1000000031

bar!, be they more or

lers.

as ir {h,,1I happen ; c:very

tone being Ham ped with (ome prevailing idea or fa ney

pecu liar

¡t(elf. and there(ort'

difl ingudllioe

(rom e–

v.ery uther.

T he

fuhj~él,

of crand pi«esof inOrun"ntal muf. ek are

csontrived wlth c:ue ttnd Uudy; and invcolt:d with defign

en!;ug( or dcfcílnt

upon

\ViII ;

nat

being confi ned

~ny

len&l h. or

cen ain

nunlher of h;¡;rs. Such pieces. be–

ing Ihe droru of great

and

m"fierl y

genius , afford

<tll the

plcarUTe Ih at

ddign and

¡O\"enlioo,

carri :d

cvery

ma–

Qal y

Uroke of .n. e. n give.

The teeond rule of melody is imitation. As in the

e:Kccuting

mhcr

arts, a

fimilitucie and

prororlion of

the

members ought to be pre:ferved ; fa imitation, or a re·

petilion of

che mon

firiking

pa(f.lges. anfwers. lO

this

muf.ek.

Imit,uion may be

perrorme~

many ways .

Fidl ,

wh.cn

,he repetition

rhe p;¡lTagc is made, beginniog

the

DOte above the Jeading note of the pacrolge ; or

the

tbird , fi(th, eighth, or any other in{er'al.

11.

paff. g< alfo may be imita,ed in any of the d<fcending

Dotes.

repetition on the otlal'e bdow

Ís

(requenr ie e–

nry good .uthor.

In che repeution of p;¡lTagcs, there are two varieties .

The

6dl

is,

when the

p;lff~ge

repeated in notes be–

lon~ing

thé barmony of the k<y .

\ViII fel.dom hap.

peD

tmis care, that the palfage

wiJl

in tbe rcpetÍ tion be

precifcly the fame, in rcfpetl of {he intervals of the nOte9,

ebough {he movemeot be

exaél imitation.

The

rearon

of this ",ill be evident,

we conGder that

tbe interva" in bo,h A., and lharp keys refpeaively a·

feeod by diffaent degrees ; ,be f<mitone changing tbe iD–

t<nals almo¡! eootinually.

Se< example, No.

12 .

in tbe theory.

thefe: examples no more than two flat or lharp thirds

fueeeod eaeh other. And where ,hey do fueceed, the

{emitone i. in a differenl place in the two like intervals

cf fiar tbirds;

being the third of one interval, and 2d

of the next afcending

3d,

or the contrary.

In the lhorp key, t\Vo lharp 3ds afcend from the 4th

aad 5th. and in the Aat key from the 6th and 7th. The

inequality of the Rat 3ds, and of the few inllances of

their fuceelJioo, is owiog tO the places of the femitone.

To tbe

inequar.ty

ofthe 3d. is OWiDg the inequality of

•he 4ths. 5,hs. and every other unequ;¡1interval in lhe

courfe of tbe notes

the greater nt:ceJrarily p;trtaking

of the inequality of ,he le/fer, whieh is included in it.

AII

thi~

is niden,.

Therefore, the repetition

a patTage

will

not be pre·

cifdy as lhe patragc, exccpt

the places abovemeotion–

cd:

that

to (ay, a repetition of fha rp thirds (rom lhe

4th and 5th of ,he lharp key ;' aod of the fame, on the

6th and 7th of the ¡lo t key. A nd in the Ibarp key,

there may be ao imitatioo in lhe compafs of

fix

notes a·

f<:ending ; namely, from the key and its 5 th. W e have

beeo particular

remarking the want o( exaélnefs

i.mitation on notes belonging

the leey. N ot that we

mean

mark it as

defel't ; (or it

beyond doubt , that

ever, p. ffage in the harmony of the key mufl be ple"Gng,

wherher it be

perfel't imiulion or

001.

Bc:firlcs,

Ihis

diffimilitnde, arifing

(rom lhc place of

VOL.

111 . N°. 83.

the

fe~i tolle

bcing changcd, is (o far from

bei.ng

charge–

able wlIh a defeét, lhac,

h.llh

I.>con

o(len {ald, it pro"

duces

lh at

fweet variel

which

foundc:u

lhe principies,

and whieh cvery arl irt purfuing \"ill fu ceccd in; as in lhiJ

doth no other th an copy ;tlter n;¡tu re.

The(e remarks

0 0

lhe imltdtionof

palf.lge inrhe notCJ

of lhe harmony o(

che

ke.-y,

wdl

Jead us

the (econd

manner of imillttion;

\Vhich is

Cuch, ..: (hal every note

in the repelillon Holnds exatlly

the Carne inler•.

re·

fpeélivel y as the notes of the :'rO paffage.

Tllls then i5

<f.

perfeét ¡mitation. W hieh, as

canoot

take place in

the

hUOlon y o( (he key. except in the rew

caféS abovemendoned,

muCl be cffeéled by art; th;¡t

is.

by ahering the plaees or the femi lones in Ihe kéy,

as to correrpond ·with thoCe io the original palTage, by

marking a nu rp fo r the remitone a(cending, ir (he repe–

tition be in note.s above {he p;¡lTolge ; and

flat for the

Cemitone removed lower, ir (he repelilioo

io the de–

fcending

nor~8 .

this manner there can be a perfeél imitatioD of

any

paff. ge

01'

any leogth whatfoever. and of any eompafs:

io every infiolnce of which, the kcy is changed, by io·

troducing Dote. DOt belooging to the harmony of rhe

fame.

As eYery interval of the Grfl p, ffage mufl be preferved

in the rc::pethion :

it will

ComelÍmes

h~ppen,

thu man)' flats,

or fharps, muU be added to the ootes iD lhe repetilion. The

rule of this praaiee will be \Vell underflood, when we

(hall

holve learned the art of tranfpofitioo; the repeti–

tion oí any palTage io (his manner bei ng no Q[ her than

tranfpofilion of lhe

(ame

ioto another key . In regaru to

thi. perfeét imiutioo, \Ve have one remark : which is,

that

a repetillon be made on

{he

note oext above,

and

repeated again (he note flill higher, it will hal'e a goOO

effeét ; for (his wilJ create fuch a Dovehy in the

UratO as

is 'Turprifing, befides that it affords the aUlhor an op–

portnnity borh of makiog ftew dercant or enlargiog

rhe

fubjea in thi. new key, as well as of Ibewing the grcatell

n,ill by returning from that digreflion into the original

key with art and propriet,.

Thi. wdl be no dtfficult matter to oee who underflands

welJ the art of tranfpofition. N ow, the repetitioo of rhe

fubjea tranfpofed into a Itey dilTerent from ,he original

belongs to this fecond rule of melody ; as the repeating

,he fubj ea in its own key refpeéls the rule of unity.

The repetition of the fu hjeét .fter the(e tW9 maaners.

aod

throughout the feveral pans, a3 treble, bafs, tenor,

and fo on fueeeJJiyely apd eonOantly. eaeh pan taking

ímmediately, or

foonas the repetitioo i3 finilhcd

ill

another, \Yhereby the Ccyeral parts feem to

l'Dove

in pur–

fa it of e. eh other, i. ealled a fugue.

M ufo, k eompofed

0 0

this ddign is j unly eOeeOl<d a–

bove al! olher, not onl y on aceounl of

exeellent con–

trivanee, but fur the fake of the plcafure alfo whieh it

alfords .

In a j ufl fugue is rcprtfeoted .11 the variety poffible;

::u

the (olme time Ihat

uOlform progrelIion of the paru

i. preferved th roughout the whole, wi,hout ,he leafl dif–

covcry o( the figns of art.

T he reaCon (or this may be, tb'lt the repetition of

fCJ

intercllinc

p;llT~ge

as lhe fubjc:a ¡s,

¡,

fo naturoll to the

l\.

iotaginatioa