1000000031

35"

1\'1

T he

more

time is bid

Oul

on the pra[lice on fome in–

llrum~nlS .

dll:

lU~lre

difficul t the exectltjon grows, in fome

f-enlt" [har ¡s. acco rcling ro (he conflruétion and

campar,

of lhe

in(humcnt .

00 the contrary.

all

the diffi cultics

in h:.tTning

fing

nott! prcrcnt

lhcnlfelvcs

in the be–

ginniog. in __pt'ca:Jnce greate:r rhilo thcy retl.lly are

and

which a knowledge of {he principies

mu(jck, and

ti.

¡¡[tle

lh'!

p ra~iceJ

wllh

a tolerable guod ear, wlll

Wilh

eare

orrrcome .

BcfiJes,

ti.

¡iulc time and cxperience will convince any

(loe of wha t comp,.fs his voíce

15,

and what degrce

performance he

cap_ble

au aioing

The principIes

of (jnging tht.:refore being wd J

undernood,

(here re–

m,tios no further d¡fficu hy: no one having a right la

expeél he can

execute more

tluo

what

¡,

withio

his

na·

tural powers.

this

not

commooly undedlood, or

the

knowledge

fouCht ,

O1<'y

owing to

this,

that

the

preceplS

for

learning,

or lhe

mannt r irwen ted,

and

confl.lntly ufed, a-re more perplexed than the fubj etl de,

e.lands .

H ow far this may be true, will appear from an obfer·

'\" ation

twO

which we

fhall

make

the

method now

ufe .

The

art

r,ngin~

by note rells on thefe ttvo principIes;

.·he

finJing

Ihe

places of

lhe

femitoncs, and tuning the:m

• Ad the "hale tones of the otlaYe arigh t.

T he r,rn of thefe has becn dclivcrtd in the theory;

and alfo in the pratlice, under the lafl article Tran(por,.

tion...

The

tuning

the

Dotes is

the

fubjctt

are oow

en~<1ged

in,

L et us fi rll examine how far thcfe have becn profecuted

in the prefent method.

The note. of the otlavo, b<fides their names in the

fcale, havo been "fed to be diflinguifhed by thefe four

fyll.ble, Sol, la, mi, fa; acommod>ted to the porpof.

of finging by note, in the following arder.

fol, la, mi, fa, fol, la.

' 'Vhereof Sol being thrice rrpcated in the otlae, La

twi ce Fa tlVice, apd Mi once; four fyllabl es exprefs the

notes.

T he art of tuoing by thc(e, or alligning the places of

Ihe femltones, is by appointing to Mi the pl"e of the

greater 71h;

a.nd

then Fa immediately followiog txpref.

{es

1he

remitone or key, and the

ocher

the

4th.

H olV

d i

foever ,his may aófwer ,he purpofe of ' uning

,he half· rones in

fh arp key ; yet in a Hat key , ,he places

uf ,h e half·tone. b, ing Ihe 3d and·Ó,h, will, according 'o

10 Ihis arder, be expre(fed

La,

the femitone fyll.ble

l" a confeqoendy ex prelfing whoJe ,ones.

T o'oln'iatc thi.!o rlíHi.culty, and

reduce

thines

order,

an01h cr

place o( i'lli

mull

be affigned, which is

Ihe

'2d of

a n.t k, y: for ,his fa will cxpref, the femi'ones on the

3rl

and 61h.

is ev:aent lhen. that before :tny h;df. tone

whole

tone can be

lqnu!,

lhe

(¡di

t~ufiners

mua oe

find

ou t

Ihe

r1dCC or

Th i~

nli : nu\V

hClw

th is (:oto bt.! done

viro

t UC

(,f

111,

fOllnd.

or n. me,

orcla

there

fyllillllts,

nOI

c;. fy

"f'nrch·.nd.

HI" !1nlil .

Ih'

I'I.1=-e

e;[

mi,

or 'he:

key,

1.:1,:

knowD

Ly:v"'1o.:

iC.VIUU:S

prl..~':pt,

as tndccJ

oll~ht

ue ; f et

toning Ihe kq' .. ,h. orfl femi,o"e in a n,aep

3d,

anJ

lh,

as lhe fidl

rcmitone

in a fldt key,

begioning :u

th:

wrong cn-J in lhe firH cafe. an1 thcrehy not nu rk,ng

lh~

efl~Btial

cliO·l.;rence of tune, which cl)nri{ls ia the

¡1.it

aaJ

r,,,rp 3d., ,he arder of \\ hieh i. diflurbed by ,hi. vari. :

,ion of the place of mi .

From this

want of

marking the

elfential

differcnce in

toning by ,hefe fyllables, and wher<Ín the beginning and

ending

not

the key, fome

coofu(i¡,Jo

and

muen

Irouble and un'unablencfs mufl arife. Aod indeed it

cannqt be imagined, (hat thi5

or-

any other

e{f~Dtial

dif–

faence of ,hings can be marked by ,he fame in••riable

artificial figns, if ,bty b. not exa81y aeeoOlmod,Hed 10

(he

nature of

thiogs . An ¡nventio"

that

r ...

il.

in thi¡,

however ingenious

it mar

in fpeculation,

DOt

beiog

a jufl repr¿eotation ofoature, doth no' merit the name of

are

forinflan«. if you tuoe eight no'es, whofe key halh

a Iharp 3d beginning on ,he 5'h, you r feven,h Do'e,

wbich is the 4th of

the key,

Olnd

thererore

whole tone

from the focceeding no,e, will found like the

B..

71h.

Again, if you begin 'o 'une on ,he 2d, your 3d, whielt

is ,he 4th of ,he key, is

/la!;

and ,he found in ,his fue,

eellion will appear as if you were tuoing in a lIa, key,

And again, if youtunefrom Ihe 61h, the deeeplion ofa

n ..

3d is the fame

in ,he lan cafe..

S<condly, ifyou tUne

nole. \IIhofe

Ic.ey

hath • nat 3d,

and begin on ,he 7th, your 3d, whieh is the 2d of ,he

key, is Ibarp, and your tuniog will be as if in

fharp

key.

The fame deceptioD

will

'ppear if you

be~in

to tUne 00

the 3d or 6,h.

In a word, wh:never other ¡nterval you \;egio

00, (O

lune ei,her with

Bat

or Iharp 3d exeept the key, fome

femitones

wiIl be

out of

their places: This is

rcndering

what is

firfl fight allooded wi lh fome difficulty, more

perplcxed lnd obfeure.

T he ear, ,he judge of founds, i. deeeived, and tbe

joogmem mined.

But on ,he otne< hand, ,he ear will n"urally and

cafily dininguiO, the

8.l!

and Iharp key, when ,he key

and its 3d are afeertained by beginning and

endin~

on the

key.

But

otherwire,

3nJ.

wheff theCe

marks

are promircu–

oufly ufed, ,he dilferenee of ,une, or infallib le figo, will

arpear

neither to the ea r nor

undedhnding.

\Ve

1b,II

end ,hefe rem.,ks \Vi,h one ger.eral obfe,.a,

lÍan; wh ich is, Ih.. by alligning ,he place of mi tO ,he

greater

7th

2d.

order

hnd

Out

,he:

key.

refol–

ving

ene difficuhy

greater

and rc:qwiring

thing

,~ithoU{

any

mc.ms

of inform.uion ... ffcrc:J

com·

paf,

il.

For

true

th;\t when the

nre:Her

7th or

knowA ,

the key

known ..

Ifo.

anl

tl.galn,

the kc:y

bein~

given, you have confequendy the 7\1t

,d;

yel

todo

cither

of thtrc.

WilhoUl

fome

intcrmedliue

~c:lps.

tJk\n~

for known ,he thing fought , whieh " di r<tlly <ontl . ..

reafon.

Procec:d

\Ve

now

ou r mcthoJ of (j .,g¡ n h

r-y

H~.

l "he

firll

principie

(jrtgln~1

lhe

I;..,dln ~

tlte

r1 "C'(S

of the

l WO

f~mttooc,

lhe

o~lJ.\'eJ

i:l

any g:ven

!.:.t..\.

TblS