Preliminary Advertisement to the Second Part. • Whoever reads thus far with more patience than memory, should skim over the first part once more before he proceeds to the second, as it is a key to the following harmónical miscellany, which contains extracts from the compositions of those who should have written more, those who should have written less, and those who should not have written at all: the critic will perhaps include me in the latter number; but L'Estrange says, "It is every man's duty to labour in his calling, and not to despond for any miscarriage or disappointment that was not in his power to prevent.' Compositions are frequently overrated and undervalued by prejudice, therefore it appeared to me to be the most liberal plan, to let every musical illustrative example recommend itself by its own intrinsic merit, and not by the name of its author. Beauties are often found in strains which are seldom heard, and many of the most popular compositions are not entirely free from defects; but I should have betrayed a malignant mind, if I had made my selection to exalt a friend, to depress an enemy, or to diminish the happiness of any contented family by an attempt to injure its supporter in his professional practice "Without a name, reprove and warn, Here none are hurt, and all may learn." That ear which has been too much cultivated, will be more delighted with the chromatic part of the succeeding pages, than the diatonic; but I hope that no sophistical argument, or astonishing musical difficulty will either confound the understanding, or vitiate the ear of Nature's musician, so as to allure him from captivating simpli eity, for I here subjoin a divine composition, as an example, to prove that a few simple notes, properly put together, are capable of express ing the utmost sublimity.' Here two admirable compositions of sacred music, in four parts, are inserted, with an organ part figured. These two movements are at once simple, solemn, and sublime; and their effects are produced by a very few notes, judiciously and feelingly arranged. Part II. begins by a notation of chromatic and enharmonic intervals-Difference between a major and minor semitoneThe 4th made a discord by the 5th (the index says, erroneously, that the 5th is made a discord by the 4th'-a Welshman would exclaim, "what! are there two teths, naam o Cot!") Passages for different instruments, drawn from the harmony of the scales, are admirably calculated for the purpose of teaching thorough-bass to treble instruments: the lowest note of each group, which is the bass, being figured, plainly shews the foundation on which the other notes are built. The minor scale is treated in a similar manner in plain chords, written at full length over a figured bass; as was constantly done by Lampe, if we remember rightly, in his Treatise on Thorough Bass, published about 60 years ago. Table Table of common-chords taken three several ways to their fundamental and supposed basses-Modulation by 3ds major and minor, alternately, p. 43. through all the 24 keys, the bass giving its derivatives, and the chord remaining still. P. 44. The 7th treated in the same manner, the bass moving to the 3d, 5th, and 7th, while the chord is sustained. Then the chord moving and the bass stationary. P. 45. Minor 7ths with minor 3ds to a moving bass, broken into the several notes of its harmony. The same combination taken four several ways in the treble, to the fundamental bass sustained, modulating through all the keys. P. 46. Common chords to bass notes which fall a 5th and rise a 4th alternately. The same to bass notes which rise a 5th and fall a 4th.-Chromatic modulation to the same kind of bass, by the chord of the 7th.-Another chromatic descent both by the treble and bass; in which the first note of bar, is accompanied by the extreme, sharp 4th, and succeeded by the chord of the imperfeet 5th. This example is extremely ingenious, and new. every Lesson of chords major and minor interwoven, for the violin, flute, &c. &c. We are now arrived at what the author calls his Repertory of chords and cadences, arranged in arithmetical order, from the unison to the 13th; prefaced by a just eulogium on Dr. Pepusch's Treatise on Harmony. 1, or the unison, explained. Laws for the unison moving to 3ds. 2ds. In two parts. ferent instruments in 5 3 Chord of the 2. Short strains for difillustration of the figures used in accom paniments. Dots and double dots explained. Chords of the 6 4 major and minor 2. Fragments of harmony. 3ds. Their several uses and combinations. An excellent passage given from a celebrated opera trio; but it would have been much more sightly, if the tenor part had been put in the tenor clef. If sung by a 3d soprano, as engraved, it would cross and disturb the other two parts. Farther on (at p. 71.) we find that Mr. S. himself censures the change of original elefs in which the parts of a composition are written.-Two fragments in 3ds from Handel, and rapid 3ds executed in Westminster Abbey. 4th. Single-with a bass-how prepared and resolved. Beautiful fragment from Pergolesi's Stabat mater, in illustration of the use of the 4th. 5th. Its use in melody and harmony. False 5th the nearest (equal) division of the octave on keyed-instruments. Prohibited use of perfect 5ths. Accompanied recitative (p. 73.) to Shakspeare's "briefe, pleasaunt, pithy, and effectual method of teaching the Gamut :" an ingenious musical pleasantry, worthy of the words-Use of the sharp 5 and 6 A fine fragment 5 from Handel, to exemplify the 5th followed by the 6th. 6 6th. Its uses in melody and harmony-, in which the 5th, being made a discord by the 6th, must be prepared and resolved. In treating of the 6 the author has made no mention of this combination to the 4th of the key, preceding 5' a close; in which, according to Rameau (who seems perfectly right) the 6th should be regarded as the discord, and resolved 665 upwards, 5 4 3 8 This he calls le double emploi, the double FgGC 6 use of the 5. 7th. Its chord broken into melody. How prepared and resolved. Well selected passages. The chord of the extreme flat 7th is called by Rousseau, as properly as any chord can now have that name, the enharmonic chord. All the equivocal chords, and imaginary enharmonic quarter-tones, are derived from that chord. 9th. In seven different combinations, p. 80. Curious fragments from various composers, to exhibit their treatment of this discord. Recapitulation of all the rules in figured scales: an excellent plate, which may well be styled Guida armonica. treatise, socalled, containsnot a greater variety of combinations. Geminiani's Part III.-This last part will be found peculiarly interesting to harmonists who are far advanced in the musical science, by the great number of curious, learned, and beautiful compositions, with which Mr. S. has enriched his work, and (we may say) his subscribers. Indeed the quotations, if purchased separately, without the letter-press, would amount to more than the price of the whole work. Mr. S. frequently inserts poetical passages, to amuse and chear the laborious student in the thorny path which he has to travel, in search of science. P. 84. Simple accompaniments recommended to simple airs, in the manner of Purcell's "Come unto these yellow sands." 85. "5 85. on Recitative, with quotations from one of Mr. Brown's excellent letters on the dramatic music of Italy. 87. A fine piece of recitative, a tempo, in curious modulation, and with a very learned accompaniment, by Jomelli, if we mistake not. P. 88. Another Scena, still more studied and elaborate. Of Cantabile, vocal and instrumental; with beautiful fragments, chiefly from Haydn. On accompaniment of bravura, with examples. An excellent Duet, in which the objection to the performers singing different words at the same time is obviated. Ingenious imitations in four parts, moving in 3ds. Conrade the good, a charming elegiac air for three voices, judiciously accompanied, by three tenors and a violoncello. If this terzetto was set in Italy by an Italian, where did he obtain the English words? and by whom, it may be asked, was he instructed how to place the accents so properly? At p. 95. we have instructions for writing French-Horn parts; and on the next page, where both horns and clarinets are employed, in accompanying a Quartetto or glee, the author's information concerning those instruments will be very useful to young composers, as well as young players from a score. P. 98. A Divertimento for three equal voices, accompanied by four horns; 2 in C, and 2 in F, ending con strepito, with the whole band in full chorus. An air in the Beggar's Opera, elaborately accompanied in 12 parts, in the style of an aria di cantabile in a serious opera; which, by a change in the measure, and a few of the notes, it more resembles, than our very antient tune of "the babes in the wood." Two pleasing English airs. Divisions for practice on several instruments. P. 107. On Modulation, with short modulations for the violin. On the free Capriccio; for which some good counsel is given from a German author. The interesting subject of modulation continued in Traits of modulation for short preludes ;-chromatic chords for the harp as well as piano forte; -and on p. 111. are given 27 modulations from the keys of C and A natural, not only into relative, but the most remote keys in the musical system. P. 112. An elaborate prelude for the piano forte: followed by Arpeggios for the exercise of the hand on the same instrument. Prelude by Sebastian Bach, made for his son, the admirable Carl. Phil. Eman. Bach. P. 116. A much admired cadence, composed (we believe) by Fischer, in his brightest days of composition and performance, for a favourite Quartetto Concertante of Christian Bach; in which Cramer, Fischer, Mr. Shield himself, and Crosdil, had the solo parts. Its effect will never be forgotten by those who were so happy as to hear it. The The Swiss tune, called the Rans de Vaches, is here given in two different ways, with judicious reflections. A Foul Copy, in fac simile, of Dr. Arne's "Soldier tried with War's Alarms;" with remarks-Divisions in triplets-Chord of the diminished or extreme flat 7th, the source of equivocal chords, or modern enharmonic transposed. Unexpected transitions for the violoncello and violaExercise, containing abrupt modulations for the violin or tenor-Musical short-hand, or symbols of iteration. As semibreves, minims, and crotchets, are often divided into smaller proportions, the reader should have been informed, by figures over them, as well as by the following means: O, 8 quavers; 16 semiquavers. 4 quavers, , 8 semi quavers,,, 4 scmiquavers, &c. Our musical readers will now perceive that the materials of this work are excellent; selected with good taste, and explained and commented with science and clearness. Arrangement may, perhaps, seem wanting: but the component parts are so miscellaneous, and of such general use, that we do not clearly see how they could be better methodized. The author has given an ample index, page by page; or rather a table of contents (as index implies alphabetic arrangement) which will enable the reader to find any rule, or composition, to which he may wish to turn. With respect to the most material rules for the use of intervals, whether concords or discords, in conjunction, a very commodious method has been adopted by the author, in pursuing all the figures used in thorough-bass, from the unison to the 9th, in numerical order; and by a running title at the top of each page of the Repertory; where any one of the integers and its combinations may be found as soon as a word in a Dictionary; beginning at p. 48, and continuing to 81. Within these pages are contained the principal rules of thorough bass and composition, as far as harmony is concerned; which is all that is promised in the title-page. The rest of the work, from p. 82 to the end, will be found replete with curious specimens of composition, and the remarks of an experienced and able professor; who not only tastes and respects the productions of others, but has himself much contributed to the entertainment of the public by his own performance and compositions. He must therefore be allowed to be well-qualified for the work which he has undertaken, both as an author and a critic; and higher authority than ours has long since said, "Let those teach others who themselves excel, 15 ART. |