
Vl^KJr
p
t:
sen diparte in parte
\,\
:^^benche ^1 i_ nvio parte
fiu^^
'QUia^tiS?^— I
-1
il
I
J I
>
B^S^JSSS ppff ^p
o
J
jN
During
of a Prince,
at
Palernio,the
heart of that 'Naval
Hero
(whose Victories a.stoniihed the ')
world
1
•was
Dei miei martiriilfuoco
piangono fcrmo oh' uio Le fugifiAe vete Ne con le mie quorele
the public-fiineral
mel
si fa pio*ioso il
mar
Anzt
mio
col piaiito
of the above Come
By Command,
al vetifo
1
the Mse.stro di
Capello presented !he benign Horatio -with a manuscript score of it, under the title of '?^hich,he -^vrote, .Should aChoir and Bend accompany iny remains totheGra'^e, Let this Heavenly
E
in iin fatal nionienfo 1 fradifor fuggi
Ah
tnfido inquesfo luoco fra fante pene Inqufste sorde arene Lasci ll tuo b«'iix:.05>i
Come
Fiu la sua iorxa crcsce Con i'onde ohini>? si mesce ll caldo higrimar.
tears, -with the «oleii
forza
Cres( f ia
strain be
my Requiem,"
When C is written for Horns, marVd at the cliff E lafa, written for B clariiaets, the tone is B flat. 'Tis not the most general method to express parts for clarinets and Horns,jby Tenor and Bass cliffs; For were the above played upon violoncellos, the tones would be an octave lower than they were intended by their composer, who was a conspicuous master of a conservatorio; therefore his Score has not been altered. v-'hen z IS
the tone is t flat.
The following ingenious accompaniftient, to a striking vocal passage formM with two notes. only,isforB clar. oboes and Trombones: The sounds of the clarinets are here denoted by the treble Cliff and the pitch of the Instrum^ents, but those of the Trombones are directed by Tenor cliffs.
inets,
Clarinetti
in B
oboi
iromboni
JjJ
J—f^ ffl|C';|«°
^m ^^ U j^ JJiii;
>
II
Coniendatore
'.y-r^.u\'[A
^
I
f
rn
ji|i|i-ji|iiM|i
*=:
i"*p
f
^^
Di rider fini-rai pria
«-{
dell' au-
-ro
-.
|g i
r
r
'r f
- ra
I
p
IJ
Ri - baldo
-^-
-"^ .
Adagio
-^ -^ -^ ,
j
^,J
p
^
r
r
h
J
*
1
l|
r
^p^^ it
au ^ dace
Hi
'
fE
#^-
|i
r
^^
4"'"^JV^iV J
Bassi e
'
^fj^P^/^^^rf
^
f
^m
Adagio
l
^
pi^.
^ ^ 4fJ^^ '
lascia a morti la
^
pa - c
Si
1
r-
rrombonim
The
real sounds of the Trombones have also! beeA expressed by Treble and Bass cliffs, cl accommodation of Performers on the Harp or Piano Fort« .
for the
'
4^8
A few extracts
out of the Messiah wdth additional
St sweet voice of a veil ren.cmbered Instruments 'tunng a division.
Tl'.i'
;(
daaste style
-f^—n-
F:.goUi
Shall be - -
(^^ fat.
"''
-
.
M
Ih
-.
,
'
r^^
-
tr
tr
,:;
n^.J n^J
'I
i
.l i
nL^L,
W
11
exait
g*.
/*^. Th.-se shori reipoi les «re effective
f
.-J^J
|
^W^^
1^^^^^
5i^
rj
l
Accompaniments
regretted Oratorio Singer, would have been rendereu inaudible by this intrusion of wind
.^i pT^tf ^Ir nr J-
gfe:
& much
Y'
1
odaThearcornpaniment
to the
whole of
^
this divine
Duet
is
iz
i
admirable^and renders^
.
Composer mr-ant Climax
It is evirfent that the judicious
comforting
&
animalinif
•f-«-^
,
\
I^
Trrigft,-
theVoice^fc not the Instruments jto express this
I^Theiensureri
fc applajiders
of the Arcomp..tothls
|^ long are etpially numerous &Molent^ov% ever
_^
v^ffords an excellent exhibition of fashionable chords, & therefore * proper particle for this' work '__
Ingenioui imitations
upon an irtiprerssive
bass
c Aharmoniousdis()r.rfio n of thefundamental discord.
if9((-^^
'
SERENADE
()
vio
violino
2
•
Mandolino.'
Don Giovanni k.
viol
K.
Ik,
•
k.
i.
•
k
-
I
I
I
.
Deii al la Deh vieni ai la^
f ine sf r a Imestra
,
mio
O
te -i^
Bassi*
—
-^
~~
^^
*^
j>izzicato
Composition loses none of its effect ^w^hether the obligate part be play'd on
^¥ so
m
m
^afefi^
'
g-i>''roJDeh %ieni aconsolar
pianto
il
mi
I"
V''
r
'!
>
<*
K
f
Piano -Forte,
f/L/f,ir'
So neghi a
o
. ,
a Violin or
me
di
dar
qual
>^? f,fr^^;\. ^^ j > ^ ^^i,^>;>>i;:^^>v'?^'^i.-^^ ;vF7Fi^>'i'-^^ii;^"^^i;^-j^ii-^\>Mc>>]--> ,
!^
.
i
/^ vfl>f]Nj
j^ jj
i
j\v jVv li\vjv>
l
j ^ jj jj, i
j'>> j->>'j-y>':\ >
2 .
i]
Tu ch
.
Knjh.n>iih.n IW^Jlj^^jv?
Stanza
bocca delce piu che il mele, Tu che il Zacchero porfi in mezzo il core son esser, gio-ja mia, con me crudele! r ascia ti almen reder mio beiramorel hai la
I
vfi
1
.771^1
fyvlj lj^>>i
j
J
Ml
—
I
—
TheMasters instructions to his favourite Disciple continued from Page 50 of the mirodiiilion^vhich Exercise comprises ol Imitations .of Fugues by different Counterpoints, all constrained to harmonize with four bar;s of melody .
.^
^,
12
rrfrir^rirrff rfiCE i
^i^rrrniirirrfrirrrWfn^^"^ir''rrfir^i ^
^
:"^p
1^
Let the accompaniment occasionally rest,that you
mm
JjJiJ.i i ir
I
M
4»^IJ
frrv M ^^ /-
13 Introduce various I
—
II
—
.
^
r-TT^
i-n
1
ii
air
-.ri irTirjJj i
|
maybe enabled to "write a Duet or Trio as
rfffifivfiriTrfrftt^4-T^ff^m^
^W^l Jj^w .
points,and let some of them
n«P
I
1
.
1
ri
^3 rrfrq
i
j.
>
Ji
Jli
i'irf"i'iirrrnrrf*ri^
^^
move in Canon. jt
i
r->-)
1
i
1
J
I
jjiiH^j^fei4^^#t£^rf.rifrrrifr
'
^mi
iiTi
i'-' l
\
^^Jffi'i^^iiJigtt^iJfl^^
^
i
an.. — 'wpr r'^\^;Ui^
^s
Pi> f ,
well as a Quartet.
nrrr^^'frirf ht-^i4m
^
irrfrirfWF''^''''i^^^^^r'^^'r^^
^
ii
iiyr^rgnr^^^
fwmu^'^^uw /ri
i
rirrrf%rf?|Qzt^
iMriJ^rri^jft—r^rir^igDyji
-
Kp'ririJ^ijiiw
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difficulty seems tohave arisen here,as the notes are not legihle.
Proceed by different Counterpoin-ts, first
and
to the 10*.
after-/
a^cl.^-
to
t'T-.-
2
S3
Ah
W^
W
tothelO*^
the same
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to the lO^i^
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rirfim,firj,riiTi0iirifrrrifprif,^Jtt the same
i!#Hr^i|%nFifffJT^^
^T
u?:K?irinVclL%'ifiri^'; was written.
Fac-simik of an Exercise upon a Ground. i
'
.
The Ground effectively inverted
th^e^rejo^e thefir.t no^te^o^^^
?J,^ .
"
i
o^T
i
.
^^
Those who examine this composition -wntli attention,viMt>ercieve that the Violins andT^'nor d re ii early sub^,5 to4baTS of hass notes perpetually repeated, yet the harmony and contrivance i!> admirab!-
,sexvient
1
^ b
I)
^S
,*
^p^^^sfp
^?
some places th e accidentals are oVitted^and in others carelessly inserted,bnt the promise of Fac-simile h^s b ocn faithfully performed.
In
a
^f^
At the note of exclamation 1 The Author commences an ingenious Digression of feeling,expressiQ.n, and ji modulation, without suffering his subject to be forgotten. '
^ muititai|ious engageei Many more chromatic designs were sketched u^on themultifailious i^pon
\
— FaoSimile of ditties highly
f
pennd Sxingbyafair queen^ in
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vit'i ravishing division to her lute**
J
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Summer's bower,
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lie above 3 Airs were engraved from Princes.s( afterwards Queen) Anne^s lute book,M'hich was given me by an^"->^ f-,timablebrother ProfcssorwhovaluesthenewflighfsofBeetnoven more than all the old cariosities in the T 1^^ 1
k
niu^dom
.
.
,
—
,
.
0^\r, the worthy Son, of a late exquisite english Composer,! hav to ucknowlec^gt my otligatioTis,for a prcsent,of an oriinnril ^i.s.MlMth rontams tlio folloMing Rocitatu e,and Air; Curiosity led me to cut asunder its tark'd leaves, A*hen Iperrieved tliaf ilie Poet had made some judicious alterations,\*l)ich his Coadjutor had expressed "with a facility that is wonJiyofbang ngaidid b> the students of Recitative,
^Jr^
J' f
v^^^H^
m-
v^^m^
The Elevated Soul,M ho
^^s
T
*-M
feels thy aw A>I impulse.valks the fragrant
av
—
7
ays
1 1—
a
of Honest
,
Sff^y^^ '
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r
^
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W
l\
He
J'
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.
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1
1
Mith impartial
jus^
tice
y
g
(-.
V
He flys a_
g
bov.
i^m^ bitions
3t:qf:
Tiicnce,with
a oo!c? ;ind H.
gJ7W~c.'/J^
avn directed i!im,full
on
cc
in
j^
^JH
i ^^ P ^. Truths meridian Sphere
;\
^
J'
pours the rays of fame.
i
-1. J.
«.,^^j. _ ^ ^ « dess
;
f
*Jt gjg"
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The
km
±2
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7
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p'TT
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The silver slope of
^
J
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The foamy
steep ascent of Vine-^clad Hills,
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N fall
;lf
falling
J
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7 7^'^ ^
Rills,
,i'4of warbling
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Rills,
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cingEye explores the radient range of beaufys stores.
thy pier-
5
m ^u^ P^r^i
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Uij K.'\jy.r
i
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^m
AIR H
lays.
tal
i
fair Virtues shrine,he
i
God
^^
*
•
Violins JJ^
fi
pol^lu^ tod
fading lays.
l\t^H
^
:*&
^.^-^-^zz^:^
J
And nobly Thrond,
carreer,
lov<
^!t/ ±i
never
im^ mor^ _ « «
deals the blooming Chaplets,of
,
^f
tS:
y
of
J'P
f.
^ ^^ ^E^St sg^z^ ^^
•
uti_
^
K »
-
deals the blooming wreaths,
1^
t
n Var•iatioTVsof both Wo rds and music
praise.
W
•
1
-
'
'
T
^ \f' expressiye performance of the folloM^ing pathetic MAKCH aever fails to reach fhe heari fhss an feel musical sentiment without the aid of Poetry: It is an excellent If o del for a TRIO as its judicious composer would not distort either of the melodies \>nth, wha^ are-term'd; double stops; Yet no Master had more h arm onv at his fingers " ends whether they gave motion to the Pen or the Keys.
An
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f.
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.
Pianissimo Senipre
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60
FRAGMENTS
of
.
RPICITATIVE. '
The Voets Variations
^
crest at
i<
^^"
^^M
m!
^Mi
1 here fitim learnings ^o
'Thf> ViOTifsi pnde,t!'^i iiriflp.t!'L:T plumes Illumes the thf» Heros Hpros Breast, llrf>asf. The honest
'(^^^^g
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' *
richcst.shi;ine.
'MrMririrfrlrfrUl
lI
fe
The lower effect
small Notes are the Composers alterations, for a Voice that cannot reach the higher; But th ose ivh o try their with the Fiano Forte, must not play both at the same time. V IS. K. J
^
n
tif
Is there a
f
^^
tf
Plain,whose genial soil in- hales
r
rj'i
r
Glo_rys
,
in ^
^
^
s
VT-^W^
LktZlfe Is
7
n'
fe
1/
I
there a Clime^where
ail
D'
t"
To
lift
y^ A
r <'rr
1 T
&
^
^^
5q
-
And
a
loftier Seat,
'^
Vl r.
In
-^
one
^l
t-^
'! her
f
I
Eyes,
^
^
stretch to ampler bounds, the wide domain of Art
or
stream
E
flov/s
•
*
g^^
blows
Genius
,
O
^
Thither the
Muse
^
f-^-^.-^^-Hi
addsfresh gIo- ries to his houor'd
j^
^ ,
^
'#
exulting flys.
i
iirow^.
i
^ 1
*^
P
Glows
L
^ t col_lect«ed radiance, to
s=
where ev2 ^y breeze of
—
'
/
#
FloA*r of virtue
t
1
rise,
m
J
(
^=^=1^^=.^:,:^
—
r^
Sci_.ence,to
fair
i
^m
la
t
P
these beauties
1^ *
^
^^
vi_go_ rating Gales,
^^^iMk^ r
i
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tiltt
#
,
"Where
¥ r
evry*
r
'r
There she loudly crys
yrr J2=F
.
m
I
FLY SOFT IDEAS, reset for MISS CATLEY
An —
i
but the Atithors
Ho
mm /E ¥.
.Horn in F.
iVvioliiis.
,^.;,i„„A
promised
(only) of this Song 1*^*8 extract /or onginalM .SV the readers of this VTo'rk
^
yt
in
m
the Prospectus, But as there never was .'inv other notation of it might have .beendisappointed hy alcs-j 'ejjjjitltiojuihan the vliolr
^^n
^4=^jh^j
zr
;
^
r
'^"uU IP
r?
'•
r
Moderately quick
^^
ARTAXERXES.
^^
/
\
^
^
^
^
^^
tJ***^ "^
Basses
^^^^^^
>n
MANDAXE
II
1
^
^^
Fly soft
I
V^^j
J^
deas
I
#
.^
soft-
II
T-^
.
>.^^ i
^ deas
fly
^ xJiat
^ ?=¥= A
-^ The violins rest from the Asterisk, to the double Bar; But instead of the characters to denote silence, familiar notation to express the real sounds of the Horns has beenpreferred/or the information of the young. Harmonist,
5fe
P j
iV Hanttcy
I'^Qy^.i^' my virtue 3 —» ^
^H'
f neither tear nor sigh,
rxr—
"T
I
: may
j'l betray, ""
N-j ^ Natures great
hr
^fy
Call,
^^
o- bev,
aP/j wr^f-^ solo
Voice
f
Daughter must o-bey, a Daugh- _ter must O- bey,
3^ ^
witJi the
that
^S ^
gO- - - verns
all.
e2
1 St I .
Daughter mxist oljey
pocoF
u
_jiu
A_
Daughter must o_ hey "(•
-J»
violin with the Voice.
^ _
las
ma
.
my 'r
Soul de-nies to
J
hear-
M^ wy.
—
Ki
^^^^=j^ Dare 1
^
j-
•
not a
•
M
fond
Heart
•
rM-
m
4
i^
3E?
Dare not
to take his part
fond
I
u
I
^
to tale his
Heart
^
P-
\\\\\y\ll
vrr tz=k= ^
f
—
^.
N
r
T
*
pi
f
J
J
a
n \ri,rr frrr »—*1—1
^^
Ip
^ LJ
_
=
^
1^
^
LJ ri =f#
^
T
g4<
"^J'*-'
following notation Hill tonvey to the reader the method of performing Hsalmody in the early part of the 16 .* Century.
London during
lOO VszlmfZ/ Tune .
u;ivon out
The annexment of tie present mode of accompanying this fine old melody cannot fail to prove a high gratification to performers on key'd Instruments, as it was written expressly for this work by one of the best Organists in Europe.
to^P'r^gf^P^i'f'r/ir^^'f^^^^fe
^
—
T
^
"h-H^^-h
J~J
ri
J
,
rf iii ^ CJ
T
Th^ motive for including tins wonderlui production .onong the specimens of Sublimity is which contains its Drum, and Trumpet parts Haalhoy
.
,.
Viohno
statedin page 6^ (y^
.
mo
I
,Tno 1
•
Violino 2^°
Violi
Canto
Alto
Tenore Basso
The Nations trem
hie, trembie,
trem
bie,The Nations
fr'srrtble at
the dreadful
T—
Tutti
Bassi
sound,
sound, * P
f
i*
at
the dreadful sound.
Hea\ni
thi;^
ders,Hea\nithunders;rempests roar, Tempests roar.
Heavn
at
the dreadful sound,
Heavn
thanncrs,Hea^Titlum^dcrSjTe]mpests roar. Tempests roar.
Hcav n
f f
thunders,Heavnthunders,Tenipests roar. Tempests
roar,
Hea-vn thunders, Heavn
thunders ,Tempests
ee
^—r .
^
A
,..
...
.J
..
t. =d
\
,
67
r-n
groans
rroans
Glory
to
God,
\
the
ground >
and
Glory 3ry
groans
ana
groans
tne
grouno.
to
God,
Glo_rvti to
God, The
strong
cemented
to
God,
Glo.ry to
God, The
strong
cemented
i: Glory, to
GO d
Glory
H'jUs
the to:tVjn^ Towis,tlie
liU
pondrous Ru_in,the pondrous Ru- in
falls
Glo
i->i i
^-h i
rVfoGod,
Glory tc God,
Gloryfo C()d,The strong cemented Walls,thetortrmg
Towf s,the tottl. ring
God,
Glory to God,
Glory to God, The strong ccTiented Walls,the
Tov.Ts,the tottl ring
ry
to
ToHrs,thepondrous ru-
in
falls,the
pondrous Ru_ in
falls
to^t
ring
I
omb;
1
"*'
^ 5i
Andante
, J
ynipany.
|
|
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I'I^Hm f|j.jvj|,|f|.
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f^jsJlj
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.
J.^ljr^l
m4>fJij.v.
jgiL'.r^TI^InTlT:^|j3TJTn|jjTD.t1|j.>Jh London
j.Md'.l
,._|t=
Taplow with the Father of Modern Harmony, and having (the preceding evMiing^ astonishment during the Concert of Ancient music, I embraced the favourable opportunity of enquiring hov he estimated the chorus in Joshua *'The Nations tremble at the drf-adfal sound The reply *'He had long been acquainted with music, but never knew half its powers before he heard it, and he was perfectly certain that only one inspired Author ever did, or ever w^ould pen so sublime a com, Travelling from
to
observed,}iis counfenance expressing rapturous
position.'*
Having heard sacred compositions well performed in foreign Cities where english oratorios are not collected, and where this Appendix will be circulated, I became anxious to afford my distant Fatrons an opportunity of tlranscribing^Trehearsing what I had so strongly recommended to their notice: In consequence of which the parts for the Trumpets and Drums have been engraved on a seperate page,as its glorious effect might be diminished by omiji-iion or substitution. But I have to regret that the limits of this work would neither allow a larger engraving of the above chorus, nor an insertion of its impressive introductory Air, GLORY TO GOD .
manuscript Score of IL B.ITORNO DI TOBI A by its Author, I endeavoured JEPTHA; and when I expressed my admiration of the Recitatives in the former, which abound with the finest specimens of the Xnharmonic,their Composerpro^cd his liberality and Judgment by declaring that "Deeper and Deeper still" in the latter greatly surpassed them in Having been presented with
to
make
a suitable
Pathos and Contrast. the
goodness
a
return by requesting his acceptance of
And while I was examining this wonderful production for Extracts an impressive dinger hid," it, during which my mind became so agitated by a succession of various emotions, th.ii
to rehearse
I
determined to lay the whole of this Climax and anticlimax of musical expression before the eve of the prove, that the highest praise of it will never
mount toanHyperbole
readt'r,to
,
^
^
.
70 Larg-o Voce
^
Depj*er ;iml deeper ,.
V
loiino -
^w^^f^^^^^^^^^^'^^^^i^^m
^^^^-^
.
still
uooduoss
tt,
and checks the cruci
Chilii pierceth a Fathers bleeding Heait
,mo 1 ..
«*i"
Vioiino 2 I
Viola. Bassi
ytr^^f
iJt
for the Eiirs
of Men
Mw
'
sleeps like
shoc kin
i
a thousand a tfiQusanrt
I
rrfrr
vowd Andean
s
not
'-
r
think the
i
it
must be so
'xis
Bz
l
that racks
this
^mffl af
That
lash
Jthov^h
Heavh heard
'
me mto into
my
Brain
'f
t
*
^
\^^[lSij
f
fe ^'^^'^ff=p^'nr^^"^^
pangs
gre^it
IC=
X
;
or howling Desarts
fabled Deities?
,
I
viola P
^m
r^-^^^^f
^^^'
raging winds
to the
it
Yet have
hp-l—r^
f
^i 4 Breast
i.^ r
M ^^m^
*
"f^j-^
r,
V-ola
Chemosh and such
> r
i
i
thoughts and wrote them down
f
\
mc whisper
Oh.'let
too
It is
^
!«/
^i
fl'i
f. I 1 1 sentence on n:y faltring Tongue
Larg-o
I
I
P
-
^jr
1
j
1
And
r
niv
f ^
Horrid thought
nvadness nvartness.
—
pours in_to fr^
my
"r
•
f
Horrid Horrio
hp
^
-
thougJit
ii^^-^ '"]
^
v^
Lar.tr»
^
2*:
P
!MT;,i
I
\;-?^^i^i^3:ii
,
'
71
7M^«>J-r f^ Sj^vt^-J My
only Daughter
SO dear
I
Gilead hath triumph'd
voce
Foes ._ therefore,
o'er his
^^
to
morrows daMTi,
-'
to
T±Z=t —
M ^T
1
31I3ffljfc±ZZ T,
ft
2
morrows dawn,
S
^^
past^ And
is
^^ D
* 3
—o —
Yes^thevow
^
4
k(? tn?
4f
3:3t
-
canuo more*
I
(a)lO*^ . Bar
XI
m ^
i
^ ^^^^^^ ^ ^ m ^ '
And i£to viol?
M^T-lT-f^E:^^
DooniVl by a Father^
'
6' 6'
»
Viol? 1°
child
a
^^^^H g^ ''lH^'W ^
•
:f!?=|q
my days
Fate
'
must run
'
'
"
"-^
'
O
'
oh righteous Heav'nOhj:ighfeousJHeav*n thy will be
done thy
i
2
viols
i
id
Bassi
\:^
J
|
rif
6 6
'J.
i
6'
ii
J!
i
.'
J
|
rU
J
r17[HrTT^
f
he
.
j
I
J
XI
6
6
I'
J^ Jljrl4j^j1,l|gjj'||^4j^j^j will
J
c)
i
done oh righteous Heav\i
if to
Fate
my
days m^ust run
i^rf^^^^^
oh righteous Heav*n
thy will be done
t
il
'ri
IS
ll-
6 6 6
i
4f
j
i
;'
'l
li #^— 6 i
± C^~#^ j
i
jrrif ff
^ 6
M 6
1
^
-f
-Interrupted Cadence. Perfect Cadence.
Those who admire this Heavenly strain^as much as I do, U begin it again, sing to the lb*? bar, and play D for its ss, instead of B, from which substitution the interrupted
1
/^ j^
J-j
"^
^1
K
1
"U* ^
'
J^*
-
^
^
I,l J^ r]|
I
/ ^
J
'
'
\ I_L_»-1 P I
i
H
I
T
TT
a
r*^?"
i
rhis ascent from the imperfect to the perfect 5 .,be^Areen the two Violins,has been objected tohy Criticks |who I trust were more nice than wise because I am not disposed to reject such a suLcessiom*iientwo,ormore,parts accompany it
m
Diirmg ihe Passion weok in 1^88 An Englishman who ranks the highest class^ of suljUmc Composers honoured requesting a Copy of the Song ^
•iiz
pm
r)>
'
^'^ Qui
*
d
a
-
pecca ^
tollis
rv^ es
ho_
die
=1'
m
<>~^-
J:
^
=33
^
^
i
mim _ —
ta
di
i
-V
T
^m.^ ^gS -'^'itm
%
6
i
*-j * '
dimitte omnia pecca-ta
mc
-
-a
mfserf
6^
6
e
qxii qxti
i
'§
^ T ^^ ff ^ '
de an gwstiam
crucil crucifix^ us
X?
W
•i^^
\-i
nu
i-
mc_ —
zz
'
J.
—am
et
^ ^ tri
tribti-
Being advised
,
s
.
At the Anniversaries of INSTITITTIONS "which dignify RoyaKy, honour the Vealthy, and relieve the iivdigcnf. The following Cannon is the appropriate Grace after Meat, and when its sounds are steadily sustaind by large choirs, the tuneful Ear cannot partake of a more delicious Treats some deaf Criiicks M^ho review Music wth ajaimdic'd Eye haA e discovered the ^^J^ resolved by falling to the S . and afterwards rising to it -without being prepared, while the Bass is stationary/which progressions are not authorised by the laws of Counterpoint; But this is a species of Compositionin ^hich the three Parts must consist of the same Melody, diTf.'.>ring only in point of Pitch, one being a 4 .'and the other an octave below the Guide; Therefore if the Cavillers (alluded toj adhere to those restrictions and alter the 6. 9 . and lo.. bars, their substitutions will most assuredly injure the finest short Specimen of Canon that ever flowed from the pen .of a Sacred compose^.
—
M^^ Do- mi
no ^ bis
Non
-^JD.
xc no
ne non
-.
Do-mi-ne non
no -bis
no - - -
n
22
Non
33
(I ^ ^
--ri-am
gIo - - -
i
g|
^^'>
am =a=P2 Jiq-U
da
*
an Thr#!
XT
i
^
' ;
22
no - - mi - - ni
da Glori
tu - o
.
.
am
?
is
sfan(na,i|y.
^^
35:
- - o
i
Non
ttjviM thf^h^^^
tu
:rt
—Cr-
am
-©-
D^- mi -
no -i -bis
5
nomi--ni
Sed
Sed
fe^^
Non
22 clo-ri - -
da
tu- - o
tu
ni
_ - bis an unpreparcd/^^'l asce n d
- o
sed noiiiim
Glori -
i
(l
y-r
d:
¥
•
XT
- ^ o
- no -
-
2j: ^ iTda MGlo--^ri--am
tu
ep
Tj
112::^
i
sed nomini
^ai i
^
.
nomi -
Sed
bis
Do-mi-ne non
no-bis
^m
K
'b*^
tu -
3
^ Non
^
?
-+-
Sed nonvi - ni
- - bis
-.
(
H
-JT^sr
32:
gIo - -
da'
i
am
-
ri
in the Year 1813,1 was highly gratified by associating with the distinguish'd Pupils of a late Doctor in Musiclc,who annually commemorate their Masters goodness, and proclaim his merit, by a matchless performance of his sublime Compositions: such an union of vocal talent, was seated at the dinner table, that the.VisitCi-s naturally expected to be enraptured, with a superior performance of Non nobis : But they were decieved,withoirtbeitiig dissapointed, for at the end of an impressive Grace, the foll9\^ing ingenious Canon commenced, charming attenticr, «}iile the manly tear , was bedewing the cheek of a feeling Son, who lives to bear his Fatheru imagc^and rc>i v»-fei
^
Canon by twofoJd Aug-mentation -^ Subject
W=t:
i
4^1^
and
^^
,
JR|i^ (I?
A Doubled
-
-
.
i'^'t ^tf* 1
^
men A- men ^
^
-
-
'6
.
-
-
^
-S—
men
A-
S5=:^
''^
'
A
m
-
- -
A
-
men
^
A
^ A
-
35
V']
lto» *
V ?
^ 22:
- -
men
-e—
men
A-
J \fj A - men
, -
men
53=^
A
men
"P
c
men
^^^
A-----^^
? A
- -
^
men -n-
men
d: men
A
S A
- -
sfciriibreve intihe tenor, and a
* »
«
-
-
l
-
A-
men
- - - ^
-
minim in the
3=5 aii:
o=f
^ A-
A
i ^ men •
x:
xj:
'•-^^----1----A crotchet in the subject,is a -
2X
'^
A---------'lll''-'"l men A
men
f'i
im - men
be low
m
^ Kmen A. A---------^ 9«adrupled.^
8*.^
- men
1 •
i^W men.
bass*
-«
—
»
.
H
CHEERFUL CANON.
A ^ was pcrformd when a Lady,M'ho presided at a Dinner Table, gave the signal for her female Guests to withdra'w . N.B. The Epithet Cheerful might mislead, therefore it is hoped, that the term ANDANTE will be particularly regarded; as Hilarity, without Confusion,is what the Author is desirous of promoting; Yet it is that species of complication^, ftrm'd "by the union of several parts into one Intceral," AS
it
Andantt l**Lady, irs 1
.
we
before
leave
you Lets
Gentleman
f ^ 0^ '
we
grieve you,un_til
,
o
l^jGen*.
d so
soon
de_ _ part.
grieve
you,un_
ijr Good
' 1
sirs before
1 Come follow follow me,l
^^
grieve yoUjUntil
we
!l
^
O
/9
.st
l.Lady
P
f
come
m A-
2. Lady
'
We
,st
1, Gent.
Icont.
5' $
P
^ir
i The Bottle may some J
,^
1
I'
I
i
5
Vy
r
.f
-*_
mortals
we
mm^ The Boftlc
^
mortals could not
T
V
may some spi« rUs
live.
may some •
raise
them highland
.
let
r
rits
Heart,
the
^
:
points of
But
give.
with_oiit
••
Ca_non
i mo
love
3t
spi — rits
give,
•
But without love
we mor-
^^ r l
^ive.
tlie
i
^ -
spi
nii Bottle
Tea
Jji'^
not fashion cant di^vide
—I
r
- _ _ _ rits some transient
Tht
ring for
me,
m
i
i \»'e
Y
follow follow fo]_ low
-a r
be your Guide*
m.
m.
tune our Voi _ _ _ _ _ ces,
^
s;>i
r
vill
T
you,un_til ^
For fashion can tt
and
•
i
r
de^ « P^r** Ji
ab- sence will not
#
Our absence will not grieve
i
prithee dont so soon
our
Come follow me,
be your Guide,
Tea,
m
Cannon
'I
4 for
f
points of
I
:S3t
ring
i
Glee,
^
fe=T-^
(|
f
Heart,
dont so soon de_ part.
prithee
^M^fe^ ZjCi^^y. ^ f'y.
*
the
i
Ji.U^
o
^
Tea,
ring for
high, and let the
^^
not
will
P
we
til
cant di-vide
&'ir
ces,raisethem
,
sence
ab-i
i
can_not, fashion
you,Lets sing a cheerful
leave
I
Glee,
nr'^^rj
fashion
For
m
i we
1
P
Then tune your Voi
2,LadjHf
jf
donf
^^ 8iiir
^^
f
^^
cheer_ml
Our absence will not
pri_thee dont so soonde_part.
qS^3
I,Ladyl
pritbee
a
D^rg
ring for Tea,
^^
l#
i
O
Our
sing
But v^ithout love
f
tals
.
mo
nior-ta Is could not
j
n-
without
live.
j
love ^\c could not
In-e
,
^
—
—
—
lO
tIu Muster of the (universally acknowledged) greatest living Theorist called t.ii.s Ccmpo^it ion;; Canon, Although its base only answers (regularly) the Ivo Subjects comprized in the first 12 bars.
Lest scandals voice should join
Ve
thee,foIlow fol
follow
^
our
quire,
low
thee,
^^J'^l
^
So foUoM'
the
points of
J
^
trcasures,are
=^
A
e_ na-melld i
rl
the smooth
o'er
Oer
-+-
P^
no
^
where
Green,
e^na-i - mell'l
X-lTT^ ZZn
!
1
r—> xt
print of
»
I
has
step
step hath
been , _
^
I
been. Xr:
mo.
fol_low
m^pg.^^^^^
.,
i
^?
n!ie»
ir^:fc=r£
where no
,
^-*
no
^
htth been, foI_ low
step
of
print
33=
inthe4.abo\"e|
our Hearts di_vi<)<
^m
3=
J
e_na« meiid Green _ ^
the smootn
thee.
11
l--^a-
Where
^
¥=P
fol_loM
m
-
iLi=^
4^?-^
S^^belowl^
"t
!
£ Green,
G;ini<\
of mortals trea _ sures,are friend ndship,lovc,and Mine.
best
i
Oer the smooth in the
-we
Syncopated Canon for three Voices.
-Q-^
be your
vijl
cannot
fashion
as
i
The
wine,
still
^31st±:
?=?:
and
friendship, love,
I
Canon fly
Wie follow follow thee, our failhful Guide,
e^
^^^ foLlow m",
-f^-
Fol- -ilow fol- -low me Follow fol- -low me Follow fol- -lo^wme as
^
M- z=0
»
me
Fol - lo^w fol - low^ the6^^belo^J
^"
'•'
m
']
A unisono
m-»
M^
hr .
me follow
il^lJ J
fol- -Io-h'
me
as
^F^
:=^--f:
7*
short
»
1—•
i
1
r
i'
me foUow
^^
sing as
—
I
-
m
—
I
[
I
1
J
I
-
I
-^
-low me
p follow me
foUowfollowme as
I
I
which maybe sung* by four Ladiev.
Canon for four Voices"
fol
1f
i
J^tfrF^ I
8^.a alta
Fol- -low fol- -low
all
'
•' ri follow fol- -low
sing-
I
—
I
1
1
J
I
—J I
»
1
^
1
m
m
f-
m— ^—_^#tf
come J^-
K.B.
when
let
us u-nitc,in strains of de-light,Your Voices raise high, "While
the leading Voice arrives at the first the second and the fourth the third at the
Echoes reply.
mark ^ the second commences the third follows spme distance .
sing
sinj>
7<;
THE HARMONICAL
,
SYNOPSIS.
uimsiuuf Title for tlu- duision ol u niusi(al W'Qrk,nm(|) wll ho e.xpcctodto ^olIo^^ i
I.>
wii;
;n»
I
/iirrnftr yM*'
Major 6 i
.
minor
e^b**«£-
perfect 4
.
,
&
maj^r
_A
——————
perfect 4^*1*
J
a^J'
''% *5fe J 7pr«?r:-^rpni">>".-'^'^.yjj^. 1^1. *Y^. ^*Mt.t,'.i.H' 3*1* Verlect 5'l*^minor 6^}}^& minor
h -
Major Sevenths -^ - witli major 3. & perfect 5 -.. ..,..
;^
%p
\
|
...„... T At !?tert
;
TRs' tlis" >ds. Major 2*1'' perfect 4 , & major € .
^^^^^^^^^^^^^^^^^^^ •^Minor
b
3*1^ perfect 4^';^«fc
^
minor
e'['^
^S
3
"^
r or feet s\^^ major b*!--&
^
^
Mir.or Sevenths -with
-c
f
/
Major 2
major
M^^^
extreme sharp 4
.'
¥S?
^^
h-nh^. rrnTP^H^^'''^ &
.
P
U
minor 3\^& perfect 5
^
r-^
^
3*1^
i
^'
i
b-
'^
^' '''"
t-,.^
'H ji'T^M^T^I Si i
major 6
-^
^.;)f^t<;, l^lrT-^T'd^T'l
^ii%fe.:.fcM'LMtN'Wf.H.!-^';-»:-^!
\Ujor 6*i'%erfect 4^1'^& minor 3^^
14. i*^
-
.
.
Imperfect
.ths 5^.^"
^ths„
.
minor 6
•
-^
„,is
.
«&
piinor 3
T
|,^„,.
.2
I
^
Miiior
S(
venths vith major
f^yi..\or 2'l^periecl
J,*'/.-!'
3'.''
minor
&
•7
^, S^l'^
major
e^I^^A-
perfects,
minor
miiujr
3.
iF^%
,|,^;-^W4;'|.^V ' 1
,
[,
,
tt^ *
1?
-
*
—
#4.-»''-S-
^^ fe ^^^^^^^^^^^^
^^44%
3*1^
-
I^^Minor Scienths vith
,
/
lllj .2
"^
f?'!^^
,-i 4y Hcrfcct
r
ff-^
.
«fe
imperfect 5
^
|--^t;lJi;fe!^
|l-^^lTj.
." ,
u
i
\\y
i#
Ll>«--»#ii-^
l'^-^
,
_
>
_
4
—
.
—
Kvamiucrs oj these Tables, vtho vritc,and pla\ Chords, m ith embarrassing doubf,-u]l] pon.ieve thai lh( y nia) reierence to the!ii,ac(^U!rc coniident facility. Le't them try to express, vt ithout tJj assistance of" tliese Gui(h>s, chord of tJic diminis'i'd Seventh, by >Iotes,vith double Flats, and it mHI be an uncommon ac complishment,if' tJicse Tile
a
)
'lie
Kefereesdonotoccasion correction. ,/Extreme sJiarp
extreme sharp 4
2*^^/
&
,
6*.
major
77
Imperfect s"!" sharp s".'*& minor
"^
s'l",
, i
7/
—
•
I?
—
'
*
^Dimimsh'd irt
--r'
,ds
Minor i?
.
if
f.*
T
ft
—^
*
^,
;
extrpme
ths„
,
*=
—
aV perfect
4.^1^^^
minor
'
;
*^ Major
I
1
-vl^,
.
^ths^inor
.«
,
I..
8
„„.
III
i
lUfil
-i'U''^!
"Minor 2'l^pel-fect
4^'.''^
,
, ,
,
i
r-^4=
—
.
L_ —
-«
a
kJ. k'
"11
^'
r*-
•#
•
#
i
^
k
- A A
».".
III
1,8
I
.
"*
""
i-n a'l^
\
flat
*
Hi*
4 *.
u •
harshness
.
i.i
u
ni
b^I
^
'^
-g.
.
Pi^ •
-1°
'Vfc
^-H-! /.
•
»i
-ay
fins »,^«n^ 6^ & minor -e.
.1 5*1?^
minor e**^
Major sevenths major 3
d;
major ^3*1^
.
& extreme
i j^ifpriTTH^^Tn^: Extreme sharp
6'^!^^
perfect 5^^®
I-
<&
Extreme sh^rp
liiit
lias,
L
^
sharp 5
/.'
f
,;
major
x^iA--
v^J.
^ .
r^'
/>
? ,
m
A^f.^;# TJ^&j ^ -1-^ ^
;^i!,^,
L
^W'J^^t^ l
ii"i*
3^.^
mv,
inii-uiL
>
m-
J
; 1
!i-^ littler.
V w\y juiu » li.i^.i.Jl'lJi a-J f »*
-i
* i
V" *' ^
.•'-'''^
*^
-
5
1, I
« m p M^^*"-*
-» t-
iJUJl
I
'^
vc
1
prc\^
=T?=f=§=
^--li:
—
i.
^
ai »k[ r; y- H N;j|A'-^j"^iH^''tUii'"-j^
4
^_^ Perfect
i
L^bjL
& sharp 6^^
i*>
Minor S'J^extreme .2
^^i
fe± a
I
#
g^
».
,
-
U
r^-^^'-*
1^ k»
ikl,^
L U
5^r
k.
-
7
r.
s'.^
S<1=^& perfect
LL ,, Uf,
^— — Ub—
TiioscMfio arepleased Miih the three following Inversions,arepattial to
,
J*^ .wl^.„^„.«cthS_^;_^tJlS^.„..,_^dSExtremesharp5". major 6"'. & major 3V
5
I—
Lulj*
i^
,
'
iiis
^
4 . &mijior6 T^iifrr u\}K ^irxdl
,
,
^
'
tiis""""
flat
iN^T
^
p
3^.^ imperfects. -=>•,. & impertect V minor 3 . dr
J'^i'^ /
,11*
Major
U
6^.
extreme sharp 4
.
&
major 3.
they are the for.vaations of the above Inversions, distinguishd by the appellation of Italian sixths', AJtho the4. been ^rr'iicr-j.My omitted, in the Models of clogan; ^.companinient . ,
—
f
Chords by Supp«>sitiuii,or Suspensions, Sub,stitiition,s,Appog-giatura.s,&c.&c.
78
r all the tVi'il'l'Vvni modes of-figuring these chordsrand all their titles had Idocti enumerated here. It -would have bion impossible to have included their notation in the same pages'.Therefore the sxifficiently intelligent diminution of embarrassing s Y S'ONYMA, has been preferred to the needless encrease of technical terms N.B.tbe four^Ipper Parts of all the following chords, viii. those on the treble staves, are in the two proceeding pages , and are there called sevenths, but here they are changed into 9".^^ U*. &13^ from the addition of basses successively placed / at the .distance of a 3V ^a 5*." 6c a fV^ belov the fundamentals of the said sevenths . I
.
,
A
Minor 11^!?^ minoi
9^!^^
minor ^.
M
o go > ^HMaiorlS^!'^ perfect
1]^!^*
major 9*^^&• major
5
*
"
"
oo
go
y'*^?* to
2^ bais'. _ the~ ^'^
u^\^ "^
,
'^
H
*^—-^ O
tf^a. "re#-e-
ff*^
the 3^ bnsi.
!I
^I
tHs
major 3 f counted up-wards from the
S'V^f,-
^
'
k^ f?^
b^ g^ ;>^
(>Sf,^
ijr^
i^
t>ri P.Q,
i^O.
first staffs of
I?-©-
'^
ke^
kci.
—
tt.Cl »-^
L
, ,
rtHs iths minor ^^"^ perfect Minor 9^^
^
S*|.* to the
^^1
u
b^s notes.LL^
^
L_
to.
t>^
a
*a^^ ^^
fao
^^ t^ ^^ ^^
^l^^^J^
te ?^^
^
r
,^ & extrem«^ sharp 5 Perfect ll^P^major 9^^^major ^ '''
-^ lJ:
l>fi
r^
i
^n~qn=:^|;^
'7,0 .
|.
bbo"lo"t'o1w ^o
ho
;
Minor ^1
perfect 11^"^ major 9^P^
13^.
^>j
bo go
g^
i>^;i
&
major ^
ko
jr. B'';^ [
#0
ijO
'
t|0
^'-^
imperfect o minor s 5^1'^dr 9*^diminishd aimimsnc; ^*^^ s'^^ / , imperieci * nnnor , Minor )T 9 . .
»
I :i:
ttfJ
^Q
^^
?Q
tjO
o
^^;:^inor9^^^inin or?\^%erfect 5U'^&
^^
^f=^==ks^^l^^
l}
r'erfeft ]]^l'^rnajor
_ Major
9*.^^
major
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An acut^ observer Aviilpercieve,that transpositiouisofthesersevenths,: with >>asses placed age; But v/hoever looks (in this "Wrorx^for the under them^ave produced all the 9V?^11*P&13".^^ in this and the preceedin jgtns -^,,11 Qtl.is^ittis^ jgTiis uffmented to chords of g^lisn^V^^ ^jjl search in vain; As their inharrnonious jargon is .so other species of sevenths augmented disgusting,that I could not he an advocate for their hoing associatod,even -with ti.e ahove harsh assemhlage . of the three Chords, called the ninth,the elevsnth,the thirteenth; The parts -uhir h lie above the hass, instead of Being placed in the order of 3. as above, may be arranged several -w"ays,or some of them may be left out ; Here it becomes necessary for the Reader to bear in mindjthat each different arrangement,of the upper, parts of a chord, is called Position ; The placing one of the harmonies in tlie bass (instead of the fundamental) is called Inversion, and the l-^aving out some of the sounds is called omissix)ix,or
retrenchment
8
These are different Positions of N? 6 .
and the figures denote Tvhcre the preceding num«
^6
-3^
-ber'd Chords occur. _
—
-
, ^, .t n » consideration, are the most frequently used T*nth sustamd bass The three Discords under notes/ w-hich causes regretthatPerformersuponthe Piano rorte;Harp,or Harps ichor d,are obliged ,
S '
.
.
,
.
..
zir to hear tiicir lessend effect,from repetition,or reiteration* In the city of TtrrinlMasniuch dpligHfcd,\Mlh a stringed Instrument, which sustainVf chords -with vast power,and magical lntonation,Mhile its keys M^ere pressed down -with firmness", I hT ^ lighter touch expresseda 'Dulcet Piano,-w'hith the Performers skill, gradually encreased to an Orchestral Fortissimo. ;b|i 4 An Advertisement farther on'particular^'describes the quality of that Instrument, the. Iri^'cntoj of -which, (luckily for me) was an excellent Harmonist; But bigoted to that Schoolin which he was taught to consider Rameau and Marpuijg's chords by Supposition,mcreJy -^PPoggiaturas : To exemplify his Doctrine^(in the most simple manner) He played Common chords, Minor SeventJis,»nd their Inversions,with his. left Hand,and. added 9^'}^ IJ^.*: 13 .^'^ with, his right Hand . ,, •
A
—
rur.s
Rig'it h;ind
80 Extracts accompanied with Apposite Remarks,Qiiestioiis,Aiiswers,& Anecdotes of several of those ilhistrious musicians who,hy a residence amongst us, have materially contributed to the improvement of our national taste, From the middle, to the end, of the last Century, the Overtures to Operas were ren _ Idered so insipid by monotonous basses a paucity of modulations,that soon after the .
&
of a great Symphonist in London,He made the subjoined Remark, for which I am indebted to a much esteemed friend whose memo ry&mimickryenabledhimtowrite it with that deviation from grammatical Orthography which may convey to the reader the Composers idiomatic way of speaking. *'l coud play de pase to an Italian Oferture widout my left hand dere is no ting but A. DA. DA. soamtimes and for a Vonder C^'
^arrival
;
—
D—
N.B. The
*-^
Extract
first
is
G
the only figured Section in the original Manuscript
Corno
T'
The Sections Numbered
&
2 3 are for B Clarinets, Talias, (Instruments not much knowa in England)
&Eflat Horns; had they
^
tt 3
(i ,
i
q L
^b
l
?
been composed forViolins,p^ Violoncelios,Harps,or
j /,^.
l,
j J
Piano Fortes,their notation!^^^^
g^fe -J-j-| "^ ^''-q
^
if
any
L
f
f
i
I
It is
i« an honour to the musical ^i-ofession, Having obierved, in ray hearing, that he is fhoso rtquislff Adagio* vhich hp lo expressively sings upon his Instrument, It would have proclaimed an illiberal ttiore of his InstnicU^i models ha4 been exhihited in thit work.
'* Thi» adiTiirable >!»»(./» di»tin(*rjnjt for publifafioii
Act
f T p _
F
^
well remembered that the Compo 3s: the above Extracts excelled all .ser of j-7^f &c his Contemporaries in writing&playing such movements as the following Sz. on beingpraised for his execution of a I I his ^4-J -e^ v rapid passage he repeatedwhathe often fendeavoured to fix fixon on the mind of his _^J w 'fe^^^^^^om'^d "^ "It is more difficult to play s ^ J \\ Pupils notes den 200":)|e .[
.
Tiii6 Cuden7uwu4' frequently perfornifccl intlit Hanover Siqnare Concefixoomsb/ tin tngliih singer who is still in posiessJon of pathos, yrace, a prodigious compass of voice, a perfect Shake und ufreut knowledge of music. Her execution of the rapid divisions was co true and distinct, that not-w^ithstanding the instrumental performer* vied
Ol
with eachother in everv species of excfcllence
Allegro
-
£s
TTTf
irr
vioUno
P-i<*
violoncello
w^n^^
clarinctto.-
f^^
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Jsct
£E±
In the echoing passactes
Voce
^^^^S^^#t^ta£i
*
Allegro rorno
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IP
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s ^m
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xt ±=3P
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sustain'd,
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chro^uiic Descent
32:
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/r
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Lento
rttT
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r-^
Esprcssivo jl
•W»»in,^^
,„,{ ,1,^
Thi/intonafionofthe voice -was conspicuous ly attractiv
d„ic.t b.,le.din| to (he
V
I
o
On.! sh.ke
^
82
CADENZA.
Andante oboe
U ^^\
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But
•
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that these difficulties are
i
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ive practi^e^to rencler_their intonation perfect
Tlietriplets in tKe Violin part will requ
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and articul^ie -^ ^ ^flj^^p
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not impossibilities the great original performer of them eminently proved
..
Compositions de hghtei^ both the qc. At the captivatine concerts of the late Messrs Bach and Ahel, many memories, and they vill be pleased to hear that the Jo 1- ««-' Auditors and Performers Avhich live in their " " " original M.S. for irreparanlc voulductneloss oi such aGen iowinc effective Crescendo was engraved from the origii
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The following is universally admitted to he the most effective instrumental CRK SC END _ O that ever n-as perform'd " in a grand Orchestra: "Still rising in a climax till the last. Surpassing surpast." rpa ssing all, is not to be surp--"
Basil
^
^
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m^^^^s^i
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^•"^^VATAnt 'j^'j^ 'j^'j'
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fr
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The chojcfi.of noteg.Tor the shakes proves the Composers extensive knowledge of Instr uments; for the open string " ot the Violins 8;reatly assist the Intonation and excite strong vibrations
.
85
The
full
score of the last section occupies so
tion obliged
me
make my
to
many folio pages,
that limita-
extract out of a judicious reduction of
it.
So small a part of so large a whole will but convey a faint idea of the taste, spirit,
and
out confusion.
brilliant effects
was written
It
of a composition so
full
of contrast, with-
where orchestras are numerously
in Paris,
supplied with excellent performers on every instrument
j
yet the variety of
subjects, episodes, playful imitations, passages of emphasis, crescendos
diminuendos
in
and
the overture to Anacreon*, were never so finely expressed
by the band of the Phil- Harmonic Society, in London. This bold asserwas an admitted truth by a discriminating amateur, after he had been delighted with performances of it in both cities ; and he further acknowas
tion'
ledged, that this union of foreign with native talent has formed an assembly
not to be met with in any other part of the world.
Among
the performers, associates, members, directors, leaders, and con-
ductors, are
many
distinguished vocal, as well as instrumental composers,
whose productions
are continually charming the ears of the softer sex,
while their sublime oratorios, operas, glees, duets, and songs, ingenious concertos, preludes, studios
finger
A
and harmony
and
scale exercises, are
adding brilliancy to the
to the mind.
lady, xchofrom the contraction
of had habits had despaired of ever express-
ing the most simple movements with facility, formed the laudable resolution of de'voting a
few months
excellence,
and noxv
diligent practice to the three last unerring conductors to
*'
She guides the finger
<'
Gives
difficulty all
" And pours a <'
It
is
o'er the dancing keys,
the grace of ease,
torrent of sweet notes around
Fast as the thirsting ear can drink the sound."
to be regretted that the concert season, in
fore the arrival of
its illustrious visitors
;
but
I
London, terminated be»
have been given to under,
stand that the well-disciplined opera band, and the perfection of our
and admiration, and they will have to report that the performances of sacred music in England are un. rivalled. Yet we must hold in remembrance that the grandest part of it theatrical orchestras, claimed their attention
was furnished by a matchless foreigner, * Notwithstanding the excellence of
this overture,
'
many
superior compositions of the
same
author, and of the greatest authors that ever wrote symphonies, quintettes, quartettes, and trios,
have been performed
in the course of the society's sixteen concerts, including those
by the members and associates authorise
me
to publish
;
produced
but the law that protects the composer's property does not
any part of them.
86 having become
It
ments to
assist
those
my
my
duty to lay before
who
readers a variety of docu-
deliberate before they prefer, I have subjoined
the most important parts of letters which were unexpectedly addressed to
me by two
doctors in music, whose productions have
much
instructed and
delighted the musical world.
" Dear sir; " I perceive by your advertisement, that you intend
summer renew which
to dedicate the
to the completion of your supplementary work.
Permit
me
to
my former offer of assistance by any works, extracts or anecdotes my library may fortunately contain, upon such subjects as you may
have occasion to discuss. *'
You
perhaps
know how
false notes of the trumpet
supported by
decidedly
scale.,
my
know
feel
that
them flat
is
all
***, about the derivation of the dominant discord from the
we do not
differ in this point,
It
would give me great pleasure
and that you not only think and
you therefore do not admit them to of harmony or melody; indeed, your judicious omission
to be out of tune, but that
exist in the scales
of the
fixed against
the *** particularly the delusive theories of
inconcinnous seventh of the monochord. to
opinion
sevenths in
the horn scales induces
all
me
to believe (what I
wish) that you equally reject that note with the fourth and sixth.
the dispute between *** and ***, thirteenth very useless; and
it is
I confess I think the
As
for
terms eleventh and
worthy of remark, that while the
theorists
are disputing about words, you, as a practical writer, clearly shew that
Rameau, Marpurg, &c. have given There are some instances (Padre Martini Saggio di Contrappunto I. 142) where the suspended yowr/A may have a third with it, as in the adjoined example from Costanza Porta. But this is very different from the construction of chords by thirds, till the whole scale of music is exhausted, a principle in which neither of those chords are ever used as
them.
further than the ninth (and that only on the I
have not seen any reason to believe.
May I
dominant)
not venture to
assert that the eleventh, except as a suspension of the ^, has
or that (in other words)
combined
it
in six real parts,
which the followers of Rameau
very judiciously given the thirteenth as
which, when reduced to
harmony with a
|-
no existence,
cannot be found as an integral part of harmony,
its
foundation,
it
is
really exists,
assert.
You have
under the form
-^,
nothing more than the dominant
taken upon a pedal key note, in which combination I
;
87
.
suspect the third would be ratlier an unwelcome
visitor,
I
.
.
have not yet seen
any convincing reason to prove that the eleventh and thirteenth are necessary in any system, and therefore, with ***, I at present reject them, but not wholly on the same ground, as you will hereafter perceive. " Pepusch's treatise contains the substance of these doctrines, and that book every Englishman ought to consider as his manual. The following extracts are from the celebrated Gradus ad Parnassum, p. 131. quoted by P, Martini above.
"
I remain,
" Dear Sir, " Yours sincerely."
^^isE^^^m ^m^^^^^^^g^^
" If these are not
"
fair suspensions, I
am much
mistaken.
My dear Mr. S.
" Your ready, cordial,"and intelligent reply to my bit of a note has com» forted my old bo7ies, and again interested me in zeal for the perfection and honour of our art. T had so totally given up the world and its vanities, that I perused no books of science or difficult comprehension, confining my reading to works of amusement, in order to keep off the foul fiend, reflection on self, infirmities and complaint incident to my time of life so that if my sufferings are not excruciating, I forget them, and like a true good hoy, mind my hook, " And are you going to our dear worthy friend, *********? j hope j
lie
need not now be told that I have long not only admired
abilities
on
his instrument,
but loved him as a
man of
his
wonderful
the most ready wit
and friendly disposition I have ever known, and all en badinant, as thoff he were hoaxing a body. The last time I heard him on the violoncello, just before I totally immured myself, I perceived he had changed his style, and played the slow movements with a feeling and expression that melted with delight every hearer of sensibility.
"I
morning had your " Introduction to Harmony," looked out to take a peep at it in bed, for it is so long since I have opened a musical this
worlf oi study ; bat having peeped, I will
now venture
tp aver, I never did
88
open a book of the kind so replete with practical, useful, and elegant examples of composition, in the best taste and style of the present times, not confined to one species of instrument or voice, but to
all
that are in ge-
And so God bless you, my dear Mr. S., and that I am yours, with sincere regard and affec-
neral use throughout Europe. incline your heart to believe tion.
" P.S. After reading your prospectus, a certain vecchiaccio dotterato della musica offers this advice Feed not the hungry appetite of envy ,
:
with omissions, but there sale
A
is
a biped
own
of his
let
(man
—
your improvements consist entirely of additions; for I
cannot
call
him),
who endeavours
promise was given (in a crowded page) of a further description of an
effective instrument,
which cannot be more
fully detailed
ventor's advertisement. —" E gia molto tempo,
nazioni d'Europa
voce,
ma
si
sino ad ora
il
than by the in-
che da tutte
le
piu colte
e tentato di costrurre un Cembalo, che sostenesse la
non
signor Maestro di Capella
uno,
to increase the
productions, by depreciating those of his contemporaries.'"
si
sa,
che
sia stato
Anselmo Montu
meritevolmente eseguito.
e giunto ad inventarne, e
II
fame
quale sostiene, cresce, e diminuisce la voce, secondoche esigono gli
accidenti della musica per esprimere le varie Idee, e gli
Cembalo e composto di bassi, che ne formano tutta
tal
sivo, ossia
violino,
il
il
afFetti dell'
animo, e
sedici istromenti, cio e undici violini, e cinque
I'estensione: egli lo
violino armonico, per che
si
suona
chiama
il
Cembalo
coll* arco, e la
espres-
sua voce e di
quale forma una nuova, grata, sonora e dilettevole armonia."
8!)
The obliging Maestro amused me chiefly with his extemporising faculty. But a lesson being placed upon his music-desk, which I had often listened -to with rapturous astonishment; (having heard it repeatedly expressed by the brilliant finger of its composer, who is univeisally allowed to have formed that school which exalted the style of piano forte music in our country), I entreated him, and successfully, to convince me that the lights and shades in that composition might be harmonized upon his cembalo, which he executed most effectually ; for the buono mono and dolce maniera were conspicuous in their proper places on which account I have often regretted that a similar instrument, for which I bargained with its ingenious inventor, never reached England, where it would have been improved by an artist who was then an honour to human nature, and whose death taught many as well as myself to feel the loss of a liberal " He was one of the noblest works of God, he was an honest man." friend It would have been an unpardonable omission not to have mentioned the Maestro Anselmo Montu's effective method of accompanying a young female Sardian while she was singing sweetly a national ballad. It was not with that too fashionable arpeggio, but with a dispersed melody different from the voice part, yet supporting without stunning it. Here I cannot avoid expressing a hope that some of our best composers may adopt the same mode occasionally, for that I am not singular in my preference will be made evident by a quotation from an author, who will have every claim to natural " It may be originality, if we may except the copying his master, who was his father. confessed that an accompaniment altogether independent of the voice will, to the singer (who is also to accompany) require some previous practice but let him hope that while the elaborate and almost insurmountable difficulties of modern piano forte music is vanquished by perseverance, that the forcible and more natural claims of vocal skill will not be overlooked. It is only from repetition that novelty, generally speaking, however excellent it may be, will find its way to the understanding or the heart." ;
!
—
;
Retraction, directed by conviction, is a necessary exposition; I therefore acknowledge that I erred greatly when I supposed that this work might comprise the beauties of our resident composers; for having filled many sheets with them, the revisal convinced me that their republication might be followed by prosecutions or injuries ; in consequence of which I have only retainffl thn«e which were extracted from original MSS., expired
copyrights, and foreign productions.
lam Ukewise apprehensive that I may appear, in some of my accommodating pages,^ to be an advocate for the aboHtion of the tenor cliff; I will therefore make the amende honorable, by the insertion of a paragraph written by an organist, whose compositions and performances cannot be imitated but by superior excellence. " It was suggested that it would be better to publish all the vocal parts (except the bass) in the treble clef; but as I consider this practice as an innovation, Iwas unwilling to afford an additional example of an erroneous custom that has already become but too preThe treble clef, when applied to the counter tenor and tenor parts, does not indicate the real or true notes that are required to be sung, the C clef does, and I trust
valent.
therefore that no apology is necessary on my part, for preferring truth to falsehood, or that which is proper to that which is improper." Should the above judicious remarks induce a few patient English ladies to include a universal knowledge of cliffs in the 'adopted foreign fashions, the laudable example
might benefit many followers. I have appropriated a large portion of this work to vocal harmony, because the best This opinion I will back with a paspart of it may be old, but never can be obsolete. sage in an Historical Enquiry, respecting the performance on the harp in the Highlands of Scotland, drawn up by an author, whose variovis productions have proclaimed his useful erudition and didactic powers, and who never lessened their consequence by quoting falsehood. *' It was on a lute of the smaller size that Queen Mary used, for the most part, to accompany her songs. The accomplished ladies, and even gentlemen of that period, could sing a part of madrigals, and other vocal compositions of four parts, at sight ; and many of the excellent vocal compositions in three and four parts, of that period, are
90 sung with pleasure in England, and are among the most difficult and intricate musung at this day. Queen Mary's private concert consisted chiefly of music of this kind. *' Queen Mary had three valets, who sung three parts, and she Avanted a person to sing a bass or fourth part. David Rizzio, who had come to France with the ambassador of Savoy, was recommended as one fit to make the fourth in concert, and thus he was drawn in to sing sometimes with the rest ; and afterwards, wlien her French secretary retired himself to France, this David obtained the said office." The harmony of a well arranged score is the picture which charms the mind of a well educated musician, who appreciates and feels all its beauties during his silent admiration But the ear must have been previously formed to the true intonation, and the eye to the accurate perception of harmonious combinations. When practical musicians are capable of reasoning in a philosophical manner, their science greatly adds to the respectability of the art I therefore felt an elevation of my profession while I was transcribing part of an excellent commentary for this article, because it is the production of a learned graduate in music, still
sic of that description, that is
!
;
As the colours of the painter would not present any picture to the eye, unless artupon his canvass, so the light reflected by the picture, if not refracted by the visual humours, would be unintelligible to the mind in like manner as the sounds of a musician would be without meaning to the ear, unless they were reduced to modulated harmonies, so would the harmonies be unfelt by the mind, if not modified by the mazy channels of the ear. And again, both the picture'and the music would be unimpressive to the senses, if the senses were not in communication with the mind. Sensations then are composed of sensuality and intellectuality. And iis without mind the eye and ear would never have heard and seen, so without the ear and eye the mind would never have had the ideas of light and sound." If this book should exceed expectation, and prove the best of its kind, I hope it will not continue to. merit that distinction long; for although the necessary endowments to form so great and good a musical historian as the one we have recently lost may never again adorn an individual, we have still among the living professors excellent lecturers, classical translators, profound theorists, and Hidar.tin authors, whose pens will (I hope) be constantly employed to facilitate and extend the harmonic art. I casually met a composer of celebrity, immediately after he had been examining the score of a sacred composition, the performance of which he assured me must delight and astonish the musical world. Another professor, whose glees and songs are univer*'
fully disposed
;
admired, delivered his opinion (of the composition alluded to) in the following '* It is most exquisite pantomime music, but not the least like an oratorio." I have been fortunate, for I can bear witness of its first representation; and whatever may be its disputed pretensions to title or merit, the conductor, singers, and accompaniers, were highly entitled to unqualified praise for affording such a delicious treat to their auditors, whose applause was hearty and unequivocal. During its attractive repetitions, many enthusiastic admirers of descriptive originality raised its chorusses above the sacred productions of the last century ; while as many firm adherents to ancient sublimity levelled them with the secular finales of Italian sally
words
:
operas.
" Vain
his attempts, v/ho strives to please
them
all."
must therefore not be dismayed if I shouldhearas many critics acknowledging but should they censure I have done my best, v/ithout approving of m}'^ labours candidly and judiciously, the continuation of this work may become more perfect than the present part of it; for while gracious Providence grants me powers, and the public at large encourage my exertions, 1 will not shrink frona the performance of my duty, I that
:
FINIS. .
Davisou, Lou)barcl-^t^«>ct, Whitefriarg, Loadon.
