' *• ■ - • H3ïf (Ea ! *••• JT l .-■■? "JuIC" M ». ■ • : 3«o P« îlQE Kl F¥ar*W; < .' - 36* .-•- fttJf—AK v* ->' V* THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA V780.3 G769m Music Library This book must not be taken from the Library building. OCT 1 3 w66 T> Mufical Dictionary. B E I N G A COLLECTION 4 OF TERMS and CHARACTERS, ? As well Ancient as Modern* INCLUDING THE ■ Hiftoricat, Theoretical, and praftical Parti OF MUSI G r - • rS .5x^0/? Navies are hereunto Juhjcribed^ do approve the following Sheets* containing a Mufical Di&ionary, and recommend them as very ufeful y and worthy the ferufal of all hovers of Mufick.\ ? - . . - ! , C. Pepufch, ^ ^, J. "E. Galliard. At ' 4 . ■ ■ r~ W Musical Dictionary; B E I N G A COL LE CTIO N O F TERMS and CHARACTERS, As well Ancie nt as Mode rn ; INCLUDING THE Hiflorical, Theoretical, and Practical Parti MUSIC: As alfo, an Explanation of fome Parts of the Doctrine of the Antients ; INTERSPERSED WITH Remarks on their Method and Practice, and curious Obfervations on the Phenomena of SOUND Mathematically confidered, As it's Relations and Proportions conftitute Intervals^ And thofe again Concords and Discords. The whole carefully abftracted from the beft Authors in the Greek, Latin, Italian, French, and Englijh Languages. By J AMES GRASS 1NE AU, Gent. Ultra vires opus ! LONDON: Printed for J. W i l c o x , at Virgil's Head- oppofite the Aiw Church in the Strand. 174c. TO HER ROYAL HIGHNESS THE Princess AMELIA, M AD A M, APPY am I in being allowed the Honour of prefixing your high Name r ., to the following Pages; and (till happier fhould I be, if the Performance was, in any Degree, worthy the Protection of fo great a Perfonage ; mean vi The Dedication. as it is, I hope it might yield ibme little Amufement at a va- cant hour ; and what your Royal Highnefs cannot, in Judg- ment, approve, I doubt not, but you will, in Candor, excufe. To the natural Advantages of a fine Perfon and excellent Un- derftanding, your Royal High- nefs has not only added a fuperior Knowledge of Mufic, but every other Accompliihment of Educa- tion, that might become your high Rank or Birth: but in nothing are you more illuftrious than in your own great and good Qualities, which appear in too confpicuous a Light, to be unob- ferved by any who have the Ho- nour of knowing the Court of Great Britain Such a Dignity of Behaviour, joined with fo much The Dedication, v much Sweetnefs of Temper, at once commands the Refpeét, and engages the Affection, of every one that approaches you. But I muft take care I do not leffen what I fhould in vain attempt to defcribe ; Your Royal Highnefs's Character being a Theme that deferves, and might well employ the raoft eloquent Pen. I fhall always have the Ambi- bition of being, (May it plea fe your Royal Highnefsj Tour Royal Highnefs's Moft dutiful, moft obhg'd, And moft humble Servant, James Graffineau. [ix] THE PREFACE- T natural inclination to mufic prompted me, in the very dawn of youth , to ap- ply myfelf to that ftudy. I foon ob- ferv*d and JbewaiPd the fcarcity of books on that noble fcience in my na- tive tongue. 'The neceffity of every ftudenfs being acquainted wiith the rudiment s i and familiar with the terms of the art he pro- fejfes, is a truth I was immediately convinced of% but yet I could find no treat if e extant I could fly to for help. Upon this I turn' d my thoughts upon drawing up the fol» lowing fheets for my own private ufe, which I have now publifh d on a prefumption, that they might be of fome little fervice to others. "The reader will here find the terms of this extenfiue art 9 and their definitions drawn into as narrow a compafs as con- veniently might be ; whereby he will be fav'd the trouble of reading a great number of 'volumes , which he muft otherwife have unavoidably done, before he could arrive at a tolerable knowledge either of the theory or prafiice of mttfic. x The P R E F A C E. T prefer* d the method this work is drawn up in, before! all others , as it is afafhionable way of writing : For 'tis cbfervable, that there are at prefent dictionaries of almofi every ar>- % why then not of miific ? And indeed I thought the celebrated French author, Mr BrorTaxd, worthy imi- tation in this, as well as other refpecls: for I muft ingenu- oufly acknowledge myfelf to be much indebted to that lear- ned gentleman for many materials of this work. The following attempt will, I conceive, render fome of the pafjages of the ancients intelligible to every Engliih reader ; whereby many may inform themj elves of things which would otherwife have keen out of their reach, Jince every one has not the lei fur e or opportunity of learning, in a competent degree, the language of the ancieffîs , and the fervice might be the greater, as 'tis impoffible to obtain a true knowledge of mfic {or perhaps any other art) without their affjlance. This is a hint that I wijh one day to fee perfued by a far abler pen, by whofe fuperior fkill, we may hope to recover, what wê have all imaginable reafon to be- lieve is now loft -, I mean the beauties as well as niceties of the ancient Greek mufic, by means of which fuch mira- culous effecls (if we will credit, hiftory) have been 'prcduc'd. Whofcever will allow kimfelf time to look into the works ef Ariftoxenus and other ancient Greek writers {which I have been obliged occaficnally to confult in theprogrefs of this %vork)willfoon be convin' d,that the ancient mufic of Greece excell'd the modern of Italy ; And indeed 'tis as plain that we are ignorant of the method in ufe among them, as 'tis thai Qufs is very different from i and falls far fhcrt of it. In the dark times of ignorance and fupefftition, Tftufic^ no doubt, fuffcr'd in the common wreck, as well as other hr anches of literature : This we may reafonably cotlecl from Athéniens, who cites a fourth book of Ariftcxenus^ whereas wè have but three imperfecl oHes of that author remaining to our days. Hence we may conclude, that other Treatifes had probably the fame \ or a worfe fate, viz. that ■■'■ •' • tf The F RE F A C & \x ef being totally deftroyed -, which? had they efcap*d, might have been of fmgular ufe to us now, in clearing up many infuperable difficulties and perplexities. About the eleventh century? one Guido Aretine began to revive this art , 'tis from him we derive what is ternfd the modem mvfic, but his manner is widely different from that of the Grecians. He brought into one fyftem Hvo of this ancient genera, viz. the diatonic and chromatic \ but theft not without fome alteration? and omitted the enharmonic* by reafon of the minutenefs of it's intervals. In the year 3330, or 1333, Jean de Mûris, a Do fier at Paris, in- vented notes of different lengths, which 'till then were all cf equal value as to time. The next alteration was the addition of a feventh jy liable fi, to the fix, ut re mi fa fol la, which Guido ufed. The French Mujicians will have it to be of great fervice, but 'tis rejected by tnoft other nations -, yet as in this work I have followed a French author in many points , in the ufe cf this Jy liable I have likewife often imitated him. True it is? we have confiderably improv'don the ingenious Gmào' s foundation* as is apparent from the many excellent treatifes extant p 'which redound greatly to the honour of the moderns. I have judg'd it neeffary to introduce many Italian terms andphrafes in the following book, becaufe, as marry çf our compofers and performers are of that country, we of ten meet with them in mufical compofitions, which how- ever, for thefêrvice of my Engliih reader ', are explain'! in the moft obvious manner, I can't here but acknowledge, with the higheft fenfe of gratitude, the obligations I have to one in whom our nation may boaft the poffeftion of the greateft mafter? and the fikyice it's greateft ornament; one? who fe candor and benevo- lence to me, have been equal to his judgment and penetra- tion in the art he profeffes. Led by no confiderations of friend/hip, or profpetl of inter eft, but mov'd by a pure ge- nerous regard for the improvement cf mvfic, and enter- tainment of every fiMere lover cf it^ he gave me his ad- vice^ xiï The P R E F A C E. *vicê y and m many infiances, his kind afjifiance i in the mofi engaging manner, thro* the whole courfe of this work. Indeed 'tis chiefly owing to this great mafter*s perfuafiou and favourable approbation, that it now appears in this publick manner, I will offer m farther excufe for it; if it he of ufe+ it wants none*, if not, the reader will judge of it* and none, I fear, will be admitted* A to Mufical Di&ionary. AC C AMajufculem thorough bafTes, marks the Alto ox Haut Conrte. See Haut Contre, and Contra Tenor. A Battuta. See Battuta. A Bene placito, at pleafure. ACCENT, a certain modulation, or warbling of the founds, to exprefs the paffions, either naturally by the voice, or artificially by instruments. Every bar or meafure is divided into accented and unaccen- ted parts ; the accented are the principal ; being thofe chiefly intended to move and arFecl: : 'tis on thefe the fpirit of mufis depends. See Bar and Music. The beginning and the middle, or the beginning of the firft half of the bar, and the beginning of the latter 'half thereof in common time, and the beginning, or firft of three notes in triple time, are always the accented parts of the meafure. See Time and Triple. Again, in common time the firft and third crotchet of the bar, are on the accented part of the meafure. In triple time, where notes go always by three and three, that which is in the middle of every three is unaccented, the firft and laft ac- cented ; but the accent of the firft is fo much ftronger, that jn many cafes the laft is accounted as if it had no accent. See Composition. This accented and unaccented part of a meafure anfwers to what the Italians call tempo buono and catlvo. See Buono and Cativo. The harmony is always to be full, and void of difcords in the accented parts of the meafure : by difcords we mean difcords in conjoint degrees, which are commonly called paf- fing notes ; for difcords by proper preparation and refojution are abfolutely neceffary, and muft be ufed therein. See Har- mony. In the unaccented parts this is not fo neceffary, dif- B cords 2 A CU cords by conjoint degrees there paffing without any great of* fence to the ear. See Discord and Counterpoint. ACCENTOR, one of three fingers in parts, or the perfon that fings the predominant part in a Trio. See Trio. ACCORD, is more ufually called Concord, which fee* ITht word is French , formed, according to fome, from the Latin, ad, and cor ; but others, with more probability, de- rive it from the French chorde, a firing or chord, on account of the agreeable union of the founds of two firings ftruck at at the fame time. SeeCHORD. Whence alfo fome of the confonances in mufic come to be called Tetrachords, Hexachords, Ê&r. which are fourths and fixths. See Tetra chord and Hex a chord, or Fourth and Sixth. Mr Carre, in the Memoirs of the Royal Academy of Sci- ences, lays down a new general proportion of the proporti- ons which two Cylinders are to have in order to form the accords or confonances in. mufic. And 'tis this, that the folid Cylinders, whofe founds yield thofe accords, are in a triplicate and inverfed ratio of that of the numbers, which exprefs the fame accords. Suppofe, for example, two Cylinders, the diameter of whofe bafles and lengths are as 3 : 2, 'tis evident the folidities will be in the ratio of 27 : 8, which is the triplicate ratio of 3 : 2, we fay that the founds of thefe two Cylinders will produce a fifth, which is exprefTed by thofe numbers, and that the big- geii and longeft will yield the grave found, and the fmalleft the acute one ; and the like of all others. See Sound, Gravity and Acuteness.- ACCRESSIMENTO, fignrfies augmentation, zspunto d* accrefimento, point of augmentation. See Punto and Note. ACU T E, is underftocd of a found or tone which is fhrill or high in refpecl: of fome other. See Sound. In this fenfe the word Hands oppofed to grave. See Grave. Sounds confidered as acute and grave, i. e. in relation of gravity and acutenefs, constitute what we call tune, the foun- dation of all harmony. See Con cord and Harmony.. ACUTEN ESS, that which conflitutes and denominates a found acute. See Acute. There is no fuch thing as acutenefs and gravity abfolutely ïq called, they are only relations ; fo that the fame founds may be either acute or .grave, according to that other found «hey refer to, or are compared with. See Relation. The degrees of gravity and acutenefs make fo many tunes or tones of a voice or found. See To N e, Tu ne, Voi c e ,. and Sound, AD AGI 3 ALL 3 AD A GIO, Adag°, or Ad°, is one of the words ufed by the Italians' to denote a' certain degree or difHn&'ion of time. See Time. The Adagio expreflès a (low time, floweft of any except grave. See Grave. The triples f, |-, are ordinarily Adagio. See Triple. AD LIBITUM, a term purely Lathi, ufed very often inftead of the Italian term, ft piace, if you pieafe. See Si PlACE. A D QU I S I T A, is the Latin term for the Proflamband- menos of the ancient fyftem, or the iaft note added thereto. See Prosl amb anomenos and System. A DUE, of Do i, a Tre, a Quarto, &c. figni- fîies for two, for three, or four r &c parts-. See Obligato. AEQUISUONI. See Suoni and Unison. AEQIJIVAGANS. See Syncope. AFFETTO, or Affetuoso, that kind of mufic which mufl be performed in a very tender, moving and af- fecting manner ; and for that reafon, rather flow than faft. A G O G A, or Agogi. SeeUsus. ALA MI-RE, the name of one of the notes îh the modern fcale. See Scale and Gamut. ALLABREVE, the name of a movement, whofe bars conilft of two femi-breves, or four minims, cjfV. ALLAZOPPA. SeeZoppA. ALLEGRETTO, a diminutive of Allegro, which therefore means pretty quick, but not fo quick as Allegro. See A l L E G R o . ALLEGRO, is ufed to fignify that the mufic ought to be performed in a brisk, live]}', gay and pleafant manner, yet without hurry and precipitation, and quicker than any except P refto. See Presto. The ufoal fix diftin&ions fucceed each other in the follow- ing order, Grave, Adagio, Largo, Vivace,- Allegro, and Preffc). See each in it's place. It is to be obferved, the movements of the fame name as Adagio, or Allegro, are fwlfter in triple than in common time ; the triple ? is Adagio, Allegro or Vivace ; the triples ? ° v *~ are' moft commonlv Allegro. See Triple. If preceded by Poco, it weakens the ârength of it's lignifi- cation, intimating that the mufic mufl not be performed quite fo brisk and lively as Allégro would require if it flood alone. . If .Allegro be preceded by Pin, it adds to the ftrength of it's lignification, requiring the mufic to be performed brisker and gayer than Allegro alone intimated. Allegro uJIUgro, iignify much the fame as Piu Allegro. ]i 2 AiLEGR 4 AND Allegro ma nonprejîê, brisk and lively, but not too haftily. •ALLEMAND, a fort of grave and folemn mufic, whofe rneafure is full and moving. ALL ROVERSCIO, Alla Breve, Alla Di- ritta, Alla Zoppa. See Roverscio, Diritta ZOPPA, &C. A L M A I N, a fort of air that moves in common time. A L M A N D A, a certain air or tune where the rneafure is in common time, and movemeut flow. A LT, is a term applied to the high notes in the fcale. The word is formed of the Latin Alt us. See Scale and Diagram. ALTERA ^/f/. SeeSEsojJi. See alfo Propor- tion and Triple. ALTERATI SUONI. See Suono. ALTERNATIVEMENTO, denotes to play or flng two airs or fongs the one after the other, or rather the different parts of the fame fong alternately. A L T I S T A, the perfon who fmgs the Haut Contre is thus called. a t T-rA Ç Viola, afmall Viol. -> * Tr , A L T °> 1 ViolL, a fmall Violin. } See Vlot and VlOLETTA. Alto Concertante, is the tenor of the little chorus which fings or plays throughout the piece. Alto Ripieno, the tenor of the great chorus which fings or plays only now and then in fome-particular places. ALTRO, is an Italian adjeclive, fignifying other, as una altera volta — play it over again ; in altre modo — in another manner. See Manner. A L T U S, intimates that the mufic is the upper or coun- ter tenor, and is common in mufic for many voices. AMBITUS. See Modo. AMBROSIAN Chant, thus called from St Amhrofe, Archbilhop of Milan, who compofed it for the fervice of that church in the fourth century, it was diftinguifhed from the Roman Chant in that it was flronger and higher. See Chant. ANACAMPTOS, a term made ufe of by Martianus Capella, to fignify what is otherwife called Duclus revertens, ©r m Italian, Co?iducimento ritorna?tte.' See Ductus. ANDANTE, from the verb Andare, to go, fignifles cfpecially in thorough bafles, that the notes are to be played diftm&ly. ANIMA, ARC 5 ANIMA, or An IMA to, fignifies much the fame as Allegro, with life, briskly. See Allegro. A N T H E M, a church fong, performed in cathedral and other fervice, by the chorifters, divided for that purpofe into two choruffes, who fing alternately. Sec Chorus and Song. The word at fir ft was ufed both for pfalms and hymns when thus performed. See Psalm and Hymn. St Ignatius is by Socrates reprefented as the author of this way of finging among the Greeks ; and among the Latins St Ambrofe. ïheedoret attributes it to Diodorus and Flavian. Amalarius Fortunatus has wrote exprefsly of the order of anthems, de antiphonarum ordine. At prefent the term is ufed in a fomewhat narrower fenie, being applied to certain paffages taken out of the pfalms, &c. and accommodated to the particular folemnity in hand, ANTIFONI Suoni. See Suono. ANTIPHONA, ananthem. SeeTouNo. ANT I QUE Mufic. See Music. A P OTO M E, is the remaining part of an entire tone after a greater femi-tone has been taken from it. See Tone and Semi-tone. The proportion in numbers of the Apotome is 2048 : 2187. The Greeks thought that the greater tone could not be di- vided into two equal parts, for which reafon they called the firft part Apoton, and the other Limma or Lemma, in this imitating Pythagoras and Plato. The word is derived from the Greek àmoleui* — abfcindo— I cut off. APOGIATURA, is when in any part of a fong there are two notes that are fome di fiance from one another, as a third or fifth ; and in playing fuch paffage the Mufician puts in fmall intermediate notes afcending' or defcending, as thus f mm APYCNOS, is faid of the diatonic genus, from it's being plain and eafy, that is, not crouded with minute divi- lions, but having great or fpacious intervals in comparifon with the chromatic and enharmonic. See each under it's proper article, fee alfo Suoni. A P I C N I Suoni, are founds diftant one or more octaves, and yet concord, the Suoni Apycnoi of the Grecian fcale were Projlambanomenos, Nete Synemmenon and Nete Hyperbolton. A R C H I Leuto, an arch or very large and long Lute^&nà but little different from the Theorba Lute j ufed by the Ita~ laws 6 AUT liam for playing thorough bafs. See Lute and The- orbo. ARCO, a Bow or Fiddle Stick. Strcmenti a" Arco — in- ffyruments played with a Bow. ARE or Alamire. See, Alamire.. ARÎA, a fong, air or tune. See Song andTuNE. ARIETTA, a little fhort fong, a fonnet or catch. See Sonnet. A R I O S A or Ariofe y in the movement of a common long or tune. ARITHMETICA Divifione. SccHarmonical. ARSIS and The/îs, are Greek terms ufed in composition; as when a point is inverted or turned, 'tis faid to move per Arfin and The/in, L e. when a point rifes in one part and falls in another, or falls in one part and rifes in another, whence is produced an agreeable variety, though properly fpeakinpv 'tis alfo the rife and fall of the hand in beating the time. See Per Arsis. ASS A I, is an Italian adverb of quantity, which is often joined to the words Allegro, Adagio, Prefto, &c. and fignifies as fome pretend, much, and according to others that the mea- sure and motions of the piece be kept in a middle degree of quicknefs or flownefs ; quick or flow enough, but not too much of either. See Allegro. ASSAYING, is a flourifhing before one begins to play, to try if the infiniment be in tune ; or to run divifions to lead one into the piece before us. A T E M P O giuftQy fignifies to fing or play in an equal, true and juft time. See Time. AT TO, an act, as of a play, opera, &c. At to di Cadenza, is a certain difpofition of the founds or notes, which not only makes a cadence in one part, but directs and points out in others. As when the bafs rifes a fourth or falls a fifth, this motion is really a cadence, and at the ffame time is a fign that the other parts thereupon perform their proper cadences. See Cadence. AUTHENTIC O, Authentic chofen or approved: This term is applied by the Italians to four of the church modes or tones in mufic, which rife a fourth above their do- minants, which are always fifths above their finals, i. e. rife to compleat their octaves, in this diftinguifhed from the pla- gal modes, which fall a fourth below their finals. See Tone and Mode. See alfo Harmonic a Divisione. But if we reckon the mufical modes, which Glarean, Zarlin, and other eminent modern writers make twelve, there wjjl be fix authentic, and fix plagal. See Tuono, BAR < J B. *t> Signifies Bafs or Baflb. Bass and Basso. **^î B Ç, denote Baflb continuo, which fee. BAG- PIPE, a mufical inftrument of the wind kind, chiefly ufed in country places. It conflfts of two parts: The firft is a leather bag which is blown like a foot-ball by means of a porvent, or little tube fixed to it, and flopped by a valve. The other part confifts of three pipes or flutes, the firft is cal- led the great pipe or drone, the fécond [the little one, which pafles the wind out only at bottom, and the third has a tongue and played by compreffing the bag under the arm when fufi, and opening and flopping the holes, which are eight, with the fingers. The little pipe is ordinarily a foot long ; that played on, thirteen inches ; and the porvent, fix. — This inftrument takes in the compafs of three octaves, B ALETTO, is what we call a Balet, a fort of danc£, the air whereof begins with a quaver, the hand rifing ; it has two ftrains of four or eight bars each, and is beat in two or four times quick. Among the French the word Balet has another fignification, for 'tis by them ufed for a fucceflion of airs, in all forts of movements whether brisk or flow, with which the dances agree, and are carried on as the ftrains or motions differ. BANDORA, a kind of ancient mufical inftrument with firings refembling a Lute. BAR, a ftroke drawn perpendicularly a-crofs the lines of a piece of mufic, including between each two, a certain* quantity or meafure of time, which is various as the time of the mufic is either triple or common. In common time, between each two bars is included the meafure of four crotchets ; in triple, three. The principal ufe of thefe bars is to regulate the beating or meafuring of time in a concert- See Time and Measure. BARDONE, as Violadi Bar dont. See V i o la . BARIPICNI, or Suoni Baripknl, fignify in general any low, grave or deep found. See Sound and Su on o. But in particular the loweft of any three notes that are to one another A to B flat, and B natural is thus called, the next Mefopicnl, and the higheft Oxipicni, which fee. BARITONQ, called by the French, Bajfe Taille, or Concordant, i. e. that goes high and low ; thofe that can fing thus may ferve either as tenor or bafs upon occafion. See Tenor and Bass, 8 B A S BASS, that part of a concert which is moft heard, which confifts of the graven 1 and deepeft founds, and which is played on the largeft pipes or firings of a common inftrument, as of an Organ, Lute, or on inftruments larger than ordinary for that purpofe, as Bafs Viols, Baflbons, Bafs-hautboys, &fY. See each under it's proper Article. Muficians hold the Bafs to be the principal part of the con- cert, and the foundation of compofition ', though fome will have the Treble the chief part, which others only make an ornament. Counter Bass, is a fécond or double Bafs, where there are Several in the fame concert. , Thorough Bass, is the harmony made by the Bafs Viols or Theorbos continuing to play both while the voices fing, and the other inftruments perform their parts, and alfo filling up the intervals when any of the other parts ftop. M. Broffard obferves the Thorough Bafs to be part of the modern mufic, firft invented in the year 1600, by an Italian named Ludcvicus Viadana. 'Tis played by cyphers marked over the notes on the Organ, Spinet, Harpfichord, Theorbo, Harp, &c. and frequently fimply, and without cyphers on the Bafs Viol, BafToon, &f. this is often fignified by the letters, B C. B a s so Recitante. See Co ncertante. Basso Ripiéno, the Bafs of the grand chorus that fings or plays now ^and then in fome particular places, generally only during the chorus. Basso Viola, a Bafs Viol. See BassViolin; Basso Violino, a fin all Bafs Viol or Violin. BASSOON, a mufical inftrument of the wind kind, ferving as a bafs in concerts of wii\d mufic, as of Flutes^ Haut boy S) BEL 9 Hautboys, &c. To make it portable it is divided into two parts. Its djameter at bottom was formerly nine inches, at prefent'tis but four at moft, and it's holes are flopped with keys, &c. like large Flutes. It ferves as Bafs to the Hautboy. Î5 A S S Violin, a mulical infiniment of the fame form with the Violin, except that 'tis much larger. 'Tis ftruck like that with a Bow, has four firings and eight flops, divided into half notes, or femitones. The found it yields is much more grave, fweet and ageeable than that of the Violin, and of much better effect in a concert. See Violin. B A T T U T A, the motion of beating with the hand or foot, in directing the time. See Time. The Italians ufe the phrafe A Tempo Giufto, after a récita-* tive, to fhow that the meafure is to be beat true and jufl$ which during that recitative was conducted irregularly to fa- vour fome action, or to exprefs fome paflion, &c. BELL, a machine ranked by Muficians in the number of inflruments of percuffion. The Bell hath three parts, the body or barrel, the clapper within fide, and the ear or canon, whereby 'tis hung to a large beam of wood. It is made of a Compound, metal of twenty pounds of pewter to an hundred of copper, called Bell-metal. The thicknefs of it's edges is ufually T \ of the diameter, and it*s height twelve times it's thicknefs. The Bell-founders have a Diapafon or Bell-fcale, wherewith they meafure the fize, thicknefs, weight and tone of their Bells. The ufe of Belk is fummed up in thefe two lines a Laudo Deum vorum, plebem voco, congrego clerum Defunclos phro, pejlem fugo, fejla decora. The firil Bells are faid to have been made at Nola m Campania, whereof St Paulinus was Bifhop ; it is affured at lead that they were firfl brought into the church by him; and hence 'tis added they had their Latin names Nola and Campana ; but others fay they take thefe names, not be- caufe invented in Campania^ but becaufe the manner of hang- ing and balancing them as ufed at prefent, Was firfl practiced there ; or at leafl they' were, hung on the model of a fort of balance invented in Campania. For in the Latin writers we flnd Campana Jlaiera for a fleelyard, and the Greek yéftorMÇetf* for ponder -are — to weigh. The invention of church Bells is by Poly dure Virgil -at- cribed to Pcpe Sabinian^ St Gregory's fucceffor, but by mif* take, for there is mention made of Bells by St "Jerome co- temporary with Paulinus. In effect Pope Sabinian did not invent Bells, but was the firft who appointed the cennonical hours Ûiould be diftinguifhed by them, Ç We ïo BEL We find Bells mentioned by Ovid, Tibullus, Martial, Sta- tins, Manlius, and the Greek authors, under the names of Tintinnabula, and founding brafs. Suetonius, Dion, Strabo, Polybius, Jofepbus, and others, mention them under the ap- pellation of Petafus, tiniinnabulum, œramentum, crotalum, fig- num, Sec. but thefe appear to have been no more than bau- bles, and little like thofe huge Bells among us. Hieronymus Magius, who has wrote a treatife exprefs upon Bells, (wrote when in chains in Turkey, and which is very- remarkable purely from his memory, without the afliftance of any books) makes large Bells a modern invention. In- deed we don't hear" of any before the fixth century. In 610 we are told that Lupus Bifhop of Orleans being at Sens, then befleged by the army of Clotharius, frighted away the be- fiegers by ringing the Bells of St Stephen's. The firft large Bells in England were mentioned by Bede towards the latter end of that century. They feem to have been pretty common in the year 816. The Greeks are ufually thought to have been unacquainted with them 'till the ninth century, when their conflruclion was taught them by a Venetian. Indeed it is not true that the ufe of Bells was intirely unknown in the ancient eaflern churches, and that they called the people together as at prefent with wooden mal- lets. Leo Alatius in his differtations on the Greek temples, proves the contrary from feveral ancient writers. It is his opinion that Bells firft began to be difufed among them after the taking of Confiantinople by the Turks, who it feems pro- hibited them, leaft their found mould difturb the repofe of fouls, which, according to them, wander in the air. He adds, that they ftill retain' d the ufe of Bells in places remote from any intercourfe with the Turks, particularly very an- cient ones in mount Athos. F. Simon thinks the Turks rather prohibited the Chriflians the ufe of Bells out of political than religious reafons, in- afmuch as the ringing of Bells might ferve as a fignal for the execution of revolts, &c. * f 1 he City of Bourdeaux was deprived of all it's Bells for re- bellion ; and when it was offered to have them rellored, the people refufed it, after having tailed the eafe and con- venience of being freed from the confiant din and jangling of Bells. Matthew Paris obferves, that anciently the ufe of Bells was forbid in time of mourning, though at prefent they make one of it's principle ceremonies. Mabilkn adds that it was an ancient cuftom to ring Bells for perfons about to expire, BEL ir • ■ expire, to advertife the people to pray for them ; whence are derived our Paffing Bells. Lobineau obferyes, that the cufiom of ringing Bells at the approach of thunder is of fome antiquity; but that the de- fign was not fo much to fhake the air and fo difnpate the thunder, as to call the people to church to pray that the parifh might be preferved from that terrible meteor. The cuftom of chriftening and blefling of Bells is very an- cient; fome fay 'twas introduced by Pope John XIII. in 972, but it is evidently of an older ftanding, there being an ex- prefs prohibition of the practice in a Capitular of Charlemain in 789. Alcu'tn fays it was eftablifhed before the eighth century ; fo that what has been faid of Pope John XIII. is only to be underftood of an order of that Pope for re- ftoring the practice which had been difufed. Nankin, a city of China, was anciently famous for the largenefs of it's Bells; but their enormous weight having brought down the tower, the whole building fell to ruin, and the Bells have ever fince lain on the Ground. One of thofe Bells is near 12 Englijh feet high, the diameter yi y and it's circumference 23 ; it's figure is alraoft cylindric, and the thicknefs of the metal about it's edges 7 inches ; from the demenfions of this Bell it's weight is computed 50,000 pounds, which is more than double the weight of that at Erfort, faid by F. Kercher to be the largeft Bell in the world. Thefe Bells were caft by the firft Emperor of the preceeding Dynafty, about 300 years ago. They have each their name, the Hanger Tchoui, the Eater Che, the Sleeper Choui. Father Le Comte adds, that there are feven other Bells in Pekin, caft in the reign of Toulo\ each of which weighs 12,000 pounds, but the found even of their biggeft Bells is very poor, being flruck with a wooden inftead of an iron clapper. The Egyptians had none but wooden Bells, except one brought by the Franks into the monaftery of St Anthony. The found of the Bell arifes from the vibratory motion of it's parts, much like that of a mufical chord. The ftroke of the clapper it is evident muft change the figure of the Bell, and of round make it oval ; but the metal having a great degree of elafticity, that part which the ilroke drove far theft from the centre will fly back again, and this even fomewhat nearer the centre than before; fo that the two points which were before the extreams of the longer diameter now become thofe of the fhorter. Thus the circumference of the Bell undergoes alternate' changes C 2 of 12 BEL of figure, and by means thereof gives that tremulous mo- tion to the air wherein founds confifl. See Sound. The found of the fame Bell or Chord is a compound of the founds of the feveral parts thereof; fo that where the p^rts are homogeneous, and the dimenfiohs of the figure uniform, there is fuch a per feci: mixture of all thofe founds, as con- flitute one uniform, fmooth and even found.' See Tune and Vibration. Mr Hauhshee, and others, have found by experiment, that the found of a Bell flruck under water, is a fourth deeper than in the air ; though Merfenne fays it is of the fame pitch iri both elements. Bells are heard further on plains than on hills, and flill further in valleys than on plains, the reafon of which will riot be difficult to affign, if it be confidered that thé higher^ tfis fonorous body is, the rarer is it's medium, confquently the lefs impulfe it receives, and the lefs proper vehicle it is to convey it to a diflance. BELL HARP, a mufical infiniment of the firing kind, thus called either becaufe fhaped like a Bell, or by reafon the common - players thereon fwing it about as a Bell on it's biafs, it being hung on a firing, and refled a- gainfl them for that purpofe There is a notable difference between the fhape of this inftrument and that of the Irijh or Welch Harp. See Ha r p. } It's length is about three feet, it's foundboard is ufually of the fame wood as that of a Spinet or Harpfichord, having a rofe carved in the middle ; it's firings are of brafs or Heel wire, fixed at one end, and flretched acrofs the foundboard hv fcrews fixed at the other end next the player. The num- ber of firings is not fixed; fometimes more, fometimes lefs. They are flruck with the thumb only of each hand, the right hand plays the treble, the left the bafs, but the thumbs are armed with a little wire pin or needle in order to draw the found the clearer. It takes in the compafs of three or four octaves, according to the number of firings. It may perhaps be the Lyra or Cythara of the ancients; but we find no mention of it under the name it now bears, which mufi be allowed to be modern, however ancient the infiniment may be. See Lyra, Music, tffc. BELL OW S of an Organ, are machines contrived to give wind to the pipes, which by that means produce a found. SecORGAN. ' r The bellows of an Organ are in proportion to the infini- ment, each having an aperture of four inches, that the valve j:iay play eafily. There fhouldalfo be a valve at the nofe of ■ '' •• - . the B R E i3 the bellows, that one may not take the air from the other. To blow an Organ of 1 6 feet, there are required 4 pair of bellows. BIANCHA. See Note andMiNiM. BINARY meafiire is a meafure wherein you beat equally ; or the time of riling is equal to that of falling. This is ufually called common time, befide which there is Bl~ nary triple. See Measure, Time, and Triple. BENEPLACITO. See Abe ne Placito. BISCHROMA is the fame as our triple quaver. $ee Chroma. BIZARRO, or con Bizarria, fignifies with changes capricioufly, fometimes faft, at others flow, ilrong, foft, &# at the fancy of the compofer, or player. BMI is the third note in the modern fcale of Muiic. See Sca le and Music. BMOLLARE or Molle, is one of the notes of the fcale of Mufick, ufually called foft or flat in oppofition to Bquadro. See B QJJ A D ro. BOMBARD O, a mufical inftrument of the wind kind, much the fame as the Baflbon, and is ufed as a Bafs to the Hautboy. See Hautboy and Bassoon. B QJJ A D R O or ^uadrato, or Durale called by the French Bquarre from its figure W. This is what we call B natural or fharp, in diftin£Uon to Bmol, or flat fe. See Flat and Sharp. As the &■ flat when placed before any note, denotes that note to be lowered a fêmitone minor, (o does the £)uarrë or L, raife it to its natural or diatonic fituation. £j Again if the flat te be placed before a note in the thorough Bafs it intimates that it's third is to be minor, and if placed with any cypher over a note in the Bafs as & 6, or & 5, &c~ it denotes that the fixth or fifth thereto are to be flat. See Fifth, Sixth, £sV. But if the ghiadro pj be placed over any note or with any cypher in the thorough Bafs, it has the contrary effect ; for thereby the note or interval thereto is raifed to it's natural order. Both thefe characters are ufed in other parts befide the thorough Bafs, wherein they - afiêâ only the note to which they are prefixed, i, e. they either raife or lower that £ote alone. See Character. BRACIO or BRAZZO is applied to certain In- struments that are played with a bow, and held up to the neck by the left arm, fuch as the Violin, whether firft, x fécond, third, &c. See Violin» K BREVE ï4 BRI BREVE îs à ndte, formed like a'fquàre, without % tail, and equivalent to two Semibreves or four Minims. See Character and Music. Àlfo a meafure of quantity which contains two flrokes down with the hand and as many up. But this muft be un- derftood with regard to Common Time under this fign But when this character is under thè directions of the triple major, or perfect time, if followed by. one or more of the fame value, or by a point, it is equal to three times, or a whole Bar ; and if notes of lefs value follow it* as Se- mibreves or Minims, its value is then reduced to two Times, or two thirds of the Meafure. See Modo, Tim e, Pr o- iation, Note, Figura, Legatura and Tri- ple. This is often tied with other notes, for which fee Lega- tura. - ~ The Breve in the Time marked jj now contains but two times, from whence the Italians call Common Time clayed very quick Alia Breve ; and this movement they often ufe in their church mufick. See CapeIla. BRIDGE, that part of a ftringed inftrument over which the firings are ftretehed. Bridges are of divers kinds, as the Bridge of a Violin or" Bafs-Viol, the Bridge of a Lute, Harpfichord, &c. The Bridge of a Violin or Fiddle is about one inch and a quarter high, and near an inch and a half long, fome- times entirely plain, and fbmetimes with holes carved in it by way of ornament ; it is rounded a little on the upper part, where the firings are laid in little notches for their re- ception ; the reafon whereof is, that the bow may ftrike either of them at pleafure, without touching any other ; the under part of it is hallowed in the middle, fo that it bears on the body of the inftrument only at each end ; it is placed about £ve inches from the bottom of the body. Under the Bridge within fide is placed a little flip of wood, called the found poft, it's ufe is to bear againft the Bridge and affift the belly of the inftrument in fuftaining the pref- fure of the firings on the Bridge. The firings without the Bridge would give little or no found, but it is the body of the inftrument and it's uniform conftruelion together with the evenefs of the firings that produces what is commonly called a good tone. See Violin. The Bridge of â Bafs-Viol is the fame in proportion to the inftrument, thefe Bridges are ufually made of fome po- rous wood. The B U O 15 The Bridge of a Lute is very different from that above defcribed, in that it is but half an inch deep, though four, five or fix inches long, entirely lirait ; it is placed about four inches from the bottom of the inftrument, and the firings are ftretched over it, as thofe of the Violin are. See Lute. Harpfichords have feveral Bridges, but there are two prin- ciple ones, one of which is placed at the upper end be- tween the jacks and the fcrews, about half an inch high, and to what length required, ufually about three feet, quite lirait ; the other is put along the fide of the inftrument fhaped almoft like the letter S, between the ends of the firings and the jacks, in a certain proportion. Inftead of notches thefe Bridges have little wire pins to keep the firings in their places, thefe two are required when there is but one row of keys and two Hops, if there are more, other Bridges are required . See Ha rpsicord. Thefe are ufually made of Fir or the fame wood with the Sound Board. BRILLANTE, brisk, airy, gay and lively. BUCCIN A, an ancient military, or mufical inftru- ment ufed in war ; it is ufually taken for a kind of trumpet, which opinion is confirmed by Fejrus, by his defining it a crooked horn, played on like a Trumpet. Vigetius alfo ob« ferves, that the Buccina was bent into a femicircle, in which it differed from a Trumpet, Tuba. Varro adds, they were called Cornua^ becaufe originally made of the horns of cattle, as is ftill done among fome peo- ple. Servius feems to fay that they were firft made of goats horns ; and the fcripture called the inftruments ufed both in war and in the temples Keren Jobel, i. e. ram's horns, and Sapharoth Haijobelim, Buccince of Rams. The mufical inftruments ufed in the military march are Buccina y Trumpets, Littuus, Clarion, Cornet, Fife, Drum, Tyrr- bal, &c. which fee. The Marino Buccina given by Poets and Painters to the Tritons and Sea Gods, are (hells twifted in the form of a Snail's. The word comes from Bucca, the mouth, becaufe played on by the mouth. B U O N O, as Tempo Buono* fignifies a certain time or part of the meafure that is good, i. e. more proper for certain things than any other, as to end a cadence, or [ Jpfe, to place a long fyllable or a fyncoped Diffonance, "Concord, &c. The Tempo Buono of any meafure whatever, fhould be on the firft part thereof when the hand is down, and in common time of four Times to the Bar, the third is alfo a Tempo Buono, the others, as the fécond and laft times i6 BUO times of the nieafure, are called Tempi di Cattiva. See Cattiva and Accent. BURDEN in fome mufical inflruments, the Drone of Bafs, and the pipe or firing that plays it ; the Bagpipe prin- cipally hath a part thus called. Hence that part of a fong that is repeated at the end of every ftanza, is called the Burden of it. The word comes from the French Bourdon, a Jlaff, or pipe made in form of a flaff, imitating the grofs murmurs of Bees or Drones. Some call the ProJIamhanomenos, or the. note added to the ancient fyftem, by this name. A chord which is to be divided to perform the intervals of mufic when open and undivided, is alfo called thé Burden. BURRE, Bouree, or Bore e, a kind of dance, compofed of three fteps joined together in two motions, be- gun with a crotchet rifing. The firft copulét contains twice four meafures, the fécond twice eight, it confifts of a ba- lance and coupée* It is fuppofed to come from Auvergne in France* i *+* m i mmmm „ , + * i + n m* ■ ,iii i ^"É Kii ii*iii^ « w Ù CAD G ri Denotes the higheft part in thorough Ws. See Bass. • ?« C Again a firhple C, or rather a femicircle, placed after the Cliff, intimates that the mufic is in common Time, which is either quick or flow, as it is joined with Allegro or Ada- gio -, if alone it is ufually Adagio. If the C or femicircle be crofted thus Ï, or turned thus î_j the firft requires that the Air be played quick, and the laft very quick. See Character. ' In pieces of old mufic, we find a character thus j. and very often it's reverfe thus Q J »D both which are atpre- fènt almoft out of ufe, but fee Prolation. CADENCE, according to ancient muficians is a fé- riés of a certain number of notes, in a certain interval, which ftrike the ear agreeably, and efpecially at the end or clofe of the fong, ftanza, &c. A Cadence ordinarily confifts of three notes. Cad e n c e, in the modern mufic may be defined a certain conclusion of a fong, or of the parts thereof in many places of the piece, which divide it, as it were, into fo many numbers or periods. The Cadence is when the part» fall or terminate on a chord or note, the ear feeming natu- rally to expect it ; and is much the fame in a fong as a period that clofes the fenfe in a paragraph of a difcourfe. A Cadence is either perfect or imperfect; a perfect Ca~ dence is that which confifts of two notes fung after each other, or by degrees conjoined in each of the two parts, it is called perfect becaufe it fatisfies the ear better than the other. The Cadence is faid to be imperfect when it's laft meafure is not in octave or unifon, but a fixth or a third; as when 1 ■ » the bafs inftead of defcending a fifth, defcends only a third, or when defcending, or, which is the fame thing, rifing a fourth, it makes an octave with the treble in the firft mea- sure, and a third major with the fécond. It is called im- perfect becaufe the ear does not acquiefce in the conclusion, but expects a continuation of the fong, B The i8 CAN The Cadence is faid to be broken when the bafs inftead of falling a fifth which the ear expects, rifes a fécond either major or minor. Every Cadence is in two. meafures ; fometimes it is fuf- pended, in which cafe it is called a repofe, and only confifts of one rnealfure, as when the two parts flop at the fifth without finiftiing the Cadence. , Mr Rjouffeau diftinguifhes two kinds of Cadences with regard to the Bafs-viol, i, e. a Cadence with and without a reft. The Cadence with a reft, is when the finger that mould make the Cadence, flops a little before it makes, on the note immediately above that which requires the Cadence. The Cadence without a reft is when that ftop is omitted. Traite de la Viol, p. 76. There are alfo fimple and double Cadences; the double ones again are various, the more double are thofe made after a long ftop, the lefs double thofe after a ftiort one. The Cadences are all to be accommodated to the cha- racter of the air. The word comes from the Latin Cadencia 2l fall, the Ca- dence being the fall or conclufion of a feries of harmony, proper to terminate the , whole, or part. The French mufi- eians call a make a Cadence, but this is to confound terms. CADENZA Fioritay Sfuggita, a" Inganno, &c. See Fiorita, Sfuggito, Inganno, &C. CAMERA, fignifies chamber mufic, as Sonçta Con- certo di Camera, are Sonatas, Concertos, &c, compofed for a chamber, in diftinction to thofe played in churches, cha- pels, or great concerts. See Sonata, &c. CANCHERIZANTE, or Cbancherizato, is ah Italian word fignifying a piece of mufic that begins at the end, being a retrograde motion from the end of a fong, air, or tune to the beginning. See Imitation, Cano'n, Fug h a, &c. CANON, a Greek term. See Reg ol a and Mon o- CHOR D. Canon, is a rule or method of determining the inter- val! of notes. See Interval. Pfohmy reiec^ing the Arijloxenian way of meafuring the intervals of mufic by the magnitude of a tone, (which was mppoied to be formed by the difference between a Diapente and a Diateftèron ;) thought that the mufical intervals fhouTd be diftinguifhed according to the ratios or proportions, which the founds terminating fhofe intervals bear to one another, when confidered according to their degree of gravity and a- cutenefs CAN 19 eutenefs ; which before Arijioxenus was the old Pythagorlan way. He therefore made the Diapafon confift in a double ratio of 2 : I ; the Diapente in a fefqui- altérai 3 : 2 ; the Dia- teffaron in a fefqui-tertian 4 : 3; and the tone itfelf in a fefqui- octave of 9 : 8, and all the other intervals according to the proportions of the founds that terminate them. Wherefore taking the Canon (as it is called) for a deter- minate line of length, he (hews how this line is to be cut accordingly, fo as it may reprefent the refpe&ive intervals, and this method anfwers to experiment in the different lengths of mufical chords. See Chord, Monochord and Music. C a non, fays Zarlin, was anciently certain marks or characters, placed at the head of perpetual figures, or pieces in Confequenza^ to advertifc in what manner fuch pieces were to be fung, called Cancn^ as being rules and directions for performing the parts. Canon is alfo a fhort compofiticn of two or more parts, in which one leads, and the ether follows. C A N O N E Chiufoi or Canone in Corpo, is a perpetual fugue writ upon one line, with fome marks to mew when the parts that imitate are to begin and end. C A none partitOy or rifoluto^ called by the Latins refolutio, is when all the parts of a perpetual fugue are writ either in partitions, or different lines, or in feparate parts, with the proper paufes that each is to obferve, and therein differs from Canone Chhifo. CANTATA, a fong or compofition, intermixed with recitatives, little airs and different motions, and merely in- tended for a fingle voice with a thorough bafs, though fome- times for two violins and other inftruments. When the w r ords or fubiects are intended for the church it is called Cantata morali fpirituali : but when on love, Cantata amo- rofe, t5 : c\ If the words are well adapted to the mufic, it has fomething in it very agreeable, and generally feems to pleafe by its varieties, confifting of grave parts and air.5 in- termixed ; firff ufed in Lafy, then in France^ whence it faffed to us. CANTICUM. See Mot et to. CANTILENA are no more than fongs, and figni- fies in general pieces of melody well compofed. CANTO is the treble, or at leaft the higheft part of a p:ece. When it is marked with a C k is the upper bafs ; but the v/ord Canto more properly fignifies the firft treble, «Jiilefs the word Jecondo for the fécond, or ripié?w, for the D 1 treble £o CAP treble of the grand chorus, be added. See Se con do and Rip IE no. Canto concertante is the treble of the principal con? certing parts ; this part generally plays and fings throughout. But being the chofen voices or inflruments they fometimes reft during the chorus. Canto ferma, is what we call the plain fong, fuch, was Pope Gregory's church mufic. The Italians call every part, whether plain or figured, that is the fubje# of any counterpoint, a Canto fermo. Canto fgurato, fignifies a composition wherein the parts differ from one another in their figures and motions, and is the contrary of Canto fermo. Canto ripiéno, is the treble of the grand chorus, cr that part that plays or fings in the grand chorus only. Canto fimplice, is the fame as Canto fermo. See Canto Fermo, and Chant. CANTORE. SeeCHANTOR. GANTUS, the treble or higheft part in a concert. See Tr e b l e . , CANZONE, in general fignifies a fong, wherein, fome little fugues are introduced, but it is fometimes ufed for a fort of Italian poem ufually pretty long, to which mu- iic may be çompofed in the ftile of a Cantata, bee Can- tata. If the word Canzone be added to a piece of inftrumental mufic, it fignifies much the fame as Sonata $ to a piece of yocal much the fame as Cantata. If placed in any part of a Sonata, it fignifies much the fame as Allegro, and only denotes that the part to which it is prefixed is to play or fing in a brisk and lively manner. CANZONETTA, a little fhort fong. The Can- zonette Neapolitane have two ftrains, each whereof is fung twice over, as the Vaudevilles of the French. The Can-* zonette Siciliane are a fpecies of jigg> the meafure whereof is ufually y or I» fometimes both are rondeaus, and begin with t j firft ftrain to end. CAPELLA is properly indeed a chapel. But the Ita- lians ufe the word for a company of muficians aflembled to- gether to fing, or play a concert, or piece of mufic of ma- ny parts. From this when we meet with da Capella^ we muft underftand that all the parts are to play together 3 which makes what we call the grand chorus, or tutti uni" font ; and from this they fay Maejiro di Capclla, for a. matter of mufic. The CAT ai The fong to be fung thus, has commonly this fign §| and marked alia breve, the time is generally beaten by the breve and quick, unlefs contradicted by fome other term, as Lente, Adagio, l$ç. CAPO, is to lay head or chief, as Capo dï tnjlrumenti, the mafter or head of the inftruments, being the perfons whofe care is to inftruct and direct thofe that perform the inftru- mental part of a concert. CAPRICETTOisa diminutive of Çûfricio, which fee. CAPRICIO means Caprice, the term is applied to certain pieces, wherein the compofer gives a loofe to his fancy, and not being confined either to particular meafures or keys, runs divifions according to his mind, without any premiditation ; this is alfo called Phantafia. SeePHANTA- siA and Prelude. CAPRICIOSO, intimates the mufic to be in a ca- pricious irregular manner, as if without any aim or de- fign. See Ca p r i c i o . CARTA, or Car, or Cart, are ufed by the Italians for page or folio, as Car. 6a. the fixth page, Cart. ^a 9 &c. CASTANET S, ' Caftagnettes, or Cajlanettas, a kincj of mufical infiniment of the pulfatile kind, wherewith the Moors, Spaniards and Bohemians accompany their dances, Sarabands and Guittars, ferving only to direct the time_ It conflits of two little round pieces of wood dried and hol- lowed in the manner of a fpoon, the concavities whereof are placed one on another fattened to the thumb, and beat from time to time with the middle finger to direct their moti- ons and cadences. They may be beat eight or nine times in the fpace of a meafure, or fécond of a minute. CATACOUSTICKS, called alfo Gataphonics, the fcience of reflected founds, or that part of Acoujiics or Pho- nics which confider the property of founds and ecchoes. See Sound and Phonics. C A T T I V O, bad, unfit, as Cattho tempo, is a certain part or time of the meafure, whereon it is not proper to per- form certain things* as to end a cadence, or place a long fyl- fable, &c. The reafon why this is called Tempi di Cattiva, or the bad part of the meafure, is becaufe here you may let pafs a difcord without any g reat offence ; it properly fignifies what we call the unaccented part of the bar, and is the fécond and laftnote thereof in common time, and the middle one of *yery t^tn* in triple. See B u o u o and AçcïNT. CAUDA 22 CHA CAUDA. See Coda and Vir gui. a. CAUDATUS. SeePuNCTus Caudatus. C E L E R progrejfus. See Supposition. CHACONE, or Chaconde, a kind of dance in the air of a Saraband, derived from the Moors» The bafs always confifts of four notes, which proceed in conjoint de- grees, whereon they make divers concords and copulets with the fame burden. See Bass and Burden. The word is formed of the Italian ciacona of cecone a blind man, this air being faid to have been invented by fuch a one. CHAMADE, a certain beat of Drum, or found of Trumpet, which is given to the enemy as a fignal to inform them of fome fort of proportion to be made to the com- mander, either to capitulate, or to have leave to bury their dead, make a truce, or the like. The word is derived by Menage from the chiamata of damare,—-to cry out, CHANT, is ufed for vocal mufic in churches. In ecclefiaftical biftory we find mention made of many kinds of Chanty or fong, the firfl is the Amhrofian Chant, which was eftablifhed by St Ambrofe Bifhop of Milan, and was diftinguifhed from the Roman in that it was ftronger and higher. The next is the Gregorian Chanty introduced by Pope Gre- gory the great, who eftablifhed fchools of chantors, and cor- rected the church mufic or fong. This is what above is called the Roman Chant, and is ftill retained in churches under the name of plain fong, for in this the choir and people fing in unifon, or altogether in the fame manner, See Canto fermo. CHANTOR, a perfon who fings in the choir of a, cathedral. St Gregory firft inftituted the office of Chantors, and e- re&ed them into a body called Schola Cantorum ; though Ana- Jlafius feems to attribute their rife to Pope Hillary^ who livecj an hundred years before Gregory, This is grown an obfelete word, inftead of which we now fay chorifter, or finging man. CHARACTERS, certain marks, figns or notes, where- by fomething is conveyed to the mind. Characters ufed in mufic, and of muflcal notes t with their proportions, are as follows. Cha- C H A'' 23 ] I Character of a Large * 8 1 — j A Long M | 33 A Breve - O A Semibreve m H A Minim w W A Crotchet • s A Quaver if ■ ; A Semiquaver, or -A X 2. 4« I T 7? À Demi-Semiquaver, or f. _■*<■ D Characters of the artificial Notes. j£ Character of a (harp note. This character at the beginning 6f a line or fpace, denotes that all the notes in that iineror fpace, are to be taken a femi-tone higher than in the Natural fériés ; and the fame affecls all the octaves above and below, though not marked. When this mark is prefixed to any particular note, it fhews that note alone, to be taken a femitone higher than it would be without fuch character. ■k Character of a fiat note. This character is ths contrary to the other above, that is, a femi-tone lower. When prefixed to any particular note, it (hews that note alone to be taken a femi-tone lower than it otherwife would be, Lrf Character of a natural note, where in a line or feries- -of artificial notes, marked at the beginning either h or #-, ths * + CHI the natural note happens to be required, jt is denoted by this character. Characters of the figned Cliffs. Charaaer of the treble Cliff; —I The mean Cliff. 1=1 Z) the bafe Cli£ 2 Or | or f ;*,Characters^6f common duple time ; fignify- ing the meafure of two crotchets to bé equal to two notes,' Whereof four make a femibreve. c ■= i 27 3 3 3 3 * 4 "3" "ff Characters that diftinguifh thé movements of , common time. The firft implying flow* the fécond quick, and the third very quick* Characters of fimple triple time ; whofe meafure is equal to three ferriibreves, or to three minims, &c. % or | or x % Characters of mixed triple time, where the meafure is equal to fix crotchets, or fix quavers» 4 or | or t% or f or -f Characters of compound triplé time. 'I ¥ Hi or, ¥ or y, Charaders of a fourth , fpecies of triple time, called alfo the meafure of twelve times. See Triple. Refis or paufes of Time. -e=t* l ^g m •ft-'uTQ "t o o a < to 3. a £ ^ g.gcrqe ML* o cr « * ad « n & n 3* -a to S* az a K> & O H H U rt •£ o* ^ ^ s* C H EL IS. See Viol, CfilATEi CHO 25 CHI AVE. or Clef, a term or character ufêd in mu- Fie. See Cleff and Character. Chi ave Maejlro, fignifies the fundamental key or note of a fong. See Key and Cleff. CHI E SA, a mark fet to mufic to diftinçuifh that defigned for churches, from that defigned for chambers or pri- vate concerts, as Sonata di Chtefa, is a fonata for the church. ; CHITARIS. See Cythara and Viol. CHITTARRA is the Italian word fora Guittarr. See Guitt ARR. CHITTARRONE. See Theorbo. C H I U D E N D O, is the participle of the verb Chiudere* to end, finifh, or conclude ; as Chiudendo col Ritornello, col' Farias fignify to end with a Ritornello, or fome paflage which has been before fung in fome part of the piece. See RlTORNELLO. CHIUSO. See Canon. CHORDS, or Cords, are firings or lines, by whofe vibrations the fenfation of found is excited ; and by whofe divifions, the feveral degrees of tune are determined. See Tu ne and Sound. Some fay they are called Cords or Chords from the Greek ^opjW, a name given by the Phyficians to the in- ternes, in regard that the firings of fome mufical instru- ments are ordinarily made of guts. Others are made of brafs or iron wire, as Harpfichords, Spinets, &c. Chords of gold wire in Harpfichords, would yield a found almofl twice as flrong as thofe of brafs ; and thofe of fleel, a feebler found than thofe of brafs, as being both lefs heavy, and lefs ductile. Mr Perrault obferves, that of late they have invented a way of changing the Chords, to render their founds more flrong without altering the tone. The fixth Chord of Bafs-Viols, and the tenth of large Theorbo Lutes, confifl of fifty threads or guts ; there are fome of them an hundred feet long, twifled and poiifhed with Equlfetum or horfe-tail. For the divifion of Chords, fb as to conflitute any given interval, the rules are as follows. To afïïgn fuch a-part of a Chord A B, as fhall conflitute any concord for example a fifth ('or any other interval) with the whole Chord, £ Divide 26 CHO Divide the line A B, into as many parts as the greateft number of the interval has units ; e. g. the fifth being 2 : 3. A Ç B . _| . j 'The Line is divided into three parts: of thefe I take as many as the lefier number, e, g. 2 =AC; A C is the part fought; that is two lines, whole lengths are to each other as A B to A C, make a fifth. Hence if it be required to find feveral different fecYions of the line A B, e. g. fuch as {hall be octave, fifth, or third greater. I reduce the given ratios 1:2, 2 : 3 and 4:5 to one fundamental ; the feries becomes 30 : 24, 2 = 15, the fundamental is 30 ; and the feclions fought are 24 the third greater ; 20 the fifth ; and 15 the octave. To find feveral feclions of a line A B, that from the leaft part, gradually to the whole, (hall contain a given feries of intervals, in any given order, viz. fo as the leaft to the next greater contain a third greater ; that to the next greater a fifth ; and that to the whole an oclave. Reduce the three ratios 4 : 5, 2 : 3, and I : 2 to one feries: hence we have 8 : 10 ; 15 : 30. Divide the hne into the number of parts of the grcateft ex- tream of the feries, viz. 30; we have the ferions fought at the points 8 10 15 £ V 1 1 — I 2. c d e of divifion, anfwering the feveral numbers of the feries viz. at the points C, D, and E ; fo as A C to A D, is a third; A D to A E, a fifth ; to A B an oclave. To divide a line, A B, into two parts, to contain betwixt them any interval, e. g. a fourth. Add together the numbers containing the ratio of the in- terval, e. g. 3 : 4, and divide the line into as many parts as the fum, e. g. 7 : the point of divifion anfwering to any of the given numbers, v. g. 4 or 7, gives the thing fought. A l I 1 i I 1 h % For the harmonical divifion of Cords. To find two fections of a line which, with the whole, mall bj m harmonical proportion with regard to their quantity. Take any three numbers in harmonical proportion, as 3 — 4 — 6 and div.de the wholç line into as many parts as the C H O 27 the greateft of thefe three numbers, viz. 6 ; and at the points of divifion anfwering the two other numbers, v. g. 3 and 4 you have the fection fought. To find two feclions of a line, which together- with the whole, fhall be harmonical, with refpecr. to quantity, or tune. Take any three numbers concord with each other, v. g. 2 : 3 and 8; and divide the line by the greateft; the points of divifion anfwering the other two give the fection fought. To divide a Chord, A B, in the moft fimple manner, fo as to exhibit all the original concords. Divide the line into two equal parts C, and fubdivide the parts C B into equal parts at D, and again the parts C D in- to equal CED ^ A I h-H 1 B parts at E : Here A C to A B is an o&ave ; A C to A D a fifth ; A D to A B, a fourth ; A C to A E, a third ; A E to A D, a third ; D C A E to E B, a fixth. A E to A B a fixth. See Monochord : See alfo Tune, Concord, Harmony, &c. Chord is alfo ufed . in mufic for the note or tone to be touched, or founded ; in which fenfe it is applicable to all the intervals of mufic. See Concord. In this fenfe, the fifth is faid to confiil of five Chords, or Sounds. See Fifth. See alfo Fourth, &c, Ç H O R O favorito. See Favori to. Choro fpezzato, according to Zarlin, a compofition of 2,3, or 4 Chorufes. See Chorus. CHORUS, is when at certain periods of a fong, the whole company are to join the finger in repeating certain copulets or verfes. The word Choro, or Chorus , is often met with inftead of Tutti or da Cappella^ which mean the grand Chorus. A dot a tre a quartro chori' is for two three or four Chorufes* When after the word Chorus we find primo or I 9 we muifc underftand that it is to be played in the firft Chorus, if 2d 1 id° or fecondo, in the fécond ; and confequently that the compofition is for eight voices or different parts. CHRESIS is a Greek term. See Us us. CHROMA is a term fignifying colour or ornament, which the Italians take from the Greek to name a note or character of time by us called a Quaver. See Charac- ter and Quaver. And when the word Semi is added thereto, it means our Semiquaver thus w. Eight of the E 2 S former a8 C R O former are contained in a bar, and fixteen of the Jatter in common time. See Fusa, alio Dosdupla, Nonu- pl a and Triple. Chroma, a graceful way of fingtng or playing with Quavers and Trilloes. CROMATICI fuoni. SeeSuoNi. CHROMATIC, in the ancient mufic, the fe, cond of the Genera or Kinds , into whicn the confonant in- tervals were fubdivided into their conçinnous parts. See Ge- nus. The other two kinds are the Enharmonick and the Dîatonick ; which fee. The Chromatic abounds in Semitones ; it had it's name, by reafon the Greeks mark'd it with the character of colour, which they call yja/jA, or, as P. Par ran fays, becaufe it as the medium between the other two, as colour Is between black and white ; er bec^uCç the Chromatic kind varies and embellifhes the Diatonic by it's Semitones, which have the fame efrecl: in mufic, as the variety of colours have in fainting. The degrees, or as Arijlotle calls 'em the elements, of the Chromatic Genus, are the two Semitones and Triemitonium, And its founds ftand in the following order, Proflambano- ' menos, Ply pa te Hypaton, Parhypate Hypaton, Lychanos Hypa- ton Chromatice, Plypate Mefon, Parypate Mefon, Lychanos Mefon Chromatice, Mefon, trite Synemmenon, paranete Synemmenon Chromatic, nete Synemmenon, Paramefe, trite Diezeugmenon, paranete Diezeugmenon Chromatice, nete Diezeugmenon, trite Hyperbolœon, paranete Hyperbolœon Chromatice, and nete Hyper- -lolœon. A Chromatic fourth afcending and defending. ^^^E^^^^ ^z^gz^B j v Ariftoxenus divides the Chromatic Genus into three fpecies ; the Molle, Hemolion, and Tonicum. Ptolemy into Molle or An- tiquum, and Intenfum. The Molle exprefles a progrelHon by fmall intervals, the Intenfum by greater. See Species and Genus. The Spartans banifhed it their city becaufe of its foftnefs. Mr Malcolm obferves, that we arc at a lofs to know what ufe the antients could make of thefe diviflons, and fub- d ivifions into Genera and Species ; all acknowledge the Dia- tonic to be the true melody. The others feem only nume- rous irregularities calculated to pleafe the fancy by their no- velty and oddnefs ; and are befides fo difficult, that few, if any, arc faid to have practiced them accurately. See Music. Mr Malcolm C L A 29 Mr Malcolm herein fays the Diatonic is the true melody, but it is plain we cannot do without the accidental flats and fharps which belong to the Chromatic Genus ; hence it appears that he fpeaks fornething too (lightly of a part which is the only ornament or caufe of that vafl variety of airs in the modern mufic, though we have not near the varieties of either of them. CI A CON A, a Chacoon or Tune compofed to a ground bafe. See Ch a cone. C I F F R A, a cypher ; thus the Italians name the figures which they ufe over the bafs notes in thorough banes, to mark the accords which are to be made as accompanyments to thofe on the lines. See thorough Bass. CI R COLO, this charafter CD is called by this name as is O fometimes ; both of which we often find after the cliff in old mufic for triple time, or tempo perfetto. See Time and Triple. Ci r colo Afezzo, is a diminution of four quavers or fe~ miquavers, or notes of equal value, which reprefent a femir circle proceeding by conjoint degrees as thus, HiiSp here are two Circoli mczzi, the one afcending the other de- fcending. CIRCONCURRENTE Conducimento. See Usu s. CLAR1CHORD, or Manicbord, a mufical infiniment in the form of a Spinet. See Spinet. It has 49 or 50 flops, and 70 firings, which bear on 5 bridges, the firft whereof is highefl, and the reft diminifhed in proportion ; fome of the firings are in unifon, their num* ber being greater than that of the flops. There are feveral little mortaifes for paffing the jacks, armed with little brafs hooks, which flop and raife the chords, inflead of feathers ufed in Virginals and Spinets. But what diflinguifhes them moft, is, that the chords are covered with pieces of cloth, which renders the found fweeter, and foftens it fo that it cannot be heard at any confiderable diflance ; hence fome call it the dumb Spinet ; whence it comes to be particularly ufed among the muss, who learn to play, and are unwilling to diflurb the dormitory. The Claricbird is more ancient than either Spinet or Harp- ficord, as is obferved by $caliger y who gives it only 35 tarings* CLARINO, 3o CL I C II A R I N O, a Trumpet, a dot Clarine for two Trum- pets. See Trumpet or Cor net. CLARION, a kind of Trumpet, whofe tube is nar- rower, and its tone ihriller than that of the common Trum- pet. Ni cod fays the Clarion is now ufed among the Moors, and the Portuguefe who borrowed it from the Moors ; it ferved anciently for a treble to feveral Trumpets that founded tenor and bafe. See Trumpet. He adds, it was only ufed among the cavalry, and marines. Menage derives the word from the Italian, Clarion, of the Latin, Clarus, by reafon of the clearnefs of its found. CLAVECIMBALO, grave Cymbalum. See Spi- net or Harpsicord. C L A VIS and Claves. See Chiave and Cleffs CLAUSULA. See Cadence. C L E F F, Cliff, or Key, a mark fet at the beginning of the lines of a fong, which fhews the tone, or key, in which the piece is to begin ; or, it is a letter marked on any line, which explains, and gives name to all the reft. See Key. Antiently every line had a letter marked for a Cleff, now a letter on one line fuffices, fince by this all the reft are known ; reckoning up and down in the order of the letters. It is called Cleff or Key, becaufe hereby w T e know the names of all the other lines, and fpaces ; and confequently the quantity of every degree or interval. But becaufe every note in the octave is called a key, though in another fenfe, this letter marked is called in a particular manner the figned Cleff; becaufe being written in any line, it not only figns and marks that one, but explains all the others. By Cleff therefore, for difti notions fake, we mean that letter marked or figned on a line which explains the reft ; and by key, the principal note of a fong, in which the me- lody clofes. There are three figned Cleffs, c, f, g, the Cleff of the higheft part in a long called treble or alt, is g on the fé- cond, fometimes alfo upon the firft, likewife on the third line, counting upwards. The Cleff of the bafs, or loweft part, Isf, generally on the fourth line upwards ; often on the iccond, third and fifth : For all the other mean parts the Cltff c, fometimes on one, and fometimes on another line ; indeed fome that are really mean parts, are frequently fet with the Cleff g. See Treble, Tenor, Bass, &c. It muft however be obferved, that the ordinary fignatures of the Cleffs hear little refemblance to thofe letters. Mr Malcolm thinks it would be well, if we ufrd the letters themfelves. CL I j i themfèlves. Kepler takes a world of pains, to ftiew that the common fignatures of the Cleffs are only corruptions of the letters they reprefent. See their figures in characters of mufic. The Cleffs are always taken fifths to one another, that is, the Cleff f is the loweft, c a fifth above it, and g 2l fifth above c. When the Cleff is changed, which is not frequent in the mean Cleffs, 'tis with defign to make the fyftem comprehend as many of the notes of the fong as poflible, and fo to have the fewer notes above and below it. If then there be many lines above the Cleff, and few below it, this purpofe is an- fwered by placing the Cleff on the firft or fécond line ; if there be many notes below the Cleffs it is placed higher in the fyftem. In effect, according to the relation of the other notes to the Cleff note, the particular fyftem is taken diffe- rently in the fcale ; the Cleff line making one in all the va- rieties. See Scale. But ftill in whatfoever line of the particular fyftem the Cleff is found, it muft be underftocd to belong to the fame in the general fyftem, and to be the fame individual note or found in the fcale. By this confiant relation of Cleff, we learn how to com- pare the feveral particular fyftems of the feveral parts ; and know how they communicate in the fcale, that is, which lines are unifons, and which not ; for 'tis not to be fuppofed that each part has certain particular bounds, within which an another muft never come : Sometimes the treble v. g. comes lower than fome of the mean parts, or even with the bafs. To put together therefore into one fyftem all the parts of a compofition, written feparately, the notes of each part muft be placed at the fame diftance above and be- low the proper Cleff as they ftand in the feparate fyftem ; and becaufe all the notes that are confonant (or heard to- gether) muft ftand perpendicularly over each other, that the notes belonging to each part, may be diftin&ly known, they may be made with fuch differences as fhall not con- found or alter their fignification as to time ; but only {hew- that they belong to this or that part : Thus fhall we fee how the parts change and pafs through one another ; and which in every note is higeft, loweft or unifon. . The ufe of particular figned Cleffs then is an improve- ment with refpecT: to the parts of any compofition ; for unlefsfomeof the keys in the particular fyftems were dif- tinguifhed from the reft, and refer'd invariably to one place- in. the fcale, the relations could not be diilindtly. marked. It 3* . CLI It muft be here obferved, that for the performance of orig iingle piece, the Cleffs only ferve for explaining the intervals in the lines and fpaces ; (o that we need not regard what part of any greater fyftem it is ; but the flrft note may be taken high or low, as we pleafe : for as the proper ufe of the fcale is not to limit the abfolute degree of tune, fo the- proper ufe of the figned Cleff is not to limit the pitch at which the flrft note of any piece is to be taken; but to terminate the tune of the reft, with relation to the firft, and confidering all the parts together, to determine the re- lation of the feveral notes, by the relation of their Cleffs in the fcale. Thus the pitch of tune being determined in a certain note of one part, the other notes of that part are determined by the confiant relation of the letters of the fcale, and the notes of the other parts, by the relation of their Cleffs. In effect, for performing any fingle part, the Cleff may be taken in any octave, i. e. at any note of the fame name^ provided we do not go too high or too low, for finding the reft of the notes of the fong : But in a concert of feveral parts all the Cleffs muft be taken, not only in the relation, but alfo in the places of the fyftem abovementioned, that every part may be comprehended in it. The difference of Cleffs in particular fyftems makes the practice of mufic much more difficult and perplexed than it other wife would be, both with refpect to inftruments, and to the voice. This occafioned Mr Salmon to propofe a method of reducing all mufic to one Cleff, whereby the fame writing of any piece of mufic, (hould equally ferve to direct the voice and the inftrument, which he calls an univerfal character ; but this is by moft authors looked on as' chimerical. The natural and artificial note expreffed by the fame letter as c and c ♦, are both fet on the fame line or fpace. When there is no character of flat or (harp at the be- ginning with the Cleff, all the notes are natural : and if in any particular place, the artificial note be required, 'tis fignified by the fign of & or ^, fet on the line or fpace before that note. If the flat or (harp be fet at the begin- ning in afly line or fpace with the Cleff, all the notes in that line are artificial ones ; that is, are to be taken a fe- rn itone higher or lower than they would be without fuch fign; the fame affects all the octaves above and below, though they be not fo marked. In the courfe of the fong if the natural note be fometimes required, 'tis fignified by j^. The COM si The marking thé fyftems thus by the flats and fiiarps, Mr Malcolm calls the fignature of CUffs. See Note, Tune, Transposition, Flat, and Sharp. The P fa ut Cleff is thus marked (%) being only proper for the bafs or lower parts. The C fol fa ut Clef thus H J and is peculiar to the innej or middle parts, as tenor or counter-tenor. The. G fol re ut Cleff thus ~? and belongs to the treble orhigheft part. See Part, Treble, Tenor and Bass. The B fa is thus diftinguifhed ^. The B mi or (harp thus # ; B quadro or natural thus |JL CLEINE alt pofaune. See Trombone orSACKBUT. CLOSE. See Cadence. CODA, Tail, we often find at the end of a canon or fugue, two or three meafures to end with, after having re- peated them feveral times, and this the Italians call Coda, it ferves only to end the piece, which, without it, might be carried on to infinity. Cod a, in ancient compositions is when one part con- tinues on a found which is it's cadence, while the others proceed to modulate for 4, 5, 6, — 8, or more bars. COLORATO Contrapunto. See Figuratb Counterpoint. COLORATURA, is a term applied by the Italians to all variations, trillos, diminutions, &c. that can render a fong agreeable. See each in it's proper place, Varia- tion, Diminution, &c. COME Sopra, fignifies as above, or that part over again, which words are ufed when any foregoing part is to be repeated. COMMA, is thefmalleft of all the fenfible intervals of tune. See Music. The Comma is about the tenth part of a tone. Mr Sauveur fays a Comma is the difference between a tone major and minor. It is feldom ufed except in the theory of mufic, to fhew the juftnefs of the concords ; for in practice the divifion is drowned and loft - 9 each lefler tone ordinarily contains ten Commas», F Lancelot ^ CO M Lancelot divides the tone into nine Commas, fo that aC« carding to him a Comma is the ninth part of a tone. The proportion of the greater Comma in numbers is 80 : 8i* that of the fmaller is 2025 to 2048. See Tone. COMMON Time is the fame as duple or double time. See Time. COMMUNE according to Gaudentim the philofopher,. is one of the modes of the 'ancients, other wife called the Hypodorian. See Hypodoric. COM PI ET A, a fort of pfalm or hymn ufed in the church fervice of the Roman Catholich. COMPONISTA, is properly a compofer of any thing, but here it more particularly means a compofer of fbngs, melody or harmony* See Composition. To Compofe, or make any piece of mufic, tune, air or fong, either vocal or instrumental, and to fet any words on any fubjeét to mufic. . COMPOSITION, is the art of difpofing muficfel founds into airs, fongs, &c. either in one or more parts, to be fung by a voice, or played on inftruments. See Music* and Song. Zarlin defines it thé art of joining and combining con- cords and difcords together, which are the matter of muiic. Under Compofition are comprehended the rules \Ji of Me- lody, or the art of making a fmgle part, that is. contriving and difpofing the fimple founds fo as that their fucceflion and progreffion may be agreeable to the ear. See Melody.. idly. Of Harmony, or the art of difpofing and concerting feveral fmgle parts together fo as that they make one agree- able whole. See Harmony. It may here be obferved, that melody, being chiefly the bufinefs of the imagination, the rules of its compofition ferve only to prefcribe certain limits to it, beyond which the imagination, in fearching out the variety and beauty of airs ought not to go. But harmony being the work of the judgment, it's rules are more certain and extenfive, and more difficult in practice In the variety and elegancy of* the melody the invention labours a great deal more than the judgment, fo that method has little place.; this muft not beunderftood that the judgment is difcarded, for good melody requires a true obfervation of harmony : A perfon indeed un- skilled in mufic may make a piece of melody, which by mere chance may be good, but a perfon of good judgment cannot often err. In harmony, the invention has not fo much ta do, for the compofition is conducted from a nice obfervation Qi CON s; of the rfcles of liarmony, which m«ft yet ?n Tome fort Be aflifted by the imagination. COMPOSIZIO. See Composition, Melody and Harmony. COMPOST O, means compounded or doubled, as a fifteenth is an octave doubled, cr an octave is compounded of a fifth and a fourth. See Octave, Fifth and Fourth. CON is an Italian word fignifying with, and is joined often with other words, as Con Affetto. See Affettuoso. Con Bizzarria. See Bizzario. Con Dolce maniera, in a foft and fweet manner. Con Diligenza, with care diligently. Con Dijcretione^ with judgment or defcretion. Con € fenza Violini, with and without Violins. This phrafe is ufed when there are fome parts of a piece to be fung with, and fome without Violins. Con é fenza Jîromefiti, with and without inftruments. Con furia, in a very quick and ftrong manner. Con Ofervanza, with care, to play a piece of mufic juft, and exactly as 'tis marked without adding ordiminifhing. CONCERT. See Concerto, Music and Camera. CONCERTAT O, intimates the piece to be com- pofed in fuch a manner as that ail the parts may have their recitoes, be it for two, three, four or more voices or in- ftrument* ; fo they fay MeJJa or Meffe concertai e y Salmi con- certati, for one, two, three, &c. voices, &c. CONCERTANTE, fignifies thofe parts of a piece of mufic that fing or play throughout the whole piece, either alone or accompanied, to diftinguifh thofe parts that play now and then in particular -places. CONCERTO, or Concert^ popularly a confort, a number or company of muficians playing or finging the fame piece of mu&c or fong at the fame time. The word Concert may be applied where the mufic is only melody, that is, the performers all in tmifon ; but it is more properly as well trs more uftially underftcod of har- mony, or wfcere the rmific cormfts of divers parts, as tre- ble, teftor and oafs, &t. See Melody, Harmony and Part. A Concerto for any înîlrament, as Organ, Harpn- chord, Violin, ifc. is a piece of mufic wherein either of thefe inftruments has the greateft part, or in which the per- formance is partly alone, and partly accompanied by the pther parts, ¥ Z In Con- 36 C ON In Concerto, is almoft the fame as Concertant^ which fee. Concerto GroJJi, the grand chorus of a concert, or thofe places where all the feveral parts perform or play together. ' / CONCINNOUS Intervals : difcords are diftinguifhed in Concinnous and in Inconcinnous intervals ; the Concinnous intervals are fuch as are fit for mufic, next to and in com- bination with concords, being neither very agreeable nor difagreeable in themfelves, but having a good effect as by their oppofition they heighten the more eiTential principles of pleafure, or as by their mixture and combination with them they produce a variety neçeûary to our being better pleafed. See Harmony. The other difcords that are never ufed in mufic, are called Inconcinnous. See Discord and Proportion. Syftems are alfo divided in Concinnous and Inconcinnous y a fyftem is faid to be Concinnous or concinnoufly divided, when the parts thereof confidered as fimple intervals, are Concinnous, and are befides placed in fuch an order between the extreams, that the fucceffion of founds from one extream to another may have an agreeable effect. See System: Where the fimple intervals are Inconcinnous or ill difpofed between the extreams, the fyftem is faid to be Inconcinnous, CONCLUSIQ. See Cadence, Bu ono, Long a. CONCORD, is the relation of two founds that are always agreeable to the ear; whether applied in fucceffion are confonance. See Sound. If two fimple founds be in fuch a relation, or have fuch a difference of tune, as that being founded together, they make a mixture, or compound found, which affects the ear with pleafure, that relation is called Concord^ and whatever founds make an agreeable compound in confonance, the fame will always be pleafing in fucceffion, or will follow each other agreeably. See Tune. The reverfe of Concords are what we call difcords, which is a denomination of all the relations or differences of tune that have difpleafing effects. See Discord. Concord and harmony are in effedt, the fame thing, though cuftom has applied them differently. As Concord exprefles the agreeable effect of two founds in confonance, fo har- mony expreffes the agreement of a greater number of founds in confonance : Add, that harmony always implies confe- rence, but Concord is fometimes applied to fucceffion j whence it CON 37 it is, that Dr Holder, and fome other writers, ufe the word confonance for what we call Concord. See Consonance. ' Unifonance, then, being the relation of equality between the tune of two founds, all unifons are Concords in the firft degree ; but an interval being a difference of tune, or a re- lation of inequality between two founds, becomes a Concord or difcord, according to the circumftances of that particular relation. Indeed fome reftrain Concord to intervals, and make a difference of tune eflèntial thereto ; but this is pre- carious. Mr Malcolm thinks, that as the word implies agreement, 'tis applicable to unifons in the firft degree. See Unison. 'Tis not eafy to aflign the reafon or foundation of concordance. The differences of tune, we have already obferved, take their rife from the different proportions of the vibrations of the fonorous Bodies, /. e. the velocity of thofe vibrations in their recourfes ; the frequenter thofe recourfes are, the more acute the tune, and vice ver fa. See Gravity. But the effential difference between Concord and difcord lies deeper ; there does not appear any natural aptitude in the two founds of a Concord to determine it to give a pleafing fenfation, more than in the two founds of a difcord. The different effects are merely arbitrary and muft be refolved into the divine good Pleasure. We know, by experience, what proportions and relations of tune afford pleajure, and what not ; and we know alfo how to exprefs the differences of it, by the proportions of numbers. We know what it is that pleafes us, though we don't know why. We know v. g. that the ratio of i : i conftitutes Concord, and 6:7a difcord ; but on what ori- ginal grounds agreeable or difagreeable ideas are connected with thofe relations, and the proper influence of the one on the other, is above our reach. But, by experience, we know that the following ratios of the lengths of chords are all Concord, viz. 2 : 1, 3:2, 4 : 3? 5 • 4> 6:5, 5:3, 8:5; that is, take any chord for a fundamental which fhall be reprefented by the number 1, and the following divifions thereof will be all Concord with the whole, viz. * v *' ?' A \ S S *' | - fo that the diftin- 2, 3, 4, 5, 6, 5, 8, guifhing character between Concords and difcords muft be looked for in thefe numbers expreffingthe intervals of founds; not abftra&edly in themfelves, but as expreffing thefe num- bers of vibrations. Now unifons are in the firft degree of Concord, or have the moft perfect likcnefs or agreement of tune, -and there- fore 3-8 CON fore have fomething in them acœdîàry to that agreement, whieh is found lefs or more in every Concord, but as Ctm- £ord implies a difference of tune they may not be properly fo called. 'Tis not true that the nearer two founds come to an equality of tune the more agreement they have ; there- fore 'tis not in the equality and inequality of the numbers that this agreement lies. Further, if we confider the number of vibrations made in any given time, by two chords of equal tune ; on the principle laid down they are equal, and therefore the vibrations of the two chords coincide or commence together as frequent- ly as poflible ; that is, they coincide at every vibration ; in the frequency of which coincidence, or united mixture of the motion of the two chords, and of the undulations of the air occafioned thereby, it is that the differences of the Concords and difcord muft be fought. Now the nearer the vibrations of two firings approach to a coincidence as frequent as poflible, the nearer they fhould approach the condition and confequently the agree- ment of unifons, which agrees with experience. For if we take the natural feries I, 2, 3, 4, 5, 6, and compare each number to the next, as expreffing the number of vibrations in the fame time of two chords whofe lengths are reci- procally as thofe numbers, the rule will be found exact, for 1:2, is beft, then 2 : 3, after 6 is infufferable ; the coinci- dence being fo rare, though there are other ratios that are agreeable befides thofe found in the continued order, wc 3 : 5> 5 : 85 which with the preceding five are all the con- cording intervals within or lefs than an oétave, or 1 : 2, /. -e. whofe acuteft term is greater than half the fundamental. On this principal 3 : 5 will be preferable to 4: 5, becaufe being equal in the number of vibrations of the acuter term, there is an advantage on the fide of the fundamental, in the ratio 3 : 5, where the coincidence is made at every third vi- bration of the fundamental, and every fifth of the acute term j fo alfo the ratio 5:8, is lefs perfect than 5: 6; be- caufe the vibrations of each fundamental are equal, yet in the ratio 5 : 6, the coincidence is at every ftxth vibration of the acute term, and only at every eighth in .the other cafe. Thus we have a rule for judging of the' preference of Concords from the coincidence of their vibrations ; agreeable to which rule they are difpofed in the order of the follow- ing table, in which the names of the Concords in practice, the ratio of their vibrations, the length of their chords and the number of coincidences in the fame time are çxprefled. The CON The Table of Concords: Ratios or Vibrations. Coincidcna: Grave*, Acute Terms. Unifon i Octave, 8ve 2 Fifth, 5th 3 Fourth, 4th 4 Sixth greater, 6th greater 5 Third greater, 3d greater 5 Third letter, 3d leffer 6 Sixth leffer, 6th leffer 8 r 1 60 2 30 3 2 ° 3 2 ^> 4 J 5 5 IZ 5 * 2 Grave Acute Lengths. Though the order be fettled by reafon, yet it is con- firmed by the ear. On this bottom Concords mull: ftill be more perfect, as they have the greater number of coinci- dences with regard to the number of the vibrations of both chords ; and where the coincidences are equal, the preference will fall on that interval, whofe acuteft term has feweft vibrations in each coincidence ; which rule however, is in fome cafes contrary to experience; and yet 'tis the only rule difcovered. F. Merfenne y indeed, and after him Kercher, gives us ano- ther ftandard for fettling the comparative perfection, with regard to the agreement of the extreams in tune : And 'tis this * The perception of concordance, fay they> is nothing; but * the comparing of two or more different motions, which at * the fame time affect the auditory nerve ; now we cannot c make a certain judgment of confonance till the air be as * often {truck in the fame time bv two chords, as there are 4 units in each number expreffing the ratio of that concord-, 4 v. g. we can't perceive a fifth, till two vibrations of the € one chord and three of the other are accomplifh'd together; c which chords are in length as 3 to 2 ; The rule then is, x that thofe concords are the moil: fimpie and agreeable, which * are generated in the leaft time, and thofe on the contrary, * the moft compound and harih, which. are generated in the J longeft Time» * For 4o CON c For inftance, let I, 2, 3, be the length of three cnords,* c 1 : 2, is an octave, 2:3, is a fifth, ancf 1:3, an octave * and fifth compounded, or a twelfth : The vibrations of * chords being reciprocally as their lengths, the cfsord 2 will * vibrate once while the chord 1 vibrates twice, and then * exifts an octave ; but the twelfth does not yet exift, becaufe * the chord 3 has not vibrated once, nor the chord 1, thrice ; * which is necefTary to form a twelfth. c Again, for generating a fifth, the chord 2 muft vibrate * thrice and the chord 3 twice, in which time the chord 1 * will have vibrated fix times ; and thus the octave will be 4 thrice produced, while the twelfth is only twice produced, 4 the chord 2 uniting it's vibrations fooner with the chord 1, * than with the chord 3, and they being fooner confonant * than the chord 1 or 2 with that 3. ' Whence that author obferves, many of the myfteries of harmony relating to the performance of harmonious inter- vals, and their fucceflion, is eafily deduced. But this rule by examining it by the other instances, Mr Malcolm has fhewn defective, as it does not anfwer in all pofitions of the intervals, with refpect to each other j but a certain order wherein they are to be taken being re- quired, and there being no rule with refpect to the order that will make this ftandard anfwer to experience in every cafe; fo that at laft we are left to determine the degrees of concord by experience, and the ear. Not but that the degrees of concord depend much on the more or lefs frequent uniting the vibrations ; and the ear's being more or lefs uniformly moved, as above ; for that this mixture or union of motion, is the true principle, or, at leaft, the chief ingredient in Concord, is evident ; but becaufe there feems to be fomething further in the propor- tion of the two motions, necefTary to be known, in order to fix a catholick rule for determining all the degrees of Concord, agreeable to fenfe and experience. The refult of the whole doctrine is fummed up in this difinition: Concord is the refult of a frequent union or coin- cidence of the 'vibrations of two fonorous bodies, and by confequence, the undulating motion of the air, which being cau fed by the vibrations, are like and proportional to them, ■which coincidence, the more frequent it is, with regard to the number of vibrations of both bodies, performed at the fame time, cater is paribus, the more perfect is that Concord* till the rarity of the coincidence, in refpect to one or both the motions, commence difcords. See fome of the remarkable phenomena CON 4 t phaèntiméha of found accounted for from this theory, under the word Unison. See alfo Interval. Concords are divided into fimple or original, and compound. A fimple or original Concord is that whofe extreams are at a diftance lefs than the fum of any two other Concords. On the contrary, a compound Concord is equal to two or more fimple Concords. Other mufical writers ftate the divifion thus, an octave i : 2^ and all the other inferior Concords above exprelîèd, are fim- ple or original Concords : And all greater than an octave^ are called compound Concords-, as being compofed of, and equal to the fum of one or more octaves, and fome fimple Concord lefs than an octave, and ufually in practice denomi* nated from that fimple Concord. As to the , compofition and relations of the original Con- cords, by applying to them the rules of the addition and fubftraction of intervals, they will be divided into fimple and compound, . according to the firft and more general notion j as in the following table. Simple Concords. Compound Concords, Oclave compofed* 5 : 6 a 3d lefs 4 : 5 a 3d gr 3 : 4 a 4th 5 th Ç3dgr&3dlefs 6th lefs^th & 3d lefs 6th gr (4th & 3d gr 5 th and 4th of ^6^r 3d lefs or 3d gr 3d lefs 4th. The octave is not only the firft Concord in point of per- fection, the degrees of whofe extremities are greateft. and neareft to unifon, infomuch that when founded together, 'tis impofîible to perceive two different founds ; but 'tis alfo the greateft interval of the ieven original Concords -, and as fuch contains all the lefs, which derive their, fyveetnefs from it as they arrive more or lefs out of it directly ; and which decreafe gradually from the octave to the lefier fixth, which has but à fmall degree of Concord. See Octave,. What is very remarkable, is the manner wherein thefe lefs Concords are found in the octave, which fhews their mutual dependencies. . The octave by mediate divifion refolves itfelf into a fourth and a fifth y the fifth again by immediate divifion, re* folves itfelf into the two thirds ; the two thirds are there- fore found by divifion though not by mediate divifion ; and the fame is true of the two fixtlis. Thus do all the original Concords arife out of the divifion of the octave, the fifth G *nd 42 Con and fourth mediately and directly, the thirds and fixths im- mediately. From the perfection of the o&ave arifes this remarkable property, that it may be doubled, and yet frill preferve Concord, that is the mm of two or more oeWes are Concdrd^ though the more compound will be gradually lefs agreeable 5 but it is not fo with any other Concur d left than octave, the double, csV. whereof are all difcords. Again, what ever found is Concord to one extreme of the octave is Concord to the other alfo ; and if we add any other fimple Concord to an octave, it agrees to both its ex- tremes, to the neareft extreme it is a fimple Concord^ to the? fartheft a compound one. Another thing obfervable in this fyftem of Concords^ \s f that the greateft number of vibrations of the fundamental cannot exceed five ; or that there is no Concord wherein the fundamental makes more than five vibrations, to one coitfei-* de nee with the acute term. It may be added, that this pro-< grefs of Concords maybe carried on to greater degrees 6# compofition, even in infinitum, but the more compound the lefs agreeable. So a fingle octave is better than a double one, and that than a triple one ; and fo of the fifths ané other Concords ; three or four octaves is the greateft length we go in ordinary practice ; the old fcales went but two,, no voice or inftrumenfS will go agreeably above four. Seô Third-, Fourth, Fifth, &c< COND U CI M EN TO Retto, Rittor- NANTE, ClRCONCURRENTE, SeeUsUS. CONJOINT degrees, are two notes which imme- diately follow each other in the order of the fcale, as ut and re. See Scale. Conjoint utrachords, are two tetrachords or fourths where the fame chord is the hfgheil of one and loweft of the other. See Chord and Fourth. CONSEQUENTE, Confeguenza, or in Confequenza 9 a part of a fugue or canon is fa id to be inconfeguenza when it follows the firft part called the guide, imitating its motions* notes and figures. See Fugue. CONSONANCE is ordinarily ufed in the fame fenfe with concord, viz. for the union or agreement of two founds produced at the fame time, the one grave, the o- ther acute ; which mingling in the air in a certain proper- tion occafion an accord agreeable to the ear. See Con- Cord. Dr Holder on this principle defines confonance* the fifth, perfect harmony muft be joined ; to the fécond, third and feventh, an imperfect harmony is indifpenfibie ; to, COU 47 the fixth either a perfect ôr imperfect harmony. Bat when you keep the key, an imperfect harmony is given the fixth. In the compofition of two parts', obferve, that though a third appears only in the treble, or the fourth and the fifth, yet the perfect harmony of the fifth is always fuppofed, and niuft &e fupplied in the accompaniments of the thorough bafs to thofe fundamental notes. More particularly, in compofition of two parts, the rules are*, that the key may have either it's octave, or fifth, or third; the fourth and fifth may have either their respective thirds, fifths, or o$ave ; the fécond, fixth, the third and feventh may hare the'tr rëfpeétive thirds or fixths ; and the laft on many occafions may have it's falfe fifth as a pafling note. Which rules hold the fame in flat and (harp keys. For the rules of Count grpoint, with regard to the fucceflion of concords* it muft be obferved, that, as much as can be, the parts may proceed by a contrary motion, i. e. the bafc may defcend where the treble afcends^ and vice verfa : The parts moving either upwards or downwards the fame way; two octaves or two fifths never follow one another immediately ; two fixths never fucceed each other immediately. Whenever the octave or fifth is to be made ufe of the parts muft proceed by a contrary motion, except the treble move to fuch an octave or fifth gradually. If in a fharp key thé bafs defcend gradually from the fifth to the fourth, the laft in that cafe, muft never have it's proper harmony applied to it, but the notes that were harmony in the preceeding fifth, muft be con- tinued ort the fourth ; thirds and fifths may follow one ano- ther as often as one has a mind. Figurative Counterpoint is of two kinds, in one difcords are introduced occasionally as paffing notes, ferving only as tranfitions from concord to concord ; in the other, the difc cord bears a chief part in the harmony. See Discord. For the firft, nothing but concords are to be ufed in the ac- cented parts of the meafurè, i. e, not by the gradual prog ref- fion, but by proper preparation and refolution difcords are abfolutely neceflary ; in the unaccented parts difcords may pais without any offence to the ear. This is called by moft au- thors fuppofition ; becaufe the tranfient difcord always fap- pofes a concord following it ; which is of infinite fervice in mufic. See Supposition. For the fécond, wherein the difcords are ufed as a folid and fubftantial part of the harmony, the difcords that have place are the fifth when joined with the fixth, to which it ftand^ in relation of a difcord j the fourth whfft jokiçd with the fifth ? the 4? CRO the ninth; which is the effect of the fécond and feVenth, and the fécond and fourth. Thefe difcords are introduced into harmony; with due prepa- ration, and are to be fucceeded by concords, which is called the refolution of difcords. . The difcord is prepared by firft fubftituting it in the harmo- ny in quality of a concord ; that is, the fame notes which become the difcord are firft concord to the bafs note immediately pre- ceeding that to which it is a difcord. The difcord is refolved by being immediately fucceeded by a concord, defcending from it by the diftance only of a fécond greater or feçond lefs. As the difcord makes a fubftantial part of the harmony, fd it muft always poflefs an unaccented part of the meafure by gradual defcent ; but when prepared and refolved 'tis; neceflary on the accented part. Now to introduce difcords into har- mony, it muft be confidered what concord may ferve for theiç preparation and refolution; the fifth, then, may be prepared either by an octave, fifth or third ; and refolved either by third or fixth. The fourth may be prepared in all concords, and may be ; refolved into the fixth, third or octave. The ninth may be prepared in all concords except an oclave ; and may be refolved into third, fixth or oclave. The feventh may be prepared in all concords, and. refolved into third, fixth or fifth. The fécond and fourth are ufed very differently from the reft, being prepared and refolved into the bafs. See Harmony, Concord, Discord, Key, Cleff, Mo- dulation, &c. COUNTER-TENOR^ is one of the mean or mid- dle parts, fo called as if it were oppofite to the tenor ; by the French called the Haut contre. See Tenor. . C O U R AN T, is ufed to exprefs the air or tune, and the dance to it. With regard to the firft, Courant or Currant is a peice,of rnufical compofition in triple time, and is ordinarily noted in triples of minims , the parts to be repeated twice. It begins and ends when he who beats the meafure falls his hand with a fmall note before the beat ; in contradiction from the Saraband, which ufually ends when the hand is raifed. C R O M A, rather Chroma. See Ch rom a . CROMETTA, Tripla, or Tripola Crometta, Semi Cro- metta. See Triple. For Nonupla Ai Crowe, Seftupla di Crome, Semi Crome, and Dofdupla di Crome and Semi Cromer SeeTRiPLE. CROT ALUM, a kind of Caftagnettes or rnufical in- urnment, found on medals .in the hand of the Priefts of ■C)bek. The C Y M 49 'The Grotàlum differed from the Syftrum ; though authors often confound the two. It confifted of two little brafs plates or rods, which were fhook in the hand, and ftriking againft each other made a hoife. It was fometimes alfo made of a reed fplit lengthwife, one part whereof ftruck againft the other, and made a noife fome- what like that of a Crane's bill* whence that bird is called Crotalijlria, or player on the Crotala. An ancient in Paufinius fays that Hercules did not kill the birds of the lake Stymphalus, but that he drove them away by playing on the Crotala» On this footing the Crotalum muft be exceeding ancient. Clemens Alexandrinus attributes the invention of them to the Sicilians, and forbids the ufe of them to the Chriftians, bé- caufe of the indecent motions and geftures that accompany them. CROTCHET, one of the notes or characters of time marked thus gr equal to half a minim, and doublé a quaver. See Note, Quàverj Minim, and Character* 'Tis not eafy to conceive how it came by this Name of Crotchety the word is apparently borrowed from the French Crotchet of Croche, a crook or hook -, by reafoh of the addi- tional ftroke at the bottom, which gives it the appearance of a crook, and 'tis then changed into a quaver. See Quaver» A dot added to a Crotchet thus » t increafes it's time by ©ne half, that is, makes it equal to a Crotchet and half* or three quavers. See Time. CROUST./E, Si Greek term. See Strom en to. CURRANT, a mufical air in triple time. See Cou- rant. CURTAIL double, à mufical wind inftrument like the Baflbon, which plays the bafs to the Hautboy. See Bas- : Soon and Hautboy. C U S T O S, the famé with moftra^ or index. See each in it^ place. CYMBAL, a mufical inftrument among the ancients, called by the Greek name yyy.C&hW and by the Latins Cym- latum. The word is by Sylburgius derived from three feverat Greek roots, viz. from p^uç©", crooked, from ^v7rthKov 9 a cup, and from vvi, voice. IJiodore derives it from cum and bellemàtica : An immodeft «lance ufed to accompany this inftrument, but the real etymo- logy appears to be from %ypCQ-, cavity. $o C Y M The Cymbal was of brafs like our Kettle-drum, and as fome think in their form, though fmaller, and it's ufc different. Cafwdorus and Ifiodore call it Acetabulum, the name of a cup or cavity of a bone wherein another is lodged or articu- lated ; and Xenopkon compares it to a horfe's hoof, whence it appears it muft have been hollow, which alfo appears from the figure of feveral other things denominated from it, as bafon, caldron, goblet, cafque, and even a fhoe, fuch as thofe of Em- fidocles, which were of brafs. In efTecl:, the ancient Cymbals appear to have been very diffe- rent from our Kettle-drums in form and ufe; to their exterior cavity was fattened a handle, whence Pliny takes occafion to compare them to the upper part of the thighs Coxendicibus ; and Rabanus to a phial. They were ftruck one agaiû&another in a cadence, and made a very acute found : Their invention is attributed to Cybele^ whence they were ufed in feafts and facrifices ; fettingafide thefe occafions, they were feldom ufed but by diflblute and effemi- nate people. Lampadis, who has worte on this fubjecT:, attributes their invention to the Curetés or inhabitants of mount Ida in Crete ; it is certain thefe, as well as the Corybantes or guards of the kings of Crete, and thofe of Rhodes and Samothriaca were re- puted to excell in the mufic of the Cymbal, The Jews had their Cymbals, or at leaft fuch inftruments as the Greek and Latin tranflators render Cymbals, but as to their matter, form, &c. the critics are ftill in the dark. ■ The modern Cymbal is a paultry inftrument, chiefly in ufc among vagrants and gypfies ; it confifts of a fteel wire in a triangular form, whereon are paffed five rings, which arc 'touched and fhifted along the triangle with an iron rod held in the left hand, but it is fupported in the right hand by a ring to give it the freer motion» Durandus fays, that the monks ufe the word Cymbal for the bell hung in the cloifter, ufed to call them to the refectory. There is a kind of inftrument which we likewife call a Cymbal, which differs greatly from that above defcribed. It confifts of a frame about four feet long, and two and a half %vide, along which there is a bar of wood laid ftraight, and a fécond a-thwart from one corner to the ftrait one in this manner _^^ 5 and a third ftraight, which lias cne like the other that meets it at one end within a tfrth CYT |f little diftance fo that all the bars lye thus in the frame- on each of thefe bars is fixed an equal number of pins, about twenty eight upon the two firft, and near twelve or thirteen or thofe behind; which pins are not (harp, but their points are rounded ; each of thefe fupports a bar or wedge of a parti- cular kind of metal, but chiefly a compound of bell-metal and filver, at each end, the longeft. whereof is about ten inches, about one and a quarter wide, and about half an inch thick, or not quite fo much ; thefe bars have a round hole about half through, to fit the pins, the found of the longeft is C, the others are diminished (in length only) according to the pro- portion of the intervals in mufic, and thofe of the fécond row anfwer to the flats and (harps of the Spinet : There is near forty in all, fo that this infiniment has fomething more than three octaves in compafs, and may be reckoned an inftrument of percuffion by reafon 'tis played by ftriking it with nobs of wood at the end of flicks. The found it yeilds is very agreeable, being fomething exceeding foft, the low notes re- fembling the Flute, but the high ones have not fo much dura- tion as thefe, yet their found may be compared to that of a fmall Flageiet. CYTARA, or Cythara, an ancient mufical Uftrument, by fome fuppofed to be the fame with the Lyre, at leaft a fpecies of Lyre ; by others different ; though it's precife ftruclure does not appear. See Lyre. The ancients defcribe it in the triangular form of the Greek Delta or letter D a. The Poets afcribe it's invention to Jpollo. D 5 z PEC D. T\ Tn thorough ba/Tes, marks what the Italians call Defcanto^ ^* > and intimates that the treble ought to play alone, as T does the tenor, and B the bafs. See Descant. D A an Italian proportion, fignifying fometimes by, as Da Capella. See G A PELL A ; fometimes for, as Sonata da Ca~ tnera, See Camera ; fometimes from, as Da Capo, from the beginning. See DC. or Capo. Sometimes to, as Da Suonar, to found or play ; and likewife with, as Stromentl da Arco, inftruments to be played with a bow. DAL', the fame as Da. See D A. DC, an abbreviation of Da Capo, i. e. at the head or beg : nning ; thefe words or letters, are commonly met with at the end of rondeaus, or fuch airs or tunes as end with the firft ftrain, and intimate. that the fong is to be begun again, and ended with the firft part. See Capo. D E CI M A, is one of the intervals in mufle, by us called a tenth ; 'tis ! cômpofed of an Oclave and a Tierce Major or Minor. See Te rz a or Third. ■ Contrapunto ala Décima, is one of the fpecies of double counterpoint ; wherein the principal counterpoint may rife a tenth above, or fair as much below the fubjecT;, (by the Italians called Sogetto) which greatly varies the harmony. See Counterpoint and Sogetto. Décima Terza, is the doublé fixth or thirteenth. See Sixth. Décima Shiarta, is the double feventh. See Seventh. Décima ghimta, is the double octave or fifteenth. See Octave. Décima Sexta, is the fécond tripled, or ninth doubled. See Second and Ninth: Décima Settima, is the third tripled, or tenth doubled. Décima Oftava, is the fourth tripled. Décima Nona, is the fifth tripled. D E C L A M A T I O, a declamation or crying out ; this is ufed for what the Italians call Recitativb. See Reci- tativo. See alfo Largo and Oratorio. ' DEDUf TIONE, from the Latin Deduftio, is the name which Guida Aretine gave to the rife of the voice, in pronouncing the fylablcs Ut, re, mi, fa, fol, la, quia per has de» ducitur vox ; as on the contrary, when the voice descended by thefe, la, fol, fa, mi, rt 3 ut, he called it Redutiio, quia per has reducitur vox, DEGR££S f D E G si DEGR EE S, are the little intervals, whereof the con- cords or harmoriical intervals are compofed. See Intervai and Concord, Mufical degrees are three, the greater tone, lefs tone, and femi- tone. See Tone and S e m i -To n e . The primary caufe of the invention of degrees or intervals lefs than concords, and whereby concords are divided, and as it were gradutated, Des Cartes judges to have been this, that if the voice were always to proceed by harmooical intervals, there would be too great a difproportion or inequality in the intenfenefs thereof, which would weary both the finger and the hearer. Thus fuppofing A and C the diftance of a third, if the voice were to proceed immediately, afcending from A to C* then becaufe C being the acuter found, ftrikes the ear with more force than A, leaft that proportion fhould prove un- eafy, another found B is placed between them, by which, as by a ftep or degree, we may move upwards or downwards more eafily, and with lefs unequal force in raifing or falling the voice. Hence it appears, fays that author, that the degrees are only certain mediums contrived to be put betwixt the extreams of concords, for moderating their inequality, and are of ufe only with regard to concords ; fo that when the voice has moved one degree, the ear is not fatisfied 'till .we come to the other, which therefore muft be concord to the firft found. The fubftance of what is here alledged comes to this ; that by a fit divifion of the concording intervals into lelîèr ones, the voice will move fmoothly from one note to another, and the hearer be prepared for a more exquifite relifh of the per- fect intervals, whofè extreams are the proper notes in which the ear finds the expected reft and pleafure. Such is the end and office of degrees or lefs intervals. — — •Now there being among us only three that experience recom- mends as agreeable, whofe ratios are 8 : 9, called the greater tone ; 9 : 10, called the lefs tone ; and 15 : 16 called the femi -tone ; by thefe alone, a found can be moved upwards or downwards fucceffively from one extreme of a concord to another, and produce true Melody ; and by means of thefe feveral voices, are alfo capable of the neceilary variety in .pafîing from concord to concord. As to the original of thefe degrees, they arife out of the fimple concords, and are equal to their differences. Thus 8 : 9 is the difference of a fourth and a fifth ; 9 : 10 is that of a leffer third and fourth, or of a fifth and greater fixth s and 15 ; 16 is the difference, of a greater third axid ' . " . " -^' fourth, 54 D I A fourth, or a fifth and a leffer fixth. See Third, Fourt h, Fifth and Sixth. For the ufe of degrees in the conftru&ion of the fcale of mufic. See Scale and Gamut. DEMI, the fame as femî, half. See Se mi. DEMI-DITONE, the fame "with tierce minor. See Tierce or Third. DEMI Q_V AVER, is a note in mufic marked thus two of which are equal to a Quaver. See Note and QjJ aver. DEPRESSIO, the fall of the hand in beating time, and the fame with the Greek word The fis. See Arsis an4 Thesis. To D E S C A N T, to run a divifion or variety upon One, two, or more given notes with an inftrument or voice. Descant, or Dej canto, the art of compofing in feve- ral parts. See 'Co m posit ion. Descant, in threefold, plain, figurative, and double. Plain Descant, is the ground work and foundation of all mufical compofitions, confiding entirely in the orderly placing of many concords, anfwering to fimple counterpoint. Figurât e or florid Descant, is that part of an air of mufic wherein fome difcords are concerned, as well, though not fo much, as concords. This may be termed the ornamental and rhetorical part of mufic, in regard, that there are intro- duced all the varieties of points, fyncopes, diverfities of mea- sures, and whatever is capable of adorning the compofition. Descant double, is when the parts are fo contrived, that the treble or any high part may be made the bafs, and e contra. See Harmony, Counterpoint, and Melody. DESOLATA Syncope, Confonans Defolata. See Syncope. DEUTERUS. SeePROTOs. D I, an Intalian article, which when placed before the çhriftian name of a perfon, fignifies of as Di Gio. Maria Bononcini, of "John Maria Bononcini', it has the fame figni- cation alfo before many fubftantives, as Salmi di Terza 9 pfalms of tierce, or in three parts, &c. Di féconda, di terza, di quarta, fignifies a rife or fall of a fécond, third, fourth, csV. And before fome adverbs, it fig- nifies of ox from, as Di fopra, from above, Di fotto, fropi below, i*fc. D I A F O N I SuonL See Suon o. DIAGRAM, in the antient mufic, was wliat we call the fcale or gamut in the modern. See Scale and ()AMVT, The DIA || The extent of the Diagramma which was called Syjfema perfeclum, was a dif-diapafon, or two octaves, in the ratio of I : 4. In that fpace they had eighteen chords, though thefe according to fome, had not all different founds. See Chord and Lyre. To explain it, they reprefent to us eighteen chords or firings of any infiniment, as of the Lyre, fuppofed to be tuned ac- cording to the proportion of any of the Genera, viz. Dia- tonic, Chromatic or Enharmonic, See Genus, Diatonic, Chromatic and Enharmonic. As the Lyre was improved and had more chords added to it, fo was the Diagramma ; by fuch means it came from 4 to 7, then 8, then 10, then 14, and at laft to 18 Chords. See Lyre. To each of thefe chords or founds they gave a particular name, taken from it's fituation in the Diagramma, or on the Lyre. Their names and orders commencing from the loweft, are as follow : Projlambanomenos^ Hypate-hypaton, Parhypate-hypaton, Lychanos Hypaton, Hypate Mefon, Parhy- pate Mefon, Lychanos Mefon, Mefe, Trite Synemmenon, Paranete Synemmenon, Nete Synemmenon, Paramofe, Trite Ditzeugmenon, Paranete Diezeugmenon, Nete Diezeugmenon, Trite Hyperbolœon, Paranete Hyperbolœon, Nete HyperbolœGtî. Guido Jretine improved this fcale or Diagram very greatly, finding it of too fmall extent, he added five more chords or notes to it ; laid them all down on a ftafF of five lines, and inftead of the long Greek names above-mentioned, named all his notes by Gregory's feven letters, and afterwards by the fyllables ut, re, mi, &c. See Note and Gammut. The firft and loweft note in his fcale he marked y 9 and called it Gamma ; whence the whole fcale became denomi- nated Gammut. D I A L O G O, fignifies a piece of mufic for, at leaft, two voices, or two inftruments, which anfwer one another ; and which frequently uniting, make a trio with the thorough bafs. They are very much ufed by the Italians in their operas, oratorios, ferenatas, &c. DIAPASON, a mufical interval, by which moil authors who have wrote on the theory of mufic, ufe t© ex~ prefs the oélave of the Greeks ; as they ufe Diapente, Diatef- faron, and Hexachbrd, to exprefs fifth, fourth and fixth» See Octave. The Diapafon is the firft and moft perfect, of the concords ; if confidered fimply, it is but one harmonical interval, tho* if •çonfidçred diatonically, by tones and fcmi-tonesj it contains feven jfi D I A féven degrees, viz. the three greater tones, two leffer tones, and two greater femi-tones. The interval of a Diapafon, that is, the proportion of it's grave found to it's acute, is duplicate, k e. as 2 : I ; See Interval. Diapason, among the mufical infiniment makers, is a kind of rule or fcale, whereby they adjuft the pipes of their Organs, and cut the holes in their Flutes, Hautboys, 1 &c. in due proportion for performing the tones, femi-tones and concords juft. , , ■ t A fquare being divided into eight equal parallelograms, the points wherein a diagonal line interfects all thefe parallelo- grams, exprefs all the ufual intervals in mulic : And on this principle it is, that the Diapafon is founded. There is a particular kind of Diapafon for Trumpets ; fèrving as a flandard or meafure of the different magnitudes they muft have to perform the four parts of mufic. Sec Trumpet. There is another kind For Sacbuts and Serpents, fhewing how far they are to be lengthned and fhortened, to raife or fall from one tone or interval to another. D I A P A S O N-D I A E X, a kind of compound concord, whereof there are two forts : the greater, which is in the pro- portion of io : 3 ; and the leffer, in that of 16 : 5, called a thirteenth. See Concord. DIAPASON-DIAPENTE, a compound confo- nance in a triple ratio, or as 3 : 9. See Concord. This interval, fays Martianus Capella, confifts of nine tones and a femi-tone, nineteen femi-tones, and thirty eight diefes. The Diapafon- Diapente is a fymphony made when the voice proceeds from the firft to the twelfth found ; the word is properlv in the Greek mufic, what we call a twelfth. DIAPASON-DIATESSARON, a compound concord, founded on the proportion of 8 : 3. To this interval Martianus Capella allows eight tones, and a femi-tone, feventeen femi-tones, and thirty four diefes. This is when the voice proceeds from it's firft to it's eleventh found. The moderns would rather call it the eleventh. DIAPASON-DITONE, a compound, concord, whofe terms are as 10 : 4, or 5 : 2. • • DIAPASON-SE M I- DI T QNE, *a compound concord, whofe terms are in the proporfqn of 12:5. DIAPENTE, in the antient muffo an interval, mak- ing the fécond of the concords, and With the Diatejfaron an ©ftave. See DiAT£8SAR0Né This DIA 57 This is what in the modern mufic is called a fifth. See Fifth. The Diapente is a fimple concord ; yet if confidered dia- tonically, it contains four term?, two greater tones, a lefs tone, and a greater femi-tone ; the Diapente is the greateft part of the octave, (/. e. Diapafon) harmonically divided. Is is pro- duced when the voice paffes from it's firft to it's fifth found. There are, fays Arijlldes, four kinds of fifths, the firft be- gins at Hypate Mefon, and ends ât Paramefe, which has a femi tone for it's loweft interval ; the fécond from Parhypatè Mefon to Trite Diezeugmenon, m which a femi-tone is the highefl interval ; the third from Lychanos Mefon to Paranete Diezeugmenon, in which the femi- tone is the fécond interval from the laft or higher! found ; and the fourth from Mefe to Nete Diezeugmenon, wherein the femi-tone is the feccnd interval from it's firft or ^ravelr. found. Diapente col Ditono, is by Zarlin and many others ufed for what we call the feventh major. See Seventh. Diapente col Semidilcno, is the feventh minor. See Major and Minor. DI A S C H I S M A, is an interval in mufic, which con- tains tv/o commns. See Com m a . D I A S T E M, a name the ancients gave a fimple inter- val, in contradiction to a compound en*, which they called a fyftem.. See System. Muficians divide intervals into tv/o kinds^ zrA one of them they call a fyftem, which is to contain at lead two intervals in Diatonic kind of mufic, but in the Enharmonic it con- tains more. The other they call Diaflem, is a mere fimple interval ; the proper fignifieation of the Greek word being an interval A Dia/lem differs in each of the Genera, in the Enharmonic, Die/is is the leaft Diaflem, in the Chromatic and Diatonic , the femi-tone is focal led. See System and Interval. DIATE SSAPvON, in ancient mufic, #âS a concord or harmonica! interval compofed of a greater tone, a lefs tone, and one greater femi-tone ; it's proportion in numbers is as 4 : 3; See Con cor p. By the moderns it is called a fourth. See Fourth. DI-A T€)N i Q, an epithet given to mufic, as it proceeds by tones and femi- tones, both afeendifls; and defending. See Music and Genus. The Grecian authors divide the forts of mufic into Diatonic, Chromatic, and Enharmonic. See Chromatic and En- harmonic. I Diatonic, $8 D I A: Diatonic mufic, according to Nichomachus and others, allows of three degrees, the greater tone, lefs tone, and femi-tone. See Tone and Semi-tone. Hence Diatonic muiic appears moil: natural, and of confe- rence the molt ancient. Indeed Arijioxenus abfolutelyfays it was the firft, and that from a divifion of it's intervals, arofe the other two. The Genus or kind that makes the character of the Diatonic mufic, is called Genus Diatonicum. In the Diatonic mufic there is a tone between every two notes in the fcale, except mi, fa \ and as the French term it, ft and ut, where there is only a greater femi-tone. See Se a le. . When this order or progreffion of the notes is changed by the introducing flats £»& or fharps ^ ! $, fo that thereby it's intervals are divided into two femi-tones, either major or minor, the Diatonic is then changed and becomes Chromatic* But if this alteration is made only here and there in particular places when necefiary, 'tis called the mixed Genus, or Diato- nico-Chromatico, which Genus alone is ufed by the moderns. The Diatonic Genus, fays Arifioxenus, is eafily difcoverable, in that therein two tones, or three at mod, are found to* gether ; whereas in either of the other 'tis not fo, and that it has not a femi-tone on each fide of a tone ; and again in that two femi-tones never follow one another therein, as is iound in the other two. We mall here add the Diatonic Diagram or fcale from Ni- clwnachus, Euclid and Gaudjntius ; it's loweft found, as well is that of the other two is Proflambanomenos, which is di- stant from Hypate Hypaton a tone, from thence to Parhypatè Hypaton a femi-tone, thence to Lychanos Hypaton a tone, thence to Hypate Melon another tone, to Parhypatè Mefon a femi-tone, from thence to Lychanos Mefon a tone, diftinguifh- cd by the name of Diatoms, thence to Mefe a tone, and thence to Paramefe another tone> thence to Trite Diezeugme- non a femi-tone, thence to Paraneté Die^eugmcnon a tone, and a tone from thence to Nete Diezeugmenon, a femi- tone to Trite HyperboUon, thence to Paranete HyperboUon a tone, and from thence to Nete HyperboUon another tone. A fiïa- DIE 59 A Diatonic ottave rifing by B W and falling by B &. Beginning at G, in/lead of A ^/cw //. co 3 • O '9 CO CO o CD 3 £J •— • 1 1 r* rr o O 3 3 fl> O CO c DIATONICO Sv/?ed y as a diminifhed or rather a divided cadence, interval, countei point, cirV. all in- tervals wanting a femi-tone minor of their full quantity, are called diminiihed intervals, as alfo imperfeft. When a fharp is -placed m a lower part, or a flat in a higher, the interval from that mav be called diminijhed. D' IN G ANNO. SeelNGANNO. DIRIT TA, Contrapunio alia Dh'itia y according to Am eh BerardL is when one is obliged to raife or fall the voice by the fame degrees, i.e. by an equal number afcending or defcending, without making a leap, even of the interval of a third. This is properly as much as to fay, in conjoint degrees. See Salto, Qrado and Th jrd. DISCORD, the relation of two founds, which are always and of themfelves difagreeable, whether applied in &cce!uon or confonance.. See Sound. If two founds are in fuch a relation of tune, i. e. have fuch a difference of tune, as that being founded together, they make a «mixture or compound found, which the ear receives with difpleafure, it is called a Difcord ; on the con- trary, where it receives it with pleafure, it is called a con-^ cord : And whatever two founds make an agreeable or dif- agreable compound, they will have the fame effect refpeotively, if they be applied in fucceiîion. See Tu n e and Con cord. As concords are denomitated harmonica! intervals, fo may f)iJeords be named unharmonious ones. See Interval* Discords 62 DIS Discords are diftinguifhed into concinnous and incon- cinnous intervals. The concinnous, called by the ancients Emmeli, are fuch as are apt or fit for mufic, next to, and in combination with concords. Thefe are relations, which in themfelves, are neither very agreeable nor difagreeable 5 and have only a good effect: in mufic, by their oppofition as they heighten, and illuftrate the more natural and efTential principles of the pleafure we feek for ; as by their mixture and combination with them, they produce a variety necefTary to our being better pleafed. Notwithstanding this, they are ftill called Difcords ; as the bitternefs of fome things may help to fet off the fweetnefs of others, and ftill be bitter. The inconcinnous Difcords, by the ancients called Ecmeli, are fuch as never are chofe in mufic, as having too great a harfhnefs in them, tho' even the greateft Difcord is not with- out it's ufe. See Concinnous, &c The efTential principles of harmony, harmonical intervals, or concords, are but few, in number only eight ; the indefi- nite numbers of other ratios, are all Difcords. Hence Mr Malcolm fhews the neceihty of taking fome of the lefs unto- ward of thefe Difcords, unto the fyftem of mufic. In order to this, he confiders the effect of having none but harmonical intervals therein. Fir/?, With refpect to a flngle voice, if that fhould move always from one degree to another, fo as every note or found to the next, were in the ratio of fome concord, the variety, which is the life of mufic, would foon be exhaufted ; for to move by no other than harmonical intervals, would not only want variety, and fo weary us with a tedious repetition of the fame things, but the very perfection of fuch relation of founds would cloy the ear, in the fame manner as fweet and lufcious things do the tafte ; which, for that reafon, are artfully feafoned with the mixture of fower and bitter. Secondly, With refpect to mufic in parts, /. e. where two or more voices join in confonance, the general rule is, That the fucceffive founds of each be fo ordered, that the feveral yoices fhall be all concords. Now there ought to be a variety in the choice of thofê fucceffive concords, and alfo in the method of their fucceffion ; all which depends on the movement of the fingle parts. So that if they could only move in an agreeable manner by harmonical diftanccs, there are but few different ways where- in they could move from concord to concord ; and hereby we fhould loofe much of the ravifhment of founds in confo- ndu i And to tbis part then, the thing demanded is, a variety DIS 63 variety of ways, whereby each fingle voice, or more in con- fonance, may move agreeably in the fucceffive founds, fo as to pafs from concord to concord, and meet in every note in the fame or a different concord, from what they flood in at the laft note. In what cafes and for what reafons Difcords are allowed, the rules of compofition muft teach ; but only joining thefe two confiderations, &c. we find how imperfecl mufic would be, without any other intervals than concords. See Com- position. Befides the concinnous Difcords ufed defignedly in mufic, there are feveral other difcord relations, which happen un- avoidably in a kind of accidental and indirect manner. Thus in the fucceffion of feveral notes there are to be con* fidered, not only the relations of thofe which fucceed others immediately, but alfo of thofe, betwixt which others inter- vene. Now the immediate fucceffion may be conducted fo as to produce melody ; and yet among the diftant notes, there may be very grofs Difcords, that would not be tollerable in mediate fucceffion, and far lefs in confonance. Thus taking away one fpecies, e. g. that with the greater third, and marking the degrees between each term and the next ; and tho' the progreffion be melodious, as the terms refer to one common fundamental, yet there are feveral Difcords among the mutual relations of the terms, e. g. from the fourth to the feventh greater, is 32 : 45 ; and from the fécond greater to the fixth greater, is 27 : 40 ; and from the fécond greater to the fourth, is 27 : 32, all Difcords. The fpecies of counterpoint, wherein there is a mixture of Difcords, is called figurative counterpoint ; of which there are two kinds: That wherein the Difcords are introduced occasionally, to ferve only as tranfitions from concord to concord ; and that wherein the Difcord bears a chief part of the harmony. See Figurative Counterpoint. Upon the unaccented part of the meafure, Difcords may franfiently pafs without any great offence to the ear : This is called iuppofition, by reafon the tranfient Difcord fuppofes a concord immediately following it. See Supposition. The harmony of Difcords, is that wherein the Difcords are made ufe of as the folid and fubftantial part of the harmony. For by a^ proper interposition of a Difcord, the fucceeding concords receive an additional luftre. Thus the Difcordi 'are In mufic, what the ffrong fhades are in painting. See Ha rmony. The Difcords are tho fifth when joined with the fixth, the fourth with the fifth, the ninth of it's own nature is a Difcord, £q is the feventh, 6 4 DIS The Difeords are introduced into harmony with due pre- parations, and muft be fucceeded by concords ; which \\ the refolution of Difeords. The Difcord is prepared by fub- , ftituting it firft in the harmony in quality of a, concord ; i. e. the fame note which becomes a Difcord, is firft a concord to the bafs note immediately proceeding that to which it is a Difcord. The Difcord is refolved by being immediately fucceeded by a concord, defcending from it only by the diftance of a greater or lefTer fécond. DISCRETO, thefamcasCoN discretions, which fee. DISDIAPASON, or rather Bifdiapafon, a compound concord, defcribed by Fa. Parr an as quadruple of 4 : I, or 8 : 2. See Concord. The Difdiapfon is produced when the voice goes diatonically from it's nrft to it's fifteenth found, and may be called a fifteenth. The voice ordinarily does not go farther than from it's firft found to the Difdiapafon, i. e. it does not go beyond the compound or double oétave, for the Dtfdiapafon is an octave doubled. See Octave. The voice may fometimes rife feveral degrees above the DifdiapafoTiy but the effort or ftruggle disfigures it, and makes it falfe. The antient fcale or diagramma, only extended to a Dif- diapafen. Martianm Cape/la gives the Difdiapafon the pro- portion of 12 : 3, and adds, that it contains ten tones and four femi-tones, /". e. 24 femi- tones, and 48 diefes. See DlAGRAP^. Disdiapason- diapente, a concord in- a fextuple ratio of 1 : 6. Disdi ap A son -femi-diapente, a compound concord, in the proportion of 16 : 3. DisDiAPAsoN-iftfrK*, a compound confonance, in the proportion of 10 : 2. DisDiAP A sou -femi-ditone, a compound concord, in thé proportion of 24 : 5. DISSOLUTION according to Bacchius fenior, is when a found in the enharmonic genus is lowered three diefes, for thereby that genus is difolved, and the mufic, or that interval at leaft, is chromatic ; Spondeafmus, fays Arijiides, is the contrary. DISSONANCE, or Difcord, a falfe confonance or concord. See Concord and Discord. A Difjlnance, is properly the refult of the mixture ©r meeting of two founds, which are difagreeable to thé ear b i v 65 ear, fueh are the ditones, tritones, falfe fifths, redundant fourths, fevenths, &c. Dljfonances are ufed in mufic, and have a good effect, though it be only by accident. See Discord, DISSONANS Syncope. See Syncope.,, DISSONANTE, fignifîes in general, all difagreeabls intervals. This epithet is particularly given to the fécond, feventh, ninth, and fometimes the fourth, with their double or replies, &c. as alfo to all redundant and defective inter- vals, as the tritone, falfe fifth, &c. DISTENDENTE Maniera. See Mutation, Manner and Usus. D I T O N E or Dltonum, an interval, comprehending two tones. See Interval and Tone. The proportion of the founds that form the Dit one, is 4:5; and that of the femi-ditone, is 5:6. F. Parrari makes the Dltone the fourth kind of fimple concord, as com- prehending two tones, according to Arljlldes, a greater and lefs. Others make it the firft difcord ; dividing the Dltone into eighteen equal parts or commas, the nine on the acute fide make the greater tone, as afTerted by Salmon de Caux. Ariftldes again fays, various are the divisions of the Ditone, in the enharmonic it contains eight diefes, in the diatonic, four ferni- tones, and in the chromatic, it is divided into thirds of a tone, and has fix thereof for it's complement. The word is formed of thé Greek, Dis arid Tohos, twice and tçne. D Î T O N O con-d'iapente, or SemUDltono con dldpente, See Seventh, Major and Minor. DITONUM, ad-dltonum fupra. See Epi or H y per * j$d dltonum infra. See Hypo. DITONUS cum D lapent e^ is the greater feventh. See Seventh. DIVISARUM Tetra chordon ultima, extent a, and tertia, See System. . D I V IS I, fignifies, divided into two v or more parts. DIVISION, the dividing the interval of an octave in- to a number of lefs intervals. See Interval, Octave,- and Syst em. The fourth and fifth each of them divide the octave per- fectly, though differently ; when the fifth is below, and ferves as a bafs to the fourth, the divifion is called harmonical $ when the fourth is below, 'tis called arithmetical. See Scale and Harmonica h é K. ^ D R A To run a Divifion, is to play or fing after the manner a- bove-mentioned, /. e. to divide the intervals of an cctave, fifth, fourth, &c. into as many parts, and as agreeably as pof- fible, which depends entirely upon tafte and fancy. D I V I T O, denotes a grave ferious manner of playing, fit to infpirj divotion. D, L A, S O L, R E, is the fifth note of the feptenaries or combination in the gamut ; only re is wanting in the upper- most, and la in the lowermoft. DO, is a fy liable ufed'by the Italians inflead of ut y by reafon they think it more mufical and refonant than ut, be- caufe of the clofe pronounciation of the letter 17 in their lan- guage. DODECUPLA dl Crome, is a name by which the Italians call the triple */, in which twelve notes are requi- red, inftead of four in common time. Dodecupla dl Semi Crome, with them is our triple 4f> wherein there are twelve notes inftead of fixteen, in a bar of duple time. See Triple and Time. D O I, fignifies two. DOMINANT of a mode, that found which makes a per feci: fifth to the final, in authentic modes ; and a third to the final, or fixth to the loweir. chord of a plagal mode. See Mode and Final. DOMINICALI Salmi, in the Ro?niJI) church, are certain pfalms, fung in the vefpers of Sunday evening. DOLCE, fignifies foft, fweet, and agreeable ; as con Dolce ?naniera> after a fweet and agreeable manner. See Con. DOPPIO, fignifies double, as Bajfo Doppio, fignifies the double or counter bafs. DORIC Mode, is the firfl of the authentic modes of the ancients j. it's character is to be fevere, tempered with gra- vity and joy ; and is proper upon religious occafions, as alio to be ufed in war. It begins D, la, fol, re. See Mode. Plato admires the muiic of the Doric mode, and judges it proper to preferve good manners, as being mafculine, and on this account, allows of it in his commonwealth. The ancients had . likewife their fub-doric or hypodoric mode, which was one of the plagal modes. It's character v>r.s to be very grave and folemn. It began with re, a, fourth lower than the Doric. See Mode. DOSDUPLA di Ghrome. See Dodecupla. D O U C E D, a mufical inftrument, with ftrings of wire, commonly called a Dulcimer. See Dulcimer.. DRAMATIC, See Music, Enharmonic, ^. D R UM 3 - DUO 67 DRUM, a military mufical infiniment, of the pulfatile kind, ufed principally among the foot, to call the foldiers to- gether, to direct their march, attack, retreat, &c. The body of the Drum is of very thin oak, bent into a cylinder, and covered with parchment, which is {trained or braced more or lefs, according to the height or depth of the tone required, by firings, and ftruck with flicks. The height of the Drum is equal to it's breadth, which does not exceed two foot and a half, by reafon no skins can be had to cover bigger. There are alfo Drums whofe bodies are of brafs, commonly called Tymbals or Kettle Drums, ufed among the horfe. To be played on, they are hung or layed a-crofs the moul- ders of the horfe, before the drummer, who with a variety of odd geftures, beats them with two little iron bars with balls at the end ; their found is fofter and more agreeable than that of the other. And thefe are often ufed in operas, ora- torios, tragedies and concerts. There are divers beats of Drum, as the march, double march, affemblée, charge, retreat, chamade, &c. DUCTILIS Tuba, See Sacbut, Trombone, and Posaune, &f.. DUCTUS, fays Ariji'ides, is when we found feveral notes in conjoint degrees, and is_either called Duftus re£tus> when we raife the voice or found ; or Ductus revert ens, when we fall \ or Ductus circumcurrens, when we rife in the order of Beccare, and fall with that of Bmol, or è contra. DUE, or Dol. See Do 1. D U E T T I, a diminutive of Duo, a little air or fong ii\ two parts, or for two voices. DVhCE Suono. SeeDuLciNO. DULCIMER, a mufical inftrument, with wire firings in a triangular form, ftrung with about fifty firings, cafl over a bridge at each end, and the acuter gradually the fhor- ter, the fhorteft about eighteen inches, and the longeft about thirty fix ; flruck with little iron rods : the bafs firings are doubled, and it's found is not difagreeable: To be played on, *tis laid on a table before the performer, who with the little iron rod in each hand, ftrikes the firings. This inftrument is not much ufed except among puppet-fhews. DU LCI NO, a wind inftrument, otherwife called Quart fagotto ', is the tenor to the Hautboy, and is no more than a balloon. DUO, a fong or composition to be performed in two. parts only j one fung, the other played on any inftrument, %>t by two voices. 'Tis alfo called Duo, when two voices K 2 fing 68 DUX fing different parts, accompanied with a third, which is a tho- rough bafs. Unifons and octaves are rarely ufed in Duos, ex- cept at the beginning and the end. D U O D E C I M A, is the twelfth, or the fifth doubled. See Fifth, DUPLA, double , as proportione Dupla, the proportion of I : 2, 2:4, or 4 : 8, &c. two chords or firings, that are in this proportion, produce the oclave. See Octave. Du pl a Sefqui ^uarta, or Nonupla di femi minime, is a fpecies of triple, wherein nine notes are required in a bar, whereof four make a meafure in common time, 'tis marked -J, See Trip le. D U R A L E, or Duro, hard, harjh, or more properly Jharp, This name is given to B natural, by reafon it's found is fharp, when compared with B mol, or flat. See Flat, Sharp, and B quadro. DUX, in fugues is the firft voice or inftrument that fcegins, and ferves as a guide to the other parts, which are called comes 3 or followers . See Conséquente, P E N H Bgj E Tf On the keys of an Organ or Harpfichord, denotes the ■" note or found E la mi. EAR denotes a kind of internal fenie whereby we perceive and judge of harmony and mufical founds. See Music. In mufic we feem univerfally to acknowlede fomething like a diftincl: fenfe from the external one of hearing, and call it a good Ear. ECC HO, is often ufed inftead of Piano. See Pi an- o. ECCHOMETRE, a kind of fcale or rule with feveral lines thereon, ferving to meafure the duration and length of founds, and fo find their intervals and ratios. The word is formed of the Greek n%<&- 9 found, and &r&y 9 meafure. ECCLESIASTTCOySy*, is mufic compofed in the manner of an anthem, Te deum, and fuch like church mufic. See Style. ECÇHUS, is a repetition of the voice or found, by it's being reflected by the air ; it is often imitated in mufic, and pieces compofed to that end are called Ecchos. See Music and Sound. Sometimes the word Ecchus Hands for Piano, to figniff that the inftrument or voice is to play or fing after a foft and fweet manner. Organs and Harpfichords have what they call Eccho-Jiop. See Organ, Piano and Harpsichord. EMELl Suoni. SeeSuoNo. E or Ed, fignifies and, as Allegro ed andante, brisk and di~* Jlinclly. ELEVATIO, the fame as Arfis, See Arsis or Per. This word alfo fignifies motetts for one, two, three, four or more parts, ordinarily alone, fometimes with Violins or Flutes, and very often a thorough bafs, which are fung in a certain office in the Romijh Church, when the body of our Saviour is lifted up, whence the name. EMIOLIA. See Hemiolia. EMMELI Suoni. SeeSuoNo. EMPHYSOOMENA. ? EMPNEOUSTA. > See Stromento. ENCHORDA. J E N H A R M O N I C A L, of, or pertaining to, harmony. ENHARMONIC Genus, is faid to have been thus Called from it's fuperior excellence, though wherein it con- fided* 1 7* E N H iifted, fays Mr Malcolm, we have not been able to find out. It •was allowed by all to be fo very difficult that- few could ever practice it. The feveral Genera are divided into diaftems, upon which their differences depend, thofe of the Enharmonic, according to Euclid, are two diefes and the ditonus ; thofe of the Chromatic , hemitonium, and triemitonium ; and in the Diatonic, the he* mitonium or limma, and the two tones. But under the general names which diftinguifh the Genera, ^here are feveral intervals and ratios, which conftitute the Chroai or Colores Generum, or fpecies of the Enharmonic, Dia- tonic and Chromatic, See Chromatic and Diatonic. Mr Brojfard better defines the word, and fays, 'tis a fpecies of mufic, the modulation whereof proceeds by intervals lefs than femitones, i. e. quarters of tones, and that it has two diefes or figns of raifing the voice. See Diesis. This Genus, fays that author, was greatly ufed in the Greek mufic, efpecially in dramatic performances. But as thofe al- raoft infenfible elevations and fallings of the voice are too diffi- cult, and as they fometimes make the concords falfe, it has been laid afide and even loft, though fome great authors have made many attempts to recover it. See System and Genus. Enharmonic is alfo a particular manner of tuning the voice, and difpofing the intervals with fuch art, that the me- lody becomes more moving, abounding very much in diefes or femitones. The progreffion of the Enharmonic Genus we fhall here give the reader from Euclid's Introduit. Harmonica. 1 ProJla?nbanomenos. 2 Hypate Hypaton. 3 Par hypate Hypaton. 4 Lychanos Hypaton -^enharmonioSn 5 Hypate Me/on, 6 Parhypate Me/on. 7 Lychanos Mefon -\-enharmonios. 8 Mefe. 9 Trite Synem?nenon. io Paranete Synemmenon -Iç-enbarmowiu 1 1 Nete Synemmenon» 12 Paramofe* Ï3 Trite Diezeugmenon. 14 Paranete Diezeugmenon ^enhormomos» j 5. Nete Diezeugmenon* |6 Triu Hyperbolcem, j 7 PareruU EPI 17 Paranete Hyperbolœon -\-enharmonios, 18 Nete Hyperbohson, 7»: 'An Enharmonic Fourth afeending, and è contra. ' W êêè 1 1 * ^ g * = ^^ Enharmonic Diefis, is the difference between the greater and lefTer femitone. See Semitone. ENTATA. See Stromento. EOLIC or Eolian mode, one of the modes of tha ancients, the final whereof was A mi la, and the dominant E fi mi, and it's mediant, C Jol ut. The Eolic mode was fktelt. for lyric verfes, as having a particular fweetnefs mixed with gravity. See Tuono. The Sub or Hypo Eolic, had the fame effects with the Eolic, and was the E fi mi, a fourth lower than it's authentic or natural mode. EPI, is a Greek prepofition, as is Hyper, both which fignify fupra, below ; we find one or other of thofe words often added to the Greek names of fome of the intervals of mufic, as r- Diatejfaron, Epi ox Hyper- \ *$&** j Dtapajon, C Ditonum, &c+ When we meet with them thus in conjunction they intimate that the voice that is to follow the dux or guide, is to take it's pitch a fourth, fifth, eighth, &c. below it, the third voice is to obferve the fame with regard to the fécond, and the fourth to the third, and fo on through the parts. EPISYNAPHE, fays Bacchius fenior, is when three tetiachords or fourths are fung one after another, without any disjunction, as when we proceed from the Hypaton tetrachord to Mefon, and thence to Synemmenon, between which there is no Diezeuiic tone. See Diezeutic. E P i T R I T O, the fame as Se/qui terza, a certain -ma- thematical proportion, whereby they meafure two unequal numbers, in which the greater contains the lefs twice, and a third part of the lefs remains, as 4 contains 3 once, and unity over, which is one third of three, or the lefs number £ v % E X U number ; and 8 contains 6 once and 2 over, which is flill one third of fix. See Proport ion. » . E P G G D O O, or Se/qui oclave, is a proportion of two numbers, wherein the greater contains the lefs once and an eighth part of the lefs remains, as 9 : 8, 18 : 16, See Pro- portion, Octave andSESQjJi. EPTACHORDO, the fame as feventh. See Seventh, and Heptachord. Eptachordo Majore, the greater feventh. See Seventh. Eptachordo Minore, the lefTer feventh. See Seventh EQUI Suoni. See Suono. ESSACHORDO Maggior and Minore, the greater and lefTer fixth. See Sixth and Hexachord. ETTACHORDO. See Heptachord. EVOVjE. SeeTuoNo. EUTHIA^ according to Martianus Capella, is a Greek term of the fame lignification of the Latin Dutlus reUus, and the Italian Conducimento retta. See Ductus and Condu- c 1 m e n t o. EXCELLENS. See HypERBOLiEON. EXCELLENTIUM Tetrachordon, Ultima, Extenta, ^Tertia. See System and Hy perboljeon. EXCLU SUS Sonus. See Tri as Harmonic a. EXTEMPORANEUM Contrapuntum. See Coun- terpoint. EXT EN TUS, Extenta. See Pa r an e te and Ly- c H A nos. Four chords of the ancient Greek fyftem bear thefe names, viz. Paranete Diezengmenon, and Paranete Synemme* non, Lychanos Hypaton, and Lychanos Mefon. See System. Divifarum Extenta. See Paranete Diezeug- menon and System. Mediarum Extenta. See Lychanos Meson and Genus. Principalium Extenta. See Lychanos Hypaton, * nd System, EXTENTIO. SceUsus. KXUPERANS. See Hyperboljeon, F F At, n tj Often flands for the word Forte. See Forte. ^* F. or Fa, is the bafs cleff placed at the beginning of the lines of a piece of mufic, generally on the fourth line upwards 3 alio on the third, and on any other at pleafure 1 . See Cleff. Indeed the characters wherewith the F, and C cleffs are marked, bear no refemblance to thofe letters : Mr Malcolm thinks it would be well if we ufed the letters themfelves, but cuftom has carried it otherwife : The ordinary character of the F cleff is 3: which Kelper takes a world of pains to de- duce by corruption from the F itfelf. See Character. F A. is one of the fyllables invented by Guido Aretine, to mark the fourth found of the modern fcale of mufic, rifing thus, ut, re, mi, fa. See Note and Gam ut. We diftinguifh two Fa's in the modern fcale, B fa fi by b mol ox. by andy ut fa by beccare L* . See B qjjadro, The founds which we exprefs by this letter or fy liable were in the Grecian fyftem the Parhypate Me fort, and it's octave higher Trite Hyperbolœon. See System. F A finto, or a feign'd F, is a feint upon that note : this rs the cafe of every note that has this mark before it-^, but the mi ana ft, or our E and B more particularly, and is what we com- monly call the flat of any note. See Flat. F A C, is and abbreviation of Facciata. See Ca r t a. FACCIATA, is ufed as Pagina, or fhortned Pag, and lignifies the fame thing. FAGOTTINO, is a fingle Curtail, a mufical infini- ment fomething like the Baiîbon. See Bassoon. FAGOTTO, is the double Curtail, or in reality a Baffoon, as big again as the former. ■ F F, ftands for Forte Forte, and denotes to play ftrong and loud. See Forte and Fortissimo. FANTASIA, Fancy, is a fort of compofkion wherein the compofer tyes himfelf to no particular time, but ranges ac- cording as his fancy leads, amidft various movements, different airs, &c. this is otherwife called the capricious ftyle ; before fo- natas were ufed there were many of this kind, fome of which remain even now. See Capricio. FALSA Diminuta, or Defettiva quinia, a falfe or defec- tive fifth. See Diapente or Fifth. FALSO Bordcne, is faid of thé burden or ground bafs of 3, fong, when it is not exact to the rules of harmony, 2. e. jyhen the notes move all the fame way, as is often the cafe in L the 74 F I F the Pfaîms and other parts of divine office. But the halianl give this name to a certain harmony produced by the accom- panyments of feveral fixths following one another, which make feveral fourths between two higher parts, becaufe the third part is obliged to make tierces with the bafs. Some are of opinion that the B of the middle part marked A Ù\ou\à be preceeded by a.5 mol, to avoid the falfe relation of a Tritone with the Fa in the bafs marked B ; others give themfelves no trouble about that, but pretend that on many occafions this difîbnance has it's beauty ; we find examples of both thefe methods in eminent authors. But thefe things, fays Broffard, depend more upon fancy than any juft rules. FEINT or Semitone, the fame with what is called Diefis. See Diesis. F A V O R I T O, as Choro Favorito, is a chorus in which are employed the beft voices and inftruments to fmg the reci- tatives, play the ritornellos, &c. this is otherwife called the little chorus, or choro récitante. See Récitante. FERIO, I beat, I ftrike. See Syncope. FER MO. See Canto Fermo. See alfo Chant. FIATO. See Volta. FIFARO, a fort of little pipe, like a Flageolet, 'th ufually accompanied by a little Drum, and thefe thus joined, are called the Pipe and Tabou r. See Tab our and Drum. FIFE, a fort of wind mufic, being a fmall pipe. See Fist u la. FIFTH, one of the harmonical intervals or concords. See Interval. The Fifth is the fécond in order of the concords, the ratios of the chords that afford it, are as 3 : 2. See Chord and Concord. It is called Fifth, as containing five terms or founds be- tween it's extremes, and four decrees, fo that in the natural fcale of mufic, it comes in the fiftli place or order, from the fundamental. See S c a l e , The F ÎN 75 The ancients call this interval Diàperite, arid the Italians at prefent, ^uinta. See D I ap e n t e and Qu inta. The imperfeft and defeclive Fifth, called by the an- cients Semi-Diaperite, is Jefs than the Fifth by a leffer femi- tone. See Tone and Semitone. FIGURA, in general, means all forts of figures rriade life of in mufic, whether for notes or paufes, originally they were only dots, fet up and down the fpaces; and they were all of equal length, as they are ftill in the Gregorian or plain chant. See Chant. 'Twas about the year 1330 or 1333, that Jean de Mûris invented notes of different length, and they are what are properly meant by the Italian word Figura. This word means alfo that variety of figures or notes of different value in a fong, which are the chief ornaments thereof, as trillos, quavers, t&c* whence it is called figurât e counterpoint. FIGURATE Defiant. See Descant. Figurate Counterpoint^ is that wherein there is a mix- ture of difcords along with concords. See Counter- point. 'Tis a rule in compofition, that the harmony mufl be full ort the accented part of the meafurè, i. e. nothing but con- cords are allowed in the beginning and the middle, or the be- ginning of the firft half of the bar, and the beginning of the latter half thereof in common time ; and the beginning or firft of three notes in triple time ; i. e. not in conjoint de- grees, but by refolution and preparation, difcords are abfolutè- ly" necéffary. But upon the unaccented parts this is riot fo neceflary, for difcords may there tranfiently pafs without much offence. See Accent. This the French call fuppo/ition, becaufe the tranfient dif- cords fuppofe a concord immediately following. See Sup- position. . Where difcords are ufed as the folid and fubftantial parts of the harmony, the counterpoint is properly called the harmo- ny of difcords. See Harmony and Discord. Mute FIGURE, the fame as the reft or paufe. See Pause and Rest. F I L U M, is by the Italians called Virgula, and by us the tail of a note, as a minim is a femi-breve with a tail toit, O, r. SèeViRGULA and Note. FIN, Finale, or Final, the end or laft note of a piece of mufic. But it more particularly means the ciofs or laft L 2 note 7 6 F L A note of a tone ot mode, by which it is diftinguifl^jd froa*. all others. If in, the bafs, the iwra/ happens to fall on a fifth defend- ing, and a fourth rifing, the mode is authentic or perfect : But if on the contrary, it fall on a fourth defending, and the fifth rifing, the mode is faid to be pUgal or imperfeft. See Mode, Tone and Dom inant. The Final always requires a third greater, when 'tis the laft note of the piece. But if it be in the middle of a piece, and the mode be minor, it muft rather have a third minor than major. See Major and Minor. F TN A L I S P a u s a , or Paufa general!*. See Pause and Point. FINIS, the end. See Fin, F I N I T O, a cannon or fugue, is faid to be Finito, when 'tis not perpetual ', but when at fome certain place, all the parts join or unite, after having followed one another for fome time. See Canone. F IN TO, a feint, or an attempt to do fomething and not to do it, as Cadenzçfinta, is when having done every thing proper for a true cadence, inftead of falling on the right final, another note, either higher or lower, is taken, or perhaps a paufe brought in. See In g a n n o and Spuggit a.. FIOKITTÔisa fpecies of diminution, which is com- monly made at the ending of a cadence. Simple. , Double or compound. Canto Fïoritto, is a fong full of diminutions, graces, paflages, &c. arçd is indeed figurate counterpoint. See Counterpoint. F I O R I T A Cadenza, is a cadence "whofe lafi: note but one is divided into many of lefs value. See Cadence. FISTULA, an infiniment of the wind kind, refem- bling our Flute or Flageolet. See Flute. The principal wind inflrurnents of the ancients were the> Tibia and Fijlula\ though how they were conftituted, or wherein they differed, or how they were played on, does not appear, FLAGEOLET, or Flajeolet, is a kind of little Flute, or a mufical inftrument of the wind kind, ufed chiefly by ^he fhepherds and country people. See Flute. 'Ti» FLO 77 'Tis ufually made of box, or other hard wood, fometimes of ivory, it has fix holes, befides that at the bottom, the mouth piece, and that behind the neck. FLATS, a kind of additional note, as £, contrived together with fharps, to remedy the defects of mufical in- struments, whereon temperament is required. See Sharp. The natural fcale of mufic being limited to fixed founds, and adjufted to an infiniment, the inftrument will be found defective in many points ; and particularly, in that we can only proceed from any note by one particular order of degrees ; that for this reafbn, we cannot find any interval required, from any note upwards or downwards, and that a fong may be fo contrived, as that if it be begun by any particular note or letter, all the intervals or other notes, {hall be juftly found on the inftrument, or in the fixed feries, yet were the fong be- gun with any other note, we could not proceed. See Scale. To remove or fupply this defect, muficians have recourfe to a fcale proceeding by twelve degrees, that is thirteen notes to an octave, including the extreams, which makes the in- ftrument fo perfect, that there is but little reafon to com- plain. This therefore is the prefent fyftem or fcale for inftruments that have their founds fixed, viz. betwixt the extreams of every tone of the natural fcale, is put a found or note, which divides it into two unequal parts, called femi-tones, and the whole may be called the femi- tonic fcale, containing twelve femi-tones betwixt thirteen notes, in the compafs of an octave. See Semitone and Semitonic Scale. Now to preferve the diatonic feries diftinct, thefe inferted notes either take the name of the natural note next below, with this character, ■%> called a (harp, or the name of the natural note next above it, with this mark ■&, called a flat. Thus D fe, or D flat, fignifies a femi-tone below D natural, and it is indif- ferent in the main, whether the inferted note be accounted as flat or (harp. This femitonic feries or fcale, is very exactly reprefented by the keys of the Organ, &c. the lowermoft range of keys feeing the natural or diatonic notes, and thofe behind the ar- tificial ones, or the flats and (harps. FLAUTINO, a fmall Flute or Flajeolet. See Fl a- Geolet. F L AUTO, a Flute. See Flute. F L au t o Tranfuerfoy a German Flute . See Germa» Flute. FLORID Defcant and Counterpoint, See Descant and Counterpoint, FLUTE, 7 8 FOR FLUTE, an inflrument of mufic, the fimpleft of all thofe of the wind kind. See Mu sic. It is played on by blowing in it with the mouth, and the tones or notes are changed by flopping and opening the holes, difpofed for that purpole, along it's fide. The Latins call it Fiftula, or Tibia, a pipe ; from the former of which, fome derive the word Flute ; tho* Borel will have it derived from Flutta a Lamprey, thus called a Fluitando in Fluviis, in regard, the Flute is long like a Lam- pre;v, and hath holes along it like that fifh. The ancient Fijlula or Flutes, were made of reeds, after- wards of wood, and at laft of metal, but how they were blown, whether as our Flutes, or as Hautboys, does not ap- pear. See Hautboy. 'Tis plain fome had holes, which at firfl were but few, but afterwards increafed to a great number : and fome had none ; fome were fmgle pipes, and fome a combination of many, particularly Fans Syringa, which confifled of feven reeds bound together fideways ; they had no holes along them, each giving a diflin£r. found, in all feven different founds, but at what intervals is not known \ perhaps they were the notes of the natural diatonic fcale. See Fistula and Diatonic. German Flute, is an infiniment entirely different from the common Flute ; 'tis not like that put into the mouth to be played, but the end is ftopt with a tampion or plug, and the lower lip is applied to a hole about two inches and a half, or three inches diftant from the end, and about half an inch d [liant from that hole. 'Tis ufually a foot and a half long, ra- ther bigger at the upper end than the lower, and perforated with holes, befides that for the mouth, the lowed of which is llopt, and opened by the little finger's prefîing on a brafs or fometimes a filver key, like thofe in Hautboys, Baflbons, iffc. It's found is exceeding fweet and agreeable, and it ferves as, a treble in a concert. The bafs is double or quadruple it's length and bignefs, but thofe inftruments are partly difufed or converted into Baf- foons. Flute # Allemand, a German Flute, See Flute. Flute a Bec, a common Flute. See Flute. F O L L I A, a particular fort of air, called for the generality FardinaV s ground. FORLANA, is a fort of dance in great ufe among the Venetians. See Saltarella. FORTE, dire&s to play flrong and loud. Forth. F RI 79 Forte Forte, or F. F. fignîfy a degree îoùdèr or ftronger than Forte. See Forte. FORTMENT, the fame with Forte, which fee. Piu Fort e, the fame as Forte Forte. FORTISSIMO, very Jlrong, is fometimes aîfo denoted by f 9 /<>/■> and intimates that you play or fing "very loud ox Jlrong, to exprèfs fonte pafjion, &c. « FOURTH, one of the harmonical intervals called eefo* cords. See Interval and Con cord. The Fourth confifts in the mixture of two founds in the ratio of 4 : 3, that is of two founds produced by two chords, whofe lengths, &c. are in that proportion. See Chord. It is called Fourth, becaufe containing four founds or terms between it's extreams, and three intervals ; or as being the Fourth in order of the natural or diatonic fcale from the fundamental. The ancients called it Diatejfarcn, and fpeak of it as the principal concord, on whofe divifions all the reft depend, which are found by addition to, or fubftraclion from this in- terval, but the moderns do not allow it fo many perfections. See Diatessaron. The fuperfluous Fourth is a difcord, confiftirig of two tones major and one minor, called alfo tritone, compofed of ratios of 27 : 20. See Discord and Proportion, Arijloxenus diftinguifhés three kinds of Fourths, the firft fays he, had a diefis enharmonica for it's firft interval ; the fécond had a diefis throniàticà, on each fide a ditonus \ and the laft had a diefis enharmonica on each fide of a ditone. And Euclid and Baechius fenior, add, that the firft found of one kind of tètrachord or Fourth^ was one of thofe called Baripicni, as from Hypate Hypaton, to Hypate Mefon ; the other had one of thofe called Mefopicm, as from Parhypate Hypaton , to Pàrhypaie Mefon \ the làft began with one of thofe called Oxipiehi, as from Lychanos Hypaton to Lychanos Mefon : in the firft, according to Gaudentius, the femi-tone is loweft, the fécond has a femi-tone in the middle, and the third has a femi-tone for it's higheft interval. FRET, a particular flop on fome inftruments, particu- larly Bafs Viols and Lutes ; being firings tyed round the neck thereof at fuch diftances, within which fuch and fuch notes are to be found ; thefe firings or Frets are fometimes, yet feldom, put on the Bafs Violin for learners, and taken off again when they can find the notes without them ; on Lutes and Viols they always remain. F R I G I O, rathtr Phrygio. See Phrygian. x* JJ Q A Authentica & piagdle, in unifono, ad oUavam ghiintam, &c. See Fu g u e . Fuga So FUG Fug A per Arfm &f Tbefm, is if when the guide or leading part of a Fugue afcends, thofe that follow it imitate it defcend* ing j and if it deicend the other parts, inftead of defcending, imi- tate it afcending : this makes what the Italians call moti contrarii. Fug a Autbentica, is when the notes of the guide or leader afcend. Fug A Plagale, is when they defcend. Or rather thefe authentic and plagal Fugues, are fuch as proceed in one or other of thofe modes. Fug a in Confequenza, is properly a canon or Fugue. See Ca non*. Fug a Grave, is when the founds of a Fugue are deep or low, and the motion flow. See Grave. FUGHA, 'tis thus the Italians write the word, though they often write it Fuga, and is what otherwife has the name of Ripojla, Reditta, Replica, Confequenza, Imitatione, &c. notwithstanding there is a difference between thefe words, efpecially between Imitation and Fugue. See each in their places. Fuga Homophonq, is the fame as Fuga in unifono. Fug a perpétua, is the fame as has been faid of canon. See Canon. Fuga pathetica, a foft pathetic moving affecting Fugue, proper to exprefs fome paffion, efpecially grief. FUGUE, is when the different parts of a mufical com- position follow each other, each repeating what the firft had performed. If the Fugue be made through the piece, 'tis called Fuga in Confequenza or Canone. See Canon. But if only in part of the piece, and the inftrument repeat the fame intervals, either above or below, 'tis then called Fuga in Unifono. And if made an o&ave, fifth or fourth, above or below the guide or fubject, 'tis faid to be Fuga ad oftavam, ^uintam, or ^uartam. All the other manners of repetitions, ad Secundum, Tertiam^ Sextam, &c. higher or lower, are only efteemed imitations ; in which the intervals of the guide perhaps may not be exactly cbferved : >but for an example, fuppofe the guide proceed by conjoint decrees, as, and the part which imitates, may proceed in a different manner, as n Then? IP U S Si There are three kinds of Fugues, the fimple, double, and counter Fugues. The fingle or fimple Fugue, is fome point confuting of four, five, or more notes, begun bv one fingle part, and feconded by a fécond, third, fourth, fifth, &c. (if the com- pofition confift of fo many) repeating the fame or fuch like notes, I. e. in the fame proportions, fo that the feveral parts follow or come in one after another in the fame manner, the leading part flying before thofe that follow, Fu g u e double, or Fuga doppia, is when two or more different points move together in a Fugue, and are alternately mixed and interchanged by the feveral parts. . See Part. Fuge counter. See Count er Fu gue. FUNDAMENTAL, the principal note of a fong or compofition, to which all the reft are in fome meafure a- dapted, and by which they are fwayed ; this note is alfo by muficians called the key to the fong. See Key. FUNDAMENTALIST*. See Trias Har- monica. FUND A MENT O, is in general, every part that plays or fings the bafs ; but the thorough bafs is more particu- larly fo called, becaufe it is the bafis or foundation of all har- mony. See Bass and Harmony. F U R I A, or Con Fur i a, fignifles with fury or violence ; but not fo much in refpecl to the loudnefs of the found, as the quicknefs of the time and movement. F FA UT, one of the clefFs. See Clef f. FUSA, is one of the notes in mufic, called by the French Croche, the Italians alfo often call it Cbro?na, the figure of it is fometimes thus Q , that is with a black head and a hook at the bottom 3 and fometimes with a white one, thus Q ; in 3' common time, there are four or eight in the bar ; their num- ber to a bar is different in different fpecies of triple, for which See Trip.ola or Triple ; this is our quaver. See Note, Crotchet, and Quaver» M G 8* G A' IRf G. /"J. Is ufed to fignify one the clefFs. See C l e f f . ^-* It is the cleffof the higheft part in a concert, called! the treble or alt. See Treble and Alt. It appears, that becaufe this letter Garmna was placed at the bead, or marked the firft found in Guido's fcale, the whole fcale of muiic came to be called Gamma ut or Gamut. See Gamut. GALLTARD, a fort of dance, antiently in great re- queft ; confiding of very different motions and actions, fome- times proceeding Terra à Terra, or fmoothly along, fome- times capering, fometimes along, and fometimes acrofs the room. Thoinot Arbeau in his Orchefography defcribes it, confiding of five fteps, and five pofitions of the feet, which the lancers performed before each other, and whereof he gives us the fcore or Tablatura, which is of fix minims, and two, triple times. SeeTiME, Triple, and Minim. G A L L I A R D A, the name of a tune that belongs to a dance called a Galliard. See Galliard. It is commonly in triple time of a brisk and lively humour, and fomething like a jig. See Jig. G A M B A Leg, as Viola di Gamba, a Leg Viol. See Viol, GAM, Gamma, Gammut, or Gamma-ut, a fcale, whereon we learn to found the mufical notes, ut, re x mi, fa, fol, la, in their feveral orders and difpofitions. See Note and Scale. The invention of this fcale is owing to Guido Aretint, a monk of Aretium in Tufcany ; tho' it is not fo properly an invention, as an improvement on the Diagramma or fcale of the Grecians. See Diagram and Scale. The Gamut is alfo called the h ar mimical hand, by reafon Guido firft made ufe of the figure of the hand, to demonftratc the progreflion of his founds, Finding the Diagramma or fcale of the antients of too fmall extent, Guido added five more chords or notes to it : One below the Proflambanomenos y or the graveft note of the antients ; and four above the Nete HyperboUon or acuteft. The firft he called Hypo PnJIambano- Vienos, and denoted it by the letter G, or the Greek p Gamma rather ; which note being, at the head of the fcale, occafioned the whole fcale to be called by the name Gamm or Gamut. . Some G AM «3 Some fay Guide 9 9 intention in calling his firft. note f Gamma 9 was to fhew that he took his fcale from the Greeks, who were the inventors of mufic ; others are of a different opinion. Be that as it will, his fcale is divided into three feries or columns* the firft called durum f or Jharp, the fécond natural; and third, molle or flat, as reprefented by the following fcheme. But fin ce his time, fome alteration has been made there. The Gamut, or Guido'i Scale» The ufe of this fcale is to make the pafiages and transi- tions from B molle to B durum, by means of tones and femi- tones. The feries of B natural {landing betwixt the other two, communicates with both ; fo that to name the chords of the fcale bv thefe Syllables, if we would have the femi-tones M % in S 4 GEN in their natural places, viz. b, c, and, e, /, then wè appîy ut to g -, and after la, we go into the feries of B natural, at fa ; and after the la of this, we return to the former at mi, and fo on : And we may begin at ut in c, and pafs into the firft feries at mi* and then back to the other at fa, by which means the one tranfition is a femi-tone, viz. la, fa, and the other a tone la, mi. To follow the order of B molle, we may begin with ut>'m c or f, and make each femi-tone after the fame manner. See Tone and Semi-tone. Hence came the barbarous names of Gamut, Are, Bmi, &c. But what perplexes this work is here with fo many fyllables applied to every chord : and all to mark the places of the femi-tortes, which the fimple letters A, b, c, &c. do as well and with more eafe. Several alterations have been made in the Gamut. M. Le Murs particularly added a feventh fyllable, m, Si, and the Engltjh ufually throw out that and ut, and make the other five ferve for all, as will be fhewn under the article Solfaing. See Solfaing. Notwithstanding this fyllable Si is rejected by our muficians, we have made ufe of it in many places of this work, where in more than one example it was neceflary. See Tuono, Mode, tst. G A M M, Gamma ut or Gamut, is alfo the firft or graved note in the modern fcale of mufic, the reafon why thus called is (hewn in the preceeding article, it was the Hypoprojlambam- menos of Guide? s fcale. See System. G A V O T T A, or Gavotte, is a kind of dance, the air whereof has two ftrains, brisk and lively by nature, and in common time ; each of it's ftrains are played twice over, the firft has ufually four or eight bars, and the fécond contains eight", twelve or more. The firft begins with a minim, or two crotchets, or notes of equal value, and the hand rifing ; and ends with the fall of the hand upon the dominant or me- diant of the mode, never upon the final, unlefs it be a ron- dtau. (See Rondeau.) And the laft begins with the rife of the hand, and ends with the fall upon the final of the mode. See Dominant, Final, and Mode. Tempi i/GAvoîTA, is when only the time or movement of a Gavotte is imitated, without any regard had to the meafure or number of bars or ftrains; little airs are often found in lbnatas,. which have this phrafe to regulate their motions. G A Y M ENT E, gayly, briskly and lively. GENERALIS Bajfus, See Basso continuo CrORGANO, Generalis G EN 85 Gêner a lis Pau/a. See Punto and Corona. G E N E R I, are certain manners of moving through the degrees or founds, and fenfible intervals, whereof an oétave and it's double, &c. are compofed, by the Latins called Genus. See Genus. GENUS, by the ancients called Genus Melodia, is a certain manner of dividing and fubdividing the principles of melody ; Ù e. the confonant and diflbnant intervals into their concinnous parts. See Consonance, Concord, Interval, and Melody. The moderns, after the Grecians, confidering the octave as the moft perfect of intervals, and that whereon all the concords depend in the prefent theory of mufic ; the divi- fion of that interval is confidered, as containing the true di- vifion of the whole fcale. See Scale and Octaves But the ancients went to work fomewhat differently ; the diatejfaron or fourth, was the leaft interval, which they ad- mitted as concord : and therefore they fought firft how that might be moft conveniently divided, from whence they con- ftituted the diapente or fifth, and diapafon or octave. 'The diatejfaron being thus, as it were, the root and founda- tion of the fcale, what they called the Genera or kinds, arofe for it's various divifions, and hence they define the Genus Modulandi the manner of dividing the tetrachord, and difpofing it's four founds as to fucceffion. See Tetra- chord. The Genera of mufic, it is agreed by Arijioxenus, Bac- chius, Euclid, Boe'tius, and all the ancients, were three, the enharmonic , chromatic, and diatonic ; the two firft were varioufly fubdivided ; and even the laft, though that is com- monly reckoned to be without any fpecies, yet diffèrent authors have propofed different divifions under that name, without giving any particular names to the fpecies, as was done to the other two. See Species. Arijioxenus, Arijiides, Nicomachus and others, divide mu- fic into feven parts, which are, the genera, intervals, tunes, fyftems, tones or modes, tranfpofition, and melopceia. The difference of the three genera, fay they, confifts in the different divifion and difpofition of the tetrachord. The tetrachord of the enharmonic is a femi-tone and two diefes, the chromatic two femi-tones and a trihemitone, and the dia- tonic, two tones and a femi-tone. Gaudentius the philofopher, after agreeing with the other authors above recited, that there are three genera, or kinds of mufic, proceeds to a diftin&ion between them, and a divifion of their intervals j and fays, Species ygro feu cakres generum funt 36 G E N funt plurcs. In the enharmonic the leaft interval, which fie calls Intervallum. incampofitum in each, is the fourth part of a tone, and called Die fa cnharmoriua ; in the chromatic the- leaft interval* is the third part of a tone, called Diefa chro- matica-, and in the diatonic, (fays he) the femi-tone is the lcaft interval* and this is. again called Syntcnum. §o that the dia- tonic proceeds by the femi-tone, tone, and tone rifmg, and e contra falling ; the chromatic has a different prpgreflion as- the fpecies differ, but in on* fpecies, for an example, it pro- ceeds rifing by a femitone, a femi-tone and triemitone, or femi-ditomts, or third flat ; and contrarily defcending. And the enharmonic by ditfis+dufis and ditonus, by Euclid called in- compofitum ; t each of which djefes is a quarter of a tone. He continues, that he fhall only treat of the diatonic, becaufe the chromatic and enharmonic were not, even at his time, 1er much ufed as the other ; and Martianus, Capella fays the fame thing. The reafon was, becaufe the diatonic was eafily praâifed, and. required not fo- clofe an application as the chro- matic, which was not near fo difficult and nice as the enhar- monic, that confequently required a mailer's skill. - We fhall here give , the reader drijloxenus's fyftem, as laid dgwn by Vhruvius, which will, at one view, fhew in what manner the Genera differ from each other. (See Plate annexed.) On the upper part of the plate are placed the Genera, viz. enharmonic, chromatic and diatonic ; then the plate is di- vided into three parts, which are alfo fubdivided by five lines afcendirçg, which are the divifions of the five tetrachords ; every tetrachord is again divided into three parts by dotted lines, which fhews the founds whereof each is compofed, be- tween thefe dotted line? are written the names of the inter- vals of each found in the tetrachord in each of the Genera. As two diefes and a tierce major in the enharmonic, two femi- tones and a tierce minor in the chromatic, and one femi-tone and two tones in the diatonic In the middle are placed the five tetrachords reprefented by notes, the white ones are called immoveable, becaufe they change not their places in whatever Genus they are ufed ; the black are moveable, as fhifting their places according to the Genus they are employed in. For the fir ft moveable one, which 3n the diatonic and chromatic is a femi-tone diftant below the immoveable onq, advances in the enharmonic to the diftance of a diefis, or quarter of a tone. And the fécond moveable one, which in the diatonic is only a tone higher than the im- moveable, rifes in the enharmonic two tones higher or a tierce major, and in the chromatic, one tone and a iemi-tone, or sl tierce minor. On n toocc/iicLti •z dfi ifbem The Three Genera Enharmonic Chromatic Diatonic ÇIQ S |Ss «a I ,-1 O ^ Hvpaton J IF' I r 1 ♦— II Me/071 •7S IS Cq S I <> 4- m Sunem - mennn to , ta 21 * 5- Si i|S <> 3i J 5 fc^ 81 S ■§,| Co Co — I — .■§18 Co ** L# <>- IV I Diezemq me non V Hyperbo os on F I? C B il G F E J? C B A 18 17 XV- -Nete Hyperhlccon XlV_ Paranete Hvperholoson 1 or fpecies of the enharmonic, chro- matic, and diatonic ; add, that what is a diaftem in one Genus, is a fyftem in another ; for a fyftem containing two intervals, and the tone of the diatonic being divided into four diefesin the enharmonic, therein is a fyftem ; yet in the d'atonie remains only a diaftem or interval. See Di AST em, Diagram, and System. G E, RE, SO h, is one of the cleffs. See Cl e f f. GÎA, 88 G R A G I A, is an Italian adverb fignifying before, as Gla Maeflrt il Capella, that is to fay, before the majler of mufic. See Capella and Maestro. GIGA, G'tcque, or Gigue, a jig, fome of which are played flow, and others quick, brisk and lively, but are always in full meafure, and in triple time ; of fome kind or other, uf» ually | or "• See Triple. Menage derives the word for the Italian Gig a, a mufical hv ftrument mentioned by Dante. G R A D O, degree, when the Italians put di Grado, they mean by conjoint degrees, which is when the notes rife or fall from fpace to line, or from line to fpace, without making any leap of a third, fourth or other interval, which leap by them is called Salto. See Sal to. Di Gr ado afcendente, by conjoint degrees rifing, as ut 9 re, mi, fa. Di Grado defcendente, by conjoint degrees falling, as fol, fa, mi 7 re, ut. See Degree, Conjoint, Mode, and Tempo or Time. GRADUAL, is applied to the fifteen pfalms fung a- mong the Hebrews on the fifteen fteps of the temple : others are of opinion that they were thus denominated, becaufe the fingers raife their voice by degrees from firft to laft. See Psalm. Cardinal Bona,, in his treatife of Divine Pfalmody, fays, the fifteen gradual pfalms are intended to represent to the mind that we only arrive at perfection of goodnefs and holyneis by degrees : he goes on to Jay down fifteen degrees of virtue, çorrefponding to thefe fifteen pfalms ; five of them are for beginners, five for proficients, and the reft for the perfect. GRANDE Trombone. See Trom bone, GRANDEE, is ufed to diftinguifh the Grand Chorus from the reft of the piece. GRATIQSO, means after an agreeable, pretty, grace- ful manner. GRAVE, a very grave and flow motion, fomewhat fafter than adagio, and flower than largo. See Adagio and Largo. Grave, is alfo applied to a found, which is of a low or deep tune. See Sound and Tune. The thicker the cord or firing, the more grave the tone or note ; and the fmaller, the acuter. See Chord. Sounds are fuppcifed to be grave in proportion as. the vibra- tions of the chords which produce them are more or lefs quick. See Gravity. GRAVEMENT, grave ox flow. SeeGRAVE. GRA, GRA S9 GRAVITY, an affection of found, whereby it becomes denominated deep or low. Gr a vit y ftands in oppofition to acutenefs, which is that, affection of found whereby it is denominated acute or JhrilL See Acuteness. The relation of Gravity and acutenefs, is the princi- pal thing concerned in mufic ; the diftinctnefs and determi- natenefs of which relation, gives the found the denomination of harmonica I and mufical. See Mu s 1 c and Harmony. The degrees of Gravity », &c depend on the nature of the fonorous body itfelf, and the particular figure and quantity thereof. Tho' in fome cafes, they likewife depend on the part of the body where 'tis ftruck. Thus, e. g. the founds of two bells of different metals of the fame fhape and dimenfions, being ftruck in the fame place, will differ in found ; i. e. in acutenefs and Gravity. And two bells of the fame metal will differ in found, if they differ in fhape and magnitude, or be (truck in different places. So in chords, all other things being equal, if they chffer in tenfion, matter or demenfion, they will always differ in Gravity. See Chord. Thus again, the found of a piece' of gold is much graver than that of a piece of filver of the fame fhape and dimen- fions ; and in this cafe, the tcncs are {ceteris paribus) propor- tional to the fpecific Gravities. Soafolid fphere-of brafs two foot diameter, will found graver than another of one foot di- ameter j and here the founds are proportional to the quantities of the matter or abfolutë weights. But it muft be obferved, that acutenefs and Gravity, as alfo loudnefs and lownefs, are but relative things. We com- monly call a found acute or loud in refpecl: of another which is grave or low, in refpecl: of the former : So that the fame found may be acute and grave, as alio loud and low, in different comparifons. The degrees of acutenefs and Gravity make thz different tones or tunes of a voice or found ; fo we may fay one found is in £une with another, when they are in the fame degree of Gravity. See Tune. The immediate caufe or means of this di veriîty of tune lies deep. The modern muficians fix it on the different veld- cities of the vibrations of the fonorous bodies ; in which fenfe, Gravity may be defined a relative property of found, which with refpecl; to fome other, is the effecl of a lefs number of vibrations accomplifhed in the fame time, or of vibrations pf longer duration : in which fenfe alfo acutenefs is the ef- N feci: §6 GUI feet or a greater number of vibrations, or vibrations of â fhorter duration. If two or more founds be compared in relation of Gravity, &c. they are either equal or unequal in the degrees of tune. Such as are equal are called unifons. See Unison. The unequal, including as it were a diflance between each other, conftitute what we call an interval in mufic, which is properly the difference in point of Gravity between the two founds. See Interval. Upon this unequality or difference does the whole effecT: de- pend, and in refpecl: thereof, thofe intervals are divided into concords and difcords. See Concord and Discord; fee alfo Scale. G R O S S E quart pofaune. See Trombone. GROSSO Trombone. See Trombone or Sac but. GROUP, is one of the kinds of diminutions of long notes, which in the working, forms a fort of a Group, knot or bum. A Group commonly confifls of four or more crotchets, quavers, &c. tied together at the difcretion of the com- pofer. dfcending. Defcending. gPjÉ g fl GUIDA, the guide or leading voice or infiniment in a piece of mufic in parts, 'tis in fugues called dux, and the parts that are to imitate and follow, are faid to be it's comes, or, as the Italians fay, in confequenza. See Dux, Fugue, Canon, and Con se qjjênza. GUITARRA, a mufical inftrument of the firing kind, with five double rows of firings, of which thofe that are bafs are in the middle ; unlefs it be one for the burden, an octave lower than the fourth. This inftrument was firfl ufed in Spain, and by the Italians it has the particular denomination of Spagnuola given it ? it is found in Italy and other countries, but more frequently irJ Spain, iï HAR H. 9* x TJ A B I TU D O & Differentia ', are terms made ufe of by *■"*• Nicomachus, to diffinguifh a fort of proportion. " Ha- 4C bitudo,fays he, is a ratio mealuring any interval, and difference " is the excefsor defect of the founds with regard to one another. " Some are of opinion, adds he, that Habitudo & Differentia, " are the fame things : but they are in the wrong ; for one has 66 the fame difference to two, as two to one, but not the fame *' Habitude : for in two one is doubled, but one contains but " half of two/ HAND harmonica!, is ufed by fome writers for the an- cient diagramma, or fcale of mufic, upon which they learned to fing, or play on any inffruments. See Gamut, Scale, and Dia gram. The reafon of this appellation was, that Guido Aretine upon iuventing the notes, ut, re, mi, fa, Jol, la, di r pofed them en the fingers, of the figure of a Hand ftretched out. See Note. He changed the letters of the alphabet, ('till that time ufe J to exprefs the notes,) for thefe fix fyllables, which he took out of the firft ftrophe of the hymn of St John the Baptiji, compofed by Paulus Diaconus. U T, queant Iaxis R E,fonare Fibris MI,ra gcjtorum F A,muli tuorum, S LyVe poluti L A^lii reatum. SanUe Johannes, HARMON I A, Harmony, the refult or agreement of two or more different notes or founds joined together in ac- cord. . HARMONICA, a term given by the antients, to that part of mufic which confiders the difference and proportion of founds, with refpect to acute and grave. See Acute, Grave, and Harmony. Harmonica Régula, See Monochord. H A R M O N I C A L Compoftticn, in a general fenfe, in- cludes the compofition both of harmony and melody, i. e. of mufic or fongs, both in a fingle parr, and in lèverai parts. See Composition.. In it's more proper and limited fenfe, Harmonica! Compo*, fition is retrained to that of Harmony -, in which ieiife it may N 2 be Ç2 H A R be defined, the art of difpofing and concerting feveral fingle parts together in fuch a manner as to make one agreeably whole. See Song. The art of Harmony has long been known under the name of counterpoint. See Counterpoint. At the time when parts were firft introduced, mufic being then very fimpie, there were no different notes of time, and the parts were in every note made concord. This they afterwards called fimple or -plain counterpoint, to diftinguifh it from another kind then introduced, wherein notes of different value were ufed, and difcords brought in between the parts. See Discord and Part. This they called figurative counterpoint. See Figura- tive Counterpoint. Harmonical Interval, is an interval or difference of two founds which are agreeable to the ear, whether in con- fonance or fuccefllcn. See Interval. Ha rmonical Divifion, is a divifion of the octave into two intervals, which are both good but unequal ; this is done two "ways, viz. into a fifth and a fourth, or a fourth and fifth ; i. e. an the former cafe, the fifth is the loweft, and the fourth a top ; in the latter, the fourth is loweft, and the fifth a top ; the firft is the harmonical, the other the arithmetical divifion of the octave. , Harmonical Arithmetical The whole doctrine of the ancient tones or modes is found- ed on thefe different divifions. See Harmony, Tone, and Octave. Harmonical Canon. See Monochord and Ca- non. Harmonical Mean* See Trias Harmonic a. Harmonical Intervah are the fame with concords. See Concord. They are thus called as being the only effential ingredients in harmony. See Harmony. Harmonical Proportion, is a fort of proportion be- tween three or four quantities, wherein, in the former cafe, the difference of the firft and fécond, is to the difference of the fécond and third, as the firft to the third j and in the îatter HA R gj latter cafe, the difFerence of the firft and fécond, is to the difference of the third and fourth, as the firft to the fourth. Again, if there be three quantities in an harmonical pro- portion, the difference between the fécond and twice the firft, is to the firft as the fécond to the third ; alio the firft and laft is to twice the firft, as the laft to the middle one. If there be four quantities in an harmonical proportion, the difference between the fécond and twice the ftrft, is to the firft as the third to the fourth. Harmonical Sounds^ is an appellation given by Mr Sauveur^ to fuch founds as always make a certain determinate number of vibrations in the time, that one of the fundamen- tals, to which they are referr'd, makes one vibration. See Sound and Vibration. Harmonical Sounds are produced by the parts of chords, &c. v/hich vibrate a certain number of times, while the whole chord vibrates once. See Chord. By this they are diftinguiihed from the third, fifth, CJV. where the relation of the vibrations is 4 : 5 , 5 : 6, or 3:2. SeeTHiRD, Fifth, &c. The relations of founds had only been confidered in the feries of numbers, 1:2, 2:3, 3:4, 4:5? &c. which pro- duced the intervals called oétave, fifth, third, fourth, &c. And Mr Sauveur firft confidered them in the natural feries, I, 2, 3, 4, 5, &c. and examined the relations of the founds arifing therefrom. The refult is, that the firft interval 1 : 2, is an octave ; the fécond 1 : 3, a twelfth; the third 1 : 4, a fifteenth or double ocfave ; the fourth 1 : 5, a feventeenth ; and the fifth 1 : 6, a nineteenth, &rc. This new confideraticn of the relations of founds, is more natural than the old one ; and does exprefs and reprefent the whole of mufic, and is in effecl:, all the mufic that nature makes without the aiBftance of art. The firings of a Harp- iichprd, or parts of a bell, befide their general found, which is proportionate to their length, tenfion, dimenfion &c. do alio at the fame time yield other fubordinate and acuter founds, which a nice ear, with good attenfion, clearly di- ftinguifhes. Thefe fubordinate founds arife from the particu- lar vibrations of fome of the parts of the firing or bell, which are, as it were detached from the reft, and make feparafe vi- brations : In effecl, every half, third, fourth, &c. of a chord, performs it's vibration apart, while a general vibration is made by the whole chord. Now all thefe fubordinate founds are harmonical with regard to the whole found : The leaft acute which we hear, is octave with the whole found ; the next that follows it 5 is a twelfth with the whole found 3 the next a f feven- 9f H A R feventeenthjtill they grow too acute for the ear to perceive them. Now throughout the whole we hear no fuch thing as a found that makes a fifth, or a third, C3\r. with the whole found ; none in fhort but what are comprifed in the feries of har- monic a I founds. Add, that if the breath or bellows that blow a wind inftru- ment, be played ftronger and ftronger, the tone will be con- tinually raifed - 3 but this only in the ratio of harmonical founds. So that it appears, that nature, when me makes as it were a fyftem of mufic herfelf, ufes no other than thefe kinds of founds ; and yet they had hitherto remained unknown to the muficians : Not but they frequently fell into them, but it was inadvertently, and without knowing what they did. Mr Sau- veur (hews that the ftruclure of an Organ, depends entirely en this unknown principle. See Organ. HARMONICKS, a branch or divifion of the antient mufic. See Music. The Harmonica or Harmonicks, are thofe parts which confidered the differences and proportions of founds, with refpecl: to acute and grave : In contradiction to Rythmica and Mcirica. See Metrica and Rythmica. The only part of their mufic the ancients have left us any tollerable account of, is the Harmonica^ which is but very ge-» neral and theoretical. Mr Malcolm has made an enquiry into the Harmonica, or harmonical principles of the antients: They reduced their doctrines into feven parts, viz. of founds ; of intervals ; of fyftem ; of the genera ; of the tones or modes ; of mutation ; and of melopceia. See each confidered under it's proper ar- ticle, Sound, Interval, System, Genus, bfc. HARMONY, the agreeable refult or union of feveral mufical founds, heard at one and the fame time ; or the mixture of divers founds, which together have an effect a- greeable to the ear. See Sound. A continued fuccefîion of mufical founds, produces melody ; fo does a continued combination of thefe produce Harmony. See Melody. Among the ancients however, as alfo fometimes among the moderns, Harmony is ufed in the ftrict fenfe of confo- nance ; and it is equivalent to fymphony. See Consonahce and Symphony. The words Concord and Harmony do really fignify the fame thing ; tho' cuftom has made a little difference between them: Concord is the agreeable effect of two founds in con- sonance, and Harmony the effect of any greater number of agreeable founds in confonancc. See Con cord, Again* H A R ft Again, Harmony always Implies confonance ; but concord Is alfo applied to founds in fucceffion ; tho' never where the terms can ftand agreeably in confonance : The effect, of an agreeable fucceffion of lounds, is called Melody, and that of an agreeable confonance Harmony. The ancients, fays Mr Malcolm, feem to have been entirely unacquainted with Harmony, the foul of modern mufle ; in all their explications of the melopceia, they fay not a word of concert, or the Harmony of parts. We have inftances indeed, continues that author, of their joining feveral voices or inftruments in confonance ; but then thofe voices and inftruments are not fo joined, as that each had a diftincl: and proper melody, fo made a fucceffion of va- rious concords ; but were either unifons or octaves in every note ; and fo all performed the fame individual melody, and conftituted one fong. See Son g and Synaulia. When the parts differ not in the tenfion of the whole, but in the different relations of the fucceffive notes, 'tis this that conftitutes the modern art of Harmony. See Music and Melopoeia. Harmony is well defined the fu m of concords, arifing from a combination of two or more concords -, i. e. three or more fimple founds ftriking the ear altogether, and different compofitions of concords makes different Harmony. To underftand the nature, and to determine the number and preference of Harmonies, it is to be confidered, that in every compound found, where there are not more than three fimple ones, there are three kinds of relations, viz. primary relation of every fimple found to the fundamental or graveff, whereby they make different degrees of concord with it ; the mutual relations of the acute founds, each with the other, whereby they mix concord or difcord into the compound : And the fecondary relation of the whole, whereby all the terms unite their vibrations, or coincide more or lefs fre- quently. Suppofe e. g. four founds, A, B, C and D, wherof A is the graveft, B the next, then C and D the acuteft. Here A is the fundamental, and the relations of B, C, and D, are primary relations : So if B be a third greater above A, that primary relation is 4 : 5 ; and if C be a fifth to A, that pri- mary relation is 3 : 2; and if D be an octave to A, that is 1:1. For the mutual relations of the acute terms, B, C> D, they are had by taking primary relations to the funda- mental, and fubftracting each leffer from each greater, thus B to C is 5 : 6, a third leffer ; B to D, 5 : 8, afixth leffer, £sV. £nd laflly, to find the fecondary relations of the whole, feek the 9 6 H A R the leaft common dividend to all the leiïer terms or numbers of the primary relations, i. e. the leaft number that will -be divided by each of them exactly. This is the thing fought 5 and fhews that ail the fimple founds coincide after fo many vibrations of the fundamental, as the number expreffes. So in the preceeding example, the lefTer terms of the three primary relations are 4, 2, 1, whofej leaft common dividend is 4, confequently at every fourth vibration of the fundamen- tal, the whole will coincide. Now Harmony we have ob- ferved, is a compound found, confuting of two, three, or more fimple founds. It's proper ingredients are concords ; and all difcords, at leaft in the primary and mutual relations, are abfolutely for- bidden. 'Tis true difcords are ufed in mufic, but not of themfelves fimply, but to fet off the concords by their con- trail: and oppofition. See Concord and Discord. Hence any number of concords being propofed to ftand in primary relations, with a common fundamental j we dis- cover whether or no they conftitute perfect Harmony^ by find- ing their mutual relations. Thus, fuppofe the following concords or primary relations, viz. a greater, third, fifth and octave given, their mutual re- lations are all concord, and therefore may {land in Harmony** For the greater third and fifth are to one another as 5 : 6 y a lefTer third ; the greater third and octave as 5 : 8, a leiTer fixth ; and the fifth and octave, as 3:4, a fourth. But if fourth, fifth, and octave be propofed, 'tis evident they cannot Hand in Harmony ; by reafon, betwixt the fourth and fifth there is a difcord, vit. the ratio 8 : 9. Again, fuppofing fcny number of founds which are concord each to the next, from the loweft to the higheft ; to know if they can ftand in Harmony, we muft find the primary and all the mutual rela- tions, which muft be all concord. So let any number of founds be as, 4:5, 6:8, they ftand in Harmony , by rea- fon each to each is concord : But the following ones cannot, viz. 4:6:9, by reafon 4 : 9 is a difcord. The neceflary conditions of all Harmony then are con- cords in the primary and mutual relations ; on which footing a table is eafily formed of all the poflible varieties : But to de- termine the preference of Harmonies, the fecondary relations are to be confidered. The perfection of Harmonies depend on rdl the three relations ; it is not the beft primary relation that makes the beft Harmony : For then a fourth and a fifth muft be better than a fourth and fixth, whereas the firft two cannot ftand together, became of the difcord of the mutual relation î nor does the .beft fecondary relation carry it, for then would 3 fourthf HAR 97 fourth and a fifth, Whofe fecondary relation with one com- mon fundamental, is fix, be better than a third and fifth* whofe fecondary relation is ten. But there alfo the prefe- rence is due to the better mutual relations. Indeed the mu- tual relations depend on the primary ; though not fo as that the beft primary fhall always produce the beft mutual rela- tions : However, the primary relations are of the moft im- portance ; and together with the fecondary, afford us the fol- lowing rule for determining the preference of Harmonies. Viz. Comparing two Harmonies together that have an e- qual number of terms, that which has the beft primary and fecondary relations, is the moft perfect. But in cafes where the advantage lies in the primary relation of the one, and in the fecondary of the other, we have no certain rule ; the pri- mary are certainly the moft eonfiderable ; but how the ad- vantage in thefe ought to be proportioned to the difadvantage . of the other, or vice verfa, we know not. So that a well tuned ear muft be the laft refort in thefe cafes. Harmony is divided into ftmple and compound. Simple Harmon y, is that to which there is no concord to the fundamental above an octave. See Octave. The ingredients of fimple Harmony^ are the feven origi- nal fimple concords, of which there can be but eighteen dif- ferent combinations that are Harmony ; which are given iri the following table from Mr Malcolm. The table of fimple Harmonies. 5 th - - 8ve - 4th - - 8ve - 6th greater 8ve - 3d greater 8ve - 3d leffer 8ve • 6 th leffer 8ve - Secondary Relations. 213d 3 3d ;U th 3d 30 grt. leff. grt. leff. 5 th 5* 6th 6th 6th grt. grt. leff. 4th 6th leff. 4' 10 3 12 Secondary Relations. 3d grt. 5th - - Sve 3d leff. 5th - - 8ve 4th - - 6th grt. 8ve 3d grt. 6th grt. 8ve 5 3d leff. 6th leff. 8ve 15^11 - 6th leff. 8ve Thefe ate all the pofnble combinations of the concords that are Harmony : For the octave is compounded of a fifth and a fourth, or a fixth and a third, which have the variety of greater and leffer ; out of thefe are the firft fix Harmonies cdmpofed : Then the fifth being compofed of a greater and leffer third, and the fixth of a fourth and third ; from thefe proceed the next fix of the table ; Then an octave joined to each of thefe fix, make the laft fix of the table. The perfection of the firft twelve, is according to the or- der of the table 3. of the firft fix each has sn c&avc, and their O preference-' 5)8 H A R preference is according to the perfection of that other lefTer concord joined with the octave. For the next fix, the pre- ference is given to the two combinations with the fifth, whereof that which has the third greater is the beft. For the laft fix, they are not placed laft, becaufe the leaft perfect, but becaufe they are the moft complex, and are the mixtures of the other twelve with each other ; in point of perfection, they are plainly preferable to the preceding fix, as having the fame ingredients with an octave more. Compound Harm on y is that which to the Harmony of one octave adds that of another. For the compound Harmonies, their varieties are eafily found out of the combinations of the fimple harmonies of feveral eclaves. Harmony again may be divided into that of concords, and that of difcords. See Concord and Discord. The firft is that which we have hitherto confider'd, wherein nothing but concords are admitted. The fécond is that wherein difcords are ufed, and mixed with concord. See Harmonical Composition. Sometimes the word Harmony is applied to a fingle voice, when fonorous, clear, foft, and fweet ; or to a fingle infini- ment, when it yields a very agreeable found. Thus we fay the Harmony of her Voice, of his Lute, &c. For compofition of Harmony feeHARMONiCAi.CoM* position. HARP, a mufical inftrument of the firing kind, being of a triangular figure, and placed an end between the legs to be played on. There is fome diverfity in the flructure of Harps. That called the triple Harp has feventy-eight firings or chords, which makes four octaves ; the firft row is for femi-tones, and the third is unifon with the firft : there are two rows of pins or fcrews on the right fide, ferving to keep the firings tight in their holes, which are faflened at the other end to three rows of pins on the upper fide. This inftru merit is , ftruck with the fingers and thumbs of both hands ; ii's mufic is like that of the Spinet ; all its firings go from fern i tone to femi-tone. Whence fome called it the inverted Spinet» See Spinet. It is capable of a greater degree of perfection than the Lute. See Lute. King David is ufually painted with a Harp in his hands ; but we have no teftimony in all antiquity, that the Hebrew Harp, which they called Chinnor, was anything like ours. On a Hebrew medal of Simon Macbabaus^ we fee two forts of H A R 09 of mufical inftruments, they are both of them very different from our Harp, having only three or four firings. Papias, and Du Cange after him, wiil have the Harp to have its name from the Arpi, a people in Italy, who were the firft that invented it, and from whom it was borrow'd by other nations. All authors agree that it was very different from the Lyra y Cytbara, or Barbiton ufed among the Remans. See Lyra, and Cythara. Fortunatus, L. 7 mo, Carm. 8vo, witnefTes that it was an inftrument of the Barbarians. Romanïfque Lyra, plaudet tibi Barbarus Harpa, Grcecus Achilliaca, Crotta Britania canat. Menage, &c. derives the word from the Latin Harpa, and that from the German Herp or Herpjf, others bring it from, the Latin Carpo, becaufe touch'd or thrum'd with the finger. Dr Hicks derives it from Harpa, or Hearpa, which fignify the lame thing ; the firft in the Language of the Cymbri 9 the fécond in that of the Anglo-Saxons. The Englijh Prieft, who wrote the life of St Dun/Ian, and who lived with him in the Xth Century, fays, Cap. 2. N. 12. Sumpjit Secum ex more Cytharam fuam, quam pater ni Lingua Hearpam vocamus. Which intimates the word to be Anglo-Saxon. HARP£GGIATO,or Harpeggio, fignifies to caufe the feveral founds of one accord to be heard not to-, gether, but diftinclly one after the other, beginning with either at pleafiire, but commonly with the loweft. HARPSICOBRD, orHARPsiCAL, a mufical in- ftrument of the firing kind, play 'd on after the manner of the Organ. See Organ. The Italians call it Clave Cymlala, and the French Cla- vecin, in Latin 'tis ufually calPd Grave Cymbalum, q. d. a large deep Cymbal. The Harpficbord is furnifhed with a Yet, and fometimes two fets of keys. The touching or ftriking thefe keys, move a kind of little jacks, which move a double row of chords or firings of brafs or iron, ftretched on the table of the inftrument over four bridges. See Music. As this inftrument is the moft harmonious of all the firing kind, we (hall give the reader the following fentences con- cerning it. The firft thing to be done to learn to play on this as we^ as any other inftrument, is to learn the gamut, or fcale of .jgiufjp by wrote, with the notes names, and their places a- Q 2 niong îioo H A R mong the five lines. In order to which, know .that . all leflbns defigh'd for this inftrument are prick'd on two ftaves, each containing five lines. The upper one of which ftaves con- tains the treble, and has the proper clefF fet at the beginning of it : See Clef f. And the lower line or ftave has the jbafs clefF markM alfo at the beginning. See Bass. But that this may be the better underftood, We here prefix the figure of the front of the Harfichord with all its keys, clearly explained, with the notes and what keys to touch in order to found them. See Plate annexed. It muft be obferved in this example, that the four notes above the trible ftave, are called in 4k ; and thofe belowthebafs fbive are called Double ; thefe notes are help'd by additional lines, which are alfo called Ledger Lines. See Ledger Line. Befides the two ClefFs ahove mentioned, there is alfo ano- ther, called the lenor tleff-, which is ufed when the Bafs goes high, to avoid Ledger Lines ; this ( I ff"\s generally placed on ?>ny of the four lower lines, and fometimes on the fifth, and is always the middle Cfaut of your inftrument. It miift be obferved, that in the foregoing example of the Gamut, there are twenty-nines white keys, (which is the number contained in many Harpfichords^ except thofe made here of late years; to which they add both above and below, fome times to the number of thirty-feven J There are alfo twenty black keys, fomewhat fhorter than the white ones, which are placed between them, and ferve for Flats and Sharps •&•&, and ##, as the fhort key that is be- tween A and G ferves for both G fc and A *?, the fhort key between A and B ferves alfo for A g and B fe, &V. and fo on for the reft. ]f any note therefore has a Sharp before it, the in- ward or mort key above it muft be touched ; and if there be a flat before it, the inward key below it ; and fo on with all the inward keys, which are flats to the plain keys above them, and fharp to thofe below them. See Flat Alf ) obferve, that between B and C, and between E and F, there are no inward keys as there are between the others, by reafon they have an interval but of femi- tone between them» As to the notes and characters in mufic, there are firfl the notes called the femi-breve, minim, crotchet, quaver, femi-quaver, and demi-femi-quaver, which fee. ÎJsText are the characters, which are of fharp, flat, and natural : for their figures and their ufe in mufic, fee Character. See alfo Flat and Sharp, and Natural, Next o- \> lCCfolfa^— O -D : Dfolie.-._0[ EE-la-mi-.- -O •FFfant---C "Gamut — ** -A-re _ .-— — -B mi .-- C-fa-ut "Wl D-fol-re — — - rE-la-mi-- r- •E-fa-ut--^ 1 Gfolre-iit-- -1l£ -Ala mi-re-- - l-^> _B-fabe-mi---4-Lo Gfol-f a-ut - -*- D-la-ftl-re — - - - HE-la-mi — - Efa-ut '■--■ -Grfbl-re-Tit — 3*L Ala mire — — : — Bia-be-mi — Ctfol-fa — - : D-la-fol — :-,_|4 -Ela-mi — F-£uTlt_-_ •fbl re-utin alt - <:■ •A-lami-rein alt - B fe b-mi in alt -Gfol-fa in alt H A R loi Next are the refis or paufes, being thofe ufed to denote (îlence, and are of different lengths ; as - the femi-breve-reft, minim-reft, crotchet-reft, quaver-reft, femi-quaver-reft, and demi-femi-quaver. See Character. There are yet other characters ufedjn mufic, fuch as directs, which are ufually fee at the end of a ftave, to direcl: to the place of the firft note of the next ftave, as See Index. ^S ÉS ^~ There are alfo two forts of bars, viz. fmgie and double; the firft ferves to divide the time according to its meafure, whether common or triple. The double bars are fet to divide the ftrains of fons;s or tunes. — ■« — « I ! ' 1 1 A Repeat which is thus : $: is ufed to fignify that fuch a part of a tune muft be play'd over again, from the note it is placed over. It is alfo fignified thus : j | : Thus are all the notes and characters of mufic fhewn at large, now it will be neceflary to iky fomething concerning; the time, for which fee Time, Common and Trip le. As the notes and characters cannot bealter'd in fettingthe time, but always remain the fame in triple or common, in flow or quick ; where fometimes the femi-breve is required to be equal to three minims, the 'minim to three crotchets, £sV. they make ufe of a dot or-apoint D' ft — - For the femi-breve • P naturally contains but two minims, but this point makes it equal to three, and fo of the other notes. As min m uf m Sec. In the next place the graces are to be treated of, which according to Mr Lambert are thefe, /? explained, firft) a Shake, which is thus marked 3fII1ËFI —&-4- Sicond 102 H A R ov> Second, A Beat, thus ~pr and explain'd thus^j Third, A Forefall, thus P^jT£-* \ Fourth, A Backfall, thus marked and explained 1 { j ^ ' Fifth, the plain note and fhake thus marked • — ) — m< \ thus explained. Sixth, The Turn, thus ==J turned thus ^ And the Shake, It muft be obferved, that the (hake is from the note above, and the beat from the note below, and that in fingering, the thumb is counted firft, and fo on to the little finger, which is the fifth. Mufic confifts of Concords, and Difcords. See Con cord: Concords are either perfect or imperfeét, perfect as 4th, 5th, and 8ve, and imperfect as 3d, and 6th. See Fifth, Octave, &c. The difcords are, the fécond, Trttone, or fuperfiuous fourth. Flat fifth, feventh and ninth. Altho' the fécond and ninth are reckon'd the fame, their accompanyment are jet different. The commcn chords are 3d, 5th, and 8th. There are two forts of thirds and fixes, flat and fharp. 1 A flat third contains four fèmi-tones, and a fharp third five ; a flat fixth, nine half notes of fetai-toiies, and a fharp one ten. Concords. Difcords: asd J .iJi-Mi^ 1 Çoru* HEA 103 Common chords are to be played on any note, wherein no figure is put, except when you play in a (harp key, the 3d and 7th above the key then naturally require a 6th j but if you play in a flat key, then a 6th is required to the fécond and feventh above the key, unlefs other wife mark'd. See Key. All keys are either flat or (harp, not by what flats or {harps are fet at the beginning of the tune, but by the third above the key. A ^, fet over any note, fhews that it is to have a flat 3d ; and a ^, a {harp one, if there be no figure with it. I might have given my readers rules and examples for playing thorough bafs and tranfpofition, but that would be intruding too much into the Muficians province. HAUTBOY, or Hoboy, a fortof mufical infiniment of the wind kind, with a reed to blow or play withal. The Hoboy is {haped much like the Flute, only that it fpreads and widens towards the bottom. The treble is two foot long, the tenor goes a fifth lower when blown open. It has only eight holes. The bafs is five foot long, and has eleven holes. The word is French, Haut-bois, q. d. High wood; and is given to this infiniment becaufe its tone is louder than that of the Violin. It is played on much after the manner of the Flute, only 'tis founded thro* a reed. This infiniment is thus held ; place the left hand uppermoft next your mouth, and the right hand below j and the contrary with left handed people : and there are eight holes on this in- ftrument, two of which are under brafs keys, neverthelefs fe- ven fingers will be fufficient to fupply them ; as for example, Let the fore-finger of the left hand cover the firft hole, the fécond on the fécond hole, and the third on the next hole, which is a double one. In like manner the fore-finger of the right hand muft flop the next hole, which is alfo a double one ; then place the fécond of the fame hand on the next hole, then the third finger on the lowed: hole in view, and the little finger will command the two brafs keys to open one hole, or {hut the other, which is always open. The double holes ferve for fern i tones. Thus all the holes of the pipe being ftopp'd blow fome- what flrong; and it will found diftinclly the note C faut y which is the loweft note on the Hautboy. H A U T C O N T R E, the Counter Tenor or Alt. See Tenor. HAUT DES S US, the firft Treble. See Treble. H E A D, as of a Lute, tffV. is the place where the pins or pegs are fcrewed to flacken and ftretch the firings. See Lute, Çhqrd v String, Harpsichord, &fc. HEMI* 104 HEP HEMÏ, is a word feldom or never found but in compofi- tion with fome other word, as Tone, &c . wfaere it fignifie half, /. e. where any word is preceded by Hemi, it is thereby diminifhed of its half, as Tone intimates a whole tone, but*- Hemitone is but half thereof, and is the fame with what we call fèmi-tone. HEM1TUONO, is a name given by the Italians to one pf the intervals of mufic, by us called a fécond of a femi-tone ; of this there are two kinds, major and minor; the tone is fup- pofed to contain nearly nine commas, which Muficians divide, and make one half contain five commas, and the other but four ; that which contains five is the femi-tone major, and that which has but four is the femi-tone minor. See Second. H EMI O LI A, otherwife Sesqjltialteral, is a fort pf proportion, wherein the larger number contains the fmaller once, and a moiety remains as 3: 23 6:4, &c. See Pro- portion. This name is more efpecially given to a fpecis of Triple> wherein all the notes are black, as <^> or 'f|l r -he fquare one contains two times, and the lozenge but one, and two black ones with a tail, (called by us Crotchets) are required to A. make a time equal to what is exprefled by the lozenge. m This is called Hemiola maggiore, becau(e in this the mea- fure is beat flow. See Me a s u r e and Crotc h e t . And if the note of the greateft value be a black lozenge,, it is equal to two times, and our crotchet is half thereof; when this happens the meafure is beat quick, and called He- miolia minore. But be tbefe notes fquare or lozenge 'tis not necefTary to place any fign of triple time before them, the colour and figure of them enough diftinguifh it. And when thefe notes come to be white, ^ V V 'tis not necefTary to put a mark to mew that the meafure changes, and that it is in common- time. See Triple and Proportion. HEM I OPE, or He m 1 op us, a mufical infiniment of llie wind kind, ufed among the ancients. See Music and Flute. It was a kind of Flute or Fiftula, with only three holes. SeeFlSTULA. HEMITONE, in ancient mufic was what we call half atone, or femi-tone. See Tone andSEM i-tone. : KENNARMONICK. See Enharmonick. H E P TAC H OR D, is a word compounded of the Greet' iTpiaifivMi and'p^cTw, cord ox firing* I»' MIL 105 In this fenfc it was applied to the Lyre, when it had but feven firings, and is generally faid of any inftrument that hath but that number ; one of the intervals is alfo call'd Hep* tachord, as containing fiich number of degrees between its extreams. See Seventh. In the antient Poetry it fignified verfes that were fung or play'd on feven chords, i. e. on feven different notes or founds, and probably on an inftrument with feven firings. See Lyre. HEXACHORD, in the antient mufic, a concord which the moderns call commonly a fixth. See Concord and Sixth. Guida divided his Scale by Hexachords, and there are (even contained in it, three by B qusdro, two by B natural, and two B molle, and ? tis for this reafon that he divided his fcale into three columns, in which he difpofed thefe Hexa~ chords. See Gamut. The Hexachord is two-fold, greater and lefs, The greater Hexachord or Sixth, is compofed of two greater tones, and two lefs, and one greater femi-tone, which make five intervals. The lefs Hexachord is of two greater tones, one lefîèr, and two greater femi- tones. See Tone, Semitone, and Comma. The proportion of the firft is 3 : 5, and that of the other $ : 8. See Sixth. HIGH, is fometimes ufed in the fame fenfe with loud, in Oppofition to low, and fometimes in the fame fenfe with #- cute, in contradiction to grave. See Sou N £>, Gravit y, and Acute ness. HILARODÎ, in the ancient mufic, were a fort of Poets among the Greeks, who went about finging little merry diverting poems or fongs, tho' fomewhat graver than ionic pieces. It is compounded of thapcf joyful, and <&J\ij ftnging or Jong ; the piece which was fung by thefe people, was from them called Hilarodia. They were drefted in white, and were crown'd with gold % at firft they wore fhoes, but afterwards affumed the Crepida, which was only a fole ty'd over the foot with {traps. They did not fing alone, but had a little boy or girl to attend them, playing on fome inftrument. From the ftreets they were in- troduced into tragedy, as the Magod-i were into Comedy. They were afterwards called Sdntodi from Samus^ a Feet, who excelled in this kind of verfes* P HOMO- lofl M IL HOMOPHONÏ. See Homophonous. H O M O P H O N O U S, is faid of two or more chords* firings, or voices, that are of the fame pitch of tune, and Signifies properly no more than that they are in unifon. HORN, a fort of mufical inftrument of the wind kind, chiefly ufed in hunting 1 , to animate the hunters and the dogs, and to call the latter together. The Horn may have all the extent of the Trumpet. See Trumpet The term was antiently to wind a Horn ; all Horns be- ing in thofe times compafTed : But fince ftraight Horns are come into fafhion, they fay, blow a Horn, or found a Horn. There are various leflbns for the Horn, as the Recheat, double Recheat, royal Recheat, a running or farewell Re- theat , &c. The Hebrews made ufe of Horns, form'd of Rams Horns r to proclaim the Jubilee. Whence the name Jubilee. The French Horn, called in France the Corne de Chajfe, is bent into a Circle, and goes two or three times round, grow- ing gradually bigger and wider towards the end, which in fome Horns is nine or ten inches over. To play on it, the firfl thing is to confider the thicknefs or thinnefs of the lips, and provide a mouth piece accordingly ; if they are thick, a pretty broad mouth piece is required, but if thin, the piece muft be fomething f mailer. HYMN, a fong or ode in honour of God ; or a poem proper to be fung, compofed in honour of fome deity. See iioNG and Ode. The word comes from the Greek J^©-,*£/J7«», formed of u_ftt, celebro, I celebrate. Ifidore remarks, that Hymn is properly a fong of joy, full of the praife of God, by which, according to him, it is diftin- guifhed from Tlorena, which is a mourning fong, full of la- mentations, ' , • • The Hymns or Odes of the ancients, generally confifted of three ftanzas or copulets ; the firft is called Jlrophe, the fécond tiutijlrcphe, and the laft epode. St Hilary, bifliop of Puttiers, is faid to have been the firfl: who compofed Hymns to be fung in churches ; he was followed by St Ambrofe ; moft of thofe in the Roman breviary were compofed by Prudentius ; thev have been tranflated into French by the Meffieurs of the Port Royal. The Te Deum is commonly called an Hymn, though net in rerfc, as is the Gloria in Excel/is. In the Greek liturgy there are four kinds of Hymns^ but then the word is not taken in the HYP 107 the fenfe of à praife offered in verfe, but fimply of land and fraije\ the angelic Hymn, or Gloria in Excel/is is the fir ft? the Trifagion the fecond, the Cherubic the third, and the Hymn of Victory and Triumph, laft. HYPATE Hypaton, or Principalis Principalum, a name of one of the chords of the ancient Greek fyftem, which an- fwers to our B natural, of the loweft octave of the organ. See System. The ancients likewife gave the name Hypaton to. the graveft or loweft of their five tetrachords. See Genus, Scale, and Tetrachord. Hypate Mefcm, fignrfies the principal cf the middle ones ; a certain found in the Gracian fcale, anfwering to the E fi mi of the fécond odtave of ours, had this name given to it. See System. HYPATOIDES, are one of the kinds of Tounds which Eacchius calls fpijfi Gravijfimi. See Parhypatoides and Lychanoides. HYPATON Diatonos. See Diatonos and Sy- stem. HYPER, fupra, below. See Ep i. HYPERBOL^ON, Excellents, Exvperantts, geni- tive of the Greek adjective Hyperbolaos, The upper or laic tetrachord or fourth of the ancient fyftem had this name, by reafon of it's being high or {hrill in refpecl of the other fourths ; it was conjoint to another below it, called Diezeng- menon. See Diezeugmenon and System. For Trite * Paranete, and Nete HyperboUon, fee Trite, Paranete, and Nete. HYPEREOLIC, is the name of one of the ancient Greek modes or tones, whofe octave begun at B natural, . and would have made a thirteenth mode, if it's octave could have been harmonically divided; i. e. by the fifth and fourth. (See Harmonical Division.) But it's fifth was falfe, and upon this account It was /Iruck off" the lift of authentic modes, the plagal whereof would have T>een the Hyperphrygio, then the fourteenth mode, had it's fc urth form Put fa been ju ft. See Mode. H Y PÉ&léY DIO- la/ïio-Dorio, are names of feveral rnodes of the ancient mufic. See Mode, Tuono, and Music. HYPO, infra, below ; this word when joined to the pame of any interval or mode, &c. fhews that it is lower £han it was without, as Hypo diapafon an o6tave lower, Dia- pente a fifth lower, DiateJJaron a fourth, &c. See DiAPA- aON, DlATESSAP.ON, DlAPENTE, &C, P 2, This io8 HYP This word is by the Italians often joined to the name of fome of the modes, and fhews that it is a plagal mode, that is, that it's loweft chord is a fourth lower than the final of it's authentic, as, HYPODORIO, was the plagal of the doric mode, it's loweft chord was Ami la, it's final which divided it's octave arithmetically ; /. e. the fourth below, was D la re ; it's do- minant D la re, or F utfa; in plain fong 'tis the fécond tone, it is tranfpofed a fourth higher in G re fol by B flat. See Tone. HYPOEOLIC, is the plagal of the Folic mode, it's loweft chord is E fi mi, it's final divides it's octave arithmeti- cally is A mi la, it's dominant is either A mi la, or Cfolut, and is nearly our third tone. H Y P O ' O N I C O, or lajlio, is the plagal of the Ionic mode ; it's loweft chord is G re fol, it's final C fol ut, a fourth above, i 9 s dominant E ft mi> or C fol ut, and is nearly our fifth tone. See Tuono. H Y P O L Y D I O, is the plagal of the Lydian mode ; it's loweft chord is C fol ut, it's final a fourth higher, is F utfa 9 and it's dominant is Ami h. See Lydian . H YPOMIXOL YDIAN, is the plagal of the Mxo- lydian mode, whqfe loweft chord is D la re, it's final G re fol, a fourth above, it's dominant G re fol, or B fa fi, and of- ten C fol ut, « ends on G re fol. See Mode. H Y P O P RH Y G I A N, is the plagal of the Phrygian mode ; it's loweft chord is B fa fi natural, it's final a fourth a- bove is E fi mi, it's dominant is E fi mi, or G re fol, and lometimes A mi la, (efpecially in plain fong) it ends on E ft mi. See Mo d e and Tuono. HYPOPROSLAMBANOMENOS, the name of the chord added by Gui do Aretine below the Profiambanomenos of the Grecian fcale. See System. HYPORCHEMATICO Stylo. Sec Music fed Style, Ï INC *«9 I. J A R, to difagree in found, to be diflbnant, or to go out of tune. See Discord. Ï AS T I O, is a name given by Arifloxenus to one of the modes of the Grecian mufic, which is otherwife called the Ionic mode. See Mode and Io N I c o . JI GG, a fort of brisk and lively air ; alfo an airy kind of dance to a fprightly meafure. See Gi g a. IMITA ZZIONE, or Imitation, is a particular way of compofition, wherein each part is made to imitate the other. It is alfo where one part imitates the ringing of another, either through the whole piece, which one of the kinds of fugues or canons, (See Canon) or only during fome mea- fures thereof, which isfimple Imitation. Sometimes the motion or figure of the notes is only imitated, and that often by a contrary motion, which makes what they call a retrograde Imitation, or Imitazzione Cancherizante. Imitation differs from a fugue, fays Mr Brojfard, in regard in the former, the repetition muft be a fécond, third, fixth, feventh or ninth, either above or below the firft voice or guide ; to which it may be added, that it may be at any inter- val; and differs properly from fugue, in that in Imitation, the intervals may not be precifely the fame ; whereas, were the jepetition to an unifon, fourth, fifth, or octave, and the in- tervals exactly the lame in the comes and guida, it would be a fugue. IMMUTABILE Syjiema. See Svstem. IMPERFETTOv imperfecl, is faid of cadences, con- fonances, modes, times, or intervals. See each under it's proper article. What we call ImperfeEk in modes, is when they do not af- cend or defcend, high or low enough, to take in the full com- pafs of their octaves ; an Imperfecl interval, as third, fourth, f&c. means an interval as well wanting a comma or fome fraall matter of it's juft quantity, as having as much above, though the latter is more properly called a redundant, and the former a diminijhed interval. For Imperfecl time, fee Common Time, Triple, andSESQjji. , IMPLICATIO. SeeUsus. INCONCERTO. See Concerto and Concer- tants, IN it i6 INT IN CORPO. See Canone. INCONSONANCY, a di&greeaUenefs in a found, a difcordance. INDEX, a little mark fet at the end of each line of a tune, thus — M^— to {hew that the firft note of the next line is in that place ; 'tis often called Mojira. INFINITO, infinite, is faid of fuch canons or fugues that may be begun again and again, whence they ar^ alfo cal - Jed perpetual fugues. See Fu gue. INFRA, beneath. See Hypo. IN G ANNO, called by the French tromperie, cheat, a cadence is faid to be in Inganno when, after having done every thing proper for ending it, inftead of fo doing, they place a mark of filence in the place of the final which the ear na- turally expects, but is herein difappointed. See Cadence. INHARMONICAL Relation, is when fome dif- fonant found comes where the ear does not expect it, or is offended therewith, much the fame as difcord. See Rela- tion. INITIAL IS & Paufa genera lis. See Tempo, Pro- xation, and Pause. INN O, a hymn or fpiritual fong. See Hymn. INPARTITO. See Canone. INSPEZZATO Monochorea. ,See Spissus. INTENSIO, is the railing of a voice or found from grave to acute, as Remijjio is the contrary. See Remissio. INTERVALLO, Interval, is the difference between two founds in refpect of acute and grave : or that imaginary fpace terminating by two founds, differing in acutenefs and gravity. See Acuteness and Gravity. When two or more founds are compared in this relation, they are either equal or unequal in the degree of tune ; fuch as are equal are called unifons, with regard to - each other, as having one and the fame pitch of tune ; the unequal ones being at a diftance from each other, conftitute what we call an Interval in mufic ; which is properly a dijlance of tune, be- tween two founds. Intervals are diftinguifhed into fimple and compound. A fimple Interval, is without parts or divlfions. A compound one, conflits of fevcral leffer Intervals. talk INT iff! Table of Intervals, fimple and compound. i j 2 ! 3 | 4 h 1 6 ] 7 8l9|ïô|iiii2;i3ii.4 15U6 17I18U9 20J2I 22|23*24|25|26 27(28 2 9 |év| 1 1 ! Quadruple J 5 i/lejdfuono, — the fame found, &c. J U L E, a kind of hymn fung by the Greeks, and after them by the Romans in the time of their harveft, in honour of Ceres and Bacchus j in order to render thofe deities pro- pitious. The word is derived from the Greek o\©-, or /ka©* 5 a Jbeaf, ; this hymn was fometimes called the Demitrule or De- mitriuky (. e, the Jule of Ceres, i; KEY 115 K. tT E Y, a certain fundamental note or tone, to which the *** whole piece, be it Concerto, Sonata, Cantata. &c. is accommodated, and with which it ufually begins, but always ends. To get an idea of the ufe of the Key, it may be obferved, that as in oration there is a fubjeft, viz. fome principal perfon or thing, to which the difcourfe is referr'd, and which is always kept in view, that nothing unnatural or foreign to the fubjedt may be brought in ; fo in every regular piece of mufic, there is one found, viz. the Key, which regulates all the reft ; the piece begins and ends in this ; and this is as it were the mufical fubjedt, to which a regard muft be had in all the other founds of the piece. Again, as in oration there are fevëral diftinct articles which refer to different fubjects, yet fo as they may have a vifible connection with the principal fubject, which regulates and influences the whole ; fo in mufic, there may be various fubaltern fubjecls, that is, various Keys, to Which the diffe- rent parts of the piece may belong ; but then they muft be all under the influence of the frrft and principal Key, and have a connection with it. Now to give a more diftinct notion of the Key, we muft obferve, that the octave contains in it the whole principles of mufic, both with refpect to confonance, or harmony, and jfucceffion or melody ; and that if the fcale be conti- nued to a double octave, there will in that cafe be fever* different orders of the degrees of an octave, proceeding from the feven different letters,, with which the terms of the fcale are marked. Any given found therefore, i. e. a found of any determinate pitch of tune, may be made the Key of the piece, by applying to it the feven natural notes, arifing from the divifion of an octave, and repeating the octave above and below at pleafure. The given note is applied as the principal note or Key of the piece, by making frequent clofes or cadences upon it ; and in the progrefs of the me- lody, no other than thofe feven natural founds can be admitted, while the piece continues in that Key \ every other found being foreign to the fundamental or Key : For inftance, fuppofe a fong begun on any found, and carried upwards and downwards by degrees, and harrnonical diftances, fo as never to touch any ' fcunds bat what are referrable to that nrft s? a fondamental, CM i. e* n6 KYR h e. are the true founds of the natural fcale proceeding from the fundamental ; and let the melody be fo conducted thro* thofe natural founds, as to clofe and terminate in the funda- mental, or any of its o&aves above or below, that note is called the Key of the melody, becaufe it governs all the reft, limitting them fo far, as that they muff be, to it, in relation of the {even effential founds of an oclave ; and when any other is brought in, 'tis called going out of the Key ; from Which this way of fpeaking, viz.. a fong continuing or going out of the Key, it may be obferved, that the whole octave with all its natural founds, come under the idea of a Key 9 tho' the fundamental or principal found is in a more particular manner fo call'd ; in which laft fenfe of the word Key (viz., where it is applied to one fundamental) another found is faid to be out of the Key, when it has not the relation to that fundamental, of any of the natural founds belonging to the concinnous divifion of the o&ave. Here too, it muft be added with refpect to the two different divisions of the octave ; that a found may belong to the lame Key, i. e. have a juft mufical relation to the fame fundamental in the one kind of divifion, and be out of the Key in refpe& of the other» Now a piece of mufic may be carried through feveral Keys ; i. e. it may begin in any one Key, and be led out of that into another, by introducing fome found foreign to the firft, and fo on to another ; but a regular piece of mufic muft not only return to the firft Key, but thofe Keys too muft have a particular connection with the firft. It may be .added, that thofe other Keys muft be fome of the natural founds of the principal Key, tho' not any of them at pleafure. As to the diftin&ions, we have already obferv'd, that to conftitute any given note or found, a. -Key, or fundamental, it muft have the feven efTential, or natural founds added to it, out of which, or their oétaves, all thofe of the piece muft be taken, while it keeps within the Key; i A e. within the govern- ment of that fundamental. 5 Tis evident therefore, that there are but two different fpecies of Keys, which arife according as we join the greater or lefTer third, thefe being always accompanied with the fixth and feventh of the fame fpecies, the third greater : for inftance, with the fixth and feventh greater, and the third lefTer with fixth and feventh of the fame fpecies, that is lefTer. And this diftinclion is exprefs'd, under the name of a fharp Fey, which is that witty the third greater, C5V. and the flat Key, with the third lefTer, &c. whence 'tis plain, that how many different clofes foever there be in a piece, there can be but two Ktyjh [ ^ we confider the cilcutial difference, of Keys - 3 every Key being eithex KYR n 7 either flat or (harp, and every (harp Key being the fame as to melody, as well as a flat one. It muft be obferved he Wever, that in common practice, the Keys are faid to be different, where nothing isconfidered but the different pitch or tune of the found on which the different clofes are made. In which (enk the fame piece is faid to be in a different Key, according as it begun in different degrees of tune. To prevent any confufion which might arife from ufing the fame word in different feniès, Mr Malcolm propofes the word Mode to be fubflituted inftead of the word Key, in the for- mer fenfe ; that is, where it expreffes the melodious constitu- tions of the oclave, as it confias of feven effential or natural founds, befides the fundamental ; and in regard there are two fpecies of it, he propofes, that with the greater third be called the greater Mode, and that with the leffer third the lefs Mode, appropriating the word Key to thofe notes of the piece on which the cadence is made ; all of which may be called different Keys, in refpecl: of their different degrees of tune. To diflinguifh then accurately between a Mode and a Key, he gives us this definition, viz. An o£lave, with all its natural and effential degrees is a Mode, with refpeél to the conflitu- tion or manner of dividing it -, but with refpecl: to its place in the fcale of mufic, i. e. the degrees or pitch of tune, it is a Key. Tho' that name is peculiarly applied to the fundamen- tal : Whence it follows, that the fame Mode may be with different Keys, i. e. an oclave of founds may be raifed in the fame order and kind of degrees, which makes the famfe Mode, and yet be begun higher or lower, that is, be taken at different degrees of tune, with refpect to the whole, which makes different Keys, and vice verfa, that the fame Key may be with different Modee, i. e. the extreams of two octaves may be in the fame degree of tune ; and the divifion of them be different. See Modulation, Harmony, Melody, and Cleff. KEYS alfo fignify thofe little pieces in the fore part of an Organ, Spinnet, or Harpfichord, by means whereof the jacks play, fo as to flrike the firings of the infiniment ; and wind is given to the pipes by raifing and finking the fucker of the found board. They are in number twenty-eight, or twenty- nine. In large organs there are feveral fets of the Keys, fome to play the fecondary Organ, fome for the main body, fome for the Trumpet, and fome for the ecchoing Trumpet, t$c. in fome there are but a part that play, and the reft for ornament. There are twenty flits in the large Keys, which make half notes. Mr Baljouski of Vouliez* pretends to have invent- ed a new kind of Keys vaflly preferable to the common ones, with iïS K Y R with which, he fays, he can exprefe founds which follow each other in a continual geometrical proportion, and fo can furnifh all the founds in muftc, and by confequence all the imaginary intervals and accords 3 whereas the common Keys do but furnifh fome of them. KROUSTA, a term intirely Greek. See St r o m e n- to. KYRIE, (fometimes writ by the Italians Chirie) the vocative cafe of a Greek word, fignifying Lord. Moft Mafles begin with this word ; fometimes 'tis ufed for a piece of mufic, as we find, a fine Kyrie> a Kyrie well compo/ed, &c+ See Messa» LA D ED &i L. T A, is a fyllable, by which Guida denominated the laft T- i found in each Hexachord, if it begins in C it anfwers to our A, if in G to E ; if in F to D ; when it is A in our fcale, it marks the Projlambanomenos of the firft ottave, the Mefe of the fécond, and Nete Hyperboles on of the third octave of the ancient fyftem. See System, Proslambano- MENOS, CSfc. LA'CHRIMOSO, or Lagrimoso, fignifies, in a wailing plaintive manner. See La n g u i d o. LAMENT ATIONE, fignifies to play or fing in a lamenting mournful manner, and therefore pretty flow. Se e Largo, Grave, and Adagio. LANG. U ENTE, languijhing and foft. LAN G U I D O, the fame as Languente. LARGE, the greater! meafure of mufical quantity ; one Large containing two longs, one long two breves, and one breve two femi-breves s and fo on in duple proportion. See Character. LARGETTO, fignifies a movement fomething flow, yet a little quicker than largo. See Largo. LARGO, a flow movement, t. e. one degree quicker than grave, and two than adagio. See Ada g io, Grave, and Tar do. L A U D A Syon Salvatorem. See S E QJJ enza. LEDGER LINE, is that which, when the afcending and defcending notes run very high or very low, is added to the ftafF of five lines ; there are fometimes many of thefe lines both above and below the ftafF, to the number of four or five. LEER A Viola, a kind of mufical infiniment of the ilring kind. See Lyre. LEGAEILI. SeeNoTA. LEGATA. See Nota and Syncope. LEG ATO or Obligato. SeeOBLiGATo. Legato Contrapunto. /See Counterpoint and Syn- cope. Legato, confined or conftrained by certain rules for fome defign, thus they fay, canone Legato, Ùc. See Canon e. A^Legato, is when this ^~N, or this ^ mark is found over or under the heads ot them ; this is what we call tying them, and is done when they are properly but one note 3 ' ... but < ï2o LEG but obliged to be feparated into two, becaufe half Is found at the end of one bar, and the other half in the beginning of the following ; or becaufe thefe two halves are in different parts of the meafure ; this is alfo called fyncope. Sec Syn- cope. Notes of different pitches of tune are frequently tyed to- gether, when there are many for the pronounciation of one iy liable, which is likewife called prolati&n. See Prola- TION. LEGATURA, a tying or binding together ; the Ita- lians often called fyncopes Legature, becaufe they are made by the Legature of many notes ; but there is another fort of Le- gature for breves, when there are many on different lines or ijpaces, which are to be fung to one fy liable. See Syncope. It muft here be obferved, the breves alone are capable of this fpecies of Legature, by reafon their figure only will ad- mit of being placed fo clofe together, as to feem one character only, tho* placed on different degrees thus uH-f unlefs. there be occafion to place a femi-circle either above or below them, to fhew that they are tyed. This Legature regards common time only. Thefe breves muff again be confidered as ftmple, a having a tail, and a^ being of different colours. Firft then, if they be fimple M and afcend, they con- tain their natural quantity, i. e. each two femi-breves, A. But if defcending, they contain four, vf only two follow one a- nother, B. If there are three or four following ones, the firft and lait contains each fpur femi-breves, and the middle ones but two, C. A B C lib HittfaPri» D t! ^Ikh- ga E 22 2 22 444444^2,44224 Secondly y if they have tails H > and the tail be turned upwards, the breves contain only one meafure, as well a£ cending as defcending. But if it be marked downward, the breve then contains it's natural quantity. This fpecies of Legature was invented only by reafon the minim being round, could not be ufed therein., and the femi- circle was not at that time id *»fe* 1 LIT rzi It may be here remarked, that' ordinarily the firft breve alone of every Legature has a tail, and that commonly placed on the left fide. . Lafily, If they be of different colours, i. e. if the firft be white or open in the middle, and the fécond black, the firfè contains a femi-breve, and the fécond a pointed, minim. Thefe are the principal Legatures, befides which there arc many others, for which fee Nota. LEGE Pv MENT, lightly, gently, with care and -eafe, LEGGIARDO, or Leggiardamente, gayly* lively, brisk. See Allegro. LENTE, or Lentfmente, fignifies a flow move- ment, much the fame as largo. See Largo. LENTO, the fame as lente. fires LENTEMENT, fignifies, very flow, or a move-» ment that is between grave and largo. LEPSIS. SeeUsus. LEVARE Antiphonam, is to begin or open the firft note of an anthem. r LEUTO, a mufical infiniment of the firing kind. See Lu t e . LTBERO, free, anconfined, the fame with fciolto, and contrary to 'legato. See Legato and S c i ox t 6. LICHANOS, rather Lyc h a nos, which fee. LIDIAN. SeeLvDiAN. LIGATURA, more properly Le gat ur a. See Legatura. L I N E A, Line, is the name of thofe ftrokes drawn hori- zontally on a piece of paper, on and between which, the characters and notes of mufic are difpofed ; . their number is x:ommonly five, when another is added for one, two, or more notes, it is called a Ledger Lin,e. See Ledger. Some •fay that it is to Guido Aretine we owe their invention ; they are very commodious, and greatly aiîiil the imagination in di- ftinguifning low notes from high ones. Upon their firft in- troduction only the Lines were ufed, and the fpaces were then unregT oed. LIRA. See Lyre. . LI T A N I A» the litany of the church. See Me s s a . L I T T U U S, is a ftaff ufed by the Augurs, m the form ftf a crofier. We frequently fee it on medals, with the R ether U2 L Y C other pontifical inftruments. Aulus Geltius fays it was bigger in the place where it was crooked, than elfewhere ; fome derive the word from the Greek, a/]©"* fomething that makes a ftirill or acute found, which was the property of this inftrument. LOCRICO, or Locrense, is one of the ancient tones or modes, which Gaudentius the Philofopher, according to Zar tin, called Cormnune or Hypodorio. See Hypo Doric andTuoNo. LON G A, or Long, a character of mufic 5 |DI contain- •I ing four femi-breves, in common time, and confequently eight minims ; unlefs tyed to a breve, for it's content in fuch cafe, feelvEGATURE. The Long is ufually equal to two breves. See Character. LUTE, a mufical inftrument with firings. It had anciently but five rows of firings, but in courfe of time, four, five, or fix more have been added. The Lute confifts of four parts, viz. the table, the body or belly, which has nine or ten fides, the neck, which has nine or ten flops or divifions marked with firings, and the head or crois, where the fcrews for raifing and lowering the firings to a proper pitch of tune, are fixed. In the middle of the table, there is a rofe or paiTage for the found. There is alfo a bridge that the firings are fattened to, and a piece of ivory between the head and the neck, to which the other extremi- ties of the firings are fitted. In playing, the firings are flruck V/ith the right hand, and with the left the flops are prefTed. We call the temperament of the Lute the proper alteration that is to be made in the intervals, both with regard to confo- nance and diflbnance, in order to render them more perfect on this inftrument. Some derive the word from the German Laute, which fig- nifies the fame thing, or from Lauten fonare, to found, Scaliger and Bochart derive it from the Arabic Allaud. The Lutes of Boulogne are efteemed the beft, on account of the wood, which is faid to have an uncommon difpofition for producing a fweet found. LYCHANOIDES, is the middle found of thofe which Bacchius and others call Spijfi. See Sp issus. LYCHANOS Hypaton, a Greek term, which fignifies that of the principal notes, which is flruck with the fore finger : it was the fourth chord of the Lyre, and anfwers to the D la re, of the found o&ave of the modern fyftem. See Lyre and Syst em. Lychanos Mefon, that of the middle notes that is gruçk with the fore finger ; it was the feventh chord of the Lyij, and L Y R tà| and anfwers to the G re fol of the fécond oclave of the Organ See System and Lyre. L Y D I A N Mode, a doleful and lamenting fort of mufic, the defcant being in flow time, See Descant and Mode, or Tuono. The loweft chord of this mode was F ut fa, it's dominant which divided it's octave harmonically, was C fol ut, and it's final F ut fa ; 'tis our fixth tone : tho' Alypius reckons the Lydian the firft mode. LYRA Viol, a mufical infiniment of the ftringed kind ; thence comes the expreflioh of playing the Leer a way, cor- ruptly for Lyra way. See Lyre. LYRE, the fame with Cytbara, a Harp ; a ftringed in^ ftrument much ufed among the ancients, faid to have been in- vented by Mercury, on occafion of his finding a dead (hell fifh f by the Greeks called Chelone, and by the Latins Tejludo) left on the more after an inundation of the river Nile ; of the fhell whereof he formed the Lyre, mounting it With (even firings, as Lucian fays, and adding a jugum to it, to ftretch and flacken them. Boetius relates the opinion of fome, who fay that Mercurfs Lyre had but four firings, in imitation of the mundane mu- fic of the four elements. Diodorus Siculus fays it had but three, in imitation of the three feafons of the year, which were all the Greeks counted, fpring, fummer, and winter. Ni- comachus, Horace, Lucian, and many other ancient authors, make it have feven firings, in imitation of the feven planets. This three, four, or feven ftringed infiniment Mercury gave to Orpheus, (fays Nicomachus) who being torn to pieces by the Bacchanals, the Lyre was hung up by the Lesbians in Apollo's temple. Others again, fays that author, refer it's invention to Cadmus Agencr's fon. Others fay that Pythagoras found it in fome temple in Egypt, and added an eighth firing. Nico- machus again fays, when Orpheus was killed, his Lyre was caft into the fea, and thrown up at Anttjfa, a city of Lesbos, wheic the fifhers finding it, gave it to Tefpander, who carried it into Egypt and called himfelf the inventor. Mr Barnes, in his Prolegomena to his edition of Anacreon, has an enquiry into the antiquity and ftru&ure of the Lyre \ of which he makes Jubal the firft inventor. For the feveral changes that this inftrument underwent by the addition of new firings, he obferves, that according to Diodorus, it had originally but three firings, whence it was called tricordos. Afterwards it had feven, as appears from Homer, Pindar, Horace, Virgil, &c. R-a Feflui Ï24 L Y R Fejlus Avienus gives the Lyre of Orpheus nine firings ; Da- vid mentions an infiniment of that fort, fining with ten firings, in P falter to decca char do -, Timotheus of Milefus, ad- ded four to the old feven, which made eleven. yefephus 9 in his Jezvifh Antiquities, makes mention of one with twelve firings, which afterwards were encreafed to eighteen. Ana- treon himfelf fays, p. 253 of Barnes's Edition, Canto viginti iotis chordis. As for the modern Lyre, ox Welch Harp, con- fining of forty firings, 'tis fufEciently known. When the Lyre had feven firings, they were thus denomi- nated according to Boe'tius ; the flrfl, fays he, was called Hy- paton, q. d. major or honor abilior ; the fécond, Parhypate, as : being next to Hypate ; the third, Lychanos, becaufe fl ruck with the .Tore finger j the fourth, Mefe, by reafon of it's feat in the middle ; the fifth, Paramefe, as being next to the Mefe ; the fixth, Paranete, from it's fituation next to the lait called Neatc, or Neie, q. d. inferior: In the compafs of thefe feven founds, were comprehended two fourths, called conjoint fourths, becaufe the fame found Mefe was the lowefl chord of one, and the highefl of the other. Whçn the number encreafed to eight they flood the fame, only that one inferted by Samius Lychaon, between Paramefe and Paranete, called Trite. See Trite. Thefe feven firings were tuned diatonically. See Dia- tonic. As the feven founds above made two conjoint fourths, thefe eight made two disjoint, for from Hypate to Mefe was one, and from Paramefe to Nete the other -, fo that between Mefè and Paramefe there was a tone major, called by Bacchius the diezeuilc tone, becaufe it disjoined thofe fourths. Prophraflus added a ninth chord below Hypate, and called it Hyper hypate-, Eftiachus added a tenth below this, and Ti- motheus the eleventh ; in this flate of the Lyre, the names of it's chords were thefe* Hypate Hypaton, Par hypate Hypaton, Lychanos Hypaton, Hypate Mefon, Parhypate Me fan, Lychanos Mefsn, Mefe, Paramefe, Trite Diezeugmenon, Paranete Die- z^eugtnenm, ard Nete Diezeugmenon. From Hypate Hypaton to Hypate Mefon, ard from Hypate Mefon to Mefe, were two conjoint fourths ; and from Paramefe^ to Nete Diezeug- menon, a disjoint one, that is, feparated from the others by the diezeutic tone, between Mefe and Paramefe. See Conjoint and DiEZEUTic. But that the Mefe mould be fituated nearer the middle, and Jiot rife fo ciofe to Nete, another fourth was added, called the Hyperbolœon tetrachord above Nete Diezeugmenon, viz. Trite Hyperbolaon^ Paranete Hyperbolaon^ and Nete Hyperbol^on 9 which L Y R |è| which made two conjoint fourths from Paramefe ; thefe two notwithstanding, were called disjoint from the other, by rea- fon of the above- mentioned diezeutic tone. This was not enough, for flill there was feven founds above and but fix below Mefe; to remedy which, they added one below Hypate Hypaton^ arid called it Profambanomenos,* it was a tone major below it, and made an octave to Mefe, fo that itls chords then flood in the following order. The names of the chords of the ancient Lyre; 1 Proflambanomenos* 2 : I Hypate Hypaton. 3 : 2 Par hypate Hypaton, 4 : 3 Lychanos Hypaton. 5:1:4 Hypate Me fin. 2 Parhypate Mcfon. 3 Lychanos Mefon, 1 : 4 Mefe. 2 : I Paramefe. 3 : 2 Trite Diezeugmenon. 4 : 3 Paranete Diezeugmenon. 5:1:4 Netâ Diezeugmenon. 2 Trite Hyperbolaon. 3 Paranete Hyperbolaon. 4 Nete Hyperbolœon. From Proflambanomenos to Hypate Mefon was a fifth ; from £hat to Mefe a fourth; from Mefe to Paramefe a tone major ; from Mefe to Nete Diezeugmenon, a fifth; and from thence to Nete Hyperbolœon, a fourth ; and from Profambanomenos to Mefe was a fingle o£tave ; to Nete Hyperbûlceon a double one. See each of thefe names under it's proper article, Pros la m- banomenos, Octave, Fourth, Fifth, &c. From the Lyre, which all agree to have been the firfl in- ftrument of the firing kind in Greece, arofe an infinite num- ber of others, differing in fhape and number of firings, as the Pfalterion, Trigon, Sambuca, Peélris, Magadis, Barbiton, Te- iludo, (the two laft are ufed promifcuoufly by Horace, with Cy thara and Lyra) Epigonium, Simmicium, and Pandoron, which were all flruck with the hand or a plectrum, or a little iron rod. We have no fatisfa&ory account of their fhape, flruc- ture, or number of firings ; their bare names only, have been by the ancients tranfmitted to us. We find indeed numbers of inflruments on old medals, but whether they are any of thefe, we cannot find out. The Lyre among poets, painters, flatuaries, carvers, in- gra vers, &ç. is. attributed to Jfollo and the Mufes. î2l : MAN M TUI ADRIGAL, is a little piece of poetry, the verfeg •*-*•*■ whereof are free and eafy, ufually unequal ; it borders on a fonet and an epigram, but has not the brisknefs of the one or the poignancy of the other -, but the thoughts therein are eafy and agreeable. Several compofers have made fine pieces of mufic to this fort of verfes, even from one to eight parts, the ftyle whereof the Italians call Stylo Madrigalefco. See Style. MADRIGALESCO %/*. See Style. MAESTOSO, or Maeftuofo, intimates to play with grandeur, and confequently flow, but yet with ftrength and firm nefs. MAESTRO di Capella, a rnafter of mufic. See Ca- pella. MAGADE, or Magas, the name of a mufical inftrument ufed among the ancients. There were two kinds of Magades : one a ftringed inftru- ment ; the invention whereof is, by fome, afcribed to Sappho j by others, to the Lydians ; and by others, to Timotheus Milefus. The other was a kind of Flute which at the fame time yielded yery high and very low founds ; the for- mer was improved by Timotheus, who is faid to have been im- peached of a crime, for that by encreafing the number of chords, he fpoiled and difcredited the ancient mufic. See Flute, Fistula and Lyre. Magas is alfo the bridge of any inftrument. l MAGGIORE, Major, greater, as a third major means a greater or fharp third. See Third. MAJOR and Minor, are fpoken of imperfect concords, which differ from each other by afemi-tone minor. See Con- cord, Minor and Semitone. MANICHORD, a mufical inftrument in the form of a Spinet. See Spinet and Cl a richord, It's firings, like thofe of the Clarichord, are covered with little pieces of cloth, to deaden the found as well as foften it; whence it is called the dumb Spinet ; and is much ufed in nun- neries, by reafon the nuns who learn; may play without dif- turbing the filence of their gloomy cells. Du Cange derives the word from monochord, from a fup- pofition that this inftrument had but one firing ; but he is much miftaken, it has fifty or more. MANNER, a particular way of finging or playing ; whicfc, MAS i2j which is often expeffed by faying he has a good or pretty Manner. MANIERA Difïendente, -Quitta, fcf Reflrifigente. See Mutation. M A N O Harmonica. See Hand. MASCHARADA, a Mafquerade ; this word is applied alfo to mufic compofed for the geftures of pantomimes, buf- foons, mimics, and fuch grotefque characters. See Music. MASSIMA is a note or character made in a long fquare with a tail t,o it thus pi ; it contains eight femibreves in common time. J This character is difufed in the modern mufic, for they have found other ways to feparate the bars, and to mark the length of notes. See Point, Note of Augment ation, &c. MASSING Syjiema. See System. MASTER Note, the meafure note or key. See Mea- sure, Key, Dominant, Cleff, MAXIMA. See Ma ssi m a, Modo and Tempo. MEAN Proportion, is the fécond of any three proportions; but in mufic Mean is more properly fa id of the tenor or middle parts, as being the Mean between the treble which is the high extream, and the bafs or low one. See Treble, Tenor and Bass. MEASURE, is the interval or fpace of time, which the perfon, who regulates the time, takes between the raifing and letting fall his hand, in order to conduct the movement, fome- times quicker and fometimes flower, according to the mufic or fubjecl: that is to be fung or played. See Time. The ordinary common Meafure is a fécond or fixtieth part of a minute, which is nearly the fpace between the beats of the pulfe and the heart; the fyftole or contraction an fwering to the elevation of the hand, and it's diaftole or dilation to the letting it fall. The Meafure ufually takes up the fpace that a pendulum of two foot and a half long imploys in making a fwing or vibra- tion. See Vibration. The Meafure is regulated according to the different qualities or value of the notes of the piece; by which the time that each note is to take up is exprefled. Semibreves, for inftance, hold one rife, and one fall, and that is called the whole Meafure : The minim one rife or one fall ; a crotchet half a rife or half a fall, there being four crotchets in a full Meafure. See Not e, Semibreve, Minim, &c. This regards common or binary Meafure, wherein the rife ^and fall of the hand are equal, Ternary 12? MEL Ternary or triple Meafure is that wherein the fall is double the rife, or e contra-, or where two minims are played during a rife and but one in a fall ; and vice verfa -; to this purpsfe the number three, or f &c. are placed at the beginning of the lirtes when the Meafure is intended to be triple, and a femîcirde C when it is to be common. Fora farther and clearer explanation hereof, feeTiME, Triple, Prol ation, Point, &c. The rife and falling of the hand the Greeks call aptfV; and fortr, St Augujlin calls it plaufus, and the Spaniards compafs. MEDIA. SeeMEsE and System. - MED I ANTE, the mediant of a mode, is that chord which is a third higher than the final*, or that divides the fifth of every authentic mode into two thirds. See Mode and Third, MEDIARUM Extenta. See Lyc h a nos Meson. Med i arum Principalis. See Hyp ate Meson. Mediarum Sub principalis. SeePARHYPATE Me- son and System. Prop Media. SeepARAMESE andSYSTEM. MEDIUS Harmonicus. See Mean and Tr i a s. MELISMATICO Stylo. SeeSTYLÊ. MELODY, is the agreeable efFect of different founds ranged and difpofed in fucceflion ; fo that Melody is the effect only of a fingle voice or inftrument, by which it is diftinguHh- ed from harmony, though in common fpeech thefe two are frequently confounded. Harmony is the refult of the union of two or more con- cording mufical founds, heard in confonance, i. e. ?.t one and the fame time; fo that this is the effecl: of two parts at leaft; as therefore a continual fucceflion of mufical founds produce Melody^ fo does a continued combination of thofe produce harmony. See Harmony, Concord and Music. Though the term Melody is chiefly applicable to the treble, as the treble is chiefly diftinguiftied by it's air, yet fo far as the bafs or any other part may be made airy and to fing well, it may be alfo properly faid to be melodious. See Treble and Bass. Of the harmonical intervals or mufical founds, diftinguifhed by the names of fécond greater and lefs, thirds greater and lefs, fourth, falfe fifth, fifth, fixth greater and lefs, and oc>ave, all Melodies as well as harmonies arecompofed; for the octaves of each of thefe are but repetitions of the fame founds, and whatever is faid of any or all thefe founds, the fame may be underftood alfo of their octaves. See Oc t a v e . For the rules of Melody. See Composition. The word comes from the Greek u$ki, honey ,and ^f^finging. MELOPOEJA/, MEL Î2 9 MELÔPOEIA, is the ranging or difpofing founds fo> as that their fucceffion makes melody : this is fometimes called by the name of modulation. See Modulation and Music. Melopoeia is divided by Euclid into thefe four parts, Dutlus, Nexus, Petteia and Extentio-, Dufikus is a progreffioiî made from one found to another conjointly, t. e. without miffing any degrees, and is threefold. See Ductus. Nexus, is a progreftion which makes what the Italians call di Salts. See Saltô. Petteia, according to this author* is a frequent repetition of the fame found . But fee P E T T E I A . Extentio, is when any found is held out ; and Melopœia, fays he, is the knowledge of thefe, and of the applying the princi- ples of harmony. Arijlides agrees with Euclid in the three firft articles, but makes no mention of Extentio-, but afterwards makes a very nice diftinction of the different kinds of Melopœia \ firft, fays he, they differ in the genus, and are either Diatonic, Chro- matic or Enharmonic ; next in fyftem as Hypatoides, Mefoides and Netoides ; then in the tone or mode, as Dorian, Phrygian, and Lydian ; in manner, as Nomico, Ditkyrambico, Tragico, and in what the Italians call Coflume, i. e. Mcres i in which fome are faid to be Syjlaltic, which move grief ; others DiaftaU tic which animate and revive the mind ; and others Mediate, becaufe they affect the mind fo as not to a 1 rive it to an extreamt x>f either. See Mores, Hypatoides, &c. Martianus Capella talks much to the fame purpose; there is lit- tle difference between the two but their manner of expreifion. This is a branch of the ancient mufic, of which we have only fome few general hints, which fo far from being rules to guide us, are fo intricate and obfcure as to evade all fearchers after it, and leave them Hill in the dark. 'Twas on this in fome meafure, that thofe miraculous effects of the ancient mufic depended, fince it regarded the expreffing of the various paffions of the mind in a proper manner, and well adapting the founds and movement of a piece to the words, which were to be lung to them. As we meet with this often mentioned in ancient authors there is great reafon to think that in their time there were fome treatifcs hereon 5 which fince them have been loft, and which had they efcaped the wreck of time, or fome unlucky accident, might have cleared up many things which are entirely dark, and appear^ by per- plexity, almoft improbable. ME LOS, is no more than a fofig or piece of melody» gee Song» Melody and M-usxc» - - S MEN» 'i 3 «j- MET M E N, Ufs, not fo much» .Men forte, nor (o itrong> or net fo loud. Men allegro, a movement not fo brisk and lively ai Allegro {landing alone requires. See All eg Ro. Men Prejlo, lefs quick. ' See Presto, • • : M ENUE T, or rather Minuet. See Mi nu e t . MESCOL AMENTO. See Usus. MESE, the middle, or that is fituated between two ex- tremes equidiftant from either. This name was given to one of the chords of the ancient Syflerna maximum iff immutatum 9 an octave above Pro J / lambano?nenos, and is the A mi la of the fécond octave of the modern fcale. See Lyre and Sy- stem. MEOSI DES. SeeUsus. MESON, (the genitive cafe of a Greek adjective Mefos) that holds the middle place; one of the tetrachords or fourths of the ancient fcale was thus denominated, from its place be- tween two others called Hypaton and Synemmenon ; it took its firft or graved: found from the Hypaton, and its higheft or 3aft from Synem?nenon, thefe therefore are called conjoint tetrachords. SeeSYNAPHE, Tetrachord, and Ge- KUS. MESON Diatonos. See Lychanos Meson, Sy- stem, and Media. MESOPICNI Suoni, any founds that are of a mediate degree or pitch of tune, neither very high nor very low. See Si/oni, Mese 4 and Meson. AiES'SA, a particular piece of divine rnufic ufed in the IZcmiJb church, commonly called the Mafs. There arefeveral kind of Mafles, as the Kyrie, and Chri- .ftus, the Gloria, the Credo, the Sanfius, and the Agnus, fet to mufic. MESSE irevi, a fhort mafs. Messe concertate, is a mais wherein the parts recited arc intermixed with chorufes. Messe di Capella, is when all the people ling in chorus : in thefe various fugues, counter-points, and other ornaments are ufed. Messe per gli defonti, a mafs fung for the dead, &c. METR1CA, or Metrice, among the ancients was that part of their mufic, employ'd about the quintities of fylhibl'js, or which confidered them as long and fhort. Sec Mes i c . METRON, ^ aft us, Men fur a i Battuta, — the beating oy meafttring the time by a motion of the band or foot s See Ba ttutAj and Me a svre, MEZZA, M î N i jt ME2 Z A Paufa, or rather Baituta, half a paufe, inti- mates that the part whereùi 'tis found muft lie ftill the tim^ of half a breve, if the bar be but a breve, that k, for the time of a femi-breve in common time ; if a femi-breve only, the time of a minim, &c. See Pausa andREST. ■ Tho' Mezza Paufa, may alfo fignify what the French call a Demipaufe, which is a character of filence for half a femi- breve, which they call Paufe. See Character and Pa use. MEZZA Tirata. See Tirata. MEZZO, fignifies half, and is often found in compofi-* tion with fome other v/ord ; as, . Mezzo Soprano, is the haut contre, or high tenor, which has the cleff C fol ut on the fécond line. See Part and Cleff. Mezzo Sofpiro, is a character {hewing that you are to left the 8th part of a bar in common time, but if the movement be marked 3 or f , a fixth part ; if % a twelfth part ; and fo on for other times. In fhort, fays Mr Brojjard, it may be the time of a quaver -i in any movement whatever. M I is a fyllable ufed and invented by Guido to exprefs thofe founds that were called Hypate Mefon, in the firft octave of the ancient fyftem, and Nete Diez^eugmenm in the> fécond, and anfwers to E fi mi of the organ or modern fcale. See System. MINI M, is a note equal to two crotchets, or half a femi-breve. See Time and Character. For fextuple of a minim, fee Sextuple. MINOR is applied to certain concords or intervals, which yet differ from others of the fame denomination by half a tone, and figniiies that they are imperfect. See Se- MI-TONE. Tims we fay a third Minor, meaning a lefs third ; a fixth Major and Minor, See Sixth and Third. Concords that admits of Major and Minor, that is, greater or lefs, are called imperfect. See Concord. M I N O R E, the fame with Minor. MINUET, or Menuet, a kind of dance, the fteps whereof are extreamly quick and {hort, it confifts of a Ccûpé, a'fcigh ftep and à ballance ; it begins with a beat, and -its motion is triple, 'tis faid to have been invented at Poitou. It has commonly two ftrains, each play'd twice over, the £*ft has four or eight bars -, the Lift note whereof fh ou id '-be either the dominant cr mediant of the Mode, never the ftnt! . 'i& MOD and the fécond has eight bars, it ufually ends on the final of the Mode, with a pointed minim or whole bar. MINUS Hexachordon, See Sixth and Hex a- ' CHORD. M i S S O LYDIO, the Mixolydian Mode : one of the authentic Mufles of the aYicients, its loweft chord is G re fol, jits dominant which divides its octave harm onicaly, a fifth higher is D la re, and its final G re fol. a Tis nearly our 8th tone. SeeTuGNO. This Mode is often tranfpofed a fourth higher in C fol ut by B flat. M I S T O, mixed, is a term given by the ancients to fome of their Modes, as well plagal as authentic. See Mode and Authentic. MISTÏO. See Usus. MISSURA. See Measure, Triple and Pro- portion. MIXIO. See Usus. MOBIL! Suoni. See Suoni. Thofe founds which the ancients called Mobiles, were, according to the Greek authors, ten in number, and Alypius particularly fays, that Parhypate Hypaton, Parhypate Mejon, Lychanos Hypaton, Lychanos Mefon y Trite Synemmenon, Trite Diez.eug?nenon, and Trite Hyperbolœon y and Paranete Synemmenon, Diez^eugmènen, and Hyperbolaon, were the Mobiles or moveable founds of the five Tetrachords, and thefe of confequence were differently fituated according to the genus in which they were employ 'd. See Genus. Now of thefe fome are called Mefopicni, others Oxipicni 9 others Diatoni. The Mefopicni are thefe five, Parhypate Hypaton, Parhypate Mefcn, Trite Synemmenon, Trite Diez.eug- menon, and Trite Hyperbolaon. The Oxipicni are likewife accounted five, in each of the Genera, as Lychanos Hypaton, Lychanos Me [on, Paranete Synemmenon, Paranete\Diei.eugmenon, zndjParenete Hyperhl&ofly only adding the diftincStion of Enharmonice and Chromatice ; for the Diatonic does mot participate of the nature of thofe o- ther two, which with refpect to it are called Genera Spijfa» See Spissus. MODE is defined by fome authors the particular manner of conftituting the octave : or, the melodious constitution of the ©clave, as it confifts of feven efiential and natural fountfe* befide the key, or fundamental. See Octave. A Mode then is not any fingle note or found, but the, particular order of the concinnous degrees of an octave : The fundamental note whereof, may in another fenfe bq called the key, as it fignifies the principal note which regulates- the reft. MOD 133 The proper.; difference between a Mode and a key, confifts in this, that an octave with all its natural and concinnous degrees is called a Mode, with refpeél to the eonftitution or manner of dividing it ; and with refpecl: to the place of it in the fcale of mufic, that is, the degree and pitch of tune, it is called a key ; that is, an octave of founds may be raifed in the fame order and kind of degrees, which make the fame Afcde, and yet be begun higher or lower ; that is, be taken at different degrees with refpecl; to the whole, which makes different keys j and from the fame definition it follows, that the fame key may be found with different Modes ; that is, the extremes of two octaves may be in the fame degree of tune ; and the divifion of them different. See Key. Now it may be further obferved, that of the natural notes of every Mode or octave, three go under the name effential, in a peculiar manner, viz.. fundamental, the third, and fifth ; their octaves being reckoned the fame, and marked with the fame letter in the fcale : The reft are particularly called dependants. Again, the fundamental is alfo called the Final ; the fifth Dominant, and the third, as being between the other two, the. Mediante. The doctrine of the ancients with regard to the Modes, which they fometimes alfo call tones, is fomewhat obfcure, there being an unaccountable difference among their authors as to the definitions, divifion s, and names of their Modes. They indeed agree, that a Mode is a certain fyftem, or eonftitution of founds ; and that an octave with all its inter- mediate founds is fuch a eonftitution ; but the fpecific diffe- rences of tones, fome place in the manner of divifion, or order of its concinnous degrees, and others merely in the different tenfion of the whole, i. e. as the whole notes are acuter or graver, or ftand higher or lower in the fcale of mufic. Ptolemy makes the Modes the fame with the fpecies of the Diapafon ; but at the fame time fpeaks of their being at fome diftance from each other ; fome contend for thirteen, fome for fifteen Modes, which they place at a femi-tone's diftance from each other ; but it is plain, thofe underftood the differences to be only in their places or diftances from each other, and that there is one certain harmonious fpecies of o&ave applied to all, vis» that order which proceeds from the FroJJambanomenos of the Syjlema immutatum, or the A of the modern fyftem ; Ptclemy argues, that if this be all, they may be infinite, the/ they. muft he limitted for ufe and practice. But indeed, much greater part define them by the fpecies of Diapafin $ and therefore Î34 MOD therefore make only feven Modes ; but as to their ufe we are* intirely left in the dark. Boëîius is alfo very dark on this head, and defines a Mode to be, as it were, an entire body of modulation, confifting of a conjun&ion of Confinâmes and the Diapafin. If the Modes be nothing but the feven fpecies of the octave, the ufe of them can only be, that the Projlambanomenos of any Mode being made the principal note of a fong, there may be different fpecies of melody anfwering to thofe differences of the conftitution. But then, we cannot conceive that the Projlambanomenos or fundamental of any Mode is hVd on any particular chord of the fyftem, v f g. the Phrygian to G ; fo that we muft always begin there when we would have a piece of melody of that fpecies. When we fay in general, that fuch a Mode begins in G, it is no more than to fignify the fpecies of octave, as they appear in a certain fixed fyftem , but we may begin on any chord of that fyftçm, and make it the Projlambanomems of any Mode , by adding new chords, or altering the tuning of the old ones. If this were the nature and ufe of the tones, moft of their Modes muft be imperfect, and incapable of good melody; as wanting fome of thofe which we reckon the effential and na- tural notes of a true Mode. Again, if the effential differences of the Modes confifts only in the gravity and acutenefs of the whole octave, then we may fuppoie one fpecies or concinnous divifion of the oclave, which being applied to all the chords of the fyftem, make them true fundamentals for a certain fer i es of fucceffive notes, by changing as above, the tones of certain chords in fome cafes, or by adding new chords to the fy- ftem. But that muft have been a fimple kind of melody, produced by admitting only one concinnous feries, and that too wanting fome ufeful and Heceflary chords. Mufic was confiderably improved in the eleventh century, by Guido Aretine, who among other innovations alter'd the doctrine of Modes. It is true they are ftill defin'd by the fpe- cies of the octave, in Ptolemfs manner, and their number was fix'd to feven ; but afterwards taking occafion to confi- der the harmonical and arithmetical divifions of the* octave, whereby it refolves into a fourth above a fifth, and a fifth above a fourth, they hence conftituted twelve Modes, making of each octave two different Modes according to thefe different divifions. But becaufe there are two of them that cannot be divided ■ both ways, there are but twelve Modes. Of thefe, fuch as were divided harmonically, that is, with the fifth \o weft* ("which wçr$ MOD 135 «?ere fix) -were called authentic; and the other fix, which had the fifth higbeft we called the plagal Modes. See the Scheme annex'd. "Plagal. Authentic. g— c g — c a— d a d b— •— e — r — - b e € f — — — c f d g d g e ' a- — e — — a To thck Modes they gave the names of the ancient Greek tones, as Dorian^ Phrygian, Lydian ; but the Several authors •differ in the application and order of thefe names. So that we are ftill in a great meafure at a lofs to find out what they meant by thefe ! diftinctions, FOEËrËË ;- *\ Li : Mo do minore imperfctto, was a line drawn through twè fpaces, and fixed the value of the long to two breves, as, 9 Though thefe characters are difufed in modern practice* 'tis yet necefTary they be known, being often found in the mufic of about three hundred years old, which was excellent, and which is by many neglected and thrown afide, becaufe they are unacquainted with the characters therein ufed. MODULATION, the art of keeping in or changing the mode or key. See Mode and Key. Under this term is comprehended the regular progreffion of feveral parts, through the founds that are in the harmony of any particular key, as well as the proceeding naturally and regularly from one key to another. The rules of Modulation in the firft fenfe, belong to har- mony and melody. See Harmony and Melody. , . We (hall here only add a word with regard to the rules of Modulation in the iatter fenfe. As every piece mult have a principal key ; and fince the variety fo necefTary in mufic to pleafe and entertain, forbids the being confined to one key ; and therefore it- is not only allowable, but necefTary to tnodulate into, and make ca- dences on feveral other keys, having a relation or connection, with the principle key : it mult be confidered what it is that conftitutes a connection between the harmony of one key and thai MOD 139 {hat of another, that it may be hence determined into wha 1 keys the harmony may be conducted with propriety. See Key. As to the manner in which Modulation from one key to another is performed, fo that the tranfition may he eafy and natural, 'tis not eafy to fix an) precife rules: for tho* it is chiefly performed by the help of the feventh greater of the key, into which the harmony is to be changed, whether it be fharp or flat, yet the manner of doing it, is fo various and extenfive, as no rules can circumfcribe. A general notion of it may be conceived under the following terms. The feventh greater, in either fharp or flat key, is the third greater to the fifth of the key, by which the cadence is chiefly performed ; and by being only a femi-tone major below the key, is thereby the moft proper note to lead into it, which it does in the moll natural manner imaginable ; infomuch that the feventh greater is never heard in any of the part, but the ear expects the key mould fucceed it ; for whether it be ufed as a third or a fixth, it always affects us with fo imper- fect a fenfation, that it naturally expects fomething more per- fect to follow it, which cannot be more eafily and fmoothly accomplimed, than by the fmall interval of a femi-tone major, to pafs into the perfect harmony of the key. Hence it is, that the tranfition into any fcey is befl effected by intro- ducing it's feventh greater, which fo naturally leads to it. MO D U LI, Campanarum, chimes, a kind of periodical motion, produced at certain feafons of the day, by a particu- lar apparatus added to a clock. To calculate numbers for chimes, and to fit and divide the chimé-barel, it muft be obferved, that the barel muft be as long in turning round, as you are in finging the tune it is to play, As for the barel, it may be made up of certain bars which run athwart it, with a convenient number of wholes punched in them, to put in the pins that are to draw each hammer ; by this means the tune may be changed without changing the barel ; fuch is the Royal Exchange clock in London, and others ; in this cafe, the pins or nuts which draw the hammers, muft hang down from the barel fome more, fome lefs, and fome {landing upright in the barel : the reafon whereof, is to play the time of the tune rightly; for the diftance of each of thefe bars may be a femi-breve, but the ufual way is to have the pins which draw hammers fixed on the barrel. For the placing of thefe pins, you may proceed by the way of changes on Bells, viz, i, 2, 3, 4, bV. or rather make T 2 . ufe T4o M O L nfe of muficaî notes : when it muft be obferved, what is the compafs of the tune, or how many notes or Bells there are from higheft to ldweft ; accordingly .the barel muft be divided from end to end. We fpeak here as if there were only one hammer to each Bell, that it may the more eafily be apprehended ; but when two notes of the fame found come together in a tune, there muft be two hammers to the Bell to ftrike it. So that if in all the tunes you intend to chime of eight notes, there mould happen to be fuch double notes on every Bell ; inftead of eight you muft have fixteen hammers ; and accordingly you muft divide the barel with the fixteen ftrokes round it, oppofite to each hammer's tail : Then you are to divide it roundabout, into as many divinons as there are mufical bars, femi-breves, minims, &c» in the tune. Thus the hundred pfalm tune has two femi-breves ; and therefore on the chime-barel muft be a whole divifion from 5 to 5, as you may underftand plain~ ly, if you conceive the furface of a chime-barel, as if the cylindrical fupernces of the bare! was ft retched out at length, or extended on a plane ; then fuch a table fo divided, if it were wrapt round the barel, Would fhew the placés where all the pins are to ftand in the barel, for the dots running about the table after fuch divifion, would be the places of the pins that play the tune. ' # Indeed if the chimes are to be çompleat, you ought to have a let of Bells to the Gamut notes j fo as that each Bell hav- ing the true found of fa fiai la mi y you may play the tune with- it' s flats and fharps ; nay by this means, you may play the bals and treble with the fame barel, and by fetting the names of the Bells at the head of your tune, that tune may be eafily transferred to the chime barel, without any skill in mufic : but it muft be obferved, that each line in mufic is three notes dlftant ; i, e. there is a note between each line as well as upon it. M OLLE fignifies no more than a flat found, L e. when compared to another that is half a tone higher, there- fore called fharp. Guido's fcale was divided into feven hexachords, of which two were by B &, and placed in a column by themfelves, ■called the column of B Molle. . • There is neither flat nor fharp any more than acute and grave abfoiutely fo call'd, they are merely terms of relation ; for the fame found may be either flat or fharp grave or acute, according to the other found it is- compar'd with ; we Ly a note is flat becaufe it has fomething in it fweeter and folter. fas the word Molle intimates) than its fharp. For. the' characters. MON 14; çhara&ers, ufes, and effe&s of flats and {harps in mufic. See Flat, Sharp, and Character. MOLTIPLICE. See Proportion. MONOCHORD, a mufical inftrument, wherewith to try the variety and proportion cf mufical founds. See Tune. It is compofed of a rule divided and fubdivided into divers parts, whereon there is a firing pretty well flretched upon two bridges at each extream thereof. In the middle, between both, is a moveable bridge, by whofe means, in applying it to the different divifions of the line, you find that the founds are in the fame proportion to one another, as the divifion of the line cut by the bridge Were. The Mmochord is called alfo the bar mimical canon, or the canonical rule, becaufe ferving to meafure the degrees of the gravity and acutenefs. See Gravity and Acute n ess. See alio Sound. There are alfo Monochords with forty-eight bridges fixed , the ufe of all which may be fupplied by one fingle moveable bridge, by only fhifting it under new chords or firings, always feprefenting the entire found or open note. Pythagoras h held to have invented the Monochord ; and Ptolemy examined his harmorîical- intervals thereby. See Ca- non and Interval. When the chord was divided into equal parts, fo that the terms were I : i, they called them unifons ; if 1 : 2 octave, or dia~ pa/on ; when as 3 : 2, fifth, or diapente ; when 4 : 3, a fourth, or diaiejfaron ; if as 5 : 4, ditone, or tierce major ; as 6 : 5, demi-ditcne, or tierce minor j laflly, if as 25 : 24, a femi-tone minor or dieze. See Unison, Octave, Diapason, Diapente, Diatessarqn, &c. The Monochord being thus divided, was properly what they called a fyjlem, of which there are many kinds, accord- ing to the different divifions of the Monochord. See Sy- stem. Dr Wallis has taught the divifion of the Monochord in the Philofophical Tranfaclions, and 'tis as follows ; ' Any firing * fays that author, open and at it's full length, will found an * oàave or diapafon to that of fame firing flopped in the mid- c die ; hence we give the octave the duple ratio of 1 : 2, be- * caufe fuch is the proportion of the two firings ; and upon \ the fame account we allow the fifth the fefqui alter ratio of '3:2; and to a fourth, the fefqui tertian of 4 : 3 ; and to *. the tone, which is the difference of the fourth and fifth, the ^pfqai oflave ratio of 9 ; 8, And univerfally, whatever ratio • «of J42 MON * of length, taken in the fame firing equally ftretched, gives * fuch and fuch founds, juft fuch ratios of gravity we aflign * the founds fo given. But when an octave is faid in common * fpeech to confift of twelve femi-tones or fix tones, this is ' not to be underftood according to the utmoft rigour of ma- c thematical exactnefs for fix fuch tones as that between la and * mi, (called diezeutic) which is the difference of a fourth and 4 fifth' in the ratio of 9 : 8, are fomewhat more than an oc- * tave, or the ratio of 1:2; and confequently fuch femi-tone * is more than the twelfth part of an octave, but the difference * is fcarcely diftinguifhable by the ear, whence 'tis ufual fo to * fpeakrf And accordingly, when we are directed to take the * lengths for what are called twelve femi-tones in the geome- c trical proportion, it is not in utmoft ftrictnefs, but to be * acurate enough for common ufe ; as for placing the frets on * the neck pf a Viol, çfre wherein greater exactnefs is not * thought neceffary ; this is convenient, becaufe the change * of the key upon altering the place of mi, gives no new * trouble, but ferves indifferently for any key, and the diffe- * rence is fo fmall as not to offend. But the more exact pro- * ceeds thus, prefuppofing the ratio of an octave to be 1 : 2, * this is divided into two ratios not juft equal, for that would c fall on the faid number of s/ 2 : 1, but nearly equal, fo as * to be expreiTed in fmall numbers ; to which end they double c the two numbers, and make 4 : 2 inftead of taking 2 : 1, 6 which is the ratio, and enterpofe the middle number 3, and * of thefe three numbers, that of 4 : 3 is a fourth ; of 3 : 2, * a fifth, and both together an octave ; and their difference, c is a tone in the ratio of 9 : 8, as appears plainly by the c ordinary method of multiplying and dividing fractions, /. e. f — X"=— =— ; and ~ J— ( ~~ : Thus in the common fcale 322 1 2/2V8 * faking an octave in thefe notes, la fa fol latnifafol la ; fup- * pofe from E to e, (placing mi in Bfa bmi, or natural,) * the lengths for the extreams la la an octave, are as 1 : 2 ; then * thofe for la mi the die%eutic tone, and difference of a fourth * and fifth, as 9 : 8. Thus we have for thefe four notes, la la * mi la, their proportional lengths in numbers, 12, 9, 8, 6. * Then if we proceed in the like manner to divide the fifth, la * fa fol la mi, or la mi fa fol la, or the ratio of 3: 2, into two e near equals; take double numbers 6 : 4, and interpofing the ? middle number 5, of thefe three, 6, 5, 4 that of 6:5 ' AS MON î43 * is the lefTer third la mi fa ; and that of 5 : 4 is the * greater third fa fol la ; which put together, make a fifth ; c u e. — X— =— =— ; and their difference is as 24:25 t 5442 * /. e, — )— f — -, : fo we have for thefe three notes la fa la, 5^4V5 * their proportional length in numbers, as 6, 5, 4 : again, if we. * divide the ditone, or third greater, 2^ fa fol la, in the ratio * of 5 : 4, or 10:8, into two near equal, by the middle num- * ber 9 ; then we have thefe three numbers, 16, 9, 8, that * of 10 : 9 the lefTer tone, and 9 : 8 the greater. But whe- * ther fa yà/fhall be made the lefs, as 10 : 9, ox fol la die * greater, as 9 : 8, or this the lefs, as 10 : 9, and that the * greater, as 9 : 8, or fometimes this, or fometimes that, as c there is oçcafion, to avoid what they call zfcbifm, is fome* ' what indifferent ; for either way, the compound will be ' as 5 : 4, and the difference which is called a comma, as too • 9 IO 9 I0 5 , 10,9x81 «81:80, ,,§X ? xf-=-g=-,a„d -(f)-. See 'Comma. c Laflly, If from that of the lefs third, la mi fa, whofe ratio 1 is 6 : 5, we take that of a tone la mi, the difference of a * fourth or fifth, as 9 : 8, there remains for the femitone * mi fa, or la fa, that of 16 : ic ; i. e. ~ )— ( — = — : J 8/5V45 *5 c the lefs third may be divided into three near equals, by tak- * ing triple numbers in the fame ratios 18 : 15, and interpof- * ing the two mediates 16 : 17, which therefore will be as . r . 18 17 i6__i8 6; c 18 : 17, 17 : 16, and 16 : i< ; 1. e. ~X-rX — =— " ' 3 17 16 15 15 5> c where alfo the greater tone, whofe ratio is as 9 : 8, or 18 : 16 € is divided into it's two near equal, called femi-tones, that of c 18 : 17, and that of 17 : 16 ; L e. ■ — X-t—'t 111 -^ 5 aIK * ■ . ' 17 16 16 8 * the lefs tone, that of 10 : 9, or 20 : 18, may in like man- c ner be 'divided into that of 20 : 19, and of 19 ;, 18 ; i. e « — X-^=t;=— > which anfwers to what is aiTigned to flats 19 18 18 . 9 c and fharps : fo that by this compofition of eight notes, ta fa « fol la mi fa fol la, their ratios ftand thus s that of la fa, or ifa, 16 : 15 ; that of fa fol, as 10 : 9 ; and of fol la, as or mi 1 9 : 8, (or elfe that of fafol-2& 9 : 8, and fil la as 10 : 9) I and that of la mi 7 9 ; 8] if either the greater or lefs tone chance < to 144 M O S * * • * to be divided into fiats or (harps called femi-tones, their ratios * are to be fuch as above-mentioned.' But that infiniment is now difufed, the modern mufic not requiring fuch divifion. Again he adds, ' That there may be a like divifion of the * fourth into two near equals, which was really done in the ^chromatic and enharmonic genera of the Grecians.' See Enharmonic. Moncchord is ufed. for arty mufical infiniment confining of only one firing or chord ; in this fenfe, the Trumpet marine may properly be called a Monocbord» See Trumpet and Chord. ; The word is derived from the Greek, fZop@", — -fotus—fingle ; and %op a chord or firing. See String. M O R JE, ac convenient'^ fignum. See P u n t 6 « MORES» or Costume. See Costume orUsus. MOSTRÀ, the fame with index. See Index. Thué marked at the end of a line or fpace, to fhew what place the firfl note of the next has> f — ' » — ■ . If this firfl riote be accompanied by à $, or flat k, it may he well to place thofe characters with this Mojlrà. Alfo if in thorough bafs this firfl note have any cyphers, it would be of fome ufe to put the fame cyphers with the character, at the end of the proceeding ftaff. 'Again* if the part change it's clefF with that firfl note, the cleff ought to be marked with the Moflram the fame manner ; it is of great ufe, efpe- cially in quick motions, in that it prepares you for what is to come. MO T ET T O, a fort of church mufic, eompofed witfc much art and ingenuity, from one to eight parts, with or without inflruments, ufually accompanied by a "thorough bafs. . When the compofer gives a lofe to his fancy* without con- fining himfelf to any rules, fubjeéls, or paflions, the Italians call it Fantafia, or Ricercata. The word is ufed at large for pieces made to Hymns tci faints, &c. and whole pfalms are often thus called. MOT I V O, Motive, that obliges or induces us to do fouie particular thing, follow fome intention or defign ; as Motivo di Cadenza is when the lower part moving the interval of a fifth falling, and a fourth rifing alternately (which is thedif- pofition of the notes called atto di cadenza, and wnich engage us to make a cadence) the parts feem to avoid that natural conclufion ; whether by fy ncopating the feventh in the place of the eighth, or by any other means. This is of very good effect, efpecially in fugues. MOTION* •MUS ~ HS MOTION, is the manner of beating the meafure to haften or flacken the pronunciation of the words or notes. See Measure and Time. The Motion in fongs compofed in double or common time differs from that of thofe in triple time. See Triple and Common. 'Tis the Motion that diftinguifhes Courants arid Sarabands, &c. from Gavots, Borees, Chacones, &c. See each under it's proper article. MOTO, or more properly, according to Zarlin, Movi- mentOy is a term that has many fignifications in mufic ; fome- times it means only a motion or paflage from one note to an- other, at whatfoever diftance, as a fécond, third or any other interval ; and is the fame whether the intermediate degrees (if • any there be) be founded, or only the extreams of them, as the firft and laft found of any given interval. Sometimes it regards the quicknefs and flownefs of fuch mo- tion, as a brisk, flow, lively or languid motion ; and in this .fenfe 'tis ufed with regard to minuets, gavots, farabands, &c See each in it's proper place. See alfo Motion. But the moft common, and indeed the moft important, ac- ceptation of the word is with refpedtto harmony, thofe above de- fcribed only regarding melody. SeeME lody andHARMONY* With regard to harmony, 'tis the comparing the manner wherein an upper or treble part moves from one found to an- other, with that wherein a lower or bafs part moves ; this is to be done three ways. The firft is when the upper and lower part move both the fame way, either upwards or downwards, and is cAledMoto retto. The fécond is when in comparing the upper with the lower part, the one afcends ■ w/iile the other defcends, or e contra , and this is therefore called Moto contrario. The laft, is when one of the parts holds out, or continues a found, while the other rifes or falls on any note whatfoever, this makes what the Italians call Moto obliquo. See Ob l i qju o. MU.SIC Aj.Musick. or Music, the fcience of found confidered as capable of producing melody or harmony ; or the art of difpofing.and conducting founds confidered as acute and grave; and proportioning them among themfelves, and fepa- rating them by juit intervals pleafing to the fenfe. See Sound. Mr Malcolm defines it a fcience that teaches how found un- . der certain meafuresof time and tune, may be produced; and fo ordered and difpofed as either in confonance [i. e. joint ( funding) or fucceffion, or both, they may raife agreeable fen- Cations. ; .. \ j From. r i 4 6 MUS From this definition the fcience naturally divides itfelf. into two general parts, v. g. fpeculative and practical. The nrft is the knowledge of the materia mufica, or how, to produce founds in fuch relations of time and tune as mall be agreeable in confonance or fuccefîion, or both ; by which we don't mean the actual production of tjiefe founds by an in- finiment or voice, but thé knowledge of the various relations of tune and time which are the principles out of which the pleafure fought derives. See Tune and Time. The fécond is how thefe principles are to be applied, or how founds in the relation they bear to Mufic (as thofe are de- termined in the firft part) may be ordered, and varioufly put together in fjcceffion and confonance, fo as to anfwer the end ; and this is what we call the art of compofition, which is properly the practical part of Mufic, See Com- position. Some add a third branch, viz. the knowledge of inftru- ments; but as this depends altogether on the firft, and is only the application and expreffion of it, it cannot regularly come under the definition, and confequently is no part or divifion of the fcience. The firft branch which is the contemplative part, divides itfelf into two; the knowledge of the relations and meafures of time and the doctrine of time itfelf. See Time and I R1PLE, The former is properly what the ancients call Harmonicks^ or the doctrine of harmony in founds, as containing an expli- cation of the grounds, with trie various meafures and degrees of the agreement of founds in refpect of their tune. See ' Harmonicks. The latter is that which they call Rytbmica, becaufe it treats of the numbers of (bunds or notes, with refpect to time, ■ containing an explication of the meafures of long and mort, quick and flow, in the fucceflion of founds. See Rhyth- MICA. Thé fécond part, which is the practical part, as naturally divides itfelf into two, arifwering to the parts of the firft. That which anfwers to harmonicks the antients called Aft- lopoe'tuy becaufe it contains the rules of making fongs, with refpeét to tune, and harmony of founds ; Mr Malcclm fays, we have no reafon to think the antients had any fuch thing as compofition in parts ; but as they talk of concord and harmony of many founds heard together, this implies a contra- diction. That which anfwers to Rhythmica, they called Rhythmopoera^ containing rules for the application of numbers and time. Ste K HYTHMOPOEIA, Wç MUS * 147 We find a flrange diver fity in antient writers, as to the na- ture, office, extent, divifioh, &c. of Mufic. The name is fuppofed originally Formed of Mufa, Mufe; the Mufes being fuppofed to be the inventors thereof; Kerch & how- ever, will have it take it's name from an Egyptian word, as fuppofing it's reftauration after the flood to have begun there* by reafon of the reeds &c. on the banks of the river Nile. Hefychius tells us, the Athenians gave the name of Mufic tQ every art". What in the proper and limitted fenfeof the word is called Mufic, has for it's object motion, confidered as under certain Regular meafures arid proportions, by which it affects the fenfes in an agreeable manner. Now as motion belongs to bodies, and as found is the effect of motion, and cannot b'e without it, but all motion does not produce found; hence this laft branch of Mufic became fub- divided. . Where the motion is without found, or as it is only the ob- ject of fight, it was either called Muficà Qrchèfirîa, or Salti- ioria. which Contains rules for the regular motions of the ba < • . ■*- ^ oy in dancing ; or Mufica Hypccritica, which refpects the mu- tions and geftures of the pantomimes. When the motion is only perceived by the ear, that is* when found is the object of Mufic, there were three fpecieS, vf%. Hàrmotiicks, which confider the difference and proportions with refpect to acute and grave ; Rhythmica, which reflects the proportions of founds . as to time, or the fwiftnefs and ilownefs of their fucceffions ; and Metrica, which belongs properly to poets, and refpects the art of making verfes j and thefe are the principles which Alypius allows of. Ariflides, §>uintilianm, Bacchius, and other antient writers, tienne Mufic the knowledge of finging, and things belonging thereto ; which they call the motions of the Voice and body ; ; as if finging itfelf confided only in the different tone of the Voice. , The fame authors, cônfider ing Mufic in the largefr, fenfe of the word, divide, it into contemplative and active ; the fir ft, fay they, is either natural or artificial. The natural is either arithmetical, becaufe it cohfiders the proportions of numbers, tjjr phyfrcal, which examines the order of the things of nature. The artificial they divide as above, into Harmonich^ Khythmica and Metricà. Thé active, which is the. application of the artificial, is ^either Enuhciative, as in oratory , Organical, or infrrumental .performance ; Odiçal, for the voice and finging of pfajms ; Hy- . . focritual h ï$8 MUS pocritical, in the motions of the pantomimes ; to which fome. add Hydraulic, though in reality no more than a fpecies of Organical, in which water is ufed for the producing and mo- difying of found. Porphyrius makes another divifion of Mufic, taking it in the limitted fenfe, as having motion both dumb and fonorous for it's objects, and without diftinguifhing the fpeculative and practical, he makes it's parts thefe fix, viz. Rhythmica, for the motions in dancing ; Metrica,. for cadence and recitatives ; Organical, for the practice of inftruments; Poetica, for the numbers of feet in verfes; Hypocritica, of the geftures of pantomimes ; and Harmonica, for finging. The mufical faculties, as they call them, are Melopoeia 9 which gives rules for the tones of the voice or inftrument, and Rhythmopoeia , for motions ; as alfo Poefis, for making verfès. Mufic appears to have been one of the moft antient arts, and of all others vocal Mufic muft undoubtedly have been the fir ft kind ; for man had not only the various tones of his own voice to make his obfervations on, before any other art or inftrument was found out, but had the various ftrains of birds to give him occafion to improve his own voice, and the modulations of founds it was capable of. Of the many antient writers who agree in the conjecture, %e fhall only mention Lucretius, who fays, At liauidas avium voces imitarier ore* Ante fuit multo quam levia Carmina Cantu, Concelehrare Homines pdjfent Aurifque juvare. The firft invention of wind inftruments he afcribes to the obfervation of the winds blowing in hollow reeds. We might here ^idd another teftimony of the antiquity of this art, from the Holy Bible, which fays that Jubal the fixth from Adam was the father of fuch as handle the harp and ergan. As for the other kinds of inftruments, there Were fo many occafions for cords and ftrings, that men could not be long in obferving their various founds, which might give rife to ftringed inftruments. See Chord. And for pulfatile inftruments, as Drums and Cymbals, they might rife from the obfervation of the hollow noife of con- cave bodies, See Drum. Plutarch, in one place, afcribes the invention of Mufic ta the God Apollo, and in another to Amphion, fon oîjupitef and Antiope : This laft, however, is pretty generally allowed MUS 149 to be the firft who brought Mufic into Greece, and to have been the inventor of the Lyra. The time he lived in is not agreed upon. See Lyre. To him fucceeded Chiron the Demi-God ; Demodocus, Her- mes Trifmegiftus, Olympus, Orpheus y who fome make the firit introducer of Mufic into Greece, and the inventor of the Lyra; Phenicius Terpander, who was co-temporary with Lycurgus, and fet his laws to Mufic, to him fome attribute the firft inftitution of mufical modes, and of the Lyre \ Thaïes and Thamyris, who is faid to have been the firft Inventor of Mufic without Tinging. Thefe were eminent muficians before Homer's time. Others „ of later and the fouls of the blefTed, The %$q MUS The effects afcribed to it by the antients, are almoft nit- raculous ; by means hereof difeafes have been cured, unchafti- ty corrected, feditions quelled, paffions raifed and calmed, and even madnefs occafloned. Jthenœus allures us, that antièntly all laws divine and civil, exhortations to vertue, the knowledge of divine and human things, lives and actions of illuftrious perfohs, were writ iri verfe, and publickiy fung by a chorus to the found of inftru- ments ; which was found the moft effectual means to em- prefs morality, and a righ fenfe of duty on the mind. Mufic made a great part of the difciplirie of thé antient Pythagoreans, and was ufed by them to draw over the mind to laudable actions, and fettle in it a paflionate love of virtue ; it being their doctrine that the foul itfelf coniifted of harmony; and therefore by Mufic, they pretended to revive the primi- tive harmony of it's faculties : by their primitive harmony, they meant, that which according to their Doginà , was iri the foul,, in it*s pre-exiftent ftate in Heaven; * Dr Wallis has endeavoured to account for the fiirpriJing ef- fects afcribed to the antient Mufic, and charges them princi- pally on the novelty of the art, and the hyperboles of the antient writers ; nor does he doubt but the modern Mufic, ca- teris paribus, would produce effects as confiderable as that of the antients : The truth is, we can match moft of the antient ftories in this kind, in the modern hiftories ; if Timotheut could excite Alexanders fury with the Phrygian found, and footh him into indolence with the Lydian, a more modern mil - iîcian is faid to have driven Eric king of Denmark into fuch a rage, as to kill his beft fervants. Dr Newenteît tells us of an Italian, who by varying his Mufic, from brisk to folemn, and fo vice verfia, could move the foul, fo as to caufe diftrac- tion and madnefs. And Dr South has founded his poem" called Mufica Incantans, on an inftance he knew of the fame thing. Derham, in his Phyfico-Theology, makes mention of many other things equally furprizing with the inftances above re- cited. Mufic, however, is not only found to exert it's force on the affections, but on the parts of the body; witnefs a Gaficon knight mentioned by Mr Boyle, who could not contain his water at the playing of a Bag-pipe : The woman, mentioned by the fame author, who would burft into tears at the hearing a cer- tain tune, with which other people were but little affected : To fay nothing of the trite ftory of the Tarantula : We have att inftance in the French hiftory of their academy of a mufician's being cured of a violent fever by a little concert's being occa- fionally flayed in his room» MUS î's\ Nor arc our minds and bodies alone affected with founds, but even inanimate bodies. Kercher tells us of a large ftone, that would tremble at the (bund of a particular pipe in an organ ; and Morhojf mentions one Petter, a Dutchman, who could break a rummer glafs with the tone of his voice. Merfenne tells us, of a particular part of a pavement, that would make and tremble as if the earth would open, when the organ play'd. Mr Boyle adds, that the feats will tremble at the found of organs ; that he has felt his hat do fo under his hand at certain notes, both of organs, and difcourfe, and that he was well inform'd that every well-built vault would anfwer fome determinate note. There is a great difpute among the learned, whether the antients or moderns beft underftood and practifed mufic ; fome maintaining, that the ancient art of mufic, by which fuch wonderful effects were performed, is quite loft; and others, that the true fcience of harmony is now arrived to much greater perfection, than was known or practifed among the antients.. This point is no other ways to be determined, but by com- paring the principles and practice of the one, with thofe of the other. As to the theory or principles of harmonicks, fays Mr Malcolm, 'tis certain we underftand it better than they did, becaufe we know all they knew, and have improved confi- derably on their foundation ; the great difpute then lies in the practice. Were it not that difTenting from thofe authors, would be thought rafhnefs, much more might be enumerated as rea- fonable, at leaft, for as what they alledge againft the Grecian practice, or the ancient method in general ; if the reader will take the pains to look over that little book, entitled, VoJJius de poematum cantu, & viribus rhythmic he will there fee the reafons why that celebrated writer accufes the moderns almoft of ignorance in this art, with refpect to the ancient Greeks. With regard to the practice, it may be obferved, that among the ancients, mufic in the moft limitted fenfe of the word, in- cluded harmony, rhymes, and verfe ; and confided of verfes fung by one or more voices alternately ; or in chorus, fome- times to the founds of inftruments, and fometimes voices only. Their mufical faculties we have already obferved, were Melopo'èia, Rhythmopeëia, and Po'e/is ; the firft whereof may be confidered under two heads, viz. Symphony and Melody. As to the latter, it contains nothing but what relates to the condu& of a fingle voice 3 or making what we call Melody, Nqjj '152 îvîUS Nor do they appear to have ever thought of the concert and harmony of parts. This, fays Mr Malcolm, was no part of the ancient practice, but entirely a modern invention ; for which we are beholden to Guido A rétine, a Benedièline Fryar. We would not however be underftood, adds he, to mean that the ancients never joined more voices or inftruments than one together in the fame fymphpnies ; but they never joined feveral voices, fo as that each had a diftinct and proper melody, which made among them a fucceflion of various concords, and were not in every note unifons, or at the fame diftance from each other, as octaves, &e. This 'la'ft indeed agrees with the general definition of the word .fymphony ; yet 'tis plain, that in fuch cafes there is but one fong, and all the voices perform the fame individual me- lody. But when the parts differ not by the tenfion of the whole, but by the different relations of the fucceffive notes, this is the modern art, which requires fo peculiar a genius, and on which account, continues Mr Malcolm, the modern 'mufle has the advantage of that of the antients. For further fatisfa&ion on this fubject, fee Kercber, T^x^Wallis, Mr Malcolm, and < others, who unanimoufly agree, that after all the pains they have taken to know the true ftate of the ancient mufic, they could not find the leaft occafion to think there was any fuch thing in their days «.s mufic 'in parts. See Symphony andSYNAULiA. The ancient mufical writers were very mifterious and perpiex'd. Boeiius and Gregory the Great firft put them into a more eafy and obvious method, It was in the year 1204. that Guido Aretine, a Bencditl'ine Fryar of Aureiium in Tufcany, firft introduced the ufe of theyfa^with five lines, on .which with the fpaccs he marked his notes, by fetting a point up and down upon them, to denote the rife and fall of the ■voice 5 tho' Kercber mentions this artifice to have been in ufe long before Guide's time. See Not e and Staff. Another contrivance of - Guido's was, to apply the fix mu- , fical fyllables, Ui, re, mi, fa, fol, la, which he took out of St John the Bapti/i'sHymn. See Hand. Befidcs his notes of mufic, by which, according to Kercher y he diftinguiûYd the tones or modes, and the feats of the femi- tones ; he alfo invented the fcale, and feveral mufical inftru- ments, called Poly pleclra, as Spinnets and Harpfichords. See Notes and Gamut. The next çonfiderable improvement was in the year 1 330. when Jean de Mûris, Dr of Paris, invented die .different figures of notes, which exprefs the times, or lengths of every note, ut leaft their relative proportions to one another, now called. MUS 153 Longs ^ Breves, Semi-hreves, Crotchets, ghavers, Semi-quavers, andDemi-femi-quavers, which fee under their refpeftive Articles* The moft ancient writer of mufic we have already ob- served, was Lafus Hermionenfis, but his works, as well as thofe of many others, as well Greeks as Romans, are loft. Arifioxenus, difciple of Arjliotle, is the eldeft author extant on this fubjeft, of him Athenœus quotes a pafTage out of a 4th book, tho' we have but three, and thofe imperfect ; after him came Euclid* author of the Elements, about 303 years before Chrjfi, Ari- Jlides ^uantilianus wrote after Cicero's time. Atypius ftands next ; after him Gaudentius, the philofopher ; Nicomachus, the Pythagorean -, and Bacchius, fen. of which feven Greek authors we have a fair copy with a tranflation and notes in Latin by Meibomius. Ptolemy, the celebrated mathematician, wrote in Greek the principles of harmony, about the time of the emperor Antonius Pius \ this author kept a medium between the Art- Jioxenians and Pythagoreans ; he was fucceeded at a good di fiance by Manuel Byrennius. Of the Latins we have Boëtius, who wrote in the time of Theodric the Goth, and one Cafiiodorus near 505 years after Chrijl, about the fame time Martianus Capella, and St Au- gujlin not far remote. Of the moderns are Zarlin, Salinas, Vincenzo, Galileo, Doni 9 Kercher, Merfennus, Paran, De Caux, Perrault, Des Cartes, Holdtfworth, Wallis, Malcolm, Holder, Mcrley, Harris in his Lexicon, &c. M U S I C A Antiqua, is the muficof the ancient Greeks and Romans, down to the eleventh century, when about the year 1024 Guida Aretine invented or revived mufic in parts, which may with propriety be calPd Antiquo moderna ; modern with refpecT: to the Greeks, and ancient with regard to us. Mu s 1 c A Arithmetica, that part of the fcience which con- siders founds by the help of numbers. Music A Artificial, mufic that is not performed by the natural organs of the voice, but by inftrurnents or ma- chines, contrived to imitate it. This again is ufed in ano- ther fenfe, as when a piece of mufic is fung in two parts, the one whereof is by B molle or flat, and the other by B fharp or natural ; the former of which is term'd, artificial, having fomething particularly foft and fweet in comparifon to thefharp. Music a Attiva or prattica, praSiical mufic, or that part which regards only the execution, without confidering the j-eafons orcaufe of the good effect of fuch execution. Music a Choraica, a fort of mufic, proper for dancing> confifting of a variety of different motions.. X Musica, t 5 4 MUS Mu s isc A Chorale, mufic fung in a chorus, as in the church, wherein the time of the notes is equal ; 'tis otherwife called Muftca Plina, Canto fer mo, and plain chant or fong. Music a Chromatica^ is a fort of mufic, in which there are many chromatic figns, as flats and fharps, intervals, &c. See Chromatic. . Music a Combinatoria, that part which teaches the manner of combining; the founds ; that is, of changing; their place and figure in as many different manners as poilible. Music A Contemplât iv a, or Speculativa, or Theorica, that treats only of the founds, examines their natures, properties, and effects, having no regard to the executive part. Music A Diatonica, a particular fpecies of mufic, the fcale whereof proceeds by tones and femi -tones, and which any one, tho' unskilled in mufic, may fing, it being extreamly eafy, the chromatic requiring a little knowledge, and the enharmonic theutmoft nicety and judgment ; it is one of the genera of the antients, and is generally thought to be the firft, by r^afon of its being fo natural. Arïfîiàe: particularly calls it Genw, AntiquiJJimum. See Diatonic. M u s i c a Didatbica, is part a of the fpeculative mufic, which only confiders the quantity, the proportions, and dif- ferent qualities of founds. Music a Dramaiica, Scenica, or Théâtrale, is mufic fit for the Theatres, otherwife called Recitativa. See Re citati- vo. Music A Ecclejla/îïca or mnflca at Chiefa, is church mufic, fuch as fpalms and hymns. SeeCHiESA. Music A Enharmonic a, is that wherein the Enharmnic Diefis are frequently ufed, whofe intervals are not fo fpa- cious as thofe either of the Chromatic or Diatonic, this is, by Arijlîdes, called Genus Ter t htm or Supremum. See En- harmonic Mu s i c a Ennunciativa, or Enmrrativa, is much the fame as Muftca Signai oria. See below. Music a Figuralis^ Figurata, or Colorata, figurate mufic, wherein the notes are of different values, and the motions Various, now flow then quick, c?Y. Music a Harmonica, is when the piece confifts of many parts, which though very different when played together, make an agreeable whole ; this is what we properly call mufic in parts. Music A Hijtorica, which treat of the origin and in- vention of mufic, of modes, of notes, inftruments, &c. alfa the lives and writings of celebrated authors on that fubjecl. Musica, MUS' 15; Mu s i c a Hyporchematica or Cboraica, a fort of mufic fit For ballads and dancing. Music a Infirumentalis, that is made on purpofe to be pîay'd on inftruments. Music a Manier ofa, mufic that mu ft be under certain circumftances, and requires certain manners to be executed as it ought. Music A Melifmeitica, or Melodica, is merely a fong of fingle part, whether for the voice or inftrument. See Me lody. Music a Melopoetica is the fcience or art of ranging and difpofing founds in iucceffion in an agreeable manner, and is in ihort, the art of making melody. See Melody and Melopoeia. Music a Menfurata, or Mifurata, is a kind of mufic, whofe notes, under the government of certain times, are un- equal ; 'tis the contrary of Mufica Piéna, or Chorale. Mu si c A Metabolica, is properly mufic tranfpofed, as when die piece goes out of its natural mode into a tranfpofed one, the better toexprefs the words, or to diftinguifh fome change in the action, pafîion, motion, &c. Music a Metrica, is the harmonious cadence of the voice, heard when any one declaims or repeats verfes ; or 'tis a fong compofed to verfes. Music a Moderna, modern ?nufic, may be divided into two parts : firft, Antiquo mcdsrna, which is a ferious fort of mufic, confuting of many parts, and which has been in ufe from Guido's time, to the beginning of the laft century ; fécond, the modern which has been ufed within thefe 60 or 80 year, and is very different from the Antiquo moderna, being brisk, lighter, gayer, and more fprightly. Music a Modulatoria, that teaches to compofe or modu- late, t. e. that fixes rules for the ufe of Modes, and teaches either to fingor play well. See Mo de and Modulation. Music a Mondana, is the perfect harmony and agree- rnenc perceivable between the many parts whereof the uni- verfe is compofed. Music A Naturale, is often oppofed to artifciale, and fig- Siifies a kind of mufic or fong, formed by the organs of the fruman voice, unafiifted by inftruments, or other artifices ; but properly 'tis when the fong proceeds in the natural order of the notes without flats or {harps. This may alfo be called Dia~ "ionica, tho* with no great propriety, becaufe the mufic may either be natural or artificial, and yet diatonic, as proceeding by tones, and femi- tones. See Diatonic and Natural. Music a Odica is the fame with Hyporchematica or 1* vomica , X Z Musica 156 MUT Music A Organic a, is meerly what is to be performed by inftruments. Music a Pathetica, is a moving and affe&ing kind of mufic, that touches and caufes emotions in the mind, either of love, forrow, pity, or any other paffion. Music A Piéna, the fame with Chorale. Music a Poètica, is the art of inventing fongs, of modu- lating concords and difcords together agreeably, and makes what we call compofition. Music A Prattica, the fame with Jttiva. Music a Recitativa, Scenica, or Dramatica, a fort of mufic ufed in Opera's, &c. irregular as to time, being a declama- tion in finging, which is to exprefs the paffions : and from its being thus irregular in its time, the Italians place the phrafe à Tempo giufta when the Recitative ends, and an air, be it minuet, jigg, or any other, begins, to (hew that the time is then ftri&ly to be ©bferved. Mus ICA Rhythmica, the harmony or cadence of the words in profe ; or a fong compofed to words in profe. Musi c A Scenica, the fame with Recitativa. Music A Signatoria, is the knowledge of the characters, notes, figures, paufes, and all other figns and marks whatever ufed in mufic. Mus ICA Speculativa, the fame with Contemplativa. Music a Symphoniale, is given by fome to a piece of mu- fic whofe parts are well concerted. Music a Theatralis, proper for the theatre. Music a Tragica, a lamenting, mornful fort of mufic, ufed in tragedy, and fit for dirges, or funeral anthems. Music a Vocale, compofed for the voice, or vocal mufic, in oppofition to organical or inftrumental, that compofed for inftruments. f+Sound,, •) ê Sound. •n -a* r j\Strinir, ( ^String orCHORD. ror Mu f' cal for every feveral mode they had eighteen figns. Now Alypius gives us figns for fifteen different modes, (as may be (een by the curious in Meibomius's tranflation,and Notes of the feven Greek authors) which, with the differences of the genera, and the diftinction between voice and infiniment, Mr Malcolm makes 1620 Notes. Not that they had fo many different characters, but the fame characters had different nullifications upon different occafions, as (p, or phi, in the diatonic genus, was Lychanos Hypaton of the Lydian mode, and Hypate Mefon of the Phrygian , and fo of others. The Latins, in the time of Boêtius, had eafed themfelves of this needlefs burden, and only ufed fifteen letters of their alphabet for Notes. Pope Gregory confidering that the fécond octave was in effect the fame with the firft,and that the order was the fame in the up- per and lower octave of the gamut, reduced them to feven 5 which were to be repeated in a different character : at length, in the Xlth century, a Benedicline, one Guido Aretine, in lieu of letters, fubftituted the fyllables, Ut re mi fa fol la, placing them in different lines, and making them with points ; laftiy, it was. thought proper to add Notes likewife in the fpaces. See Ga- mut. Of the feven mufical Notes , ut re mi fa fol la fi, the firft fix are afcribed to Guia]o, who is faid to have invented them at Pompcfa in the dutchy of Far ara ; the feventh, viz. Jt 9 ■flcwding to fomPj» was added by Uriççi Puteaneo 9 according ta NOT î6i to others by Le Maire ; the French muficians think it ferves very good purpofes, in avoiding the difficulty of the divifions remaining in Guido's fcale. Common fame afcribes to Guido not only the Notes, but alfo the lines, letters, cleffs, flats and fharps. The Notes, tit, re, mi, fa, fol, la, he is faidto have taken out of the hymn in the vefpers of St John the Baptijl ; Ut queant Iaxis refonare fibris, Sec. See Music and Hand, Hitherto the Notes only ferved to exprefs the degrees of tune ; they were all of equal value as to time, 'till the year 1330 Johannes de Mûris Doctor of Paris, gave different figures to the different points, to exprefs the quantity of time each was to be dwelt upon. There are three things to be confidered in thefe Notes ; firft the quantity, ;'. e. the fize and figure of the head ; fécond - ly quality, *'. e the colour of the head, whether it be white or black, full or open ; thirdly the properties, as the Italians exprefs themfelves, v. g. whether the note is accompanied with a virgula, or comma, or not ; it muft be likewife con- fidered whether the Notes be diftinct and feparate, or bound together. The feveral mufical Notes are the large, containing eight femi- breves, tho' Merfenne makes it twelve ; the long, con- taining four; the breve, two ; the femi-breve, one; the minim, half a one ; the crotchet, a quarter ; the quaver, half a quarter ; the femi-quaver, one fixteenth ; and the demi-femi-quaver, one thirty fécond part of a femi-breve. See Character, for their refpeélive figures. Ufually we diftinguifh fix principal Notes, reprefented by as many different characters, viz. the femi-breve equal to two minims ; the minim equal to two crotchets ; the crotchet to two quavers ; the quaver equal to two femi- quavers ; and the femi-quaver equal to two demi- femi -quavers. See each under it's proper article. The characters or marks of thefe Notes are ufually fet down on a ftaff of five or fix lines, to ferve as directions for keep- ing time in finging or playing to, or on, any fort of maiical inftr u ments. See Singing. . Note, or rather Point of augmentation, is the increafing or enlarging the full quantity or value of any Note, as £*fifi^ jf? nifies a chrotchet and a half, and without the dot^ which is called the Note of augmentation, it would be only a fingle crotchet. ... ( . • .*■■_■ ..... |ï62 N'UM The ancients ufed alfotwo other points, the one was & point ef divifion, which was ufed when any Note was to be di- vided into others of lefs value ; and the other was a Note of diminution, which is a dot on the contrary fide, and has a quite contrary effect of the point of augmentation ; for inftead of making it a crotchet and a half, it reduces it to half a crotchet, but both thefe are now entirely out of ufe. The mathematicians compute that one may make feven hundred and twenty changes or varieties, with fix Notes, with- out ever repeating the fame twice ; and that of the Notes of each octave, one may make 4032b different tunes or fbngs. Note legato. See Legato and Syncope. Note ferme, a name given by the Italians, to Notes con- taining one time of a bar in common time, which ferve as a fubje£t for fomë counterpoint, efpecially in the plain fong or Gregorian chant, which they cajl Canto fer mo. See CoNTRAPUNTO. N O T H O, is properly bajlard, illegitimate, produced ly irregular means -, this epithet was given to two of the an- cient modes, viz. the Hyper Eolic and the Hyper Phrygian, the final of the firft being B natural, it's fifth above muft be falfe or diminifhed in a diatonic progrefliôn, this mode is therefore rejected from the authentic modes ; and the Hyper Phrygian having it's final in Fut fa, and it's fourth above being therefore redundant, is not reckoned among the plagal modes. See Mode, Tuono, Fourth, and Fifth. NUMERO, Number, of which there are eight, which the Italians call radicale, 2, 3, 4, 5, 6* 7, 8, 9, and fome- times 10 is added ; each of thefe are frequently met with, efpe- cially in thorough baffes : 2 marks the fécond and it's replies ; the 3 the third, &c. This character £, is fome times before and fometimes after the figure, and (hews that it is to be ma- jor, greater or fharpj as 3 p, or £ 3 ; and this fe, is alfb ufed in Jike manner, as 3 fe, or ^ 3 ; which intimates that it be mi- nor, lefs, or flat. We often firfd thefe characters & and $ alone with- out a cypher, which (hew that the third is to be played, and fchat ma' or or minor as the character is * or &, See Fl a t knd Sharp, O. Oct. m G. /. e. Majufcule, O, or circle, or double C, or femu circle, is a note called by us a femi- breve, by the Italians Circolo, with which they mark what they call Tempo perfetto y and wc Triple time» See Triple. The ancients indeed ufed O as a mark of triple time ; from a notion that the ternary or number 3, wa s the molt perfect of all numbers, and therefore properly exprefioj by a circle, the moft perfect of all figures thusj O 5 or / ^-> K or -L -■ ^ OBLIGATO, fignifies for, on purpofe for, or necef- fary, as doi violini obligate, on purpofe for two Violins ; and fa of other, things,, as confogotto obligator that muft be play'd with à Balloon, &c. ■ Sometimes it fignifies confined or reftrained by certain rules, fubjected to ce'rtain limits or laws, in order to perform fome particular thing, to. give fome particular expreffion of a paf- iion, action, &c. In this fenfe we fay, Cantrapunio obligator Fuga obligata. See Legato. In this fenfe we alfo fay, the bafs is obligator when it is only a ground of à ce'rtain number of bars, which are to be repeat- ed over and over -, fuch is the bafs to chacones, &c. and every bafs wherein one is obliged to keep a certain movement, and to perform only certain notes, &c. O B L I QU O oblique. When the word is joined to Nota, it fignifies two breves tied together, which make but one body, whence 'tis named in Italian Nota d'un cerpo folo ; fometimes there is a tail, or the right or left fide either amend- ing or defcending. SeeNoTE,LEGÀ t ura and Virgu la. However it be, the two extreams mark the found, the middle ferves only to tie them, as JXT~ v^ ^ t^ 1 For Moto obliquo % tëe Moto. OBOE or Oéof , a Hautboy, ôr Hoboy. See Ha ù t bot.' O C T A V E, an harmonical interval, confirming of feven degrees or lefs intervals. See Interval. The moft fimple perception that we can have of two founds, %i that of unifons. ; in regard the vibrations there beo-in and fend together; The next to this is the o&ave j where the more Y ^ acute flt$> not acute found makes precifely two vibrations, while the gravé or deeper one, makes one ; and wherein by confequerrce, the vibrations of the two meet „at every vibration of the more grave. See Tune and Grayity. Hence unifon and oBave pafs almoft for the fame concord. See Concord and Unison. Hence alfo the proportion of the two founds that form the hftave are in numbers, or in lines, as I : 2 ; fo that two chords or firings of the fame matter, thicknefs, and tenfion, one whereof is double the length of the other, produce the cfiave. See Chord. The oftave is called among the ancient authors the Dia- pafon, becaufe containing all the fim pie tones and chords ; all of which derive their fweetnefs from it, as they rife more or lefs directly out of it. See Concord. To be juft, it muft contain diatonically feven degrees or intervals, and confequently eight terms or founds 5 whence it is called by the name oftave. The oliave containing in itfelf all the other fimple con- cords, the degrees being the differences of thofe concords : it is evident, the divifion of the oUave comprehends the divifion of all the reft. See System, By joining therefore all the fimple concords to a common fundamental we have the following feries. Fundamental 1 ? — -JL* " *~- 5 4 3 2 53i 3^ hfe 3£ r ' 4^« 5^« blefs 6gr m $ v e * Again, the fyftem of the oftave, containing all the original concords, and the compound concords being the fum of the ûfiave, and fome lefler concord - y in order to have a feries to reach beyond an oïïave we muft continue them in the fame order through a fécond ottave, as in the firft, and fo on to a third and fourth otlave. Such a feries is called the fcale of rriufic. See Music. > The compofition of oSfaves may be carried on infinitely^ yet three or four is the greateft length we go in ordinary pfaclice. The old fcales went but two, or at moft three oftaves, which is the full compafs of an ordinary voice. When we fay that the ancient fcales went but two, or at furtheft three cElaves^ we do not mean that they were not allowed to ex- ceed that compafs ; but that between the extreams of a double cr triple otfave, were contained all the variety that was pof- fible or needful , for even then, an active mufician would take the liberty to furprize them, by running through greater extrcams* Not OCT 165 Notwithftanding the perfection of the oElave, yet after the third, the agreement diminifhes very faft ; nor do they ever go fo far at one movement as from one extream to the other of a double or triple ofôave ; feldom beyond a fmgle one : Nor is either voice or inftrument well able to go beyond. To form a fourth oc~lave, if the acuter ftring be half a foot long, which is but a fmall length to render a clear found, the graver muft be eight feet. If then we would go beyond a fourth oclave, either the acute ftring would be too ihort, or the grave one too long ; not but this inconvenience is re- medied by a greater tenfion of each. The otlave is not only the greateft interval of the feven o- riginal concords, but the flrft in perfection ; as it is the greateft interval, all the lefler concords are contained in it : Indeed, the manner wherein the lefler are found in the oftave, is Ibmewhat extraordinary, viz. by taking both an harmonical and arithmetical mean between the extreams of the o£tave y and then both an arithmetical and harmonical mean between each extream, and the molt diftant of the two means laft found, i. e. between the lefs extream and the firft arithme- tical, and between the greateft extream and the firft har- monical mean will have all the lefler concords. See Con- cord, Discord, and Proportion. Nicomachus, difciple of Pythagoras, fays, that to prodace an oUtave, take two chords and ftretca the one by a weight of fix pounds, and the other by one of twelve, the found of the laft will be an octave to that ftretched by the fix pound weight, and from thence proceeds to fix the proportion of Weights to be ufed for the production of the other intervals. Mr Malcolm obferves, that any wind instruments being over blown, the found will rife to an otlave, and no other concord, which he afcribes to the perfection of the oUave % and its being next to unifon. From the iimple and perfect form of the oUave arifes this peculiar property, that it may be doubled and tripled, and ftili be concord, u e. the fum of two or more oSiaves are con- cord ; though the more compound, gradually, lefs agreeable. He adds, that there is that agreement between its extreams, that whatever found is concord to one, is fo to the other. Des Cartes, from an obfervation of the like kind, viz. that the found of a whiftle or organ pipe will rife to an otlave if forcibly, blown, concludes that no found is heard, but its acute octave feems fome way to eccho in the ear: The ancient Grecian fyftem had no greater compafs than a, double octave, or fifteenth, which they called Dis Diapafon. But in the modern, 'tis tripled, and even quadrupled. See Interval. Among Ï65 OCT Among the ancients, Euclid and Gaudenhm the phi'lof6«? pher agree, that there were feven fpecies of oclave ; the firftj fays Euclid, begins from one of the founds called Baripicnis, and has a tone for its higheft interval, as from Hypate Hy- paton to Paramefe, this is the Mixolydian mode. The féconda Mefopicnis, whofe Jaft or higheir. interval but one is a tone ; as from Parhypate Hypaton, to Trite Diezeugmenon, called the Lydian. The third ab Oxipicnis, which has a tone for its third interval at top, as from Lycbanos Hypaton to Paranete Diezeugmenon^çzlted the Phrygian. The fourth again a Bari- picnis, wherein the tone is the fourth interval from the top, as from Hypate Mefon to Nete Diezeugmenoû, and this is the Dorian. The fifth a Mefopicnis, which has à tone for its fifth interval from the top as from Parhypate Mefon to Trite Hyper- bo lœon, called the Hypolydian. The fixth ab Oxipknis, wherein the tone is the fixth interval from the top, as from Lycbanos Mefon to Paranete HyperboUon, called the Hypù-Pbrygian. And the feventh begins a Baripicnis, in which the tone is the firft interval below.; as from Mefe to Nete Hyperbolaon, (or from Proflambanomehos to Mefe) and is the Hypodorian. Bac- chius and Gaudentius fpeak much to the fame purpofe ; wé fhall only give the reader one example of the latter, to make the diftindtion apparent. The firft, fays he, is from Hypaté Hypaton to Paramefe, compofed of the firft fpecies of fourth and fifth, and is the Mixolydian Mode, &e. But Martianut Capella is of another opinion, and fays there are eight fpecies of oUave, which he proeecds to enumerate in the following manner : The firft is from Proflambanomenos to Mefe ; the fécond is from Principalis Principalium, i. e. Hypate Hypaton to Para?nefe, and fo on through the eight, but is filent as to the fituation of the tone in thofe different fpecies. 'Tis difcern- able enough how he came to reckon eight, fince he counts from Profiatnbanomenos to Mefe one, which the others make the fame as from Mefe to Nete Hyperbola on. In thorough bafs the oUave and its replys, are marked by a fimple 8. In melody the voice or found of an inftru- ment may move an oclave per falto, but very feldom two cclaveSy efpecially the voice. In harmony two ottaves mould never follow one another, if differing in degree of tune per falto of a fifth or other interval, but it may be followed by any of the other concords perfect or imperfect. See Con- cord,. &c. OCTAVÏNA, a kind of fmall Spinnet, that may eafily be removed, having only one row of keys, and thofe not to the ufual number, perhaps not to above three o£laves y the common ones going four or more, Its pitch is taken art ODE 167 êclave higher than the ordinary ones. See Spinet and Harpsichord. O D E, a fong or compofition proper to be Tung, and com-* pofed for that purpofe, the finging is ufually accompanied with fome mufical inftrument. See Song. It confifts of long and fhort verfes, diftinguifh'd intoftanza's or ftrophes, wherein the fame meafure is preferved throughout. 4 The odes of the ancients, fays Vojftus, had a regular re^ * turn of the fame kind of verfe, and the fame quantity of fyl- * lables in the fame place of every fimilar verfe \ but there is 4 nothing, continues he, but confufion of quantity in the 4 modern odes* ; fo that to follow the natural quantity of our fyllables, every ftanza will be a different fong. * Then -he proceeds, c The moderns have no regard to the natural * quantity of fyllables, and have introduced a barbarous and 4 unnatural variety of long and mort fyllables, which they ap- * ply, without any regard, to the notes ; fo that 'tis no won- 6 der our vocal mufic has no effec~t.' De poïmatum cantu. See Vocal. Among the ancients, odes fignified no more than fongs ; with us tney are different things. The ancient odes were generally in honour of their Gods, as many ofthofeof Pindar and Horace ; fometimes on other fub- je&s, as thefe of Anacreon^ Sappho, &c. The Englijh odes are generally compofed in praife of he- roes, and great exploits. The diftinguifhing Character of an ode, is fweetnefs ; the poet is to fboth the minds of his readers by the variety of verfe, and the delicacy of words, the beauty of numbers, and the defcription of things moft delightful in themfelves. Va- riety of numbers iseflential thereto. At firft indeed, the verfe of the ode was of but one kind, but for the fake of pleafure and mufic, to which they were fung, they by degrees fo varied the numbers and the feet, that their kinds are almoft innume- rable. One of the' moft confiderafele is the Pindaric, diftin-» guifhed by its boldnefs and the rapidity of its flights. The ancient ode had originally but one Jlanza or Jlrophe, but at laft was divided into three parts, flrophe, antiJlrophe y and epode. The priefts going round the altar to fing the praifes of the gods, called the firft entrance Jlrophe, i. e. turning to the left ; the fécond turning to the right, they called antijlrophe, ? . d. returning. Laftly, {landing before the altar, they fung the remainder, which they called the epode. OMNES, a latin term, which we fometimes find for auttif all or altogether* See T tf î T 1 and DaCapella. ONDEGGIAR5 i68 ODE ONDEGGIARE, to return the hand beating time, not directly, but by degrees; as Ondeggiando la mam fignifies to keep it wavering in the air, or giving it two motions before 'tis quite lifted up to end the bar, and thence to fall it to beat a firft, fécond or third time of that or another meafure. OPERA, a dramatic compofition fet to mufic and fung on a ftage, accompanied with mufical mftruments, and enrich- ed with magnificent dreiîings, machines, and other decorations. The Opera's we derive from the French, they from the Italians ; and the Venetians, who hold it as one of the principal glories of their carnaval, firft invented it, OPPOSITION E, or rather Oppojtzzione, is the plac- ing one thing againft another, or in a place that does not pro- perly belong to it; this often happens, efpecially when prepar- ing for a cadence we place the fifth with the fixth thus £ per cppofitionem. ORATORIO, is a fort of fpiritual opera full of dia- logues, recitativos, duettos, trios, ritornellos, chorufes, &c. the fubject thereof is ufually taken from the fcripture, or is the life and actions of fome faint, &c. The mufic for the Ora- torio fhould be in the fineft tafte, and moll chofen drains. The words hereof are often in Latin, fometimes in French and Ita- lian, and among us even in Englijh. Thefe Oratorios are greatly ufed at Rome in time of Lent ; here indeed they are ufed in no other feafon. ORCHESTRA, is a part of the theatre between the fcenes and the audience, wherein the muficians are difpofed to play the overture, &c. of a play, be it tragedy or comedy, of the opera, oratorio, ferenata, &c. See Opera. ORDINARIO, often, commonly, as Tempo Ordinario, ufual time ; Signo Ordinarto, the ordinary or common fign. O R D I N E, the arrangement of many parts to make a whole one : thus when the Italians fpeak of the antient fyftems, they fay Ordini di Mercurio, di Terpandro, Fhilalao, Pythagoras, &c. to fignify the rank in which each of thofe authors placed their founds, the number thereof limitted by them, and what dif- tance and proportion they gave them; and they fay of a tetra- chord that it is in Ordine di quatro corde, i. e, a whole one, compofed of, and divifible by, four chords. See Chord and Tetrachord. ORGAN, the largeft and moil harmonious wind inftru* ment. See Music. The invention of the Organ is very ancient, though 'tis agreed that it was very little ufed till the eighth century. It feems to have been borrowed from the Greeks, Vitruvius de- scribes an Hydraulic one in his tenth book of Architefture* Tltf ORG t6q The emperor jfulian has an epigram in' It's praife. St Je- rom mentions one with twelve pair of bellows, which might be heard a fhoufand paces, or a mile; and another at Jerufalem 9 which might be heard at the Mount of Olives. There is one in the cathedral of Ulm in Germany that is ninety three feet high, and twenty eight broad ; the biggeft pipe is thirteen inches in diameter, and it has fixteen pair of bellows. The modern Organ is a buffet, containing feveral rows of pipes. The fize of the Organ is generally expreffed by the length of it's biggeft pipe; thus we lay an Organ of thirty two feet, of fixteen, of eight, and of two feet. Church Organs confift cf two parts, viz. the main body, called the great Organ ; and the pofitive, or little Organ, which is a fmall buffet, commonly placed before the great Organ. The Organ has at leaft one fet of keys, when it has only- one body, and two or three when it has a pofitive or chair Organ ; though large Organs have four and fometimes five fets of keys; befides which the pedals or largeft pipes have their keys, the flops or touches whereof are played by the feet. The keys of an Organ are ufually divided into four octaves, viz. the fécond fuc-oclave, firft fub-o<9tave, middle oclave, and firft oclave. Each octave is divided into twelve flops or frets, whereof the feven black ones mark the natural founds, and the five white the artificial ones, i. e. the {harps and flats; fo that the keys ufually contain forty eight flops or touches. Some organ ifts add -to this number one or more •flops in the third fub-oclave as well as in the fécond. [Note 9 fome Harpfichords and Spinets -have their natural flops or key; •often marked white, and their artificial ones black.] The pe- dals have about two or three octaves, at the pleafure of the organift, fo that the number of flops or keys is undeterminate. Each key or flop preffed down opens a valve or plug which correfponds length wife with as many holes as there are rows ■of pipes on tlie found-beard : The holes of each row are opened and fhut by a regifter or ruler pierced with forty eight .holes; by drawing the regifter the holes of one row are opened, becaufe the holes therein correfpond with thofe of the found- board, fo that by opening a valve the v/mâ brought into the found-board, by a large pair of bellows, finds, a paffage into the pipes, which correfpond to the open holes of the found- board ; but by puming the regifter, j the forty eight holes thereof not anfwering to any of thofe of the found-board, that row of pipes anfwering to the milled regifter s re fhut. Z W hençQ i 7 o ORG Whence it follows that by drawing fevera! regifters, feveral rows of pipes are opened ; and the fame thing happens if the fame regifter correfpond to feveral rows; hence the rows of pipes become either fimple or compound ; fimple, where only one row anfwers to one regifter ; compound, where feveral. The organ ifls fay a row is compound when feveral pipes play upon pre fling one {top. The pipes of the Organ are of two kinds ; the ©ne with mouths like our Flute, and the other with reeds. The firft, called pipes of mutation* confifl, lft. Of a footj which is a hollow cone, and which receives the wind that is to found the pipe. 2dly. To this foot is fattened the body of the pipe ; between the foot and the body of the pipe is a diaphragm or partition, which has a little long narrow aperture to let out the wind ; over this aperture is the mouth, whofe upper lip being level cuts the wind as it comes out at the aperture. The pipes are of pewter, lead mix ? d with a twelfth part of tin, and of wood; thofe of tin are always open at their ex- tremities ; their diameter is very fmall, their found is very clear and fhrill : thofe of lead mixed are larger ; the fhorteft open, the longeft quite flopped ; the mean ones partly flopped, and having beiides a little ear on each fide of the mouth, to be drawn clofer or fet farther afunder, in order to raife or lower the found. The wooden pipes are made fquare, and their ex- tremities (topped with a valve or tampion of leather; the found of the' wooden and leaden pipes is veryfoft; the large ones flopped are ufually of wood, the fmall ones of lead ; the Ion- geft pipes give the graveit found, and the fhorteft the moft acute; their lengths and widths are made in the reciprocal ratios of their founds ; and the divifions regulated by their rule, which they call the diapafon ; but the pipes that are {hut have the length of thofe that are open, and which yeild the fame found. Ufually the longeft pipe is fixteen feet ; tho' III extraordinary Organs 'tis thirty two : the pedal tubes are al- ways open though made of wood and of lead. The reed pipe confifts of a foot, which carries the wind in- to thefhallct orresd, which is a hollow demi-cylinder, fitted at it's extremity into a kind of mould by a wooden tampion. The fhallot is covered with a plate of copper, fitted at it's ex- tremity into the mould by the fame wooden tampion : It's other extremity is at liberty ; fo that the air entring the ftxal- k>t, makes it tremble and (hake againft the reed ; and the longer that part of the tongue which is at liberty is made, the deeper is the found. The mould, which ferves to fix the {ballot or reei, the tongue, the tampion, cif ror their proportions with re- rauje of a J emi- quaver, b r 1 fpect to common time, See Character ; and with regard to the various fpecies of triple time, fee Triple. PEDALS, are certain keys of an organ, thus called be- caufe played and ftoped by the feet. See Organ. The Pedals or the largefl pipes in the machine are made fquare of wood and other materials, their number is not limited. They are of modern invention, and ferve to carry the found an o£r.ave deeper than the reft. PENTACHORD, an ancient mufical infiniment with five firings, whence the name >zsivri, five, and yjo^ti, a firing. The invention of the Pentachord is referred to the Scythians-, the firings were of bullock's leather, and flruck with a plectrum made of goat's horns. PENTACHORDO, that has five firings or chords. See Chord and Pentachord. PENTATONON, in the ancient mufic, is a con- cord, called by us the redundant fix th. See Sixth. It confifls of four tones, and a major and minor femi-tone ; whence the name of Pentaton, q. d. five tones. Sae Con- cord and Tone. PER ARSIN, PER THESIN, terms in mufic ; Per is a Latin prepofition, fignifying by, during ; Arfis and Thefts are Greek words, the firfl whereof fignifies elevation, the lafl, pofition. Per Thesin then, fignifies in beating or during the fall of the hand for the firft part of the bar ; and Per Arfin, du- A a ring iy g PET ring the rife of the hand, or the laft part of the bar ; which in common time is equal, and in triple, unequal. A fong, counterpoint, or fugue, &c. are faid to be Pet The/in, when the notes defcend from acute to grave j and on the contrary, that they are Per Arfin, when the notes rife or afcend from grave to acute. See Acute and Grav e . PERFECT, (or Perfetto in Italian) denotes fomething that fills and fatisfles the mind or ear ; in which fenfe we fay, a perfetb cadence, concord, &c. and is there oppofed to imperfect. See each in it's place, Cadence, Concord, Ëfr. The ancients had two kinds of modes, the major and mi- nor, and each of thefe was again either per feci or imperfecl, v See Modo. This word, when joined with mode, time, &c. ufually ex- prefTes the triple time or meafure, in oppofition to imperfeét time, which is common or duple time. See TripleTime and Measure. SeealfoO. PERFETTAfr^. SeeTRiPLE. Se/qui altera maggiore Perfetta. See Ses qjj i . . Perfetta prolatione. See Prolation. Pot/^z'Perfettione. See Point and Punto. PERFETTO, perftiï. See Perfect, Triple, Ses qjj i, and Sign. PiERFIDIA, is a term borrowed from the Italians, fignifying an affectation of doing always the fame things follow- ing the fame defign, of continuing the fame motion, the fame •fong, the fame paffage, and the fame figure of notes ; fuch as the ftijff baiies of chacones, tffV. becaufe depending wholly on the caprice of the compofer. We have examples of this ■kind in Angeh Berardi's Document! Armmici* PER Ogni Tempi, when placed in a motetto, fignifles that it may be played at any time, on any occafion, not being fixed for any particular day or fubjecl:. PERIPHERES, is a Greek term, which according to Martianus Capella, has the fame fignification with what the Italians call Conducimcnto circoncor rente, and the Latins Duc- tus Circumcurrens. See Ductus and Conducimento, PERPETUI SuonL SeeSuoNo. PER THE S IN. See Per. PERT IN A CC I A, nearly the fame with Perfidie See Per f id i a. PET T EI A, «srgTTS/a, in the ancient mufic, a Greek fterm, ts which we have 410 correfponduig one in our Lan- guage. The PHO 179 The Melepoèia, u e. the art of arranging founds in fuc- ceflion fo as to make melody, is divided into three pa^rts,. which the Greeks called Lepfis, Mixio, ancT Chrefis ; the Latins Sumptio, Miftio, and Ufus ; and the Italians Prefa> Mefcolamento, and Ufa ; the laft is by the Greeks alfo called Petteia, and by the Italians Pettia. Petteia or Pettia then, is the art of making a juft difcernment of all the manners of ranging or combining founds among themfelves, fo as they may produce their effect ; h e. may exprefs the feveral paifions they are intended to raife : thus, e.g. it fhews what founds are to be ufed, and what not, how often any of them are to be repeated, with which to begin, and with which to end, whether with a grave found to rife, or an acute one to fall, &e. It is the Petteia that conftitutes the manners of mufic ; it being this that choofes out this or that paflion, this or that motion of the foul to be awakened, and if it be proper to excite it on this and that occafion ; 'tis therefore in mufic, what manners are in poetry. We do not fee whence the denomination mould have been taken by the Greeks, unlefs from ^«îrg^, their game of chefs y the Petteia being a fort of combination or arrangement of founds, as chefs is of the pieces called ^. iTT oh calculi, Chefs- Men. Petteia eji qua cognofc'nnus , quinam fonorum craittendi, C3 9 qui fint affumendi, turn quoties illorum finguli. Porro à quonam incipiendum, cff in quern defnieiidum, at que h esc quo que morem exhibet. Ariftides. PHANTASTÏC Style, is a ftyle proper for inftru- ments, or a free and unlimitted kind of compoiition, fubject to no rules, governed by no defign, and not ac all premedi- tated. See Com posit ion and St yle. P PI O N I C S, the doctrine or fcience of found, called alfo Acoujlics. It comes from the Greek pavn-, fund, voice. Phonics may be confidered as an art analogous to Optics, and maybe divided like that into refracted, reflected, and direct. Thefe branches the bifhop of Ferns, in allufion to the parts oi Optics, denominates Phonics, \ Cataphonics, and Diaphonies. "Phonics is improveable both with regard to the object, the medium, and the Organ. As to the object, found, it may be improved, both with regard to the begetting and propagating of founds. The firfb infpeakingor pronouncing, in whiffling or fmging, in hol- lowing or luring, which are all of them -diftinft arts, and im- proveable : The fécond by the pofition of the fonorous body, With regard to medium» Phonics may be improved by the Aa % thinners i8o p r E - j tlinnefsand quiefcency of the parts thereof, and by the fono- rous body's being placed near a fmooth wall, either plain or arched, cfpecially cycloidally or elliptically ; whence the theory of whifpering places. Add to thefe, that placing the fonorous body near the water, it's found is mollified ; that by placing it on a plain, the found is conveyed to a greater dis- tance than on higher ground, &c. See Sound and Bell. As to the Organ, the ear, it is helped by placing it hear a wall, (efpecially at one end of an arch, the found beginning at the other,) or near the furface of water or the earth ; and , alfo by inftruments, as the Stentorophonic Tube or Speaking Trumpet. See Trumpet. And likewife by an infini- ment to help weak ears, as fpectacles do eyes ; by an iftru- ment that takes in vaft remote founds, as tellefcopes do ob- jecte ; by a microphone or magnifying ear inftrumentj by a poly phone or multiplying ear inftrument. Cataphonic or reflected hearing may be improved by feveral kind of artificial ecchoes ; for in general, any found falling, either directly or obliquely, on any denfe body of a fmooth furface, whether plain or arched, is beat back again, or re- flected, r. e. does eceho more or lefs. PHRYGIAN Mode, a war-like kind of mufic fit for Hautboys and Trumpets, to infpire the men to military atchievements, fuch as marches, &c. alfo a fprightly meafure in dancing;. P H T O N G O S, a found or tone -, tho* found and tone are indifferently ufed to exprefs the fame thing, they differ greuly from each other. See Tone and Sound. PHYSIC A Mufica. SeeMusiCA. P PAN O, foft and fweet, by way of an eccho. Sec Eccho and Canto. PIANISSIMO, very foft, and fo as that the found may feena at a great diftance, and almoft loft in air. See P P P. PIANO PIANO, or Piu Piano, is nearly tnne of the parts makes feveral notes or inflexions of the voice While the other only holds on one. SeeGouNTERPOiNT. We iSz PR A We ftill ufè a Point to raife the value of a note, and prolong it's time by one half, e. g. a Point added to a femi- breve inftead of two minims, makes it equal to three, and fo of the other notes. See Time, Note and Charac- ter, fee alfo Punto. PONTICELLA, a fmall bridge. See Bridge and Mag as. P O.R.T de voixy a French term, which fignifies the facul- ty and habitude of making fhakes, paflages, and diminutions, wherein the beauty of a fong or piece of mufic greatly con- fias, and which the Italians comprehend under the terms Tri Hi, gioppi and Strajcini. Bacilli calls the Port de voix, the tranflation or puffing of a lower to a higher note. It confifts in three things ; the lower note, which is to be fuftained ; the doubling made on the higher note, and the fuftaining the fame after it has been doubled. This by fome is alfo called anticipation. POSAUNE, Tuba dutlilis, by us called a Sackbut. 3 Tis a fort of large Trumpet, fit only to play the bafs or tenor to a Trumpet; it muft be lengthned and fhortned ac- cording as the founds are required to be either grave or acute. See Sackbut. POSITIO, is the putting down the hand in beating time. See Thesis. POSITIVE, the little Organs ufually placed behind or at the feet of the Organift, played with the fame wind and the fame bellows, and confuting of the fame number of pipes with the large one, though thofe much fmaller, and in a cer- tain proportion : this is properly the Chair Oxgan. See Or- ÇAN. In the Organs of the Jefuits, the Pofitive is the grand body. POTENZA, the letters, characters, and figures, where- by grave and acute founds are diftinguifhed, were anciently thus called, as the notes and figns of the modern mufic are now ; though Tome will have Potenza (ignify any found whatever produced by an inftrument. POTENZE, $ee Potenza and Suono. PRATTICO, as Mufico Prattico, is ftridly fpeaking îjo more than a mufician who applies himfelf wholly to prac- tice, without giving himfelf any trouble, but merely about the executive or performing part, not endeavouring to com- pofe or make new pieces. PRATTICA, Praclice, as Prattica antiqua or antica, the ancient Practice ; or Prattka moderna y — the modem Pve&ke* See Musica. PRELUDE* P R O *S 5 PRELUDE, in Italian Prehdio, is a flourifh or an ir- regular air, which a mufician plays off-hand, to try if his inftrument be in tune, and fo lead him into the piece to be played. Overtures of Operas are a fort of Prelude's ; very often the whole band in the orcheftra run a few divifions to give the tone. See Tuono. PRESSA, is in general a character, which fhews when and where a performer in a concert is to begin to fing or play- But in particular, efpecially in fugues or canons, 'tis thus marked -)-? over tne note at wmcri thé fécond part, that is to follow or imitate the firft muft begin ; if the mark be repeated a fécond time, 'tis to fhew the place where the third part muft begin to imitate the fécond, and fo on through .all the parts. See Us us. P R E S T 0,faft or quick, gayly, yet not with rapidity. Presto Presto, the fame with prejlijjimo. Men Presto, or Non Tropo Presto, lefs quick, not too quick* P R E ST X SSI M O, is extreamly quick, bajïily, with fury. PRIMA, Viola, voce. See Pr I mo. PRIMARIUS. SeePRoTos. PRIMO, the firft; this word is often abridg'd, P°, 1 ° or i°, and added to other words, as Primo canto, — the firft treble. Alto Primo, — the firft treble. 'Tenor e Primo,-— the firft tenor. Bafifo Primo, — the firft bafs. Fagotto Primo, — the firjl bajfoon. Choro Primo, — the firft chorus, &JV. See Treble» Tenor, Bass, Trombone, Sack but, Chorus, &c. PRINCIPALIS, Mediarum & Principalium, Prln- cipalium extenta teirachordon. See System. P R O F E S S O R E di Mufica, one that ftudies or teaches, or is a profefîbr of mufic. PR OGRES SU S Celer. See Supposition. PROHIBITO, forbidden, or that is hot proper, or according to juft rule. Intervallo prohibiio is every interval, in melody, that does not pafs the ear eafily or naturally, to give it fome pleafure ; fuch are the Tritone, the fixth major, the feventh, ninth, &c. though under certain circumftances -even thefe have pleafmg effets, in that by their harfhnefs they render the concords more agreeable. SeeÏNTERVAL, Tri- ton e,&c. See alfo Viet a to, PR O J E C T I O, is when any found in the enharmonic ^enus is raifed three diefes, JSee Dissoxutio and Spon- -DE ASM US. FRO- }«t λ ft PROLATION the art of fhaking or making fevml inflexions of the voice or found on the fame note or fyllable» See Singing. The figns that the antients ufed to fignify a prolation to be made on any note, was a point in a circle or femi-circle, thus O G . This point was the length of a femi-breve and minim ; there ar e two forts, perfect and imperfeâf. Perfetb prolation was marked after the clefF as above, and whereever thefe marks were found, the femi-breve contained three minims, for which reafon they placed the figure 3 or | or !» which (hew that three fuch notes are required in a bar. A. Imperfect prolation was marked wkh the fame character with time, and made the femi-bréve contain but tw» mi- nims 6. A B ^^Mhi^^m Thefe characters are almoft intirely difufed in the modern practice, but as they are often met with in ancient mufic, 'tis therefore neceflary that a mufician have fome knowledge of them, v Tho' even now the Italians have two forts of prolation in mufic, which are fignified by characters refembling that above defcribed A. The firft is prolatione maggiore perfetta, thus marked ©or|> The fécond prolatione minore perfetta* thus G or .* or .f, and oftener C and | ; but in both cafes the femi-breve con- tains a whole bar, and its paufe the fame time, the minim one third of the bar, and its paufe the fame, and fo of the reft in proportion. PRONTO readily , quick, nimbly, witbcnt lofs of time. PRO PE, near. See Para ; Prspe media. See Pa- HAMEse, andSysTEM. PROPORTION, is the ratio that two terms bear to each other upon comparing them, as two numbers, two lines, two founds, &c. as if we were to compare ut be- low, with fol above, or any other two founds at different parts of the fcale. In general there are two forts of proportion. The firft is equality, and is when two terms are equal, the one containing neither more or lefs than the other, as j : i, 2 : 2, 8 : 8. Two founds that are in this proportioa are OCT 185 «ré faid to be unifbns,' that is, to have the felf fame degree of gravity and acutenefs. See Gravity,' &c. The other is of inequality, as when of two terms one h larger than the other, /. e. contain more parts as 4 : 2, be- caufe the firft contains the latter once, and fomething left ; this therefore muft be inequality. Of this proportion there are five fpecies, which the Italians call Generi. Firjl \ Moliiplice or Multuple, is when the larger number contains the fmall one twice, as 4 : 2 ; if this greater term do contain the lefs but twice as 4: 2, 6 : 3, 16 : 8, &c. it is called proportio dupla, if three times tripla, if four quadrupla, and fo on to infinity. The fécond fort of proportion of inequality is prop:r- tione del genere, or fuper particolare, when the greater term contains the lefs once, and a third of the greater remains, as 3 : 2 ; if the number remaining be exactly half the lefs num- ber, the proportion is called fefqui altérai; if a third part of the lefs, as 4 : 3 fequi terz,a, and fo on, adding to fefqui the ordinal number of the lefs term. The third proportion of inequality, is called prcpor- fione del génère fuper parx'tente, in which the greater terms contain the lefs once, and 2, 3, 4, or more parts of the lefs remain, or as Carlin fays 2, 3, 4, or more units, C5V. This proportion is diftinguifrr d by the words hi, tri, quadri, cjfY» between fuper and par fiente ; thus the proportion of 5 : 3, is called fuper bi par z. rente, terza, becaufe 5 contains 3 once, and two units remain, which are two parts of three 5 that of 7 : /[fuper tri parz,iente quaria by reafon 7 contains 4 once, and three parts of 4 remains, and (o of others. The fourth and fifth forts of proportion of inequality are compoudned of the Mult up le, .and one of thofe above defcribed ; 'tis needlefs to fay any thing concerning thefe here, fmce thofe above men- tioned alone are ufed by muficians to compare founds, and to meafure the differences of concords and difcords. For the table of concords, fee Concord ; we fhall here lay down that ofdifcords. . T A B L Ë. Seventh Greater . — : — Seventh Lefs « *• — ■ — — — - Falfe Fifth — . _ ■ — Tritone • — ■ ,.., ■ ■' -* — **^ Tone or fécond Major Tone Minor ■ — Semi-tone Major or fécond Minor Semi-tone- Minor * Comma * ~ *5 : 8 : 5 64: 45 45 3 2 9 : 8 10 9 16 : 15 25 : 24 3x : So B b But i86 PSA But it is ftill to be obferved, that "what has been faid rhuft be tmderftood of comparing i 2T 'er number with the lefs, and therefore muft be thus wr'tten 3 : I, or ]■ ; for if you compare a lefs to a greater, the places muft be changed thus, 1 : 3 or 4? and the word fub muft be placed to the name above mentioned, as proportio tripla is thus marked 3 : 1 or 3 , and proportio fub tripla thus, I • 3 or }. PROPORZIONE. See Proportion. PROPRIETA. SeeNoTE and Virgcjla. PROS LAMB ANOMENOS, fupernumerary, added. This name the ancient Grecians gave to one of the chords of their lyre or fyftem, which anfwers the A mi la of the' firft octave of the organ, or modern feale. See Scale and System. P ROT OS, D enter os ^ Tritos, Tetarios, four Greek words, which in Latin fignify Primarius, Secondares, Ter- tiarius, and ghxartarius, according to Mr Brojfard, but of- tener found P rot us, D enter us, Tritus, and Tetartus. Thefe terms were ufed by feveral writers on mufic, fince the Xlth century, or Guidons time, to name the eight tones or modes of the plain fong, which were all they diftinguifh'd, and called the firft and fécond tones Proton or Primarii, that is, of the £rft rank, the third and fourth Deuteron, of the fécond ; the fifth and fixth modes Triton or Te'rtiarii of the third rank ; and the feventh and eighth Tctarton or ^uartarii of the fourth ; 'tis thought by fome that the modern Grecians ufe the fame names at prefent. See Tuono. P S A L M, a divine fong or hymn, from the Greek ^aM», Ifng. The word Pfahnis appropriated to the hundred and fifty pfalms of David ; and the name Canticle or Song given to other pieces of the fame kind compofed by other Prophets and Patriarchs. St Auvuftin obferved that the ancients made a diflfe- rence between Canticle or Song, and Pfalm ; that the former was fung folifary, or by the voice alone, but the latter ac- companied with mufical inftruments. The Pfalms in the antient editions are divided into five Books, nor is David's name found at the head of more than feventy-three of them ; tho' fome, and among the reft, St Au- gnjlin and St Cbryfoflom attribute all the hundred and fifty to him without exception. The Jews however were always of another fentiment ; and 'tis certain that fome few* at Icait, were not his. St Jcro?n obferves, among the number, feveral that were cornpded long after David ; Du Pin adds, it is difficult to afcr 2'tain the authors. All we know of the }.coli i? 3 that it is a collection of fongs made by Efdras. Gradual P UN i8 7 Gradual Pfalms were thofe anciently fung on the fteps of the temple. The penitential Pfalms were formerly the fame as thofe nowfo called. See Gradual. PSALMODY, the art or knowledge of finging pfalms, from the Greek -^ra.hy.eoi)a.. See Psalm. PSALTERION, Pfaltery,* mufical inftrument much in ufe among the ancient Hebrews, who called it Nebel. We know little or nothing of the precife form of the an- cient pfaltery. That now in ufe is a flat inftrument in form of a trape-- zium, or triangle truncated a-top. It is fining with thirteen wire chords fet to unifon and octave, and mounted on two bridges, on the two fides ; it is flruck with a plectrum or little iron rod, or fometimes with a crooked ftick, whence 'tis ufually ranked among the in- itruments of percuffion. IC's cheft or body refembles that of a Spinet. It has its ' name à Pfallendo -, fome alfo now call it Nablum or Na-> blium. Papias gives the name of Pfaltery to a kind of Flute ufed in churches, to accompany the finging, m Latin called Sam* bucus. See Sam b u c us. PULSATILE, as PulfatUe inftruments, for which fee St ro ment o. PUNTO, Punçtus, or Punctum, Point, §ee Note, Character, Probation, and Point. There are befides thofe Points defcribed under the above recited articles, other kinds of Points, as PunUi Convenentiœ ac^ mora 7 Punftus Caudatus y PunUo D' AccreJJimento, or augmentation, points of divifion, tranflatidn, alteration, and imperfection, which wefhall here defcribe. Firji then, P-Umti Convenentia-ac mora, are thus marked^ F?\ or 3 rf^/j both which denote that the note over which they are placed is to be held out till the other parts come to their concluions, and this only when put in one part of the- piece; for if it be found in all £he parts of the-fôn'g, it-marks a general filence, ad libitum. Second, Punctus Qaudatus* or point with a tail thus, ^ this is otherwjfe calledp ^oint of Alteration or Divifion, of- which ' we (hall fay more. Third, Punch pi Accrejfimentq or ~~ Augmentation, is very common in theantient as 1 well as modern muf^c, and what* has been faid .under note of augmentation, is a' fufficient ex- planation hereof with regard to common time. See Note. B b % ^ ■ i88 PUN But with regard to triple time this has other effe&s, which come under the articles of Fourth^ Punto Di Perfettime : here it makes the hrcve periecl:, for the breve in the triple -f- ufually contains three times, or one whole bar, if it be followed by another breve, or any note of greater value than itfelf, but if followed by a femi-breve, or two minims, &fV. it contains but two thirds of a bar, and therefore wants a point to make it perfect j which point from this has it its name." H « ofc fc and thus 3 a? jJLlûïi" andl and! fW in the firft example the breve is equal to a breve and a femi-breve ; in the fécond a femi-breve to on,e and a minim ; in thé third a minim is equal to a minim and crotchet ; and in the laft the crotchet to one and a quaver. This point ftill in- creafing the value of the note to which it is added by one half. Fifth, Punto Di Diviftone has quite the contrary effect with Punto di Perfettione, and is placed on the left fide of notes, and divides them. 'Tis put in triple time, before a femi- breve followed by a breve, and diminifhes the breve of one third of it's content, fo that it contains but two times infteai of three : Sixth, Punto di Tranjlatione, is a Point by which the Value of one note is carried to another, that is fometimes very di- itant from it ; 'tis placed before and after a femi-breve follow- ed by a number of breves ; the fécond of thefe points iâ transfered to the lad of thofe breves, and makes it contain ?. A 3 3 three times or a whole bar, T Seventh, Punto di Alterazione diminifhes the oreve, fot a Point placed Uiween two femi-breves fituated betwixt two* breves, lefT | e b reves f° tfiat tnc y contain but two times, Hfw> n ;rwwwr ether notes* as minims and femi-breves ' j J crotchets and minims Tffl and fo of the reft. Lojiiy, Punto di Imperfettione, diminifhes the long two waysj £ift of one of it's parts, and then of two, if placed before a femi- P Y K t«9 femi-breve and a long follows it j it takes off only one of its 5 parts, as H ' 5 bat if placed before a long followed by two femi- breves, it takes away two of its fix parts, as P v n t o & Radoppiamento, See R A B f ? ï A M £ N to, . PYKNÛS. See Sî» m us» % ipo Q. U A illKKJ 0^ UADRATO or Quadro, is a name given to the note B when it comes in the natural or diatonic order, thus marked W. 'tis a femitone minor higher than the B mol or 0. \\ ■k, and in refpect of that may be called fharp. See Flat and Sharp. QUADRIPLICATO, Quadruple. See Interval and Proportion. QJJ A R T A, the fourth of one of the concords or har- monical intervals. See DiAtessaron, Fourth, and Interval. This interval, as well as the octave and fifth, admits not of majority and minority ; and when placed below the fifth, di- vides the octave arithmetically, and diftinguifhes the plagal from the authentic modes. See Harmonic a l Divi- sion. 'Tis by fome, fays Mr Brojfard, efteemed an imperfect concord, ,but is moft generally allowed to be perfect ; 'tis treated in practice by fome as difTonant, and ccntrarily by others. The fourth to be juft muft contain diatonically two tones, one major the other minor, and a major femi-tone, and chro- matically five femi-tones, three major and two minor. - If the fourth contains only a tone and two major femi- tones, or three femi-tones major and one minor, 'tis faid to be diminifhed, and therefore diflbnant ; which is not ufed un- lefs by fuppofition, when 'tis refolved by the third, or fome- times kf the falfe fifth, C3V. If two tones, a femi-tone major and another minor, or three major and three minor femi-tones be found in the fourth, 'tis called tritone, falfe fourth, and is fuperfluous, confequently a difcord, which is abfolutely forbidden in melody, and which pafTes in harmony only when refolved by the fixth, fometimes by the octave, and very rarely by the third. The fourth and it's double triples, çfrc . are indifferently niarked in thoro' bafs by a 4, in which the diminifhed fourth is thus marked & 4, and the fuperfluous or tritone & 4. The QJJ I ïç t The perfect fourth has a very good effect: in melody rifing ^or falling by disjoint as well as conjoint degrees, &c. and is neceflary to forma perfect cadence. See Cadence. 'Tisnot then to be wondred at, fays Mr Broffard, that the ancients, whofe mufic was only melody, place it among the concords, and that it's greateft enemies are obliged to agree that in this refpecl: at leaft, 'tis truly fo. - But in harmony 'tis true it has fomething harfh, which is foftened by the third, when the upper part fyncopes, and by the fifth when the lower part fyncopes; and 'tis for this reafon that in practice 'tis treated as a difTonance. To this fome fay that it is a concord to the firft part of the fyncope, and that it ferves as a preparation to the fourth which is made on the fécond part thereof, we mall not here take upon us to enter the difpute, but refer the reader to Kercber^ Merfenne, Zarlin, &c. Se/qui Quart a dupla. See Sesqjjî and Propor- tion. QUART-FAGOTTO. See DuLciNOand Bassoon. QUARTARIUS. See Protos. QU A R T O, fourth, as Quarto choro^ modo, VioTino, the fourth chorus, mode or tone, Viplin, csV. See each in it's place. QU ATRICROMA, is what we call a demi-femî- quaver, thirty two whereof make a bar in common time. See Time and Triple; fee alfo Bischrom a. . A QJJ A T R O Soli. See Qy a t u or. A Quatro Tempi. See Tempo. QJJ A T U O R, four, is often found in pieces: of mufic, and fhew that they are compofed for four voices or inftru- ments ; the Italians fay à Quatro foli, that is, for four on- ly or alone. How thefe fort of compofitions are to be perform- ed. SeeSysiGiA. QU AVER, a meafure of time equal to half the crot- chet or an eighth of the femi-breve. See Crotc het and Semi-breve. 'Tis thus marked p or w. See it under the article Cha- \f h Racter among the others. The Enghjh Quaver is what the French call Croche y crotchet, becaufe of the hook at bottom,which much refem- b!es a fhephçrd's crook. See Crq t c h e t . The uieta. See M u t a t i o n . QU I N QJJ E, -five, as ^uinguefoli, only live parts, or a piece compofed for five voices or inftruments only. See Quatuor. QUINT A. SeeDiAPENTE, Fifth and Concord. The fifth is one of the perfect concords, i. c. of fuch as do not admit of majority or minority, and with the fourth make an o£fove, which is faid to be divided arith- metically when the fourth is below, and harmonically when the fifth is below; and 'tis thefe different divifions that occa- fion that d inunction of modes into authentic and plagal ; the latter divifion being in authentic modes, and the former in plagal. This interval in inftruments whofe founds are fixed is for many reafons diminifhed, /'. e. it's true mathematical pro- portions of 3 : 2, are not always given it,- and the contrary happens to the fourth* which is encreafed. See Tempera- ment. Tf the fifth be compofed of two tones and two femi-tones major, or fix femi- tones whereof four are major and two mi- nor, it becomes diiïbnant, and is faid to be falfe or diminifhed; in which cafe 'tis refolved in harmony by the third, and ac- companied by the fixth j 'tis permitted in melody defcendiwg but never rffing. If it be compofed of three tones, one femi-tone major and one minor, or of eight femt-tones, four of which are major and four minor, 'tis called tetratonon, as containing four tones, and becomes fuperfluous and diflbnant, and is not permitted in melody in any manner. In harmony 'tis allowed when refol- ved by the fixth or octave, and accompanied by the third, &c. All thefe fifths are in the thorough bafs marked by 5. !f at any time the fuperfluous be required, 'tis thus difhinguifhed # 5; if the diminifhed, thus & 5. In melody, when perfect, it is of great fervice, and has great beauties, and therefore may be ufed in any manner rifing or falling, but disjoint or conjoint degrees ; it makes a perfect cadence railing, and an attendant one rifing, (fee Cadence) and is the dominant of every authentic mode. In harmony, the fifth compofes what is called the harmoni- cal triad, becau r e containing the thirds major and minor. 'Tis this QUI this that is moft heard in the parts near the bafs,arid hence it i* hy the Italians faid to be Piu phno, i. é. fatisfies the ear more Fully than the o&ave, which is of à fwèeter nature, and does not ftrike the ,fenfes fo powerfully as the fifth : but care muft be taken that two juft fifths never follow one another ; for thereby j fays Zdrlin^ there will bé no variety of harmony or proportion, &c. but it may be followed by an oâave, third or fixth, and even by a fifth either diminifhed or fuperrluous. The fifth often refolves the fécond, fy ncoped by the lower part, but that riiuft rather be fuperHuous or diminiflied than juft ; it alfo refolves the fourth when fy ncoped by the lower part, as alfo the fêventh when fyhcdpecî in the upper part, ancj fometimes in the lower. QU INTUPLE is a fpecies of multuple proportion^ fàhën the greater number contains the lels juft five tinies^ a§ io 2, 20 4, &c: See PftopoRtioN» ;-' r ---"'' -f-" '" & m H E c jr; t) A D D Ô f IA M Ë N. T O, redoubling,, as Punfo di taâj» " piamento, according to Zarlin, is the fame with point of alteration. See Pu NT o. RADDOPIATO, doubled or compounded. R A G G I ONE, ratio, proportion, efpeçially among thoie who write the theory of mufic and proportion of founds. See Proportion. RATIONAL, what properly belongs to arithmetic ; its proportion and ratio's are ordinarily call'd rational. RATI ONE. See Rag g ion e. RAT T L E, among the antients, a mufical infiniment of "the Puïfâtih kindk called by the Àomans Crepitaxulum. See -A IT • ■ Music. *\ The Tintinâbulum, Crotalum, and Sy/lrum, are by fome efteemed only fo many different kinds of Rattles. See Bell, Crotalum, and Systrum. The invention of the Rattle is afcribed to the famous ma- thematician Archytas ; whence 'tis called by Ârifiotîe 'Ap^u- 7* TzK&Tahn, Archytais Rattle ; Diogenes adds the occafion of its invention, i. e. that Archytàs having children he contri- ved this inftrument to prevent their tumbling his things about the houfe -, fo that how much foever other inftruments have changed their ufe, the Rattle we are fure has preferved its own. R E, was with the reft of the fyllables invented by Guide Are tine, to name the founds in the fcale of mufic ; tho* Vof- y?$;fays he only improv'd upon them, and that they were firft ufed by the Egytians ; be that as it will, by thefe fyllables the ancient Greek long names were difcarded. In the prefent Gamut there are two Re's ohé by Bmol called G re fol, and the other by b natural, called D la re ; and as the firft is but a tranfpofition of the laft, a fo rth higher, or a fifth lower, by Re they mean D la re, and there- fore fay only Re. The Lychanos Hypaton, and the Paranetè Diez.eug?ncnon of the Grecian fcale correfpond with the Rè ©four's. See Lychanos Hypaton, Paranete Djezeugmenon and System. R E A L E, à £)uatro voce Reale, in four, or for four parts, whether vocal or inftrumental. See Part; * R E C H E A T, a leflbn which the huntfman winds on the horn, when the hounds have loft their game, to call them back from purfuing a counter fcent. See Horn. REG j 9S RECITARE. See Recitativo. RECITATIVO, often abridged Reeito, Rec\ or R , a kind of ringing that differs but little from the ordinary pro- nunciation, fuch as that wherein the feveral parts of the liturgy are rehearfed in Churches or Cathedrals, or that wherein the a&ors commonly deliver themfelves on the theatre at the opera, tho' the former is rather a chant. See Singing and Opef.a. The Italians value themfelves on their performances of this kind, or Recitative way. Mr Brojfard lays thefe words are often found in Italian Cantatas, and are ftill more common in their Opera's, which, to fpeak plain, are no more than fo many fucceffive Cantatas, that have fome connection to a ge- neral fubjecl:, which runs through the whole Opera ; 'tis ac- cording to him, as has been faid, a manner of finging, which jborders upon declaming, as if one declamed in Tinging, or fung in declaming, and of confequence wherein more regard is had to the expreflion of the paflion, than of exactly obferving a regular movement. Notwithstanding this fort of com- pofition is noted in true time, the performer is at: liberty to alter the pars of meafure and make fome long others fhort, as his fubjecl: requires ; hence the thorough bafs to the Recita- tive is ordinarily placed below the other, to the end that he who is to accompany the voice, may rather obferve and follow the finger, than the perfon that beats the time. . The French call whatever the Italians diftinguifh by the name of Solo or Soli, be it one, two, three, four or more parts, by the general title of Recit. REC1TATIVOS are ufed to exprefs fome action, paflion, to relate fome ftory, or to reveal fome defign, &c. and are what in our Operas ufually tire the audience, by reafon they do not underftand the language, but the fongs make them fome amends. See Song. The word is derived from Red- tando or Recitare. RECITATIVE Style is a way of writing, accom- modated to that fort of mufic. RE CI TO, alfo fignifies the adagios or grave parts in Motetos^ Cantatas, & c. See Ca n t a t a . RECTUS Duclus. See Ductus or Usus. RÉDUCTION. SeeDEDUTTioNE. REDITTA. See Fuga and Replica. RE FRET. See Ritornello. REGISTER, which we generally call a flop, is a part of an organ, being a thin piece of wood, perforated with a number of holes anfwerâble to thofe in a found board, which being drawn one way flops them, and the other opens •fhern again, for the adrniflion of the wind into the j: Les ; to Ç c 2 krge ;*96 REP large Organs, there are feveral Regijlersis there are different rows of pipes ; as the full Organ, the Flute flop, Trumpet, Eccho flops, a play of Violins, csV. See Organ. REGULA, a Rule or Canon, whereby fomething is to he done, as Régula Harmonica ',' or Canon Harmonieux See Canon. REGULA, a Rule, See Mode and Monochord. REGULAR, in Italian Regolare., according to fome rule, to fome intent, to follow forne defign, either to imitate or otherwife, to make regular Cadences, and fuch like. See Cadence, Imitât ion, and Mode. REHEARSAL, an eflay or' experiment of fome com- pofition made in private, previous to the reprefentation or performance in publick, to habituate the a£tors : or performers, and make them ready or perfect, in their parts ; we fay there i's a new tragedy in Rehearfal, ôr the Rehear fai of a new An- them, but for the latter we more ufually fay Praffice, RE L A T I O N inharmonical is à mufical term ufed in comportions, fignifying a harm reflection of 'flat againft fharp in a crbfs form, as when fome harfh and difpleafing ' difcord is produced in comparing the riotes of one part with thofe of another"; or, fays Mr Brojpird, 'that whofe extreams form a falfe and unnatural interval incapable of being fung, that is, with any great pleafu ré. ' For as of Relations fome are juft arid others falfe, the juft Relations are thofe whofe extremities form fome confonant intervals, fo on the contra- ry thé falfe forni diffonant ones. See Concord and Dis- cord. v " " But it rnuit not be underftood that the diiTonant Relations are unfit for mufic, for among them are found very excellent ones, efpecially for moving the affections of the mind, as grief, pity, companion, and other foft emotions, but then there are alfo among them fuch as are àlmoft intole- rable, which 'tis thought the ableft mafters cannot avoid, for Mr B'/Jfard fpeaks this line from an eminent writer, ** Evite qui voudra, ou plutôt qui pourra les faujfes Relà- «.tion: " ■■- " -' R EM TSSI O, is the act: of the voice, when it defcends from a high note of found to a low one, as the contrary is called intent io. See In t e n t io. REPAUSARE. See Paufa, REPEAT, a character, {hewing that what was laft play'd or fung muft be repeated or gone over again. See Repetition. The Repeat ferves inftead of writing the fame thing twice over ; there are two kinds of Repeats , the great and fmallV-' Thf REP 197 The firft is a double bar dottod one each fide or a double bar dotted in the middle g, or two paiuiiJi lines drawn perpendicularly acrofs the ftaxF with the dots as above. Thisfhews that the preceding ftrain is to be repeated ; that Js* if it be near the beginning of the piece all hitherto fung or play'd is to be repeated ; or if towards the end thereof, all from fuch another mark. In Gavots we ufually find Repeats, about a third part of the piece. In Minuets, Borées Courants, CffV. towards the end, or in the laft ftrain. See Minuet, Gavot, &c. Some make this a rule, that if there be dots on each fide of the bars, they direct to a repetition both of the preceding and following ftrains ; if there be dots only on one fide the ftrain, that fide alone is to be fung or play'd over again. The fmall Repeat is when fome of the laft meafures of a ftrain are to be repeated. This is denoted by a character fet over the place where the Repeat begins, (See Character) and continues to the end of the feries, Wheri'the fong ends with a repetition of the firft ftrain or part, inftead of a Repeat, they ufe the words Da Capo, or the letters D C . I. e. at the beginning. REPERCUSSION, a frequent Repetition of the fame founds. See Rep e t i t ion. This frequently happens in the modulation, where the efiential chords of each mode of the harmonical triad are to be ftruck oftener than the reft ; and of thefe three chords the the two extreams, i.e. the final and the dominant ones (which are properly the RepercuJJions of each modej oftener than the middle one. REPETITION, a reiterating or playing over again the fame part of a compofition, whether it be a whole ftrain, part of a ftrain or double ftrain, & c. The Repetition is denoted by a character called a Repeat \ which is varied (o as to exprefs the various circumftances of a Repeat, See Re P e a t . When the fong ends with a Repetition of the firft ftrain, or part of it, the Repetition is denoted by Da Capo or DC. that is, from the head. RepititioN, reply, is alfo ufed in mufic, when after a Jittle filence one part repeats or runs over the fame notes, the fame intervals, the fame motions, and in a word, the fame fong, which a firft part had already gone over during the filer; ce of ■""■•■' • this I9 3 RËI this, and is nearly the fame with fugue. But fee Fir cue, and Imitation for the diftinc~tion. Repitition, or reply, is alfo a doubling, trebling, drc. of an interval, or a reiteration of fome confonance or difîb nance, as a fifteenth is a Repetition of the o£tave r i. e* double octave, or a fécond oélave, and fo of others. See Oc- tave and Interval. REPETAT U R, fignifies let it be repeated,or it rauft be repeated, or that a part of a fong, fymphony, &c. be play'd or fung over again. See Rep Lie A. REPLICA, Redit ta, or Riditta, a repetition, that is, when one part after a filence repeats or runs over the fame notes and intervals, and in fact the fame fong, which fome part had gone over before it, during that filence. This word is often ufed for Repetatur, let it be re- peated ; but to take off that harfhnefs of fpeech, they fay Si replica fi place il Ritomello, il Choro, fcfe. jf. e\ repeat if you. pkafe the Ritornel, or the chorus, &c. RE PLICA TO, is properly doubled, as Intervalle re-, plica to, Ottava replicata. See Interval and Re pi- tit ION. REPRESSA, a character where the repeat begins. See its form under Character. RESEARCH, or Ricercata, a kind of prelude or vo- luntary -play'd on an Organ, Harpfichord, Theorbo, &V. wherein the compofer feems to look out or fearch for ftrains, and touches of harmony, which he is to ufe in the regular piece to be play'd afterwards. See Prelude, Overture, &c. 'Tis ufually done off-hand, and confequently requires a maîter's skill. When in MoUtos the compofer takes the liberty to ufe any ihing that comes into his head, without applying any words to it, or fubje&ing himfelf to exprefs the fenfe or paflion thereof, the Italians call it Fantafia Ricercata, the French Recherche and our muficians Refearch. Refearch is alio fometimes ufed as Repeat, Replica, &c. See Repeat, Replica, and Replicato. RESOLUTION, is when a canon or perpetual fugue is not wrote on a line, or in one part ; but all the voices that are to follow the guide or firft voice are writ feparately, cither in fcore, that* is in feparate lines, or in feparate parts, with the paufes each is to obferve, and in the proper tone to each. • % ^ RESONANCE, or refounding, &c. a found. returned by the air inçlofçd in tine Miçs pf ftringed niufiçal instru- ments, RES 199 ments, as lutes, &c. or even in the bodies of wind înftruments, as Flutes, &c. See Sound and Musi ci We fay ajfo eliptic and parabolic vault will refound ftrongly, that is, will reflect or return a found. The mouth and the parts thereof, as the palate, tongue, teeth, nofe, and lips, Monf. Dsdart obferves, contribute nothing to the tone of the voice, but their effect is very great as tothe refonance. ®c this we have a very fenfible inftance in that vulgar in~ ftrument called' a jfems Harp, or Tromp de Beam ; for if you hold it in your hand, and ftrike the tongue or fpring thereof, which is the method pra&ifed to. found this inftrument, it yields fear ce any noife, but holding the body of it between the teeth, and {biking, it as. before, it makes a mufical buz, which is heard a good diflance, and efpecially the lower notes. So alfo in the Haut- boys the tone of the reed is always the ïàme, being a. fort of drone, the chief variety is in the tone of the refonance produced in the mouth by the greater or lefs aperture, and the divers motions of the lips. See Haut- boy. RESPONSAY Song, in the church mufic, is an anthem of any kind, in which the chorifters and the people fing by turns. See Son g and. Psalm. R.ES T, a.paufe or interval of time, during which there is an intermimon of the voice or. found. See Pause, and. Time. Reft s are fometimes ufed in melody, that is, in mufick of a fingJe.part, to exprefs fome fimple paffion, or even for varie- ty's fake ; but more ufually in harmony, or comportions of feveral parts, for the, fake of the pleafure of hearing, one part move, while another refis, and this interchangeably. See Melody and Harmo,n.y. Refis are either, for. a whple bar^ or more than a bar, or l>ut for part of a bar. When the Reft, is for a part, it is exprefs'd by certain figns xorrefponding to the quantity of certain notes of time, as a Minim, Crotchet. & c . and accordingly it is called a Minira "Rejl, Crotchet Reft, &c. The characters or figures thereof, fee under the article ■ Character; where the note and correfponding Reft are found together. See alfo Note- When any of thefe characters occur on either line or fpace; the part is always ftlent for the time of a minim or crotchet, &c. Sometimes a Reji is for a crotchet and. quaver together, or for other quantities of time, for which there are no par- ticular note ; in which cafe, the figns of file nee are not jfîuiî- èéo R H Y multiplied ; but fuch fileriçe îs expreffed by placing together as many Refis of different time, as make up the defigned Reft. When the Reft is for the Whole bar, the femi-brève Rejl ïé always ufed . If the Reft be for two meafures* 'tis 'marked by â line drawn acrofs a whole fpace. For three meafures, 'tis drawn aCirofs â fpace and à half ; and for four meafures, acrofs two fpaces. But to prevent ambiguity, the number of bars is Ufually Wrft over thé fign. Some of the moft antient writers of mdfic, make thefe Refts of different value in different fpecies of time. e. g. The character of a minim Reft in common time, expreffes the Rejis of three crotchets in triple time ; in that in the triples | -re- ¥ ft, it always marks the half meàfùre, howfo- ever different thefe may be among themfelves. They add, that the Refl of a crotchet in common time, h a Reft of three quavers in the triple f ; and that the qua- ver Reft in common time, is equal to three femi-quavers in the triple T V But this variety in the tife of the fame charac- ters is now entirely laid afi.de. RETTO, as Moto Rem. See Moto. Condu cimenta Retto. SeeUsus. RE VER TEN S Duclus. SeeUsus. RHYTHM or R y thmus, the variety in the move-, ment, as to the quicknefs or flownefs, length or fhortnefs of thenotes. SeeNoTE and Rythmica. Or Rbythmus may be defined more generally, the proportion which the parts of the motion have to each other. See Rh y t h- MICA. JriftideSy among the antient muficians, applies the word Rbythmus three ways, 'viz. either to immoveable bodies, when their parts are rightly proportioned to each other, as a well made flatue, &c. or to things that move regularly, as in handfome walking, in dancing, in the dumb fhews of panto- mimes, &c. or thirdly, to the motion of found or voice; in which the Rbythmus confifts of long and fhort fyllables or notes joined together in fome kind of order, fo as their ca- dence on the ear may be agreeable. To which he adds, that it is perceived by three fenfes ; firft by the fight, as in dancing ; by the touch, as in thé beat of a pulfe ; and laft, by hearing, as in finging. This in oratory, conftitutes what we call a numerous ftyle, and when the tones of voice are well chofen, an harmonica! : ftyle. See St y le. In effecl:, Rbythmus in general is perceived either by the eye of ear à and may either be with or without metre ; but the ftricl Rbythmus R H Y 20 1 Rhytbmus of mufic is cnly perceived by the ear, and cannot exift without it. The firf!: conflits without found, as in dancing \ in which cafe it may be either with or without any difference of acute and grave, as in a drum, or with variety of thefe, as in a fons;. The Rbyibtnus of the antients was very different, as Mr Malcolm obferves, from that of the moderns : the former only depended altogether on the poetry, and wasonlv that of the long and ihort fyllables of the words and verfes, and had no other forms or varieties than what the metrical art afforded. The changes therein, are none but thofe made from one kind of metrum to another, as from Iambic to chorale. In the modern mufic, the conftitution of the Rhythmus differs from that of the verfe fo far, that in fetting mufic to words, the thing chiefly regarded is to accommodate the long and fhort notes to the fyllables, in fucha manner, as that the words be well feparated, and the accented fyllables of each word fo confpicuous, that what is fung may be diftin&ly un- der ftood. See Melody. Vofjius in his book de Poëmaium caniu & viribus Rhythmic extoils the antient Rhytbmus, tho* he owns it was confined to metrical feet ; yet fo well did they cultivate their language, efpecially in what relates to the Rhytbmus, that the whole effect of their mufic was afcribed to it. See Music. Vofjius attributes the whole force of the antient mufic to their happy Rhythmus. But this is fomewhat inconceivable ; Mr Malcolm rather takes it, that the words and fenfe of what was fung, had the chief effeel: ; hence it is, that in all the antient mufic, the greateff care was taken that not a fyllable of the word mould be loft, leaft the mufic mould be fpoiled. Pancirolus feems of this opinion ; and the reafon he gives why the modern mufic is lefs perfect than the antient, is, that we hear founds without words. Vofjius adds, that the modern languages and verfes are alto- gether unfit for mufic; and that we fhall never have any right vocal mufic, 'till our poets learn to make verfes capable to be fung ; i. e. 'till we new model our language, re (to ré the antient quantities and metrical feet, and hanim our barbarous rhymes. Our verfes, fays he, run as it were, all in one foot, fo that we have not any real Rhytbmus at all in our poetry : he adds, that we mind nothing farther than to have fuch a number of fyllables in a verfe, of whatsoever nature, and whatfoever order. But this exasperation in fome refbecls ist unjuft. See Verse. R H Y T H M ï C A, Rhythmice, in the antient mu fi'.*, that branch which regulated the rhythmus. Sec Rh y t h m v s D'd The 202 RIG The Rhythmica confidered the motions, regulated the mea- fure, order, mixture, &c. (o as to excite the paffions, keep them up, augment, diminifh, or allay them. Arijïïdes, and other antient mufical writers, divided artificial mufic into harmonica^ rhythmica^ and metrica. See Music. But the Rhythmica with them likewife comprehends dumb motions, and in effecl: all rhythmical^ i. 9-5^4*3-5 :I 5 :2 ' great lefs femi great lefs great femi Tone, Tone, Tone, Tone, Tone, Tone, Tone» great id. lefs 3d. $tb. $th 6th. -]th. Stb: Key ; .8:5:3:2:3:5: 1. or ? 1 — — — — — — — Fundam.^ 9 : 6 : 4 : 3 : 5 : 9 : 1. great femi lefs great lefs great Je mi Tone, Tone, Tone, Tone, Tone, Tone, Tone, Now the fyftem of the octave containing all the original concords, and the compound concords, being only the fumof the octave and fome lefs concord ; 'tis evident, that if we would have the feries of degrees continued beyond an cctave, they are to be continued in the fame order through a fécond octave, as through the firft ; and fo on to a third and fourth octave, &c. and fuch a ferries is what we call a fcale of mufic, whereof there are two different fpecies, according as the lefs cr greater third, or lefs or greater fixth are taken in ; for !both can never ftand together in relation to the fame key or funda- mental, fo as to make an harmonical fcale. But if by either of thefe ways we afcend from a fundamental or given found to an octave, the fucceffion will be melodious, though the two make two different fpecies of melody, indeed every note is difcord with regard to the next, but each of them is concord to the fundamental, except the fécond and feventh. In con- tinuing the feries, there are two wavs of compounding ths names of the fimple intervals with the octave, thus a greaser or lelTer tone or femi- tone above an octave, two octaves, CSV- E e cr 2io S A R or to call them by the number of degrees from the fundamen- tal, as ninth, tenth, &c . In the two fcales above, the Teveral terms of the fcale are exprefs'd by the proportionable fect-ions of aline reprefented by r, the key or fundamental of the fe- ties; if they would have the terms exprefs'd in whole num- bers, they will Hand as follow, in each whereof the greateft number expreffes the longeft chord, and the other numbers the reft in order, fo that if any number of chords be in thefe proportions of length, they will exprefs the true degrees and intervals of the fcale of mufic, as contained in an octave con- cinnoufly divided in the two different fpecies above mentioned. 540 480 great Tone, ' 43 2 Iefs Tone, : 405 femi Tone, : 360 : 324 great Iefs Tone Tone, : 288 : 270. great Iefs Tone, Tone. 216 192 great Tone, : 180 femi Tone, : 162 Iefs Tone, ' 144 : 135 great femi Tone, Tone, : 120 : 108. great Iefs Tone, Tone. This fcale the ancients called the Diatonic fcale, becaufe proceeding by tones and femitones. See Diatonic. The moderns call it fimply the fcale, as being the only one now in ufe ; and fometimes the natural fcale, becaufe its de- grees and orders are agreeable and concinnous. Thofe others are the chromatic, and the enharmonic fcales, which with the diatonic made the three fcales or genera of melody of the antients. See Enharmonic, Chromatic, and Diatonic TJje office and ufe of the fcale of mufic. The defign of the fcale of mufic, is to (hew how a voice fnay rife and fall Iefs than any harmonical interval, and there- by move from one extream of any interval to the other, in the moft agreeable fucceffion of founds. The fcale there- fore is a fyftem, exhibiting the true principles of mufic, which are either harmonical intervals, commonly call'd con- cords ; or inconcinnous intervals ; the firft are effential princi- ples, the others are fubfervient to them, to make the greater variety. See Concord and Interval. Accordingly in the fcale we have all the concords with ]icir concinnous degrees, fo placed, as to make the moft perfect iuccefîion of founds, from any fundamental or key, which is fuppofed to be reprefented by 1, 'Tis S A R , an 'Tis not to be fuppofed, that the voice is never to move up and down, by any other more immediate distances than thofè of the concinnous degrees; for though that be the m oft tifual movement, yet to move by harmonical diftances as concords at once is not excluded, but even abfolutely necef- fary. In effect the degrees were only invented for variety's fake, and that we might not always move up and down by harmonical intervals ; though thofe are the moft perfect ; the other deriving all their agreeableneis from their fubferviency to them. SeeDiASTEM. And that befides the harmonical and concinnous intervals, which are the immediate .principles of mufic, and are directly applied in practice, there are other difcord relations which happen unavoidably in mufic, in a kind of accidental and in- direct manner. For in the fucceffion of the feveral notes of the fcale, there are to be confidered not only the relations of thofe that fucceed others immediately ; but alfo thofe be- twixt which other notes intervene. Now the immediate fuc- -ceffion may be fo conducted, as to produce good melody ; and yet among the diftant notes there may be very grofs dif- cords, that would not be allowed in immediate fucceflion, much lefs in confonance. Thus in the firft feries or fcale above deliver'd, though the progreffion be melodious, as the terms refer to one common fundamental, yet are there feveral difcords among the mutual relations of the terms, e. g. from fourth to feventh is 32 : 45 ; and from fécond greater to fixth is 27 : 40 ; and from the fecond to the fourth is 27 : 32 ; which are all difcords ; and the fame will happen in the fé- cond feries. See Discord. From what we have obferved here, and under the article Key, it appears that the fame fcale fuppofes no determinate pitch of tune ; but that being affigned to any key, it marks .out the tune of all the reft with relation to it, (hews what .notes can be joined to any key, and thereby teaches the juft and natural limitations of melody -, and when the fong is arrived through feve,ral keys, yet it is ftill the fame natural fcale, on- ly applied to different fundamentals. If a feries of founds be fixed to the relation of the fcale, 'twill be found exceed- ing defective ; but the imperfection is not any defect in the icale, but follows accidentally from its being confined to this condition, which is foreign to the nature and office of the fcale of mufic. This is the cafe in mufical inftruments which have their founds fixed, and in this confifts their great deficiency. For fuppofe a feries of founds, as thofe of an organ or harpfichord, fixed in the order of this fcale, and the loweft taken at any E e 2 \ pitch 212 S A R pitch of tune, 'tis evident, firft, that we can proceed from any note only by one particular order of degrees ; fince from everv note in the fcale to its oclave is contained a different or- der of tones and femi-tones. Hence, fecondly, we cannot find any intervals required from any note upwards or downwards ; iince the intervals from every note to every other are alfo îimitted ; and hence thirdly, a fong may be fo contrived, that-beginning at a particular note of the infiniment, all the intervals or other notes mall be exactly found on the infini- ment, or in the fixed feries ; yet were the fong, though per- fectly^ diatonic began in any other note, it would not proceed. In effecl:, 'tis demonftrsble, there cm be no fuch thing as a perfect fcale fixed on any inftruments, i. e. no fo fuch fcale as from any note upwards or downwards, (hall contain any harmonica! or concinnous intervals required. The only re- medy for this defect of inftruments whofe founds are fix'd, muft be by infer ting other founds and degrees between thofe of the diatonic feries. Hence fome authors fpeak of dividing the octave into 16, 18, 20, 24, 26, 31, and other number of de- grees ; but it is eafy to conceive how hard it muft be to perform on fuch an infiniment. The befl on it is,*we have a remedy on eaiier terms ; for a fcale proceeding by twelve de- grees, that is thirteen notes, including the extreams, to an oclave, makes our inftruments fo perfect, that we have little reafon to complain. Then this is the prefent fcale for inftru- ments, viz. betwixt the extreams of every tone of the na- tural fcale, put a note which divides it into two unequal parts, called femi-tones (whence the whole may be call'd the femitonic fcale) as containing twelve femi-tones betwixt thir- teen notes, within the compafs of an octave. And to pre- fcrve the diatonic feries diftincl:, the inferted notes take ei- ther the name of the natural notes next below, with the mark & called a flat, or the name of the natural note next above it, with the mark # called a fharp. See Flat, Sharp, and Semi-tone. Forthe fcale of femi-tones, fee Semitonic Scale. For Guidas fcale, commonly called the Gamut, fee Ga- mut. And for the fcale of the ancients, fee Diagram. SCANELLO, the fame with Ponticello and Magas. Sae Br idge and Mag as. S C H A L A, is what we call fcale or gamut of mufic. SeeSc ale. SCENIC A, Mufica. See Music. SCHISMA, is half a comma, therefore eighteen of them are required to make a compleat tone, i. e, reckoning nine com- SEC 313 commas to a tone ; but if ten, twenty Schifmah are required, and a Diafchifma being a double comma if the tone has nine commas, four and a half, i. e. and two fèmi-tones are want- ed to compleat it, but if ten commas, five Diafchifmas are equal thereto. See Tone and Comma. SCIOLTO,-/w at liberty i Contrapunto Sciolto, is a counterpoint that a not full of ty'd or fyncoped notes, or that is not conftrained by general rules, and that is not obliged to move, in a particular manner. Notes are faid to be Sciolti, when they ftand by themfelves, i. e. not tied to one another which is called Legato. 3L- 'fcjFE"g=g-r»£ SeeCouNTERPOiNT and Note- Sciolti Legate. SCORE, partition, or the original draught of all mufi- cal compofitions ; whereon the feveral parts, as treble, tenor, counter tenor, and bafs, are diftin&ly fcored a and marked. See Partition. S E. See Si Piace. SECOND, one of the mufical intervals, being only the difference between any found and the next neareft found, whether above or below it. See Interval. As in the compafs of a tone, there are by fome reckoned nine fenfible different founds, and by others ten ; which form thofe little intervals called commas : one may in ftric~tnefs fay, according to the former calculation, that there are eight kinds of féconds, and according to the latter opinion, nine. See Comma. But as thefê minute intervals, fays Mr Broffard, tho' fenfible, are yet not fo much, fo as to contribute much to harmony, they ufually diftinguifh only four forts. The firft called a diminijked Second containing four com- mas is the difference, for inftance, of a natural ut, and an ut fharp. The Second called a minor Second, contains five com- mas, and is made either naturally from mi to fa, or acciden- tally, by means of a flat, as from la to B mol, or from fa fharp to fol : otherwife called a major femi-tone, imperfeft Second, or Italian femi-tone ; the third a major Second, con- taining nine commas which compofe the tone ; this the Italians call tone or perfect Second ; the fourth is a redundant Second^ compofedof a whole tone and a minor femi-tone. But here alfo regard muft be had to different divifions of the tone, into nine or ten commas. See Comma, Schism a, and Apotome. In the ancient fyftem, fays Mr Broffard, the Second had but one reply or double, which was the ninth $ but in Guido's fcale 214 S E M fcale khad befides that, the fixteenth for its triplicate, and in the modem it hath the twenty fécond for it's qua-driplicate, &c. In thorough baffes thefe are all marked with a 2 when the iower part fyncopes, and with a g when the upper part fyn- copes. When a flat is added, 'tis the Second minor, if a {harp, major or redundant. Thefe four fpecies of Seconds are naturally difibnant, tho' in faelody, i, bee I riple and Proportion'. ûesqjji quarta £ Sesqjji oclave, is a kind of triple marked Cf, called by the Italians, nonupla di crome, where there are nine quavers in every bar, whereof eight are required in common time. The double Se/qui fourth ; or Se/qui quarta dupla is marked thus,, C f , called by the Italians nonupla di femi minime, where there are nine crotchets in a bar inftead of four in common time. Ses qjlt i terz^a, the triples § and 4|, fays Bontempi, may be thus denominated. See Sub, Super and Proporti- on. See alfo Dodecupla, Nonupla and Tri- P L E. SES QU I D I T O N E, a concord refulting from the found of two firings whofe vibrations in equal times are to each other, as 5 : 6. See Ditone and Vibration. SE S TA, the fame with fixth. See Sixth. SESTUPLA. SeeSEXTUPLE. SETTIMA. See Seventh. SETTIM AN A, Santa. See Responsary andLA- mentatione. SEVENTH, a mufical interval called by the Greeks Heptachordon, whereof there are four kinds; firft, the defective feventh, confuting of three tones and three greater femi-tones ; the fécond, called by Zarlin and the Italians, Demiditono con diapente, or Settima minore, is compofed diatonically of feven degrees and fix intervals, four whereof are tones and the reft greater femi-tones ; and chromatically of ten femi-tones, fix whereof are greater and four lefs. It takes it's form from the Ratio quadriparziente quinlo, as 9:5. The third, called by the Italians, il ditono con diapente, or fettimo maggiorc, is compofed diatonically of feven degrees like the former, and fix intervals; five whereof are tones and a ma- jor S E V 221 jor femi-tone, fo that only a major femi tone is wanting to make up the octave ; and chromatically of twelve [femi- tones, fix greater and fix lefs. It takes it's form from the Ratio of 15 : 8. The fourth is redundant and compofed of five tones, a greater femi-tone and a lefs, fo that it wants only a comma of an octave, that is, fo much as to make it's fécond femi-tone greater, called Pentatonon. Hence many confound it with the octave, maintaining (with good reafon, fays Mr Brojfard) that only the three firft fevenths can be of any ufe. 'The Seventh in the ancient fyftem had but it's double, or even in Guido's fyftem, but in the modern fcale it has the twenty-firft for it's triplicate, and the twenty-eighth for it's quadriplicate, &c See Interval. In thorough baftes the Seventh, whether double, fimple, major or minor is marked by a figure of 7, but if required by accident to be flat or minor, thus ô- 7, or 7 & j if it be (harp or major thus ^7 or 7 -£. Again, if when it is naturally minor it be marked with a flat, fays Mr Brojfard, it muft then be diminifhed, and e contra. The Seventh diminifhed may be ufed in melody either dl grado, or per S alto, defcending, but very rarely rifing. See Grado and Salto. The major and minor Sevenths are abfolutely forbidden, efpecially per Salto in the courfe of a fong, though the Seventh major may be ufed afcending, but fparingly and not without neceflity. The minor Seventh has often times admirable effects in harmony, and that without fyncopation with regard thereto it may be obferved Pirjl, That it muft be preceeded by a third, fifth, octave or fixth. Secondly, That it be followed by a fifth, and fometimes a third. Thirdly, That it be accompanied with the falfe fifth and third. 'Tis often ufed by fyncopation in the upper part, and muft then be followed by the fixth, the lower part continuing on the fame note, or rather defcending a femi-tone minor. The two Sevenths major and minor, fays Mr Brojfard, are ufed in harmony thefe three ways, Firjl, By fuppofition, that, is, \Ji, when they happen to fail on the unaccented part of the meafure. See Accent, Buono andCATTivo ; idly, when they do not fall upon a note accounted long, in fuch cafe they may be preceeded or fucceeded by any concord whatever, and often by difcords. See Supposition, Secondly, 222 SEX Secondly, By fy ncopation, in which it muft be obferved, lyf. That the Seventh fall on the fécond part of the fyncope ; 2dly 9 That the firft part of the fyncope be a concord either perfect or imperfect. See Concord and Perfect. 3^, That the part which fyncopates never afcend after the feventb, but de- scend only one degree. Under thefe circumftances if the tre- ble or any upper part fyncopates, the Seventh is refolved by the fixth, fometimes by the fifth, alfo by the third ; and fometimes but very rarely, and with judgment, by the fifth diminifhed or falfe, or even redundant, and never by the octave. When it is refolved by the fixth, many may be made one after another, but the laft muft be the fixth major, and muft afterwards rife to the octave upon one of the eftential chords of the mode : This may alfo be very well done in the other manner of refolving it. If, continues that author, the bafs or feme lower part fyn- cope (which is now generally practiced, though formerly for- bidden) 'tis refolved naturally by the octave ; fometimes the fifth or fixth major or minor : but it muft be obferved that in thefe two ways of refolving the Seventh, the part which fyn- copes, contrary to the general rule, muft afcend one degree, and the third mould feldom or never be ufed. The third manner is particularly adapted to the Seventh major, and may be faid to be per fojienuto, in which the bafs or lower part holds on a note for two or more meafures, and after a concord they make a Seventh major, which continues for two three or more meafures ; after which they rife to an octave, and it muft then be accompanied by the fourth, fécond and fixth, this is marked in thorough bafs, thus 7 or •& 7. This 6 & 4 ■ 4 2 2 method is very common in Italian recitativos. SeeRECi- TATivo and Sost ENUTO. S EXT A. See Sixth. SEXTUPLE denotes a mixed fort of triple which is beaten in double time. See Triple. This the Italians czWfeJiupk ; the French (tho* improperly) the fixth time, according to Mr Brojfard, it ought rather to be denominated triple binary time. See Binary. Authors ufually make mention of three fpecies hereof, to whichMr5r^rîadds two others, five in all, which are thefç, Sextuple of a femi-breve, called by the French triple of fix for one, as being denoted by the numbers t, or becaufe here are required fix femi-breves in a meafure in lieu of one in common S H A 223 fcommon time, three for the rifing, and three for the falling of the hand. Sextuple of a minim, by them called triple of 6 for 2, bc- ng denoted by thofe figures, which (hews that fix minims mull be contained in a bar, whereof two are fufhcient in com- mon time. Sextuple of a crotchet, called triple of 6 for 4, thus marked | or C £, wherein fix crotches are contained in the bar inftead of four. Sextuple of the chroma^ denominated 6 for 8, and marked I, herein fix quavers make a bar or femi-breve, inftead of eight in common or duple time. Sextuple of the femi- chroma, or triple of 6 for 16, focal- led as being denoted by the figures 4%, which requires fix femi-quavers in its bar, whereas 16 are required in duple time. See Time, Tiple and Common. SFUGGITO, to avoid, to go out of the common way, not to obferve the ordinary rules, as Cadenza Sfuggita is a cadence wherein the bafs inftead of rifing a fourth and falling a fifth, rifes only a tone or femi-tone, or falls a tierce or to fpeak more at large and in general, 'tis when the lower as well as the upper parts omit or avoid their proper and natural conclurions. SHARP, is a kind of artificial note or character, thus formed ^, which being prefixed to any note, (hews that it is to be ung or played a femi-tone or half note higher than the note naturally would have been without it, and gives the note the name of the next below it ; when the femi- tone takes the name of the note next above it 'tis marked with a character called a fiat. See Flat, Dies Is and Character. 'Tis indifferent fome think in the main which of the two be ufed, though under particular circumftances, there are reafons for the one rather than the other. The ufe of flats and (harps is to remedy the defects of the fixed fcale of inftruments. See N a tural and Scale. S I, the name fora feventh found, added within thefe feven- ty years by one Le Maire, to the fix ancient notes invented by Guide Aretine, Ut re mi fa fol la-, by means whereof, fay fome authors, the embarrafs of the ancient gamut is avoided. But, fay they, fo bufy a thing is jealoufy that for a matter of thirty years that La Maire keptpreaehing to the Muficians of his own time in behalf of his new note, not a Man would allow it 5 and he was no fooner dead than all the muficians of his 224 ' SIM",' his country came into it. But notwithftanding this, he is not efteemed the inventor hereof. See Note. S i is an Italian prepofitiori, if joined with replica, it intimates that you repeat fome part of the fong, ft replica, fi piace, rrr repeat it if you pleafe. Si Volti, — turn over the Leaf., &c. \ SICHISMA. See Schisma and Comma: SICILIAN, a kind of air or dance in triple time f, or fometimes ", played flow ; notwithftanding 'tis marked the fame as a jigg, which is generally quick. SIEGUE. SeeSEGUE. SIGN A, Signs, fuch as the notes, marks, and cnara&ers of mufic, whereof there are more than fifty. See Note, Character, Repeat, Pause, &c. Signa Claves. See Chi a ve and System. S I G N U M, Mom ac Conventia. See Punto, Signum Repetit imis. See R e p r e s a . SILLABA, a Syllable, one of the parts of a word, or often an entire one, This the Italians fay of Guido Aretine's words which he ufed to denominate the founds of mufic, fuch as Ut re mi, &c. by which he caft off the ancient Greek names. See Lyre and Genus. SIMPHONIA, rather feeSYMPHONY. SIMPLE, in Italian, Simplice, is chiefly ufed in oppo- fition to double ; fometimes to a compound of feveral parts, or figures of different values, &c. Simple cadence, is that where the notes are equal through all the parts. Simple con- cords are thofe wherein we hear at leaft two notes in con for nance, as a third and fifth ; and of confequenee at leaft three parts, which is either done immediately, and called the har- monica! triad, or in a more remote manner, that is, when the founds that are not in the bafs, are one or two oftaves higher. This diftance has no bad effect in the third, but in the fifth it has, and generally fpeaking the nearer or more immediate the chords are, the better. We alfo fay C fimple \\i oppofition to C accented. Simple counter-point is a har- monical composition, wherein note is fet againft note, ir> Qppofttion to figurative counter-point. Simple fugue ox fimple imitation is where one part imitates the finging of another- ïox fome meafures. Simple interval. See In ter val. Simple, triple. See Triple. See alfo Counter-point, Imi- tation, Fugue, &c. SINCOPATION. See Syncopation andSYN-, COPE. SINGING, the a£Kon of making; divers inflections of the voice agreeable to the ear, and even anfwenng to the notes S EM 225 notes of a fong, or piece of melody. See Song and Me- lody. The firfl: thing done in learning to fing, is to raife a fcaîe of notes by tones and femi-tones to an octave, and defcend by the fame notes, and then to rife and fall by greater intervals, as tnird, fourth, fifth, &% and to do all this by notes of dif- ferent pitch. Then thcfe notes are reprefented by lines and fpaces, to which the fyllables fa, fol, la, mi are applied, and the pupil taught to name each line and fpace thereby ; whence this practice is called folfaing. The nature, reafon, effects, &c\ whereof fee under the article of Solfaing. To become a proficient in vocal as well as instrumental mufic, the Gamut is perfectly to be learned, and in finging ©bferve the following Scale. Treble G fol re ut in alt fol F faut -fa- E la la D la fol fol- C fol fa B fa b mi Alamire G fol re ut — F faut . \Elami Tenor G fol reut f ol- Ffaut fa E la mi la- D h fol re fol G fol fa ut- ~y^~ -fa B fa b mi mi A la mi re la- G foire ut fol F faut fa- Bafs A la mi re h- G fol reut Jol F faut — <\\{** E la mi *a D fol re fol C faut fa B mi mi- Are la Gamut fol- There are three things to be obferved in this fcale, firfr, the names of the notes, which muft be learned backwards and forwards till you know them perfectly by heart ; fecondly, the three clefFs, which are an inlet to the knowledge of the notes; for if a note be placed on any part of the five' lines, (which is alfo called a ihvej you cannot call it any thing till one of thofe three cleffs is fet at the beginning j for which reafon the lines of the Gamut are divided into three five,, exprefling the three parts of mufic, viz. Treble, Tenor and Bafs ; every one of thefe five lines or ftaves haying a clefF, for example, the firft five lines has this mark, ^p which is the G foire ut, or treble clefF fet at the beginning on the fourth line from the top. The fécond or middle flave of five lines, has this mark XL which is called the C fil f» «*, or tenarcleff, ktjrt th® • G g be~ 226 SIN beginning. This cleff may be placed oft any of the four loweft lines. The other ftave of five lines has this mark »"V and is called the F faut or Bafs Cleff at the beginning, generally placed on the fourth line from the bottom. Thirdly, obferve thefyllables in the fécond column, which are the names you are to call all the notes by ; for example, if a note be placed on the fécond line of the firft fcale from the top, and you mould be asked where it ftands, fay in D la Ql. J^fow in learning thefe names, you muft learn the other fy liable with them, that you may know how to call your notes in finging ; for example, Gamut is called Sol ; A re^ la Bmi is called mi ; Cja ut,fa ; D fol re is called yà/ ; E la mi 9 la ; F faut is called fa y &c. For the notes and their lengths, fee Note, Charac- ter, Semi-breve. See alfo Rest, Repeat, Time, Triple, &c. See alfo Bar, Measure, and Point. Th :re are two tyings of notes, the firft is a curve line, drawn over the heads of two or more notes, and {hews they are to be fung to one fyfiable. The fécond fort of tied notes are thofe with ftraight ttrokes drawn through the tails of quavers, femi-quavers, and binding two, three, or more together, as ^g? thefe with another ftroke would be femi-quavers, and with a third demi-femi-quavers. This way of tying has been found ufeful to the fight. For flats and fharps, fee Diesis, Flat and Sharp. See alfo Natural, The chief graces in finging are the'Trillo and Quaver, both which are much now in ufe. See Qu avering. It is to b; performed by making eafy fmall Inflections of ihe voice on two founds diftant a tone or femi-tone. Firft move the voice flow, and then fafter and fafter by (degrees, it will &on be tons with eafe 5 care muft be taken that SIX m? that both a and g be diftin&Iy heard. The fhake is to be ufed on all defcending pricked crotchets ; alfo when the note before is on the fame line with it, and generally before a clofe, either in the middle or at the end of a tune. SI P I A C E, ?/ you pleafe, a phrafe often met with in Italian mufic. See Si. SISTEMA. See System. SI S T R U M, ci/trum, or citron, a kind of ancient mu- flcal inftrument ufed by the priefts of Ifis and Ofiris. See Music. 'Tis defcribed by Spon as of an oval form in man* ner of a racket, with three fticks traverfing it bread thwife, which playing freely by the agitation of the whole inftru- ment, yielded a kind of found, which to them feemed melo- dious. By fome 'tis thought to have been no more than a rattle. Jer. BoJJjus has an expreû treatife on the Sijirum % entitled, Ifiacus de Sijlro. Oifeliut obferves, that the Siftrum is found reprefented on feveral medals, and on Tali/mam. Ofiris on fome medals is pictured with a dog's head and a Sijirum in his hand. It may be reckoned among the inftruments of Percufnon* See St ROM EN TO. SIXTH, one of the fimple or original concords or har- monical intervals. See Concord. The Sixth is of two kinds, greater and lefs, and therefore isefteemed one of the imperfect concords, though each of them arife from a different divifion of the octave. See Octave and Interval. The greater Sixth is a concord refulting from the mixture of the founds of two ftrings, that are to each other as 3 : 5. The lefs from thofe of two ftrings in the ratio of 5 : $» See Scale. The lefs Sixth is compofed diatonically of fix degrees, whence its name, and five intervals, three whereof are tones^ and two ferni-tones; chromatically of eight femi-tones, five whereof are greater, and three lefs. It has its form or origin from the ratio fuper tri partiens quinta. The greater Sixth is diatonically compofed like the other of fix degrees and five intervals, among which four are tones and one femi-tone ; chromatically of nine femi-tones, five whereof are greater and four lefs, confequently it hath a lefs femi-tone more than the former. It has its origin from the Ratio fuper bi partiens tertia. See Proportion. Antiently the Sixth had only one duplicate, which Was the thirteenth, even in Guido's fcale it had no more. But in the modern fyfteni it has the twentieth for its triplicate; the twenty ièventh for its quadriplicate, &c. every one of which are in- G g % dif- 228 SOG differently marked in thorough bafs by the figure 6. And even the Sixth itfelf both greater and lefs when naturally fo is not expreffed any otherwife than by a fimple 6 ; but if greater or lefs by accident, the characters of fharp, or flat, are fet along with the 6. Again, if, when with the Sixth is naturally minor, a flat be placed with it, it is to be diminifhed ; if naturally major, and a fharp with it, it muft be redundant. Befides thefe two kinds of Sixths, which are both good concords, there are two others that are vicious and diflbnant. The firft called the defective Sixth, compofed of two tones, and three femi-tones, or of feven femi-tones, five of which are greater and two lefs. The fécond is the redundant Sixth compofed of four tones, a greater femi-tone and a lefs, whence fo me call it Pentatonon, as comprehending five tones.. Thefe two being both diflbnant, fhould never be ufed in melody, and very rarely in harmony. As to the two confonant Sixths, fays Mr Brojfard, it was allowed to make only two or three following Sixths, and thofe mixed major and minor, and by conjoint degrees ; but at prefent we may make as many as we pleafe, as we may thirds ; Sixths in reality being no more than thirds inverted : but care is ufually taken that the firft Sixth that occurs be lefs, the fécond greater, and from thence to rife to the octave, becaufe in harmony the major Sixth naturally requires it, as does the minor Sixth the fall to a fifth. In melody or in the courfe of a fong, we may rife or fall a Sixth minor, and that either in conjoint or disjoint degrees, which is of good errecT: in lamenting mournful exprefions, exclamations, &c. 'Tis not fo well with the Sixth major, becaufe its extremities are fo difficult to found, for which rea- fon 'tis placed among the Salti vietati, or intervals abfolutely forbidden in the courfe of a fong. SeeSALTo and In- terval. SMORZATO intimates that the Bow or Fiddle-ft ick be drawn to its full length, and that not with the fame ftrength of hand throughout, but bearing lighter and lighter on it bv de- grees, 'till at laft fcarce any found be heard ; this word is not much ufed at prefent, but was found by Mr BroJJard in the works of Mr. Zotti. SOAVE, orSoAVEMENT, fweetly or agreeably. SO G E T TO, Suhjeft, is faid of a fong above or below which fome counterpoint is to be made. Contra punto fopra il fogetto\ a counterpoint above the fubject, is when the lower part is the fubjedt In this fenfe it is called Canto fer mo. See Can to. When SOL 229 When' the counterpoint is made below the fubject, it is called Contrapunto fotto il fog ei to ; herein the upper part is the fubjecl:, If this fubjecl: does not change the figure or fituation of notes, be it above or below the counterpoint, 'tis callei fogetto invariato, or invariable Subject -, if it do change fo- getto variato, variable SubjeEb. Sogetto is alfo ufed for the words to which fome compofition is to be adapted. Sogetto, laftly, is a fucceffion of many notes of one, two, or more meafures, difpofed in fuch a manner as to form one or more fugues. This is therefore called Sogetto di Fuga, or fub- jecl: of the fugue. Fugues ufually have but one Subject, but fometimes we find two, three, or more, which the Italians call Contra punti doppi triplicate, &c. See Fugue. SOL, the fifth note of the gamut, Ut, re, mi, fa, fol, See Note, Gamut, and Music. Sol anfwersto the Lychanos Mefon, and its octave Fara- nete Hyperbolœon of the ancient fyftem. See Lychanos Meson. We ufually diftinguifh two Sols, one G re foi, the other C fol ut ; 'tis the fir ft that marks the treble cleff. See Cleff and Gamut. SOLF A1NG, the naming or pronouncing the feverai notes of a fong, by the fyllables Ut re mi fa fol, and in learn- ing to fmg. See Note. Of the feven notes in the French fcale, Ut, re, mi, fa, fol, la,fi, only four are ufed among us in finging, as mi, fa, fol, la, though the Italians ufe the fix firft. Their office therein is that by applying them to every note of the fcale, it may not only be pronounced with more eafe, but chiefly that by them the tones and femi-tones of the natural fcale may be better marked out and diftinguimed. This defign is obtained by the four fyllables, mi, fa, fol, la. Thus from 7% to fol is a tone, alfo from fol to la, and la to mi without diftinguifhing the great and lefs tone ; but from la to fa, alfo from mi to fa, only a femi-tone. If then thefe be applied in this order fa fol, la fa, fol la, mi fa, they exprefs the natural feries from C, and if they be repeated a fécond or third octave, we fee by them how to exprefs all the different orders of tones and femi-tones in the diatonic fcalé, and ft ill above mi will ftand fa, fol, la, and below it the fame inverted la, fol, fa, and one mi is always diftant from, another an octave, which cannot be faid of any of the reft, becaufe after mi afcending, come always fa, fol, la, fa, which are repeated invertedly defcending. To 230 SON To conceive the ufe of this it is to be remembered, that the firft thing in learning to fing, is to make one raife a fcale of notes by tones and femi tones to an o&ave^ and defcend again by the fame, and then to rife and fall by greater intervals, as at a leap, as thirds and fourths, &c. and to do all this by beginning at notes of different pitch ; then thefe notes are reprefented by lines and fpaces, to which thefe fyllables are applied, and the learners taught to name each line and fpace thereby ; which makes what we call folfalng. The ufe whereof is, that while they are learning to tune the degrees and intervals of found, exprefs'd by notes on a line or fpace, or learning a ibng to which no words are applied, they may do it the better by means of articulate founds ; but chiefly that by knowing the degrees and intervals exprefïèd by thofe fyllables, they may more readily know the places of the femi- tones, and the true difTance of the notes. See Singing; SOLFEGGIARE, Solfiz.are, or Solmizare, is the ufmg the fyllables ut, re, mi, fa, £3*7. in learning to fing, otherwife called Solfaing. See Solfaing. From this they made what they called Solfeggiamento, which properly intimates no more than the practice above mentioned -, but certain comportions, be they fugues or otherwife, of which thofe fyllables are the fubje£t, have this appellation more particularly. Mr BroJJard fays he has feen very fine pieces of this kind. The ancients, i. e. thofe fince Guido, learned mufic in this way, and we have feveral of their comportions which an- fwer this defcription, efpecially among the Germans. SOLLECITO, afflifted, prefed, laboured. This word is fometimes ufed ad verbally, to exprefs that a piece is to be played in a mournful manner, fit to enforce grief upon the hearers. It means alfo carefully and with exa£tnefs. SOLO, fignifies fingly or alone, it is frequently ufed in pieces of mufic confifting of feveral parts, when one part is to perform alone, as Jolo Fiauto, the Flute alone ; Violino folo y the Violin alone. See Part. It is alfo a diftinction ufed in Sonatas for one Violin, one Flute and a Bafs, or two Violins, two Flutes, and a Bate; in both cafes it is frequently fignified by a fingle letter S. When two or three parts feparte from the grand chorus, the Italians call that part of the piece à dot foli à ire foil, &c. SON A, Sonata, Sonatina, Sono, &c. See So- mat a and Suono. SO- 'S O N 231 SONATA, by the Italians called Sutmata from Suoncf* found y fignifies a piece of mulic or compofition, wholly to be executed by inftruments, and which is with regard to inftruments of feveral kinds, what Cantata is with regard to the voice. See C a ntata, . The Sonata then is properly a grand free harmonious com- pofition, diverfified with great variety of motions and ex- preffions, extroardinary and bold ftrokes and figures, &c. and all this according to the fancy of the compofer, who without confining himfelf to any general rule of counterpoint, or any fixed number or meafure gives a loofe to his genius, and runs from one mode, meafure, &c. to another, as he thinks fit. We have Sonatas from one to feven and even eight parts ; but ufually they are performed by a fingle Violin, or with two Violins and a thorough Bafs for the Harpftchord, and frequently a more figured Bafs for the Bafs Violin. There are many different fpecies of Sonatas, but the Ita* Ytans reduce them to two kinds, Suonata di Chiefa, that is, one proper for Church mufic, which commonly begins with a grave folemn motion, fuitable to the dignity of the place and the fervice ; after which they ftrike into a brisker, gayer, richer manner, and thefe are what they properly call Sonatas, The other comprehends the Suonata di Camera, fit for chamber mufic. Thefe are properly a feries of little (hort pieces named from the dances which may be put to them, yet not defigned for dancing, tho r a mafter of that art may have a mind to apply certain pofitions, and fteps thereto ; which by his Judgment are made to agree with their motions. They ufually begin with a prelude or little Sonata, ferving as an in- troduction to all the reft -, afterwards come the Allemand? Fa-van, Courant, and other ferious dances ; after themjiggs, gavots, minuets, chacones, pafiecailles, and gayer airs, the whole compofed in the fame tone or mode. See Alle- mand, Jig g, Minuet, &c. S ON G, is applied in general to a fingle piece of mufic, whether contrived for the voice or an inftrument. See Music and Composition. A Song, fays Mr Malcolm, may be compared to an oration ; for as in the latter there is a fubjecl:, i. e. fome perfon or thing- the difcourfe is refered to, and which is always to be kept ia- view thro' the whole, fo in every regular and melodious Song\ there is a note which regulates the reft ; wherein the Song be- gins and at Uft ends, and which, is, as it were, the principal matter or mufical fubjecl:, to be regarded in the whole courfo of the Hong -, and as in oration there may be feveral diftincl: - ^ ■. . . parts tiz SOP parts, which refer to particular fubjeéls, yét they muft have zn evident connection with the principal fubjecl, which regu- lates the whole : fo in melody, that there may be feveral Tub- principal fubjecls to which the different parts of a Song may belong ; but they are themfelves under the influence of the principal fubjecl, and muft have a fenfible connection with it. This principal or fundamental note of a Song y fays he, is cal- led the key thereof. But this muftcal fubjecl:, as Mr Malcolm terms it, is not, as he pretends, the key ; but becaufe, to make this matter clear, would need an example in compofition, and as that would be to exceed the bounds of a dictionary, we (hall de- cline it, prefuppofing, that no practitioner is unacquainted with the difference between the key and fubjecl; of a Song, or unable to difcern the impropriety of ufmg thofe two terms, to fignify the fame thing. SONNET, a kind of compofition contained in fourteen verfes, viz.. two ftansas or meafures, of four each, and two of three each \ the eight firft verfes being all in three rhymes. *Tis of Italian origin, and Petraeh k allowed to be the Fa- ther. It is held the moil difficult and artful of all comportions; as requiring the lait accuracy and exaclnefs. It is to end with fome ingenious thought, the clofe to be particularly beautiful, or the Sonnet is naught. In Malberb and fome other French poets, we meet with Sen- nets where the two firft ftanzas are not in the fame rhyme, but they are held irregular; and in effecl, a great part of the merit of thefe pieces, confifts in a fcrupulous obfervation of the rules. Ronfard, Malherbe Maynard, and Gombaut y have compofed abundance of Sonnets ; but among two or three thoufand, {ays a very great author, there are fcarce two or three worth any thing. Pafquier obferves, that Du Bellai was the fir ft who intro- duced Sonnets into France', but Du Bellai himfelf fays, that Melin de St Cellas firft converted the Italian Sonnets int.o French. Tne word is of Italian original. SONUS. See Suono and Sound. S O P R A, above or upper •, as nelle parte di fopra> — in the higher or upper part ; di fopra — above ; contrapunto fopra it fogetto, — counterpoint above thefubfeft. See Sogetto. SOPRANO, is a name by which the Italians exprefc our canto, haut deffiis^ or firjî treble \ à dot Soprani , à tre So- prani, — ; for tzvo or three trebles* See Treble, Tenor, and Haut-dessus. SOSPIRO, ■ SOU 233 SOSPIRO, a fmall character called a reft. See it's form under the article Character and Repeat. Ca- none al Sojpiro, is a fugue, wherein the parts begin to imitate each other at the diftance of a crotchet. As for example, fuppofe the guide to have begun, the fécond part refts a crotchet e'er it imitate; and the third obferves the fame with regard to the fécond, and fo on. SOST ENUTO, intimates that a found is to be held out in an equal and fteady manner, for one, two, or more times of a bar. S OT TO, below, inferior ;, Sotto il fogetto, — helow the Juijett 5 Nelle parte di Soito, — in a lower -part, See So- PRA and SoGETTO. SOUND. The qualities and diftinclions of feveral agita- tions of air, confidercd as their difpontion, meafure &c. may make mufic. Gaudentius defines it, the ftate of the voice,, neither afcending or defcending ; and adds, that thofe of the fame degree or pitch of tune, are properly called unifons. Sound is the object of mufic, which is nothing but the art of applying Sounds under fuch circumftances of time and tune, as to raife agreeable fenfations. The principal affection of Sound whereby it becomes fitted to that end, is that whereby it is diftinguifhed into acute and grave. See Acuteness and Gravity. This difference depends on the nature of the fonorous bcdy, the particular figure and quantity thereof; and even in fome cafes, on the part of the body where it is ftruck ; and is that which conftitutes what we call different tones. See Tone. The caufe of this difference appears to be no other than the different velocity of the vibrations of the founding body. In effect, the tone of a Sound is found, by abundance of experi- ments, to depend on the nature of thofe vibrations, whole differences we can conceive no otherwife, than as having dif- ferent velocities : and fince 'tis proved, that the fmall vibra- tions of the fame chord, are all performed in an equal time, and that the tone of the Sound, which continues for fome time after the ftroke, is the fame from firft to laft: it follows, that the tone is neceffarily connected with a certain quantity of tune in making each vibration or each wave ; or that a certain number of vibrations or waves accomplished in a given time, conftitute a certain determinate tone; From this principle are all the phenomena of tune deduced. See Tune. From the fame principle arife what we call concords, £sfV. which are nothing but the refults of frequent unions and H h coL&ci- $34 S O U coincidences of the vibrations of two fonorous bpdies, and confequently of the waves and undulating motions of the air, occafioned thereby. See Concord. On the contrary, the refuk of the lefs frequent coincidences of thofe vibrations, is what we call difcord. See Discord. Another confiderable diflincYion of Sounds, with regard to mufic, is that whereby they are denominated long or ftiort, not with regard to the fonorous bodies retaining a motion once received, a longer or morter time, tho* gradually grow- ing weaker ; but from the continuation of the impulfe of the efficient caufe on the fonorous body, for a longer or lefs time; as the notes of a Violin, &c. which are made longer and fhorter by ftrokes of different length and quicknefs. This continuity is properly called a fucceffion of feveral founds, or the effect of feveral diftinct ftrokes, or repeated impulfes on the fonorous body fo quick, that we judge one continued found ; efpecially if it be continued in the fame de- gree of ftrength : and hence arife the doctrine of meafure and time. See Measure and Time. Sounds again are diftinguifhed with regard to mufic into fimple and compound, and that two ways. In the firft, a Sound is faid to be compound, when a num- ber of fuccefiive vibrations of the fonorous, body, and the air come fo fait upon the ear, that we fancy them the fame con- tinued Sound, as in the phaenomenon of a circle of fire, caufed by putting the fired end of a ftick into a quick circular motion ; when fuppofing the flick's end in any part of the circle, the idea we conceive of it there, continues 'till the impreffion is renewed by a fudden return. A fimple Sound then, with regard to this compofition, mould be the effect of a fingle vibration, or of fo many vibrations as are neceffary to raife in us the idea of Sound. In the fécond fort of compofition, a fimple Sound is the pro- duct: of one voice, or one inftrument, &c. A compound Sound conflits of the Sounds of feveral diftinct voices or inftruments, all united in the fame individual time and meafure of duration ; i. e. all ftriking the ear together, whatever their other differences may be. But in this feme again, there is a twofold compofition, a natural, and an arti- ficial one. The natural compofition, is that proceeding from the mani- fold reflexions of the firft Sound from adjacent bodies, when the reflexions are not fo fudden as to occafion ecchos, but are all in the fame tune with the firft note. See Re so- man ce. The SOU 235 The artificial compofttion, which alone comes under the Muficians province, is that mixture of feveral Sounds, which being made by art, the ingredient Sounds are feparable and diflinguifhable from one another. In this fenfe, the diftinct Sounds of feveral voices or inftruments, or the feveral notes of the fame infiniment, are called fimple Sounds 9 in contra- diction to compound ones; wherein, to anfwer the end of mu- fie, the fimple ones muft have fuch an agreement in all rela- tions, chiefly as to acutenefs and gravity, as that the ear may receive the mixture with pleafure. See Composition". Another diflinction of Sounds, with regard to mufic, is that whereby they are faid to be fmooth and even, or rough and harfh, alfo clear and hoàrfe ; thecaufe of which differences depends on the difpofitiôn and ftate of the fonorous body, or the circumftances of the place ; but the ideas of thefe diffe- rences muft be fought from obfervation. Smooth and rough Sounds depend principally on the founding bodies ; of thefe we have a notable inflance in firings that are uneven, and not of the fame dimenfions and conflitution throughout. Mr Perrault, to account for roughnefs and fmoothnefs, maintains there is no fuch thing as a fimple Sound ; but that the found of the fame chord or bell is a compound of the Sounds of the feveral parts of it ; fo that where the parts are homogeneous, and the dimenfions and figure uniform, thefe always make fuch a perfect mixture and union of all the part", as make one uniform and fmooth Sound : contrary conditions produce barfhnefs. In effect, likenefs of parts and figure makes an uniformity of vibrations, whereby a great number of fimilar and coin- cident motions confpire to fortify and improve each other, and unite for the more effectual producing the fame effect. This account he confirms from the phenomenon of a bell, which differs in the tone according to the part it is ftruck in ; and yet ftrike it any where, there is a motion of all the parts. Hence he confiders, the bell as compofed of an infinite num- ber of rings, which according to their different demenfions have different tones, as chords of different lengths have ; and when ftruck, the vibrations of the parts immediately ftruck fpecify the tone, being fupported by a fufHcient num- ber of confonant tones in the other parts. This muft be allowed, that every note of a ftringed inftrument, is the effect of feveral fimple Sounds ; for there is not only the Sound re- fulting from the motion of the firing, but that from the motion of the parts of the inftrument ; which has a conftder- able effect in the total Sound, as is evident from hence, that H h 2 the z 3 6 SOU the fame firing or different Violins, will give a very different Sound, But Perrault affirms the fame of every firing in itfelf, and without confidering the inflrument. Every part of the firing, fays he, has it's particular vibrations, different from the grofs and fenfible vibrations of the whole ; and thefe are the caufes of different motions and Sounds in the particles ; which uniting, compofe the whole Sound of the firing, and make an uniform compofition, wherein the tone of the par- ticular part flruck, prevails; and all the others mix under a due fubordination with it, fo as to make the compofition fmooth and agreeable. If the parts be unevenly or irregular- ly conftituted, the Sound is harm ; which is the cafe in what we call falfe firings, and various other bodies , which for this reafon, have no certain and djftin£l tone ; but a compofition of feveral tones which don't unite and mix, fo as to have one predominant to fpscify the total tone. As to clear and hoarfe Sounds, they depend on the circum- ilances that are accidental to fonorous bodies : thus a voice or inflrument will be hollow and hoarfe if raifed within an empty hogfhead, that is clear and bright out of it ; thiseffecl: is owing to the mixture of other and different Sounds, raifed by reflection, which corrupt and change the fpecies of the primitive Sound. For Sounds to be fit to obtain the end of mufic, they ought to be fmooth and clear, efpecially the firfl ; fince without this they cannot have one certain and difcernable tone, capable of being compared to others in a certain relation of acutenefs, of which the ear may judge ; and of confequence can be no part of the object of mufic. Upon the whole then, with Mr Malcolm, we call that a harmonic or mufical Sound, which being clear and even, is agreeable to the ear, and gives a cer^ tain difcernable tune (and hence called a tunable Sound) ; which is the fubjecl: of the whole theory of harmony. See Harmony. SOUNDBOARD, is the principal part of an Or- gan, and that which makes the whole inflrument play. See Organ. The Sound-Board or Summer, is a refervoir, into which the wind drawn in by the bellows, is conducted by a portvent, and hence diftributed into the pipes placed over the holes of it's upper part. The wind enters them by valves, which open by preifing upon the flops or keys, after drawing the regiflers which prevent the air from going into any of the pipes but thofe required. Organs, whofe longefl blind pipes are four feet, have their Sound- boards from five to fix feet. Organs of fix- teen S PI 237 teen feet have two Sound-boards, which communicate the wind from one to the other, by means of a pewter portvent. S P A G N U O L A, is the name the Italians give to the Gwttar,Jby reafon of it's being fo much ufed in Spain; or ac- cording to fome, rather from it's having been invented there. See Guittar. S P A T I U M, Space, is applied to the void found between the lines whereon a piece of mufic is pricked or noted ; thefe at firft were not ufed, but there was a line for every found : but when thofe were reduced t© four, and then raifed to five, as at prefent, the fpaces were reckoned, and the loweft was called the firft, and fo on to the fourth. See Riga and Line a. SPECIES, in the ancient mufic is a fub-divifion of one of the Genera . See G e n u s . The Genera ofmuficwere three, the chromatic, enharmonic and diatonic; the firft and fécond of which were varioufly fubdi- vided into Species-, nor was even thelaft without, though thofe had not particular names as the Species of the other two had. The Species were called Chroia, colours of the genera, the conftitution whereof, fee under the articles Genus, Dia- tonic, Enharmonic, and Chromatic. SPESSO. SeeSnssus. SPICCATO, fignifies to feparate, divide, part, l£c. that is, to give every note it's diftincl: found, and is the con- trary of what we czWjlurring. This word is particularly ufed with regard to inftruments ftruck with a bow, and denotes that every note have a bow diftinér. from the preceeding or fucceeding one. SPINETTE, a mufical inftrument ranked in the fécond or third place among harmonious inftruments. See Music. It confifts of a cheft or belly made of the rnoft porous and refinous wood to be found, and a table of firr faftened on rods called the found-board, which bears on the fides; on the table is raifed two little prominences or bridges, whereon are placed fo many pins as there are chords to the inftrument. See Bridge and Otavina. This inftrument is played by two ranges of continued keys ; the foremoft range being the order of the diatonic fcaie, and that behind, the order of the artificial notes or femi- tones. See Scale. The keys are fo many long flat pieces of wood, which touched and prefTed down at the end, make the other raife jacks, which ftrike the firings and caufe the found, by mean$ of the end of a crowS quill wherewith 'tis armed. The thirty $rft firings are of brafs, the other more delicate ones of è 3 8 S P î of flèèl ôf irôn-wiré ; which are flretchéd over the t) ridges above-mentioned. Tho' many of thefe inftruments have cither all their firings of brafs or all of fteel-wire ; and have fometimes two or three jacks to each firing inftead of one ; upon which the makers add a little flop to take away one or two of the three at pleafure, by which means the found when flruck with one jack only, feëms in feme meafure to eCcho to that flruck with the whole number, The figure of the Spineite is a long fquare or parallelogram; fome call it the Harp couched, and the Harp an inverted Spihette. See Harp. The Sptnette is generally tuned by the ear, which method of the practical muficians is founded on a fuppofition that the car is a perfect judge of an octave and fifth. The general rule is to begin at â certain note, as C, taken toward the mid- dle of the inftrument, and tuning all the octaves up and down, and alfo the fifths, reckoning feven femi-tones to each fifth, by which means the whole is tuned. Sometimes to the common or fundamental play of thcSpinètte is added another firriilar one in unifon, and a third in oc- tave to the firft, to make the harmony the fuller. They are either played feparately or together, by means of a flop ; thefe are called double or triple Spinettes. Sometimes a play of Violins is added by means of a bow, or a few wheels parallel to the keys which prefs the firings, and make the found îafl as long as the mufician pleafes, and heighten and foften them more or lefs as they are more or lefs preffed. The Harpfichord is a fort of Sptnette, only with another difpofition of the keys. See Harpsichord. There have been of late years Spineties made, whofe back- ward range of keys are divided, each part of which has a different found ; as there is one key between f and g, which ferves as f & and g & ; now this key being divided, tfiat part of it next the player founds^ &, and the other next the body of thé inftrument f&, and fo of the others. Again, as we often ufe C pf , for B fharp •> in thefe Spinettes there is a key placed between B natural and C, which ferves as B &^ But thofe inftruments having fome difficulties attending them were laid afide. This inftrument takes it's name from the little quills where- with' the firings are flruck, which are fuppofed to refemble thorns, which in Latin are called Spina. S P I R I T O, or Sp i r i t oso, fignifies to fing or play oft any inftrument with vigour, life, and fpirit. S PIS». S P O 239 S P I S S U S, thicks full, as of fmall or minute parts, as of intervals. The Greeks called it Pycknos, it was an epi- thet they gave to two of the genera of mufic, the chromatic and enharmonic ; the firft whereof had twelve fmall fenfible intervals in the extent of it's octave, the latter twenty four 5 both of which are thick, full, or even crouded with minute intervals, when compared with the diatonic, which is quite fimple, and whcfe intervals are fpacious, having but feven in it's octave, and thefe by confequence greater than thofe of the two others, the octave beine the fame in all» From hence the Italians fay, Monochordo infpeffato dette chorde Cbromatice Enbarmonice, i. e. a monochorci whofe firing is divided into fuch parts as conftitute the fmall intervals of either of thofe genera, by which we may meafure the proportions of their founds, &c. See Diatonic, &c. Bacchius fenior fays, that this Spijfus confifts of two of the fmalleft or more minute intervals in either of the genera. SPONDEASMUS, is when in the enharmonic genus a found is raifed three diefes. See Dissolutio and Pro- ject 10. STABILI SuGni. See Su on 1. What the ancients called Stabiles or fixed founds, Euclid fays were thefe eight, Projlambanomenos, Hypate Hypaton, Hypate Mefon, Mefe, Nete Synemmenon, Paramefe, Nete Die- zeugmenon, Nete Hyperboleeon ; of thefe, fays Alypius, fome are called Barypicni, others Apicni; the Baripicni, were thefe five, Hypate Hyp at on, Hypate Me fan, Mefe, Paramefe, Nete Die- zeugînenon. The Apicni were thefe three, Projlambanomenos, Nete Synemmenon, and Nete Hyper bol&cn. Thefe fays Bac- chius fenior were in general called étantes, by reafon they maintain the fame fituation in the fourth, in whatever genus they are ufed. STACCATO, orSToccATO, fignifies to divide and feparate each note from the next in a very plain and diftincT: manner, and is much the fame with Spiccato. See Spic- cato. STAFF, five lines on which, with the intermediate fpaces, the notes of a fong or piece of mufic are marked. See Music. Guida Aretine, the great improver of the modern mufic, is faid to be the firft who. introduced the Staff, marking his notes by fetting points (.) up and down them, to denote the rife and fall of the voice ; and each line and fpace he marked at the beginning of the Staff with Pope Gregory's feven let- ters, A, By C, D, E, F, G. See Note. Bat 24° S T R But others will have this practice of an older date ; and Kercher particularly affirms, that in the Jefuits library at Mejjina, he found a Greek manufcript of hymns above feven hundred years old, wherein fome hymns were written on a Staff of eight lines marked at the beginning with eight Greek letters, the notes or points were on the lines, but no ufe made of the fpaces ; but this is not much againft Guido, for he ufed but five lines, and fethis notes both on them and the fpaces. Bat 'Vojjius fays this was the practice of the Egyptians before Guidons time. See Gamut and Scale. STENTATO, from the verb Stentare, to fuffer, to labour ; intimates not only that you proceed, but that you take pains in fmging or playing, and force the voice in fome part of a fong, or on fome particular found, to exprefs fome extraordinary emotion, whether joy, grief, or paffion, fo as to feem actually moved in the performance. Mr Brof- fard brings the word from the famous Stentor mentioned by Homer \ who had a very ftrong voice. STENTOROPHONIC TUBE, a Speaking Trumpet, thus called from Stentor, (a perfon mentioned in the Vth Book of the Illiad, who could call louder than fifty men) and 2 If while a c is open, A B be {truck, the two halves of this other, that is a £and b c will both tremble ; but the middle point will be at reft ; as will be eafily perceived by wrapping a bit of paper lightly round the Siring a r, and removing it from one end of the String to the other. In like manner were A B an upper twelfth x.oa c, and confequently an unifon to it's three parts a. 1, 12, and 1 c > if ac being open, A B be ftruck, it's three parts, a 1, 12, and 2 c 9 will feverally tremble ; but then the points 1 and 2 will remain at reft. This Dr TVallis tells, was firft difcovered by Mr WiU Ham Noble of Merton College ; and after him,, by Mr Piget of IVadham College, without knowing that Mr Noble had ob- ferved if. To which we may add, that Mr Sauveur long afterwards propofed it to the Royal Academy at Paris as his own difcovery, as like enough it might : but upon his being informed by fome of the members prefent, that Dr Wallis had publifhed it before, he immediately xefigned all the honour thereof. STROMENTO, ^ix?\Jiro?nenti^ inftruments, certain machines contrived and difpofed by ait in fuch a manner, as to be of ufe in imitating the found of a human voice ; the mufic played or performed by thefe, is commonly called organical or inftrumental. See Org a nic a l. Inftruments are of many kinds, but are generally reduced under three heads : Firft, what the Greeks called enchorda or entata^ are inftru- Rients having chords or firings, made to found by the fingers, as the Lute, Harp, Theorbo, Guittar, and others j or that are played on by a bow, as Violins, Bafs Viols, Trumpet Marine, &c. or by means of jacks armed with quills ends, as Spinets, Harpfichords, &ç. The fécond, by the Greeks call emphyfoomena^ pneumatica y or empneoufta, that are made to found by the wind, and that either natural from the mouth, as Flutes, Trumpets, Haut- boys, BaiToons, Serpents, Sackbuts, Horns, &c. or artifi- cial by means of bellows, as the Bagpipe ; and that which by way of excellence is called the Organ, by the Italians called Stromenti da fiato. The laft, the Greeks call Kroujla^ the Latins^ Pulfa- tilia, and we inftruments of percuffon ; becaufe made to found by beating them either with the hand, as Drums, Tabou rs, I i Tymbals 2 4 2 STY Tymbals, &c. or with a little ftick, or fmall iron rod, as Pfaltery and Cymbal ; or with a feather, as the Syftrum and Dulcimer, or by ftriking them with hammers, as Bells, &c. Kercher, Merfennus, Salmon des Caux, and other learned writers, have given us defcriptions of moft of thefe inftru- ments, which may be found in their works, and which may give a curious reader great fatisfa&ion. STROPHE, a certain number of verfes which con- tain a full fenfe, and at the end whereof a compofer ought to make a cadence (unlefs there be fome caufe to the contrary) before he begins another of the fame nature. See Song. STYLE, a manner of finging, playing, or compofing. The Style is properly the manner each peribn has either of compofing, playing, finging or teaching 5 which is very dif- ferent, both with refpeâ to different genius's, of countries, nations, and of the different matters, places, times, fubje&s, pa fiions, expreffions, &c. Thus we fay, the Style of Falejlrina, of Lully r and of Co- relli ; the Style of the Italians, French, Spaniards, &c. The Style of gay pieces of mufic is very different from that of fèrious ones. The Style of church mufic is very different from that for theatres. The Style of the Italian comportions is poignant, florid, exprefhve ; that of the French, natural, flowing, ten- der, &c. Hence the various epithets given to diftinguifh the various characters ; as, the antient and modern Style ; the Italian and German Styles ; the ecclefiaftical and dramatic Styles ; the gay, the grave, majeftic, natural, foft, familiar, gallant, low, fublime, &c. Styles. The Stylo Recitative, or dramatico, in the Italian mufie, is a Style fit to exprefs the parlions. The Stylo eccleftajlico is full of majefty; very grave, and fît to infpire devotion. Stylo Moteclico, is a various, rich, florid Style, capable of all kinds of ornaments, and of confequence fit to exprefs various parlions ; particularly admiration, grief, ciJV. Stylo Madrigalefco, is a Style proper for love, and other of the foft paffions. Stylo Hyper chematico, is a Style proper to excite -joy, mirth, and dancing, and confequently fall of brisk and gay mot. or, s. Sty: o Syirrfhoniaco, is a Style fie for instrumental mufic ; but as each inftrument has its particular effects, there are as many different fymphonicai Styles ; the Siyk of the Violin for inftance, is umally gay ; that of Flutes melancholly a: languishing -, and that oi Trumpets fprightly and animât: 2 Styz,$ SUC 243 St Y LO Melifmatico, is a natural artlefs Style > .which any body almoft can fing, fit for airs and ballads. Stylo Phantajlico, isaneafy humorous manner of com- position, free from all contraints, &c:. See Su on at a and Ricercata, Before fonatas were introduced, they had a kind of piece which they called Phantafia, which was very like our fonata. Stylo Choraico, a Style that is proper for dancing, and is divided into as many different kinds as there are different dances, as the Style of farabands, minuets, gavots, jiggs, ri- gadoons, chacones, &c. SUB, a Latin prepofitîon, fignifying the fame as the ! Greek Hypo, the Italian Sotto, and the Englijh below. See Proportion and Hypo. This word is often ufed inftead of Hypo in conjunction with the Greek names of the intervals of mufic, as fub dia- teffaron, diapente, diapafon, though not with the greateft pro- priety, and this fometimes with regard to feveral voices* following one another at certain pitches, the fécond below the iirft, the third below the fécond, and fo on, in the fame manner as Epi. See Epi. For what has been faid of this prepofitîon with regard to proportion, fee Proportion. 'Twas from thence the Ita- lians took it's ufe in their feveral forts of Tr i p l e s, as Subfefqui terz.a, Tripla difemirninime, or the meafure of three for four which is marked thus after the ClefF Cjj, wherein a* crotchet which is their femi-minim is equal to one third of the femi-breve, and the other notes in proportion, whereas in common time it is but a fourth thereof. Subdupla, or fub fuper bi partiente terz.a, or tripla- di crome, is three for eight C|, a quaver herein is one third of the meafure, and a pointed crotchet a bar. Sub fuper fetti partiente nona 9 other wife Nonupla di femi- ^erome, or nine for fixteen ; becaufe it requires three ferni-qua* vers in a time, therefore nine in a bar inftead of lixteen in common time, 'tis thus marked C, 9 6 , See Triple. Subdupla fub fuper bi partiente ier^a is f , See Triple. Sub fuper bi partiente fefla or fejlupla di Qrome. See Sextuplple. Subfuper quadri partiente duodecima or 4-f ? called by the Italians dodecupla di femicrome. 'Tis a fpecies of triple that has twelve femi-quavers in its bar inftead of fitxeen, in common time, and thus marked C*f . See Tr 1 p l e . SUBITO, quick, hajlily, as volti fubiio is an Italian phrafe, which figaifies turn over the leaf quickly. I i 2 SU g- 244 S tJ O SUBPRlNCIPALIS Mediarum fcT Principalmrn. See Parhypate Meson, 'Pahypate Hypaton, and System. SUCCESSION, when applied to mufic, may be de- fined to be when a continued feries of founds follow or fuc- ceed each other, and may be reckoned one of the differences between melody and harmony; (fee Melody) fora con- tinued SucceJJion of founds produces the former, as a combina- tion of them the latter. Of Succejficn there are two kinds, conjoint and disjoint ; conjoint SucceJJion is when the founds proceed from grave to acute, or e contra, which make the two fpecies of ductus, viz... Dutius reclus , and feverfews, without making any leap, that is, fuppofe we were to raife or fall a found a fourth, &c. and to found all its intermediate degrees, this would be con- joint ScccJJion, whereas were we to ftrike only the firft and Jan: founds it would be disjoint. See Ductus. SVEGLIATÔ, a brisk, lively, gay manner of finging or playing, as Maniera Svegliata. SUFFOLO. See Zufolo. SUMMUS. See Trias Harmoni-ca. SUMP TIO. See Us us. SUONANTINA, a little mort e&ïy Sonata. See Sonata. . SUONATA, or Sonata, the name of certain pieces of inflrumental mufic of two forts, the one for churches, C5V. the other for chambers and private concerts. See Sonata, an.i Concerto. SUONO, what the Greeks call Pthongos, the Latins Sonus, and we Sound, for a définition hereof fee Sound. This word is often comfounded with vox, voice, chord, ione, note, &c. as that nothing is more common than to fay the chord, tone, note, or found A or B, to diftinguiih the found exprefTed by thofe letters; but fee their diflin&ions under the articles Tone, Note, and Chord. Muficians ordinarily diftinguifh three forts of founds, viz, grave or low, high or fhrill founds, and founds that keep a middle ph c ; and befides thefe there is an infinity of other differences, fome of which we mail here* ennumerate. SU ONI Alterati, fuch as are raifed or lowered by thefe marks & & or & & commonly flats and {harps. See Flat and Sharp. Suoni Antifoni, is fuch as though diftant from one ano- ther one or more octaves^ are yet alternate concords among themfelves. Su on i Apicnoi or Apicni, are thofe between fuch as the ancients called Jlabiles or perpetui, and in their fyftem were S'U'O 245 were Projlambanomenos^ Nete Synemmenon, and Nets Hyperbo- ltzon y fee each under its proper Article. : Su on I Baripicni, thofe which the ancients called immobiles^ Jiaèi/es, or perpetui, of which rank were the Hypaie Hypato?i^ Hypate Mefin, Mefe^ Paramefe, and Nete Diez.eugmenon, fee - each in its place. Su on 1 Chromatid^ are founds railed above their natural pitch a femi-tone minor by the chromatic diefis dfc. Sec Chromatic. - Su on i Cûtz/W, are what we otherwife term concords. Sec Concord. . Su ONI Continui, fuch founds as are held out or continued for the. pronunciation of fome fyllable, or the ffate of the voice, neither afcending or defcending, but keeping in the fame pitch. . , . Su on 1 Diafcni, the fame with difcords. See Discord. Su on 1 Diatonlcij natural and moft eafy founds, fuch as a man is qualified to fing, or has proper organ well difpofed for thatpupofe, without the aififtance of art. See Diatonic and Genus. • Suoni Dijfoni, the fame with Suoni Diafoni^ difcordant founds. See Discord. Suoni Diftintti founds fenfibly feparated or diftinguifhed one from another, be it from the different tenfions of the voice or chords that form them, or any other caufe. See String and Chord. Su on I Ecmeli, founds unfit for melody, but then as there is no found but may be ufed, to make this intelligible, fup- pofe a fong to proceed in a particular kind of fourth as from A to D according to the order of B quadro or natural, any found that has not a fuper particular ratio, which of confe- quence muft have fome fuperfluity or redundance, may pro- perly be called a Sonus Ecmelos^ and is not proper to be brought in. Suoni Emmeli, fuch founds as are capable of making me- lodies, and therefore fays Boe'tius contrary to Ecmeli. Suoni Enharmonici, are founds rai fed above their natural pitch by means of the Enharmonic Diefis^ which is agreed to be about a quarter of a tone, and which is the leaft fenfible interval in mufic. See Diesis and Enharmonic. Suoni equi font is moil properly applicable to unifons, yet 'tis faid of fuch founds, which, though different and diftincl: one from another, yet when founded together affect the ear in fuch a manner, as that they feem one and the fame found, of the fame pitch of tune, Such are the extreams of the octave ' ,and its double. Suoni a 4 6 SUa Suoni Homophcm, the fame with unifon. SeeUtftsotf., Su on i Mefopicni, .are amongft thofe . which the ancient» called Mobiles or Vagantes, and in their fyftem they were thefe five, Parbypate Hypaton, Parhypate Me/on, Trite Synem- menon, Trite Diez.eugmenon, and Trite Hyperbolœon. See each, in its place. Suoni Mobiles, moveable founds ; the fécond and third founds of every tetrachoru* of the ancient fyftem were move- able. See Genus. Suoni Naturali, the fame with Diatontci. See Dia- tonic. Suoni non Uni/fini, fuch as differ in gravity and acutenefs ; of this rank are, Gonfoni, Emmeli, Dijfoni and Ecmeh. Suoni Oxipicni ; thofe founds between the moveable ones in the ancient fyftem, which were thefe five, Lychanos Hypa* ion, Lychanos Me/on, Paranete Synemmenon, Paranete Dieneug-* menon, and Paranete HyperboUon, and thefe were the laft notes but one of every tetrachord in their fcale. See each in its place ; fee alfo System. Suoni Parafoni, or fuch founds as have between them the interval of a fourth or a fifth, or their double, and there- fore concord. Suoni Stabili, or perfetui, were eight founds in the an- cient fyftem, which were the higheft and the loweft of every tetrachord : they were thus denominated by reafon they could not change their place by means of Diefes, either chromatic or enharmonic, but always remain in the fame fituation in whatever genus they are ufed, in oppofition to the two mid- dle ones, which were liable to fuch changes, and therefore called Mefopicni and Oxipicni, which properly belong to the En» harmonic and Chromatic Genera, There are two forts of fta- biles or fuoni perpetui , Oxpicni and Baripicni (which fee.) *Tis not thus (fays Mr Brojfard) in the modern fyftem, for there is no found therein, but may be alter'd by an accidental flat or fharp, fe or & ; fo that among us, fays he, all the founds are moveable or vagantes ; but this muft be underftood that then we fhift the key, and play more according to fancy than rule, for every particular key in the modern as well as the ancient fyftem has in it particular founds, which are immobiles, Jlabile s y or per p etui. Su on i Vagantes, the fame as Suoni mobiles, Suoni Uniffbni, the fame w ith Homophoni. See Unison; Befides thefe difti notions there are many others, as fweet, clear, foft, fmooth, rough, and uneven founds. See Sou nd. Synem* s u o m çot^î^co 'a* *a-« c*» a. \ V, In' s. <* * S^ * as fi I a as V / £ ^^ S* a a S es o ^ a il as s* «*> O 5*. / ' mri^r m ri: s ~\ . « S*"* -i. «5. *»- 5' «>3 0* Si S> + çfg ■ - ■ • te* * ^ s ^to | S' Si «> as Si 1 ^00 w-t^w Si «> «Ç ^» as as Si h . ;>• a 5- Ne *■*. & << ^ - as =C^53 as <£ as ^5- Si tO M ^ - a a a ta <-> ^ as *•» a a S a c> o <-> sa c» as s ^ es S3 a wfteufs to ; to jè!*?^*^? *>« 4* a S*- S 1 S5- 5i Ci a •î> SUPER 248 SUP SUPER hi partiente quarta.znà fuper quadri par tient e duodecimal is a fort of proportion. See Proportion. This again, is a fort of Triple, which the Italian call Sef- tuplo di Semiminime, and triple of fix for four, thus mark- ed after the Cleff C f-, in which fix crotchets are required to compleat the bar, inftead of four in common time. See Triple. Super hi partiente Terza. See Proportion. Super quadri partiente dmdecima, or dodeupla di Crome> is a fpeeiesof triple, wherein twelve quavers are contained in a bar inftead of eight in common time, thus fignified after the Cleff C v z . Super quadri partiente Ost J See Prop0rTION and % mta ( Triple. lerza* SUPERNUMERARY, in mufic, called by the Greeks y Projlambanomenos^ is the laft chord added to their fy- item, anfwering to the A mi la of the firft Oclave of the modern fcale. See Diagram. SUPPOSITION, is the ufing two fucceffive notes of equal value as to time, one of which being a difcord fup- pofes the other a concord. See H arm on y. The harmony Mr Malcolm obferves, is to be always full on the accented part of the meafure or bar, and void of difcords, yet here difcords by proper refolution and prepara- tion are even neceflary, and muft be ufed, otherwife called paffing notes ; on the unaccented part of the meafure difcords by conjoint degrees may pafs without much offence, and it is not there required, that the harmony befo compleat as on the accented part. This tranfient ufe of difcords followed by concords, makes what we from the French call Suppofition, See Concord and Discord. There are feveral kinds of Suppofition ; the firft when the parts proceed gradually from concord to difcord, or e contra from difcord to- concord, the intervening difcord ferving only as a tranfition to the following concord. Another kind is, when the parts do not proceed gradually from difcord to concord, and vice verfa ; but defcend to it by the diftance of a third. A third kind, like the fécond, is when the rifing to the difcord is gradual, but the defcending from it to the following concord, is by the diftance of a fourth. A fourth kind, very different from all the reft, is, when the discords fall on the accented part of the meafure; and the rifing to it is by the interval of a fourth ; in which cafe it is abfolutely neceflary to follow it immediately ? by a gradual defcent SUP 249 defcent into a concord, that has juft been heard in the har- mony, to make the preceeding difcord pafs without notice, and only Teem a tranfition into the concord. Mr Brojard lays us down the following rules of Suppofition : In the firft he fays, the notes of the part that moves while the other holds out, or continues on a found, muft proceed by conjoint degrees ; if they proceed otherwife, that is disjoint, they muft be all concords. Secondly. If two notes are played to one of another part, the firft muft be concord, the fécond only may be difcord ; which neverthelefs muft be followed by a concord in conjoint degrees, either rifing or falling. Thirdly. If four notes are played to one of another part, as four crotchets to a femi-breve, only the fécond and fourth are allowed to be difcords ; and confequently the firft and third, by a gradual afcent or defcent are to be concords. The firft of every two being reckoned long or accented, muft be con- cords, the fécond and fourth fhort or unaccented, may be difcord. See Accent. Fourthly. When three Notes are played to one, they muft all be of equal value, as in the meafure £ J or, Ç &c. the fécond mult, and fometimes, though very rarely, the third may be difcord, and the firft always concord. If the firft of thefe three be as long as the two other, it muft be concord (very rarely difcord) the fécond and third may be difcord, or either of them at pleafure. If the laft be as long as the two firft, the firft of them muft be concord, the fécond difcord, and the long note may be either as occafion ferves. Laflly. If thefe three notes be of equal value, but preceeded by a paufe eq'jal to one of them, the firft of thofe left may be a difcord, becaufe the paufe is reckoned in the place of the concord. I know, fays that Author, thefe rules are not fo regularly obferved as they ought ; for fometimes, when four crotch ts are played to a femi-breve, the fécond is made difcord, tho' not proceeding by conjoint degrees, the third and fourth con- cords ; fometimes the firft and third are concords, the fécond and fourth difcords, or even the firft, fécond and fourth con- cords, and the third only a difcord. Very often, continues he, four femi-quavers, tho' in different degrees of tune, are reckoned for one crotchet ; but 'tis the quicknefè of the mo- tion, or the neceftity of favouring fome exprefiion, that in ibme meafure excuies thefe irregularities ; and the îefs com- mon they are the better. SUPRA. See Epi and Hyper, K k : S Y, 250 S Y N S Y, one of the fylîabîes ufed by the French to exprefs a certain found in the fcale of mufic ; for it's invention fee Si. The note expreffed hereby anfwers to the Hypate Hypaton of the ancient fyftem, and alfo the Paramefe it's o&ave, when natural ; but if it have this character & before it, 'tis the Trite Synemmenm of their fcale, and our B moll or flat, See Hy- pate Hypaton, Trite Synemmenon, Para- mese and System. SYMPHONIALE, a word often prefix'd to a canon or fugue, to mew that it is in unifon, i. e. that the fécond part is to follow* or imitate the firft in the fame intervals, founds, notes, &c. the third to obferve the fame with regard to the fécond, and fo on. See Symphony. SYMPHONY, in mufic, a confonance or concert of feveral founds agreeable to the ear, be they vocal or inftru- mental, or both; and may be alfo called harmony. See Har- mony. Some there are, who reftrain Symphony to the foie mufic of instruments : In this fenfe they fay the Recitativos of fuch an opera were intolerable, but the Symphonies excellent. See Song. The ancient Symphony, moft modern writers are apt to think, went no farther, than two or more voices or inftru- rnents fet to unifon. Mr Perrault has endeavoured to prove, that they had rto fuch thing as mufic in parts ; at leaft, fays he, if they ever knew fuch a thing, it muft be allowed to have been loft. SeeSYNAULiA. 'Tis to Guida Aretine we owe the invention of comportions in parts ; 'twas he firft joined in one harmony feveral diftincl: melodies; and brought it even to the length of four parts, as bafs, tenor, counter-tenor, and treble. See Harmony, Melody, Treble, &c. SYNAPHE, a Greek term which fignifles, according to Boe'tius, Bacchius fenior, and others, conjunction ; a chord is faid to be conjoint, when fo placed between two fourths, that it is at the fame time the higheft of the fourth below it, and loweft of that above it. Bacchius fenior gives us three Synaphes \ for, fays he, there are five fetracords, Hypaton, Mefon, Synemmenon, Diezeug- menon and Hyperbolœon ; now the Hypaton tetracord is Joined to the Mefon by Hypate Mefon, and Mefon to Synemmenon by Mefc, and Diezeugmenon to Hypcrlolœon by Net e Diezeug- menon i. e. there is a found or chord in each of thefe tetra- cords or fourths, that ferves as the higheft of one and loweft of the other. SY- I S Y N . 251 SYNAULIA, in the ancient muftc and concert of pipes performing alternately without finging. Mr Malcolm, who doubts whether the ancients had pro- perly any fuch thing as inftrumental mufic compofed wholly for inftruments, without finging, yet quotes the practice of Synaulia from Athenaus. See Song, Symphony, Har- mony, Music and Sing ing. SYNCOPATION, denotes a ftriking or breaking of the time, whereby the diftinction of the feveral times, that is parts of the meafure, is interrupted. See Time and Mea- sure. ' Or it is more particularly ufed for the connecting the laft note of one bar with the firft of a following one, fo as to make only one note of both; 'tis alfo fometimes ufed in the middle of a meafure ; likewife when a note of one part ends or terminates in the middle of a note of the other j but this is otherwife called binding or legature. Syncopation is ufed alfo for a driving note, i. e. when fome fhorter note at the beginning of a meafure or half meafure, is followed by two, three or more longer notes, before any other, occurs equal to that which occafioned the driving note, to make the number even ; e. gr. when an odd crotchet comes before two or three minims, or an odd quaver before two or more crotchets, &c. SYNCOPATO Contrapunto.. See Syncope and Counterpoint. SYNCOPE, fignifys the divifion of a note, ufed when two or more notes of one part anfwer to a fingle one of the other, as when the femi- breve of the one anfwers to two or three notes of the other. But to have a right underftanding of the word Syncope, it muft beobferved firfi, that every bar in common time has two parts, one of which is when the hand falls, the other when it rifes. Secondly, That any note which contains two times, or a rife and fall sf the hand is divifible into two parts, for the firft whereof the hand goes down, for the laft it rifes. ^Thirdly, That every note (tho* of lefs value than a femi- breve) being divifible into two others, the firft thereof muft be during the firft part of the meafure, or with a rife or fall of the hand, the other part in the fécond. When notes do not follow this natural order, that is, vhen the firft part is not during the rife, and the other during the fall of the hand ; or when the firft part of the note is not ïnade in the firft part or inftant of the rife or fall of the hand, i% is laid to be fyncopaied, from fynkopto, ferio, verbero, — I K k 2 Jlrike r 2 5 2 S Y N ' flrike, 1 beat ; thus to diftinguifn the times of the meafure ; c onfequently when one or more notes are placed between two others, which are but half the value of that in the middle, as f P t or P ° 9 or f M the firft whereof is made with a fall, or in the inftant of a rife or fall ; or when inftead of -1— Q-JQ that firft note there is a paufe of its length, as . J±JL-tL. or :zrr} — _- or if inftead of fuch firft note, there are two equal to it, as iM ^^^p thefe may be moft properly faid to be fyncopated ; and are in mufic what feet are in poetry. It muft alfo be remarked, that Syncopes are writ three ways ; firft, by a figure onlv, which was the practice of the ancients, 'till thofe perpendicular lines, which we call bars, were ufed ; when the note was divided into two others, each of which was its half, they marked it with a femi-circle ^~~ > \, to fîiew that thofe two make but one: This makes what the Italians call- Note legate^ and is ufed by reafon one of the notes is in the latter part of a bar, and the other m the beginning of the next following. The third, which was highly difapproved by the art- cients, and which at piefent is very much ufed, is, when for the application of fome word, or to give a brisker motion to the fong, the notes fo parted bv the bar, were free and un- tyed. It often happens, that the firft of thofe two notes is di- vided into two others of lëfs value; and this may be done two ways; the firft is, by adding a point to the firfl: of the two notes that form this fub-divifion, and following it with another of equal value with it's point; the fécond is, when both of them are of equallength. All .thefe ways are com- mon in the modern practice, but mould not be ufed without ncceility, cr for fome particular reafon. Syncope, is often ufed in melody, or in the courfe of a fong, in mournful languifhing expreffions ; fometimes to exprefs fighs, and very often on the contrary in quick move- ments, to excite joy ; then caufing certain leaps or fprings among the notes proper to that end. But it's greateft ufe is in harmony, being as it were the life of it, by giving means of forming that agreeable contraft between concords and dif- r.ords, which makes the chief beauty of the modern mufic ; 1 ' and S Y N 253 and is that part of the feience, in which, fays Mr Broffard > we have any reafon to think, we excel the ancients. With refpect to harmonv there are three Syncopes : The firft is, when all the parts fyncope at the fame time, but without difcords ; thinking it enough to move uniformly, contrary to the natural order of the meafure. This the La- tins call Syncope œquivagans, it is not allowed to be any thing -excellent by judges of harmony ; and therefore is very fel- dom met with. The fécond, little better than the firft, is, when only one of the parts Jyncopes, and yet without difcord. In Italians 'tis called Contrapunto legato, becaufe the fyncoped notes mull be tved ; the Latins term it Syncope confonans de flat a* The laft is, when only one part fyncope >j r, and that to bring in fome difcord, and is the Contrapunto fyncopaio of the Ita- lians. This is the principal; we mall therefore give the reader fome obfervations hereon. . - Firft then, the difcord mud net be on the fyncoped note ; a concord there is indifpenfable, whether perfect, as octave and fifth,, or imperfect, as third and fixth, as well major as minor. This makes what is otherwife called preparing of difcords, fee Discord, where the manner of preparing and refolving them is explained. The fourth indeed, which ia the opinion of fome is a concord, of others a difcord, but more generally allowed both by the ancient and modern Theo- . rifts to be a concord, is often placed on the firft part of the Syncope, efpecially to form a cadence ; and as it is accounted a concord, this does not contradict the rule abovementioned. We alfo find fevenths, ninths, &c. on the firft part of the Syncope ; but as thefe diftbnances muft continue on the fé- cond part alfo, and the bafs hold on the fame note, this ought rather to be reckoned fuppofition than Syncope. See Suppo- sât ion. Secondly r According to the modern practice, any difcord but the redundant or defective eights and defective fécond may be admitted on the fécond part of the Syncope. The ancients, fays Mr Broffard, only ufed the ninth, feventh and fécond ; fometimes, but very rarely, the falfe fifth and tri tone ; and never any other difcordant interval, whether fuperfluous or defective. Thirdly, The difcord muft not reft upon the Syncope more than one time of the meafure; and if at any time it be ne- ceffary upon anv occafion to divide the fécond part of the Syn- cops into two, the fécond note muft not be upon the fame degree S Y N degree with the fyncoped note, but on the degree below it, or ■ that which refolves it into a concord. Fourthly, For it is not enough to make and prepare a dif- cord, but it muft be refolved, that is, it muft be followed either mediately or immediately by a concord 5 and firft, this muft be done in the time of the meafure following the Syn- cope; fecondly, the part that Jyncopes muft never rife, but on the contrary muft fall on the degree immediately below the fyncoped note ; never lower, for that is the found that refolves the difcord. Fifthly, We fay mediately, becaufe often they fall on the third, after having paffed a falfe fifth, before refolving the fyncoped difcord ; fometimes before falling on that third, a fyncoped fourth is pafTed, to which the falfe fifth ftands as a preparation. Sixthly, The third rule above is in all appearance evaded two ways in modern practice; the firft is, dividing the fécond part of the fyncoped note into two, three, or more of lefs value, before falling on the note which refolves it ; the fe-* cond is, by dividing the fécond part of the Syncope into two equal parts, the firft whereof refts on the fame degree with the fyncoped note ; the fecond (which may be fubdivided in any number of lefs value) rifes or falls to one of the cords in the acçompanyment of the difcord, before it comes to the note which ought to refolve it. The following is a table from the Documenti armonici di Angelo Berrardi, which fhews at once what the concords are, that refolve each diftance the moil naturally, whether the up- per or lower part Syncope, îffhm the treble or upper part Jyncopes. The 2d is refolved byunifon, The 4th by the 3d, The 7th by the 5th or 6th, The 9th' by the 8th, The nth by the ioth, TVhen the lafs or lower part Jyncopes* The 2d is refolved by the 3d, The 4th by the 5 th, The yth by the 8th, The oth by the 10th, I The nth by the 1 2th, SYNCOPSIS. See Syncope. SYNEMMENON Tetracordon, Ne te, Paranete and Trite Synemmenon. See Ne t e , Paranete, Trite and System. Synemmenon, apply ed, adjufted, is the name of «ne of the ancient Greek tetracords, added among the other four of their S Y S t 5S their fyftem, to the end that a found might fall between Mefe and Paramefe, or our A and B, which were diftant a tone major ; and by this means came to be called B moll, or the order of B flat, as the other before fuch divifion was called beccare or natural. See Genus and T-etracord. The B moll hexacord in Guide's gamut, anfwers to die Synemmenon tetracord of the Grecian fyftem. See Gamut and Hexacord. SYNKOPTO. See Syncope. SYNTONO, this name the Grecians gave to a fpecies of the diatonic genus, which was nearly our natural diatonic \ but now it's fourths and fifths have been tempered for inftru- ments of fixed founds, thefe are not ofconfequence mathema- tically juft ; this is the cafe in which our Harpficords and Or- gans ftand at prefent; but fee more fully under the article TEMPAR AMENT. Syntono, fays Zarlin, is the fame with the Hyperlydian mode. See Hyperlydio and Mode. S Y S T E M, a compound interval, or an interval com- pofed or conceived to be compofed of feveral lefs, fuch as the octave. See Octave and Interval. The word is borrowed from the ancients, who call a fimple interval Diafîem, and a compound one Syftem. See Dias- tem. As there is not any interval in the nature of things, fo we Can only conceive any given interval as compofed of, or equal to the fum of feveral others. This divifion of intervals therefore only relates to practice ; fo that a Syftem is properly an interval, which is actually di- vided in practice, and in which along with it's extreams, we conceive always fome intermediate terms. The nature of a Syftem will be very plain, by conceiving it an interval, whofe terms are in practice taken either in im- mediate fucceflion, or the found is made to rife or fail from one to the other, by touching fome intermediate degrees ; fo that the whole is a Syftem or compofition of all the intervals between one extream and the other. Systems of the fame magnitude, and ccnfequently the fame degrees of concord and difcord, may yet differ in refpect of their compontion, as containing, and being actually divi- ded into more or fewer intervals; 2nd when they are equal in that refpeft, the parts may differ in magnitude : Laflly, when they confift of the fame parts or lefîêr intervals, they may dif- fer as to the order and difpofttion thereof between the two extreams. There 256 SYS There are feveral diftinclions of Syjiems ; the moft remark- able are into concinnous, and inconcinnous. Concinnous Syjiems are thofe, which confift of fuch parts as are fit for mufie ; and thofe parts placed in fuch an order between the extreams, as that the fucceflion of the founds from one extream to the other, may have a good effect. See Comsona N"CE. The ccncinnous Syjiems, according to Euclid, are Diatef- faron, Diapente, Diapafon ; Diapafon & Diatejfaron, Dia- pafon & Diapente, and Bisdiapafon. Inconcinnous Syjiems are thofe, wherein the fimple inter- vals are inconcinnous, or badly difpofed between the two ex- treams. The inconcinnous, that author obferves, are all lefs than the fourth, and all thofe fituàted between thofe abovemen- tioned. A Syjiem is either particular or univerfal. An univerfal Syjiem is that which contains all the particu- lar Syjiems belonging to mufic ; and makes what the ancients called Diagram, and we the Scale of Mufic. See Scale. The ancients who agree, that a Syflem is compofed of two intervals at leaft, diftinguifhed theirs into perfecl and imper- fecl. The Bisdiapafon or double oclave was reckoned a per- fect Syflem, becaufe within its extreams are contained exam- amples of all the fimple and original concords, and all the variety of orders, wherein their concinnous parts ought to be taken ; which variety conftitutes what they call fpecies or figures of confonances. All Syftems lefs than the Bisdiapafon, were reckoned imper- fect. The double oclave was called Syjiema maximum £ff immuta- turn, becaufe they took it to be the greateft extent or diffe- rence they could go in making melody ; but this muft not be underftood literally, that it was their greateft compafs, but a little more at Jarge; that within the compafs thereof were contained, as has been faid, examples of all the fimple con- cords, and their neceffary varieties ; for fome among them indeed added a fifth thereto for the greateft Syjiem ; but the oclave or Diapafon was reckoned the moft perfecl Syjiem, with refpecl to the agreement of its extreams ; fo that how many oclaves foever were put into the greateft Syjiem, they were all to be conftituted and fubdivided the fame way as the firft ; fo that when we know how the oclave is divided, we know the nature of the diagram or fcale ; the varieties where- of conftitute the Genera Melodia, which are fubdivided into fpecies. See Ge n u s and Sp e c \ E s. According SYS 257 » * According to Bacchius fenior, the Syjïema îmtnutabile con- tained two perfect Syft&ms, the one was conjoint, as Diapafon and Diatejfaron^ the other disjoint, as Diapafon and Dia- pente. In the firft ftate of the Lyre the tetrachord was the greater! Syftem, which was called by Bo'étius the Syftem of Mercury^ becaufe fuppofed to have been invented by him, about the 2000 year of the world. This Syftem ran through many hands, and rofe to a feventh, in which there were two conjoint fourths, b, c y d, *' * ' ^ a * See Tetrachord and Con- *> JONT. But it was foon found that a feventh had not extent enough to exprefs the founds a of human voice ; whereupon an eighth chord was added by Pythagoras, and the Syftem by degrees was encreafed by others to a double cclave, or fifteenth. See Octave. Between the two lowefl chords of each fourth there was an interval of five commas, or a femi-tone major ; and between the two higheft but four, or a femi-tone minor ; and between the two middle ones there was a tone major ; at leaft, fays Mr Broffard, this is the opinion of the ancients. See Comma and Semi -tone. In this ftate the Syftem was called diatonic, t. e. pro- ceeding by, or compofed of, tones and femi- tones, and therefore very eafy to fing. But as there was a tone major between Mefe and Paramefe, which made the fourth from F to B redun- dant and difagreeable, another fourth was inferted, called Trite Synemmenon, to make a found fall between them, and divide that tone into two femi- tones, one major, the other minor ; this is our B flat. See Trite and Lyre. • It was this put Timotheus of Mllefus upon dividing the intervals c d and f g, which were the middle chords of the tetrachord, and at the diftance of a tone major, into two femi-tones ; and that by means of a double diefis # : thefe were called fnoni mohili, (fee Suono) and hence fprung the chromatic genus. See Genus and Chromatic. ^ But he did not divide the intervals d e and g a, and which were the higheft chords of each fourth in the heptachord, becaufe they were but tones minor ; thofe therefore were called JuQtû fiabiliy or fixed founds. See Scjono and Gen us. L i At 258 SYs At length Olympus, confidering the divifion of the tones major, thought that the tones minor might alfo be divided; he therefore placed a chord between the two loweft founds of each tetrachord, u e. between b and c^ e and/, and another be- tween the fécond diatonic of each fourth and the chromatic, which was a femi-tone higher than the diatonic ; and hence arofe the enharmonic genus with it's diefis. See Enhar- monic and Genus. Thefe three genera being reduced into one Syjiem, make what the ancients called. Genus Spijfum. (See Sp issus.) And the founds of the fourth fo divided, flood thus ; the white notes' are the diatonic, the two firft black ones enharmonic, and the breve chromatic. Tn this the fourth was compofed firft of four ndj was that there were no chromatic chords there- in but B flat. It is much to be wondered at, continues that author, that Guido, who was fo well verfed in the Grecian Syjlem, did not at lead introduce more than one, fince they are fo often even neceflary in harmony or compofitions of many parts ; (the invention whereof-is moft generally attributed to him) nay, ,'th almoft impoilible to make good harmony without their affiftance. The SYS z6i The third inconvenience, adds he, was the fmall extent of his Syjfem, for fince they have compofed fongs in parts, certain it is that neither the double octave of the ancients, or the additions which Guido made thereto, have compafs enough ; although in that extent are contained varieties enough for good harmony. The laft was, that all his notes were almoft of equal value as to time, therefore he could not diftinguifh that variety of meafures and time, (as at prefent) which are the greateft beau- ties of a fong. To remedy thefe inconveniencies it was necelTary to frm a fourth Syjiem^ in which more chromatic chords were added, and which is no more than an augmentation or perfection of Guido'?, ; this Syjiem is what through the courfe of this work is called the ?nodem Syjiem. Firji y As the founds of this Syjiem were found to proceed by feven and feven degrees, exactly at the fame intervals, and might be repeated from octave to octave to infinity ; a ièventh fyllable was added to Guido's fix, in the middle of the laft age, called fi ; by means whereof, fay the French Mufi- cians, we can eafily exprefs every found in the octave, and make repetition thereof to what compafs we pleafe, without changing the names of any of the notes, or at leaft very feldom ; we fay very feldom, becaufe fome will have it, that when there is a flat after the clefF, or in the courfe of the piece upon the line of B, it intimates, that from A to B the voice is to rife but a femi-tone, it fhould, for diftinction's fake, rather be called fa orza, than^//: but many there are on the other hand, who content themfelves with railing or falling the voice or found a femi tone, and change not the name ; and indeed if this rife or fall bejuft, it matters not much what name the note goes by ; fo that Guido\ octave, with one chro- matic chord therein, flood thus, afcending and defcending. Se condly, It being found, that there was a chord placed betw eeh the Mefe and Paramefe of the ancients, or our A and B, which divided the interval of a tone that was between, them, into two femi- tones ; 'twas thought that chords alia might be added as well between thofe that were at the like diftance from one another, i. e. had a tone between them ; upon which they have not only inferted the B mo 1 ', as ™ Guido's 2 6a S Y S Guido's Syjlem, but alfo the chromatic chords of the ancient fcale, that is, thofe which divide the tones major of each te- trachord into two femi- tones ; this was affected by raifing the loweft chord a femi-tone, by means of a double diefis s& 9 which was placed immediately before the note fo to be raifed, or on the fame degree with it after the cleff: again, it having been found, that the tones minor terminating the the tetrachords upwards, were no lefs capable of fuch divifion, they added the chromatic chords fo dividing the tones minor, to the fyftem ; fo that the octave then became compofed of thirteen founds and twelve intervals, eight whereof are dia- tonic or natural, thus diftinguifhed by white notes O, and five chromatic thus by black ones O , and the diefis pre- fixed. 5j j i o-vyrî Ti ^^ M - ^ ' P B As to the enharmonic founds of the ancient Syjîem, moft modern authors fay they were fo extreamly nice and difficult in practice, that they were entirely laid afide. See En har- monic. Thirdly^ To remedy the defects on account of the fmal! compafs thereof, and that they might have chords enough to vary and multiply the parts which compofè the harmony, they augmented the old number to twenty-nine diatonic or natural, and twenty chromatic ; fb that inftead of four tetrachoids and two octaves, which was the extent of the ancient fcales, they have now eight, and four octaves compofed like that a- feove defcribed, of eight diatonic and five chromatic founds ; i. e. thirteen founds and twelve intervals. This is the ufual compafs of Organs, Harpfichords, çfrc. But of late years even this number has been much encreafed. Fourthly \ As the equality of Guido's notes rendered a fong too uniform, and deprived them of the variety of movements quick and flow, which were aim oft neceflary to give plea- sure, and make the piece agreeable , and as they often caufed a difagreeable pronunciation of the words of a fong. The famous John de Muris y Doctor at Paris y invented notes of different lengths about the year 1333. See Note and Fi- G URE. We (hall here endeavour to give the reader a general tabic of the four Syjfems above-mentioned, at leaft in the manner they have descended to us, which may ferve as an explanation of what has been faid thereon, Sf* the plate annexed. With 41 ^ I • to" (J c- 9 ifcLtcLp cl/o?v -^o> 3 •a S -m A A Ph ^ ,8 •5 a S "« e, « 5 a -5 Rl V 'CT P-i Pi &1 -2 ■8 tu e .41 ■te .41 4i 41 Ri ■SS 4> S) •s Rl 4) 41 a ■B -2} 41 The CUiticnt System according to -Arjftoocenus and many others Diatonic § <\> s; o « c ■E a .g ^ &> » 4-i ^ S t^ <5S ^ 3 g ,-S Proerefsion. , •S ^ P S 41 C .& o 6 8 Jili^t ,K H „« 4i ■o K ^ f^ ^ H + 1 £ £ «5 $ The Tetrachord added to the ancient Scale by Gnido Aretine about the V ear 1122 £ifti°± C D E F G A The Letters of the Modern System S ïf The Letters which Tope Greqorymade iiTe of a Guidos Letters with the Greek Gamma at [their Head 6 B B c c d d e e f r a e f 5 B c à e f R B c a e f § c B c B c B c P. 2 that of the 9 c c third ; if there be three c, 'tis for that of the ut of the fourth c o&ave. Befides thefe Syjlems there are many others mentioned by different authors, as Syjlem maximum, immutatum, diatonicum, pythagoricum, which perhaps may be only different appellations of what the Greeks called by the general name of Bis diapafon, and in foci, the ancient Syjlem above explained. SYSTEMA SYS z6s SYSTEMA Ugale, invented by Jri/Ioxenus. See Temperament. Systema Riformato, or Syflema participator or temperato; the fame with that of Arijtoxenus. See Temperament. Mr Sauveur invented another Syftem, in which the octave was firft divided into 43 parts, which he called Merides ; and thofe again into 301, by him called Ept amer ides. This -yftem^ fays Mr BroJ/ard, is very ingenious, but is very difficult in practice, and 'tis to be feared 'twill always have fome difficul- ties. The curious may fee it in the memoirs of the academy of fc iences of 170 1, S Y S I G I A, is a Greek term, that fignifies the combining many founds together ; which when ftruck at the fame time, though different in the degree of tune, are fo propor- tioned among one another, as that their confonance, ;'. e. joint founding, affects the ear with pleafure. This is what, fays Mr Brojjard, late writers feem apt to think the ancients knew very little of ; nay, fome prefume that 'twas entirely unknown to them, and is what the mo- derns call accord. See Accord or Concord. There are many kinds, as perfect or imperfect ; the perfect is that wherein none but good concords are ufed, fuch as thirds, fifths, and eighths. The imperfect, is when the fixth is heard ; there is alfo a falfe Syjigia, which is when fome dis- cords itrikes the ear, as feventh, fécond, ninth, and all inter- vals that are either redundant or defective. Sysigia again is either fimple or compound. The fimple Syjigia, is when two concords at leaft are heard together, and confequently no lefs than three founds, as third and fifth ; and this is done either immediately, which is cal- led the harmonical triads or in a more diftant manner, when the upper founds are one or more octaves higher ; examples of the firft are marked A thofe of the latter B. A « B i xz :cr re This diftant pofition has not a bad effect for the third, but for the fifth it is not fo well ; and generally fpeaking, the niore immediate or the nearer one another thefe accords are, the better, efpecially in accompaniments. The compound accords, are when one or more of the founds of the harmonical triad are doubled, or raifed one or more octaves higher than their natural fituation ; and this a- gain may be done in different manners, M m j ft. When 2 68 SYS i/?. When only one of the founds of the triad is doubled, the piece is defigned for four parts ; if the bafs found be doubled, L e. if the o&ave is added to the third and fifth, 'tis a perfect, accord, as containing all the good concords in the extent of the octave ; if the found that makes the fifth is doubled jnftead of the octave, 'tis imperfect, but yet to- lerable ; but the third mould feldom or never be doubled. id. If two founds of the harmonical triad are doubled, the piece is made in five parts, in which cafe, the found that makes the fifth is doubled, rather than that which makes the octave, after having doubled the bafs with the octave -, which indeed ought not to be doubled but in cafe of need. yl. If all the founds are doubled, 'tis for a compofition of fix parts, and therein the found that makes the third may as regularly be doubled as the fifth. Lajlly, If the piece be for (even or eight parts, then after having doubled all the founds of the harmonical triad, one or two octaves higher are doubled, or any of the founds that (hall be molt, proper. 1 1 ■ TAC 3.67 T. TP Stands for Tutti, all, or altogether. See Tutti. It ■ ? isalfo ufed to mark the tenor, and has the words pri- mo, fecondo, or the figures i°, 2°, to fignify the firft or fé- cond tenor. The letter T, or tr is often ufed likewife to fignify a (hake to be made on any found, and is placed over the note fo to be , t tr (hook on, g or f-, and here 'tis an abbreviation of the word Trilby t TABLATURA, the old way of fetting down mufical comportions with letters infteàd of notes ; nay, fome even call the prefènt way of writing mufic in notes Tablature, though with no great propriety. See Tablature. TABLATURE, in general fignifies when to exprefs the founds or notes of a compofition, we ufe the letters of the alphabet, or any other character, though not ufual in the modern mufic. See Score. But in a ftricler fenfe, Tablature is the manner of writing a piece of mufic for the Theorbo, Lute, Guittar, Viol, or the like, which is done by writing on parallel lines (each of which reprefentsa firing of the inftrument) certain letters of the alphabet, whereof A marks that the ftring is to beflruck open, /. e. without putting the finger of the left hand on the neck. B fhews that one of the fingers is to be put on the firft flop, C on the fecond ? D on the third, and fo on through the ©clave. The Tablature of the Lute is wrote in letters of the alpha- bet, and that of the Harpficbord in common notes with figures over their heads, though the Germans, Saxons, Swedes, &c. who feldom or never ufe our notes, and who have rendered themfelves famous for their accurate practice and knowledge of this fort of writing, ufe it not only for the Lute, Bafs-viol, &c. but alfo for the Organ and Harpfichord, placing plain let- ters without lines. See Lute and Harpsichord. TABOR, Tabour or Taborin, a fmall kind of drum. See Tympanum and Drum. TA CET, fignifies let it be filent, from Tacere. This word is often met with in Italian pieces inflead of a reft or paufe, efpecially when fome part of a fong is too long to be jnarked with paufes, though a filence of that part be required; it 168 T E: M it ufually fignifies that a whole part is to lie ftill. Thus Chrijle Trnet, depofuit Tacet, intimates that while one or more parts are performing the Chrijle, or the verfe depofuit, lac. the part in which 'tis put fhould be filent. Ta cet, is a term purely Latin, though the French have engrbffed it to fignify a reft or filence in general, and indeed it Signifies the fame as the Italian Tacet. See Tacet. TACT, is a German word which fignifies meafure. See Measure, Battut a and Metron. TACTUS or Menfura. See Measure. TAGLIATO cut, cleff, this term the Italians make life of to name the figns of the meafure, which the French call Barré ; 'tis when the character of the time is thus mark- ed É % with a perpendicular line drawn down it's middle: this is the mark of common time pretty quick, which contains a breve, or it's quantity in lefs notes, in each bar, therefore called alia breve. See Common and Time. T A R D O, lignifies Jloiv, and is much the fame movement as largo. See Largo. T A S T A T U R A, the whole range of keys of Organs, Harpfichords, &c. See Organ, Harpsichord and Key. And hence thofe pieces which a mufician plays by way of prelude or introduction came to be called Tajlature, being for no other purpofe than to try if the inftrument be in tune. See Fantasia, Prelude and Ricerc at a. T A S T O, the touch or part of any inftrument whereon, or bv means of which it's notes are made to found, be it on the neck, as Lutes, Violins, &c. which are called fixed and im- moveable ; or the front of Organs, Spinets or Harpfichords, where the keys are difpofed to raife the jacks, called movea- ble touches ; and is properly no more than the finger-board of of each. The Italians often put the words Tajlofolo in their thorough bafies, to fignify that the inftruments that can accompany their accords, as the Lute, Organ, &c. are only to ftrike a fingle found, from that place, till they find cyphers or the words accorda or accompanimento placed in their part, which intimate that there the accords are to be begun. TAT TO, the fame with Taclus. See Battut a or Measure. TATTOO, i. e. Tapto, a beat of Drum at night to advertife the foldiers to retreat or repair to their quarters in a garrifon, or to their tents in a camp. See Drum. To TEMPER. See Temperament. TEMPERAMENT TE M 269 TEMPERAMENT, or Tempering, in mufic, the ac- comodating or mending the imperfect concords by transfer- ring to them part of the beauty of the perfect, in order to re- medy the defects of all mufical inftruments whofe founds are fixed. The degrees of the octave, which by Euclid are called it's elements, as being the fmalleft intervals that, among us, it is refolved into, are two greater femi-tones, and three greater tones and two lefs. See Music, Octave, and Tone. , Now the different fituations of thefe elements, with refpea to each other, occafions that intervals or concords of the fame names, as thirds or fourths do not confifl: of the fame degrees or elements, though there be alwavs the fame number of them j but fome fourths or fifths for inftance are perfect and others not. To mend thefe imperfect concords muficians have bethought themfelves to temper, that is, to give them part of the agree - ablenefs of the perfect ones ; in order to this they take a me- dium between the two, and this they call a Temperament^ which neceflarily produces a new divifion of the octave, or, which is the fame thing, new elements. For inftance, whereas naturally it's elements are the greater femi-tone and the greater and lefs tones ; they take a middle tone formed of the greater and lefs ; and the only elements now are the greater femi-tone and this mean tone ; which renders the five intervals that are tones equal, and thofe that are fèmi-tones lèfs unequal to thefe. One might divide alfo each of thefe five tones of thé octave into femi-tones, which joined to the two it naturally has make twelve, in which cafe the whole octave would be divi- ded into twelve equal parts, which would be mean femi-tones. Temperament o, fays Mr Brojfard, is what the Itali- ûnsotherwifecaMParticipatione, we generally call it bearing: they therefore call the modern fyftem, Syjiema Tempcrcto, or Par- ticipate) becaufe 'tis founded on temperature ; that is, on the diminution of fome intervals, and the enlarging of others ; which makes it participate of the diatonic and chromatic fyftems. The better to underftand what is meant hereby, 'tis to be obferved, 3/?. that among the ancients, there were three fects, who had very different opinions concerning the precife compafs or extent of each interval. The firft of thefe were the Pythagoreans difciples of Pytha- goras, who would have it that reafon alone was the proper judge of founds and their proportions, and confequently, that the forms of intervals were all rational, 1. e. they admitted J3one but fuch as they could demonftrate either arithmeti- cally By the help of this addition, i. e. of one chromatic chord, the octave is divifible into twelve femi-tones, without any yoid in or between the two fourths whereof 'tis compofed ; and at the fame time by means hereof two of the genera, viz. Chromatic and Diatonic are brought into one fyftem, for which reafon 'tis again called Syjiema Participator or in Participation. It would afford matter enough for difpute to prove whether this Temperament have the beauties and conveniencies 'tis ge- nerally thought to poflefs ; for firft by this the ancient Dia- tonic genus inftead of being improved is utterly fpoiled, having it's intervals improperly diminiftied and enlarged, and it's mathematical forms robbed of their juftnefs, which of con- sequence muft have likewife taken from the Chromatic many of it's excellencies, by reafon it's fémi-tones have not their juft ratios, for in this mufic may be compared to architecture ; if fuch a pillar, column, &c. require a certain proportion to make it beautiful, and even agreeable to the eye, the more is added or diminifhed in that pillar takes off from it's fy- metry and renders it difagreeable, yet not fo much fo as to flioçk the fight j fo in mufic when the fifth or the fourth have their 272 TEN their juft proportions, they greet the ear with more pîeafure, than when according to this temperament, the one is either di- minifhed or the other enlarged ; yet by this alteration they do not become (6 difproportioned as not to have a pleafing affect, tho' that be not fo ftrong as it might otherwife have been. Mr Broffàrd is of another opinion, for, fays he, it is Grange that the Grecians, who in all other points of this art ran fach great lengths, did not introduce fo ingenious, and at the fame time fo natural an invention, into their fyftem ; and this, fays he, agrees with what Horace fays in thefe words. Nee minimum meruêre decus Veftigia Graea 9 Auft defer 'ere, &c. As to the quantity which is to be added to, or deducted from the fifth, fourth, and other intervals, we (hall not here pre- tend to determine : Le Sieur Loulie of Paris, having writ an exprefs treatifeonthisfubje£t, printed at Amflerdam, where- in the curious may find many learned demonftrations on what we have cdXledTemperament, and how to find mechanically what is commonly called partition ; and alfo his monochord, which he calls fonometer. See alfo Mr Saveurs Syftem, in the Me- moirs of the Academy of Sciences of 1 70 1» TEMPERATO. See System and Tempera- ment. TEMPI, as a quatro tempi. See Tempo or Time. TEMPO. See Ti m e, being no more than the Italian word for it. Tempo di gavotta, di minuetto, — in the time or manner ff a gavotte or minuet. See Gavotta and Minuet, TEMPO REGIATO fometimes fignifies, that the Muficians who accompanies the voice, or the perfon who beats the meafure, fhould prolong fome particular part thereof, to give the a&or or finger room to exprefs the paf- fion he is to reprefent, or for him to introduce fome graces by way of ornament to the piece that is given him, or to per- form fuch as are marked in his book, cjfr. TENDERMENT, tenderly, gently ; as much as to fay,y?«^ or play after a f oft, fweet, gentle, moving and aff eel ~ ing manner. See Affet u oso. T E N O R E, the firft mean or middle part ; or that which is the ordinary pitch of the voice, when neither raifed to a treble, or lowered to a bafs. See Part and Music. The TER 273 The Tenor is commonly marked in thorough bafs with the letter T. This is a part which almoft all grown perfons can ilng ; but as fome have a greater compafs than others, either upwards or downwards 5 others are confined to a kind of medium, and others can go equally high or low. Hence Muficians make a variety of Tenors, as a low, a high, a mean, a natural Tenor: to which may be added, a Violin Tenor, &c. for inftruments. The Italians ufually diftinguifh two kinds of Tenor ; Tenore primo, l°, or p°, which is our upper Tenor; and Tenore fecondo, 2°, n° ; confounding ail the reft under the word Baritono. See Baritono. Tenore Concertante, is the Tenor of the little chorus, in which are all the recitos of the grand chorus ; if thefe are divided among many voices or inftruments, to diftinguifh, they fay Tenore prima or fecondo, &c. as, Tenore primo, fecondo, &c. concertante', the Italians make ufe of this phrafe, when the parts are different in the grand chorus, which often happens in a compofition of feveral parts; Tenore ripieno, is the Tenor of the grand chorus. Tenore primo, fecondo choro, — the Tenor of the firjl and fecondcborus ; thus the Italians fay of a Tenor, when they make a part of each chorus in comportions of three or more parts. Tenore Viola, or Violina, — aSenor Viol, or Violin. Tenor we often ufe for the perfon who fings that part in a concert, and for an inftrument proper to play it, TENOR IS TA, the perfon who fings or plays the tenor part in a concert. TERCET, a third. See Third, TERNARIO TEMPO, triple time. See Time and Triple. TERNARY MEASURE. See Measure. ,- TERTIA. See Trite. T e R t 1 a , Conjunclarum. j Tertia, Divifarum, C See System and Trite. T e r T I a , Excellentium. 3 T E R Z A, fignifies third, or the number three ; it alfo denotes a fong, air, or tune, compofed in three parts. Sefqui Terza. See Sesqui, Epitrito, and Pro- portion. TERZETTO, a little air 'or tune in three parts. See Trio. TERZO, for three, or in three parts, as illTerzo, or un Ter%o a trio y or compofition for three voices or inftru- N n merits; 274 TET ments ; or fometimes a third part, as un Terzo di battuta, — a third part of the bar» See Trio. TESTO, the text or fubjeft ; this word is applied by the Italians to the words of a fong, on or to which fome air Or tune, either melody or harmony is to be compofed. It is a matter of great concern to underftand well how to appro- priate or adapt the mufic to the words of a fong, to exprefs the fenfe ; and make a juft application of the long and mort fyllables to the notes sand times with which they are to be connected. But this branch of the fcience, which depends greatly on the knowledge of poetry, has lain a long time aim oft unre- garded, and even at prefent very little care is taken in this point in the modern mufick ; which is fomewhat wonderful, fince 'twas to this that the ancients attributed the extraordinary effe&s of their mufic ; for by them this branch was moft ac- curately obferved, and by this they regulated and governed their meafure, fo that they might produce the deflred effecls. TESTUDO, was particularly ufed among the poets, &c. for the ancient Lyre ; by reafon 'twas originally made by it's inventor Mercury, of the back or hollow fhell of a Tejludo aquatica, or Sea Tortoife, which he accidentally found on the bank of the River Nile. See Lyre. Dr Molyneux has an exprefs difcourfe in the Philifophical Tranfaftions, to fhew that the tortoife-fhell was the bafis of the ancient Lyre, and that the whole inftrument from thence had the name Te/iudo ; which account lets fome light into an obfcure paffage in Horace, Od. 3. lib. 4. O Tefiudinis Aureœ, Dulcem quœ Strepitum, Pieri, temperas, O mutis quoque pifcibus, Donatura Cygni, fi libeat,fomtm. TETAkTOS, orTETARTUs. SeePROTOs. T E T R A C H O R D, in the ancient mufic, a concord confiding of three degrees or intervals, and four terms or founds ; called by the ancients alfo (more properly,) diatefTarqn, and by us a fourth. See Fourth. In the ancient fyftem, the fourth, as has been faid, was diatonically compofed of four terms and three intervals ; the loWeft whereof was a femi-tone, the higheft a tone minor, and the middle one a tone majcr^ or e contra ; for the extreams being fixed, the middle founds alone were changeable. This order of the three intervals was found fo effential and neceflary to form the leiracbordy that they introduced another found TET 27* found, which divided it's tone major into two femi-tones, and which is our B flat. See Trite Synemmenon and B mol. The ancient fyftem contained four principal Tetrachords 9 which with the Trite Synemmenon made five, which they called Hypaton, Mefon, Synemmenon, Diezeugmenon, and Hyper- bolaon : their names are rendered in Latin bv Albinus thus : Hypa'as, fayslie, are Principales, Mefas médias, Synemmenas conjunclas, Diezeugmenas disjunUas, Hyperbolaas excellentes» See Hyp a ton and System. It may here be obferved, that fince the diviflon of the tone major by Tritç, Synemmenon into two femi-tones, and the octave into twelve intervals, in thirteen founds; the word Tetra- chord is no more ufed than with regard to the ancient fcale. This interval had the name of Tetrachord given it with re- fpect to the Lyre and it's chords. See Lyre, Chord, and Dl ATESSARON. Ancient authors make frequent mention of fynaphe or con- junction, and diezeupcis or disjunction, of the Tetrachord. To conceive their meaning it muft be obferved, that two fourths are faid to be conjoined when the fame chord is the higheft pf the loweft, and loweilof the higheft fourth ; as is the cafe of the two fourths that compofed the ancient heptachord or fe- venth. See Lyre. But when the two fourths had no common chord, but on the contrary had each their different ones to begin and end. with ; fo that between thefe two there was an interval of a tone major, the Tetrachord was faid to be disjoined, which is the cafe in the two fourths, whereof the octachord or octave is compofed. See Octave. Bacchius fenior is very exprefs upon this fubjecl:. SeeSYNAPHE and Diezeuxis. The word is formed of the Greek r{\^A,four times, and^c/Vi chord or firing. See Chord. Again, fee Trite, Sy- stem, Fourth, &c. What has been fa-id thus far of the word Tetrachord, is to be underftood of it as being an interval in mufic ; but the word in a littéral (enk, fignifying any thing that has four firings, may be with great propriety applied to the Lyre in It's primitive ftate, ù e. when it had but four chords ; the dif- pofition whereof, on the ratios they bore to one another, have given room for many difputes among the learned in the fciençe ; fome there are who are fatisfied with that given under the ar- ticle Lyre, which others look upon as merely fabulous and hiftorical ; which latter, think the Tetrachord in this fenfe, had thefe proportions following : that the firft was to be the fécond, a fourth as 4 : 3 ; the fécond to the third, a tone N n % major, ; *> 7 6 THE major, as 9 : 8 ; the third to the fourth, a fourth ; fo that from the firft to the laft was an octave, and from the firft to the third, a fifth, as 3 : 2 ; from thence to the laft, a fourth, here is that octave harmonically divided ; in the former cafe, where from the firft to the fécond was a fourth, and from thence to the laft a fifth ; it was faid to he arithmetically di- vided. See Harmonic al Division. TETRACHORDON. See Tetrachord. Tet r ac h or don Divtfarum, Excellentium, Mediarum y Principalium £ff ConjunEbarum. See SysteMjTrite S y - nemmenon, and Genus. TETRADIAPASON, i. e. fourfold Diapafon, a mufical chord, otherwife called a quadruple eighth, or a nine and twentieth. TETRATONON, the fuperfluous fifth may be thus called, as containing four tones. See Quint A, Dia- pente, or Fifth. TFXTTTS \ I esto and Usus. THEORBO, or Thiorba, a mufical inftrument made in form of a Lute, except that it has two necks or juga ; the fécond or longeft whereof faftains the four laft rows of chords, which give the deepeft and graveft founds. See Lute. The Tlieorbo is an inftrument which for this laft feventy or eighty years has fucceeded the Lute in playing thorough baffes. It is faid to have been invented in France by the Sieur Hotte- tnan, and thence introduced into Italy, The only difference between the 'Theorbo and Lute is, that the former has eight bafs or thick firings, twice as long as thofe of the Lute, which excefs of length, renders their found exceeding foft, and keeps it up fo long at a time, that 'tis no wonder many prefer it to the Harpfichord itfelf ; atleaft it has this advantage over it, that 'tis eafily removed from place to place. All it's ftrings are ufually fingle, tho' there are fome who double the bais ftrings with a little octave, and the fmall ftrings with an unifon 5 in which cafe it bearing more re- femblance to the Lute than the common Theorbo -, the Italians call it Archileuto or Archlute. The word is formed of the French Theorbe, of the Italian Tiorba, which fignifies the fame thing ; and is, as fome will have it, the name of it's inventor. THEORY, Theoria, a fimple fpeculation of the objecte of any art or fcience, which is the confidering or examining -the T H I 277 the eflênce, nature, and properties thereof, without ariving at it by a practice of the art itfelf. THEO RICO, a perfon who only applies himfelf to the theory of any art ; Mufico Theorico, fay the Italians, is a Mufician, who not only ftudies the fcience in private, but al- fo writes new treatifes on mufic, or comments upon thofe of the ancients to endeavour at an explanation of their dark paflages ; tho' at the fame time perhaps he may be an excellent praéticioner . See Prattico. THESIS, a Greek term, fignifying the fall of the hand in beating the meafure j the Latins call it Deprejfw, See Arsis and Per. P*rTHESIN. See Per and Fug a. THIORBA. See Theorbo. THIRD, an imperfecl: concord refulting from a mixture of two founds, containing two degrees or intervals, and three terms or founds. See Co ncord and Interval. The 'Third the Italians call Terz.a, the French Tierce, and the Latins Tertia ; it has no general name in Greek. It is thefirft of the imperfecl: concords, /. e,. of fuch as admit of majority and minority, without ceafing to be concord : and hence 'tis diftinguifhed into two kind. The flrft which the Italians call ditono (from the Greek ditonon) or Terza maggiore, and we the greater Third, is com- pofed diatonically of three terms or founds, containing two degrees or intervals, one whereof in the ancient fyftem was the greater tone, and the other lefs ; but in the modern fyftem oifyjlema Temper at 0, they are both equal as c, d, e -, i : e. on inftruments of fixed founds, for on others they are diftin- guifhed. See Tone and Semi-tone. Chromatically it is compofed of four femi-tones, two whereof greater and two lefs ; it takes it's form from the ratio fefqui quarta, 4:5. The fécond Third, which the Italians like, the Greeks call Trihemitono, or Semiditone, or Terza minore, and we the lefter Third, is compofed like the former of three terms or founds, and two degrees or intervals ; but thofe degrees diatonically make but a tone and femi-tone major, and chromatically three femi-tones, two greater and one lefs, as d, e, f, or d, f\ it takes it's form from the ratio fefqui quinta, 5 : 6. Both thofe Thirds are of admirable ufe in melody, and make as it were the life and foundation of harmony. See Melody and Harmony. It is here to be remarked, that the Third minor may be either harmonical or natural ; as when the tone is it's loweft interval, and the femi-tone it's higheft, as d y e,f 9 or a,b,c$ or 2 7 8 T H I or arithmetical and flat, when on the contrary, the femi-tone is below and the tone above, as e,f, g, or h, c, d. They are ufed agreeably, both afcending or defcending ; and that either di grado, or founding all their degrees, as c,d, e, or difalto, skipping the middle ones, as c, e. But it is to be obferved, that the greater Third has fome- thing in it gay and fprightly in rifing, and fomewhat heavy and melanchoily in falling ; the lefTer Third on the contrary has fomething foft and tender in rifing, and fomething brisk in falling. For the ufe of the greater and lefs Thirds in the feries of the fcale, fee Scale. There are two kinds of Thirds, that are diflbnant and vicious, the firft only compofed of two greater femi-tones, and confequently of a femi-tone lefs than the lels Third -, this is called the defective Third, from g to h flat. The fécond on the contrary, has a femi-tone more than the greater third, and is therefore called the redundant or fuperfluous Third, from f to a &. The defective Third is very frequent in Italian fongs, efpe- cially thofe compofed for instruments ; but 'tis not to be ufed without neceffity and a deal of difcretion. The redundant Third is abfolutely forbidden. In the ancient fyftem, fays Mr Brojfard, all thefe fpecies of Thirds had but one double, which was the tenth, but in the modern they have triplicate, quadriplicate, &c. See In- terval. A Third minor is marked thus in thorough baffes, 3 &, or fe 3, and fometimes only thus & ; the Third major 3 £> or £ 3, or alfo &. When a note in the bafs or other part is figned £, it is to have a # Third, or where the Third is naturally flat if this & be placed with it, it fhews that the Third is to be diminiflied; and if when the Third is naturally major, this be placed there #, 'tis to be fuperfluous or redundant ; both of thefe are very feldom done. The Third, as well major as minor, have very fine effeÇb in harmony, and may be called the foundation thereof 5 whence 'tis permitted, to make as many Thirds after one another, as one pleafes, either to the bafs, or fome higher part. Our antients, fays Mr Brojfard, i. e. thofe fince Guîdo, among their other rigid precautions, tyed themfelves to two rules with refpecl: to the ufe of Thirds ; the firft was, that they were to be made in conjoint degrees ; the fécond, that both major and minor were to be {hook on ; to the end, that there might be a variety, and that the one might ftrengthen and make the other apparent. But the moderns, fays he, have T H I 279 have cleared themfelves of thefe niceties, and at prefent, make as many Thirds as they pîeafe m disjoint or conjoint degrees, and that without making, and ufe three, four, or more fol- lowing 'Thirds major without any fcruple, becaufè fo many Thirds cannot but have many natural and accidental notes, which difference alone, is furncient to form infinite varieties in the agreements of the harmony. *Tis one of the molt indifpenfable rules of a trio or compofition for three parts, that the Third either major or mi- nor be heard in fome part of every meafure, whether to the bafs, or between the two upper parts : but the fixth being a Third reverfed, may fometimes fupply it's place, if any following part of the fohg or any particular expreffion require it. And hence 'tis, that the Third may prepare, accompany, or refolve, mofl of the difcords ; but more properly the fé- cond, falfe fourth, or tritone, falfe fifth, feventh, &c. See each in it's proper place. And laftly, by this means we may pafs from any concord to a Third, and from the Third to any concord, at pleafure. But it may here be obferved, 1/?. that when the bafs or lower part rifes from a fourth, or falls from a fifth to- an oc- tave, the preceeding Third is to be major rather than minor ; 2d. when we would pafs from the Third to the fifth by a con- trary motion, the third minor is more proper to be ufed than the major ; for by this means we avoid the falfe relation of the tritone; ^dly, that the dominant of every. mode naturally requires a Third major, for if the Third minor be ufed, it intimates that the mode is to be changed quickly after it. It muft here again be obferved, iji. that the Third in gene- ral has not fo good an efFecl in the low parts, or thofe that lye near the bafs, as in thofe remote from it, at the diftance of an o&ave, /, e. that the fimple Third is good, but much better when double or tripled, &c. idly, that the fimple Third mm^T has fomething in it fo fad and mournful, efpe- ciaily in low or grave founds, that 'tis by fome thought a difibnant interval, and accordingly ufed in lamenting doleful expreffions. And as when it is doubled, tripled, £5V. it has a little more life, 'tis ufed in tender and affeding ftrains -, *$dly, the iimple Third major is really flrong and fonorous, and therefore has a much better efTecl: in lively brisk airs than the third minor, efpeciallv if doubled, &c. and beft of all when ufed in fome of the high parts of the compofition. As to the defective Third, 'tis fometimes ufed inflead of the Third minor, and in harmony is to be ufed with more dif- cretion than in melody ; but the redundant or fuperfluous Thirds as has been faid, ought feldom or never to be heard. THO- s8o TIM THOROUGH BASS,jV that which goes quite through the Compofition, that is, continues to play or ilng both during the airs, recitatives, and to fuftain the" chorus. See Bass. THRENODIA, a mournful funeral fong. See Son g . TIERCE. See Third. TIME is an affe&ion of found, whereby we denominate it long or {hort, with regard to its continuity in the fame de- gree of tune. See Tune and Sound. Time and Tune are the greateft. properties of found, on whofe differences or proportions mufic depends : Each has its feveral charms, Where the time or duration of the notes is equal, the differences of tune are alone capable of entertain- ing us with en dlefs pleafures. And of the power of time alone, i. e. the pleafures ari- fmg from the various meafures of long, (hort, fwift, and flow, we have an inftance in the Drum, which has no dif- ference of notes as to tune, See Tympanum. Time is confider'd either with refpecT: to the abfolute du- ration of the notes, that is, the duration confldered in every note by itfelf, and meafured by fome external motion foreign to mufic, in refpecl: to which the compofition is faid to be quick or flow ; or it is confider'd with refpecl to the relation, quantity or proportion of the notes compared with one another. See Note. The figns and characters by which the time of notes is re- prefented, are (hewn under the article Charafler, where their names, proportions, &c. are alfo expreffed. A fern i- breve, for inftance is marked to be equal to two minims, and a minim to two crotchets, a crotchet to two quavers, fo on, and (till in a duplicate Ratio, /. e. in the Ratio of 2 : i. Now, where the notes refpecl: each other, .thus, *. e. where they are in this Ratio, the mufic is faid to be in duple, that is, in double or common Time. When the notes are triple each other, or in the Ratio of 3 : i, i. e. when the femi-breve is equal to three minims, the minim to three crotchets, and the crotchets to three quavers, &c . the mufic is in triple Time. Now to render this part as fimpleas poffible, the proportions already ftated among the notes, are fix'd and invariable ; and to exprefs the proportions of 3 : 1, a point (.) is added on the right fide of any note, which is deem'd equivalent to half of it, and by this means a pointed femi-breve becomes equal to three minims, a pointed minim to three crotchets, a pointed «rotchet to three quavers, and fo of the reft. From TIM 281 From hence arife feveral ratios conftituting new kinds of triples, as 2 : 3, and 3: 4, &c. but thefe Mr Malcohn fay s are of no real fervice, and are not perceived without a pain- ful attention. For the proportions of the Ti?ne of notes to afford us pleafure muft be fuch as are not difficultly perceiv'd, on which account the only ratios fit for mufic, befides that of equality, are the double and triple. How far Mr Malcolm may be right I fhall leave to the difcerning reader's better de- termination. Common or double Time is of two fpecies, the firft- is where every meafure is equal to a femUbreve, or its value in any combination of notes of lefs quantity. The fécond is where every bar or meafure is equal to a minim, or its value in lefs notes. The movements of this kind of meafure are various, but there are three common diftindtions ; the firft flow fignified by the mark C, called ferni-circle, at the beginning ; the fécond brisk fignifkd by J; the third very quick, fignified by J this 2, or this J ; but when it has the laft, there are but two crotchets in a bar. See Ta g l i a t o. But then what that flow, brisk, and quick is, is very un- certain, and only to be learned by practice , the neareft mea- fure we know of it, is to make a quaver the length of a pulfe of a good watch ; then a crptchet will be equal to two pulfes, a minim four, and the whole bar or meafure eight • this may be reputed the meafure of brisk Time y for flow 'tis as long again, and for the quick only half as long. The whole meafure then of common Time is equal to a femi-breve or minim. But thefe are varioufly fub-divided into notes of lefs quantity. See Measure. Now to keep 'time equally, we make ufe of a motion of the hand or foot ; knowing the Time of the crotchet, we fhall fuppofe the meafure actually divided into four crotchets for the firft fpecies of common time ; then half the meafure will be two crotchets ; therefore the hand or foot being up^ if we put it down with the very beginning of the firft note or crotchet, and then raife it with a third, and then down a- gain to begin with the next meafure ; this is what we call beating of Time. By practice we get a habit of making this motion very equal, and confequently of dividing the bar or meafure into equal parts up and down ; as alfo of taking all the notes in- their juft proportions, fo as to begin and end them precifely O o v/ith trta TIM With the beating i In the meafure of two crotchets thetfrfl is beat down, the feCond up. Some call each half of the mea- fure in common Time, a Time ; and fo they call this the mode or meafure of two Times, or the duple meafure. According to the antients the Time was a certain character placed after the clefF, to {hew how many femi-breves the breve contains, and hence arofe thofe different diftinctions into Tempo perfette, and tempo imperfetto, in the latter whereof the breve was equal to, or contained no more than two femi-breves, but in the former 'twas equal to three, and each of thefe had its particular character, the former forinftance had thefe two characters peculiar to itfelf i^qig^pm— — r , | , and the 3£=Ft latter thefe three ^pjjf^Ê ^ , the characters of the £rft (hew the breve to be equal to three femi-breves, thofe of the laft, that it contains but two. Wnen the characters of the latter is a fimple C, (which is called a fêmi-circle) it makes what the Italians call Tempo or~ dinario, or Tempo ala Se?ni-brevi, becaufe 'tis more than the other, and that under this character the meafure contains a femi-breve ; but when 'tis turned to the left, thus 3, the notes are lefTened by half their value, and the femi-breve inftead of being a whole bar, is but half a one or two Times, the minim or its value in lefs notes one time of the meafure. This Sign is fometimes barred or cut crofs by a perpendicular line thus g, and turned to left, thus % in both which fhapes it marks what the Italians call Tempo alia Breve 5 becaufe anciently thefe characters diminifhed the notes by one half, and therefore a breve was required to the bar ; but at prefent they intim ite that the meafure be beat or divided into two parts flow, and into four pretty quick, unlefs contradicted by the words Largo, Adagio, Lento, &c. but when to thefe figns are added the words, Da capella, or alia Breve, the meafure is to be beat extrearnly quick. Some of the moderns divide time into two fpecies only, the firft they tçrmTempo Maggiore, with this Sign j ; in which ràe. notes are fung alia Breve, or diminilhed of half their value TIR 283 value, fo that to every bar a breve was required inftead of a femi-breve. The fécond Tempo minor -e, wherein the notes had their common values, or a femi-breve in the bar. Thefe are ordinarily called common Time, but if a figure of 3 fol- lowed either of thefe, it alters their denomination to Tempo iernark maggiore, or minors, according to the fign thus marked, for which fee Triple. Again fome mark the meafures of two crotchets with a 2, or |; fignifying the bar to be equal to two notes, whereof four make a- femi-breve. The word Time does not only fignify the whole meafure, but aîfo the aliquot parts thereof, as two Times, 3 or 4 Times, becaufe the Hand in beating the whole bar makes fo many dtiFerent mo- tions. 'Tis in this fenfe we underftand the Italian phrafe, à quatri tempi ftaccati e vivace, which intimates that the mea* Jure be beat in four parts, well diftinguimed and with lift. Ses Staccato and Vivace. It is here to be obferved, that among thefe alkjuot parts of the meafure, there are fome whereon *tis more proper to? perform either a concord, difcord, cadence, &c. than oi> others, which therefore are called Tempo di Buoni, or Cattiv't-» according as it happens; if it be proper to perform a concord, cadence, or place a long fy liable, 'tis called Tempo Buono, if a difcord be introduced and paffed in conjoint degrees, Cat^ two, thefe we otherwife call the accented and unaccented^ parts. See Accent, Buono and Cattivo. Tempo, or Tempo giufto, is often met with after Recitatives -, and. intimates that the Time be beat equal, which during that recitative was managed otherwife, to humour fome exprefiion, ac"&on, &e. See Récitât ivo. For triple Time, fee Tr i p o l a , or rather Tr 1 P l e . T1MOROSO, fignifies that the fong is to be play'd op fung in a manner as toexprefs an awe or dread, either toihew refpeâ, or to reprefent fear. TIMPANO. SeeTvMPANUM. TIORBO SeeT.HEORBo. • TIRAT A, is a term ufed by the Italians toexprefs in general any quantity of notes, of whatever kind, provided of equal value, moving either upwards or downwards in conjoint degrees ; they fay Tirata di Semiminime, when there are many crotchets following one another in the manner above mention* ed; and again Tirata Legatura, or Syncopato,^ r hzn there are many notes 'the of fame value following one another, among which the laft of one bar, and the firlt of the next are tied by a. femi-circle* thus '"""V, -or \^y7 O z But 284 TON -.--; . 3ut this term is particularly ufed for a fucceflion of many notes of the fame value, moving in conjoint degrees amend- ing or defcending, before the firft whereof is placed a paufe equal to a quaver or femi-quaver, and ending with a note of greater value, of this there are four kinds. Firft 1 Tiraia mezza, compofed at leaft of three or four femi-quavers, which rife or fall to fome note that is a fourth or fifth above or below the firft, as Afcenâing. Defcending. Second, Tiraia defefiiva, when this fucceffion is defective, u e. when its rifes or falls a fourth, fifth, or farther, but never reaches the octave. Third, Tira ta perfetta, thus called becaufe properly a true fuc- cefiion, is when between the firft and laft note thereof we move through all the degrees of the octave, equally the fame falling as rifing. Fourtby Tirata aucla, or excedens, is when this fucctffion runs beyond the compafs of the oétave, as above defcribed. Some alfo called the Roulade by this name, but improperly. See Roulade. TOCCATA is much the* fame as Ricercata,or Phantafta, TajlaturO) &c. yet this is diftinguifhed from the other kinds of fymphonies ; firft, as being ufually played on inftruments that have keys, as Organs, Spinets, Gfa. Secondly, that it is commonly compofed to exercife both hands, becaufe fome- times the bafs holds out a found, while the upper part makes diminutions, pafTages, or Tiratas, and afterwards that part does the fame while the bafs moves in its turn. TOCCATINA, a fmall refearch when we have not time to perform it in all its parts. See Toccata. T0NDO, the fame as Rotondo, which fee. TONE, a property of found, whereby it comes under relation of grave and acute, or the degrees of elevation any found has from the degree of fwiftnefa of the vibrations of the parts of fonorous bodies. See Sound. For the caufe, meafure, degrees, differences/ c5V. of Tones, fee T u n e . ~ The varieties of tones in human voices, arife partly from the dimenfions of the windpipe, which like the Flute the longer and narrower it is, the more acute is the found it gives j but principally from the head of the larynx, or knot of TON 285 of the throat, called Pomum Jdami,'the Tune of the voice be- ing more or lefs grave, as the rima or cleff therein is more or lefs open. Tone, is more particularly ufed for a certain degree or interval of tune, whereby a found may be either raifed or lowered from one extream of a concord to the other, fo as ftill to produce melody. See Interval and Concord. Muficians, befide the concords or harmonica! ' intervals, admit of three lefs kind of intervals, which are the meafure and component parts of the greater, called degrees. See De- gree. Of thefe degrees two are called Tones* and the third Semi- tone ; their ratios in numbers are 8 : 9, called the greater Tone, 9:10, lefs Tone, and 15 : 16, a Semi-tone, Tones arife out of the fimple concords, and are equal to their differences. Thus the greater Tone, 8:9, is, fay Ariftides, Bacchius fenior, &c, the difference between a fourth and a fifth ; whence, fays Gaudentius, fome have defined it the difference of the two firft concords, as to magnitude ; the lefs Tone 9 : 10, the difference of a flat third and fourth, or of a fifth and fliarp fixth; and the Semi-tone 15 : 16, is the difference of a third greater and fourth. See Third, Fourth, Major,. Minor and Se mi-ton eV Of thefe tones and fern i-tones every concord is compounded, and of confequence is refolvable into* a certain number there ^ of : Thus the flat or lefs third confifts of one greater tone and one femi-tone 3 the greater or (harp one of one greater Tone, and one lefs. The fourth of one greater Tone, one lefs Tone, and a fei&i~>- tone. See Fo u r t h . The Fifth of two greater Tones, one lefs Tone, and a femi- tone* See Fifth, &c. According to Ariftoxenus, the Tone is divided in a different manner in each of the three Genera-, in the diatonic 'tis di- vided into two femi-tones, one major, the other minor ; and this is the fmalleft interval in that kind, i. e. diatonic; in the chromatic, the leafl interval is a third part of a lone ; and in the enharmonic genus the enharmonic diefis, agreed to be a quarter of a Tone is the leaft interval that isfung ; and he adds, that two Tones do not follow one another in the two latter, nor more than three in the former. Tone again (fays Euclid) is taken in thefe four fenfes ; firjH fimply for a found or noife ; fecondly, for an interval ; third- ly, for the pitch of the voice, and lajlly, for raifing the voice, 'Tie taken for a found, when we ufe it with regard to the Lvre, 286 TRA Lyre, and fay that it bad feven founds, Meptaionon ; for ar* interval, when we fay that between Mefe and Paramefe, or A and B, there is a Tone, which is major ; for the pitch of the voice, when we fay a piece is compofed in fuch a Tone or mode, which intimates no more than a certain fpecies of oc- tave in a certain degree of acutenefs; and for the raifing of the voice, when any found either grave or acute is fung : To this we may add from Ariftides, that, never more than two Tones r i. e. taking it for an interval, are contained in a fourth. Bini Toni in uno tetracordo ponuntur, plures nunquam. For the ufe of Tones and femi- tones in the conftrucYfcoa oî the fcale of mufic, fee S c a L e and System. TONO Tone. See Tone and Tuonq» TONI CO. See System, TONTTTS S See Tone and Tiro no. TOUCH, isfaidof an Org^n } whkh they fay has a good Touchy when the keys clofe and lie down well, being, neither too ftiff or too loofe. See Or g an. TRANSITION is, when a greater note is broken in- to lefs, to make fmooth the roughnefs of a leap, by a gra-r dual pafTagé to the note next following ^ whence 'tis com- monly called the breaking of a note t being fometimes very ue- cefTary in mufical compofitions. See No t e and Pa s>sa g e „ TRANSITU S is a term, which Martianus Capella makes ufe of, to exprefs what is otherwife called Mutation. See Mut at ion. TRANSPONENDO#«a terza, una quarta y &c. pit* laffby piu alto. Mr Brojfard has made ufe of this Italian phrafe in the feventh Motetto of his Prodmnus Muficalis r - to fignify, that if the thorough bafs be tranfpofed a third or fourth, &c. lower, that Motetto may, though compofed for a counter-tenor, be fung or played by a treble or tenor ; an.d a- mong them there are feveral others that may be ufed in the fame manner. 'Tis one of the principal ufes of Tratijpofithft to reduce the Bajfo continuo to a certain pitch of tune, that may not be inconvenient, as forcing the voice or found either too high or too low. See Transposition. TRANSPOSITION, the writing anyfong, air or tune in any key or clefY different from that in which it was full compofed. Of this there are two kinds ; the firft is with refpeft to the cleff, and the fécond with regard to the key, Tranfpofition with refpect to the cieff, confifts in the chang- ing the places or feats of the notes or letters, among the linea ....... an^ T R A 287 -atid fpacés ; but fo as that every note be fet at the fame letter. See Cleff. This is done, either by moving the fame cleff to another line, or by ufing another cleff; but with figns that place the tones and femi- tones in the fame order as before, by reafon the piece is in the fame key. See Key. The practice is eafy in. either cafe ; in the firft, you take the firft note at the fame diftance above or below the cleff- note, in its new pofition as before ; and all the reft of the notes in the fame relations or diftances from one another; (6 that the notes are all fet on lines or fpaces of the fame name. In the fécond, or fetting the mufic in a different key^ 'tis to be obferved, the places of the three cleff-notes are inva- riable in the fcale,. and are to one another in thefe relations* the mean a fifth above the bafs, and the treble a fifth above the mean. Now to tranfpofe to a new cleff, for example, from the treble to the mean, wherever the new cleff is fet, we fuppofe it the individual note in the fame place of the fcale, as if the piece v/ere that part in the compofition, to which the new cleff is generally appropriated ; fo that it may direct to the fame note we had before Tranfpofition. Now from the fixed re- lations of the three cleffs in the fcale, it will be eafy to find the feat of the firft tranfpofed note, and then all the reft are to be fet at the fame mutual diftances they were at before. See Scale. Suppofe, for example, the firft note of a fong to be D, a fixth above the bafs-cleff, wherever that cleff is placed, the firft note muft be a greater fécond above, becaufe a greater fécond above the mean, is a fixth above the bals- cleff, the relation be- tween the two being a fifth ; fo the firft note will be ftill the fame individual D. The ufe of this Iranfpofaicn is, that if a fong being ùt with a certain cleff in a certain pofition, the notes go far above or below the ftaff of five lines, they may by the change of the fame cleff in the particular fyftem, or by taking a new «leff, be brought within the com pais of the lines, or at leaft more within either extream than before. Tranfpofition from one key to another, is a changing of the key, or feting all the notes of a fong at different letters, and performing it confequently in different places upon the inft la- ments. See Key. The Defign hereof is, that a fong, which being begun in one place is too high, too low, or otherwifè inconvenient for a certain inftrument, may be begun in another place, and from that carried on through all its juft degrees. The 28g TRA The cleff and Its pofition here remain the fame, and the change is of the notes themfelves from one letter to another, and its line or fpace to another In the former Tranfpofition, the notes were expreffed by the fame letters, but both removed to different lines and fpaces -, in this the letters are unmoved, and the notes of the fong transferred to, or expreffed by other letters, and confe- quently fet on different lines or fpaces, which therefore re- quires a different fignature of the cleff. Tranfpofition then is the changing the notes of a fong to a different fpecies of octave, to that in which it was firft com- pofed, or at leaft in which 'tis actually noted, in fuch fort that the femi- tones of the two fourths, which compofe each octave, as mi^fa^ and as the French havey?, ut, may be found by means of & & flats, or £ # fharps, exactly in the fame range, or in the fame degree or proportion to one another, as before Tranfpofition^ r&- %-rm * e- ê33C Diatonic or natural otfave. Tranfpofed a tone higher ■, where the femi-tones of the fourth in the diatonic are found by means of fharps. Or 'tis the ufing one or more chromatic chords inftead of the natural or diatonic, to conftitute a mode, that is to fay, to place the final en any degree at pleafure, or to render the fifth above it juft ; and by that means make it the dominant, or to make the third major or minor, &c. See Mode . It muff beobferved, 'tis not poffible to tranfpofe a diatonic fong, or one wherein there are none but natural chords, either higher or lower, without the aid of thefe chromatic figns, either one & flat, or one fharp # ; and very often one may not be fufficient ; therefore 'tis here to be remarked, that if many flats or fharps be found in a fong, either immediately after a cleff, or in different parts of the fong, on the natural or effen- tial chords of the mode, it may be concluded, that the fong is in a tranfpofed mode, and therefore may be reduced to a na- tural one. Laftly, Tranfpofition is to ufe thefe chromatic characters in fuch a manner, as that by their help the chords of the two octaves, tho' they begin and continue in different letters or degrees of the gamut, may form the fame intervals, and con- sequently have the fame names. Ut Tl E 289 it - Ut Natural. Ut a Tone lower, Ut a. third lower , 5 » m ^J r ^^ ^ 11 ^ ^ i g^pgES xe9- —-*.-»- -©-Q rn^a-^r fr .R2 TRI All difcords may be ufed in Trios, the ninth muft be ac- companied with the third and fifth ; as alfo very well with the feventh and redundant fifth, provided an octave fol- low. The fécond muft be accompanied by the fourth, and fol- lowed by the third. The fourth by the fifth or fixth, if it be fyncoped, and followed by the third ; if not, by the fécond, and followed by the fifth, juft or falfe, as the courfe of the fong or harmony require. The tritone muft be accompanied by the fixth or fécond, and followed by the fixth, but feldom by the octave. The falfe fifth muft be accompanied by the third, or by a fixth, - and followed by a third. The feventh major or minor if fyncoped, muft be accom- panied by the third, fifth, or ninth -, feldom or never by the octave. The fuperfluous fifth muft be accompanied by the third, The feventh major may be accompanied by the fécond or fixth, and fometimes by a fourth, if the bafs holds on a note. TRIPLA, is an Italian term which is not very proper, not being taken notice of in the dictionary di Crufca. This term is ufed in mathematics and mufic to exprefs one of the multuple proportions between two numbers; and is when the larger contains the fmaller three times precifely, as 3 : i> 6: 2, 9: 3. See Proportion. For Tripla maggiore, minore, perfetta, imperfetta, di minime^ di feml-minime, picciola, crometta, femi- crometta, &c. fee Triple, or Sesqjji and Sub. TRIPLE, is one of the kinds of meafure or time. See Time and Measure. Triple Time, confifts of many different fpecies, whereof there are in general four, each of which has its varieties. The common name of Triple Time is taken hence, that the whole or half of the bar is divifible into three parts', and beat accordingly, the firft time down, the fécond with the return of the hand, and at laft with the hand quite up, and it is this motion that makes what the Italians mean by the phrafe On- deggiare la mano. See Ondeggiare. Our antients, i. e. fuch as have writ on mufic within thefe 400 years, had many different figns for fhewing that the meafure was to be triple. In the firft they had no occafion for any fign after the e!efF, or in any part of the fong, which is ftill found in fome modern crotchets, fôc which are thus marked T R I 293 modern pieces, and is explained under the article Hemiolia* which fee. The fécond had certain lines after the cleff, which is fer down under the article Modo, but this cuftom has been left off above thefe 100 years. See Modo. Befides they had many others, fome of which the moderns have in fome manner retained, which the reader may find un- der the articles Prol at ion, and Tempo or Time. But within thefe feventy or eighty years there have been invented many other fpecies of Triple ', which however may be brought under the three general heads of fimple, compound, and mixed Triples. The firft fpecies then is the fimple triple, whofe meafure is equal either to three femi- breves, three minims, or three 3 j 3 i 3 I 3 j ■ ' I I 1 4 I 3 1 but the firft is not much ufed, except in church mufic. In all thefe the meafure is divided into three parts called Times, wherefore 'tis called triple Time, or the meafure of three times, whereof the firft is beat down, the fécond up, and the laft down. And this again is divided into major, minor, picciola, cro- metta, and femi-crometta. The firft is called major Triple^ becaufe breves, femibreves, or notes of fuch great value are ufed therein, and the meafure is v therefore to be beat flow, and of courfe each timepf this is greater or of longer dura- tion than thofe of the other. The ancients had, and the Italians at prefent have, four diffe- rent figns for triple major. The Tripla Maggiore perfetta is thus marked, «jfe*«. ffi 1 5 the Tripla maggiore i?nperfetta 9 thus iz|fc;5££ ; Tripla fefqui altera maggiore perfetta. il tf> us > •©"^it ; anc * Tripla fefqui altera maggiore 'wiper- fetta, thus, 3£E:"^I£l • Whenever thefe figns were ufed, three femi- breves, and therefore fix minims/ twelve crotchets, fcfV. were required in the bar. The whole difference between the perfetta and imperfetta confifted in the value of the breve, whicfc contained a whole bar 294 TRI bar without a point, when governed by the firft and third characters, hence called perfeSl ; and but two times under the direction of the fécond and fourth, if fet without a point of augmentation, and this therefore is called imperfeth ', by rea- son it wants one half of itfelf to make up it's quantity of three times, or a whole bar. See Note and Point, or PUNTO, Of thefe four figns the moderns have retained but one, viz. t, without having the trouble of placing the circle or femi- circle before them. Thefe two cyphers explain enough, that three femi-breves are required in the bar ; and that a breve, having naturally the length of two femi-breves without a point, with one contains a whole meafure ; and the other notes in proportion. This is ufually beat largo or adagio. But it muft be obferved, that while feveral breves follow one another, whether tyed or not, they contain each three times or a meafure, though not pointed, 'till there comes a femi-breve or two minims, or any note of lefs value, which alters the breve to two times ; and in fuch cafes, it wants a point to compleat the meafure. Alfo when many breves lye between two femi-breves, or between two refts of their value, the firft and laft then con- tain but two times. Thirdly, That the black notes, or as the Italians call them notte obf curate, whether breves, femi-breves, or in form of a lozenge, ought to be confidered as if they were white. Laftly, That the paufe? or characters of filence under thefe figns contain only half of their ufual quantities, fo that the long inftead of four, contains but two minims ; the breve but one for two, one or two femi-breve reds but one or two times of the meafure. It would therefore be of fervice, and indeed 'tis almoft neceffary, to place a cypher to exprefs the value of fuch paufe, leaft in the performance, one (hould hap- pen to miftake. The fécond fpecies of /impie Triple, by the Italians called Tripla minore, or Triple of femi-breves, or 3 for 2 ; for this alfo, our ancients had four different figns, according to which they called them by three different names, viz. prolazione maggiore perfetta, thus diftinguifhed, (•) — O; prolazione minore perfetta, thus, (J\ > or (]* O 5 anc * f e fo ui altera bnperfetta y thus, C I O. Under TRI 295 Under the direction of thefe figns the meafure contained three minims, and confequently fix crotchets, twelve qua- vers, &V . their differences depend entirely on the value of the femi-breve, which when governed by the three firft characters a is bar without a point ; but by the 1 aft it is but two times of the bar, and therefore wants a point of it's juft quan- tity. The moderns have retained the ufe of one of thefe cha- racters only -§, without the femi- circle, (which its probable may be the reafon for calling it duple Triple.) Thefe cyphers being fufficient to fhew that three minims are required in the bar inftead of two in common time, and that the femi'breve naturally containing two minims, is therefore two times of the meafure, and by the affiftance of a point compleats the bar ; and fo of the other notes proportionally. The rules given, with refpect to the breve, are here to be proportionally applied. Again 'tis to be remarked, that we often find, efpecially in the Italian mufic, white quavers and femi-quavers, inftead of black 5 and with* regard to the characters of filence, that the long contains only four bars ; the breve, two ; the femi-breve, one ; the minim, a third part of the meafure ; the crotchet reft, a fixth part ; and the quaver reft, a twelfth part, Ê3YJ The third fpecies of fimple Triple is called Tripda picciola, or fub fefqui terza, or Triple of 3 for 4. It is diftinguifhed by three figns, C^, or only f, and fome- times by a 3 alone ; under the direction of either of thefe figns, three crotchets make a bar (whereas two are contain- ed in a bar in. binary or common time) ; fix quavers, twelve femi-qua vers V the minim pointed ]s a Whole meafure, and without a point, but two thirds thereoi ; 'tis ufually flayed affettuofo or allegro. As to the refis, the long ordinarily contains four meafures 5 the breve^ two ; the femi-breve, one ; but the minim, which of right has two times, is never, or at leaft feldom, ufed, for two crotchet refts are placed in it's ftead, which contain each a third of the meafure 3 as the quaver reft is equal to a fixth part thereof, &c. When the character | is ufed, the air is to be played in a tender affecting manner, of a moderate movement, neither flow nor quick ; when the fimple 3 is ufed, the movement is ordinarily gay and lively : this is commonly the ftyie of cha- cones, minuets, and fuch brisk airs. The fourth fpecies of fimple Triple, Tripla di crometta or Qttina, Tripla di crome^ or fub dupla^ fubfaper hi par tient e terza, ufually called Triple of three for eight, or fimply three eight, becaufe 296 TRI becaufe it has the figns C-f, or f only ; which {hew that three quavers are a bar, and of confequehce, fix femi-quavers and twelve demi- femi-quavers, and that a crotchet without a point contains two times, and with, a whole bar. Under this character, the long reft, the breve and femi- breve refts, ordinarily contain four or two, and one meafure, as in the other ; as to the minim and crotchet refts, they are never ufed, but two quaver refts are placed inftead of them, each whereof contains one third of the bar. This kind of Triple is ufually gay or animating. The fifth and laft fpecies of fimple Triple, is Tripla femt- crometta, or difemi crome è crome^ox 3 for 16 thus marked CtV* or only -rs y wherein three femi-quavers make a bar, (whereof fixteen are required in a meafure in common time) and con- fequently fix demi- femi quavers ; a pointed quaver is a bar, and without a point, 'tis but two thirds or times of the mea- fure. In this fpecies the long breve and femi-breve refts are four, two, or one meafu re ; but the minim, crotchet or quaver refts are never ufed, but four femi-quaver refts placed inftead of them. 'Tis eafy to perceive that this fpecies of Triple is proper for quick pieces, for each time thereof is of no greater length than a femi-quaver in ordinary movements. Table of fimple Triples. Tripsin mag, l largo or adag. minore ■e- 2 = pKnth crometta jemi-crom, \ ado, lente cr grave 4~pE3 8 ul— 11^^ affettusfo or 1 preflo oxflrettol prejiijfim-), nllfPrO In the table above obferve, firft the names, fecondly the figns, thirdly the characters, which contain a whole bar or three times in each, and laftly, the terms whereby the Italians exprefs the movement in general of each fpecies of fimple Triple. See Time and Co M m on . The fécond fpecies is a compound Triple, confuting of nine crotchets, quavers, or femi-quavers^ and marked accordingly, 5*» iy t 9 6 ; the firft and laft are little ufed : fome add t and |-, that is, nine femi-breves, nine minims, but they are feldom or never ufed. This meafure is divided into three equal parts or times, whereof two are beat down and one up j or each third part may TRI 297 may be divided into three times, and beat like the fimpk Triple, on which account 'tis called the meafure of nine times. The third fpecies is a compound of the fécond, containing twelve crotchets, quavers, or femi-quavers in proportion, in a bar, marked V? **% r| ; to which fomeadd, V* , ", which are never ufed, nor are the firft or laft of the others, efpecial- ]y the laft ; but this is more properly a mixed Triple^ of which, we fhall fpeak more at large. The meafure here may be divided into two times, and beat one down and one up, or each half may be divided and beat as the fécond fpecies, either by two or three, in which cafe it will make in all twelve times ; hence 'tis alfo called the meafure of twelve times. But firft of compound Triples^ which ftand in the following order, The firft is what the Italians call Nonupla di femi-minime 9 or dupla fefqui quarta, and we 9 for 4, marked thus Cf , or f alone ; "it has nine crotchets in a bar, three in each time; a minim pointed is a time, without a point only two thirds. The long, breve, and femi-breve refts, are ufually 4, 2, and I bar ; the minim one time, or a third of the bar ; and the crotchet reft, a ninth part. It is beat and played moderately flow. The fécond is called Nonupla di crome, or fefqui ottava, and our 9 for 8, thus diftinguifhed Cf, or f Amply ; where- in nine quavers make a bar, three for each time ; a fimple crotchet therefore is two thirds of" a time, but when pointed, a whole one. The long, breve, and femi-breve refts are herein of the fame value as in the former ; the minim is ne- ver ufed, the crotchet reft is a time of the meafure, the qua- ver a ninth part. This is proper for brisk and gay pieces. The third is Nonupla di femi- crome \ or fubfuper fetti par- tientenona^ or our 9 for 16, and hath the characters C^, or 1%, in which nine femi-quavers compleat the bar, (inftead of fixteen in common time) three in each time, a pointed quaver is a whole time, but without a point, only two thirds ; the long, breve, and femi-hreve refts contain the fame as in thofe above ; the minim or crotchet refts are never ufed ; the quaver reft is a third of the meafure, and the femi-quaver a ninth ; this Triple is to be played and beat quick. Here it may be obferved, that as there has been a great many fpecies of Triples added by the moderns, it may not be amifs, fays Mr Brcffard^ nor is it difficult, to add to thefe three compound Triples two others f, f ; the firft whereof may be tailed, Nonupla di femi brevi, or fefqui mna which requires nine femi- breves in a bar $ i. e, three in eadj time, a pointed Q^q breve a 9 S TRI breve is one time, and without a point, only two thirds there- of 5 the long reft is equal to two meafures, the breve one, and the femi- breve one time only ; the minim reft a third of a time, or ninth of a bar. This is proper for foft and lament- ing airs. - The fécond may be called Nonupla di minime, or Triple of 9 for 2, from the nunbers whereby 'tis fignified -£, wherein nine minims are included in a bar, three for each time ; a pointed femi-breve is a time, not pointed, but two thirds of it ; the long reft is for two bars, the breve for one, the femi- breve one time, and the minim reft one third of a time, or a ninth of the whole rneafure : this is ufually played lento or adagio, Table of compound Triples, tjpla. di femi br. j di minime J di femi- minime j di crcme J di femi-erome* ■ 1 . \ Z largo tr adagio J lente cr adagio \< l ffet> cr alhg. \preJlotxalleg. prejiijjimo. The third fpecies of Triple time, is called the mixed Triple ; it's rneafure is equal to fix crotchets, fix quavers, fix femi- quavers, and accordingly marked f , f , or T 6 6 ; but the laft is ïeîdom ufed. Some authors add two others, ■? and f-, but thefe are not much ufed. The rneafure here is ufually divided into two equal parts or times, whereof one is beat down, the other^ up ; but it may aifo be divided into fix times, whereof the firft two arc beat down, the third up, the next two down, and the laft tip ; i. e. each half of the rneafure is beat like the fimple Triple ; (on which account it may be called a compound Triple) and becaufe it may be divided thus, either into two or fix times (that is two Triples J 'tis called mixed, and by fome, the rneafure of fix times. Mixed Triples are divifible into two articles. The mixed Triples that come under the firft article, are the following five, The firft is called Se/luplo, or rneafure of fix times ; tho* it fhould rather be called binary Triple ; and this is the gene- ral name which the Italians give to all the five : we (hall, for diftinction fake, give the reader a feparate and more par- ocular explanation thereof. The TRI 299 The firft then is Sejlupla di fe mi-brevi, or Triple of 6 for Î, thus marked, f ; which figures intimate, firft, that fix femi-breves are contained in the bar, three with the rife, and three with the fall of the hand j fecondly, that a breve with a point is a whole time, without, only two thirds thereof ; thirdly, that the long reft is two bars, the breve one, the femi-breve one time, the minim reft a fixth part, &c. This is very proper for mournful and languishing expreffions. The fécond fpecies of mixed Triple, is Sextupla di minime^ or Triple of 6 for 2, and is thus diftinguifhed I ; which fhew that fix minims make a bar, whereof but two are re- quired in common time -, that a femi-breve pointed is one time, unpointed, only two thirds, &c. In this the long reft is equal to two meafures, the breve one, the femi-breve one time $ *. e. either a rife or fall, and the minim reft a fixth part of the meafure, or a third of a time : this is ufually played lente, tardo, grave, or adagio, &c. The third is Sextupla di femi-minime, or fuperbi partiente quarta, or fefqui altera, or Triple of 6 for 4, thus diftin- guifhed, C|, or § ; which (hews that fix crotchets are con- tained in a bar, consequently twelve quavers, that is three crotchets in each time, for two in duple time ; here the mi- nim pointed is a time, without a point, only two thirds. The long reft is for four bars, the breve two, the femi-breve one, the minim half a time, and the crotchet reft a fixth part. This movement is proper for moving tender expref- fions, though fome ufe it in very hafty motions» The fourth fpecies is Sejiupla di crome, or fubfuper bipar~ iiente terza, ox fefqui terza, or our Triple of 6 for 8, and is thus diftinguifhed, Cf, or f ; in which there are required fix quavers in a bar, three for each time ; a pointed crotchet herein is one time, not pointed, but two thirds ; in this the long reft is four, the breve two, the femi-breve one mea- fure, the minim half a time ; the crotchet reft is never «fed, but they rather chufe to place two quaver refis j for one quaver is a third of a time. This is very proper for gay, lively, animating ftrains. The fifth and laft of this firft article, is the Sejlupla di J enti- er -orne of the Italians, and our 6 for 16; wherein fix fern I- quavers make a bar, inftead of fixteen in duple time^ a point- ed quaver is a whole time, tho' unpointed it is but two thirds ; the long, breve, and femi-breve reft contain 4, 2, 1, mea- fure, the minim half a one ; the crotchet reft is never ufed, and that of the quaver very feldom, but two demi-femi- ipavers are placed inftead of it. This is ufually played pre- Qj] 2 Jlffimo. 300 T R I tijftmo. See Presto, Largo, Adagio, Vi- va ce, &c. The table offextuple or binary Triples. txtup.i't femi br j di minime \ di femi- minime] di ercme J difemi~crome, l ——-1 2 14 EB 8^3lrai /jrgo or adagio \ lento cr adagio J «$*ff, or *//*£. | />/e5o or «//«g. | frefiijfimo. Thus much for the fpecies of mixed Triples that come un- der the firft article of binary Triple, thus called becaufe beat in two times. But fome mafters diftinguifh fix times with the hand in a flow movement, as thefe f and % ; whence thefe are called meafures of fix times. And when the movement is fo quick, that the hand cannot poffibly diftinguifh fo many, they mark but four ; two long ones, which are the flrft and third, and two fhort, the fécond and fourth. This is what the Italians and others who are acquainted with their manner do, when the characters of the time are % or § . But under the direction -re y 'tis fufficient to beat the meafure in two times; the motion thereof being fo quick, that 'tis almoft im- poffible to diftinguifh either fix or four times in the bar ; and hence again this comes to be called binary Triple. The mixed Triples that come under the fécond article, are called in general dodecupla, or meafure of twelve times ; and thefe again are divided into five fpecies. The flrft is dodecupla di femi-brevi, or 12 for I ; thus cal- led from it's figures, which fhew that twelve femi-breves are contained in a bar, three in each time, and of courfe, fix mi- nims in each time ; the breve pointed is one time, and only two thirds thereof without fuch point ; the long reft two meafures, the breve one, the femi-breve one time, the minim a third of a time ; ufed in melancholly expreffions. The fécond fpecies of this kind of triple is the dodecupla di minime, or 1 2 for 2 ; in which a bar contains twelve minims, three in each time ; a pointed minim is one time, unpointed but a third part ; the refts are, the long of two bars, the breve of one bar, the femi-breve one time, the minim a third of a time ; and this in folemn movements. The third fpecies of Triple of four times is dodecupla di femi-m'mime, or 12 for 4, marked C V% or V* > which figures intimate, that twelve crotchets are required in a bar, inftead of ibur in common time, and therefore twenty-four quavers injfostd of eight 3 in this the pointed minim is a time, un- pointed T R I 301 pointed but two thirds ; the long reft is four, the breve two, and femi-breve one meafure ; the minim reft one time, the crotchet a twelfth of the bar 3 and is proper for lively and animating movements. The fourth fpecies is dodecupla di crome, or fefqui altera dupla % orfuper quadri partiente quarta, or 12 for 8, with thefe figns, CV% or V* alone ; in which twelve quavers compleat the bar, inftead of eight in common time ; a pointed crotchet is one time, and not pointed, only two thirds of a time ; the long, breve, and femi-breve refts are for 4, 2, 1, bar; the minim half 4 a one, the crotchet, (tho' three quaver refts, or a crotchet and quaver refts are ufed it's inftead) one time, a quaver reft only a third. This is fit for gay and brisk mo- tions. Sometimes the word s affettuofo and adagio are placed to direct what the movement is to be; for of itfelf 'tis naturally- quick. The fifth and laft fpecies is dodecupla di femi-crome^ fubfuper hi partiente duodecimo , or fefqui ter z.a dupla, and our 12 for 16 thus marked C-rf, or ft s the meafure whereof contains twelve femi- quavers, three in each time ; a pointed quaver is one time, without a point, two thirds ; the long, breve, and femi-breve refts are of the fame leagth as in that above ; the minim reft is two times or half a bar ; the crotchet reft is never ufed, but the quaver reft ] , or rather thus ^, is one third of a time, and the femi-quaver js one third of a time, or twelfth of a bar. This is commonly played very quick. the table, dcdecu.di femi br.\ di minime \ di femi- minime\ di crome \ di femi-crotiu, 12 J4izi=d=±J8 largo or ado. ad\ Unto or grave J a Jet. or vivau\ allegro or ado, j frtfiijjlmo. Before we conclude we muft obferve, that Lorenza Penna m lib. 1. cap, 16. of his Alboré Muficali^ mentions authors who had fome defigns of introducing two other kinds of mixed triples ; the firft is f>, in which the meafure contained five mi- nims, inftead of two in common time, three for the fall and two for the rife of the hand ; as, 32 •& SE ±Ë& wm -u e- The 3-Q2 TRI The fécond had tbefe figures £, in which feven minims made the bar inftead of two ; four for the fall of the hand, and three for rife ; as, 1 -T^ g " : i En: ^s this was joining two meafures together, i. e. Triple with the -faï \ of the hand, and binary with the rife, or binary with the rife as. J Triple w;;h the fall ; the former is the cafe in that marked -|» the litter in that marked ■£. ; and thefe raifing fome difficulty and confufion, were rejected, and not admitted into the number of mixed Triples. Again obferve, that as the fimple Triple , which is comppfed of notes of great value, fuch as the breve and ferni-breve* is called Tripla maggiore \ and the four other fpecies, according to the value of the notes ufed in them^ are called minor -e, fie- ciola, cro7rtetta y or femi-crometta ; fo aîfo the fpecies of the other kinds of Triple, as nonupla y fejlupla, and dodecuplà, have the fame names applied to them in .proportion to the notes of each. Moft of thefe Triples are mentioned by Maria Bomncini in his Mufico Prattico > as alfo by Lorenza Penna^ in the firft part of his Albori Mujicali. But Bontempi in his Hifloria Muftca, fays Mr Brsffard, plainly demonstrates, that the greateft part of the names given by Bononcini to. the modern Triples, are not founded on their arithmetical proportions ; after having obferved that the Inft three fpecies of the fimple and compound, as well as mixed Triples, were entirely unknown, or at leaft difufed, by thofe whom we call the fathers or inventors of counterpoint. But be that as it will, they are all introduced into the modern practice. TRIPLICATO, tripled, as intervalle Triplicate, h *an interval tripled ; or when after having taken away 7 from any number, there remains 7 or fome unites ; as after having taken twice 7 from 17 which make 14^ there remains 3 : this {hews that the feventeenth is the third tripled. Sec In- terval and Third. T R I P O L A, the Italian word for triple ^ as Tripsin di femi-brevi,- di minime ^ di femi*minime, di crome, di femi* erome, crometta ottina, picciola 9 femi-crometta 9 &c. for which fee Triple. TRISAGION or Trisagium, in church hiftory, a hymn wherein the word holy is repeated three times. Sec Hymn. The T R I 3o ? The proper Trifagion are thofe words, holy, holy, holy. Lord God of Hojls, which we read in Ifaiab and the Revelations. From thefe words the church formed another Trifagium, which was rehearfed in Latin and in Greek in the refpedtive churches, to this effect: ; holy God, holy fort, holy immortal ! have mercy upon us. Petrus Fullenfis to çhis added, thou who was crucified for us, have mercy upon us ; thus attributing the pafîion not to the Son alone, but to all the three Ferions of the Trinity, and pronouncing anathema to all fuch as would not do the fame. The ufe of this later Trifagion, except the addition by Petrus Fullenfis, began in the church of Conjlantinople, from whence it paiTed into other churches in the eaft, and afterwards into thofe of the weft. Balfamon Codin, Damafcenus, and others, fay it was in the time of the Patriarch Proclus, that 'twas firft introduced, and on the following ocçafion : There being a violent earth-quake in the 35th year of y oungTheodof us, that Patriarch made grand pro- cédions ; wherein, for feveral hours together, were fung the Kyrie Eliefon, Lord have mercy upon us. While this was in hand, a child was taken up into the air, where it feems he heard the Angels finging the Trifagion jufl: mentioned : he returned foon after, and told what he had heard ; upon which they be- gan to fmg that hymn, and the more willing too, as they at- tributed the troubles they were then under, to the blafphemies which the heretics of Conjlantinople uttered againft the Son. Afcelepiades, Cedrenus, Pope Felix, Nicephorus, &c. relate the fame ftory. Petrus rullenfs, partriarch of Antioch, and a zealous partifan of Nejlorius, endeavoured to corrupt the hymn by adding, who fuffered for us, but in vain 5* it ftill fubfifts in it's primitive purity in the Latin and Greek, Ethio- pie and Mozorahic offices. TRITE, is a Greek term, which lignifies three or third. Three chords of theantient fyftem were called by this name, from their actual fituation in their proper tetrachords. See T^trachorp, System, and Genus. Trite Diezeugmenon, the third found of the disjoint te- trachord ; 'tis the C fol ut of the third octave of the Organ, and one of the figned cleffs. See Cl e f f . Tr 1 T E Hyferbolaon, the third found of the higheft te- trachord, which anfwers ttx/'of the third octave of the modern fcale, was called by this name among the ancient Greeks, Sec System. Trite Synemmenon, the note B flat of the modern fcale, tyas thus called in the ancient fyitem. With 3o4 TRI With regard to the Trite Synemmenon of the ancient Dia~ gramma, and for the better explanation of the meaning of thefe terms, it may be obferved, Firfly That the two octaves which compofed the ancient fyftem, had one common chord called Mefe ; which was the higheft of the low octave, and loweft of the high one, by us called the middle one, which Js what the Greek word im- plies. Secondly, That among the four tetrachords of the ancient fyftem, thofe called Mefon and Diezeugmenon, in the middle of the fcale, were not conjoint as the others were ; for the Mefon tetrachord was conjoined to the Hypaton, and the Diezeugmenon to the Hyperboleson tetrachord ; but thefe were disjoined in fuch a manner, that from the Mefe, which was the higheft chord of the Mefon, to Paramefe, the loweft chord of the Diezeugmenon tetrachord, there was a tone major. Thirdly, (fays Mr Broffard) That according to the ancient doctrine, it was neceflary, that to form a fourth, the firft or loweft interval be a major femi-tone, the fécond a tone major, and the laft or higheft a tone minor. (See Tetrachord.) And it was not poffible, (tho' very neceflary on many oc- caiions) to make the Mefe the loweft chord of a fourth, be- caufe there was naturally a tone major between it and Para- mefe-, this tetrachord begun with a tone, contrary to the ge- neral rule. Here Mr Broffard may have erred a little ; for Ariflides, l$c. make mention of three kinds of fourths, one of which begins with a femi-tone, for which fee Fourth and Dia- tessaron. Such is the nature of a fourth, that if there be either more or lefs than two tones and a femi-tone major, it becomes either redundant or defective. And hence it happens, that in the five fourths whereof the diatonic octave is compofed, there is only one, viz., from F to B, which is falfe or redun- dant, being compofed of three tones, which is a femi-tone minor more than the reft. a-^Ti-nb-K^l^^ B, E F B juji fourth* redundant fourth. And as it was often very neceiTary to make the fourth from F to B juft a it could not be done otherwise than by a placing a found TRI 305 a found a femi-tone lower than Paramefe-, which would give the fourth it's juft quantity ; therefore that found was accord- ingly put, and called Synemmenon, which is to fay, adjufted or added : by this means the lower fide of it was a femi-tone minor, and the upper a femi-tone major to Paramefe This found has fince been known by the character ^ upon the line of B, which anfwers thereto ; from whence arofe the Bmol fcale, i. e. a fcale when we could leave our A in- ftead of afcending a tone to Paramefe, or our B ; and after- wards a femi-tone to Trite Diezeugmenon, or our C, which is a third minor, (called by fome beccare, harmonical or natural) we only afcend a femi-tone to Trite Synemmenon, or our B flat, omitting Paramefe in afcending from thence to Paranete Synemmenon, or Trite Diezeugmenon, (only two different names for the fame chord) or our C, which makes, what fome call the arithmetical third minor. Example. n a h • $ al^ c La, ft, ut. La, %a, ut. Natural third minor, called The third minor by B mol y alfo harmonical. called by fome arithmetical. T R I TONE, an interval confuting of three tones, or a greater third and a tone major, which tone is divided into two femi-tones, one major the other minor. See Concord, Third, and Tone. It's ratio or proportion in numbers, is as 45 : 32 ; in di- viding the oétave, we find on one fide the falfe fifth, and on the other the Tritone. See Octave. The Tritone is a kind of redundant third, confiding of three tones, whence it's name ; or more properly of two tones and two femi-tones, one greater and one lefs, as from C to f &, or f to B natural, &c. But it is not, as fome imagine, a greater or (harp fourth; becaufe the fourth is a perfect interval, and does not admit of majority or minority; nor muft the Tritone be confounded with the defective fifth, for the Tritone only comprehends four degrees, ut, re, mi, fa fharp, v/hereas the defective fifth contains five, fa &, fol, la r ft, ut ; befides that, among the fix femi-tones which com- pcfe the Tritone chromatically, there are three greater and R r three 3o6 T R O three lets ; whereas, among the fix which compofe the de- fective fifth, there are only two lefs, and four greater. Again, the Triune, as has been faid, has it's origin from 45 : 32, and the defective fifth arifes from the proportion 64:45. See Proport ion. Again, it's accompaniments are different from what the defective fifth requires, as the Tritone naturally demands the fécond and fixth ; and the defective fifth, a third and fixth. And laftly, the Tritone is refolved by a fixth, if the upper part afcend a degree, and the lower part defcend the fame ; whereas, if the lower part afcend, and the upper part de- fcend a degree, the defective fifth is refolved by the third. See Qjj a r t a and Qu inta. T RIT OS. SeePROTos. T R O M B A, may be either the common Trumpet, the Buccina of the ancients, or modern Sacbut, but more proper- ly our Trumpet. See Trumpet, Sacbut, and Buc- cina. TROMBETTA, it's diminutive, a fmall Trumpet. TROMBONE, is really our Sacbut. See Sac- but. T R O N C O per gratia, what the French call coup de -grace ; is to intimate to the voices, as well as inftruments, that they are not to draw out the found to it's natural length, but cut it fhort ; /. e. that they only continue it long enough to make it heard, by which means there is a fmall filence be- tween each found ; which has a very good efFecl: in expref- fions of grief, to make fighs, and alfo in £xpreifions of won- der and furprize, &c. 1 TROP PES, Laws. See Mo do andTuoNO. TRUMPET, a mufical inftrument, the loudeft of all portable ones of the wind kind ; ufed chiefly in war among the cavalry, to direcT: them in the fervi.ce. See Music. It is ufually made of brafs, often of filver, fometimes of iron or tin, and rarely even of wood, Mofes, we read, made two of filver, to be ufed by the £riefts, Numbers cap. x. And Solomon made two hundred like thofe of Mofes, as we are informed by Jofepbus, lie, 8. which abundantly fhews the antiquity of the inftrument. The antients had various instruments of the Trumpet kind; as Tuba?, Cornua, and Littui ; which fee. The modern Trumpet confifts of a mouth-piece near an inch a-crofs, tho' the bottom thereof be only a third part fo much. The pieces which convey the wind, are called the branches ; the places where 'tis bent, the potences ; and the canal between the fécond bend .and the extremity, the pavilion j '- the TRU 307 the places where the branches take afunder, or are foldered together, the knots ; which are five in number, and cover, the joints. When the found of this inftrument is well ma- naged, 'tis of great compafs. Indeed it's extent is not ftrictly determinable, fince it reaches as high as the ftrength of the breath can force it. A good breath will carry it beyond four octaves, which is the ufual limit of the keys of Spinets and Organs. In war there are eight principal manners of founding the Trumpet ; the firft called the cavalquet, ufed when the army approaches a city, or paiTes thro' it in a march j fécond, the boute f elle, ufed when the army is to decamp or march ; third, is when they found to horfe, and then to the ftandard ; fourth* is the charge ; the fifth, the watch ; the fixth called the double cavalquet ; the feventh, the chamade ; and the eighth^ the retreat. Befides thefe, there are various flourifhes, volun- taries, &c. ufed in rejoycings. There are people who blow the Trumpet fo foftly, and draw fo clear a found from it, that it is ufed not only in church* but even in chamber mufic. And it is on this account, that in the Italian and Germm mufic we frequently find parts entitled Tromba prima , or la, — firft Trumpet ; Tromba féconda, \la. terza, IILz. — fe~ cond and third Trumpet , &c t as being intended to be played with Trumpets. There are two notable defects in the Trumpet, obferved by Mr Roberts in the Pbilifcphical Tranfaclions, wherein we have a very ingenious account of the caufe of fueh defects : the firft is, that it will only perform certairt notes within it's compafs, commonly called Trumpet notes ; the fécond, that four of the notes it does perform, are out of tune. The fame defects are found in the Trumpet Marine, and, the reafon is the fame in both, See Trumpet Ma- rine. The word Trumpet is derived from the French Trompette. Menage derives it from the Greek rp^C©-, Turbo, — a Jhell, an- ciently ufed for a Trumpet. Du Gange derives it from the corrupt Latin Trumpa, or the Italian Tromba, or Trombetta ; others from the Celtic Trompill, which fignifies the fame thing. Trumpet Marine, a m ufical inftrument, confuting of three tables, which form it's triangular body. It has a very long neck, with one fingle firing very thick, mounted -on a bridge which is firm on one fide, and tremulous on the other. It is ftruck by a bow with one hand, and with the other the ftring is flopped or prefled on the neck, with the thumb» R r 2 It 3o8 T R U Tt is the trembling of the bridge when flruck, that mak es it imitate the found of the trumpet, which it does to that perfection, that it is fcarce poffible to diftinguifh one from the other. And this is what has given it the denomination of trumpet Marine, tho' in propriety it be a kind of monochord. See MONOCHORD. The Trumpet Marine has the fame defects with the com- mon Trumpet, viz.. that it performs none but Trumpet notes, and fome of thefe either too flat or too fharp. The reafon Mr Roberts accounts for, only premifing that common obfervation of two unifon firings, that if one. be flruck the other will move ; the impulfes made on the air by one firing, fetting the other in motion, which lyes in a dif- pofition to have it's vibrations fynchronous to them : to which it may be added, that a firing will move, not only at the flrik- ing of an unifon, but alfo at that of an octave or twelfth, there being no contrariety in their motions to hinder each other. See Unison and Chord. Now in the Marine Trumpet, you do not flop clofe, as in other inftruments, but touch the firing gently with your thumb, whereby there is a mutual concurrence with the up- per and the lower part of the firing, to produce the found. Hence 'tis concluded, that the Trumpet Marine yields no mu- fical found, but when the flop makes the upper part of the firing an aliquot part of the remainder, and confequently of the whole ; otherwife the vibrations of the parts will flop one another, and make a found, fuitable to their motions, alto- gether confufed : now thefe aliquot parts he (hews to be the very flops which produce the Trumpet notes. Trumpet Harmonious, is an infiniment which imitates the found of the Trumpet, and which refembles it in every. thing, except that it is much longer, and confifls of more branches. It is ordinarily called a Sacbut. See Sa c- B ut. Speaking Trumpet, is a tube from fix to fifteen foot long, made of tin perfectly flraight, and with a very large aperture, the mouth-piece being big enough to receive both the lips. The mouth being applied thereto, it carries the voice to a very great diflance, fo as it may be very diflinctly heard a mile, whence it is ufed at fea. The invention of this Trumpet is held to be modern ; and is commonly afcribed to Sir Samuel Mor eland, who called it the Tuba Stentorophonica, But Anthony Kercher feems to have TUN 309* have "a better title to the invention of it; for 'tis certain he had fuch an inftrurnent before Sir Samuel thought of his. Kercher in his Phonurgia fays, that the Trumpet publifhed laft year in England, he invented twenty four years before., and publifhed in his Muffurgia : he adds, that Jacob Jlbanus 9 Ghibbifius, and Fr. Efcbinardus, afcribe it to him ; and that G. Schottus teftifies of him, that he had fuch an inftrurnent in his chamber. in the Roman college, with which he ufed to call to, and receive anfwers from the porter. Indeed confidering how famed Alexander tbeGreafs tube xvas, wherewith he ufed to fpeafc to his army, and which might be heard diftinclly an hundred ftadia or furlongs, 'tis fomewhat ftrange that the moderns mould pretend to the invention of it: the ftentorophonic tube of Alexander, whereof there is a figure preferved in the Vatican, being almoft the fame with that now in ufe. Some improvements were made in this in- ftrurnent by Mr y. Conyers, who has given us another dif- fering from this, in the Philifophical Tranfaffions N Q 141, Ltflening or Hearing Trumpet, is an inftrurnent in- vented by y of. Landing to aflift the ear in hearing perfons who fpeak at a great diftance, without the afliftance of the Speaking "Trumpet. TUNE, is that property of founds whereby they come under the relations of acute and grave to one another. See Acuteness, Gravity, andToNE. Though gravity and acutenefs be meer terms of relation, yet the ground of the relation. The Tune of the found is fome- thing abfolute, every found having it's own proper Tune n which muft be under fome determinate meafure in the nature of the thing. The only difference then between one Tune and another, is in the degrees, which is naturally ] infinite ; i. e. we conceive there is fomething pofitive in the caufe of the found, which is capable of more and lefs, and contains the meafure of the degrees of tune; and becaufe we do not fuppofe a leaft or greateft quantity of this, we conceive the degrees depend-» ing on thofe meafures to be infinite. See Sound. If two or more founds be compared together in this relation, they are either equal or unequal in the degree of Tune. Such as are equal are called unifons. See Unison. The unequal conftitute what we call an interval, which is the difference of Tune between two founds. See Inter- VALo Caufe 3 id TU N Caufi and meafure ofT\me\ or that whereon the Tune of a found depends. Sonorous bodies we find differ in tune. i/?. According to the different kinds of matter - y thus a wedge of filver founds much more acute than one of gold of the fame fhape and dimensions, in, which cafe the tones are proportional to the ipecific gravity. id. According to the different quantities of the fame mat- ter in bodies of the fame figure ; a folid fphere of brafs one foot diameter, founds acuter than one of two foot diameter, iir which cafe the Tones are proportional to the quantity of matter. Here then are different tones connected with different fpeci- £c gravities, and different quantities of matter ; yet cannot the different degrees of Tune be refer'd to thofe different fpe- cific gravities and quantities of matter, as their immediate caufe. In effect, the meafures of Tune are only fought in the relations of the motions that are the caufe of found, which are no where fo difcernable as in vibrations of chords. See Chord. Sounds, we know, are produced in chords by their vibra- tory motions, not indeed only by thofe fenfible vibrations of the whole chord, but by the infenfible ones, which are in- fluenced by the fenfible, and in all probability proportional to them. So that founds might be as juftly meafured in the-lat- ter as in the former, did they come under our fenfes ; but even the fenfible ones are too fmail and quick to be immediately meafured. The only recourfe we have, is to find what pro- portion they have to fome other thing ; which is effected by différent tenfions, or thicknefs, or lengths of chords, which in all other refpects, excepting thofe mentioned, are the fame. See Vibration. Now, in the general, we find that in two chords, alt things being equal, except tenfion, or thicknefs, or length, the tones are different ; there rauft therefore be a difference in the vibrations, owing to thofe different tenfions, &c. which difference can only be in the velocity of the courfes and recourfes of the chords, thro* the fpaces wherein they move to and again. Nowi> upon examining the proportion of the velocity, and the things ju ft mentioned, whereon it depends, 'tis found to a demonft ration, that all the vibrations of the fame chord are performed in equal times. Hence, as the tone of a found depends on the nature of thofe vibrations, whofe differences we can conceive no other- wife than as having different velocities; and as the fmall vibrations T U O 3 n vibrations of the fame chord are all performed in equal times; and 'tis found true in fadfc, that the found of any body arifing from one individual ftroke, tho* it grow gradually weaker, yet continues the fame tone from firft to laft ; it follows, that the whole tone is neceflarily connected with a certain quantity of Tune, in making every fmgle vibration, or that a certain number of vibrations accomplifhed in a given time, conftitutes a certain and determinate Tune ; for the frequenter thofe vibrations are the more acute the tone, and the flower and fewer they are, the more grave the (bund, tho' per- formed in the fame fpace of time ; fo that any given note of a Tune is made by one certain meafureof velocity of vibrations; i. e. fuch certain courfes and recourfes of a chord or firing, in fuch a certain fpace of time, conftitutes a determinate Tune. This theory is ftrongly fupported by our beft and lateft writers on mufick, Dr Holder, after Gallileo, &c. both by reafon and experience. Dr Wallis, who owns it very reafon- able, adds, that 'tis evident the degrees of acutenefs are re- ciprocally as the lengths of the chords ; tho* he fays he will not pofitively affirm, that the degrees of acutenefs anfwer the number of vibrations as their true caufe: but his diffidence arifes hence, that he doubts whether the thing has been fufficiently proved by experiment. Indeed, whether the dif- ferent number of vibrations in a given time is the true caufe, jon the part of the object:, of our perceiving a difference of Tune, is a thing which we conceive does not come within the reach of experiment. It is enough that the bypothefis is reafonable. See Concord, Harmony, iffc. TUBA, is the Latin name of our common Trumpet, as Trcmba is the Italian. See Tromba or Trumpet. Tuba duclilis, the Sacbut. See Posa une, Trom- bone or Sackbut. T U O N O, an Italian term, which fignifles in Greek Toms, in Latin Tonus, and among us Tone ; and is to be un- derftood in many fenfes. See Ton e . As firft it fignifles meerly a found, as of a Bell or other inftrument ; and thus we fay a melodious Tone, z.difagreeable Tone, &c. and often a certain inflexion of a human voice proper to exprefs different paffions of the foul ; and in this fenfe wc fay a fiveet agreeable Tone^ a harjh and rough Tone, a fierce and imperious Tone, &c. But as thefe fignihcations ra- ther regard phyfics and grammar than mufic, we fhall pafs them over, and obferve three others, which more properly belong to this £ubjec~t. The firft is when die word Tone fignifies a certain deter- minate degree of found which regulates all the reft j thus we fay 3i2 TOU fay a Flute orBafToon, &c. has the Tone of fuch an Organ, &fV a when it's C fol ut, and of courfe it's other founds in propor- tion, is unifon or oclave to the C fol ut of that Organ, &c. In this fenfe alfo we fay, the Tone of the choir, which means a certain mediate degree or pitch of tune, proportioned to the voices whereof 'tis compofed ; in great congregations, 'tis efpecially neceflary that the dominant 'Tone of every fong ufed therein be given, that the people may know their pitch. The fécond, and indeed the moll proper lignification of the word Tone is,- when 'tis taken for one of the intervals of mu- fïc, and even for the chief, the fundamental, the rife, rule, and meafure of all the other intervals. In this fenfe, the ancient Muficians and Mathematicians diftinguifh two forts of Tones, i. e. major and minor. The Tone major, whofe proportion is fefqui, oclave of 9 : 8, is the middle interval of each fourth ; and the tone minor, the proportion whereof is fefqui nona, or 9 : 10, is the third interval of every fourth. . 9:8 10 : 9 Mi Fa Sol La Semi-tone. Tone major. Tone minor. It is likewife in this fenfê, that the moderns (fuppofing all the Tones in the fyjlema temperato to be nearly equal) fay Tone is the interval that is between every degree or note of a diatonic or natural o&ave, except mi and fa ; and as the French fay, fi and ut, or our E and F, or B Kl , and C ; which are naturally but femi-tones : but that fuppofition is not altogether juft, as appears from what has been faid above of the Tones major and minor. And laftly, 'tis in this fenfe, a Tone is called a fécond major, becaufe 'tis the interval be- tween two founds, diftant from one another nine commas, a minor Tone, or ten, a major Tone ; confequently a Tone is compofed of, or divifible into, nine or ten commas. See Comma. The third, lafl, and moll general acceptation of the word Tone, is when we, like the ancient Grecians, ufe it toexprefs what the moderns fince Glarean call mode, that is the man- ner of arranging founds explained under the article Mode : and more particularly what the Italians call Tuoni Eccle- fiajliciy and we the Tones of church mufic. Many things might here be faid concerning the origin, number, quality, effects, forms, ufes, &c. of thefe Tones; i/l. The hiftory thereof, and their different names among the TUO 313 the ancients, and at prefent. 2d. The characters whereby any particular mode is known ; and laftly, the ufe that might be made of fuch knowledge with refpe& to the practice of the plain fong , and vocal as well as inftrumental mu- fic ; but as we have treated thereof under the word Mode , we mail refer the reader thereto ; and only add, that, They commonly and regularly reckon eight tone% or modes in what is now generally called the Gregorian chanty four whereof are authentic, and four plagal. The four authentic modes are, the Dorian, the Phrygian^ the Lydian, and the Mixolydlan of the ancients ; fee each in it's place. S. Mlroclet Bimop of Mila-.i, or (according to a mors probable and common opinion J St Ambrofe chofe thefe tones about the year 370, for comportions for the church of Mi- Ian ; from him called the Ambrofian chant. Or, according to many other opinions, 'twas from the choice and approbation of thofe two great men, that thefe four firft tones came to be denominated chofe n, or approved, z, e. authentic. It may here be obferved, that eleven of the chords of the ancient fyftem, were fumcient to form thefe four tones ; the Lychanos Hypaton, or the Re of our fécond octave, was the loweft chord of the firft tone, and Paranete Hyperbolaort, the higheft of the fourth ; fb that Nete Hyperbolezon, which was the higheft chord, and Parhypate Hypaton, Hypate Hypa- ton, and ProJlambanomenoSy which were the three loweft chords of the ancient fyftem, were not ufed ; which St Gregory, about 280 years after St Ambrofe, obferving, added to thefe four authentic tones, four others called plagal, which were the Hypodorian, Hypophrygian, Hypolidian, and Hypo- mixolydlan ; and by this means introduced the ufe of the whole fifteen chords of the ancient fyftem into the church mufic ; the loweft chord of the Hypodorian tone was Projlambanomenos, or the A mi la of our fécond oc~rave ; and from this time each of the four authentic tones has had a plagal one for it's collateral, /. e. to ferve by way of fupplement thereto • and hence arofe that divifion of the tones or modes into ranks and elaffes ', for which fee Protos. The firft and fécond tories were of tht firft clafs. . The third and fourth of the fécond. The fifth and fixth, of the third, And the feventh and eighth, of the fourth clafs, according to the following table, S f Tom* \Proton.\Deiiteron.\Triion.\Tetarton. Tones. \ il 3 J 5 | 7 Tones. J 2 4 6|8 ai4 T tf 6 Authentic modes. Plagal modes. With regard to this table two things are to be obferved; firfl, that the authentic modes are fignified by the cyphers 1, 3, 5, 7, whence they are called unequal -, and that the plagal tones arc reprefented by 2, 4, 6, 8, therefore called equal tones. As thefe names are often met with among authors, 'tis neceflary to know what they mean. The fécond obfervation to be made on this table is, that the authentic modes are placed above the plagal, becaufe, be- fide their name, they are in effecl: their fuperior, principal, key, dominant, &c. and the plagal beneath them, as being collate- ral, fubordinate, fubfervient, dependants, &c. to the authentic. To determine in what tone or mode a fong is compofed, three things arenecefTary to be obferved. 1. The final or laft note of the fong. 2. The compafs thereof, either above or below the tone of the mode. 3. The dominant, i. e. the fifth, or note which is ofteneft heard in the courfe of the piece. Firji then, by the final, the rank or clafs of the tone where- in the fong is compofed is eafily difcerned, becaufe each of thefe clafTes has one note appropriated to it in fuclra manner, that it always ferves as a final to the two modes of that clafs. The final of the two modes of the firfl clafs 1, 2, is Re. The two tones of the fécond clafs 3, 4, have mi for their final. Fa is the final of thofe of the third clafs 5, 6. And thofe of the laft clafs 7, 8, have always fol for their final. Confequently, for example, when a fong ends with Re, it may be concluded to be compofed in one of the two tones of the firfl clafs, /. e. either 1 or 2 ; and when it ends with mi y it appears to be in the fécond clafs, and of courfe in either the third or fourth mode, and fo of the reft. But it may here be objected, that fome pieces end in La, others en 67, as the French fay, and others again on Ut y iSc. 'tis true; but the notes la ft ut, i. e. the founds by them expre/Ted, are in the fame proportion among fhemfelves, a» thofe exprefTed by the fyllables re, mi, fa 3 we may therefore as well fay* that La T U O 315 La ftands in the place of Re. Si for Mi, and Vt for Fa. So that the fong is ffcill the fame, only tranfpo'èi either a fifth higher, or a fourth lower, if this tranfpofition change not the nature of the air, or the natural order of the founds ; it therefore cannot alter it's rank or clafs, it being eafy to fay la, fi, ut, inftead of re, mi, fa, being in effect the fame thing: hence it appears, that the v t wo tones of the firft clafs commonly and naturally have re for their final, which by tranfpofition, is changed to la ; and fo of the others. Table of natural finals, and thofe by tranfpofition. Firjl rank. Second. Third. \ Fourth, £ Re or La, tranfpofed. 1 Mi or Fa, \Faox Vt, tranfpofed. tfanjpofed. \ Sol. 4 h lower or ^th higher. \ ditto. \ ditto. \ ditto. This is not enough, for as each clafs contains two tones, one authentic and one plagal, it remains to determine in which of the two the piece is compofed ; in order to which, regard is to be had to the compafs thereof, whether in the courfe of the fong it rife or fall above or below the extent of the tone. Firfl, If the whole extent df the fong be eight or nine de- grees above it's final, and not one below, 'tis an authentic mode, and therefore the firfl: of every clafs. It may be obferved, that fongs compofed in authentic modes, may move nine or more degrees above their final with- out ceailng to be authentic. Secondly, And if on the contrary, the fong defcend four or five degrees below it's final, and afcend but five or fix a- bove it, the mode therefore is plagal, and confequently is the under one of each clafs. But if the piece has fo much compafs as to rife eight or nine degrees above it's final, and fall four or five below (as in many of the fongs of the Romifi church) the tone or mode is faid to be mixed, as participating of both authentic and plagal. Again, there are many fongs in the Rcmifb rites that do not move thro' the extent of their octave, which are there- fore called incompleat modes ; and to know in what mode S f 2 thefe 3 i6 TUO thefe portions are compofed, regard muft be had to their final or loweft note, and dominant, i. e. the note which is ofteneft heard in the courfe of the fong. And if the dominant be found five or fix degrees above the final, the tone is authen- tic j if three or four below, it may be concluded plagal ; in fhort, let the fong be of whatfoever compafs or extent, the only fure way of finding out what mode 'tis compofed in, is by thus examining it's final and dominant. The following table included in two verfes, at once fhews the finals and dominants of every mode, according to the order of the French fcale in Si. Pri.RE, LA, fee. RE, FA, ter. MI, UT, quart quoq; Ml, LA. guint FA, UT, fxt. FA, LA, fept. SOL, RE, olb. quoq-, SOL, UT. As for example. y?. id. 3//. 4tb. $th. 6th. yth. %tb< —^- ■->' -e g ^^ê^Q^^^jfg^^ ^^ re, la, re,fa, mi,ut, mi,la,fa,ut, fa,la, fol,re, fol,ut, To make this intelligible, obferve, \Jl. The fyllables, pri. fee. ter. &c.- are abbreviations : of primus, fecundus, &c. %d. That the mono-fyllables after them, are the names of the finals, and dominants of each tone: The Intonations (as the French fay) /. e. the four, five, or fix firft notes of the fong end ufually on the dominant of the mode. All anthems, fays Mr BroJJard, end with the final of the mode, and the Evovœ, that is, the fong of Sœculorum amen, always begin with the dominant of the tone wherein the pre- ceeding anthem was compofed. • " ? ' The anfwers in the matins end always with the final, and the verfe immediately following, begins with the dominant; the contrary feldom is met with : and this dominant is fo often repeated therein, that 'tis no difficult matter to find it out. The lad notes of the entries or beginnings is always the final of the tone, and the note that is chieflv heard in the pfalm, and the Gloria Patri which follow them, is always the dominant. < Obferve TUO 317 Obferve that what has here been faie!, regards only regular modes, befide which in the whole body of the modern plain Jong, there are fome few which may be called irregular. This knowledge of the Tone, wherein a piece is computed, is principally neceflfary upon three occafions. Firji, To give the firft note of it to the choir. Secondly, To keep it up. And, Lajlly, to give the firft note of the pfalms and canticles of divine worfhip. Firji, To give the flrft note to the choir, is to begin part of an office, as matins, laudes, vefpers, &c. at a certain note or degree of tune fo proportioned to the voices whereof 'tis compofed, as that in the progrefs thereof, tho* the fong may rife or fall five or fix degrees higher or lower than that note, ftill the Tone may be kept up and heard plainly, with- out forcing any particular voice in the congregation ; and the better to perform this, it were very ccnvenient to have a bell or pipe of an Organ fet to that pitch, and founded from time to time, by means whereof the found would be fixed in the mind, or if it were at any time loft, it might eafily by this means be refrefhed in the imagination. (This practice a learned Benedicline recommended in a treatife wrote in 1673, which, fays Mr Brojfard, is the belt that has ever appeared on the knowledge and practice of the plain fong.) At leaft in thofe churches that have Organs, it would be very eafy for the Organift to found it in fuch a manner, as that the choir may without difficulty perceive it. Butas this cuftom is not generally practifed, the priefts may at leaft attempt to find fome method of their own, in order to which the following rules may be of fervice to them. I. They muft confider of what voices their congregations are compofed, whether high or fhrill voices, fuch as women and children have j or low and grave voices, or of a middle pitch fuch as men have, which may be called tenors or baffes, as every man has a different command of voice, fome high for the tenor, others low for the bafs. II. That among the dominants of the modes there are fome that agree with grave, and fome with acute voices ; they muft therefore make choice of one proper for their choir. 'Tis certain that A mi la, the dominant of the firft Tone, is proper for grave or mediate voices, infomuch that they can rife five or fix degrees higher, or defcend five or fix lower at pleafure, and this without any inconvenience or forcing the Organs ; A mi la therefore is proper for the tone of church mufic, to be performed by fuch voices ; confequently in a congregation compofed of fuch, the office fhould begin with A mi la : On the other hand, Re in D la re thé dominant of 3iS T U O of the feventh Tone, is well adapted to high voices ; in choirs therefore compofed of fuch, the office fhould begin with that found. III. Then to know what degree or pitch of tune is to be given to this A mi la, or D la re, 'tis here that fome inftru- ment, but particularly a ftroke on the Organ, would be of great fervice. But to fupply that, it is necefTary that every one examine or meafure the natural compafs of his voice ; if he have a very low voice, this A mi la is almoft his higheft note, but fuch a one is not often met with. If he have a pitch of voice called a tenor, 'tis nearly the middle found in his reach, and if he have one of thofe called Hautcontres or treble, this Ami la is almoft his loweft found. But a little ufe and a good example from a mafter, will make this clearer than words can exprefs. *Tis not enough to give a good Tone at once off hand, but 'tis alfo abfolutely necefTary to keep it up through the different pieces, whereof the office begun in this Tone is compofed. Among the many methods propofed by the Benedictine abovementioned, that which is moft generally pra&ifed is, to make all the dominants of the different pieces in the office unifon with the firft Tone, which confequently is capable of bearing the different names of thofe dominants, and may be called in one piece la, in another fa, in a third tit, in another re, &c. For example, firft fuppofe the vefpers, Deus in Adjutorium, begun with A mi la, and the anthem or firft pfalm be of the firft, fourth, or fixth Tones; as the do- minant of each of thefe Tones is la, and of courfe the fame found A mi la is the Tone of the choir, there is not much difficulty in giving the name and found Ami la to the con- gregation. Secondly, If by chance a pfalm or anthem of the third, fifth, or eighth Tone whofe dominants are uts, mould come in the fervice, then the Tone of the choir is called ut, tho* in reality 'tis the fame A mi la. Thirdly, If an anthem or pfalm of the fécond Tone happen to come in, the Tone of the choir will ftill be Ami la, though they call it by the name of fa, becaufe fa is the dominant thereof. And, Lajlly, If the accidental pfalm or anthem be of the feventh Tone, as its dominant is re, the Tone of the choir will be called re, though it be the fame A mi la. The annexed tables will exhibit and make eafy what has above been fiid, in which the dominants of the eight Tones are all upon the line Ami la, and marked with fquare notes, by means of which this practice of reducing the tones is much facilitated, The black notes are the finals of every tone tranfpofecj "ibe $tb, 6th, ' ph, and %th Tones. 'Tis plain, that by placing the dominant of the fifth Tone in G re fol, i. e, a Tone higer than the tone of the choir, it forces the voice, fo that its low notes are fcarce heard ; and the fame happens by placing the dominant of the third and eighth Tones a third minor higher than the pitch of the choir ; for by this the voice is {trained almoft to a fqual, efpecially if the fong runs high. To avoid both thefe inconveniences, feveral Organifts began to introduce the method of play- ing, Firjl, The fifth tone in D la re natural or third minor, like the feventh tone, becaufe by this its dominant was A mi lei unifon to the Tone of the choir. Secondly, The third Tone is G re fol flat like the fe- c©nd, for thereby the dominant rifing but a femi- tone higher than Ami la la re -QuEL BJJ: Firft Tone la fa -*- fa re * — tj — r -#- ut mi 1 a inj. e^% fcz -*- tit fa Q-iï H ES 2 r W T EE B O 1 T^ M The ifl, id, 3d, and ^th Tones. -f—^-^ - r ^ j T/je $th, Gtb, ?th, and %th Tones. 'T-'s plain, that by placing the dominant of the fifth Tone in G re fol, i. e, a Tone higer than the tone of the choir, it forces the voice, fo that its low notes are fcarce heard ; and the fame happens by placing the dominant of the third and eighth Tones a third minor higher than the pitch of the choir ; for by this the voice is ft rained almoft to a fqual, efpecially if the fong runs high. To avoid both thefe inconveniences, feveral Organifts began to introduce the method of play- ing, Fir/}, The fifth tone in D la re natural or third minor, like the feventh tone, becaufè by this its dominant was A mi la unifon to the Tone of the choir. Secondly, The third Tone is G re fol flat like the fé- cond, for thereby the dominant rifing but a femi-tone higher than 32o TUO than A mi /. The firft note of thefe iritonations is the dominant of the tone ; in the pfalms only the firft verfe is begun as above, all the others begin with the dominant from the firft fyllable ; as to the canticles, all their verfes begin like the firft of the pfalm. Secondly) With refpecl: to the mediation ; 'tis a fort of reft or filence, which ought to be made in the middle of every verfe, as well to have time to eafe and take breath, as to keep up the gravity neceifary in the fervice ; it ends always with the dominant of every Tone, but the feventh, in which it ends a Tone higher. Laftfy) The Evtfyœ is a word formed, for brevity's fake, of the fix vowels in the words Saculorum amen. There are a fort of books called by the French F faut ten and Jntiphoniers, and by us Pialteries, which contain the rules of certain' chu rches, T Y M 32x churches, and which (hew the note whereon to end every verfe of the pfalms and canticles ; and as every Tone has ma- ny endings (except the fécond) thofe books are to be con- fulted as well as the cuftom and practice of the church, for an infinity of other particularities belonging to them. TUTTI, in the Italian mufic intimates, that all the parts are to play together, or to make a full concert. In this fenfe the word Tutti, ftands oppofite to foli or folo. See Solo. This word is often exprefTed by omnes, ripieno, da capella, Choro, &c. See each under its proper article. TYMPANO, or Tympanum, iTimbal, a mufical infiniment, which among the ancients confuted of a thin piece of leather or skin, ftretched on a circle of wood or iron, and beat with the hand. See Drum. This may be our kettle-drum, as it appears to be from the Italians ufing the word Tympano for a pair of tymbals of an unequal fize tuned a fourth, the leaft wherof gives the acute found, the largeft the grave one; the firft is C fol ut, the latter G re fol, a fourth lower ; they ferve for a bais in a concert, or airs defigned for Trumpets ; we from hence meet with parts marked Tympano 9 which (hew that they are cieftined for this inftrument. ii i ii T t V. 322 V EL V. *IT The firnpîe letter V, is often ufed to (hew a piece de- T ? figned for the violin ; if thefe be two, the piece is for two Violins or more : Again among the Roman cyphers it ftands for five j and laftly, if the letter S be thereto added, V. and part without Violins, &c. V OICE, 334- VOI V O ICE, a found produced in the throat and moiitJÏ of* in animai, by an apparatus of inftruments for that purpofe. See Sound. Voice in general fignifles a found or ncife, but in muilc more particularly a human Voice. Among the various founds that this moJification of the air (for fuch it is) produces, there are founds tnat admit of no difference of tune, as the hilling of Serpents ; others rr.ar do admit a difference of tune, but are not articulate, a., tne noifes of animals, whittling of birds; and laftly, then are others fubjecl: to great variations of tune, and articulate at the fame time, i. e. fo different one from another, that 'tis eafy for the ear to perceive their changes ; fuch as the Voices of men and women : 'tis thefe that are the objects of mufiG, and from thefe mufle executed folely by Voices is called vocal mufic, as being performed by natural Organs. See Music. The (even degrees of found within the compafs of the cétave, which are diftinguifhed by the mono-fyllables Ut, re, mi, &c. are" by the Italians called Voces mujicali. Voices are generally divided into three claffes ; of the firft are the high or fhrill Voices, or thofe performed by women and children ; of the fécond are mediate Voices, or Voices of a middle pitch of tune, neither high nor low; of the laftand deep Voices, which confift of low and grave founds, both which are performed by men, different perfons having dif- ferent compares ; thefe three anfwer to the parts of mu- fic called treble, tenor, and bafs ; and of thefe are made as many parts as the compofer pleafes. As the harmony of concerts is no more than a well pro- portioned mixture of thefe Voices, either fimple, doubled, or tripled, &c. the different parts whereof the concert is com- posed, are very often called Voices ; thus they fay in Italian a piece or compofition is a due, a trê voce, &c. or fimply, a due, a tre, &c. the word Voice being understood, to {hew that the piece confifts of fo many different parts. There are fome indeed, that call the parts deflined for in- ftruments, fo many Voces, by reafon instruments were in- vented for no other caufe than either artificially, to imitate it, fupply it's place* or accompany it. But this is to apply the term improperly ; the Germans are very particular in their distinction of vocal and instrumental parts ; they have a vforàjiimme, which is a general term, and fignifies part, be it either for Voice or instrument, but they always add the ad- jective, vocal or instrumental thereto, to make a proper di- stinction. It VOI 335 It muft here be obferved, that thefe three Voices ufually dp not exceed four octaves frcm their graveft to their acuteft found, which forms the four octaves of the Orgam, and is the ordinary limit of other inftruments ; fo that all cornpofi- tion, of what number of parts foever, do not go oeyond this extent. 'Tis often neceffary, that the parts (efpecially the vocal J have not this whole compafs, becaufe when they rife to their higheft, or fall to the lowed founds, they may be fo forced, as that they are rendered falfe and difagreeable 5 I9 that to retrench the compafs, they take off fome of the up- per founds, and if the Voice rife to A mi la, 'tis as high as it can well go, without a great imeafmefs to the performer ; and others are taken off from the lower octave,, for there are few Voices can go farther than F ut fa, or Eft mi, clear enough to be difrincHy heard. As to the middle parts, 'tis left to the compoier's fancy to manage them as he thinks fit ; but the general rule is, that the parts for either of thefe voices be fo difpofed, as that the notes may not rife or fall far above or be- low the ftaff of five lines, which are deftined for each clefF. But this only regards the vocal parts, for in inftrumental mu- fic they exceed even the four octaves, and are obliged to thofe five lines to add three or four others, as well above as below, and thereby the compafs of the piece may rife too near five octaves, and this is at prefent practifed without any fcruple. Ariftoxenus makes a difference in the motions of the Voice 9 and fays it lias two fpecies of motion, continual, and divided into intervals ; the continual, is when it keeps the fame de- gree of tune, and appears to the ear as neither rifing or fal- ling, (as in reading in the mono-tonej. Vocis — dues qu&dam funt motiis fpecies ; continua fcilic et & intervallis disjun£la\ forming no determinate differences of gravity and acutenefs, but continuing the fame from beginning to end. The fpecies of motion divided into intervals, is quite the contrary, and has many changes in point of tune, at one time high or fhrill, at another grave or deep ; be it in what proportion foever, palling from one degree of gravity or acutenefs to another, ftill changing as it proceeds. When the Voice moves in fuch a manner as not to feem to fàtisfy the ear, 'tis called continual ; cum vox ita movetur, ut nulliU confftere auditui . videatur, continuum dicimus huncce motum -, when on the other hand it proceeds by intervals, it's motion is faid to be gra- dual, be the intermediate degrees large or fmall ; it ffill moves from one degree to another, and fixes fome particular tune in the mind ; whereas the continual found, when once finim- ed leaves no impreilion. And this gradual motion may 2gain be 33 6 U S U be diflînguifhed into two kinds, which Ariftoxenus and others, call intenfio and remiffio ; intenfio Vocis, is the raifing it by degrees, in whatever ratios, from a grave to a more acute found, as remijfio is' the contrary. An author in the Philifophical Tranfaclions, fays the difpo- fitions and abilities of people, may be conjectured from the tones of their Voice and manner of fpeaking; but how creditable what he alledges may be, we. do not take upon us to determine. VOLT A, joined with a numeral adjective, fignifies once or one time, or as the numeral is ; thus fi replica una volta, — pleafe to play that part over again y centa volte, — - an hundred times, &c. Vo L T a , a fort of dance of Italian origin, in which the man turns the woman feveral times, and then affifts her to make a leap or jump ; 'tis a fpecies of galliard. See Gal- HARD. VOLT ARE, turniover, this imperative is often join- ed with prefio, fubito, &c. to acquaint the Mufician to turn over the leaf, and that fhe fong continues on the other fide : But to fay true, this expreffion is a little rough and imperious, which therefore is remedied by adding Vojlra Sig- noria volti fi piace, — turn over if you pleafe, Sir ; or abridged V. S. volti, adding the words fubito, prefio, or even preft'ffimo if the movement require it to be done in hafte. VOLTI. See Voltare. Vo L t r fi piace, — turn over if y ou pleafe. See Vo ltare. VOLUNTARY, that which a Mufician plays ex- tempore according to his fancy, before he begins to fet himfelf to play any particular piece, to try the inftrument, and to lead him into the piece fo to be played. See Pre- lude and Phantasia. U S U S, ufage, cujlom, habitude, or that frequent repeti- tion of the fame thing, in order to facilitate the execution thereof; but in mufic the word has a fignification fome- thing different, of which we (hall endeavour to fpeak more largely To enter rightly into the meaning of the word, 'tis ne- ceffary firft to know what the melopceia is; melopceia then is the art or knowledge of rules for arranging founds in fucceflion, i. e. one after another, fo that fuch arrangement produce good melody ; this divides itfelf into three parts, by the Greeks called Lepfis, Mixis, and Chrefis, by the La- tins Sumptio, Mijlio and Ufus, and by the Italians prefa, Mefcolamento and Ufa* Prsfa, USU 3 3 7 Pre/a , Sumptioor the Lepfts of the Greeks, fay Ariftid es, Euclid, Martianus C aped a, &c. and after them Bontempi, teach a compofèr in what fyftem, that is, in what fpecies of odrave he may place or difpofe the founds which compofe his fong, whether among the Hypatoides or grave founds, Mefcides or founds of a middle degree, or Netoides among the high founds, and confequently in what mode or tone his fong is to proceed, and with what found he ought to begin and end. Sumptio eft per quam mufico invenir e datur a quali vocis : oco fyjlema fit faciendum ; utrum ab hypatoides, an re- l.qucrum aliquo. Ariftid. p. 29. Mefcolomento or Miftio is the fécond branch of the meîo- pceia, which gives certain rules how to join and mix founds one among another in fuch a manner, as that the voice or found may always be within a certain compafs, that the three genera or kinds of modulation, diatonic, chromatic ancl enharmonic may be conveniently difpofed, and that the fong never move out of the fyftem, that is, the limit or mode wherein 'tis begun, unlefs with fome particular de- sign. Miftio ejl per quam aut fonos inter fe, aut vocis locos coagmentamus, aut modulations genera, aut modorum fyftemata, Ariftid. 'Tis properly no more, than after having begun the fong, to purfue it without forcing any particular found therein, i. e. raifing it too high, or falling too low, or ufing any forbidden intervals, and well placing the natural, eftential, necefTary, or accidental chords of the mode, toga out of it and enter it again conveniently ; in a word accor- ding to the modern expreflion, 'tis the art of modulating well. See Modulation and Mode. Ufus, is the other branch of the melopceia, which compre- hends rules and directions how the founds fhould follow one another, in what Situation each of them may or can be, in order to farm an agreeable melody or good modulation. Ufus eft certa quadam modulationis confeffio. There are, fays Ariftides, three fpecies of Ufus, to which we mall add a fourth from Euclid. The firft is that called by the Grecians Agoge, by the Latins duclus, and by the Italians conducimento, and is; when the founds follow one another di grado or in conjoint de- ' grees, i. e. from one to another without milling any inter- mediate degree. Of duclus there are three kinds, the firft is duclus reflus, or conducimento ret to, when the notes or founds follow one another immediately rifing, as thus, ? which the Italians alfo call di Grado ËEr afcendente. X x 33? U S U The fécond is DuBus revertem, or Conducimento ritornante, and is, when the founds follow one another immediately de- fcending, as i i> " f f f pll H^ which is likewife called by Ppi the Italians di grado defcendente. The third is duEius' circumcurrens^ or conducimento circon~ correntt, and is after having afçended by natural or diatonic chords, they defcend by the fame degrees, except inftead of B natural, B moll or flat is touched in this defcent, or when the defcent is by B natural, and the afcent by B moll, as in the following example. — ^ ^ r re-e-i j ^^^ |^ ^ ^e^-^ rr^ ê^ The fécond fpecies of Ufus, called by the Greeks Ploki by the Latins Nexus , and by the Italians Nejfo, is when in pafling from one found to another, that which is next the firfr. in fituation not being founded but fometimes two, three or more are omitted, and that either afcending or defcending ; this makes what the Italians call di falto, (fee S alto;) and in this cafe the founds are faid to move by disjoint degrees. Nexus autem ejî, qui per tranfdentia inter- val: a, aut fonos duos vel etiam plures 9 unum tonum progre- ditur, aut graviora horum aut accutiora praponens, & cantum efficiens. Arijiid. The third kind of Ufus by the Grecians is called Petteia y and by the Italians Pettia : For the better explanation hereof, it muft be obferved, firji^ that founds in general have the property and force of themfelves to excite in man what the Latins call Mores^ and the Italians Cofiume, that is, certain inward emotions, termed by Philofophers affec- tions or paillons ; the founds of the trumpet and drum are ienfible and continual proofs thereof, efpecially among Warriors, who arc greatly animated thereby. Again there are among them certain founds that are more proper to excite certain paffions and emotions than others, as there are alfo founds that affect more in one difpofition than another ; fome particularly caufe joy, others forrow, others again gayety and courage : When a fong proceeds in ' the natural or diatonic order, it feems fomething gay and enlivening, as on the contrary when it proceeds by B moll, or flat, it is more i'oft, fweet and affecling, ÏÏirdlj U S U - 339 Thirdly -, The different combination of founds one with an- other, or the paffages fo alternately made from grave to acute, and e contra, either by conjoint degrees, as that cal- led Ccnducimento, or by disjoint called Neffo, which makes certain leaps among them, have no fmall fhare in ftirring up the paflions. The third minor afcending is particularly mournful and lamenting, as on the contrary defcending, 'lis* gay and joyous - 3 the other intervals alio have their particular effects under certain circumftances, for which fee each under it's proper article, Fourth, Fifth, Octave, &c. Again certain it is, that a frequent repetition of the fame found immediately or without the interpofition of any other, and that repetition varied into quick and flow, or the found only continued or held out a confiderable time, fenfibly produce very different effects. 'Tis the Petteia, fays Ariflides, that lays us down certain rules and methods of difcerning juftly all the different man- ners of ranging and combining founds one among another, of placing them in proper order, and in fuch a manner, as that they produce the defired effects, that is, that they move or excite any different paillon at pleasure \ and confequently 'tis this that (hews us what founds may or may not be employed in the courfe of a piece, which may and how often they may be repeated, whether to rife or fall, efpecially in the Nejfa, or to proceed contrarily. See Petteia. Now Euclid gives an explication of the parts of the melo- pceia fomething different ; for after having laid it down as a certainty, that the melopceia is p/operly the art of ranging and difpoflng founds, and bringing into practice the precepts of harmony; he proceeds to add, that there are four ways of fo doing -, the two firft quadrate with the Duftus and Nexus, as defcribed by Ariflides, but the Petteia he defines to be no more than a frequent repetition of the fame found : This, fays Mr Brojfard, is true, but adds, that it needs a little more explanation. To thefe he adds a fourth, and calls it exientio, which indeed is no more than a continuation ' of the fame found fo: a longer or fhorter time. Melopœia ejl ufus partium harmo- nices. Quatuor vero funt quibus mekpœ'ia perfpicitur, duttus 9 nexus, petteia , extenfio. Duclus itaque ejl cantilenœ via per de- inceps pofitos fonos confeEta ; nexus vero centra via permutât? fpatiorum pofitio alterna ; petteia ejl percuffio in uno eodemque fono frequenter facia ; extenfio ejl diuiurnicr mora, qu<$ una vocis prolatione conficitur. Euclid. Intro. Harm. pag. 2. True it is, that among what we have from the ancients, here are a great many excellent rules for properly ranging X x 2 founds 340 UT founds one after another, fo as to make melody ; and fo that by fuch progreflion all our different paflions may be moved. But, fays Mr Broffard, we do not find a word concerning the properly difpofing founds one above another, /. e. fo as to form an agreement or union between them called concord, or a difagreement called difcord, and contraft between thofe two, which when heard together, make what we call har- mony. Now, fays that author, what ftrong and noble ex- preffions do we not meet with in thofe pieces called concerts, anfing from the agreeable mixture of concords and difcords. We find, continues that author, that the ancients had certain figns to fhew when a found was to be held a longer or fhorter time ; but, adds he, the adherents to the ancient practice will find fome difficulty to prove that their meafure was fo juft and regular as ours, by which our compofers are furnifhed with that great variety of ftrong and lively expref- fions ; and from hence he concludes, that as they practifed not harmony or time as we do, it neceflarily follows, that their mufic was not near fo perfect as that of the moderns. We cannot pretend to fay any thing in defence of the an- cient mufic, when fo learned a man as Mr Broffard taxes it with fo much imperfection ; yet this may be faid without perfumption, that as we find mention made of many things whereof we have only the name but no explanation thereto, it may with reafon be thought, that had all their works come to our hands, we mould have no occafion to accufe them of ignorance in an art in thofe days fo generally pradtifed, and univerfally efteemed ; for what we have of theirs are fcarce any more than a few general hints, which inftead of clearing up the matter, lead us into great obfeurities : And again it may not feem altogether abfurd to imagine, that time has devoured many excellent treatifes which would have put us in a better method of practice, fince thofe which have efcaped the common wreck, excellent in this kind, feem to intimate, that there were before them fuch as were extremely ufeful to them wh i a living fcience, and which no doubt, could they be retri .ved, would give us fomething more fatisfactory; ÛT, the name of the firft of the mufical fyllables, which the Italians call Voce Mufi 'cale -, (fee Note) of which there are fix, Ut, re, mi, fa, fil, la, to which a feventh was added by one Le Maire, called^. See Note. Ut clefFs are two, G re fol ut, and C fol fa ut. See Cl e f f. This name with the other fix were taken by Guido Aretine out of the firft ftrophe of a hymn of St John the Baptifi^ beginning, Ut qua ant laxis , &c. See Music, The UT 34 t The Italians in folfaing, inftead of Ut, ufe the fyllable do* by reafon of the har(h and difagreeable pronounciation of the letter U in their language. 'Tis ufually called the firft note in mufic as 'twas the firft fyllable of the hymn, from whence with the reft it was taken. The ancients called the found reprefented by this fyllabl e Parhypate Hypaton, and it's o&ave higher, Trite DieXeug- menon. In our fcale we diftinguifti two Uts, the one natural by Beccare called C fol ut, the other artificial by B moll or flat, F fa ut ; and when we only fay ar, we mean C fol ut, the ut in F fa ut, being no more than a tranfpofition of the other, either a fifth lower or a fourth higher ; 'tis alfo the name of one of our clefFs, and is that appropriated to the tenor. See Choir, or rather Clef f. Before Zarlin the rank of the modes was very uncertain; fome placing the flrft mode in Amila, becaufe that was the firfl» note of the ancient diagram, and the other in D la re, in or- der to render their divifion in authentic and plagal more eafy, (fee Mode ;) but at laft Zarlin fix'd the ranks of the twelve mufical modes in ut, becaufe 'twas the firft found of the modern fyftem ; fo that the firft and fécond modes are in C natural, and tranfpofed in F faut, by B moll a fourth higher, the third and fourth are in D la re, and fo of the reft, ac- cording to the natural order of the notes. See Mode and Tuono. UT QUEANT LAXIS, &c. z hymn of St John the Baptiji, compofed about 770, in the time of Charlemagne, according to Pojfevin, by Paul, deacon of the church of A- ouillia, famous in mufic, by reafon the fyllables whereby the founds are diftinguifhed, were taken from the firft ftrophe thereof. See Musjc or Hand. WIND 342 WIR W. TTf IND INSTRUMENTS, arc inftruments played * * or made to found by wind, and that either natural from the mouth, or artificial from machines called bellows contrived for that purpofe, and fixed to the inftrument fo to be played. Inftruments made to found by the Breath or natural Wind y are the Flute, Fiftula, Trumpet, Horn, tàc. See each in it's place. And thofe whereto are fixed bellows or leather bags to give them Wind, are, the Organ, Bag-pipe, &c. See Organ and Bag-pipe. The Wind Inftruments of the ancients were, the Tibia, Fiftula, Syringa of Pan, confifting of feven reeds joined fide-wife ; alfo Organ, Tuba or Trumpet, Cornua, Lituus, É9V. See Organ, &c. Thofe of the moderns are, the Flutes, Bag-pipes, Haut- boy, Trumpet, Organ, &c. the ancients called this kind of mufical inftruments Emphyfoomena, Pneumatica or Emponeou- Jfa, and the Italians call them Stromenti da Fiato. See St ro- MENTO. WIRE, a piece of metal, as gold, filver, brafs, iron, &fr. drawn thro' a hole in an iron, into a thread of a finenefs an- fwerable to the hole it pafs thro'. Among the many other ufes of Wires they are ufed for the firings of feveral mufical inftruments, as Harpfichords, Spinets, Pfalteries, Dulcimers, Bell-haçps, Harps, &c. there are various fizes thereof from £> of an inch, to t fo of an inch diameter, the fmalleft fizes are ufed upon this occafion. 'Tis obferved that a gold ftring will found ftronger than one of filver, and that more fo than «ne of brafs, and that a fteel ftring will give a feebler found than either of them, tho' of the fame dimensions, length, tenfion, &c» X. Z U F 343 X. X Signifies properly no more than décima or ten, as Opera 7 Xa. tic. Y. V" * s Sometimes ufcd inftead of I, in the following ■* ? words : Y A S T I O, one of the ancient Greek modes or tones. See Iastio. Y O N I C O, the Ionic mode of the Greeks, See Io M i c o. z. ZA, or Sa. See Sy. Z A M P O G N A, fometimes written Sampogna, the fame as the Latin Fiftula> is in (hort any inftrument that founds like a Flute and particularly a Bag-pipe, being an aiTemblage of divers pipes of different fizes. 'Tis alfo taken for a common Flute, Flute a bee. See Flute and Bag-pipe. Z O P P O, in Latin Claudus, Iame y decrepid, hopping ; 'tis from hence that they call thofe counter-points defcribed under the articles Perfidiato, Obligato, &c. Contrapunti alia Zoppa, — lame or hopping Counter-points^ becaufe, as one is obliged to place in each bar to the fubjeel: given one note between two others, that is as long as them both, which, when it comes to be played or fung, by the frequent fyn- copes, feems to proceed by a leap, or in a jumping manner. There are Contrapunti alia Zoppa fopra il Sogetto, as well as fotto il Sagetio, i. e. above and below the Subjeft. See So- getto, Sopra andSoTTo. ZUFFOLO, a little Flute or Flageolet, that has a very fhrill found like the whittling of fmall Birds ; and it's chief ufe to play to them, in order to teach them a tune , 'tis in Latin called Sibilus, See Flageolet. ERRATA. PA GE 9 line i for two read three. Ibid 2% for vorum r. verum. Ibid penult for connonical, r. canonical, p. 22 1. 16, after the r. Italian, p. 24 1. 13, dele ■§. p. 31 1. 27, dele an. p. 36]. 29, for are r. or. p. 47 1. 4, for or r. with. p. 48, r. firft 1. thus, the ninth (which is in effect, the fccond,) the feventh and. p ; 54 1. 38, for Intalian, r. Italian, p. 64 1. 6, for proceeding r. preceeding. p. 75 1. 15, dele and. page 77 line 43, for tranfverfo r. traveria. p. 78 1. 42, for Fardinaïs. r. Farinefs* p. 88 lines 31 and 32, for grande r. grand, p. 99 1. ult, for wrote r. rote. p. 109 1. 12, after which r. is. p. 117 1. 32, for modee r. modes, p. 120 1. 22, for a r. as. p. 121 1 10, for Leg- giardo r. Leggiadro. p. 130 J. 31» after Agvus r. which make one mafs. p. 132 1. 55, dele the firll f. p. 139 1. 34, for wholes r. holes, p. 141 1. 41, after of r. the. p. 142 1. 23, for laid r. furd. p. 161 1. 2, for divifionsr. mutations, p. 182 1. 12, for gioppi, r. groppi. p. 193 1. 1 o, for fuperfluous, r. a femi-diapente p. 1991,21, for refponfay r. refponfary. p. 204 1. 35, for rivogliomento r. rovol- gimento. p. 212 1. 11, dele firft comma, p. 21 81. 18, for 75 r. 17. p. 251 1. 1, for and r. a. p. 273 1 31, for tercet r. tierce, p. 275 penult dele be. p. 291 1. 8, for tillo r. trillo. p. 292 J. 38, for at r. the. p, 304 1 ult dele a. p. 309 1. 27, dele . p. 322, 1. 30, for Fardinals r. Farine I' 's. p 325 1. 6, for Trochaeus r. Jambus. p. 330 1. 26, for viftamente or vilto r vitementor vite. ibid$i, for vivaceffimo r. vivaciflimo. ibidl. 37, after which r. is. There may have efcaped fome literal Errors which cannot flop the Reader. [ 345 ] A M INDEX O F AUTHORS Mentioned in the foregoing Pages. /] Latins, Leo, page 10. "* Aibinus, p. 275. Alcuin, p. II. Aiypius,. p. 123, 147, 160, 258. Amalarius Fortunalus, p. 5. Anajlatlus, p. 22. Arbeau Tboinot, p. 82, 176. Aretine Guido, p. 82, 91, 105. Arijliâes, p. 57, 60, 64, 65, 67, 85, 129, 137, 147, 154, I74, I79, 200, 202, 2l6, 285, 286, 304, 337. Ariftoile, p. 28, 60, 194. Ar'iftoxenus, 28, 58, 59, 60, 79, 85, 109, 112, 113,. 156, 216, 270, 285, 331, 335- Athemus, p. 150, 152, 251. Aulas Gellius,- p. 122. Authors feveral, p. 153. Bacchim, p. 59, 60, 64, 65, 71, 79,85,107,147,166,239, $£},*£/, 275, 385, Baccilii, p. 282. Baljouskt, p. 117. Barnes, p. 123. Z?o/f, p. 10. Berrardl, Angela ', p, 6r, 178, 254, 259. Bo chart, p. 122. Bo'ètius, p. 60, 85, 123, 124, 134, 152, 250, 257,258. Bona, Cardinal, p. 88. Bontcmpi, p. 220, 260, 270, 271, 302, 329,337, Bar el, p. 78. ! Bononcini, p. 302, Bojfius, Jer. p. 227. Boyle, p. 150, 151. Érojard, p. 8, 70, 74, 109, in, 131, 175, 186, 190, 191, 195, 196, 203, 213, 221, 223, 228, 240, 246, 253, 260, 265, 269, 272, 278, 286, 289, 297, 304, 33°>3 l6 >339- Cange-, Du, p. 99, 173. Cape lia, Martianus, p. 4, $6, 59, 64, 72, 86, 129, 166, 178. Y y Carre x 346 ï N D E X. Carre y p. 2. Cartes Des, p. 165. CaJJtodorus, p. 50. Caux Salmon de. p. 65, 242, Clemens Alexandrinus, p. 49. Comte Le, p. 11. Derham, p. 150. Di odor us Siculus, p. 123. Dodart, p. 199. Durandus, p. 50. Dydimus, p. 270. Euclid, p. 58, 60, 7 o, 79, 85, 86, 87, 113, 129, 156, t66, 239, 256, 285, 337- Fejlus, p. 15, 173. Fejlus Avienus, p. 124, For tuna tus, p. 99. Galileo, p. 311. Gaudentius, p. 34, 58, 79, 85, 122, l66, 2l6, 285, 33 1 - Glarean, p» .6, 312. Gregory the Great, p. 152, 160, 313. G«/<& Aretine,p. 82, 91, 105, 119, 121, 131, 134, 152, 160,223,239,259,260. Hefychius, p. 147. Hicks, Dr, p. 99. Hierommus Magius, p. 10. Holder, Dr, p. 37, 42, 311. Jerom, St, d. 169, 18 6. 'Ignatius, p. 5. Jofephus, p. 124, 306. 'ifiiore, p. 49» 50» 1 73- 5V^ Pcllux, p. 44. £pfrri p. 3 I >73- Kercher, p. 11, 39, *47> I 5 I i 152, 191, 240, 242, 258, 270, 304, 308. I Lambert, p. I01 è Lampadis, p. 50, Lancelot, p. 31. Lobineau, p. il. Loulie, Le Sieur, p. 272. Mabilon, p. 10. Maire Le, p. 161, 223. Malcolm, p. 28, 30, 33, 37, 40, 62, 70, 73, 94, 95, 97, 117, 145, 151, 152, 160, 165, 201, 209, 231, 236, 248, 281. Martianus Capella, p. 4, 56, 59,64, 72,86, 129, 166, 178 337. Mathevj Paris, p. 10. Meibomius, p. 258, 260. Merfenne, p. 12, 39, I$I f 161, 191, 242, 258. Molyneux Dr, p. 274. Morhoff, p. 151. Mûris Dr Jean de, p. 46, 75, 84, 152, 161, 262. Newentiet Dr, p. 150. Nicod, p. 30. Nichomacus, p. 58, 85, 91, 123, 165. Pancirolus, p. 201. P. Parran, p. 28, 65. Papias, p. 99, 187. Paulus Diaconus, p. çr. Pau/a nia s, p. 49. Penna, Lorenza, p. 30 1, 3024 Perrault, p. 25, 236. P/n, D«, p. 186. P/rt/0, p. 60. P%, p. 50, 137. Plutarch, p. 14b. Pcllux \ Jules, p. 44. Porphyrius, p. 148, 202. Prieft, an Englijb one, p. 99, Ptolemy, p. 18, 28, 113,133, 270. Pythagoras , p. 148. Rabanui INDEX. 347 Rahanus, p. 50. Roujfeau, p. 18. Salmon, 32, 218. Sauveur, p. 33, 93, 94, 265, 272. Scaliger, 2g, 122. Servius, p. 15» Simon, F. p. 10. &>«/£, Dr, p. 150» Sylburgius, p. 49. f&w, p. 15, 173. « Viadana Ludovîcus, p. 8. Vigetius, p. 15, 45. Vitruvius,^. 60, 66, 168, 171. Vojjius,^. i6j,iji, 194,201, 240, 222, 326^ 331, 333. Wallîsy Dr, p. 141, ï50, 152, iï&pï* 340. Zflr/rif, 6, 19, 27, 34, 57, 59, 122, 145, 185, 191, 193, 207, 220, 270, 341. FINIS. Printed by C. 7^« in Weft Smithfield. BOOKS Prated for J q h N Wilcox. A Collection of Proceedings and Trials againfl State Prifoners, as well where they have had the Benefit of a legal Trial, as where they have been cut off by arbitrary Princes, from the Nor- man Conqueft to this Time . Containing more than two Hundred^ Trials and Cafes, not contained in any Collection yet publifhed. 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Whereby ail numerical Operations may be performed with much greater eafe, than by any Tables hitherto pub'imed. By J. Dodfon. Recommended- by Dr Wallis in his Hiftory of Algebra. Syftemofthe Planets demonftrated by Inftruments, by Charles Leadbetter, TeacW of the Mathematicks, 4P0. 5 s. A Compleat Syftem of Aftronomy, 2 vol. 8vo. 1 2 s. Aftronomy of the Satellites, 8vo. 2 s Treatife of Eclipfes for 3 ■. . SSSm dK .'■■»• ,<'? -'•'''' "■f^ rt: ■ ■ ■ * ♦*.•-■> \ • « • •••-' ■ ■ SRi ■<;* A tt Kl Mi mi .S-'"?- ' SS *' \' V.--' ME m m**m& SE BB Ire^ËfS^ÎJ HH ' l S 1 1 H V ■■•■..