1000000031

·From

lhe

ncee/lit)'

rc.:mitonc

afcending to

t\'ery

full

clure, I."xccrt this !.di

il\(llnc~.

\\.t;:

oraw

this

inferenc,=,

Th~t

a c!ore md)'

Oc:

m,¡Je on

c\'C:ry femitone

lhe kcy.

T his

a(ccndlOs

lhe

...

c::es

hoth Aat and

013rp

keys :

lh~ c1or~s

of both which the kcy is a femltone ; io a

lll>rp key, ,he 4,h alfo; .lOd io ,he

fl..

key, ,he 3d .0J 6,h.

T"hc(e are the places of propcr

cl ores,

fuch

as are

rnildc: in lhe humony or the kcy.

1 'hc ordc:r of clores is

no\V

confiJcred, which,

in • Iharp key, m.y be ,hu.. The key, ,he 5,h; ,he

key , ,he 4,h; ,he Fh, , he key .

Notwithflanding. every compofer. bc;ng

liberty ro

purfuc his

0 \1.'0

dcfign,

wiJl

pr~rer

that arder which will

fU11 bdl with lhe manner of (he air, or "n(wer his in·

(cmioo. Our burinefs is ooly to

roint

out

lhe

plJ.ccs

whcre cloCes may be madc, ami give a generttl idea. o(

the order. For we have obrerved muJI diffúence in

t'raétice among [he bcO aUlhon; and indeed it cannOI be

otherwlCe in long

and

fioifhed pieces , conlidering that

4ibeny ¡nreparable (rom every comporer who invenu;

:lnd

thererore every manner which may increare variety,

"¡S

tO be

r<!~omOlended,

The order of clofes, ,hen, in ,he Ratkey m.y be, T b.

);.e

y, ,he 3J ,he 5,h, ,he kcy.

O r, ,he key, .he 5'h ,he 3d ,he 5,h, ,he key.

Or again, ,hc 5,h ,he k,y, ,he 3d ,he 5'h, ,he 3d

.he 6,h, ,be 5, h ,he key.

In pieees of a eoor,d<f.!:>le leog,h, elofes may be re–

f'eated in thefe CeveraJ places, and toe CuccC'lTlOn

them

altered from that wherein we have

(et

them down abo\'e.

Jmproper clofes, or fuch as are m3de

any other nOte

,111n ,he key,

3d, 4,h, '0 a

lh.rp

key, 5,h or 6,h in

• flat key, are made by hringing in

(emitone not in the

barmooy of ,he key, by ,he add ..ioo of a Ra, or lharp,

[be

no [e

bclow the new- made fl.mitooe being always the

¡rcater

7th ,

and which thcreby determioes the nOte

...hich the cloCe is

be made.

this art

clore may be made

any note; as on

lhe

2d,

3d,

6th ,

or 7th of a t'harp key; on the

~d,

4th,

.0J

R.,

7,h o. a

n ..

kcy. A clofe 00 ,he 6,h of a Ibarp

key is much in ufe, Ihough no remitone: thl, depends on

,he

6th h lviog for harmony ilS own chord, whlch wdJ be

proved in lhe nexl cha prer.

emalns

be remark ed, that as cvery new key is

(orlll ..

by rhe adJition of a f'harp or

fh[ ;

fo Ihe return

inlo Ihe (ormcr kcy, whether Ihe original, or olherwife,

is efft'éted uy

t ..

k,ng off Ihe

flJt

or !harp (rom that note,

lile

oeXt time

oc(urs in the courfe:: of the firain.

In n.u(jck of two

p.uu

, lhe gre<1ter 7th, or that which

makes the new (cmitune. \ViII

OOl

io evcry p,dr.lge be ex·

prt:(f..:d ; Ihe treble fomelimes defceodlng from lhe 3d a·

umle

inlo rhe cloCe . Yet, If the ba(s (.lIs lhe 5th, thefe

two members of Ihe chord do properl y lead to the

cloCe ,

Hnwc\'cr, it muH nOI be undt: rllood lhal in evcry cloCe

Ihe baCs muft

OlOY:

lhe fa me way. by derceoding from

Ihe 5th . as was f.liJ before; no par! h3\'iog ao)' mcmber

chord proper to ir by :\ny oecdrcHy or natUl,a! de·

pend,ln(:c

fur od¡crwire 111..:

(ccond treUll', or tenor,

cuuld ncvr:r .. (cenu

aueH e

the! tirn, oor Ihe u..lfs

¡¡1

'OVe ej·

. her : duo

\VIII

n.lthing

is more Common.

CuH\J111

in–

dctd

flJ'J)VI01~.J

t!.c

1.:-..

this

InOn.'IIICIlt

d OJe,

for ,he mofl part, and efpeeially at a rull or 6n.l c1uf. :

aod juflly; ,he defcenJine from ,he 5,h, being fo in<erefl–

iog a movcment, is bc[[er exprdTed,

01'

well as more

fuitable

Ihe srave notes of a.n iaflrurnent perrorming tbe

bals.

There

¡,

anothcr pafTagc in pralljce, which, though not

cl ore, yet comes properly in Ihis place to be fpoken

oro

is a fudden or uoexpeéled flop of .U ,he pans mode on

a dikord.

As ,his i, ceneraUy pr.élifed in quick movemenu: ro

jt is Orten, rhough not alwaY5, fucceeJed

(]ow move.

men' : 'duriog ,his flop, ,he ear i•. held io fufpenfe by ,he

difcord, and waits for the refolu don ioto the concord.

The fuddeonefs aod oovelty of ,h.. l

\ilf.ge

r~eommend

it.

feems cootrary Co

clole: for as:"being

dircord.

hath no preparatioo, aod,

Rot

beir.g rcfolved <l$ fooo

the ear expdls, ft:ems to Jofe lts (onne(tion with the fol ...

Jowing chord; its meaniog therefore is uodetermined, and

,he

feofc eonfufed: ye, i, ha,h a good effeél byalarming

the im3gination, refembling an affeéted penurbation io ,he

order ol the words and Centences of

oratioo.

CHAPo

V. Or TRANSPOSITION.

TRANSPOSITION

is lhe removing a

tune

(rom ooe key

into .oo,her. The ufe of tranfpofiog is to briog a 'une

\Vithio the compafs of fome infirument, or for ,he more

eafy performance

an inílrument; fome keys being more

diffic\llt to perform

than others ; eCpecially iD wiod io·

flrtJments, as the German flute,

f:;c.

For as to ¡nnru·

meots lhat are llopped, as the violín and baCs viol ; and

inl1rumcnts ",ith keys, as the organ and harpíichord; all

keys are eafy 'o a good performer, who is faid to be

maller of ,he

fe.le

of ,he inflrumen,.

Seeoodly, Traofpor"ioo is .bfolu,e1y neeelf. ry io ",u–

fick for voices and in(lruments, when il happens that the

key in which the mufick is written ¡, too

high

or too

Jow ror one or more of the voices. In this cafe::, the mu–

fick mufl bc trao(po(ed for the inflruments .into the key

which is neareU

<lnu \Vdl

bdl.

Cuit the pitch and com·

paCs of the: voice , Far as to the vocal

pe:rfor~ler.

ir mat–

ters nOl in what key lhe mu(ick be written for his part,

provlded he cao r,og in ,he cldr, (or iodeed. ir he e. n

H.nfpofc, as Iball be taueh, in ,he

1.11

eh.p«r, O f fing–

iog by note, whether he can

fiflg

in Ihe cltff

be(~re

h.lm

or not,) if the inflrumeot be accommodatcd tO hls VOlce.

T here are two W<lys of tnnfpofing . The firfl is, when

the tune is \\ rilten io anolher key, al any dlfl<lnce above

or belo\Y the original, wilh lhe proper

fl.ts

or IhHpS

p~e·

fix ed, Vlhen this is dooe, the performance on the

10·

flrumc:nt is eary; the half tones of Ihe

k~y.

anJ e\'ery

olher, keeping their duc plitces exprdlcd io lhe writing.

This may be called tranfpofition by writing

The Olha me:thoJ of trilnfpofio g is

the

cliff;

that

is tú (ay, when the c1df is rc::mo\·cd. or (uVP?(eJ to be

removed, from lhe place whc:rci n it llands preilxed

Ihe

tuoe.

This remoyal of Ihe

c1iff

at once tran(po(cs tbe wholC',

wi thollt altera tion of the

\1.

ril ing; Ihe u(e

th~

cldf

belog, a$ Ilat h becn raid, ro afcenain the

nJm~s

of ,he

notl's.

\Vt

fluH Ihew bOlh lhere me'tho.!s

of1f:\n. p~\(jtlon;

and

Jidt

of trJnrpu(iuon b)' wriullg.