380 / 868
u
s
T r:\nfrofition. in
u~ncr;¡l .
is \\'ritingor pbying a tune in
;;¡
d.C'er rnt key froln lbar \Vhcrcin
it
IS
wriltcn, prefcrving
(he r1.1ccs of all the: (c.:miwnes.
If
lhe notes
in the: feal e:
of murick
exrrdfcu
no
other
111,,0
whole: Iones. lranrporitioo \Vould.
be evident
10
tight.
For
a
feries
of tones
at
cqual
intcrvals
\Vonld,
wh\.'n
rer.1oved
tO any diClance or
IOtt.'r"..
1
prcfC', ve
lheir
placesof then,fdve, (lo to fpe. k. ) or
wid.ou.lhe 1!c1pof
art.
And
the
performance
of tht:
fan'\. un 3n inllrumcnt
would be cqu.lly eafy in .11 key'; no .her..i.
11
"'pp.n–
ing thereby, but ehanging the n. m,s
oC
the nute'. And
c\"C~n
Ihis
would be
unneceCfary.
The femitones therefore are the c""fe, of .ny ohli·
<¡ui,y in tbe fcale of
trlnfpo~,ion;
and therefore the
keeping theru
in,lheir
due
pI
¡ces
is the art
w~ ar~
now
fpeaking
oc.
As it is
f.idin the theory, thel' are the
foundation
of
writiog lhe fame tune
in di\'crs
keys, which
is tranfpolition.
' Ye muH h"e r«ourfe therefore
'0
lOha, hath been
(,-id
in
the lheory con,:ern ing
the
dfcnti..
l
differcmce
of
tune. or
lhe
different
places
of
the
remitone.
' Vhen the firfl femitone above lhe ktyison the 4th, or
6
remitoncs
l O
Ihe
key
i
the
3d,
which is
S
femitones.
is
the grea.ter,
or
(harp
3d; aDd
the tune is
from
hc:nce
raid tO be in a Iharp key.
Agai., wheo the tirn femitone above the key is on
the 3d, or is 4 femitOnes la the key, that bcing the leffer
or
Ibt
3d,
the
tune
is in
a
fl?l
key.
Again.
the next
femitone in the Iharp key is ,he 9th; and in the Rat key
on the 6th.
In every Iharp key, the femitone mun (lond in the fame
places, that is, the 4,h and 8,h; and in the Aat key, in
, h. 3d IDd 6th.
The name
oC
the Ihatp key iD the feale, whofe femi–
tones are io their
places
wilhout the
addilioh of fiar
or
fharp, is
C.
Hence
e
is c. lled the oaturally fharp key.
l IS
femitones are F and
C.
T his is the p.llero for
tranfpo~ng
in all Iharp key':
chieRy by remembering the lellers or oame, of the fe–
mitodu .
T he key io the feale, flhofe femitone, are in thei r
place, withoat the addition of
fl..
or Iharp . is A. H: nce
, hi. ;. c.lled the naturally Aat key. lIS femi.ones are
e
and F. Thi, is the panero for traofpofing io all Aat keys;
remembering
the
names of
the
fcmitClnes.
It
ma)' be reqaired tO Iraofpofe from any key witb a
Charp
3d.
ioto any other
of
lhe
Carne ;
or
likewife from
any Aat key r.Cpeélively.
Not ~·ithflanding.
we
0..
11 pro–
ceed~
according
to
our me1hod.
10
lhew
wha.
are
the
key'
iD
the
natural
fuccd Jinn
into
which a
tune
wiJl be
!r.nfpofed, beginni og
at
e
the nat
ur.II), Iharp key. As
, he properties of (\'ery key will be difco\'crcd by this me ·
thod; fo
it
wlll anfwer
every thing
that can
U:.-
req':ired
in
tranfpof'iti( n ;
or fhew how a
tune may
immediatcJy be
".nfpoCed .from aoy key into .ny o,her iotet val or k. y
th;lt
m~y
be: rcqllirt:d.
For .nnAnCe, Irt it be
reqllired to
tranfpofe
froOl thc
kry of ('
into
that
which
is
neXI
in
the
naturcl.l
arder
of
tranfpafi,ion. F
is
Ihe
firfi
fcmilClne
io the kt
y
of
e;
which.
by
lhe ..
,Idluoo
oE
¡
nl ..
rp.
lu C"omn
F
fh . rp.
i'nd
c.onfl.qllt>ntl y
che
~rc.Hcr
7th
(O
l!H:
h.mitOne
aboye ¡t,
VOL .
1II. 1\°.63 .
K.
3~ 7
whi h is G . Therefore G is tI,e n,
w
kcy into whieh .he
tune is t"nfpofet!. No. 99. F or,
Ag.•in. le. it he requ ireJ tO 60d the Dext kcy to be
tranlpotcd
lotO,
(rom the former, or G.
The (¡rn (emitane ,n .he k"y ofG is
e :
lOhieh by the
addltlOn of a {harp, whíoh is
rClIlvving
lhe
remitonc,
be–
comes
e
fh.up, or the gn:atcr 7th: thercCore lhe
ncw
key is
D
No. ' oc . For,
Obfcrve {hal
ev~ry
former (harp which is
[el
down
fOf
the
lune
tranrpoCed, is incJutlcd in cycry
fucceeeing
tranr~
po(itian. That
15 l O f.1)',
e,
ror ¡nllance,
cauDot
be mark–
cd fharp, unlds alfo F be markcd.
Thc reafon of
proponian
dcmon(lratcs this to
{j~ht.
Thcfe are lhe:
tWO
[cmitones of lhe opeo kcys. as thcy
are lumcd . lhe
obren'alion
will hold
truc
of 811
othcrs,
as
will
be (ccn in
Ihe
fol lowing
¡n(hnces.
T o Iranfpofe OtÍl of O iOlo the next key ; the firn fe–
mitone in the key of O is G. But G Iharp is the creater
7th tO A. T herefore A is lh. new key. No.
J O I.
T "ke oatice, thu
lhe
firCl remitonc
J
or
4th in (he
fharp
key, being removed by the addi,ion oi' a Iharp; ,he tune
is hereby Iranfpofed in.o .he 5.h
'0
the key.
This removal intO the 5th, by eh.¡nging the firn femi–
tone, being lhe
fame
in all {harp
keysJ
it oeed nQt be re–
pe.u ed in
more
examples. For lhe
oext to A will
conre–
quently be E . with the addi.ion of A Iharp tO
D.
T he next B wi.h A Iharp.
The next will be F Iharp Wi,h E Iharp ; ne\'Cr ufed .
The next would be
e
Iharp with B Iharp ; never ufed.
The;next \\'ould b< G flHrp with F having t\YO Ourp';
Dever uCed.
T he
next is D
fllarp, v.ith
e
having two
Iharps;
whic!l
lan i,
o
natural. This key is in frequent ufe : but the
name
of
lhe key
i9
chaoged, and mtrked
with its
equil"a–
lent E Rat : and the nante of its greater 7.h is likewife
changed; .nd, infl ead of
e
having two o-,arl", i. leh, ..
in
truth
it
¡s, D
natural.
The next is B Rat; its :realer 7th A natur.1.
The next
is
F natural: iu greuer 7th E natural.
From
this we
afcend,
~ccordin.c
l O
lhe rule,
by
1 5th ioto
e
wh. re IVe began.
Hcnce it is evident, that
of
the twelve
fem itones in
the
oétave,
ni~c
are io
ufe
as
keys
with
a
(h.¡rp
3d .
Of which the followiog are exampl.. in .heir arder.
No.
102.
The lan three examplES marked lVi,h O
,IS
nuy be de–
mooClrated in another manner
j
whlcll ¡s, by
ch~ll~ing
the
place
of
the
other remitone,
Or
8d\.
by
rc. lI1t1vlog
the
fl-¡;up 7th,
by prelixing
lO
it a OH . T he
lrdnfrofitiou
wllI.
by this <"tHalion.
luppe-n
in:lo
¡nverted
or ..er from
that
in
the (oregoing
cx;¡mples.
For, as
the
4t h
or 6rCl:
(emilone in
the
(ornl~ r
mdoner,
bciog
removed
by
the
adtlitioo
of:\
(barr.
bC:l.:ó\me
(he
greatcr
7th;
fo
io this
carc,
thegrc:arer
7th be1ng
relllovc!J
by
pr! fixioga fiat to"
il.
bccomcs
(he
4th of
lhe
ne:xt key. No.
103.
T hls
manner
o( dcmonfiroiliog (he JaU
three
keys is
prertrable.
For.
bv
I.:hnoJ!inr:
th< firl1
femilone,
as
10
tht former
manm:r.
H
JJ(h not fo plAinl ), apP,"ar, as
rhar
depenus
uron th,
:·or(~OIng
k..: y
whu·h
ncn.'r
was in u(c.
Bdid ...
s, the
number
of Ih,Hrs tu
be
pie x ...d tO
thcfe i.eys
m:ght
pcrplcx a
uCólnne:r
l.\
1.1nl¡:Jlin¿;
\',Ja::-re.a...
h':
t
.¡
S
D...,