MUSIC.

bass is the principle of melody, so the effect of a repose in melodyarises solely from the fundamental bass,

Of the different Names given to the same Interval.

There are particular intervals which have obtained different-names, according to particular circumstances ; which it is properto explain. An interval composed of a tone and a semitone, whichis coirrmonlv called a third minor, is likewise sometimes called asecond redundant; such is the interval from ut to re% in ascend-ing, or that of la to sol 5 descending. This interval is so termed,because one of the sounds which form it is always either sharp orilat, and that if you deduce that sharp or that flat, the interval willbe that of a second. An interval composed of two tones and tw'osemitones, as that from si to fa, is called a false fifth. This inter-val is the same with the triton, or fourth redundant, since two tonesand two semitones are equivalent to three tones. There are,however, some reasons for distinguishing them, as will appear be-low. As the interval from ut to he % in ascending has been calleda second redundant, they likewise call the interval from ut to sol%.in ascending a fifth redundant, or from si to mi b in descending,each of which intervals are composed of four tones. This intervalis in the main, the same with that of the sixth minor: but in the fifthredundant there is always a sharp or a fiat; insomuch, that if thissharp or flat were deduced, the interval would become a true fifth,l’or the same reason, an interval composed of three tones andthree semitones, as from sol % to fa in ascending, is called a seventhdiminished ; because, if you deduce the sharp from sol, the inter-val from sol to fa will become that of an ordinary seventh : theinterval of a seventh diminished is in other respects the same withthat of the sixth major. The major seventh is likewise sometimescalled a seventh redundant.

Comparison of the different Intervals.

If w'e sing ut si in descending by a second, and afterwards ut siin ascending by a seventh, these two si ’s shall be octaves one tothe other; or, as we commonly express it, they will be replica-tions one of the other. On account then of the resemblance be-tween every sound and its octave, it follows, that to rise by' a se-venth, or descend by a second, amount to one and the same thing.In like manner, it is evident that the sixth is nothing but a repli-cation of the third, nor the fourth, but a replication of the fifth.The following expressions either are, or ought to be, regarded assynonymous:

To rise To descend

by a second. by a seventh.

To descend To rise

To rise

To descend

by a third.

by a sixth.

To descend

To rise

To rise

To descend

by a fourth

by a fifth.

To descend

To rise

Thus, therefore, we shall employ them indifferently the one forthe other; so that when we say, for instance, to rise by a third, itmay be said w ith equal propriety to descend by a sixth, &c.

Of the different Clefs ; of the Quantity; of theIIithmus; and of Syncopation.

Of the three clefs, viz. the base, tenor, and treble, the base clef,called also the C clef, or clef of fa, is placed on the fourth line, oron the third ; and the line upon which this clef is placed gives thename of fa or F, to all the notes which are upon that line. SeePlate CXXIII. No. I. The C, or tenor clef, or clef of tit, isplaced upon the fourth, the third, the second, or the first line;(See No. II.) and in these different positions all the notes uponthat line whore the clef is placed, take the name of ut, or C.Lastly, the G, or treble clef, or clef of sol, is placed upon the se-cond or first line ; and alf the notes upon that line where the clef isplaced take the name of sol, or G, No. III. As the notes areplaced on the lines, and in [he spaces between the lines, any’ one,when he sees the clef, may easily find the name of any note w hat-ever. (See No. I.) Thus he may see, that, in the first clef of

fa, the note which is placed on the lowest line ought to be .so/;that the note which occupies the space between the two first linesshould he la; and that the note which is on the second line is a si,&c. A note before which there is a sharp (marked thusjJS) oughtto be raised by a semitone; audit, on the contrary, there is a 5before it, it ought to he depressed by a semitone, (b being the. mark of a fiat). The natural (marked" thus restores to its na-tural value a note which had been raised or depressed by a semi-tone. When you' place at the clef a sharp or a flat, ail the notesupon the line on which this sharp or flat is marked are sharp orflat. See No. IV. Tims let us take, for instance, the clef of idupon the first line, and let us place a sharp in the space betweenthe second and third line, which is the place of fa ; all the noteswhich shall he marked in that space will he^fi^:; and if you wouldrestore them to their original value of fa natural, you must place a

or a b before them. See No. V. In the same manner, if a flatbe marked at the clef, and if you would restore the note to its na-tural state, youmust place a ^ or a sharp before it. See No. VIII.Every piece of music is divided into different equal times, whichthey call measures or bars; and each bar is likewise divided intodifferent times. There are properly two kinds of measures ofmodes of time (see No. VI.) the measure of two times, or ofcommon time, which is marked by the figure 2 placed at the be-ginning of the tune; and the measure ot three limes, or of tripletime, which is marked by the figure 3 placed in the same manner.(See No. VII.) The different bars are distinguished by perpen-dicular lines. In a bar we distinguish between the perfect andimperfect time; the perfect time is that which we beat, the imper-fect that in which we lift up the hand or foot. A bar consisting offour times ought to be regarded as compounded of two bars, eachconsisting of two times: thus there are in this bar tw'o perfect andtwo imperfect times. In general, by the words perfect and im-perfect, even the parts of the same time are distinguished; thusthe first note of each time is reckoned as belonging to the perfectpart, and the others as belonging to the imperfect. (See No. IX.)The longest of all notes is a semibreve. A minum is half its va-lue ; that is to say, in singing, we only employ the same durationin performing two minims which was occupied in one semibreve.A minim in the same manner is equivalent to two crotchets, thecrotchet to two quavers, &c. See Plate CXXII, fig. 6. A notewhich is divided into two parts by a time, that is to say, which be-*gins at tlie end of a time, and terminates in the time following, iscalled a syncopated note. (Set; No. X, where the notes ut, si,la, are each of them syncopated. (See also Syncopation.) Anote followed by a point or dot is increased half its duration. Thesi, for instance, in the fifth bar of the example IX, followed by apoint, has the duration of a minim, and of a crotchet at the sametime.

Definition of the principal Chords .

The chord composed of a third, a fifth, and an octave, as ut misol ut, is called a perfect chord, if the third be major, as in ut misol ut, the perfect chord is denominated major: if the third minor,as in la ut mi la, the perfect chord is minor.' The perfect chordmajor constitutes what we call the major mode; and the perfectchord minor, what we term the minor mode, as before noticed.A chord composed of a third, a fifth, and a seventh, as sol si refa, or re fa hi ut, &c. is called a chord of the seventh. It isobvious that such a chord is wholly composed of thirds in ascend-ing. All chords of the seventh are practised in harmony, savethat which might carry the third minor and the seventh major, asut mi b sol si; and i hat w hich might carry a false fifth and a se-venth major, as si re fa la As thirds are either major or mi-nor, and as they may be differently arranged, it is clear that thereare different kinds of chords of the seventh ; there is even one, si,re, fa, la, which is composed of a third, a false fifth, and a seventh.A chord composed of a third, a lifLh, and a sixth, as fa, la, ut, re,re, fa, la, si, is called a chord of the greater sixih. Every notewhich carries a perfect chord is called a tonic, and a perfect chordis marked by an S, by a 3, or by a 5, which is written above thenote; but frequently these numbers are suppressed. Thus in theexample XI, the two equally carry a perfect chord. Everynote which carries a chord of the seventh is called a dominant;and this chord is marked by a 7 written above the note. Thus inthe example XII, re carries the chord re fa la ut, and sol the

chord