hymn with a majesty well befitting the words. In the "Credo," which commences with " Patrem omnipotentem," the eighth tone is again introduced, which also seems to influence the style of the whole. It contains many well imitated points. The "Genitum non factum" is a real canon of the eleventh above. The characteristics of the "Crucifixus" are sublimity and expression in an eminent degree, and the piece is well sustained throughout. The" Sanctus," more than any other part of this Mass, shews Mr. Webbe's discri mination in choral effect. The words have furnished him with a favorable opportunity which he has not neglected. The "Agnus Dei" is a fugata, and a fine movement. The "Sicut erat" in the “ Domine salvum fac" contains a subject which is regularly answered the first time, and has some judicious imitations of it and of other points. The first strain of the "Tantum ergo" is music well suited to the solemn occasion, and forms a striking contrast with the dignis fied Alla Breve movement which follows. I have dwelt more particularly on this Mass, because, whilst the modulation is rich though simple, whilst the soli and tutti are well contrasted, whilst it abounds with judicious imitations, it is perhaps more devotional than any of the others.

The third Mass, which is in C major, seems, as well as the fifth and sixth, to have been intended for the more solemn festivals of the year, The "Gloria" is as magnificent as can be well expected in a composition of two parts. The "Et iterum venturus est cum gloria" is followed by a fine organ symphony, as is also “judicari vivos," which gives an impressive effect to the words when performed on an instrument which has the advantage of a trumpet stop. The “Cujus regni non erit finis" is a movement consisting of an imitation of three points: the effect of the repetition of the words "non erit finis," is heightened by the movement concluding with an aversion of the imperfect cadence from the key note to its fifth. The “Sanctus" is majestically introduced by a symphony, which contains an organ point, and other symphonies interspersed, add much to the force of the words. An equal and dignified style is sustained throughout the remainder of the Mass.

The fifth Mass, which is in F major, differs in one particular from the preceding four, being divided not like them into strains, but generally into movements. The Kyrie eleison contains some fine combinations of harmony. The effect of the "Gloria in excelsis

Deo" is greatly enhanced by an interchange of words between the parts, which is a peculiar characteristic in the compositions of Mr. Webbe. The duets, solos, and chorusses, from "Laudamus te" to "propter magnam gloriam tuam" are well worthy attention. This hymn is well concluded by a Fugata. The creed, although set in common time, has much of the effect of a chant, relieved only by a duet and three solos. The Benedictus is a continued solo, occasionally accompanied by a chorus of "Hosanna," another instance of Mr. Webbe's excellence in the management of his words. This Mass is enriched throughout with an organ bass. The stile of each of these five Masses is ably supported, and yet they vary so much from each other, that one would not imagine they were by the same composer.

The sixth Mass, which is in F major, is in three parts; alto, tenor and bass, and is a florid composition. The "Gloria" is opened by a symphony in the style of the coronation anthem, which introduces the succeeding chorus with surprising effect. This movement to "propter magnam gloriam tuam" is composed of chorusses, florid passages and points finely contrasted. "Domine Deus Rex celestis" opens with a bass solo, which continues to "suscipe deprecationem nostram," which is well calculated to shew a fine voice, and has a brilliant organ accompaniment interspersed with symphonies; after which, a supplichevole movement is introduced to the words. "Qui sedes ad dextram Patris," and the hymn is concluded with alternate solo and chorus, in the same bold style in which it begun. The credo is opened and continued in the same style to “Qui propter nos homines," which is an alto solo as far as the "crucifixus." It is directed to be performed con ammiratione, and by its simplicity, gives ample scope to the powers and judgment of a singer. A tenor solo occurs from the "Et in Spiritum Sanctum," which from the nature of the passages requires some powers in the singer; but though florid, they may be easily expressed in buildings much larger than chapels usually are. The remainder of the Creed, and indeed of the whole Mass, from the boldness of the passages, from the contrasts naturally arising from the words, and from the interspersion of solos, duetts, trios, and symphonies amongst the chorusses, seems eminently calculated to produce the effect undoubtedly intended by the author, that of giving additional solemnity to divine service on the greater festivals of the year.

The seventh Mass is by RICCI; but as MR. NOVELLO has added a counter and tenor parts, and as I am not in possession of that score, I should be unable to do it justice

The eighth and ninth Masses are by the late MR. PAXTON, and although their style is somewhat heavy, they are neither of them without their beauties. The "Domine salvum fac," in the first, is a fine, bold, expressive, and devotional movement. MR. WESLEY seems to have been of the same opinion with all who have heard the "Tantum ergo," having used it as a theme for variations, which, in the hands of a skilful organist, cannot fail to delight the hearer. In the second" Hosanna" of the last Mass, an effect quite original, seems to be produced by a responsive arrangement of the words.— Upon the whole, it is impossible to judge of these Masses from their simple appearance in notes; as, with a few exceptions, a large building and a number of voices are as essential to their proper effect, as a small room and select voices are necessary to that of the more delicate compositions of modern authors.

Besides these, MR. WEBBE has published some other Masses, and a number of motetts, which last, although they in general require finer singing, and are many of them well calculated for the chamber, yet they are so composed as to produce, in divine service, the effect which he desired; in proof of which I need only point out the following: " Alma redemptoris," in D major; solo and chorus, "O Salutaris hostia," a duett in F major; "O Sacrum Convivium," a duett in G major; "O Jesu Deus magne," a duett for sopranos in Bb major. And in another publication “ Exaudi Domine preces servi tui," with a brilliant organ accompaniment. Many other examples might be quoted to shew that MR WEBBE has not descend, ed in his sacred music, but the above I hope will suffice.

TO THE EDITOR.

SIR,

THERE is not, perhaps, any branch of the Musical Science more necessary to a composer than Modulation. It may be said to be the key which opens to the admiring ear all the treasures of harmony. A knowledge of it imparts a clear insight into the harmonious beauties of great masters, whilst a deficiency in this essential branch is likely to render abortive the exertions of the greatest genius, either in composition or extempore performance. Rameau, who, if I mistake not, was the first to systematize harmony, considers modulation to be the manner of removing from one key to another, and in this sense, I believe it is generally understood in the musical world. The above, as well as many succeeding authors of great emninence, having so largely treated on this subject, I propose chiefly to direct the attention of the reader to such points as I do not recollect to have met with in other authors, or which are but slightly commented on.

I shall first consider the order of relation in the minor key. The nearest relations to the key note, according to Mr. Kollmann in his Essay on Musical Harmony, chap. 10, are first, its 5th minor, secondly its 4th minor, thirdly its 3d major, fourthly its minor 7th major, fifthly its minor 6th major; and according to Rousseau, as quoted. by Kollmann, 1, the 5th major; 2, the 3d major; 3, the 4th minor; 4, the minor 6th major; 5, the minor 7th major. But the transitions are not the same as in the major key, owing to the minor keys requiring a major 7th in ascending; for if we proceed from a minor key to its 5th, the ear expects a major third; and if we ascend from a key note to its fourth, the key note seems to require a major third. The most natural transitions therefore seem to me to be, from a key note to its third and to its sixth; for as those are not the progressions of a chord of the seventh, no deficiency is felt, and although I presume to differ from the above writers on this point, it is simply with regard to transition, for if the dominant of the new key is introduced, it of course removes all objections.

Although the transition from a minor key to its minor sixth majo is very harmonious, yet from the sixth to the key is not equally so,

which may be thus accounted for. The key being minor, the ear does not demand any particular progression, whereas, in passing from the sixth to the key note, the ear seems to require the chord of the sixth or rather than the common chord.

None of these difficulties occur in passing from a minor key to its third major, or vice versa, for, first, (as it has been already remarked) the ear expects no particular progression from a minor chord, and secondly, the key note of the minor key forms no part of the common chord of its third major.

When a major common chord is used, it may be considered and treated as a key note, a fifth or a fourth, it being particularly proper to these intervals on account of their commanding the cadences. This rule, however, does not apply in natural modulation, where an. accidental major chord is felt as the dominant of the new key. A minor chord can be but a key note or fourth, because the fifth of the key, as such, always carries a major chord.-(see page 141 of this work. The minor chord, however, is often used as a leading chord to a dominant, and the imperfect chord is seldom used in any other capacity. The proper use of the inversions of these chords is naturally deduced from the above observations. The inversion of chords answers three purposes. Ist. It prevents that monotonous ef fect which a constant succession of fundamental chords would necessarily produce. 2d. It softens certain progressions, which would sound somewhat hard in their fundamental state, particularly when the inversion causes the bass to move by gradation. 3d. It renders a bass much more melodious.

The resolution of discords seems to me to have been too much limited by Rameau and other writers, as the ear appears satisfied, if the discord is followed by a concord. Suppose the discord to be C D, the C may descend to B, or the D ascend to E. This latter resolution takes place in Rameau's chord of the sub-dominant, which I wish to extend to all other discords. Rameau's sub-dominant, however, is limited to rising a fifth, which appears unnecessary. I will therefore notice some progressions of the chord of the seventh, which vary from those usually taught: such as, G7 A6-G7 AG7 A*. As in these three examples the bass has ascended to resolve the discord, I leave it to the judgment of the composer, whether the bass note may not be doubled in the octave, that while one part rises to the resolution of the discord, the other may take a