1000000031

384 / 868

M u s
This I\.nh hern roir.l e~l out in gener.•I. ;n lhe thcory,
\\ ha l' :u e Ilu.. v.'n the plAce'i of th(' ti:mitur.("S III lhe fharp
h e}' lO bl' lhe .11h i\nll 8th, anJ In the fldt kcy tht 3d
ac.d 6th.
13m lhe r .uticul;u n;Jm~s of the ~otcs. on which (he
r('milcr.c..s tal! iD ~ny kcy wh;u foC\'cr and whlch it is c–
yident nllllt d('pcnd on lhe n31\1C oC[he k,y. ~rc dl'mon ·
Rra(cd, ;mt! cx",mplcs gin :n. in lhe príll.l ,cc, under [he ar–
tide or Tranfpufi tion.
'Ve fh .:dl thc:cfore trlnsfer ooly the cxamplcs into
this plíll'C, in a concife arder. whl "'h \ViII fully 3n(wcr our
inquiry ioto lhe n~mes and places (lf lhe fcmuoncs.
The nine rlt.,p keys. No. 10 6.
The re"en O" key. . No. 107.
Uy (herc examples lhe particular names o( all ,he fe–
mitones aro! koown al fi ljht í as lhe)' .,:h:pcnd On (he Oílme
of .he kr y.
Ther. rore in the ex,mpl~ of .he fharp k<ys; .he Co. a
key b~ing C . (he (cmitoncs are F and C .
The feeorld G ; the remitone. e . otl G.
The lhird D ; the r<mitooe; G aod D, .he 4th and
8th of • •eh rerpeaively.
lo the example of lhe JI" k. y.; the fira being A, ,he
remitone, are e a.J F.
The reeond D; the remitone, ore -F aod B nat.
The third G; .he remitones B na. aod E nat. And
ro on, lhe 3d. and t .h. rerpeaively.
To apply .his lO the purpofe 01 tuning .he oOles by lhe
,.oice : At fight of tlle fharps or 8a15 prc:fixcd to 1he tune
to be fung, and looking at (he key-note, JOu have of
courfc lhe:: plact5 of the (emitones, by refcrnng (heCe to
lhe original in (he ( ):arnples fel above.
Having (hus dircovered lhe ddference of tune, you are
at (he fame time determioed whether you are to tune (he
lIoles of Ihe oaave with a nat or (harp 3d.
This {uoiog of {he eight notes, tOlies ílnd (emitones, in
Iheir du. order, is . he firr! Hep Or principie of tunlng all
other inter'9als , or of fi nging by note.
J1 \ViII moU readt1 y beJearn~d byimitating anothervoict",
or rollowing Ihe nOtes of an inHrument ; t1l1S 1$ (he only
caCe wherein thne is noed of any forclgo affiliéloce. to (jng~
ing by nO'e.
The: ioClrument we \Vould n:commend COI" this purpofe:
is the orgao or harpfichold j as Ihe 4 or 5 ("mitones,
which aCcertai n lhe (hu or fhal P 3d. fuccccding each 0-
ther. being vifible on lhe k<,)', of th ,H inftrumcllt In any
part , the learner can in lh lS edre <lrTiti hnlllcl f, by (i n–
kiog lhe nOles of the oébvt: in cll her n.n or lharp key . on
:lo )' pUl of lhe inHrumcnt which Wlll bt..1t ftlit Ihe pit ch
of hls \'oice, anel daf\¡n~l l y repealing lhem hy Hil OS. 1111111
IlIs ear is hecomc a perfett judge of Ihe di rr,· n.. ncc uf Ih e
n.n and f'h:up 3d. as weJl dl fcend,oa as a!LclldloU, ft nJ hls
,"oice: perf.;t t In tl1ning both.
I\s RlUfit:dl founds wdl be bdl exprd retl 10 lunior. hy
~rticul"l c ones ; \Ve nl.d l, 10 :lnf-.ver IhlS con\"~nll':Q... e,
takc .It . (nu r fyll,.bl ••I rc.~ y . 0 li le.
A') WC,; (h.d l :."ply th"m ,t) ~fllIlher r u:pnfe 1111':)'
(i;rH al pnC, lit; It, d :t t,rrle:- I)f 1\¡.. \Ve n ..ltl Jd hlfe
' ." 111 in, wi ll ht· :""'1': 1/)" ddi n OI r,olO tll:\t.
J n rUl"lInr. tI.til, di'. I,'J ur IIC ,J~ ; 'vJlIJ ¡he infllu,
V "L . J II. 1\".33 . 1
e K. 3.) [
men', I~t lhe ryllab!es be expre!T,¿ will. t1,< nOlos, in 11,.
arder of lhe foJlowlng cx¡'\mpl~s,
In G n .. rp. No. 108 .
Naw, linct: the 1l,HS or lit Irp! ~t!ju(ling lhe f\ mitoncs of
any nl:lfp key are exaél ly th~ J..m\c WhlLh bdooC {O lhe
nat kcy r...,fpc~lively on (/ll' 6 th, as we h ílVC f<l ltl befare
in cornparing the t:xilmple:s af 'ffJt and Ourp keys in lr:!n!'–
polillon ~ thcrefore lhe eight notes arcr.;ndin~ in :l fl.n
kqr wd l llave the Iyllablu rwnexed 10 l'<lCh, 3S in (he
full o\V,ng cxamplc on lhe 6th, without ddlud,inC or dt.:~
p.lTtlIlg trom lhe arder o[ th(! fll.lrp.
I n 1'. 11,11. N o. 109 .
1 'ht: [cmitoll...s and lhe tones bclow thcm be:inC ditlin–
~ul(hed by lhe Cyll.t.r.lcs (a and mi, in their rcfpeéllve placc!
~n hOlh keys . for ~ercendlng as wd l as afcending notes,
IS . he fo le ure \Ve tntend by ,hefe (yll. bles; .het uniog of
lhe note~. which is 10 be ledroed by lhe infl rumcnt, being
lntlrdy Independenl of thLOl .
For tuning lhe defcc.ndlOg. nOle, lhen, lhere need no
other examplcs th,m the t\Vo ~bo~e wrilten ; for readlOg
the: rame backwards wiJl [crve this pnrpore.
W hen lhe ear bccomcs \Vt:1I 8cquainted with tunin~ the
notes of the oétave by {he inHrument, it wilJ lhen he
proper to Gng the (ame Jooking 0 0 {he nOtes Writtfn on
lhe book; and .his fh ould be done in e"e ry example of both
keys. And Jet it be rernembe red. lhar tuning lhe OOLeS
thus jo the oatnral arder, lhouJd be to a begioner lhe
prelude lo Conging .ny rong propored.
The neXI Uep \ViII be, befare: the Ie:arner altempts ro
fing any pan of a fong. to tune by lhe notes the greal(~r
intervals, both concord and difcord.
Thc general rule ro .. whieh is, Tune all Ihe nOles of
the intervaJ io {he natural orderr afcending if lhe interval
.feend, and dereending if .he iDtervale defeend. Then
imme:diately lUDe both notes of lhe intervísJ, beginntng
Wilh the concords .
Thus. N o. 110 .
Concords io fucceffion.
Thc difcords are. No. t ( l .
The remilOne being .he diClance bet,,:« n the ,d
and 4th, IS airead)' known by luning the notes of thi¡
intcrval.
Note, T he name of <very gre.ter 71h introduc.d by •
nlarp prcfixt ci . 15 mi.
Ncxt tune lhe concords of the thirds in (ucceOion. In
this maoOt:r. No. 11 2 .
The 4.h, .nd 5th. being al! perrea and like, excer t
ooe of each, need TiO Icpcltlion.
Thc úlhs in fucceflioD ...re tu llCtl thu!:. No I T:; .
L~lll y. mix Ihe (1Ifro:'ds aod conco,ds as lhe) na'l.:i
in tllL o"~ll rdl arder; tildO \Vllich oOII.ing wllI Ul.!ttCI t:on.
fin" tlit: jufi turtl0t! of lile intLIV":S, w!\I,:n th, (e ruks di.!
to bt: appltcd l O) IUÚJIC pl ~(\ice.
] ndlls mar m'r. NJ 114'
This Jlne may be tune" v\riouc: ways ¡as, Cecond –
Iy, lJeginning {l dJ 00 tlt·,: ICrl hand, th.: 3J AmI :ll
POle!<, IcalJ¡ng LolLk\\'fud, ; í\nd lo u O, caeh lWO ullde r
\1,(." n\l r.
Agí\ in, Leg;lI¡l¡n~ <\0 lhe ri~~h ' h.lnd, tune the uppermon
nel e. '~O,!/~.C{J\ld d~'WIIWdlt~~ ; lh ~ n lit!.: ¡idi allJ luird ; <lll/t