fundamental progression. Thus G7 F-G7 D-G7 D. This second resolution will of course add to the number of chords that interrupt the cadence. By inversion, these progressions are as follows: BC-B3 A 6-BA-B; A*-D÷ C÷D÷ D÷—D÷ D✯▬ &c. &c. On the same principle C may be followed by C, or by B7—C9 by B, &c. and I wish to be understood, that a concord resulting from any of these resolutions may be treated as if no discord had appeared; thus, B, C D5, G. But if discord follows discord, the proper progression must be attended to. Having submitted these observations on the treatment of discords to two gentlemen well versed in the science of music, their approbation has induced me to submit them also to the candour of the profession; not that I wish to encourage the immoderate use of discords, but with a view of introducing such a variety of harmonious combinations as to supersede the necessity of too frequent a use of the chord of the diminished seventh; for though Mr. Kollmann, in his rondo on that chord, has shewn its immediate progression to all the twelve major and minor keys; yet as some of those progressions are harsh, composers have selected the most harmonious of them for gencral use, which begin now to be distinguished, not only by the scientific, but by the musical ear; and as the progressions are generally the same, a continuation of them would be likely to descend from elegance to insipidity. It follows, therefore, that as concords are not limited in their progression, and as they leave the ear in a pleasing uncertainty, every variety of effect, from the most sublime to the most airy, may be produced by the use of them sparingly interspersed with discords, particularly by admitting the two-fold resolution of the latter. This kind of resolution may be applied even to the chord of the dimi nished seventh, as may be seen by the following example in C minor modulating into Bb minor. B7, C, Db, Bb, Fb, F, Bb. I need not give any further examples, as they will naturally follow from what has been said above.

This appears to me to the clearest and most intelligible method of explaining the resolution of discords, it being quite unnecessary to consider them in a double point of view, which Rameau, by his subdominant, and other writers by various theories, have done: and I believe, that in the most complex organ points, concords will be found to follow discords, either against the bass or amongst the parts, in such a manner, as that the holding bass is related to the whole.

Although in removing from one key to another, the new key may be announced by one of the inversions of its dominant, yet the threefold use that may be made of the common chord, as I have already explained, must be of great utility in uniting the different keys, and rendering the modulation easy, natural, and flowing. The common chord is, indeed, thus treated by all good composers, but I do not recollect having met with this explanation of it. In further illustration of this, C, with its common chord major, may be considered as a key note, or as a fourth to G or fifth to F, after which any progression may be taken that belongs to those scales. E with a chord of the sixth may be indifferently used, as a third to C, a sixth to G, or a seventh to F. As F, the fourth in the key of C, frequently carries a chord of the sixth, it may in that case be considered as belonging to the scale of C, or as a third to D minor, or as the descending minor sixth of A minor, where D, the fundamental note, becomes a fourth. When

D in the key of C carries a chord of the sixth, it may be indifferently used as a second of C or the fourth of a minor. In the first case, it is derived from an incomplete chord of the seventh to G, and in the second, from the imperfect chord of B. The first inversion of the above three chords thus explained will enable the reader to pursue their second at his leisure.

It has been a received rule, that any two common chords may follow each other, which contain a note common to both; but this rule appears to be of less use in natural than abrupt modulation: for in passing from a major chord to its third, the ear rather expects a chord of the sixth orb than its minor chord: whereas passing from the major chord to its second above with a minor one, seems more agrceable on account of its being one of the progressions of the interrupted cadence. The common chord on the fourth of the key sometimes succeeds that on the fifth, which is rendered agreeable by the expectation of the imperfect cadence or one of its inversions. Now in these two progressions, the succeeding chords have not a note in common to unite them. Again, if the second of two chords ascending diatonically should be major, when a minor chord was expected it is rendered agreeable by being felt as the dominant of a new key. But in abrupt modulation, as from C to F minor, from C to Ab major, from C to Eb major, from C to A major, from C to E major, the note in common is of considerable importance, as it not only sanctions the transition, but may serve as a direction to the

position of the chords; for when, to produce particular effects, such transitions are used, the note that unites the two chords should generally be laid uppermost, in order to render them harmonious. That from C to F minor, indeed, seems exempted from this rule, since C with its major third is its dominant. The first order from C to Ab appears to be C in its first position, Ab in its second, the second C in its third position, Ab in its first. I imagine no composer would use C in its first and Ab in its third position. The first order from C to Eb major may be C in its third, Eb in its second position, the second C in its first, Eb in its third position. With respect to the transitions from C to A major, or from C to E major, it seems better to avoid the third uppermost in the succeeding chord, as that would characterise it as a dominant. This observation, however, does not apply to Ab or Eb, as the notes to which they would be dominants, are too remote from the key of C.

Although there is a note in common to C major and G minor, and to C minor and F major, those progressions seem somewhat hard; for in the first case the E natural has the effect of a major 6th to G, which ought to ascend; and in the second the A natural, being the major sixth of C minor, seems to forbid the adoption of F as a key

note.

There is also a note in common to C minor and A minor, and to C minor and E minor, but the second of each of those chords seems too remote to be used in succession.

A fine effect and an agreeable surprise to the ear may be produced, by using in the major key the interrupted cadence, properly belonging to the minor previous to a perfect cadence, being made as in the following example in the key of C-Fz, G÷3, Ab, G, G C.

I shall conclude my present remarks by observing, that though the rules of harmony constitute what is particularly taught in modulation, yet if the modulator would entertain himself and his hearers, he must assiduously cultivate melody which ought to be supported and enriched, but not obscured by modulation.

58, Pottergate-street, Norwich,

March 8, 1819.

J. TAYLOR.

SIR,

TO THE EDITOR.

I OBSERVE, in the first number of your very excellent work, an

account of the merits of the late MR. HARRISON as an eminent singer, wherein he is mentioned as having been "trained from his earliest years among the choristers at the Chapel Royal of England." I presume you mean the Chapel Royal of St. James's, as I do not know of any other. With regard to Mr. H. being educated in that choir, I believe there is a little mistake, for I have reason to think he was never admitted amongst those choristers. I beg to say I was admitted into the Chapel Royal in the year 1772, and Į am positively certain in stating that Mr. H. was not in that choir, either before me, with me, or after me; indeed, a list of those who were educated in the same school for fifteen years previous to my admission now lies before me, and Mr. H.'s name does not appear among them.

I believe I am pretty correct in stating that Mr. H. was principally, if not entirely, brought up by a MR. BURTON, (who frequently sung in the chorusses at the oratorios at Drury-lane, at that time under the joint directions of MESSRS. STANLEY and LINLEY,) conse, quently could not have been a chorister at the Chapel Royal; for, had he been one, he must have been educated under the late Dr. NARES. In saying thus much of Mr. H. I trust I shall not be considered as depreciating his superior merits as a public singer; his super-eminent abilities are too well known to need any further comment.

I beg to add the very great pleasure and satisfaction I have had in perusing the two numbers which have already appeared, and trust the future numbers will afford equal pleasure,

I remain, Sir,

Your obedient humble Servant,
J. W. H.

MEMOIR OF PAISIELLO,

THE CHEVALIER GIOV. PAISIELLO, yielding to the entreaties of different biographical authors, has occupied himself in retracing the origin and the order of his labours in the exercise of his art, which he reduces to three principal epochs. He has in consequence methodically arranged the following account, which he addresses to M. CHORON, at Paris.

G. PAISIELLO, son of FRANCOIS and of GRAZAZIA FOGIALE, was born at Tarentum on the 9th of May, 1741. His father was a veterinary surgeon, particularly distinguished in his art, and the reputation he had acquired, not only in the province of Lucca but in the whole kingdom, procured him the honour of being employed by the King of Naples, Charles the Third, during the war of Velletri.

His father determined as soon as he had attained his fifth year, that he should study till he was thirteen, with the Jesuits, who had a college at Tarentum; and, as it was the custom of these fathers to have the service for the Virgin sung in all their feasts, they remarked when their young pupil sung the hours of Matins, that he had a fine contralto voice and an excellent ear. Upon this observation, a CHEVALIER D. GIROLAMO CARDUCCI, of the same city, and who superintended the music for the Holy Week in the church of the Capuchins, endeavoured to make him sing some pieces from memory. Young PAISIELLO acquitted himself in such a manner that it might have been imagined he had studied music for a length of time. This was in March, 1754. The CHEVALIER CARDUCCI perceiving the promising genius of PAISIELLO, advised his father to send him to Naples, in order that he might study music, and for this purpose instantly to place him with some good chapel-master, but his parents would not consent to it, for being their only son, they could not resolve to part with him.

The reiterated entreaties of the Chevalier began at last to prevail, and they promised to give an answer, after having reflected more maturely. In short, after some time had elapsed, they determined on sending him to Naples; his departure was fixed for the month of May following, and in the mean time he employed all his time in learning the first elements of music, under an ecclesiastic, a secular priest, named Don Carlo Resta, of Tarentum, an excellent tenor,