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'O" ROl .nd fIlarp k, y' are c<¡uaUy e. pable of i",prove.
'nc:nt hy them.
No(wllhH~nc1ing c.hromatic nOtes create (o mueh v"ri~ty
Ind t le~::lnce , it mIJO: not be unde:dlood th:u they are la
be introduce:d illjlldiciouOy, or without any adun:f!'; (or
,hen th('y \Vould nOl ooly be ureJefs , but ¡njure lhe mu–
(ick. Chrom:u ic notes being fa aff:!éling and exprcfTin: ,
I S we have O\ewn , thdr place in vo":.l1 mu Gck wiJl cafil y
be dClermined by lhe Cc.ntimeut.
As , on lhe other h;lnd, to introduce livtl y Or pathetic
{ound' l where lhe (enCI! i, dllfunant fro01 eltber, is ¡ntro–
ducing conlradiaion and con(ufion.
Neuhcr is il natural in in Oru ment.a1mufick la break iD
llpon a livcly araio by flowly.movio2 chromatic nOles.
T houóh ae lhe cnd of él brirr< nlovcmcnt, lhe tr<tnfi ,ion is
&ood. For mu(jc which moves in femitoDes, though quick.
nule!! , muO f\rp.:ar (low tO the ear. which expcéls tha
I!rc~tcr int~n'als of the diatonic {cale, or whole tones.
Yet in~trumental muftck does propcrly admit the mix–
tu re of ch romatic notes, when they are accommoda~ed to
the genius ol" ,he Orain or (ubjetl. Neithcr wi1l it be
difli cu ll 10 j udge of lh is propnety. For muro,,1 Counos
h a\ll ng d nalural ten..-'ene)' tO cxprcfs our idea;, Ihe plolce
of ch romltic.s will r~addy!,c fauno by (his m,lrk ; it be–
ing in lhe powu of Ihe compufer tO nc id~a,s Wilh–
OlS t the help or intervention uf words, and lo Cublti tute
theCe ideas in Ihe pJace of \Yords, and make them Ihe
Cubjta of his Cl eoin. Thus he may fill bis ",ind wi ,h ,he
paffions of love, Corrow, ange r, dcjeétion , pity•
• nd the like ; the expreflions of which will be moll e,fily
diflingui(hed by mufoca l Couods, aod varied as lhe Cubjea
reCluires. Thus, ir t WO or more of the paffioDs, efptd–
• lIy cootrary one., be r<preCeoted by turos, il ",ill Corm
in the im.gination a kind of converratiODbetween perrons,
,.'hich neVt:r fai ls to llrike the autotion firoD2er, and make
1 dcep im prLffion 00 the heartr.
Befide, thi" the imagioation of lhe (ompoC., \ViII b,e
. Ilifl<d io ,he ioveotion of ..,¡!lY; ,nd ,he di1fe renl paC.
fdgt.S of the pi<ce \ViII be furnifhed \Vi ,h notes proper and
natural to (aeh i ror the fame reafon that choice and ex·
prelTi\'C' words Aow in upon a good writer who is m:aHer
of hi. Cubjea. "Ve (hall onl1 add, lhat if Cometirnes lhe
different p. rr.ges be allomd tO Ihe baCs , nd <r ebJe by
lu,ns, il will greatly divtr'fify the Cubjea , mark the
kn, imenl fl ronge r. and ,hereby e. ufe ncw pleafure . So
nluch for ch romatic ootu . Notwithnanding, what hat h
been Caid in ,hi. pl..ee doth not refpea chromal;CI ODJy ;
but in geoeroJ ,he whole proc<Cs uf ao e"borale piece,
in ev~ry rorm and lnnfition of the ",dody; wl,ereiD oo·
1, th<re i. opponuoi,y for .pplieattoo of what we have
J.ere Cuggerled.
Thc r~afon why we have givtn place to chromaticl
~ndcr this (econd rule: of mclody, or imitatian , we
• Iroady afligned; oamely. lhat the ufe of ·tone, is
nccttT..ry wherc thcre i!! a repetition of a p.dfage in
anuthcr key. For, Wh Vcr proportioo of founds is
Nuno io lhe nalur;ll order. tht: fa me may be trílode:r–
red by art, and improvcd upon every occaf'ion, 3!
thtreby imitating nature: . And Ihis, by the w; y, i,s Itkc!.
wife the true reaCun for the refolution of difeords by fe–
u itoo" ¡ beinC uk<n from lhe original pallero, Or reCo-
e K. 315
lution by the twa fcmitonC's in Ihe nlhlr,ll (~I ¡es of raunJs
in lile úi..'l:~ve.
1'1" ,hird rule of ",<lody is order.
OR OEk in mu fick is the cúmJulling the mclacly or air,
:lccorJing 10 a cerrain rule, through leveral interlllt:diue
clores, flom lIJe be¡;inninc to th~ linal cluCe or end of the
tont .
1\ ciare is Ihe lerminarinn of a. palT~ge in a concord ;
U'hICh, like a pt:riod In Cenf!!, is fralOed Wilh ddigo, and
from the p.epaulian (1 0m lhe notes imnll'di..tcly prece–
din~. which are the whale tone aboye, lhe half tOne be·
lo\\', and the ¡tI. (gcne",: ly the bar, note) is expea.d
~y ,b e ear. This is ,he Jer<rip,ion of a full clore, which
is ever lhe fina l clafe, efpecial ly of qlJick movemenU.
This preparation is lhe co"cord 01 the 5th 10 lhe note O"
u'hich the clafe is f!1ade i the bars making the greal ca·
dence, as we havc taught in the rule:s of compoCition.
This preparation is in full harmony . But it mua be
remembered, that there ¡s a preparatían alfo from diC–
cord; chieBy ,he diCcord of tho fiA' 7th, of which we
have raid enotlgh in the chapler of diCcord or 6gurate
dcrcant . In Oow movemeots there i!! a preparatioo to a
full cloCe ; whieh fuaU be deCcribed profently .
. Every intermediate clore hath its preparaliOD in imita.
tlon of the 6na1 clore, more or lers. Far there is no
necefii ry for lhe part6 taking invari~bly th~ fame member
of lhe chord; fo that the treble oft times rn.lkcs the ca–
dence Crom the ¡th, particularly in quick ; in
which ItkewiCe, in ,he middJe of a fl roin, maoy imperfea
d ofes may occur, the parts taking the notes indiCcrimi–
o>tely as they h. ppen, withou l . oy pr epar.tion defi go–
ed. lt ¡s enough to mentloo thefe .
But in ordcr tOconduét the in c:ach flraio ,· if there
be more a raio!! than one, witb propricty and method,
there ",uH be a full clofe in Ceveral places in the harmo–
ny of ,he k.y. T hefe are called proper cloCes.
T heCe are alCo cloCes made by the iotroduaiQn of ~
o<w Cemitone, by lhe a.idition of • (harp, m. king th.
gre"er 7tb not belooging tO Ihe harmony of lhe key.
T I"Cc are rightly (.lIed improper doCe,.
The pl.ees and order of bo,h theCe IVe (hall now alliJ n.
The fi rfl prop.r cloCe f. lI, nltttrally on .he "ey. Thi~
i, nOl moa", of the fioal cloCe; for 3 cloCe may be made
on the key, withio a few ba" of the becioniog: yel
this clofe is fcll'!om made, 3.S "Ol affardiog variety. A .
¡¡aio, the firfl flnin Cometimes cloCes on the key : yet
lhe clofe uf ,h., flrain i. more properly on the 5th;
aod the cloCe next afler Ih.l 00 lhe 51h ralls naturally
011 the k·.y.
W hen a clore is n,.de on ,he ¡ th, lhe 4th of ,he key
bcing remo\'ed a ferr.!tone highcr, becomcs Ihe &r e:at~r
7th by the addition of a ror , in imi tJuon of
the 6nal cloie on .he key. lhere roult be a femitone
arcending .
otwllhflandinc a cloCe nn lhe 5'h, \Vi,h • (harp
;d always, from t!le chord of the 4th in a A;tt key.
wírhou t altertng lhe 4th . or brin¡ ing in the greatcr 7th ,
is dccounted éln t1eg.lOce:: in whlch pa the b4rS
uke. the fidt 6,h or 3d tO rhe 4,h, and thenec derc<nd~
by .he remitonc imo lhe 5th.
Th.. is oCl<r pr;.aiC<d but io very 001'1 moveme Ots.
!:'roDJ