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M u s
;m; and ear, ~. nOl to be eafily c1iOing1ifhed as
,ho cff<~ of art. The eonfiruflion of • fugue will be
\lndertluod, fro01 this dcfcription, la be in the following
m anner.
The fubjcA boing firfi ...rimn in tha! whieb the
comparer ¡nrenus lO be the leading pan, the filme mull
be ret down :\gaw in the .1eXl part whc:rein the repc::tition
is ap?ointcd tO be made, t rther in unj(on, or on the 4th
or 5th tO lhe key or fllbj cd. lhe 1d, or any Other íoter·
yal; in which nU.Hcr the com parer is al bbc!flY .
Yct lhe rcpetition on the 4th f.cems more natural to the
Ilat kcy i :l.S, on lhe 5th, il is 10 the (harp key.
If the muliek b< in tWO parts only, the (ubjefl being
writtcn in cach part in fucceffion; lhe next {lep wiJl be
to frame dercant la lh ...1 part where lhe repetirían ¡s, and
which thcrcfore will be written in lhe lc:ading part.
Jlencerorward lhe pans rno\'e on at libenyt lhat is, no wherC"
repeating tho (ubjo[t, bUI exprelling all the variety in
~ercant ~ach to lhe ot h~r, which the rdncy, invention,
.nd Ikill of Ihe .u,hor ruggell, until Ihe (ubjcfl is . gain
repeatcd, either in the key, or Come int c:,rval of the har·
mony of tho key, or perhaps in a new key
The imit.tion of this mufl immediatLly follow in the
olher pan, in unifon , or otherwire.
lf the muliek be of threo or four parts, lel the fuhje~
oe Grn writtcn in evely pan, in fuccdJion; and in the
order you iotend . Then fill up with de(e. m the (eeond
bar, or more, of th! leading pan j that ¡s, as far as the
{ubje~ reaches in the other ; .r.d proeeod likewi(e
00 the:: neXl repeating pan with other new defcant; and
-/0 On through ev«y part, until all tho llaves are cqu.lly
full .
After ",hieh the parts mo_e al liberty, .s before in
a t\Yo-part fugue, until another repetition of the fubjeét.
But whele, or how frcquent, the repetition of lhe fub.
jea may be. made; or on what interval, whelher aboye
o, below; or by what (uecellion of the parts, (for they
need nOl prefen'e the order they began in;) is neither
,i,e butioe(s, nor iD tbo eomp.(s of tho rules of .rt to
p,e(eribe.
In thefe matur.: , Ihe compo(e, i, ., mueh at liberty
a' his ge.niu9 and in.ention can furoifh maner and variety_
:lo that in (ome plaees tho (ubjd! may be ropeatod eOn–
I1nnally, in the different pans, on intl!rvals and in a key
diffcreot from Ihe original key or older_
Somotin,. s, the movomen: of tho (ubjo'" being the
fJme, the nore! are changed from afcending to defcending,
or the cont ruy. Sometimes t ven the movement to the
(·onHary. At other times, a new fu~ jeét ii introduccd ;
. nd theo it i, callt d a doublo fugue. And Iallly, fur the
f",k.e of variety, thez fubjell is repeated backwarJII, or in·
'tt:rted j fo that lhe palts feem to pafs each other by con·
lr3ry motion, inHe. d of pu rruing.
10 a wOr'd, lIu:re is no pa(f"ge which exprell"cs variety,
'" hich may not be in lroduced in a jun ru~ue; whlle the
uniformiey ís prefervco in the: imiul ion of the f.tOle, anel
refuming the original fubjefl, . nu key, towards lh~ eon–
c1ufion or clore of the pioco.
'Ve /hall only add, that if tbe whieh fill, up
Ihe bars be coofLl.Otly Writlln in all che parts fucceffive.
lr aod io arder IIl! ou~hvut the whole r ieee, Ihe fugue
e K.
is, from th~ cx~tlners of [his repctiti"n, caBed a caDOI.
In fríll'l1 ing of which. obferve, that ir che canon con(jll
of (hree. or more parts ; wh·~o Ihe fhird pan takes up Ihe
fubjefl, the in ,he leadin~ muct be part of Ihe
harmcmy of the othcr l wo
\Vhat rem.líns lO be fpol:en Ir) on rbis Ce:coad rute o,
mclody. or 100lta\lOn, is the mt:lh oJ orreturning into toe
01 iginal kcy . aher a parr,lg~ in a rellHl\e one. This will
lead us tO eonfider the h. lf·tones no' helonging to the
harmony 0'- lhe key, or chrornatic hotes .
r or ir a , or repe.tition of a p:trrag~ , be in a new
kt'y. which is lhe Imitatíon \\le are now fpeaki ng ofJ (he
lelulning rhe kt::y immediately wilJ be bych rom:uic nOles;
dc{~cndi~g ir the: rt'pctilion Wt'Te aboye i and if rhe repe·
tirion W-tS in notes bclow the pa(f..tge, we ~y afccnd ín-
10 the koy by ehronwies likelVife, Or tOnes .(eeod–
ing .
This i, «idont.. For el'ery key, fl.t o, /hlrp, haviog
ilS LmitrJncs in their prorer places, a pa(fage is nOI in the
key. when Ihe fc::mitones are out of their plaees .
l "herefore lhe retllrning ¡"nro lhe key, from a paíT1ge
not in the h. rmony of the fame, mutl be by removing the
e!!w h61f.tones.
This on the knowledge of tranfpofition .
The new remilooes introduced in a pafTage, or imi :a·
tiOA of one J Wt have c;tll ed ch romatic notes; becaufe e·
very (emilano no< belongi ng tO the h" mooy of the key
are ce be found ooly in lhe chromatic fcale.
Yet this is bUI improperly'- For twO, three, or more
(emit ones (ueeeoeling eaeh b,hor are properly e.lled chro–
matic fiotes; which , 10 mufick wherein rhe:: frequent ufe
of thefe is made, gil es rhe name of chromatic mufick.
The \lfe of ChfOma¡ic notes is to raire tbe atteclion by
the uneommon aod ·unex pefled variety they produce.
For e~ery new half· tone afcending J being under(lood
by lhe ear as the gre.tter 7th, implies a new key" Three
or more Cemitones ",fcendi ng afler each other, do there·
fore raife ,he expetlJtion of fo Olany ncw keys : whereby
the Guriofit y is grcatly eXFiled ; and the expe8atioDof the
en be:ing gratlncd, in Ihe imitation of a clofe, by every
Qe::\V femitone , [he mufick becomes, as in 01.11 othe.r cares
whore novel,y .. kes . truly tbe objefl of .dmiratioo.
In a (eries of femitones afceoding, the lan i. in tho place
of the key. When ehromatie notes de(cend, the I.I! but
one is lhe key. for the (ame reaCon; namely, lhe ferni·
tone bclow founding as the: Rreater 7th, every k,y be·
ing a fcmitone to its greate.r 7:h or half· tone below re·
I..ivel y.
Ch romalic note, afcending, by alarming lhe car lod
¡rn. ginatioD, elevate the foul, therebv imititing the fub·
lim~.
Chromatic notes defccnding, exprefs lbe pathttic,
which is free from any ó\larm or terror. The performance
of {hefe notes Olould always be with [oftnc(s, which natu·
rall y re::RlOves lhe apprehenfion of terror. Afccnding aDd
J, .. fccndlOg fe mitones partakc of the nature of the Ihdr p
3nd fb l b::ys ; as hath been faid concerning th( powcr of
mufical fOll nds lO tO\lch lhe paOioos.
Chromalic nOtes may be introduced in many p);¡ces.
Ir, in a pa(fage, the fc mieones of the key occur amoDg
others, they a' e 10 be oceoun:cd ¡, eh,om¡li, . T bcro–
foro