SIR,

TO THE EDITOR.

THE objection raised by your correspondent, MR. TAYLOR, p. 141, that" if the minor sixth and seventh are to be used in ascending as well descending, in the minor mode, it will necessarily preclude the possibility of forming a perfect cadence," is so far from being, as he conceives it, decisive and conclusive, that it will be found, on examination, to have no weight whatever in the question. Does Mr. T. need to be informed, that, taking the system just as it is now understood, there are some notes, on which a perfect cadence cannot be formed, without departing from the key? If he does, he has something yet to learn, before he communicates his intended observations with which he has promised to furnish you. BROSSARD, in his Dictionnaire de Musique, 3d Edit. Amst. asserts, p. 66, as an acknowledged fact, that "no perfect cadence can be made on the mediant, (the third note above the final or key note) of the major modes without going: out of the key, and that there are many persons, who say the same thing as to the mediant of the minor modes." He mentions this as a really existing fact, but he does not state it as any objection to the idea of a key.

Whether I am or not "thoroughly acquainted with the nature of harmony," is a question, the discussion of which I shall postpone, till I am called upon to commence it by one more conversant, than your correspondent, in enquiries of that sort. It is plain that my. adversary knows little of the rules of logic, or that mode of investi gation by which alone truth can be with certainty established, and which, as being such, has been universally adopted and pursued by the ablest, best educated, and most enlightened men of all times, periods, and countries. Nor does he seem in the least degree aware, that, for the purpose of judging correctly, it is absolutely requisite to lay aside former ideas and prejudices, and to examine step by step the propositions and conclusions on which any proposed emendation, or variation, most evidently depends.

It is acknowledged, and has been repeatedly asserted, that “there are in fact no more than two chords in music, the common chord and the chord of the seventh" and that "from these two all the rest

N n

spring." The truth of these assertions is unquestionable; and it is further certain and evident, that in point of relation, connexion, and proportion, (and harmony, in its correct and original sense, means nothing but proportion of parts to each other) it is exactly the same thing, whether one note be above or below another. For instance, a third below the key is still a third distant from the key, as well as the third above it. And, as that is the case, what I have said as to the Overture in Samson is correct.

My opponent has said, "it is evident no arrangement of figures can ever form a chord of the seventh of the notes G D A E." Now I ask, as those notes are related to the key note in the prescribed proportions, of which that chord consists, on what reason or ground he founds that assertion? If, as is apparently the case, it is on his present idea what the chord of the seventh is, I reply, this is no answer; because I mean to object, as I have done to that of computation, which is confined solely to reckoning forwards. And that proposition, which has itself been questioned, and consequently requires the assistance of evidence to support itself, can never be produced as the means of substantiating or sustaining another.

It cannot be a correct assertion, that the accidentals G*F and Bb, cause no change of the key. Every introduction of an accidental sharp, as being a deviation from the rule of the original key, is unquestionably a departure from the original key, and a migration into another. This is so evident to common sense and reason, that it needs no proof, but, should it be disputed on the present occasion, I am able to produce adequate authorities, which I only now withhold, as thinking them as yet unnecessary.

CORELLI'S 8th Sonata of his Opera 4 cannot be in the key of D minor, as Mr. T. asserts it is, because the note B in the composition is natural, whereas in that key it is required to be flat. The key of A is universally acknowledged as the natural ninor key, and consequently as the model for all the rest of the minor keys. Sharps proceed by 5ths, and flats by 4ths. Therefore, in the major keys, G is the first key, which has a sharp, but it has only one, & that is F. In like manner as to flats in the minor keys, D in the first, which has a flat, but it has only one, and that is B, thus

D-E-FG—A—Bb-CD

and I again assert, as I before said, that it is in A minor, because it has neither flats nor sharps, the movement ends with the key note A,

and the key of A is the natural minor key, and consequently can have neither flats nor sharps.

What I have here said I conceive to be sufficient for the present purpose. But if my adversary is not yet satisfied, I will here insert from authors of the highest respectability, two passages, which, in the strongest manner possible, tend to support the idea I have mentioned, as to the nature of the minor key. The first comes from Malcolm's Treatise on Music, the second, from Grassineau's Musical Dictionary. Malcolm was, as every one knows, who is acquainted with his book, a very able musician and mathematician; and Grassineau's Dictionary was, before its publication, revised and corrected by Dr. Pepusch,one of the most profound and eminent theoretical musicians of his time. The passage from Malcolm is as follows:-"We have one thing more to observe as to the seventh, which is natural to every mode. In the greater modes, or sharp keys, it is always the seventh greater; but flat keys use both the seventh greater and seventh less, in different circumstances. The seventh less most naturally accompanies the third less and sixth less, which constitute a flat key; and always belongs to it necessarily, when we consider the concinnons division of the octave and the most agreeable succession of degrees; and it is used in every place, except it is sometimes towards a close, especially when we ascend to the key, for the seventh greater being within a semitone of the key, makes a smooth and easy passage into it, and will sometimes also occasion the sixth greater to be brought in. Again it is by means of this seventh greater, that the transition from one key to another is chiefly performed; for when the melody is to be transferred to a new key, the seventh greater of it, whether in a sharp or flat key, is commonly introduced." -Malcolm, p. 279. Edit. Edinburg, 1721.

Grassineau's words are these: "Tis evident, therefore, that there are but two different species of keys, which arise according as we join the greater or lesser third; these being always accompanied with the sixth and seventh of the same species. The third greater for instance, with the sixth and seventh greater, and the third lesser with the sixth and seventh of the same species, that is lesser."-Grassineau's Dict. London, 1740. p. 116.

SIR,

TO THE EDITOR.

I Again take up the subject of my essay towards the collection of

some of the elements of vocal science, which I trust the success of your publication will enable me to complete, though the further I advance, the plainer I perceive that the work promises to be of considerable duration.

I am, Sir,

Your's,

TIMOTHEUS.

Section 1.

OF THE CHURCH.

COMPOSITIONS for the Church were originally designed to aid the effects of Divine Service, and they appear to have been limited at an early period of their introduction, to the single circumstance of producing a greater solemnity and elevation in the mind, during the public exercise of devotion. The progress of time, experience, and cultivation, has, however, enlarged the bounds of this species of writing, till it has come to comprehend at least all the objects of musical imitation that are thought to move the passions, emotions, and sentiments of the human heart. Before we can determine whether its range stops even at this point, we must decide upon the character which appertains to the sacred musical drama, which we call Oratorio, and whether it properly comes into our consideration, as belonging to the Church. The works of HANDELand of HAYDN in this species, of the latter most especially, have employed every known application of the powers of the art to heighten and diversify the embellishments of The Creation & The Seasons. BEETHOVEN, in his Mount of Olives, bas carried his imitations to a still lower depth, as is shewn in the appellation (the stop thief chorus) now commonly given to one of the choral parts. But the Oratorio, like every other kind of composition, has gradually been growing of a lighter cast, and we should rather apply a new term to such works as those we have quoted, than continue them under the division they now bear. The Creation and The Seasons we should be disposed to call Sacred

Operas, for they

certainly cannot be classed with the Messiah of HANDEL, nor with Athalia, Theo lora, Samson, Judas Maccabæus, Esther, nor indeed with any of those grand and solemn pieces to which HANDEL gave the name of Oratorio.

In treating, then, of the style of the Church, we must acknowledge a scale rising through various gradations, from the simple chaunt to the sublimest heights of composition, if we comprehend, which we must do, in our general arrangement, the Oratorio. We shall, how ever, first consider Church Music in its original and most legitimate acceptation.

By "Musica di Chiesa* (Church music properly so called)" says DR. BURNEY," I mean grave and scientific compositions for voices only, of which the excellence consists more in good harmony, learned modulation, and fugues upon ingenious and sober subjects, than in light airs or turbulent accompaniments." This definition appears to us to be too limited even for the common services. In Church Masic there ought indeed to be a presiding gravity of character, that circumscribes and chastens the whole. The true style of the church banishes every vulgar, loose, or profane idea; it elevates the mind, disposes to benevolence, expels all the ruder passions, all low affections, and all sensual appetites. The ceremonies of religion are nevertheless addressed to our sensibility, and are intended to fix devout and moral impressions through the medium of the senses. The feelings they move, and the sentiments they inspire, are of many kinds. They are connected with all the causes of the sublime. -There are, therefore, required great and various degrees of light and shade, to humble, to assuage, to inspire, to raise up, to elevate the soul to religious fervor, to display to man the Majesty and Glory of his Creator, and to image to his fancy the power of the Almighty; to sooth him with the tenderness of Divine mercy, and to inspire him with the holy raptures of thanksgiving for the great blessings he receives. The effects aimed at through all the churches of the world by the employment of music, are of the same kind; they differ only in manner and degree. Passing from the plain Hymn of the dissenting congregation, through the service of the Cathedral, up

*It should seem by Dr. Burney's adoption of the Italian name, that he had an especial regard to the music of the Catholic Choirs. We use the term Church music, generally for all performances under the consecrated roof and dedicated to the service of the Deity.