1000000031

1\1

fo on,

(f jll

1lliffi 'lC ORe, ánJ omiu ing cOI.U,ultly lhe

G ,

, el'

nOl below.

A uJ

I.tlly. b<

gir.ni'

g flill on Ihe

,i~hl

hand . lune Ihe

(c~onJ ~mi

hrll, th.: thi rd and (irO, l he fourdl <J nd

fidi,

OInd fo on, \)nJltl ing

t!lf!

or kcy note cOIlIl.tnd y.

Tbe praétice

(\f luning

(he

1I0les deCccnd10c

úf

all thcfe

cX:1n1;>Ie:s, is

readmg {he (ame bttck\V'

\li.ls

Thc tunine

t h~ ~rcJl cr

intervals

lhe

t1-tt

kcy

úepend.

ing in like ma'nncr

0 11

tuní,,!: the eil.!ht notes in fucceUilln,

according to that fer¡es ;

unneccfr.lry

(el

examplcs

of lhe rame:.

The [ame metbod

pr~tlice

equally fl.!rvinn (his

k ("~',

execpl lhal Ihe fyllables .nnexed to Ihis key mutl be re ·

peated. as in the proper examplc 109.

this

eX:1l11 ple

of (he intervals of (he 3d, 6th,

and 71h, wherelll Ihis key differs from Ihe nlarp. No.

5·

The general rule of tuning the

intermt:diatl!

DO~C5

each intc rvd rirA. likcwi(e takinC

plac~

here.

In order 10 dl,bhlh Ihefe rules in the nlemory. • nd

r ender them

imrned iate

(en'ice to

the

praétit ionl~r.

.fpeei.1 notice mu(\ be ..ken of Ihe

n ..

and Jh arp I"¡"ir"

os . Ifo of lhe

na<

.nd Ih. rp fiXl h., in \\ hat pl.!ces Ihey

íland, o r how Ihoy fu ceeed

e.eh

other in

lh. 0 1

¿er of

the kcy.

The nOI . lt<ndins lo th<fe differences ueing the only

obílacle Iha! can fl , od in the way of fing;"!: al fi gh t, fee

thcm Cel down al large in lhe lhec ,)" and in the eXJr.lple9

uf this chapter, No .

11 2,

11 3,

Wheo thefe are well recorded in ,he mcmory, togelher

Wilh lhe n"rp 41h or

51h, , he'r! of Jinging by nOle

will

nol 'ppear fo myflerious. T hi. koowledge of lhe in–

terval, at fight \ViII render Ihe fyll ablesof liltle or 00 ufe,

halh bccn obfe,ved, and efpecially if word, be fel to

the airs yau imend tO

praélicl!;

which we would adviCe .

WheD lhe inter al of eaeh note is known;¡ Jght

coaHant praélice, and the {ound of evcry inlerval become

famil iar to lhe ear, and lhereby dirHnguilhcd iOlmmedi–

ately upon heariog lhe fame, the learner "uy make an

eí!' ..y lO fing by nOle fome

pl.in

fong; which i. no more

than tuning the

{~me

intervals, Wilh which he is fuppofcd

10 be well .equainted in the foregoiJlg lerrons.

F or as lo aoy olher anicle of knowledge rcqui fi le 10

the performance of the {ong; as lhe time of the

mOve.

ment. and lenglhs of Ihe no les, and lhe

J.ke

; if lhe

p rzé\itioner hath not beeo acquainted wlth tht:m hy prac–

tice on (a me innrumt:nt befoH'hand, the principies c f

them bave been d elivcred in fe w words io the introduélion

f.O

Ibi. eff_y.

But beGdts lhat this is not Ihe

pl.ce

for fpeaking of

there maners,

neither is there aeearion for thi! know,

ledge in lhe very beginning, in tlri{tnc:C90f fpcaking;

bt ing advifable fo r a beginner tO nudy the lu ning lhe in.

lervals of the fong. wi thoul refpeét tO any other a{feéh on

of lbe found,; and wben he is mafl er of Ihis, 10 add Ihe

I'"aice of lhe lenglbs of lhe nOlt S, as a feeond eonfide–

ratioo .

W e 1h. 1l he,. fel lhe nOles of •

pl.in

fong. in order

tO mak.c

fu~!l

2pplila:.ioD of the rules as may be an in-

T{.

tro:iué\:or.

tOWJids the funh c:r ex eeution oí them .

No.

, ,6.

)'j , ~ ,

find 011llhe

kr)'.

by looking a' lhe I. n or keynol<;

thrn fte whethcr )[ h.tln

:1.

lit"

(Ir fh arp 3d.

T hl k<.: \ of lhis eXdmplc bcmg

Wllh one {h:;rp pre–

(¡:ott'tI .

fh3rp key;

bt'lng

the

Inon ! mJl.:l.nce

the

c;Jt–

:'n1plcs

o r

Ihe

OIne

Jh~rp ke) ~.

"r hercrore tune the nc tes of tRe oélave a{cendi ng, and

derCt'nl!ing, in a ['u rp

3d. 1

mlOediotely a rler tune

lhe

((,!"!,urJ ,

f.lcceHion. I\rter th elt, tune Ihe cODcord,

t be

3ds,

.r::

<. ndi :1~

IInd

c(:fccnrJing. 'l'hi5

will

prelude

cnong:l

flo r

':~Ir.~:

your

attcntton

alld

ea r

ro lhe

3ds

,he–

k< y• .

Ind for

pitdung

your

11':

e , l-hvi ng repeClted this

two

0 1

th ree tinus, uegln the

ron.~

in the {am? pilCh or

kl y

whcró n you

(ung:

the r relude. F or nothing contribu{{s

mOle tO (¡nglng

in tune,

th;tn frequt.n t repetill on

noter

in one key.

'1Iereror~ .

if you r voice

igh tl y pitched

lh e prelude. fttk nOI to ehange il in lhe fung.

T hl' 1

\VO tirft notes in

l hl!

eXelmple are

Fa, Mi: \vhich

iotC'1

\·~I ,

ir is

prc:funlcd, you can tune

;¡t

' ghr , I f o ..her–

\VIre,

muH h,,\'C::

recourfe tO

rhe

gener;¡1 rule. and

lune Ihe intermedi"te note of that int(rval afcendin

thus,

FJ,

(ul.

mi;

imm!'dlately repC:dtiU&

the incen¿

yOiJ W41nt tO rc und , thus.

FA,

~1 i.

1~he

next ncHe

the 2d, or

Sol.

which

may be tunl!d

[rom M i, th" laJl OOIe, by d<fcendtng; or from the key,

il halh an equal referenee 10 bUlh. We have

I.id

be–

íore you Ihis choice in conrideration of you r tirfi

a[{emrt~

But when from expe. ience yO\! are become more perfetf

in tuning

th~

intcrvah. the mo(l approved way will ue, co

make the lan note you [ung relatiye to the {ucceedillg one,

whofe interval yon are to lune. \V hereby }'Qur fi nging an

air

wiIl

be no other than tnning the inter\lal:s as they {uc ..

ceed each o,her in the movement

{}1(:

fong; which you

praélifed ofl en before in ,he natural order, aod Willl

whirh you are foppof.d 10 be wel! aequainled.

The founh note in lhe example being Sol, and a 4th

tOtbe lan note you (ung, you will now tune a perfeél 4tb ;

not conCidering tbis no:e in relation to the key. to which

il is • 51h; bUI in relatioo 10 lhe lan [o'Joded oOle Sol,

which

is a 4th ,

Thi. is the method you will purrue io every iOle...

. ftcr fome improvement gained by praétice. NotwitClaod–

ing, it

u·m

be convenicnt {ometiE:leS to have recourfe to–

lhe

lt<y,

by roundinc

¡t .

and taking lhe ¡merval fro m the

{amej

whereby

you \ViII fing bruer in tune by kcepiog tO

Ihe pileh or key you beganin ; pJrtieularlyiflbe inlerval:

from the

Id t

note be a great ene, or difcord, or He nee.r

the key, above or bd o\V.

T o

fU1n

up all ; every aew note: iatrodl1c:ed, or na t

te...

longing 10 lhe harmony of lhe key, bearing Ihe.propor.

tion of fume concord or difcord . to the preceding note:

[ O

fhe kcy , will come within the ruJes laiJ clown, and

thel t:fore net:ds no rcpetition.

O n lhe principies of Ihe Iheory and praa iee of mu6rk,

we Olall no\O demMr!rale lhe

i r!

of tranfpofing wilh lbe

voice, or finging in any

cIdT

at Cight, \\ herewith it may

h ~ ppen

a perroa is nC\t ;/,cq113intcu :

~ nd

this from the

knowledge u f úngins iD O"y olher cliff.