1000000031

,'u:' pr:lpcrtics .:n.1 prorO:tio'lS are noC

only like, but the

f,ulIl:.

,he rldT.;rcncc conlirting

the:

rorn¡ or place of

,h~ I~mlton:;

tht,.' churd

one

key

will be

[he chord

o( the other, not Clnly Jike, blH {he

(olm e.

Nu",

the

h:.rnwny of

nery fin

ke)' ¡s,

the the rules

harmony,

the cancoro nI'

r:lf:

hU[ lhe coocord

lhe

Ji.tI

kl.·Y

tJle rel

t,j ~'e

Iharp kcy's 6th; thercrore the hHmnny or

d wrJ

the Ourp kcy's 6th is the

concoro

¡delE.

Let us now

,trl,ly

fh ere Tules

traofpofition

the

fe –

cond rule

Olc:.-Inoy,

pcrr~(t

imitil.uon, which is

lhe

rel1etition

píln~gc

in notes nOI

belongiof

the har–

mony of lhe key;

\\/hich notes \Ve

underflanJ.

all that

h¡u'e a {harp or ILu added, which was not prelixt!d

{he

be~inning

of the Have or tune.

T he gt:nera l rule

which

¡s,

Fidl

ntlme

the

key

which

lhe

pacr ..

writt~n,

whether the Carne be the

origina l key, or

thu of lhe

tune,

rome othcr;

then

Dame

tlie intcrval of

(he

~rH

nOte

of (he

p;dT,,¡ge to

lhe

{ame key.

\Vhatever

¡nterval

the

imitalion

begins on ,

whelhe~

,J ,

3d, '4th, 5th,

any

other

above

or below lhe par.

f:\f\e, ir

bc.us

lhe fame proportion to tl:e key of lhe ¡mi·

ta~ion

as lhe fi rfl note of lhe ptlO'ttge 10 its key. ..Thus

G :

e ::

B :

E. or "gaj'o

D : A : : B : F, or

D: B:: E: C.

The Jeaaing note and key being thus exprdred, both

(I r

lhe paTTage and imitation, lhews the proponion

the

imitatioD

above

or below

pa(f;tge.

tbe

p.lf.ge

·be in a fharp 3d,

as '

the imitatioo muQ

I'e fo toO, the figns,

pre6xed to one of the examples

uf the

fh.rp

key., U/ill be required tO be added

the

notrs

of ..

he imitation: and if the palf;;¡ge move Wilh a

¡¡di

3d, the ex.mples of the /lat key difeover the

m.rb

wanting in the

repetition.

Thus

the Ic.ding note of. p,ÍlAge in

witl:

fh.rp

3¿, r::pcatt'd in lhe note above; as A aod O rtquire twO

r...

rp', n.rndy on

and

tbe propeny of

with a

rharp 3d .

.'\r.d

the fa me p.

lf.ge

IVith •

Rat

3d, IVil! in the

nQ:~

abovc rer¡uirc

marked fiar,

the

property

wilh

• r!"

3d:

Ano

n..rp 3d, Ir.nfpofed into a

3d,

BE,

r:q~i res

foudharps,

and

th.: properties

\"Iith , fharp

30.

The fame p

,lf.ge

IVith

3d, or any other paf.

fage .

\Vill

when tranfpoCed ioto E, require bUI one Olarp

on F:

And D B, wi.h • fl¡arp 3d repcatcd in

thc mtural

fl;up ke)', n:quire

neilher

(harp nor flat .

But.the fame , or ,ny other

p.lf.ge

IVi.h a /l.. ,d. will,

whcn tranfpoff'd ioto

have three flau on

E, and A,

the propeny of

with a /l" 3d : and if there be no

leacling note, as ir may ofteo happeo, nothing more is to

be conficlcred than the key.

Thus che ufe of tr.D.nfpofition

pufell

imit;uioo

e·

..idenl.

The fecond method of tranfpofition is by the cliA'.

Thc uft of

c1irf is tO afecrtain the nameo of the

li:.

notes. Th:rc:'(ore, Ihe

IIJmc:

of tlte

nOlcs'ui:1

1,('

~i1:"Il'

gtd

rC01o\'..

1of tiJP.

cliff.

N~w

'.5,

in tr:.nfpofi :1g. ir is

ncccl[ny

l~';;¡t

CV! fT

¡r.ler–

v,,1 he p: c(et\"C.·d ,

th-.t

Ihe

(t'lIlI1(,I\CS

k~cp

Ih: ir Gll!'"

placl's ;

lo by

311el

ing the name

of" ¡)u: (idl

nOle

tI..;.

tune,

'Cl1lo\ing

the

dllr,

al! tite

otller

nOll.::> ,, :-c ahCTc::rl

in proilol lioo.

1'hus the rcmo\'al of lhe c1ilT

~fT.:éh

once wh:u

\\';1

none

the

other.

mClhod

rhe tranrpofition of

ev(ry~

fingle note of lhe tune

wrlling.

This '.\'ay is

eafier

the writer, but much more

dif–

fi~ulc

to the pcrrvrOlcr,

ln:, rlHuch as

confi rmed habit in aoy thing is harder

ch¡¡ng,cd for

new mcthod, than

ledro

ccnai n

rule

:tt

fielL

Therefo rt lhe perfu.mance in tranrpl')(j,inn

lhe cli!F

can no orherwire be ;uulined,

{han

COOnant

and re–

peatcd prat!ice in

.JI

the cliffs , ,nd in all

C.eh

ploees ..

they

are

ufed to be ret for

convenience .

Every ooe thererore who

ddircs

to become a mafier in

performance, aftcr he is well aCl!{uainterl wilh Ihe three

c1iffs io their ufual plat:c!I, ought 10 accufiom .himfelf lO

pedorm

in evcry

diff.

in whatc.ver place

0l3y

be feL

This

kno\Vlcrlge

,will not ooly render the performance

con\"cnient to his privare ;;¡mufcmenl:

the

variely

\Vil h

wl¡ieh he ran fum in, himfelf, by pl.)'ing .he (".me air in

\Vh.never

kt!y

he pleares; but

\ViII

"lfo

mak.e him ao ufc–

fnl member

concat,

tranfpofing al

fight,

when–

ever it may be required

accommodale lhe inflrumcnt

to tht: voiec: . For

let

be underflood,

thac

to him who.

ro wcll

acquainted with lhe places of {he

cliffs, as to

perform io any of thcm al fight, nothing

more

is waoting

to his Iranfpoficc by the eEA' at fight th.n tO imagi ne the

cli!l

is prefixed

fuch or

(uch a

pl:tce. and comOlir

his

memory

the name

of lhe

key

n which he is

to perform"

by tr,nfpoling aeeording to the removal of the clilf whieh

rnly

be moa convenlent.

'fhis

will fix the places of lhe

remitooe~,

or a(lioo

the

fllarps or

pa"

belonging tO the ",ew key,

they ;re fe,

in the ex:u"ple in the firQ "'<tbod of tr.nfpofing by the

wfllIng.

Any of .he c1iA's m.y be remoced; ret the

clilf or

tenor is moH

co,'¡Jmonly

io ufc for ihis

purpofe.

The general rule for lrahCl'ofi.ion by the ehA' is this,

To uanfpvfc

lotO '

"!ly

inter v;á abo\'e

the

key,

re:

move the clia' by the f. me intcrval dcfcending. And

lRe

in(lrumcnt

be too high

fOT

Ihe

voice, to tranfpore

ioto a lower key, r"mo\'l' the

chtT

to a coiwcnient inter ...

v.1 higher.

For,

r<tifif'~

the. cliJT

cleprdfcs the

notesj fl nd , contrary•.

re\ti ng lhe

cldT

lower raif<.s lhe notes,

tr anrpoCes thcm

ioto a higher kf'y, in proponion.

CHAP o

VI. Or SINGING

NOTE.

.~t

of fignr.inc by note is founoed On the p.ineiplrs

"no

prafl!cc

Illu(i

k, Thcrefore we

rcfervcd

litis

fuhjet! to the IArL

T o fing by no'e feem. in fome

refpc~ls

more dimeult 'o

atrain

{h~ n

perfol manee on fome inHruments .

olher

re..

Cpell" it is <"afier aud fooner ae'luircd ,

The