Cornell University Library 
 MT 7.C15 1870 
 
 3 1924 021 800 598 
 
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 the Cornell University Library. 
 
 There are no known copyright restrictions in 
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 http://www.archive.org/details/cu31924021800598 
 
CALLCOTT'S 
 
 MUSICAL GRAMMAR. 
 
 IN FOUR PARTS. 
 
 I. -NOTATION. 
 II. -MELODY. 
 
 III. -HARMONY. 
 IV. -RHYTHM. 
 
 ^ti,.^ VaXJL 
 
 By dr. CALLCOTT. 
 
 "The better Music is known and understood, the more it will be valued i 
 esteemed." — Simpson. 
 
 BOSTON: 
 PUBLISHED BY OLIVER DITSO'N & 00. 
 
AUTHOR'S PREFACE. 
 
 Tee design of the following work is, to compiess in a small volume the 
 leading principles of practical music. From the analogy which exists between 
 music and language, the author has presumed to adopt a classification first 
 suggested by the German theorists, and to entitle the whole a Mdbioai. 
 
 OKAMMA.K. 
 
 He has endeavored, by examples selected from the best authors, and inter- 
 mixed with musical characters, to render the instructions more satisfactory 
 than if they were merely verbal ; and he only regrets that, in many instances, 
 they could not be made more extensive without injuring the due proportion of 
 the parts and the portable size of the book. 
 
 He is very happy to avail himself of the present opportunity of returning his 
 most grateful acknowledgment for the assistance he has obtained from public 
 and private libraries in England, and for the great attention shown him by 
 persons not more distin guished by r ""^ mil y,{rth th^n by love of science and 
 of literary pursuits. X^— - ' 
 
 •'CORN El 
 
 UNIVERSITYi 
 
 In the cultivation of miiiilu twifWBltiTici objects are to be acquired — science 
 and TASTE. Taste is improved by studying the compositions of celebrated 
 masters, and by endeavoring, both in writing and performing, to adapt the 
 melody to the subject. 
 
 By a due attention to this little volume, it is confidently believed that the 
 student may obtain all that is necessary to discriminate between false and cor- 
 rect harmony, and to compose conformably to the established rules — an ac- 
 quisition which certainly must be desirable to the votaries of music. 
 
 Many years since, several publications made their, appearance in the United 
 States which had a tendency to correct and refine the public taste in the noble 
 science of music. No publication, perhaps, has had a more universal influence 
 in this reform than this Musical Grammar. The general character which it 
 has sustained for correctness among the best judges, and the high estimation 
 in which it continues to be held, has induced the publisher to present a new 
 and improved edition. He has been careful to preserve its original accuracy, 
 by obtaining a careful revision and examination of the work by a gentleman 
 of this city, eminent for judgment and taste in the Bcier<ce of which it treats 
 
 (2) 
 
CONTENTS. 
 
 PART I.— NOTATION. 
 
 Of the Staff, 9 
 
 Of Clefs in general 11 
 
 9f theG, or Treble Clef, 12 
 
 Of the F, or Bass Clef, 13 
 
 Of the Counter Tenor Clef, IS 
 
 Of the Tenor Clef, 16 
 
 Of the Soprano Clef 16 
 
 Of the Mezzo Soprano, the Baritone, and high Treble Clefs, 17 
 
 Of Notes in general, 18 
 
 Of the Tune of Notes 22 
 
 Of the Time of Notes, 25 
 
 Of the Accent of Notes, 36 
 
 Of the Rests, 38 
 
 Of the Sharps 41 
 
 Of the Flats, 42 
 
 Of the Naturals 44 
 
 Of the Double Sharp, .• .' ^ 46 
 
 Of the Double Flat, : 45 
 
 Of Graces, 47 
 
 Of the Characters, ^ .' 64 
 
 Of the Marks of Expressionj i'. 67 
 
 Of Abbreviations, .....69 
 
 PABT II.— MELODY. 
 
 Of Intervals in general 61 
 
 Of the Names of Intervals, 62 
 
 Of tlie fourteen Diatonic Intervals, 63 
 
 Inversion of Intervals, 70 
 
 Of Consonant and Dissonant Intervals, 72 
 
 Of the three Kinds of Melody 75 
 
 Of the Chromatic Scale, and its Intervals, ■ 76 
 
 Of the Enharmonic Scsde and its Interval, the Quarter-tone 81 
 
 Of Keys or Scales 83 
 
 Of the Major Scales with Sharps, 84 
 
 Of the Major Scales with Flats, 85 
 
 Of the Signature .86 
 
 Of the Blinor Scale or Mode 86 
 
 Of the Relative Minor Scales, 88 
 
 Of the Tonic Minor Scales 89 
 
 Of Transposition, &c., 90 
 
 Of the Tonic, Dominant, &c 91 
 
 Of the Characteristic Notes, .94 
 
 (3) 
 
4 CONTENTS. 
 
 Of Ancient Signatures in general 95 
 
 Of Ancient Sharp Signatures, 96 
 
 Of Ancient Flat Signatures 97 
 
 PABT III.— HARMONY. 
 
 Of the Consonant and Dissonant Triads, ■ 99 
 
 laTersions of the Triad,.. 102 
 
 Of the Direct and Contrary Motions, with Rules for their Use in Harmony,104 
 
 Of Harmonical Progression, 106 
 
 Of the Dominant Seventh, 109 
 
 Of the Inversions of the Dominant Seventh, 113 
 
 Of the Resolution of the Dominant Seventh 114 
 
 Of Modulation 118 
 
 Discords of Transition '. 122 
 
 Discords of Suspension, 127 
 
 Discords of Syncopation LSI 
 
 Discords of Addition 132 
 
 Of Radical Cadences 141 
 
 Of Medial Cadences 143 
 
 Of Dominant and of Mediant Sequences, 146 
 
 Of Inverted Sequences, 147 
 
 Of Simple Sequences, 148 
 
 Of Compound Sequences, 149 
 
 Of Irregular Sequences, laO 
 
 Of Pedal Harmonies, 151 
 
 Of the Extreme Sharp Sixth 152 
 
 Of Partial Modulation, 154 
 
 Of the Rule of the Octave 15C 
 
 Of Chromatic Modulation, 167 
 
 Of Enharmonic Modulation, 158 
 
 PABT IV. — RHYTHM. 
 
 Of Simple Measures, 161 
 
 Of Compound Measures, ^ 164 
 
 Of Mixed Measures,. 165 
 
 Of Emphasis, 166 
 
 Of Simple Feet 168 
 
 Of Compound Feet 170 
 
 Of the Musical Osesure, 171 
 
 Of the Regular Phrase, , 174 
 
 Of the Irregular Phrase, ; I77 
 
 Of Interwoven Phrases, IgO 
 
 Of , the Regular Section, Ig2 
 
 Of the Irregular Section. 183 
 
 Of the Interwoven Section, 184 
 
 Of the Codetta, 186 
 
 Of the Tonic Period 188 
 
 Of -the Dominant Period, I90 
 
 Of the Interwoven Period, 192 
 
 Of theOoda, I94 
 
CALLCOTT'S 
 MUSICAL GRAMMAK. 
 
 PART I. 
 THE NOTATION OF MUSIC. 
 
 CHAPTEE I. 
 
 OF THE STAFF. 
 
 Art. 1. Five lines drawn over each other form a «*q^* or 
 support for the notes of music ; thus : 
 
 On these lines, and in the spaces between tiiem^ the heads of 
 the notes are placed. 
 
 2. The lines and spaces of the staff are counted upwards, from 
 the lowest to the highest. 
 
 XJSSS. SPACSS. 
 
 * Sir John Hawkins (vol. i. p. 427) -writes the word »to»e for staff. Dr. Bur- 
 ney, v. ii. p. 87 : " The regular staff of four lines was not generaHy naed in tho 
 church tUl the 13th centurr." 
 
 (9) 
 
10 
 
 callcott's musical grammar. 
 
 Every line or space is called a degree ; * thus the staff includes 
 nine degrees, viz., five lines and four spaces. 
 
 3. The notes of music consist generally of two parts, a head 
 and a stem. 
 
 The head is either open or close, (that is, white or hlach,) 
 and must always be placed on a line or in a space. The stem 
 may turn up or down without making any difference in the music. 
 
 ■WHITE ITOTES. 
 
 On lines. 
 
 ) 1 ^ ' ^ ■ 
 
 
 rn 
 
 -^ ] 
 
 
 ■1 c?- 
 
 1 
 
 
 
 
 Ip spaces. 
 
 'IS. 
 
 :?5: 
 
 221 
 
 BLACK DSrOTBS. 
 
 On lines. 
 
 EE 
 
 In spaces. 
 
 4. When more than nine notes are wanted, the spaces above 
 tnd below the staff are used, and two more degrees are gained ; 
 thus: 
 
 5. If more notes than these are required, then added lines f 
 are drawn above or below the staff, and the notes are placed on 
 them; thus: 
 
 Line above. 
 
 Line below. 
 
 S 
 
 3 
 
 S^ 
 
 Z^ 
 
 
 • Christopher Simpson, Compendium of Practical Music, 1678, 3a edit, p 2 
 t The added lines were formeriy oaUed ledger or leger, short or light lines" 
 The latter term is adopted by Mr. Holden, in his Essay, (1770,) art. 56. 
 
NOTATION. 11 
 
 Any number of lines may be added above or below ; thus the 
 degrees of the staff are increased at pleasure. 
 
 6. In music for keyed instruments, when'a staff is wanted for 
 each hand, they are joined together by a hrace ; the upper staff 
 for the right hand part, and the lower staff for the left. 
 
 "When more than two staves are joined together by the brace, 
 they contain music for different voices, or instruments, to be per- 
 formed at the same time. This union of staves is called the 
 
 CHAPTEE II. 
 
 OF THE iCLEF. 
 
 Sect. I. — Op Clefs in general. 
 
 Art. 7. The notes of music are named from the first seven 
 letters of the alphabet. A, B, C, D, E, F, G. "When the melody 
 or tune exceeds these seven, the same series of letters must be 
 repeated. 
 
 8. A cfe/"t is a mark representing a letter, placed at the be- 
 ginning of the staff, to determine the names of the degrees, and 
 is always situated on a line. There are three clefs : 
 
 * Dr. B. ii. 440 : " The word score probably originated from the bar, which, 
 in its first use, was drawn through all the parts, as it should be still, of a piece 
 of music in partition, or partitura." 
 
 t Sir J. H. writes cUff, i. 431 ; iii. 51, 89 ; iv. 162. — Dr. B. ii. 90 : " GWs 
 were originally nothing more than the letters of the alphabet, placed oppouite 
 to notes of the same name." 
 
12 oallcott'^s musical geammae. 
 
 The F clef. The C clef. The G clef. 
 
 iT-rr--~: 
 
 W 
 
 in 
 Is 
 
 These are commonly called the boss, the tentyr, and the treMe. 
 
 9. The sounds of music are distinguished by their djfferenct 
 in respect of pitch, and divided into high and low; the high 
 sounds are placed in a staff with the G clef, and called treble , 
 the low sounds are pl^d in a staff with the F def, and called 
 
 10. The upper sounds of the bass and the lower ones of the 
 treble are also called tenor, and sometimes placed in a staff with 
 the C clef. 
 
 11. These three clefs are five degrees distant from each other ; 
 tlie C or tenw clef being the note where the bass ends and the 
 treble begins. The G or treUe clef is five degrees above, and 
 the F or bass is five degrees below, both inclusive. 
 
 w 
 
 ■w 
 
 iTr 
 
 g 
 
 a 
 
 12. All the degrees of the staff depend upon the def, and con- 
 sequently take their names from that line on which the clef is 
 placed. It must always be remembered that these clefs are rep- 
 resentatives of the letters f, c, and g.* 
 
 SscT. II. — Op the G or Teeble Clef. 
 
 13. The G cleft must turn on the second line of the staff; all 
 the notes on that line are called g ; the oth«r degrees take their 
 names from that as the clef line. 
 
 * The utility of clefe, in respect of human voices, is explained by Dr. B. ii. 
 457. See also Malcolm, p. 332; and Holden, art. 51. 
 
 t The Q clef is a compound character of the letters G and S, for the syllabla 
 Sol. lu old inusic,- the two letters, g and s, are sometimes seen distinctly 
 marked. Turner's Sssay, (1724,) p. 34 ; Dr. Pepnsch, Treatise on Harmony, 
 (1731 ;) Bameau, Treatise, (1752.) Sir J. H. (iii. lOS,) ascribes the earliest u»6 
 of our present character to Lampadius, (1537,) U.'408; iii. 54. 
 
NOTATION. 
 
 0- 
 
 la 
 
 >** 
 
 ■& — « . . on the clef liiie. 
 
 The nine degrees of the treble staff are, 
 
 faJ=^=E£i^3 
 
 egbd? 7a "ce 
 14. The degrees abor© and bekw the staff are^ 
 
 -a' 
 
 c 
 
 The other added degrees are reckoned &om these, whether above 
 or below. 
 
 Sect. III. — Of the F or Bass Clef. 
 
 15, The F def * must he placed on the fourth line of the 
 staff, 80 that the two dots are in the third and fourth spaces ; all 
 the notes on that line are called f ; the other degrees take their 
 names from that as the clef line. A/ -t, i;^ 
 
 f.., 
 
 ^:=&i= 
 
 . . on the clef line. 
 
 * Tbe F clef is a componnd character, ftirmed eriginsHy (^ three Botes^ one 
 placed on the line, and two others in the adjoining spaces ; thus : 
 
 The C clef was distmguished from the F by having only the two notes in tha 
 2 
 
14 callcott's musical grammae. 
 
 The nine degrees of the bass staff are. 
 
 3 
 
 Q=f=r 
 
 GBdfa Ace 
 16. The degrees above and below the staff are, 
 
 ^- T I , I = 
 
 F b E c 
 
 17. The note C on the added line * below the treble and on 
 that above the bass are exactly the same sound ; thus the lower 
 notes of the treble may be expressed in the bass, 
 
 ^ 
 
 ^^ 
 
 c d e ode 
 
 and the higher notes of the bass may be expressed in the treble, 
 
 at 
 
 ^m 
 
 18. The same notes may be thus written in both the F and 
 G clefs : 
 
 ■paces ; and fhese clefe were adopted ia the Gregorian, while colored lines were 
 used for the more ancient Amhrosian chant. BVanchinns Gafurius, Practica 
 lib. i. cap. 3, fol. 4, b. edit. 1496 and 1502. ' 
 
 * When the added lines between the treble and bass frequently occur, it ia 
 usual, in old music, to find the C olefe in both upper and lower staves. See 
 Scarlatti's Lessons, ii. 12 
 
NOTATION. 
 
 15 
 
 PP^ 
 
 g a b c d e f 
 
 W 
 
 -•—(•- 
 
 - 1=^4r- 
 
 Sect. IV. — Of the Cotintek Tenoe Clef, or G on the 
 
 THIRD LINE. 
 
 19. When the C clef is placed so that the two cross strokes 
 enclose the middle line, it is called the counter tenor * or viola 
 clef. 
 
 » 
 
 if 
 
 . on the third line. 
 
 The nine degrees of the viola staff are, 
 
 i 
 
 =f: 
 
 "I r 
 
 ^ 
 
 f- 
 
 -■ ■> 
 
 a c 
 
 g 
 
 g b d 7 
 
 These correspond with the notes in the treble and bass clefs, 
 given in the example of Ait. 18. 
 
 20. The counter tenor clef is used for the high voices of men 
 in vocal music, and for the viola or tenor violin in instrumental 
 pieces. 
 
 * This is also called alio and contralto. It borrows the two lower lines of 
 the treble for its upper degrees, and the two upper lines of the bass for its low- 
 er degrees. The middle line is the added one between the treble and bass. 
 This clef is used in Handel's 400 Songs, ii. No. 130 : " O fairest of ten thou- 
 sand ; " iii. No. 192 : " See the conquering hero comes ; " v. No. 3/9 ; " Bida 
 me ftpm day's gairish eye," 
 
16 
 
 callcott's musical geammae. 
 
 Sect. V. — Op the Tenoe Clef, oe O on the foueth 
 
 LINE. 
 
 21. Wten the C def is placed so that tne two cross strokes 
 enclose the fourth, line, it is called the tenor clef.* 
 
 i 
 
 . on the fourth line. 
 
 The nine degrees of the tenor staff are, 
 
 -H 
 
 _p^_ ^^ _ 
 
 M 
 
 n a ^ \ ^ m r 
 
 .□. 
 
 ■ J M • 1 ^ #11 
 
 d ' 1 • ^ ' 
 
 dtace egbd 
 
 These notes are"five degrees above those in the bass elef, Art. 15. 
 22. The tenor clef is used for the middle voices of men, and 
 for the violoncello or bass violin in instrumental music, when the 
 passage ascends above the bass staff. 
 
 Sect. VI. — Of the Sopeano Clef, oe G on the fiest 
 
 LINE. 
 
 23. When die C clef is placed so taat tne two cross strokes 
 enclose the lowest line, it is called the soprano f or canto clef. 
 
 i 
 
 II I 
 
 -&- 
 
 . ... on the first line. 
 
 * The tenor elef borrows the lowest line of the treble for Its upper decree 
 and the three highest lines of the bass for its lower degrees. The fourth line 
 is the added one between the treble and bass. Examples of this clef maybe 
 found in Handel's Songs, i. No. 49: "How blest the maid;" No. 57: "But 
 O, sad virgin ; " ii. No. 148 : " What passion cannot." - 
 
 t The soprano clef borrows the four lowest lines of the treble for its upper 
 degrees ; and the first line is the added one between the treble and bass. 
 These three C clefs, the soprano, alto, tenor, with, the bass F clef, fonft tb? 
 
NOTATION. 
 
 17 
 
 The nine degrees of the soprano staff are, 
 
 
 
 — . 
 
 i— P- 
 
 " "» .. 
 
 
 1 M 
 
 • 1 
 
 n_ __ _ « r 
 
 T..:: . 
 
 2 * 
 
 1 ~i m r r 
 
 
 • 
 
 m 1 
 
 H 
 
 c 
 
 e i 
 
 F J 
 
 d f a c 
 
 These notes are three de^ees below those in the treble clef, 
 Art. 13. 
 
 24. The wprano clef is used for the voices of females and 
 children. In Italy and Germany no other clef is in general use 
 for the harpsichord, the G clef being reserved for the violin, 
 flute, &C. 
 
 Sect. VIL — Op the Mezzo Soprano, the Baritone, 
 AND HIGH Treble Clefs. 
 
 25. In old vocal music, the C clef is placed on the second 
 line, and called the mezzo soprano. 
 
 nt 
 
 3 
 
 -^^ 
 
 g 
 
 b d 7 
 
 26. In old church music, the F clef is. placed on the third 
 line, and called the bmritone. 
 
 =t 
 
 f=l=: 
 
 b d 
 
 e, g 
 
 27. In old French music, the G clef is placed on the first 
 line, and called the high treble.* 
 
 four regular clefs of choral counterpoint. See Dr. Boyce's Cathedral Music, 3 
 vols. 1760 ; and new edition, 1788. TMs clef is also used in Handel's Songs, 
 Ui. No. 176 ; " Hark, he strikes the golden lyre ; " and in Ms thirteen Italian 
 Duets. 
 * These three clefs are inserted here chieily to show how entirely the other 
 2» 
 
18 callcott's musical geammae. 
 
 
 gbdfa aceg 
 
 CHAPTEE III. 
 
 OF THE NOTES. 
 
 Sect. I. — Op Notes in general. 
 
 Art, 28. The notes of music represent sounds, with their dit 
 ference of pitch, and their duration in time.* These two quali- 
 ties are called the tune and time of notes. 
 
 29. When to any series of the seven letters the eighth is add- 
 ed, the whole number is termed an octave ;f and the word is fre- 
 quently used to express the two extreme notes of the series, the 
 first and the eighth. 
 
 30. That series of the seven letters which begins and ends 
 with C, ascending or descending, is most satisfactory to the ear- 
 
 cdefgabc 
 
 31. On keyed instruments these notes are performed by strik- 
 ing the long keys, whose names are known by their situation 
 with respect to the short keys, which are generally black. 
 
 32. The black keys are placed in alternate divisions of two 
 and three, throughout the key-board ; and, as the long key be- 
 
 degrees depend on the clef line, and to impress on tlie mind that the clefj 
 themselves are the letters C, F, and G. Examples of these two first clefs are 
 found in Padre Martini, Saggio di Contrappunto, 1744. The last, G clef, is 
 used by Bethizy, (Exposition de la Musique, 1764,) in some of the platea at 
 the end of his work. 
 
 * Our present notation was considerably improved (if not invented) by Gui- 
 do of Arezzo, and Franco of Cologne. Sir J. H. i. 422 ; ii. 17, 140, 217 237 
 Dr. B. ii. 35, 134, 152, 443. 
 
 t The seven letters were formerly called s^tenaries; but as they are incom- 
 plete and imperfect in their melody or tune without Uie eighth, they are mew 
 termed octaves. Butler's Principles, 1636, p. 13. 
 
NOTATION. 19 
 
 tween the two short ones is always D,* the other six letters may 
 be readily found from that ; E being the next long key towards 
 the right hand, C the next towards the left, &c. 
 
 33. The C f nearest the middle of the instrument is the tenor 
 clef note ; the next G towards the right is the treble clef note ; 
 and the nearest F towards the left is the boss clef note. 
 
 34. To distinguish the different notes of the same letter from 
 each other, the Germans have adopted a literal notation, called 
 their tablature,X which, from its ingenuity and utility, deserves to 
 be more universally known than it is at present. 
 
 36. The lowest series of seven notes, which includes both the 
 divisions of short keys in the key-board, (beginning with the 
 two^ is called by the Germans the great octave, § being expressed 
 by capital letters ; || thus : 
 
 ^ 
 
 
 C D E F G A B 
 
 36. The next series of seven notes is called the small octave, 
 expressed with small letters ; thus : 
 
 ^t 
 
 c d e t g a b 
 
 * The keys which enclose the divisions of two short ones are C, D, £ ; and 
 the remaining four, F, G, A, S, have the other division of three short ones be- 
 tween them. 
 
 t The number of keys varies on different instruments ; but the C nearest to 
 the middle is always the tenor clef note. 
 
 X The German tablature was invented in the sixteenth century ; a specimen 
 of it may be seen in the tract entitled Monochordum Andrese Reinhaxdi, Lip.i 
 sjae, 1604, z. 23, in the SaviUe Collection, Oxford. Dr. B. ii. 121. 
 
 } On some old instruments, (particularly organs,) the lowest note on the left 
 band is the great C ; but, in general, harpsichords, &<:., extend downwards to 
 FF. The six octave grand piano-fortes reach to CC below, and as far as C, 
 four times marked, in the treble, on the right. It has been observed, p. 18, 
 that these octaves are in reality only septenaries. 
 
 II In our old scales the letters below the bass A were made double, and those 
 above the treble staff termed in alt ; but the septenaries were then reckoned 
 from A, not from C ; and the limits of bass, tenor, and treble not accurately 
 defined. 
 
20 CALLCOTX'S KTJSrOAL GEAMMAE. 
 
 37. The next series conunences with the C ekf note, ineUiding 
 the G def ; and being expressed by a small stroke over each let- 
 ter, is called the once-marked octave. 
 
 _^_^ 
 
 38. The last series in general use is' called the twice-marhed 
 octave. 
 
 ^r-T-r 
 
 ^ 
 
 c d e T 
 
 a hi 
 
 39. The few notes below the great octave are marked with 
 double capitals, and called contra tones. Those above the treble 
 form another series, called the thrice-marlced octave.* 
 
 40. Any musical example,, in which all the notes are of equal- 
 length, may be expressed by this tablature without the assistance 
 of the staff or of the clef. According to this notation, we may 
 observe. 
 
 The F def note is the small f. _ 
 
 The C def note is the once-marked c. 
 
 The 6 clef note is the once-marked g. 
 
 41. The descending series of these octaves is expressed in 
 notes, thus in the treble : 
 
 £ 
 
 -^-^ 
 
 ipii:*: 
 
 m 
 
 ita! 
 
 cbagfedcbagTe^c 
 
 * If these notes were arranged by septenaries from 6, on the first line of the 
 bass, then the appellations of baas, tenor, and treble might be more appropri- 
 ate ; the bass septenary would end with the F clef; the tenor C clef would be 
 the middle note of its own series ; and the treble would begin with its own G 
 
NOTATION. 2t 
 
 and thus in the bass : 
 
 m 
 
 t:: 
 
 -W~0- 
 
 ebagfedcBAGFEDC 
 
 • 
 
 42. In vocal music these notes are sung with the syllables in- 
 troduced about the year 1022, by Guido, a monk of Arezzo, in 
 Tuscaay : ut, eb, mi, fa, sol, la ; * calliid, by his followers, 
 the hexachord. 
 
 The French retain the original six, with the addition of si for 
 the seventh.! 
 
 T7T, EE, MI, FA, SOL, LA, SI, UT. 
 
 cdefgabc 
 
 43. The Italians, for the sake of a softer pronunciation, have 
 changed the ut into so. 
 
 DO, EB, MI, FA, SOL, LA, SI, I>0.| 
 
 44. This general scale of notes was formerly called the gam- 
 Id, § from which the Greek letter Gramma, placed on the lowest 
 line of the bass staff, or great G of the German '.ablature. 
 
 clef. This is the gamut given by Butler, p. 13, 17. The more ancient scales 
 formed their septenaries from A, and the gamut at G Tias added below. 
 GUareamts, Bodecaohordon, 1547, lib. i. cap. 2,, p. 3. 
 
 * A particular account of Guido may be found in Sir J. H. i. 422 ; Dr. B. ii. 
 72; M. La Borde, (Essaj, 1780,) iii. 345. 
 
 t The addition of the syllable ii was introduced by Le Maire. Sir J, H. i. 
 435; Dr. B.ii. 98. 
 
 t The change of «< to <to is mentioned by Sir J. H. v. 197 ; Dr. B. ii. 93. 
 
 \ This succession of syllables, invented by Guido, was also applicable to the 
 two other notes, F and G, (which form our clefs,) and their following sounds. 
 Hence arises the word gamut, or gamma ut, it being the ut, or first sound of 
 the G hexachord, denoted by the Greek letter F. Dr. B. ii. 87 ; Butler, p. 17 ; 
 Ornithoparcus, (Dowland's translation, 1609,) p. 10. 
 
 The celebrated Prussian chapel-master, C. H. Graun, employed the follow- 
 ing syllables — da, me, ni, po, tu, la, be, which are adopted by Hiller, in his An- 
 weisung zum Gesange, (2d edit. 1798) — not, like those of Guido, to ascertain 
 the intervals of the scale, but merely to accustom the vocal student to sing 
 upon all the vowels, intermixed with the principal consonants. 
 
CALLCOTTS MUSICAL GKAMMAB. 
 
 Sect. II. — Op the Tone of Notes. 
 
 45. The tune of notes depends upon their relation to each 
 other, and upon the distances between them. The intervals be- 
 tween the degrees of the scale are unequal ; * and, as some are 
 nearly twice the distance of others, the words tone and semitone 
 are employed to express them. 
 
 46. Those notes which on the key-board are not separated by 
 a short key are said to be distant from each other one semitone ; f 
 those which have a short key inserted between them are distant 
 two semitones or one tone. Thus the distances between B and C 
 and between E and F are semitones ; and those between C and 
 D, D and E, F and G, G and A, and A and B, are tones ; there- 
 fore every series of the eight regular sounds, or of the octave, 
 contains five tones and two semitones. 
 
 47. The greatest care must be taken not to misunderstand the 
 words note and tone. % A note is the sound which is heard, or the 
 mark which represents it on the staff; but a tone is the distance 
 between two notes, which are called by the names of two adjoin- 
 ing letters, and separated by one single key of the instrument. 
 Thus the distance from A to B is a tone ; and therefore A is a 
 tone lower than B, and B a tone higher than A. 
 
 48. The same observation must be applied to the semitones, 
 which are aometimes called, though improperly, hdf notes. The 
 distance from B to C is a semitone ; therefore B is a semitone 
 lower than C, and C is a semitone higher than B. 
 
 49. By comparing the sounds C, D, E, F, with the following 
 sounds, G, A, B, C, we find that the distances of both these 
 fourths § consists exactly of two tones and a semitone ; therefore 
 
 * Holden, art. 7 ; Malcolm, p. 229, (of Degrees,) chap. viii. { 2. 
 
 t An exception to this rule is found in those organs which have what is 
 called short octaves, and in which the two lower keys are tuned to GG and 
 CC, although close together like B, C. 
 
 X Even the accurate and learned Butler uses these terms in a vague manner, 
 (p. 22.) He first says, "From mi to fa, and from la to pha is but half a tone; 
 between any other two notes there is a whole tone." Then he adds, " But ia 
 singing, how to tune each note and half tuite to his fellow cannot be declared 
 by precept." 
 
 § The ancient term for the fourth was tetraclwrd ; and since the theory of 
 Hameau has been known, the old ideas on the subject have been, with some 
 variation, revived. Most of the modem writers (particularly Holden) have 
 thought it necessary to consider the octave as composed of two fourths which 
 are disjoined or separated by a tonoi As a practical introduction to musical 
 science, this arrangement may be considered as correct ; although theory does 
 
NOTATION. 2a 
 
 Uny tutie formed by one will be exactly similar to that of the 
 other. 
 
 -G>- 
 
 H 
 
 50. These two fourths, taken in succession, form a scale, of 
 which the chief sound being C, is from thence called the Icey- 
 note.* The descending series of this scale corresponds with the 
 common tune of eight bells. 
 
 SCALE OF C. 
 Ascending. 
 
 =:^ 
 
 -^s- 
 
 Sescending. 
 
 -?^- 
 
 51. The effect of these notes to the ear depends upon the po- 
 sition of the semitones. This may be easily perceived by play- 
 ing eight notes, from d or e, or any other part of the scale, which 
 will not produce the same melody. 
 
 not allow the perfect mathematical equality of the fourths, in respect to' the 
 places of the tones which compose them. 
 
 * The term leey is used by Dr. Pepusch in the sense of church tone or eccle- 
 siastical mode. In this species of music the chief melody or plain chant was 
 confined to the natural sounds of the scale. Treatise on Harmony, (1731,) p. 
 65 ; Sir J. H. i. 360. A particular account of the eight tones of Italy and the 
 twelve modes of Germany may be found in Mr. Kollman's Essay on Musical 
 Harmony, (1796,) chap, xviii. p. 124; also in Sir J. H. ii. 410-«P 
 
24 
 
 callcott's inrsiCAi. gbamuab. 
 
 
 
 
 
 r5 
 
 
 
 
 
 
 
 
 ._<_ - 
 
 <v 
 
 
 
 
 
 1 
 
 
 
 
 ^ 
 
 
 
 
 
 
 
 . 1— 
 
 
 
 <» 
 
 T p^ 
 
 ~P~ 
 
 
 
 -^ J_ 
 
 
 
 
 frVi 
 
 
 [ 
 
 P 
 
 ^ 
 
 
 
 
 y.u -1 
 
 1 
 
 -\ — 
 
 -\- 
 
 
 
 ^ 
 
 -rs 
 
 
 52. But if the same letters, in any octave Iiigher or lower, are 
 taken, the same tune will be heard.. 
 
 
 -s- 
 
 i— - 
 
 P2- 
 
 -^- 
 
 rz>. 
 
 
 
 
 
 \J 1 1 1 
 
 
 O ^ ■ 
 
 Jk '11 
 
 
 
 ■^ 
 
 0^^ 
 
 At\ ' 
 
 
 
 " { 
 
 ViJ/' 
 
 
 1 
 
 -s- 
 
 fS 
 
 
 
 
 
 
 
 O" 
 
 '-^ r^ 1-2 1 
 
 •J. 
 
 r P 
 
 -V ^ 
 
 
 1 1 
 
 
 
 «-i 
 
 \ — \ — 
 
 
 In this series, the two semitones of the octave are found between 
 the third and fourth, and between the seventh and eighth of the 
 ascending scale.* 
 
 53. This series of sounds, which is performed on the organ, 
 jcc, with the long keys, is called the natural sccde, to distinguish 
 it from that which employs the short keys intermixed with the 
 others, called the chromaiie or artiflcial.t 
 
 54. In the vocal scale of the solfeggio, the place of the semi- 
 tone is ascertained by the syllables mi, fa, and d, do ; between 
 all the others is the distance of a tone. % 
 
 55. As the whole doctrine of melody, or the tune of notes, 
 must depend on a right conception of the two semitones, and 
 their places in the scale, great attention should be paid to this 
 part of the subject by every musical student. 
 
 * The reason why the semitones fall in these places and in no other, may be 
 found in the theoretical writers, Dr. Holder, (1731,) p. 112; Malcolm p 229 • 
 Mr. Holden, p. 16, art. 43 ; Maxwell, Essay on Tune, (1781,) p. 3. 
 
 t Malcolm palls this the semitonic scale, p. 291 ; and the short keys, artifi- 
 cial notes, p. 292. Its more usual name, chromatic, will be explained hereaf- 
 ter. Antoniotto (1760) terms the minor mode artificial, p. 35. 
 
 X The word tone mil be used throughout this Grammar In this sense and 
 no other ; although it is applied also to the quality of sound in a voice or in- 
 strument. Thus it is said, "A fine tone is ]^oducea from the violoncello," Set 
 
NOTATION. 25 
 
 Sect. III. — Of the Time op Notes. 
 
 5 i. The duration of a note, with respect to time, is known by 
 its particular form; and the distinction between notes, in this- 
 respect, is shown by making them white or Waci, and by the stem 
 and the hooL r(See Art. 3.) 
 
 The three principal notes are, the minim, the crotchet, and the 
 quaver.* 
 
 57. The minim is a white note with a stem, made ^i; 
 
 thus, ;^ 
 
 and is as long as two crotchets or four quavers. — ^^ 
 
 58. The crotchet is a black note with a stem, made \ 
 
 thus, J" ■ 
 and is as long as two quavers. 
 
 59. The quaver is a black note with a stem and a' ^ — ~ 
 
 hook, made thus, 1 ' " 
 
 and may be divided into two semiquavers or four " — i^ 
 
 demisemiquavers. 
 
 60. The proportions of these three principal notes to each 
 other are therefore as under : 
 
 
 One Two Four quavers, 
 
 minim. crotchets. 
 
 61. When the quaver is divided into smaller portions the two 
 following notes are employed : 
 
 The semiquaver, which is made like the quaver, but 
 with two hooks, 
 being half the length of the quaver. 
 
 ii 
 
 and the demisemiquaver,f which has three hooks, — nft — 
 
 being one quarter the length of the quaver.., ^ 
 
 * Butler, pp. 27, 28, has given a long account of the origin of these notes, 
 from GafuriuB, Glareanus, and Listenius. See also Sir J. H. ii. 146 ; Dr. B. ii. 
 167 ; Malcohn, p. 388 j Holden, art. 63. 
 
 i- The demisemiquaver also is divided in modern music, and the notes are 
 marked with four hooks ; these may be called half demisemiquavers ; and those 
 which have five hooks, quarter demisemiquavers. Playford, Introduction, 
 (14th edit. 1700,) p. 8, caUs the first of these a demigumer ; which term is also 
 used by some other writers. See Holden, art. 64. 
 
 3 
 
26 Callcott's mosical grammar. 
 
 Their pi-oportions to the crotchet are, 
 
 + 1 4~l 1 — +-ta*-l.*-^-b*-|-ii>'-l^-l«i«-h<<-l«'-l^-h»-v«-+ 
 
 One 
 
 crotchet. 
 
 Two 
 quaveis. 
 
 Four 
 semiquavers. 
 
 Eight demisemiquavers. 
 
 62. In slow music, especially that in the church style, two 
 longer notes are used : the semibreve and the breve. 
 
 The semibreve* is a round white note without a ~ — ; 
 
 stem, -^— g— ^' 
 
 and is as long as two minims or four crotchets. 
 
 The breve is a square white note, ~ • 
 
 and is as long as two semibreves, four minims, or — -pj — 
 
 eight crotchets. — '^ -J- 
 
 The proportions of the three white notes are, 
 
 t==g= 
 
 -jHZ- 
 
 S2 
 
 ■.^z—p. (=2.: 
 
 One breve. 
 
 Two semibreves. 
 
 Four minims. 
 
 ' 63. TEe proportions of our modern notes, both white and 
 black, are therefore, 
 
 
 ::::^=^p=^: 
 
 .w-wzwzwzw::W=W=W 
 
 -i*i-^- 
 
 Eight quavers. 
 
 One 
 
 semibreve. 
 
 Two 
 
 minims. 
 
 Four 
 crotchets. 
 
 64. Those notes which are made with hooks may be grouped t 
 together by two, three, or four, &c. 
 
 * The breve and semibreve are in daily use for our choir service. See 
 Boyce's Cathedral Music. 
 
 t The term groppo, or group, is commonly limited to those passages of four 
 notes in which the first and third are on the same degree, and the second, with 
 the fourth, are a degree higher and lower. Koch's Lexicon, art. Groppo, die 
 Walze. Playford (p. 20) calls these hooks, when joined together, ties; a term 
 which, he also remarks, (p. 19,) is used for what we now denominate a slur. 
 As the word tie is also applicable to the ligature or bind, the term groiip has 
 been preferred by the author. - 
 
NOTATION. 
 
 27 
 
 QUAVEBS. 
 
 Detached. 
 
 Grouped. 
 
 =t: 
 
 ^= 
 
 -0-?t- 
 
 ~W=i- 
 
 =^tS-t± 
 
 EEE 
 
 L_^-_^ 
 
 -k^~^— ^ i*-- ^' 
 
 SEMIQUATIIKS. 
 
 Detached, 
 
 Grouped. 
 
 -»-W^6- 
 
 
 DBMISEMIQXJAVEBS. 
 
 Detached. 
 
 Grouped. 
 
 
 This method is not only convenient in writing, but assists the eye 
 in aseertaining the proportion of the notes, and is of particular 
 use in vocal music, to distinguish the notes which are to be sung 
 to each syllable. 
 
 65. Every musical piece is divided into equal portions of time 
 called measures. These are ascertained by straight lines, called 
 hars, drawn down the staff. All the notes, therefore, contained 
 between two bars, constitute one measure.* 
 
 66. Every measure must contain a certain number of notes, 
 according to the time marked at the beginning of the movement. 
 Thus, in common time, each measure' includes a semibreve, or 
 its value in minims, crotchets, or quavers, intermixed as the mel- 
 ody requires. The exact length of the measure is known by 
 regularly dividing the time into equal portions, whether the notes 
 
 * In common language, the word hwr is used improperly for measTire. Dr. 
 Burney (article Bar, Dr. Rees's Cyclopaedia) accurately limits the signification 
 of the term as above. Dr. B. ii. 191. The parts of the measure are called 
 times, by Mr. Kollman, Essay on Harmony, (1796,) p. 73. 
 
28 
 
 callcott's musical geammak. 
 
 themselves are long or short ; as every measure must be precise- 
 ly equal, in tpie, during the continuance of the movement. 
 
 67. There a>e two chief species of time :* common, or equal, 
 and triple, or unequal time. In the first we count two, four, or 
 eight, in every measure ; in the last, we count three or six. 
 
 68. I. Common or equal time contains one semibreve, two 
 minims, four crotchets, eight quavers, or their value, in every 
 measure. This time is known by a semicircle t placed at the be- 
 ginning of the staff, after the clef, thus : 
 
 m 
 
 (Handel : See the conquering.) 
 
 =l:=l=4=!: 
 
 -jizSz 
 
 ~^r 
 
 S- 
 
 w 
 
 69. The barred semicircle is used to denote a quicker move 
 ment, and is called alia breve, because it was formerly written 
 with one breve in a measure, thus : 
 
 (Orlando GUbbons, Dr. Boyce, v. ii. 69 : O, clap your hands.) 
 
 P 
 
 ^Fi^ 
 
 3^: 
 
 This is now more commonly written with one semibreve in a 
 measure, by dividing those of the alia breve into halves. 
 
 (Handel, Saul, Dr. Arnold's edition of Handel's works, No. 112, p. 36 : Our 
 faitttinff courage.) 
 
 ■zssz 
 
 i^i 
 
 ■SI- -0~gz 
 
 IS. 
 
 iS>- 
 
 -&- 
 
 * The Germans adopt a third species of time, containing four equal parts in 
 a measure, which will be noticed hereafter, in treating of rhythm. 
 
 + The old doctrines oiMme, nwde, and prolation may be found in Morley 
 iavenscroft, and Butler. See an account of them, and of the original sienifi 
 jation of this mark, in Dr. B. ii. 183, 464 ; Sir J. H. ii. 155. 
 
NOTATION. 
 
 29 
 
 70. All other measures are marked by figures, placed one 
 over the other at the commencement of the staff, jf;. 
 
 The figure 2 above the figure 4 indicates two craldiets, or one 
 minim in each measure, and is called half time, being the division 
 of the semibreve. 
 
 (Oerman ^ymn, Pleyel.) 
 
 :§:: 
 
 ^- 
 
 :t= 
 
 I 
 
 71. The most usual measures expressed by figures placed at 
 the beginning of the staff, are the following : * 
 
 2 4 
 
 3 \ 6 
 
 8 II 4 
 
 6 \ 9 
 
 8 i 8 
 
 9 \ 12 
 
 16 II 8 
 
 Of these .figures, the upper one shows how many parts are con- 
 %iined in the measure, and the lower one represents a wcffd. 
 showing how many pf these notes constitute a semibreve. 2 
 signifies minims ; 4, crotchets ; 8, quavers ; &c., as in the follow- 
 ing table : 
 
 ' 3 three 
 
 2 minitns. 
 
 ' 6 six 
 
 4 crotchets. 
 
 ' 3 three 
 ^ 4 crotchets. 
 
 '6 six 
 
 ^8 quavers. 
 
 f 12 twelve 
 [ 8 qvtavers. 
 
 ' 3 three 
 ^ 8 quavers. 
 
 \ 9 nine 
 
 I 16 semiqw^vrs. 
 
 72. "When it is necessary to lengthen a note by half its value, 
 a dot t is placed after it. Thus,' a dotted minim is as long as a 
 minim and a crotchet, or as three crotchets. 
 
 ^z- -szznz^-. ■-» p— p 
 
 • Grassineau's Dictionary, (1740,) p. 292, article Triple, contains a long 
 dissertation, translated from Brassard, on the ancient method of markmg 
 these measures. , , ^. it-.. 
 
 + The dot is also iised for other purposes, viz,, to mark those notes which 
 are to be played distinctly ; as also to show the place of r^ehtwn, fee, as will 
 be expUi0$d hereafter 
 3 
 
30 
 
 callcott's musical ghammab. 
 
 A dotted crotchet is as long as a crotchet and a quaver, or i 
 three quavers.* 
 
 
 73. II. Triple or unequal time. 
 
 Of this time there are three different species in use, namely : 
 
 1. Three minims, ) 
 
 2. Three crotchets, >■ in a measure.t 
 
 3. Three quavers, ) 
 
 (1.) One dotted semihreve, or three minims, in every measure ; 
 thus: 
 
 (Handel's Italian Songs, No. 64: Verdi Prati— Alcina.) 
 
 ^ — \ — I — 1 
 
 1 
 
 
 
 
 
 
 
 ^^...gj-; ^ sl-l-gsl— 
 
 -<S>- 
 
 -- (—1 
 
 — (S— J 
 
 c<- 
 
 ... ^"r 
 1- 
 
 ^^^—^—^=^—-^ 
 
 
 =s 
 
 — <s>— 
 
 (S* ■ 
 
 — V 
 
 (2.) One dotted minim, or three crotchets, in every measure. 
 
 (H. S. i. No. 66 : Fell rafe—Saia.) 
 
 E?E 
 
 
 -tS-r^ 
 
 It: 
 
 -ta^- 
 
 g^^jg^i 
 
 (3.) One dotted crotchet, or three quavers, in every measure. 
 (H. S. ii. 128 : No, let the guilty tremble— Scml.) 
 
 P 
 
 ^ 
 
 ^5 
 
 :* 
 
 ^ 
 
 * All the notes of music may also have a double dot after them, whioh 
 makes them longer by three fourths. Thus a minim twice dotted is equal to 
 three crotchets and a half, or to seven quavers, &c. 
 
 t These three species are verv similar, paxticulaily if the two last are per- 
 formed slotrly ; the accents of all three being alike. 
 
NOTATION. 31 
 
 74. When two measures of three crotchets, or of three qua- 
 vers, are united in one by the omission of a bar, the time is called 
 compound common; common, because every measure is equally 
 divided ; and compound, because each half is a single measure 
 of triple. 
 
 III. Compound Common time has three species, in general 
 use: 
 
 1. Six crotchets, ) 
 
 2. Six qiiavers, > in every measure.* 
 
 3. Twelve quavers, ) 
 
 (1.) Six crotchets, or two measures, of tliree crotchets each, 
 joined in one. 
 
 (H. S. ii. No. 124 : Every joy — Solomon.) 
 
 ft: 
 
 
 -•— ?d- 
 
 S3 
 
 (2.) Six quavers, or two measures, of three quavers each, 
 joined in one. 
 
 (H. S. iv. 287 : Sound an alarm — Judas Maccabceus. 
 
 ■• — a 
 
 :S=P= 
 
 -W-0- 
 
 I 
 
 -^ 
 
 75. "When two measures of six quavers are further united 
 into one, they form a double compound of twelve quavers in each 
 measure, and are equal to four measures of three quavers. The 
 omission of the bars makes some difference in the appearance of 
 the music, and influences the counting, according to the degree 
 of quickness in which the piece is performed. But, in other re- 
 spects, the division of the measure has no power of altering the 
 real nature of the time or tune ; nor can the auditor perceive 
 whether the triple time performed be expressed by the figures 
 
 12 6 3 
 g , g, or g. 
 
 (3.) Twelve quavers, or one measure of twice six quavers, or 
 four times three quavers. 
 
82 CALtCOIT'S MUSICAL GBAMMAB 
 
 (H.S. i. No. 54: The peaaatit tastes— Joseph,*) 
 
 3E1 
 
 ?^ 
 
 -j^-jiz 
 
 w^*^^—*- 
 
 ^w^ 
 
 The same melody, in six quavers : 
 
 & 
 
 4- 
 
 ^ g ^Ff ^ll 
 
 & 
 
 -• — •- 
 
 -*^; 
 
 Tlie same melody, in three quavers : 
 
 
 :=#::*:=■ 
 
 It may ,perha|» be useful to those who do not perfeclly un- 
 derstand the value of the notes, to separate this double compound 
 into -single convpovmd and into simph triple ; and also to turn 
 three quaver time into six and twelve quavers, by striking out 
 the intermediate bars which separate the measures. 
 
 76. IV. Compound Triple time. 
 
 Compound triple time is formed by dividing the measures of 
 simple triple into nine parts, and by dotting the measure-note f 
 of the original time. Of this there are three species : 
 
 1. Three minims divided into nine crotchets. 
 
 2. Three crotchets divided into nine quavers. 
 
 3. 2%ree quavers divided into nine semiquavers. 
 
 (1.) Nine croteAeto, or three minim time, divided into triplets. 
 (Handel's Italian Duet, No. 5, p. 31 : Va Speme — KandaU's edit.) 
 
 ^ 
 
 g 
 
 i^^^ 
 
 -•-^-•'-^-^-gz^g^^^zi^zjzjzfcgr^zg: 
 
 * See also the PaBtoral Symphony, in the Messiah, and the last movemenl 
 in Corelli's 8th Concerto. 
 
 f By measure-note lis 'meant that which measures the time in the lower of 
 the two figures. Ait. 71. 
 
yOTiTIOW. 
 
 33 
 
 The commencemesnt of this movement, and its other measures; 
 are simple triple ; thus : 
 
 =^: 
 
 By thus changing the notation, the advantage is gained of pre- 
 senting the simple measures clear to the eye, without the encum- 
 irance of a dot to each minim.* 
 
 (2.) Nine qwwen, or three crotchet time divided into triplets. 
 
 (H. S. It. No. 319 : Consider,, fond shepherd — Acis and Galatea.) 
 
 pP^^g^^g^g 
 
 The commencement of this song, and the other parte, are in 
 simple triple ; * thus : 
 
 ^^ 
 
 ^^ 
 
 ^El 
 
 -^=pF 
 
 (3.) Mne semiquamrs, or three quaver time divided into trip- 
 lets. 
 
 (H. S. ii. No. 156 : Stuh, ye pretty warbling choir — Asis and GaMiea.y 
 
 The vocal part of this song is in simple triple; thus^ 
 
 f f-ft-ss -r --M-r-mt m ' r- m- i a0 ■ 
 
 11. From these two species of compound time (common and 
 * Malcolm, p. 401. 
 
34 
 
 cailcott's musical grammae. 
 
 triple) arise various kinds of mixed measures, which are in some 
 parts equally, and in others unequally divided.* 
 
 (H. S. iv. No. 315 -.'rn to the well-trod stage— L' Allegro.) 
 
 0f^ 
 
 s 
 
 M0^-m 
 
 Ifcrft: 
 
 g^^^ 
 
 f=^ 
 
 The triplets t of common time, which are here found in the 
 place of each crotchet of the measure, have sometimes the figure 
 3 placed over or under them ; but are generally known by being 
 grouped together, and then form one of the single parts of the 
 whole measure. The same use of the triplet occurs in triple 
 time, when the measure-note is divided, occasionally into three 
 parts instead of two ; thus : 
 
 (H. S. V. No. 328 : Far brighter than the morning.) 
 
 In slow common time, when the quaver is the }neasure-note, 
 and is divided into three semiquavers instead of two, then the 
 time is really twenty-four semiquavers. J 
 
 (H. S. iii. No. 240 : Cease, O Judah— Deborah.) 
 
 3—H 
 
 i 
 
 =B 
 
 :^t 
 
 ^^ 
 
 ^^^^^^^ 
 
 A similar passage of semiquavers is found in the triple of qua- 
 vers. 
 
 * Gio. Bat. Doni. remarks, that our Morlei/. placed, in different parts, two 
 notes against three^ and three against four, in the same measure, or battuta. 
 (Annotation! sopra il Compendio. Boma, 1640, p. 57.) See Dr. Buiney (art 
 Battuta, Dr. Bees's Cjclopffidia.) 
 
 t Kollman, Essay on Harm. p. 75, (chap. xi. i 11.) 
 
 t Holden, p. 20, ait. 27. 
 
NOTATION. 3S 
 
 (H. S. i. No. 14 : The enemy said— Israel in Egypt.) 
 
 1=^1^^^^ 
 
 ' When the measure itself is compound, as six quavers, then the 
 
 18 
 triple subdivision is , «. Of this, an example may be seen in H. 
 
 S. iii. No. 181 : 77ie raptured soul — Theodora. 
 
 The same number of triplets * (viz., six) is also found in the 
 
 simple triple of three crotchets, and in the compound triple of six 
 
 18 3 
 
 quavers. An example of , p, as derived from ,, may be found 
 
 18 
 in Dr. Haydn's 2d Sonata, Op. 17, p. 10; and another of j^g, 
 
 as derived from „, in the same author's 3d Sonata, Op. 13, p. 16. 
 
 78. There is also a species of time, called quintuple, which 
 contains five crotchets in a bar ; but it is very seldom used. 
 
 Tartini considered this quintuple proportion as unfit for melo- 
 dy, and impossible to be executed. Time has shown that neither 
 of these judgments was well founded.f 
 
 Sect. IV. — Op the Accent op Notes. 
 
 79. The bars of music are not only useful for dividing the 
 movement into equal measures, but also for showing the notea 
 upon which the accent is to be laid. 
 
 The measures of common time are divided into four parts ; of 
 these, the first and third are accented, the second and fourth un- 
 accented. In the course of this work the accented will be 
 termed strong parts, and the unaccented, weak parts of the meas- 
 ure. J 
 
 * The Germans, in imitation of these, (which they term trioles,) place some- 
 times five, seven, &e., small notea in the time of four, six, &c., of the same 
 denomination, and term them quintoles, septimoles, &c. Koch s Lexicon, 
 
 ^^t'Tlrtiid, T?attkto!''(1754,) p. lU. Dr. B. i. 82. Mr. Reeves's Gypsy Glee, 
 ■ •' O, who-has seen," contains a last movement in five crotchet time— t-ome, 
 stain your cheek "—which produces a very good effect. ™_.. t,,. 
 
 t See Rousseau, Dictionnaire, (1768,1 art. Temps; Sultzer's Theone The 
 author has translated the temps fmt etjoihleot t^e French ™tffls rather than 
 oTtempo buono e cattivo of tfie Italians, or the Gutetmd Schlechte TactzeU of 
 the Gemans. See Koch's Lexicon, (1802,) art. Tact. 
 
36 
 
 callcott's musical grammar. 
 
 (H. S. a. No. 119: Praise the Lord— Esther.) 
 
 Strong. Weak. 
 
 80. The measures of triple time consist of three parts ; the 
 first strong, the two others weal ; although the last part is rathei 
 itrong, in comparison of the middle part.* 
 
 (H. S. iii. No. 233: Vp the dreadful tteep—JepMia.) 
 
 it 
 
 -W -W- » 
 
 :=t 
 
 ^iip. 
 
 — I- 
 
 i 
 
 &1: In slow common time the accents are more frequent ; but 
 they ate found in the same proportion on the £rst, third, fifth, 
 an'd seventh' quavers, which are the strong parts ; yrhile the sec- 
 ondj; fenrth,) sixth, and eighth are the weak parts. 
 
 In three crotchet time, when divided into quavers, the first, 
 third, and fifith quavers are strong ,* the second, fourth, and sixth, 
 weak. 
 
 "h^ six qitaver Gmei, i\x<& first and fourth quavers are strong; 
 the others .weak.'\ 
 
 82. from the nature of accent arises the necessity of begin- 
 mng some movements with only part of a measure ; thus, 
 
 (1.) "With a single weak part. 
 
 (H. 8. iii. No. 163 : The smiling datm—Jephtha.y 
 
 n= 
 
 I 
 
 -»<—•- 
 
 5E*S 
 
 IlSSZZIitt^ 
 
 yf. B. 
 
 (2.) With a half measure. 
 
 (H. S. iii. No. 162: Welcome as the cheerfid dm/ — JejMha.) 
 
 m 
 
 ^rx 
 
 :t= 
 
 I 
 
 * Dr. Bumey, (article Accent, Dr. Kees's Cyclopsedia.) 
 f An example of the same melody in these two different 
 found in Dr. Arnold's Lessons, Op. XII. Lesson 2, p. 4. 
 
 ZQeasures xaaj be 
 
NOTATION. 37 
 
 The following melody, barred in two different ways, produces 
 two opposite effects, the accent falling upon different notes. 
 
 Scotch Air — Com Siggs. Original melody. r- 
 
 I 
 
 'tt ' s 
 
 e 
 
 *E?EE^±E3E»ii=fdE 
 
 W. s. 
 
 Th« same, barred differently. 
 
 -»l— # 
 
 nm 
 
 ^SEi 
 
 m 
 
 83. When the composer intends that the weak parts of the 
 measure should be made of more importance than the strong 
 parts, such deviation from the regular accent, in this work, will 
 be termed emphasis. 
 
 In passages like the following, the quavers are often grouped 
 together according to the emphasis, and not (as in general) ac- 
 cording to the accent. 
 
 (Haydn's Symphony, No. iii.— performed at Salomon's concert.) 
 
 1 
 
 ^ 
 
 ■•-•-•- 
 
 -hf 
 
 ^¥m- 
 
 Accent. 
 
 Emphasis. 
 
 Accent. 
 
 In the first two measures of this example, the quavers are 
 grouped according to the accent; in the third, according to the 
 emphasis,* contrary to the accent ; and in the fourth, the accent 
 again resumes its importance. 
 
 The Italian words rinforzando, sforzato,^ or their contrac- 
 tions, rinf., rf., sforz., sf., are often used to mark the emphasis, 
 and sometimes are placed over or under accented notes. 
 
 As every species of measure may be subdivided by accents, 
 according to the degree of quickness in which it is performed, so 
 
 * The Germans divide accent into two principal species— grammatical and 
 rhetorical; the first is here termed accent, the last, imphasu. „„♦,«. 
 
 t The difference between rinf. and tfort, is explained by Mr, Shield, (Intro- 
 duction to Harmony, 1800,) p. 88. 
 4 
 
38 
 
 CALLCOTT S MUSICAL GEAMMAE. 
 
 also the weak parts of every measure may be occasionally made 
 emphatic at the pleasure of the composer. 
 
 84. To this species of effect may be referred all syncopated or 
 driving * notes, which begin on the weak and end on the strong 
 part of the measure. 
 
 (Yanhall's Overtuie in C — periodical, No. 42.) 
 
 ^i 
 
 ££E£ £^ 
 
 In this example, the emphasis is on the syncopated minims, 
 which begin on the second and end on the third part of the 
 measm'e. 
 
 (H; S. i. No. 6 : How vain it man — Jvdas Maccdbtem.') 
 
 '^^^^^ 
 
 In this example, the emphasis is on the syncopated crotchets, 
 which begin on the second and sixth, (or the weak,) and end on 
 the third and seventh (or the strong) parts of the measure. 
 
 CHAPTER IV- 
 
 OF THE RESTS. 
 
 Art. 85. When, in the course of a movement, silence is re- 
 quired for one or more parts of a measure, that silence is denoted 
 by a rest, or rests, which are counted exactly in the same. time 
 as their corresponding notes would be, if performed. 
 
 * Morley, edit. 1597, p. 90; edit. 1771,p. 100. Butler, p. 64. Simpson, p. 
 19. Pepusch, p. 57. Ramean, p. 112. Holden, p. 34, ait. 98. KoUman, Es- 
 eay on Harmony, p. 96, (chap. xiii. § 21.) Dr. B. 1. 103. 
 
The rests of the 
 staff; thus: 
 
 NOTATION. 39 
 
 notes are made ia the middle of the 
 
 Eest of the breve. 
 
 Semibreve. 
 
 Minim. 
 
 (1.) The ireve rest extends from line to line. 
 
 (2.) The semibreve rest is made below the line. 
 
 (3.) The minim rest is made above the line.* 
 
 The semibreve rest is also used in triple -and compound time, 
 to express the silence of one whole measure; and the breve rest 
 is used for the silence of two measures. 
 
 In this last instance, the figure 2 is generally placed over the 
 rest, thus : 
 
 ftzTZ^I 
 
 s 
 
 86. The rests of the black notes are made thus : 
 
 m 
 
 (1.) The crotchet rest turns to the right. 
 
 (2.) The quaver rest turns to the left. 
 
 (3.) The semiquaver rest turns to the left, and has two marks. 
 
 (4.) The demisemiquaver rest has three marks, and tarns to 
 the left also. 
 
 As the rests are inserted in the measures to fill up the time 
 when no sounds are to be heard, the performer should, of course, 
 pay particular attention to the termination of the notes which 
 precede them. 
 
 In playing keyed instruments the rests are often much neglect- 
 ed ; and, unless the player carefully raises the finger from the 
 key (but not too far) at the exact commencement of the rest, the 
 intended effect is destroyed, 
 
 * The rest of four semibteves, or two breves, passes through two spac^. 
 This is onlv used jn fte'single parts of instrumental pieces. Bonsseau, article 
 
40 callcott's musical gbaumab. 
 
 An instance of the great attention necessary to be paid to 
 these signs is shown in the following example, where the variety 
 of these three measures wholly depends on the rests, the music 
 being exactly the same in every other respect of tune, time, and 
 accent.* 
 
 ^ — I ig^ -H-— P— i-i \\ — I— I — •- ' I V 
 
 CHAPTEE V. 
 
 OP THE SHARPS, FLATS, &c. 
 
 Art. 87. In explaining the tune of notes, (art. 45,) the two 
 diflferent intervals of tone and semitone have been noticed. Ev- 
 ery tone in the natural scale is divided into two semitones by an 
 intermediate sound. This sound is produced, upon keyed instru- 
 .ments, by striking the short key inserted between two long ones, 
 which are consequently tones to each other. 
 
 * The author is induced to insert' here, in addition to these remarks on the 
 observance of rests, the excellent ideas of C. P. Em. Bach, (Versuch. edit. 
 J787, p. 86, Vom Vortrage,) upon the true method of playing keyed instru- 
 ments. 
 
 An abridgment of his system is thus attempted in a few lines. 
 
 " To form a cleair, plecmng, and expressive performer, three things are re- 
 quisite : 
 
 "J. To play correctly, by covering every note with the finger before it is 
 struck, (wneii possible,) so that, in the most difficult passages, the motion of 
 the handd inay be scarcely perceived, (p. 13.) 
 
 " 2. To make the instrument sing, by taking one finger off the key at the 
 instant the other strikes the follo-*ring note j and by never playing the notes 
 short or detached except when expressly marked, (p. 88.) 
 
 " 3. To play with expression, by forcing the finger down upon the key (al- 
 ready covered and lightly touched) according to the accent or emphasis." 
 (p. 93.) 
 
 On thi« subject, see also dementi's Introduction, p. 15. Sussek's Instruc- 
 tions, p. 8. HuUmandera Principles, p. 19, 
 
NOTATION. 41 
 
 Sect. I. — Of the Sharps. 
 
 88. When the short key is to be played, instead of the natural 
 note below it, (on the left,) then the same letter is used, with the 
 additional term sharp.* 
 
 89. Thus, to make another fourth similar to the upper one of 
 C, (Art. 50,) with two tones and a semitone, and placed imme- 
 dfetely above it, at the distance of a tone, the F natural must be 
 omitted, and the JF sharp taken in its stead. 
 
 I 
 
 -s>- 
 
 -I — -^ 
 
 il^^^i 
 
 The character placed before F is called a sharp.1[ 
 90. These two fourths united form a new scale, of which G 
 is the key-note, exactly similar to C, but five degrees higher. 
 Its descending series proves, by the melody, that the tones and 
 semitones are between the same degrees of the scale. 
 
 -^-^^=(21 
 
 ^^ 
 
 91. As the scale of G is made complete by this alteration of 
 the F alone, F is reckoned the first sharp. % 
 
 For a similar reason, (that of forming a new fourth above the 
 
 upper one of the G scale,) C is termed the second sharp. Thus 
 
 the series of sharps ascends by fifths ; which, in respect of the 
 
 letters, is the same as descending by fourths. 
 
 F, C, G, D, A. 
 
 1, 2, 3, 4, 5. 
 
 * The character now used for the sharp was originally designed to represent, 
 by its four cross lines, the four commas of the chromatic semitone. Such is 
 the signification of the mark given by Bontempi, (169S,) p. 205, from the Re- 
 canetum of Vanneo, (Roma, 1533 ;) but Mctrcheto de Padua, who first employed 
 it, (1274,) does not mention this cii^umstance. See Gerbert, Scriptores Eccle- 
 siastici, (1784,) iii. 73, 89. Dr. B. ii. 163^ 151. Sir J. H. i. 78. 
 
 f The Germans consider this character as an alteration of the letter B, and 
 call it a cross (kreuz) or latticed B, (Gegittertes Be, B cancellatum,) Adlung, 
 (Hiller's edit. 1783.) p. 251. Sir J. H. iv. 163. They also add the syllable 8< 
 to the names of those letters of the scale which are sharped. Thus, Jis, cis, 
 gis, dis, ais, eis, and his, signify F, C, G, D, A, E, and B sharp. . 
 
 t The French use the term diete, derived from the Greek word meiii, and 
 annex it to the syllables of Guidb. Thus, fd-diese signifies F sharp ; W-dftese, 
 C sharp. See. 
 
42 
 
 CALLCOTT'S MUSICAL GRAUMAB. 
 
 These sharps are performed, on keyed instruments, with the 
 five short keys above ; that is, on the right hand of the long ones ; 
 the division of two * consists of C sharp and D sharp ; the remain- 
 ing three are F sharp, G sharp, and A sharp. 
 
 92. But since there are no short keys between E and F, nor 
 between B and C, which are only semitones to each other, (Art. 
 46, 48,) F natural is employed to express F sharp, and G natu- 
 ral to express £ sharp. 
 
 When these notes, E and B, become sharped, their own long 
 keys are never used ; and, by their introduction, the series of 
 sharps is extended to all the seven notes. 
 
 F, C, G, D, A, E, B. 
 1, 2, 3, 4, 5, 6, 7. 
 
 Sect. II. — Of the Flats. 
 
 93. When the short key is to be played instead of the natural 
 note above it, (on the right,) then the same letter is used, with 
 the additional term Jlat^ 
 
 Thus, to make another fourth, similar to the lower one of C, 
 (Art. 50,) with a semitone and two tones placed also below it, 
 (extending to the left,) at the distance of a tone, the JB natural 
 must be omitted, and the Bjlat taken in its stead. 
 
 The character placed before B is called a flat. 
 
 Pi 
 
 -fe^ 
 
 •(=- 
 
 94. These two fourths united form a new scale, of which F ia 
 the key-note ; exactly similar to C, but five degrees lower. Its 
 descending series proves, by the melody, that the tones and semi- 
 tones are between the same degrees of the scale. 
 
 -s>- 
 
 -fS- 
 
 =?s:: 
 
 ■bg- 
 
 zis 
 
 4- 
 
 ::^= 
 
 r ^m. 
 
 • See Art 32. 
 
 t The mark now used for the flat was originally the letter B, introduced to 
 avoid the tritone or aharp fourth, between F and B natural. By the ancient 
 writers (Guido, &c.) it was termed B-moUe ; that is, the soft, or (according to 
 tome) the movaile B. See Gerbert, (De Cantu, 1774, ii. 72.) * 
 
 WaUher'a Lexicon (1732) contains a long article and an extract from Simon 
 
NOTATION. 43 
 
 95. As the scale of F is made complete by this alteration of 
 B alone, B is reckoned the first fiat.* For a similar reason, 
 (that of forming a new fourth below the lower one of the F 
 scale,) E is termed the second fiat. Thus the series of flats as- 
 cends by fourths, which, in respect to the letters, is the same as 
 descending by fifths. 
 
 B, E, A, D, G. 
 1, 2, 3, 4, 5. 
 
 These flats are performed, on keyed instruments, with the five 
 short keys below ; that is, on the left of the long ones ; the divis- 
 ion of two consists of E flat and D flat ; and the other three are 
 B flat, A flat, and G flat. For the reason given (Art. 92) con- 
 cerning the sharps, B natural is employed to express O fiat, and 
 E natural is employed to express F fiat. Thus the whole series 
 of seven fiats is completed. 
 
 B, E, A, D, G, C, F.t 
 
 1, 2, 3, 4, 6, 6, 7. 
 
 This series is exactly the reverse of that given of the sharps, 
 (Art. 92.) 
 
 It must be recollected, that every one of the short keys has 
 two difierent letters for its name, according to the natural note 
 for which it is employed. 
 
 Thus the middle key of the three short ones is equally used 
 as the third sharp in the place of G natural below it, and as the 
 third flat in the place of A natural above it. 
 
 96. When any number of sharps or flats are placed after the 
 clef, at the beginning of the staff, they affect aU the notes of the 
 
 de Quercu (1509) on the subject. Before the literal notation of the middle 
 ages, and its present appellation, B flat was employed as the trite or third 
 s5und (descending) of the synemmenon or conjunct tetrachord of the Greek 
 scale, 
 
 • This character was formerly of such importance that it is enumerated by 
 Gafurius among the clefs, (see the note, p. 17,) and was accounted the clef of 
 the F hexachord, as the other two clefs, now called tenor and bass, were of the 
 G and C hexachords. These letters were selected fiom the seven to show the 
 places of the three semitones, in the three different scales of Guido termed 
 rueturale, durum, and molle; and, being the highest sounds of the two which 
 formed each semitone, were always sung with the syllable fa. 
 
 t The Germans add the syllable es to the names of the letters which are flat, 
 except B, which retains its original signification ; and their series, B, es, as, 
 des,ges, ces, anifes correspond to the scale given above. See also Dr. B. ii. 
 73. 392. upon the subject of B flat. . ■ , 
 
 The French use the term bemol, from the Latm, and annex it to the vocal 
 syllable ; thus si bemol is B flat ; mi bemol, E flat, &c. 
 
44 CALLcoTx's srtrsiCAt geammae. 
 
 same letter in every octave throQghont the movement, and are 
 termed the signature. 
 
 Those which occur in the course of the movement, in addition 
 to the others, are- termed accidental,* to distinguish them from 
 those of the signature, which are essential to the scale of the 
 original key-note. 
 
 ' The accidental flats and sharps only affect the notes which 
 they immediately precede, and tho'se of the same letter which 
 follow thetn in the same measure ; but, if one measure ends and 
 the next begins with the same note, the accidental character 
 which alters the first note is understood to affect the second. 
 
 Sect, m.— ^Of the Natubal. 
 
 97. "When any note, which has beeii elevated by a sharp, or 
 depressed by a flat^ is to be restored to its original place, the 
 character called a natural'^ is employed, which lowers the 
 sharped note, or raises the flatted note ; thus : 
 
 ~t=^\ L-IE 
 
 The nai/iiral, although a very ancient character, was not used 
 by Morley, Simpson, or Playford. They always employed the 
 flat to take away the sharp, and the sharp to take away iSlafoflat, 
 in the same manner as we now use the natural. % 
 
 Hence are found, in old music, the sharp before B and the flat 
 
 * Naumberger (of Keading, Berkstiite) ia his translation of Turk's Klavier 
 Schnle, (1804,) p. i, translates the German term Versetzungzeichen, marka of 
 fransposttion. tollman, Essay on Harmony, p. 8, calls them accidentals. See 
 also Slalcolm, p. 36S. Holden, p. 21, art. S7. 
 
 f GafuriuS' (Practica, fol. 2) asserts that the character of the natural, or B 
 quadrum, (that is, qnadratum,) is formed of two Greek gammas joined inrert- 
 edly, {conversim eonjuncta A but it is generally described as a Gothic or square 
 
 B, made in that form to mstinguish it from the round B, which expressed 
 the flat. 
 
 The ancient printers, not having a proper type cast to represent this charac- 
 ter, used the small h ; a specimen of which may be seen in the Dialogo of Vin- 
 centio Galilei, (1681,) p. 4. Adltmff, (edit. 1783,) p. 196, attributes the German 
 method of using the letter H instead of B natural, to the same cause. See 
 EoUman, Essay on Composition, (1799,) p. 62. Sir J. H. t. 264. 
 
 t The German scale of the natural notes is A, H, C, D, E, F, 6 ; not A, B, 
 
 C, &c. The B is always reserved to express B flat. 
 The French call the natural beguarre, (Rousseau.) 
 
NOTATION. 
 
 iS 
 
 before F ; not, as now, to represent B sharp and F flat, but 
 merely to take away a preceding flat or sharp. 
 
 The natural, although evidently an accidental character, and a 
 more general expression for the two others, (the sharp and the 
 flat,) is sometimes placed essentially at the beginning of a strain, 
 when a former part of the same movement has had a sharp, or 
 flat in its signature. (See Steibelt's Sonatas, Op. 37, Turkish 
 Bondo, p. 10.) According to its power, therefore, of raising or 
 lowering any note of the scale, the natural must be always con- 
 sidered as representing a ska/rp or ^fiai.* 
 
 Sect. IV. — Or the Double Shakp. 
 
 98. After all the notes of music have been made sharp, the 
 same series of letters begins- again,, and F, being the first, takes 
 the name of F doiMe sharp.f 
 
 It is performed, on keyed instruments, by striking the long 
 key, Gr natural, which is not, however, to be reckoned then as a 
 tone from F natural, being placed on the same degree as F, 
 (Art. 47,) and also consisting of two chfomatic (or minor) semi- 
 tones. 
 
 Sect, V. — Or the Double Flat. 
 
 99. In the same manner, after all the seven notes of music 
 have been made Jlat, the same series of letters be^ns again 
 
 • In Handel's Song of Pious Orgies, Judas Maccabiem, (No. 1,) the natural 
 is frequently employed ; and, in one particular measure, sharps the treble and 
 flats the bass. More concerning these characters may be found in Butler, p. 
 21 ; Simpson, p. 5 ; and Holden, p. 16, art. 43. Turner (p. 61) calls the natu- 
 ral a mark of restoration. 
 
 t The double sharp is sometimes marked with a single cross, thus, +, or X, 
 •which, according to Vanneo, (see the note, p. 41,) originally represented the 
 two commas of the quarter tone, or enharmonic diesis, and which properly 
 represents the distance between the F double sharp and the G natural. 
 
 Keeble, 
 
 proper use 
 
 lino, (1589>, 
 
 97, 108. Lemme Rossi, (1666,) p, 
 
46 callcott's musical geammak. 
 
 I 
 with B ; and that, being the first, takes the name of B double 
 fat* 
 
 It is performed by striking the long key, A natural, two chro- 
 matic semitones lower. It is worthy of notice, that, as the first 
 sharp is the lowest and the first flat the highest of the three 
 short keys which are near each other, so the first double sharp 
 and the first double flat (the only two in general use) are played 
 with the two long keys which are enclosed by F sharp and B 
 flat. 
 
 jl 
 
 -■bfe- 
 
 100. As these two characters, viz., the double sharp and the 
 double flat, seldom occur, the mode of restoring the single sharp 
 or flat, afl;er the use of the double character, varies with different 
 authors-t Some use a single sharp or flat ; some employ a nat- 
 ural, or else unite the single sharp or flat with the natural,^: thus : 
 t!#, b| b ; and others again leave the passage to the ear and judg- 
 ment of the performer, who ought, they suppose, if able to play 
 in seven sharps, to know how to restore the altered note to its 
 proper situation, without any particular mark. 
 
 * The Germans have sometimes employed a large B as the chaiacter of the 
 doable fiat. The difficulties aiising from this maxk are stated by Turk, (Kla- 
 Tier Schule, 1789,) p. 60. Dussek, in his Introdnction, p. 36, unites the two 
 B's with a kind of hook, similar to the grouping of quavers. (Art. 64, p. 26.) 
 The German names for the double sharps are fisjis, cisciSf && ; and for the 
 double flats, bebe, eses, asas, desdes, &c. Adlung, p. 254. 
 
 f Even in respect of the double sharp, instances are found in Handel where 
 it is not distinguished by any particular mark, but where only a common siu- 
 
 fle sharp is placed against F, already sharp in the signature. See H. S. i. No. 
 : Fly from the threatming. 
 
 X Some of the writers in Germaiyr are (as Turk, p. 52, observes) precipitate 
 in their judgments, and therefore ftequently erroneous. G. F. Wolfe, (ITSS,) 
 p. 22. Lohfein, (1765,) p. 11. Tubel, (1767.) p. 9. Merbach, (1782,) p. 13. 
 
NOTATION. 
 
 47 
 
 CHAPTER VI. 
 
 OF GRACES, CHABACTEES, MARKS OF EXPRESSION, 
 AND ABBREVIATIONS. 
 
 Sect. I. — Of Gkaces. 
 
 Art. 101. As the German authors C. P. Emanuel Bach and 
 G. D. Turk have treated at large on the subject of musical 
 graces, {Manieren,*) a short sketch of their doctrines wiU here 
 be given. 
 
 102. The principal graces of melody are the appoggiatura, 
 the shake, the turn, and the beat ; with the mordent, beat, slide, 
 and spring, peculiar to the Germans. The chief ornaments of 
 harmony are the arpeggio, tremando, fccf 
 
 103. I. The appoggicawra% (Vorschlag) is a small note placed 
 before a large one of longer duration, from which it generally 
 borrows half the value, and always occurs on the strong part of 
 the measure. 
 
 THE APPOCKJIATUBA. 
 
 A3 wiitten. 
 
 S>- 
 
 Aa performed. 
 
 I 
 
 ir^^^FF^^ 
 
 » Bach, p. 45. Turk, p. 207. 
 
 t The old English graces, published by Simpson, (division Viol, 1667,) as 
 defined by Dr. ColAan, are divided into two classes — the smooth and the 
 shaked graces. In the first class are the beat, backfall, double backfall, eleva- 
 tion, springer, and cadent ; in the second are the shaked backfall, close shake, 
 shaked beat, shiked elevation, shaked cadent, and double relish. See also 
 riayford, p. 100. 
 
 t Dr. Bumey, art. Appoggiatura. Dr. Bees'a Cyolopsedia. 
 
48 
 
 CALLGOTT'S MtTSICAL GBAMMAB. 
 
 104, Sometimes, however, the appoggiatnra is only one quar- 
 ter of the note it precedes, as in the following example: 
 
 ■Written. 
 
 -<S>- 
 
 I 
 
 Perfonned. 
 
 
 --W=^ 
 
 105. When a small note follows a larger one, and depends 
 upon that for its time, the name of qfterr^note {Nachschlag *) wiH 
 be used in this work, to distinguish it from the appoggiatura. 
 
 This grace always occurs on the weak part of the measure. 
 
 Written. 
 
 =?? 
 
 i^ 
 
 ^ 
 
 Performed. 
 
 S 
 
 :?5: 
 
 m 
 
 :*3t 
 
 
 106. The Germans divide these notes, which do not constitute 
 the essential but the ornamental parts of melody, into two classes. 
 I. Passing notes, (Durchgehende noten;) and, II. Changing 
 notes, (Wechselnd^ noten;) but the appoggiatura, when it is a 
 suspension of -the large note before it, as in the example just ad- 
 duced, (Art 103,) does not belong to either class. These will be 
 explained in the third part of this work, upon harmony. 
 
 107. II. The shake if (^IViller) consists of a quick alternate 
 repetition of the note above with that over which the mark is 
 
 * The German Trord Nachachlag is also used to express the turn of the 
 
 t Bach, p. 61. Turk, p. 252. Sir J. H. iv. 469. Dr. B. iii. 628, 616. Cle- 
 mcnti, p. 11. Dussek, p. 6. HuUmandel, p. 27. 
 
NOTATION. 
 
 49 
 
 placed ; and commonly ends with a turn from the note below. 
 It is usually defined thus : 
 
 i 
 
 "Written. 
 It 
 
 Performed. 
 
 In this example the upper note is accented ; there are, how- 
 ever, instances in which the composer seems to have designed 
 that the lower note, or that over which the shake is placed, Should 
 be accented ; thus : 
 
 (Handel's second Organ Concertos, Dr. Arnold's edit. No. 124, p. 9.) 
 ir^ Ntr 
 
 ^-h'=ffff—t^-=!^^—f>-'\--^—\ 
 
 -b- 
 
 i 
 
 The principal or written note of lihe shake (over which the 
 character is placed) is called by the Germans the Hav/pt-ton ; 
 and the secondary or superior note the Hulfslon. 
 
 108. The following method of practising the vocal shake has 
 been communicated to the author of the present work by his 
 friend, Mr. Greatorex, to whom it was given, at Rome; in the 
 year 1786, by Santarelli, chapel-master to the pope. 
 
 -&-. 
 
 1r 
 
 I 
 
 And so descending throughout .the scale. 
 
 Performed in practice thus : 
 
 109. A series of continued shakes, on notes rising or falling 
 5 
 
50 
 
 callcott's musical grammar. 
 
 by degrees, is called by the Germans Trilhr Kette, and by the 
 Italians, Oatena di Trilli, both signifying a chain of shakes. 
 
 110. IhB passing shake* {Prodi TriUer) is expressed in Ger- 
 many by a particular character ; and its definition varies with 
 different masters, and in different passages. The explanation of 
 Dr. Arnold (Op. xii. p. 38) is therefore giveij here, with the 
 mark he adopted for it. 
 
 Written. 
 // // 
 
 Ferfonned. 
 
 =P-i= 
 
 ^^0^m- 
 
 The mordente of the Italian school is used in similar passages, 
 and performed thus : 
 
 tr 
 
 :^ 
 
 Some remarks on the various methods of performing these 
 graces are given by Clementi, (Introduction,) p. 11. 
 
 111. m. The iwrwt (-OoyipeZscAZo^') employs the note above 
 and that below, in the following manner : 
 
 Written. 
 Thus, or thus : 
 
 Performed. 
 Thus, or thus : 
 
 Si^ 
 
 t: 
 
 
 hSsr 
 
 112. The inverted turn begins from the note below. 
 
 (Dr. Arnold, Op. xii. p. 38.) 
 Written. Performed. 
 
 ^ 
 
 -f^ 
 
 ^ 
 
 i 
 
 • Turk, p. 
 
 t Bach, p. 61. 
 
NOTATION. 
 
 The turn on the dotted note is in frequent use. 
 
 Written. Ferfonned. 
 
 51 
 
 I 
 
 SEE 
 
 --^i^w-^ 
 
 ^- 
 
 113. IV. The beat* is the reverse of the shake, (but without 
 the turn,) and made generally at the distance of the semitone be- 
 low ; therefore aU the natural notes, excepting C and F, require 
 the note below them to be accidentally sharped for the beat. 
 
 w 
 
 Written. 
 
 Performed. 
 
 I 
 
 SEE ■ 
 
 ^^^r^irf^ 
 
 /W AV 
 
 ^^ ^^^^ 
 
 
 
 -=s^ 
 
 The beat upon B natural, however, is - seldom made with A 
 sharp, on account of the great harshness arising from the vicinity 
 of the semitone B C 
 
 In some cases of regular ascent it is recommended not to make 
 the beat with the semitone unless particularly marked. (See 
 Clementi, p. 11.) 
 
 114 In the half heat, (Zusammenschlac/,) the inferior note is 
 struck only once, and at the same time with the principal note, 
 but is immediately quitted. This is frequently used upon the 
 organ, and particularly in the bass.f It may be written by a 
 
 * Battement. Tiirk, p. 281. ~^ ^ j ,. 
 
 t KoUman, Essay on Composition, p. 98, terms it a bass grace, and shows 
 how it is employed to strengthen the parts, and to supply the want of pedals. 
 
52 
 
 CALLCOTTB MUSICAL GEAMMAE. 
 
 small note, Take a short appoggiatura, and is very similar to the 
 acciciceatura* of the ItaiMans. 
 
 115. In the third -part of this work, upon harmony, will be 
 shown how the diatonic suspensions and transitions arise from 
 the appoggiatwra and the qfternote ; while the chromatic licenses 
 are derived from the acciaccatura or half beat. These graces 
 are therefore of very great theoretical importance. 
 
 116. V. -The German mardentf (Beisser) is a species of 
 beat, commencing with the note itself, and is either long or short , 
 thus: 
 
 Long. Short. 
 
 ^ 
 
 i 
 
 This differs considerably from the mordenfe before described, 
 (Art. 110,) being made with the next degree below. That hf 
 the Italian school always employs the next degree above. 
 
 117. VI. The German beatX (Anschlag) consists of two small 
 notes, which form a skip, and descends one degree upon the prin - 
 cipal note. 
 
 "Written. 
 
 Performed. 
 
 I 
 
 ^-^¥¥t 
 
 z\=: 
 
 --^■■ 
 
 '^ 
 
 
 ^m 
 
 In the translation of Turk, (p. 26,) I^aumberger calls this 
 grace a double appoggiatura. 
 
 118. VII. The German slide % {Schle^er) consists of two 
 small notes, which move by degrees; thus,: 
 
 * Dr. Bumey, article Acdaecatura, Br, Rces's CTclopeedia. Oaspatini, Ai- 
 monico Prattico, 1729, edit. 3d, p. 63. 
 t Bach, 73. Turk, 27S. 
 J Bach, 77. Turk, 241. 
 I Bach, 80. Turk, 2^.' 
 
NOTATION. 
 Written. 
 
 53 
 
 ^rF ^ ^'i t r^^ ^m 
 
 Perfoimecl. 
 
 119. Vni. The German spring* (^SehneBer) coasista vf two 
 email notes, like the Italian mordente, but very distinct ; thus : 
 
 ■Written, 
 
 ' Performed. 
 
 120. All these graces are liable to the occasional alteration 
 of a&y of their notes by sharps,- flats, or naturals ; and in that 
 case the composer is expected to mark tBem as they are to be 
 
 ' performed. 
 
 121. To these graces of melody may be added those of har- 
 mony : the tremolo, (Behung^ or reiteration of one note of the 
 chord ; the tremando, or general shake of the whole chord ; and 
 the arpeggio, {Breekung,) or imitation of the harp by striking 
 the notes of the chord in quick and repeated suocession- 
 
 122. Clementi (Introduction, p. 9) has given an explanation 
 of two different characters used for a chord (or combination of 
 several sounds struck together) upon keyed instruments, 
 
 (1.) When awaving line is placed vertically before the chord, 
 the notes are played successively, from the lowest ascending to 
 the highest, and retained down the full-time of the chord. 
 
 (2.) When an ohliqne line passes through the chord, it is 
 played as before, with the addition of a note t where the oblique 
 line is placed ; but this added note is not to be kept down. 
 
 • Bach, 83. Turk, 261. .,,..,,, a 
 
 t This added note is the aodiaccatura before described, Art. 114,«n(I anewen 
 to the ZusammemcMag of the Germans. Tnrti 279. 
 5 
 
H 
 
 CALLCOTT'S MU8ICAI, GBAMMAK. 
 
 Written. 
 
 Played. 
 
 ^1 ^^ 
 
 Sbcw. II. — Ob the Chabactees. 
 
 123. Those characters used in music which do not form a part 
 of any particular class, hke the clefs, notes, rests, sharps, flats, 
 naturals, or graces, are the tie, or ligature, the pause, the repeat, 
 the direct, the single iar, and the douhle bar. But, as the tie is 
 similar in form to the slur, it will be classed among the marks of 
 expression in the next section. 
 
 124. The pause * is placed over a note to signify that the 
 regular time of the movement is to be delayed, and a long ccm- 
 tinuance of the sound made on that part of the measure. 
 
 (H. S. ii. No. 82: Blessed the day — Solomon.') 
 
 ^^ 
 
 3=niz=fc 
 
 +-— I- 
 
 -^ 
 
 125. If the pause is placed over a rest, then a stop of consid- 
 erable length is made ; and the part must be silent. 
 
 (H.S 
 
 i.No.31: Let 
 
 festive 
 
 o 
 
 y " *\ 
 
 l!«- 
 
 
 
 a r 
 
 Ah" 
 
 \^ai 
 
 
 ^ 
 
 a ^ 1 1 
 
 ®--s— 
 
 t^^Wm 
 
 '~^~i — 
 
 
 .f. r r F 
 
 ny 
 
 
 
 
 '■-i^ — ^ — ^ — ■- 
 
 126. The same character is employed for another purpose in 
 those songs of Handel, Hasse, Vinci, &c., which have a second 
 part, and are marked da eapo.'f 
 
 * Butler, p. 38, calls the rests pauses, and the pause a close. The Italian 
 term is coremata, Zacchatia TeTO, 1705, p. 25 ; and the German, Fermate, Pe 
 tri, Anleitung, 1784, p. 145. Holden, p. 37, calls the pause a hold. 
 
 The pause, when found on the last note hut one of a melody, is a sign for 
 the vocal or instrumental performer to introduce such extemporaneons pas- 
 sages, previous to the final shake, as are generally termed a eada/mi. 
 
 t Da capo are two Italian woj^s, which signify from the beginmng, and are 
 
NOTATION. 
 
 55 
 
 (H. S. ii. No. 157: As when the dove — Acts and Oalatea.) 
 Hp-»-#-T-^-»-#-T-»--r-#- 
 
 The pause, in this example, only shows the note upon which 
 the piece is finally to terminate ; but it is not always followed by 
 the double bar. 
 
 ■ 127. "The repeat* ( ^ ) is a sign employed to show the place 
 to which the performer must return to repeat the passage. It 
 is usually faund in rondos and da capo airs ; and it marks that 
 place in the first strain where the repetition is to commence. 
 This mark is called, in Italian, segno, or the sign. 
 
 ,(H. S. i. No. 153 : Warhemng — Alexander's Feast.) 
 
 ^^p=i=S 
 
 ;;£E^E=titS 
 
 -pt-aa. 
 
 -•-P- 
 
 £E=E2E?'saEf^S; 
 
 SF^ 
 
 ■^. 
 
 m^^^^^ 
 
 -m-m- 
 
 =#f^* 
 
 
 :pzi: 
 
 H^' 
 
 i 
 
 128. The direct '\ {w) is a sign employed at the end of the 
 staff to show upon what degree the first note of the following 
 staff is placed. 
 
 (Rameau, Treatise, p. 168.) 
 
 T- 
 
 T" 
 
 =P=E= 
 
 -p 
 
 129. The singk har% has been already mentioned, (Art. 65, 
 p. 27,) as dividing the movement into equal portions or meas- 
 
 frequently joined with cd sejno, which mean that the performer is to return, 
 and to commence the repeat at the sign. 
 
 * Mark of repetition. Morley, p. 74. Simpson, p. 19. Malcolm, p. 411. 
 
 + The direct is called by Morley, p. 22, index, or director. Butler, p. 37. 
 Holden, p. 38, Art. 113. , . ^ , 
 
 t Butler, p. 38, terms the ancient thick single bar the tmperfect cloiet 
 Simpson, p. 19. Malcolm, p. 411. 
 
m 
 
 CALLCOTT'a MUSICAL GRAMMAR. 
 
 ures. It IS considered in Germany as a mark of the grammati- 
 cal accent ; since the first time * of every measure is always a 
 strong part, and is distinguished by a particular pressure. 
 
 When the inner sides of two bars are dotted, all the measures 
 between them are to be repeated. * See an instance of this kind 
 of repetition. 
 
 (H. S. i. No. 68: Sinnot, O Mng—Said.) 
 
 ;tES 
 
 m 
 
 ^-^1 
 
 ■SE^ 
 
 -jtzztz 
 
 ignr^^i^^ 
 
 The word bis (twice) is sometimes placed over passages of this 
 kind, whether the bars are or are not dotted. 
 
 130. The doubh bar f is placed always at the end of a move- 
 ment, and is sometimes used at other parts, to show the rhetorical 
 termination of a strain. 
 
 If the double bar is dotted on one or both sides, all the meas- 
 ures on the same side with the dots are to be repeated from the 
 beginning, or from the antecedent double bar. 
 
 131. When the rhetorical termination of a strain does not co- 
 incide with the grammatical accent, the double bar is then totally 
 distinct from the single bar, and the measures are only reckoned 
 between 'the single bars, although the double bar may intervene 
 
 (H. S. T. No. 374 : Aiove measure — Semele.) 
 
 ^^ 
 
 -jtzT- 
 
 This doable bar does not affect the measure in which it i» 
 placed, but the time is kept exactly as if it were not inserted. 
 
 * The author is induced to adopt the expression of the fuicient authors, and 
 to call the parts of the measure times. Art. 65, p. 27. See also Malcohn, p. 
 399. The particular utility of the term will appear in the fourth part of this 
 work, upim rhythm. 
 
 + Omithoparcus, ^. 62, calls this a rest general; considers it as analogouB to 
 the other rests described Art; 85, p. 38, and places it in the same class of char- 
 acters. 
 
NOTATION. 
 
 ST 
 
 132. As it appears, from the preceding observations, that the 
 double bar is very different and distinct from the single bar, the 
 grammatical use of the latter must not be confounded witli the 
 rhetorical employment of the former. 
 
 133. If every piece of music ended with a complete measure, 
 and if the necessity of commencing with single times (Art. 82) 
 did not sometimes exist, the double bar might be omitted ; but 
 as it is important to mark the termination of those strains which 
 have their last measures incomplete, this character is adopted, 
 and the double bar bears the same relation to the strain as the 
 single bar does to the measure. 
 
 134. Every measure contains a certain number erf notes, (Art. 
 6'6,) which £ire terminated by the single bar ; and every strain* 
 includes a certain number of measures, which are terminated by 
 the double bar. 
 
 •Sect. HE. — Of the Makes op Expression. 
 
 135. The chief marks of expression are the sluir and the 
 dash ov point ; to which may be added the tie or ligature. 
 
 136. The tie^ is an arch drawn over or under two notes on 
 the sarm degree, uniting them into one. Upon keyed instru- 
 ments, the first only is struck ; but the finger is kept ^wa during 
 the tame of both. 
 
 (H. S. iii.No. 180: Our fruits— Jos^h.) 
 
 137. The tie is also used to express those syncopated notes, 
 which, in ancient music, were divided by the bar. 
 
 * The rhetorical division of the strain into phrases, sections, and periods, 
 with the utility of the ccBsure, will be explained in the fourth part of this work, 
 upon rhythm ; and, as the comma,* semicolon, and full stop of elocution have 
 all their respective analogies in musical punctuation, by the phrase, section, 
 und period, so also the colon is found to resemble that final part of a movement 
 which is termed the eoda. 
 
 t See Note, p. 26 of this work. Holden, p. 38, art. 114. 
 
58 
 
 3Allcott's musical gbammab. 
 
 (CorreUi, Concerto i. Opera 6.) 
 
 #n n: — i- 
 
 I 
 
 -** 
 
 :^ 
 
 -sj- 
 
 m 
 
 138. The slur* is a similar arch drawn over or under two or 
 more notes upon different degrees, and signifies that all the notfes 
 are to be played as smoothly and as much united as possible. In 
 vocal music it is placed oyer or under all the notes which are to 
 be sung to the same syllable. 
 
 (H. S. iii. No. 191 : Our limpid streams — Joshua.) 
 
 )^S=E 
 
 ^ 
 
 
 139. When the slur is placed" only over or under two*notes, 
 the second is generally made shorter than its proper length. 
 Formerly this effect was produced by exact notation. 
 
 (H. S. i. No. 1 : Pious orgies — JudaS.) 
 
 it 
 
 s 
 
 m 
 
 ~W m a- 
 
 :fe=t 
 
 it*: 
 
 ^-ai- 
 
 s 
 
 140, The rfasAf is a small stroke placed over those notes 
 'which are to be performed in a very short and distinct manner 
 
 (H. S. iii. No. 182: Descend, kind pity — Theodora.) 
 
 it 
 
 ^m 
 
 =t:=tr-p: 
 
 "t 
 
 I 
 
 141. The point is a mark employed by many authors instead 
 of the dash ; but its principal use is to distinguish those notes 
 
 * In the Translation of Turk, p. 26, the term ahir is apnlied to the grace, 
 Art. 118, called Schleiffer or slide, 
 t Holden, p. 39, Art. IW. 
 
NOTATION. 59 
 
 from which an intermediate efifect, different from the slur or the 
 dash, is rjequired, and yet uniting both. 
 
 (H. S. i. No. 61 : Comfort ye — Meaaiah.) 
 
 ^^^i^^^ 
 
 When these passages are performed on keyed instruments, the 
 finger is not kept close, as in the slur, nor raised, as in the dash, 
 but dropped gently on the note, and taken off before the time is 
 wholly completed. 
 
 142. There are other marks of expression, which have been 
 lately ad^ted, to express the effect of certain Italian terms. 
 
 (1.) Crescendo, or increasing the sound from soft to loud, is 
 marked by an angle, the lines extending to the right : -=cz. 
 
 (2.) Diminuendo, or diminishing the sound from loud to soft, 
 by the contrary sign : ::==-. 
 
 The union of both indicates that the first part of the passage is 
 to be soft, the middle loud, and the last soft again, as the figure 
 shows. -=::::=-. 
 
 (3.) Rinforzando is denoted by smaller marks of the same 
 kind, < >, which are to increase or diminish the note as marked. 
 
 Sect. IV. — Of Abbeeviations. 
 
 143. When the same note, or similar passages, are to be re- 
 peated, much time is saved to the composer and copyist by the 
 jse of abbreviations. 
 
 A single stroke, over or under a semibreve, or through the 
 stem of a minim or crotchet, divides them into quavers ; a double 
 stroke into semiquavers ; and a triple stroke into demisemiqua- 
 vers; thus: 
 
 (H. S. i. No. 18 : Let the bright seraphim—^ Samson.) 
 
60 
 
 callcott's musical geammae. 
 
 144. These passages, in Italian mnsic, had formerly the word 
 erome, (quavers,) or semierome, (seiniquavers,) annexed to them. 
 At present we often use the term segtie, to signify that we must 
 perform the following notes in the manner in which the first are 
 marked. 
 
 145. Another kind of abbreviation is very frequently used in 
 modem music, viz., grouping the stems of minims like those of 
 quavers, (Art._64.) 
 
 (Fleyel's Duos, violino and Tioloncello, Ofk. 12, p. 2, TioKno.) 
 ■Written. Performed. 
 
 1^^^ 
 
 Several other species of abbreviation are given in Koch'a 
 Lezictm, art. Abhureung; and aJso in Clemeuti, p. 8, Shield, 
 p. 124. Sue. 
 
PART II. 
 
 MELODY- 
 
 CHAPTER I. 
 
 OF INTEEVALS. 
 
 Sect. I.- Of Intervals m general. . 
 
 Art. 146. A particular succession of single souncis forms a 
 tielodt/,* or tune; as in the following example; 
 
 {God save the H«ff.) 
 
 g^l 
 
 ''"^^ 
 
 147. Melody has, in respect of tune, two diistinct motions : 
 that of degrees, and that of iMps.\ 
 
 A melody proceeds by degrees when it moves to the next line 
 or space above or below, as in the following example : 
 
 * This simple and popular definition of melody only presents an outline of 
 the true idea annexed to the term. In a more extensive sense, melody implies 
 not only the progression of one single part, but also that general Tesmt of the 
 various parts in harmony which produce the efieot of melody by the proper dis- 
 tribution of their sounds. Frinz seems to have been the first who distinguished 
 between the monodio style, in which the melody is confined to one single part, 
 and the polyodic style, in which th« theme and its dependent subjects are dis- 
 tributed among the difierent parts of the composition. These two epithets 
 Frinz appears to have taken from Kircher ; and this profound and original - 
 view of melody has been very ably developed by Nichelman, of Berlin, who 
 clearly proves that those pieces which are produced by the monodie design of 
 the composer are far inferior to the poh/odio arrangement of the same ideas. 
 In this last class we may place the Motets of Falestrina, the Choruses of Han- 
 del, and the Symphonies of Haydn. See Prinz, (Satirical Composer^ part iii. 
 chap. xi. chap, xviii. 1696. Kircher, (Musurgia.) Nieheiman, (Melodie,) 1765. 
 
 t These expressions, in Italian, are di grado and di aaUo. 
 
 6 («) 
 
62 
 
 CALLCOTT'S MUSICAL GEAMMAE. 
 
 (_Let ambition ^re thy mind.) 
 
 • — ft- 
 
 m 
 
 E 
 
 ?=: 
 
 148. A melody proceeds by sMps when it omits one or more 
 degrees, as in the following example : 
 
 XWhen wairlike ensigns.) 
 
 itz 
 
 S 
 
 149. In general, degrees and skips are intermixed, as in the 
 melody of the Easter Hymn. 
 
 (Jesua Christ is risen to-day,*) 
 
 * 
 
 ffi 
 
 SfS^S 
 
 m 
 
 -jt=^. 
 
 tf^j-*-tf: 
 
 150. The degrees t and skips of melody are both called by the 
 general term interval; which is the distance between two sounds, 
 or their difference in respect of pitch. Every interval, therefore, 
 implies two sounds: one acute, the other grave ;. in common lan- 
 guage, high and low ; and as, in measuring, it is usual to consider 
 the termination of distance more than the space contained, so, in 
 music, the notes which limit the interval are both called by the 
 name of Ihe interval itself. Thus, from the F clef to the C def 
 is contained the interval of a fifth, both terms inclusive ; and C 
 is said to be a fifth above F, and F a fifth below 0." 
 
 Sect. II. — Of the Names of Int^vals.J 
 
 151. The names of intervals are derived from the number of 
 degrees which are contained between the two soimds ; both ex- 
 
 • Printed by Walsh, in 1708, in a CoUeclion of Divine Songs and Hymns 
 entitled Lyra Davidica. The air found at page U, but written in quavers. 
 
 t The word degree has been applied to the five lines and four spaces of the 
 staff; but it is necessary to extend its signification farther, and to comprehend 
 in it the term interval; since, in the chromatic semitone, B flat and B natural 
 ore on the same degree, and yet produce different sounds, farming thereby a 
 distance or interval. 
 
 % The inapcuraciea, which sometimes occur in very respectable authors, con- 
 
MELODY. 63 
 
 Iremes being reckoned inclusively. Thus the interval of a sec- 
 ond consists of two degrees ; and as these may be distant from, 
 each other either by one tone or by one semitone, there are con- 
 sequently two kinds of seconds, viz., a major second or tone, and 
 a minor second or semitone. 
 
 152. The natural scale of music, which, proceeding by de- 
 grees, includes both tones and semitones, is called diatonic ; a 
 word compounded of dia and tonic, from the Greek dia, through, 
 and tones, a tone ; because the greater number of intervals in 
 the scale, viz., five out of seven, are tones. 
 
 153. The diatonic scale includes all the different intervals* 
 formed by the natural notes, and also all those which are pro- 
 duced in transposing the natural scale, higher or lower, by the 
 employment of sharps and flats. Those intervals which exceed 
 the limits of the octave, as the ninth, tenth, eleventh, &c., being 
 only replicates of the second, third, fourth, &c., are omitted here, 
 but will be particularly noticed in treating of harmony. 
 
 Those intervals which are less than the diatonic semitone, as 
 from F to t* sharp, &c., will be distributed, with all other inter- 
 vals derived from them, into proper classes, in the third chapter 
 of this part, upon the genera. 
 
 Sect. IIL-^5p the fourteen Diatonic Intervals. 
 
 15¥. As the intervals take their names from the number of 
 included degrees, so also their species are ascertained by the ep- 
 ithets major and minor, given them, according to the number of 
 tones oE|Semitones contained inclusively between their extremes. 
 If the MeWals were all equal m the scale, eight degrees would 
 
 cerning intervals, arise from adopting the terms of common language without 
 sufficient precautiA See Kollman's Thorough Bass, (1801,) Shieli For ex- 
 ample, the distano^Rom one place to another may be tieo miles, as the inter- 
 val from the note C to the note D is formed of two semitones ; and as, when we 
 arrive at either place, we say this is (the end of) two miles, so at D we say this 
 is (from C) a tone ; and at C, this is (from D) a tone ; yet the two sounds only 
 ■form the inte^^l of two semitones. 
 
 * It may not be improper to remark, that a considerable difficulty arises 
 from the distribution of intervals upon keyed Instruments, and that the stu- 
 dent does not readily perceive how an interval is to be found between two keys, 
 as B and C, or E and F, which are close together. The method of stopping 
 the violin, or the frets on ihe guitar and lute, shows the nature of intervals 
 much more clearly. For instance, the third string of the violin M tuned to the 
 once-marked D, (Art. 37 ;) but when shortened by one ninth of the space be- 
 tween the ni)t »n4 the bridge, wfill sound E, a tone higher; one sixteenth of 
 
64 
 
 callcott's musical gbamuab. 
 
 form only seven intervals ; but, as there are two different dis- 
 tances of semitone and tone, for which the notation by the staff 
 alone does not provide, there are consequently fourteen diatonic 
 intervals. These are distinguished by the. term major or mi- 
 nor, greater or lesser, and, in some few, cases, sharp or flat. 
 
 155. I. The unison, or the same identical sound, although it 
 cannot properly be reckoned an interval, is always considered as 
 such when employed in harmony ; it is therefore inserted here 
 aiBPQg the intervals of melody. The present opportunity may 
 be taken of improving the student in the practice of the sevea 
 clefs, and showing their practical utility. 
 
 Example of the unison, or the same sound, being the once-marlced C, (Ait. 37,) 
 in all the defs. 
 
 ^ 
 
 M 
 
 1 
 
 F^IS 
 
 I 
 
 iini: 
 
 mw 
 
 I 
 
 OE 
 
 C 
 
 c 
 
 
 c 
 
 Example of the descending scale of the 'once-marked octave, in the G and 
 C clefs. 
 
 i TTr — r 
 
 i 
 
 •r"g ~ 
 
 -<s- 
 
 lUL 
 
 gg 
 
 DMT 
 
 G B 
 
 inr 
 
 Hrf 
 
 A G 
 
 F E 
 
 D C 
 
 Descending scale of the small octave, (Art. 36,) in the C and F clefs. 
 
 jjjj a 
 
 D C 
 
 156. II. The minor second is formed by two sounds, at the 
 distance of a diatonic semitone, as B C and E F. (|pis a minor 
 second higher than B, and B a minor second lower than C. The 
 
 the remaining length being further taken, the sound F, a semitone higher, is 
 heard. A just idea of intervals is hereb;^ obtained ; and, as the latter is nearly 
 haif the magnitude of the former, the irterval fiom D to £ is called a tone 
 and from E to F a semitone, being real sjiaces (aken upon the teiigtl) of the 
 »t»ing. 
 
MELonr. 
 
 65 
 
 same is. true with respect to E and F. This interval is some- 
 times called the flat second; and the term is useful in harmony. 
 It is found also in the other scales, between F sharp and 6, B 
 flat and A, &c., as in the following example : 
 
 331 
 
 is: 
 
 :is: 
 
 bG>- 
 
 I 
 
 All these are diatonic semitones, and form minor or flat seconds.* 
 157. III. The major second or tone, although composed of 
 two semitones, does not consist of two equal parts. This is evi- 
 dent from the notation itself; for, if the tone from F.to Q be di- 
 vided by the sound F sharp, then the intervals between 1' sharp 
 and G, or the diatonic semitone, will not be the same as that from 
 F to F sharp, or the chromatic semitone. The former changes 
 one degree, the latter remains on the same degree; and hence 
 the former is, according to the theory of Zarlino, Eameau, and 
 Pepusch, something larger than the latter. The tones and other 
 intervals of the natural scale are, in this work, separated into 
 semitones, &:c., by the character called a direct. 
 
 '^Z^Z 
 
 -s>-&^ 
 
 -G>- j^AV <=- 
 
 The other tones introduced by transposition are. 
 
 :*s= 
 
 .^O £2- 
 
 ^S^s: 
 
 cbs 
 
 -©- 
 
 I 
 
 &c. 
 
 158. IV. The minor third is composed of three degrees, and 
 contains a tone and a diatonic semitone between the two ex- 
 tremes ; thus : 
 
 • From this statement, the nature of melody, when sharps and flats are era- 
 ployed, may be readily perceived ; for after a sharp the part rises, and after a 
 ^t the part falls. Thus also B and B have the effect of sharps, and the mel- 
 ody in general ascends to F and C ; on the contrary, F and C have the effect ' 
 of flats, and the melody in general descends to E and B. The importance of 
 these remarks cannot be justly appreciated till the transposition of the natural 
 scale into two sharps and into two flats, and also the use of the semitone iu 
 fiatmony, are understood. 
 6* 
 
66 
 
 callcott's musical geammak. 
 
 i 
 
 I 
 
 is: 
 
 — x;r-«s> 
 
 -&- 
 
 It is also divisible into three semitones — two diatonic and one 
 ehrooiatic; thus: 
 
 123" 
 
 159. V. The major third* is composed of three degrees, and 
 contains two tones between the extremes ; thus : 
 
 It is also divisible into four semitones — two diatonic and two 
 chrcmiatic; thus: 
 
 i 
 
 -#^ 
 
 -grl pi — "^-^ — ^- 
 
 -o-tt^ 
 
 160. ■ VI. The perfect fourth is composed of four degrees, and 
 contains two tones and a semitone between the extremes ; thus : 
 
 I 
 
 It is also divisible into five semitones — three diatonic and 
 two chromatic ; thus : 
 
 • The major and minor thirds were formerly called sharp xa&flat thirds. 
 These equiyocal terms were justly rejected by Dr. Boyce, (in his Cathedral 
 Music,) and changed to greater and lester. 
 
MELODY. 67 
 
 161. "VII. The sharp fourth is composed of four degrees, 
 and contains three tones between the extremes, called by the 
 ancients, on that account, tritone. 
 
 I 
 
 It is also divisible into six semitones — three diatonic and 
 three chromatic ; thus : 
 
 :^: 
 
 .^^ — ix-iji 
 
 162. These seven intervals (the unison included) may be con- 
 sidered, in a practical point of view, as primary ; since, if they 
 are rightly understood, all the remaining seven are easily known, 
 being only compounded of these. Thus the fifth is formed by 
 uniting two of the thirds ; the siocth, by the fourth and third ; the 
 seeenth, by the fifth and third ; and the octave by the fourth and 
 fifth. Compared with the unison, second, third, and fourth, as 
 primary, the fifth, sixth, seventh, and eighth are secondary. 
 This arrangement, however useful in the analysis of melody, is 
 imperfect with respect to harmony, and the theoretical classifica- 
 tion of the diatonic intervals. The true series comprehends the 
 unison, octave, fifth, fourth, thirds, sixths, seconds, and sevenths, 
 in the mathematical division of a musical string. 
 
 163. Vni. The ^a< ^!!A . is composed of five degrees, and 
 contains two tones and two semitones, (not three tones ;) it may 
 be divided into two minor thirds. 
 
 * The reason why the tenns perfect and sharp are nsed to the fourths while 
 major and minor are applied to the seconds and thirds, will appear in the next 
 chapter, upon concords and discords. 
 
68 
 
 callcott's mfsioal geammae. 
 
 I 
 
 I 
 
 It is also (like the sliarp fourth or tritone) divisible uito six 
 semitones; and, when joined with that interval, completes the 
 octave. 
 
 164. IX. The perfect fifth is composed of five degrees, and 
 contains three tones and one semitone ; it may be divided into a 
 major and a minor third. 
 
 -& 
 
 It is alst) divisible into seven semitones ; and, when joined with 
 the fourth, completes the octave. 
 
 165. X. The minor sixth is composed of six degrees, and 
 contains three tones and two semitones ; it may be divided into 
 a minor third and a fourth. 
 
 i 
 
 It is also divisible into eight semitones ; and, when joined with 
 the major third, completes the octave. 
 
 166. XI. The major sixth is composed of six degrees, and 
 contains four tones and one semitone ; it may be divided into a 
 major third and a fourth. 
 
 I 
 
 It is also divisible into nine semitones ; and, when joined with 
 the minor third, completes the octave. 
 
 167. Xn. The minor seventh* is composed of seven degrees, 
 
 This interval is also composed of two perfect fourths. 
 
MKLODT. 69 
 
 and contains four tones and two semitones ; it may be divided 
 into a fifth and a minor third. 
 
 e- 
 
 I 
 
 -sa- 
 
 lt is also divisible into ten semitones ; and, when joined with 
 the major second, or tone, completes the octave. 
 
 168. XIII. The major seventh is composed of seven degrees, 
 and contains five tones and one semitone ; and may be divid>:d 
 into a fifth and a major third. 
 
 i 
 
 It is also divisible into eleven semitones ; and, when joined 
 with the minor second, or semitone, completes the octave. 
 
 169. XIV. The octave is composed of eight degrees, and con- 
 tains five tones and two semitones ; it may be divided into a fifth 
 and a fourth. 
 
 I 
 
 Sl- 
 
 it is also divisible into twelve semitones, and may be consid- 
 ered as the replicate of the unison. 
 
 As the octave consists of thirteen sounds, and therefore has 
 only twelve intervals, it must be recollected that thsfamrteen dia- 
 tonic intervals just described are obtained by reckoning the uni- 
 son as one of them, and by distinguishing between the sharp 
 fourth and jlat fifth ; both which are, upon keyed instruments, 
 performed with the same keys. The seven notes of the scale^ 
 form seven different species of octave, according to the places of 
 the two natural semitones ; and from these species, divided each 
 into two parts, by the fifth or by the fourth, arise the eight tones 
 of Italy and the twelve modes of Germany.* 
 
 * See the note of Art. 49 of this work. 
 
70 callcott's musical gbammab. 
 
 Sect. IV. — Inversion op Intervals. 
 
 170. When the lower note of any interval is placed an octave 
 higher, or the higher note an octave lower, the change thereby 
 prdduced is called inversion. 
 
 Thus a second becomes a seventh : 
 
 -&~ 
 
 ~0 G>- 
 
 a third ■. becomes a sixth : 
 
 -Z3~ 
 
 32: 
 
 a fourth -. becomes a fifth : 
 
 ■Tzr 
 
 171. The different intervals, (seven,) reckoned from each of 
 the seven natural notes, form the following series : 
 
 Five major and two minor seconds. 
 Three major and four minor thirds. 
 Six perfect and one sharp fourth. 
 
 To these may be added their inversions : 
 
 Tuoo major and five minor sevenths. 
 Four major and three minor sixths. 
 Six perfect and one flat fifth. 
 
 172. All the major* intervals become minor, by inversion, 
 and all the minor interysils become major ; the sharp fourth be- 
 comes the Jlat fifth, and the unison inverted becomes the octave. 
 
 173. The major seventh of the key, from its resemblance to 
 the tritone, (its higher note being one of the two sounds which 
 form the sharp fourth,) is sometimes called the sharp seventh. 
 
 174. Bameau terms the intervals of the third, fifth, and sev- 
 enth, fundamental; and derives the others, viz., the second, fourth, 
 and sixth, by inversion, reckoning them downward, from the oc- 
 tave of the former, according to the following scheme : 
 
 * The epithets sharp and _flat were always used, instead of tney'or and minor 
 by the old writeis, Simpson, Flayfoid, and also Fepusch. See Art. 159. ' 
 
MELODT. 71 
 
 Seventh. 
 
 Fifth. I 
 Third. | 
 
 ABCDEFGa 
 
 I Sixth. 
 
 1 Fourth. 
 
 j Second. 
 
 175. All these intervals are found in the diatonic or natural 
 scale ; and, when this scale is transposed to any other pitch, 
 higher or lower, by the use of sharps or flats, these intervals re- 
 main the . same, as will be more fully seen hereafter. The re- 
 maining intervals, which are commonly intermixed with these in 
 the general tables given by authors, and which belong only to 
 the chromatic and enharmonic scales, are omitted here, but will 
 be inserted in the third chapter of this part, on the genera, 
 
 176. Of all the diatonic intervals, the two thirds,* major and 
 minor, are by far the most important, and ought to be very per- 
 fectly understood ; since upon them depends the nature of the 
 scale or mode; and the thirds give their own epithets to the 
 whole series of the sevep notes, the scale itself being called ma- 
 jor when the third is greater, and minor when the third is lesser. 
 
 177. There is another distinction, in respect of melodies 
 formed of diatonic intervals, which, although in some measure 
 obsolete, is yet useful for the student to understand. Those .mel- 
 odies which have their principal notes contained between the 
 key-note and its octave, are termed authentic, direct, or princi- 
 pcd, as in the following example : 
 
 {Waft her, angels.) 
 
 p^ mii:i33 
 
 178. Those melodies, on the contrary, which have their prin- 
 cipal notes contained between the fifth of the key and its octave, 
 
 * See Bameau and Simpson. It may be observed that the alteration of the 
 thirds by sharping the upper note of the minor or flatting that of the major, 
 does not change their diatonic nature. 
 
72 CALLCOTl'S UUSICAI. GBAMKA.B. 
 
 (or twelfth,) are termed plagal, oblique, or eoUatertd, as in the 
 following example : 
 
 . . • {Streams of pUaaure.') 
 
 s^^=^g^|3=5;^^ 
 
 .,_^ 
 
 • — ^- 
 
 By these two divisions of the octave, authentic and plagcH, are 
 formed the arrangements of the eight Italian tones and twelve 
 German modes before mentioned. 
 
 CHAPTER II. 
 
 OF CONSONAKT AHD DISSONANT INTEETALS. ' 
 
 Art. 179. Although the terms consonant and dissonant are 
 chiefly used in harmony, yet they are applicable, in a great meas- 
 ure, to, the classing of intervals in melody. 
 
 180. The diatonic intervals are therefore divided into conso- 
 nant and dissonant. Those which are most agreeable to the ear, 
 as the octave, fifth, fourth, both the thirds, and both the sixths, 
 are called consonant ; those which, when compared with the oth- 
 ers, are less agreeable to the ear, as hoth the seconds, both the 
 sevenths, with the sharp fourths, are called dissonant. 
 
 The iexra. dissonant is thought, hy some authors,* inapplicable 
 to the degrees of melody, which seem more natural to the human 
 voice than the ships. This, however, is a prejudice, which a 
 further consideration of harmony will remove. 
 
 181. The foregoing arrangement shows the propriety of dis- 
 tinguishing the species of seconds, thirds, sixths, and sevenths, by 
 the epithets major and minor, according to the number of semi- 
 tones included between the extremes ; while the appellation of 
 perfect is reserved for the fourth aiid fifth, with the terms sharp 
 and flat, when altered a semitone higher or lower. 
 
 * Principes Elementaires de Musique, d« Conservatoire. 
 
MELODY. 
 
 73 
 
 182. The thirds and sixths, whether major or minor, are alf 
 ways consonant; the seconds and sevenths always dissonant; but 
 the fourth and fifth are consonant only when perfect ; when sharp 
 or flat, they are dissonant. The alteration of these two last in- 
 tervals, therefore, places them in different classes ; and, although 
 the terms major and minor have sometimes been applied to the 
 fourth and fifth, in the present work those terms will not, be used. 
 
 183. The consonant intervals are subdivided into perfect and 
 imperfect. The unison, (or prime,) the octave, fifth, and fourth, 
 are called perfect because they are immutable, never changing 
 from major to minor, (or the contrary,) but becoming dissonant 
 whenever altered by ^ sharp, flat, or natural. 
 
 184. The thirds and sixths are called imperfect because they 
 are liable to change from major to minor, (or the contrary,) still 
 remaining consonant. 
 
 185. The seconds, sevenths, sharp fourth, flat fifth, with all 
 the chromatic and enharmonic intervals, are dissonant. 
 
 186. According to this classification, every passage of melody 
 which moves by degrees, consists of dissonant intervals ; but, as 
 every other note is, in general, a transient sound, placed between 
 two consonant notes, these seconds have not that harshness which 
 is jfound in the passages which move by skips, as the sharp fourth, 
 flat fifth, minor and major sevenths, &e. 
 
 187. All dissonant seconds in melody are either passing or 
 changing notes, (Art. 106 ;) and these are either regular, when 
 found on the weak parts of the measure, or irregular, when used 
 on the strong parts. If, therefore, these ornamental notes are 
 taken away, a series of consonant intervals will remain. 
 
 {Thou, didst blow.} 
 
 ^zfaz=4 
 
 m 
 
 B^ 
 
 ffi^g^^^i 
 
 ^^z=J^:^=^^ 
 
 Szfc 
 
 -mfftp. 
 
 :*=fc 
 
 ^^ 
 
 f^P#. 
 
 -tts 
 
 ^i 
 
 The foregoing melody may be reduced to consonant intervals 
 by taking away the alternate semiquavers where regular, and 
 omitting two when irregular ; it will then appear thus : 
 7 
 
74 
 
 callcott's musical grammar, 
 
 m 
 
 3 
 
 fe 
 
 :^E« 
 
 ^ 
 
 i±- 
 
 ^ 
 
 tE 
 
 188. The concordant series of thirds and sixths, from the va- 
 ried succession of major and minor intervals, is extremely pleas- 
 ing to the ear ; and most passages qf degrees (like that of the 
 preceding example) are reducible into thirds, intermixed with 
 fourths, by taking away the passing and changing notes. 
 
 189. A great part of every duet is composed of thirds or 
 sixths ; and these intervals, with the occasional introduction of 
 fourths and fifths, allow a double melody to continue throughout 
 a movement. 
 
 190. A successive series of perfect fifths is not to be found in 
 melody, and hence is forbidden in harmony. In melody they 
 would exceed the limits of our regular scale, as well as the com- 
 pass of the voice ; and in harmony they would produce new and 
 unconnected scales, of which the species, major or minor, would 
 be undetermined, through the omission of the thirds and sixths. 
 
 191. A more correct idea oi passing notes may be obtained 
 by considering the scale as divided into three parts ; the two first 
 concordant, and the last discordant; thus: 
 
 II. 
 
 III. 
 
 1 
 
 ?2:: 
 
 -&- 
 
 -&- 
 
 -G>- 
 
 In the first part, or the tonic division, the passing notes are the 
 second, fourth, sixth, and seventh of the scale ; thus : 
 
 I 
 
 -G>- 
 
 - tt—* - 
 
 ZSl 
 
 In the second part, or the suhdominarA division, the passing 
 notes are the second, third, fifth, and seventh ; thus : 
 
 ZSi 
 
 I 
 
MELODY. 75 
 
 In the third part, or the dominant division, the third and sixth 
 are the only passing notes ; thus : 
 
 ■122- 
 
 CHAPTER III. 
 
 OF THE GENERA. 
 
 Sect. I. — Of the Three Kinds op Melody. 
 
 Art. 192. That scale of music which proceeds chiefly by tones 
 called diatonic, has been explained, (Art. 152,) and constitutes 
 the principal part of every piece of music. • 
 
 193. When all the artificial sounds are inserted between the 
 natural sounds, a scale is formed of semitones alone, and called 
 chromatic. 
 
 194. When a scale yet smaller in its intervals is formed, 
 which contains in some places quarter tones, it is called enhar- 
 monic. 
 
 195. These three scales, the diatonic, the chromatic, and the 
 enharmonic, form the three genera or kinds of melody now in 
 use ; and, although the terms are borrowed from the Greek au- 
 thors, yet the modei-n ideas annexed to them are considerably 
 different from their ancient signification. 
 
 196. The origin of the term diatonic genus has been explained. 
 The chromatic takes its name from the Greek word chroma, 
 color, because the interspersed semitones give an ornamental ef- 
 fect to the diatonic or simple melody ; and the enharmonic was 
 so called from its supposed excellence, being en-harmonic, that 
 is, extremely musical. 
 
 197. The two last genera (chromatic and enharmonic) are 
 never used alone, but always intermixed with the diatonic. 
 Hence it has been asserted, that all the genera, except the dia- 
 tonic, are irretrievably lost. That they are lost to us, in the pre- 
 
76 callcott's musical grammar. 
 
 cige sense of the ancient descriptions, is undoubtedly true ; but 
 we still retain the term chromatic, in a signification extremely 
 analogous to its primitive meaning, and it seems proper also to 
 retain the terms diatonic ^nd enharmonic. 
 
 198. The French theorists* mention two other compound 
 genera — the diatonic-enharmonic and the chromatic-enharmon- 
 ic ; the first containing a succession of two diatonic semitones, 
 and the last a succession of two chromatic semitones. These 
 terms and classifications are more curious than useful, since, ac- 
 cording to Dr. Pepusch, the diatonic-enharmonic is the same as 
 the tonioeum chromatic of the ancients ; and the two subsequent 
 minor semitones are found in the soft chromatic of the Grecian 
 system.f 
 
 Sect. II. — Of the Chromatic Scale and its 
 Intervals. 
 
 199. The chromatic scale generally ascends by sharps and de- 
 scends by flats, as in the following example : 
 
 ppEigzifzi i^zfe ^Ei g 
 
 -m-b* 
 
 200. From this scale several intervals, not yet described, 
 arise, which are all discordant, and are chiefly used in melody, 
 although they appear sometimes, by license, in harmonical com- 
 binations. 
 
 201. The chromatic scale consists of thirteen sounds, which 
 contain twelve intervals between them. Seven of these have 
 been already described, among the diatonic intervals ; J the re- 
 
 * M. D'Alembert, Elemeps de Musique, 1762, part i, chap. xx. xxi. p. 112. 
 M. Bethigr, Exposition, &c., 1764. 
 
 t See Dr. Pepusch's Letter to De Moivre, in the Philosophical Transac- 
 tions, 1746, No. 481. 
 
 X Padre Martini (Saggio di Contrappunto, 1774) has enumerated anoftier 
 tnt9rTal, the extreme sharp third, with its inversion ; this vrill be noticed here 
 tfter. 
 
MELODY. 
 
 77 
 
 maining five form another species of intervals, called extreme or 
 chromatic. Of these the chromatic semitone, the extreme sharp 
 second, flat third, and flat fourth, are simple or primitive ; the 
 extreme sharp fifth, sharp sixth, flat seventh, and flat eighth, are 
 oompound or derivative. 
 
 Chromatic semitone. 
 
 Extreme sharp fifth 
 
 Extreme sharp second. 
 
 ^ — *^ 
 
 Extreme flat third. 
 
 :*2: 
 
 lbs: 
 
 Extreme flat fourth. 
 
 ±22: 
 
 Extreme sharp sixth. 
 
 fz> — 
 
 Extreme flat seventh. 
 
 =Ss= 
 
 Extreme flat eighth. 
 
 ^e: 
 
 202. I. The chromatic semitone is the distance or raterval 
 between any note and that same note elevated by a sharp or 
 depressed by a flat. 
 
 Example of the chromatic semitone ascending. 
 (Stoeet bird that skunn'st.) 
 
 iEg 
 
 t^Mit 
 
 Il^it 
 
 -0-^M0»i 
 
 pi 
 
 Example of the chromatic semitone desqenduig. 
 {Turn not, O queen.) 
 
 5*S=E 
 
 ^^^l^^^g 
 
 7* 
 
78 CALLCOTT's M0SICAL GBAMMAE. 
 
 203. This semitone was termed by the Pythagoreans apoto- 
 tne,* and the diatonic semitone was termed limma. They con- 
 tended that the apotome, or distance from B flat to B natural, 
 was larger than the limma, or distance from A to B flat. It is 
 now, however, demonstrated by the experiments of Mersenne, 
 &c., that the theory of Zarlino and Salinas is true ; namely, that 
 the interval from A to B flat is the major semitone, and that 
 from B flat to B natural is the minor semitone, contrary to the 
 nomenclature of Boethius and the Pythagoreans. 
 
 204. In the chromatic scale the semitones are alternately chro- 
 matic and diatonic ; and, as there are only five of the former, 
 while there are seven of the latter, two diatonic semitones will 
 be found in succession, at the place where the natural semitone 
 occurs. 
 
 Ascending. Descending. 
 
 ^^•g^^^ 
 
 205. From this important interval (the chromatic semitone) 
 arise all the other chromatic intervals ; they are all diatonic dis- 
 tances, increased or diminished by this interval ; and hence they 
 all take the additional chromatic epithet of extreme. 
 
 206. II. The extreme sharp second consists of a tone and a 
 chromatic semitone, being composed of two degrees. Upon 
 keyed instruments this is the same as the minor third ; which, 
 however, consists of a tone and a diatonic semitone, and therefore 
 contains three degrees. 
 
 (To vanity and earthly pride.) 
 
 S 
 
 Si^^^^^^ 
 
 207. III. The extreme flat third consists of two diatonic 
 semitones, being composed of three degrees; and is the minor 
 third, diminished by the chromatic semitone. Upon keyed in- 
 
 * Sir J. H. i. 73. The term apotome Tfas also used by Salomon de Cans, (In- 
 stitution Harinonique, 1614,) and thence inserted by S'Alembert and Bous- 
 seau in the French Encyclopedia. He terms the present enharmonic diesis 
 ojfotome major, and the present minor comma apotome minor 
 
MELODY. 
 
 79 
 
 struments, this is the same as the tone which contains only two 
 degrees. 
 
 This interval being very harsh for vocal music, the intermedi 
 ate sound is generally inserted, as in the following example : 
 
 {Prophetic raptures.) 
 
 EE 
 
 M^ 
 
 i 
 
 In this passage the A, between B flat and G sharp, is only a 
 transient or passing note. 
 
 208. IV. The extreme fiat fourth consists of a tone and two 
 diatonic semitones, being composed of four degrees ; and is the 
 perfect fourth diminished by the chromatic semitone. Upon 
 keyed instruments this is the same as the major third, which 
 contains only three degrees. 
 
 (O mirror ofourjickle state.) 
 
 W^ 
 
 iSS 
 
 I 
 
 s^b 
 
 A 
 
 ijsj^ie 
 
 t2^^-:Jr-# 
 
 The E natural here is taken instead of E flat. 
 
 209. These three last intervals, viz.. 
 
 The extreme sharp second. 
 The extreme flat third, and 
 The extreme flat fourth, 
 
 when inverted, become the following : 
 
 The extreme flat seventh, 
 The extreme sharp sixth, and 
 The extreme sharp fifth. 
 
 210. V. The extreme sharp fifth is the perfect fifth increased 
 by the chromatic semitone, and consists of four tones,* forming 
 five degrees. On keyed instruments it is the same as the minor 
 sixth, which consists of six degrees. This interval is seldom 
 found in melody ; but its inversion, the extreme flat fourth, is 
 generally taken in its place. 
 
 * Called also tetratonon. 
 
60 callcott's musical gbammak. 
 
 It fe also divisible into two major thirds. 
 
 -^ w— t g 
 
 -#«- 
 
 ±s:q 
 
 I 
 
 211. VI. The extreme sharp sixth is the major sixth in- 
 creased by the chromatic semitone, and consists of five tones,* 
 forming six degrees. On keyed instruments it is the minor sev- 
 enth, which consists of seven degrees. 
 
 It is also divisible into a major third and sharp fourth.t 
 
 IZZZfeSZE 
 
 --W^J^ 
 
 -#«"- 
 
 SI 
 
 212. VII. The extreme fiat seventh is the minor seventh di- 
 minished by the chromatic semitone, and consists of four tones 
 and two diatonic semitones, forming seven degrees. On keyed 
 instruments it is the major sixth, which only consists of six de- 
 grees. 
 
 It is also divisible into three minor thirds. 
 
 ±s: 
 
 i^ 
 
 lis?: 
 
 -m:. 
 
 Examples of this interval in melody are not uncommon. 
 {They loathed to drinh.) 
 
 ;gE^^Ei^g j 
 
 ;^=g-r-^ 
 
 E 
 
 ■^- 
 
 -m-r-m- 
 
 {And with his stripes.) 
 
 i^E^ 
 
 I 
 
 ^bs- 
 
 tk 
 
 i^ 
 
 ZS2. 
 
 * Called also pentatonon. 
 
 t Shield 
 
MELODT. 81 
 
 213. Vin. The extreme flai eighth is the octave diminished 
 hy the chromatic semitone ; it is never used in melody, but is 
 sometimes found in transient passages of harmony. 
 
 :S2^- 
 
 §g=r-=z=r-:iin=z::h=.— tTg 
 
 :1^ 
 
 1 
 
 :t*^ 
 
 Sect. lH. — Op the Enhabmonic Scale and its Inteb- 
 
 VAl, THE QtTABTEB TONE. 
 
 214 When a series is formed by uniting the ascendmg with 
 the descending scale of the chromatic genus, a new kind of mu- 
 sic arises, by the use of the interval formed between the sharped 
 note and the flat of the next succeeding note above. This scale 
 is called enharmonic, and contains intervals smaller than the sem- 
 itone ; which although not exactly half the semitone, are, how- 
 ever, from their near approach to that quantity, called the die- 
 its* (that is, the division,) or quarter tone, 
 
 216. To form this interval, it is necessary that, of any two 
 notes which are distant by the tone, the highest should be de- 
 pressed, and the lowest elevated, by the chromatic semitone. 
 Thus, from G- tQ A is a tone. Now, if Gr sharp be taken instead 
 of G, and A flat instead of A, tibe difference between these ex- 
 tremes of the two chromatic semitones, G- sharp and A flat, will 
 form the enharmonic diesis, or quarter tone, 
 
 216. To understand this, it must be observed that the interval 
 of a tone, in the theory of harmonics, is not always the same. 
 That tone which is between the fourth and fifth of the scale,t is 
 supposed to be divided into m'we small parts, termed commas ; 
 while that which is between the fifth and sixth of the major scale 
 is divided only into eight commas. The diatonic semitone con- 
 sists of five commas, and the chromatic semitone of three or four, 
 according to the magnitude of the tone. 
 
 217. The two chromatic semitones, therefore, being taken 
 from the minor tone, (of eight commas,) leave a residue of two 
 commas for the diesis or quarter tone ; hence, on the temple or- 
 
 • This was also called apotome major by Salomon de Cans. See before, Art 
 203, of this work. Sir J. H. i. 110 ; ui. 142, 155. Dr. B. i. 29 ; ui. 630. 
 t The diazeuctic tone of the ancient system. 
 
82 callcott's musical geammae. 
 
 gan, agd.on some other instruments, the tones from G to A, and 
 from D to E, (which are naturally minor, or of eight commas,) 
 are divided into three parts, by two distinct keys, one for G 
 sharp, another for A flat ; also one for D sharp, and another for 
 E flat. But, upon keyed instruments in general, the tempera- 
 ment, or method of tuning, is such, that the single short key 
 between the two longer keys serves for both purposes, that be- 
 tween G and A being tuned higher than G sharp and lower than 
 Aflat. 
 
 218. The enharmonic scale divides each tone into two chro- 
 matic semitones and the quarter tone ; thus : 
 
 ±Mz 
 
 m 
 
 219. In some examples of the enharmonic scale,* the inter- 
 vals, F flat and E sharp, as also C flat and B sharp,< are inserted, 
 but they do not belong to that scale. This distance, as Dr. Fe- 
 pusch observes, is smaller than the quarter tone. 
 
 ±! 
 
 I^SE^eS 
 
 This arises from the division of the diatonic semitone into two 
 quarter tones, and a smaller interval, termed the hyperoche,^ 
 which is found, by theoretical calculation, to be nearly a comma 
 and a half. 
 
 220. Such are the three modem genera, the diatonic, ehro- 
 made, and enharmonic; they are (as before observed, Art. 195) 
 derived from the ancient Grecian scales, but are used in a man- 
 ner extremely different. 
 
 Dr. Pepusch,t in defining the six genera of Aristoxenus, 
 
 • Shield. 
 
 + This term was first adopted by M. Henfling in the Berlin Miscellanies, 
 1708. For a more particular account of the small intervals in music, see the 
 articles E^chaton, Hyperoche, and Interval, which first appeared- in the Supple- 
 ment to Chambers's Cyclopaedia, 1753, probably written by George Lewis Scott, 
 Esq., the editor, and which were inserted afterwards in the edition published 
 by Dr. Rees, in four folio volumes, 1788, 1789. 
 
 t Sir J. H. i. 109. Dr. B. iv. 638. In the Dictionary of Chamber?, (just 
 quoted,) at the article Genera, an able analysis of Dr. Fepusch's ideas is given, 
 
MELODY. 
 
 83 
 
 namely, two diatonics, three chromatics, and one enharmonic, ob- 
 serves that the syntone or intense diatonic is in. general use ; that 
 enharmonic passages are sometimes found ; and that two of the 
 chromatics might be brought into practice ; for instance, the ses- 
 quialter chromatic, thus : 
 
 ^ 
 
 1^=1 
 
 :^=S^: 
 
 -^Sr 
 
 i^-Mz 
 
 And the tonioeum chromatic, thus : 
 
 :^s^= 
 
 r:^ 
 
 ±st. 
 
 s- 
 
 bis- 
 
 ZSSZ 
 
 i 
 
 But, he adds, that the soft diatonic and the soft chromatic are 
 not to be found in any modern production. 
 
 CHAPTER IV. 
 
 OF KEYS OR SCALES, AND OF THEIR TWO MODES, 
 MAJOR AND MINOR. 
 
 Sect. L — Op Keys oe Scales. 
 
 Art. 221. A diatonic scale, of which the notes bear certain re- 
 lations to cme principal note from which they are all, in some re- 
 spects, derived, and upon which they all depend, is termed a hey; 
 and the principal note is called the key-note, or tonic. 
 
 222. Every scale in which the two diatonic semitones are 
 found between the third and fourth degrees, and between the 
 seventh and eighth degrees, ascending from the tonic, is termed 
 the major mode of that key ; because the interval between the 
 tonic and its third (or mediant) consists of two tones ; that is, o? 
 
 probably written by the same author, as it also first appeared in the Supple- 
 ment 
 
9i 
 
 callcott's musical grammar. 
 
 the greater third. The only series of this mode among the nat- 
 ural notes is that which commences with C ; and hence this key 
 must be taken as an example of all the major scales. 
 
 i 
 
 -W=»- 
 
 :t: 
 
 -•=ir 
 
 :4 
 
 ^ 
 
 I 
 
 223. Every scale in which the two diatonic semitones are 
 found between the second and third degrees, and between the 
 fifih and sixth degrees, as ascending from the tonic, is termed 
 the minor mode of that key ; because the interval between the 
 toni<} and its tHird (or mediant) consists only of one tone and one 
 semitcme ; that is, of the lesser third. The only series of this 
 mode among the natural notes is that which commences with A ; 
 and heftce this key may be taken as an example of all the minor 
 scales.* 
 
 -•-P- 
 
 ^ 
 
 Ea; 
 
 -W-»- 
 
 * 
 
 Sect. II. — Op the Major Scales with Sharps. 
 
 224. In the first part of this work, (Art. 89,) it has been 
 shown how the introduction of sharps changes the pitch of the 
 tone without altering the relative intervals of the scale. All the 
 other major keys with sharps are constructed in the same man- 
 ner, viz., by sharping the fourth of the former key, to make a 
 new sharp seventh, or leading note, to the following scale ; thus 
 
 G, one sharp. 
 
 D, two sharps. 
 
 E^E'E^ 
 
 ■^•-F- 
 
 m- 
 
 i 
 
 :*z* 
 
 :iiz£ 
 
 Jri^^-!: 
 
 • The necessary Tariation of the ascending scale, in the minor mode, from 
 the descending scale, will be explained hereafter. Malcolm, p. 265. Pepusch, 
 p. 20. Holden, (part i. chap. ix. p. i.) Art. 257, p. 90. Sir J. H., i. 163, has 
 entered minutely into the subject of our two modem scales, with their trans- 
 positions; and their .extensions to three flats and four sharps are noticed i^so 
 by him, iii. 114 
 
MELODY. 
 
 85 
 
 :=3- 
 
 A, thtree sbarps. 
 
 E, fbw sharps. 
 
 ■m 
 
 -iZ^J 
 
 :4 
 
 Ir^^EI 
 
 I 
 
 zMlE. 
 
 :t=: 
 
 wsE. 
 
 -JtJL 
 
 B, five sharps. 
 
 F sharp, six sharps. 
 
 ^i^ 
 
 i-#^ 
 
 ^=P^t 
 
 % 
 
 ^ 
 
 #•■ 
 
 £ 
 
 S^zt 
 
 =P 
 
 *•: 
 
 :[=: 
 
 225. In this last scale, the siariA sharp, E, is, on keyed instru- 
 ments, performed by means of F natural ; but it cannot be called 
 by that name, nor situated on the same degree ; for, in that case, 
 only six letters would be used instead of seven ; and between D 
 sharp and F natural the chromatic interval of the extreme flaf^ 
 third would be found, which does not belong to the diatonic 
 series. 
 
 Sect. III. — Of- the Major Scales with Flats. 
 
 226. It has been also shown (Art. 93) that the introduction 
 of a new flat takes place on the seventh of the original key, 
 which then becomes the subdominant or fourth of the next scale ; 
 hence are formed all the following scales with flats : 
 
 F, one flat. 
 
 B flat, two flats. 
 
 ±p: 
 
 .-bp- 
 
 i 
 
 isii 
 
 :5#=F 
 
 b#-P- 
 
 E flat, three flats. 
 
 A flat, four flats. 
 
 
 D flat, five flats. 
 
 G flat, six flats. 
 
 W^'* 
 
 i* 
 
 =1: 
 ■iat. 
 
 -^ ^^ ^& sm 
 
86 
 
 CALLCOTT'S MUSICAL GRAMMAR. 
 
 227. In this last scale the dxth flat, C, is, on keyed instru 
 ments, performed by means of B natural ; but it cannot be called 
 by that name, since, between B natural and the next degree in 
 the scale, (which is D flat,) the chromatic interval of the extreme 
 flat third would be found, which does not belong to the diatonic 
 series. 
 
 Sect. IV. — Op the Signature. 
 
 228. When the whole number of sharps and flats are placed 
 at the clef instead of being occasionally inserted before each note 
 as they occur, such coUection of sharps or of flats is termed the 
 signature, (Art. 96.) 
 
 SiaiTATXTBE OF SCALES ■WITH SHABPS. 
 
 S± 
 
 SIGWATtrBB OP SCALES -WITH PLATS. 
 
 -^z 
 
 ,l-fc:=::fel±:6 
 
 &c. 
 
 229. Two examples of the signature extended to the first rfoM- 
 hh sharp and to the first dovMe flat may be seen, Art. 98, 99. 
 
 230. The scale of F sharp with six sharps being the same, 
 on keyed instruments, as that of G flat with six flats, aU the sig- 
 natures beyond six may be expressed by a smaller number, by 
 changing the name of the tonic. 
 
 Thus, C sharp with seven sharps is the same as D flat with 
 five flats ; and C flat with seven flats is the same as B with five 
 sharps, &c. 
 
 Sect. V. — Of the Minor Scale or Mode. 
 
 231. The minor scale not only difiers from the major, as be- 
 fore observed, (Art. 223,) in the place of its semitones, but also 
 in the variation of its scale, of wluch the ascending series difiiers 
 from the descending one. 
 
MELODY. 87 
 
 232. The minor mode requires, that whenever the seventh of 
 the scale (which is naturally a tone below it) ascends to the 
 eighth, it should become sharp, as the proper leading note or 
 sharp seventh to the tonic. Now, the insertion of this essential 
 note in the signature would appear irregular, as in the following 
 examples : * 
 
 It is therefore always omitted in the signature, and placed ae- 
 cidentally before the seventh which it is to elevate, whenever the 
 melody requires its use. 
 
 233. That this leading note or sharp seventh is essential to 
 the key, although not to its signature, may be proved by per- 
 forming the subsequent melody, omitting the sharp F. • 
 
 (^Our fears are now.) 
 
 Tn which instance the harshness produced by F natural, if taken 
 instead of F sharp, is extremely perceptible. 
 
 234. As the signature, therefore, does not decide the key or 
 scale of the movement, a careful observation must be made, 
 whether ' any accidental sharps or naturals occur in the first 
 phrase or section. If 4ny such are found, the tonic is on the 
 next degree above them ^ .but if none are used, then the signature 
 itse'lf determines the major tonic, which is always the note above 
 the last sharp, or the fourt^i note below the last flat. 
 
 235. The accidental shai^, used in the minor mode, raises the 
 minor seventh of the scale a chromatic semitone ; hence the mi- 
 nor scale may be said to belong to the chromatic genus ; and its 
 true essential scale is thus formed : 
 
 -4 ,_•— ^ 
 
 • If this irregularity were adqpte4 in the first three eKamples, tl>e essential 
 leading note woujd appeaf as if it ^f ere inserted, by mistake, one degrne to« 
 high. 
 
88 
 
 CALLCOTt'S musical GItAMMAB. 
 
 236. In this series is found the harsh chromatic interval of the 
 extreme sharp second, (between F natural and G sharp ;) to avoid 
 ■which, the sixth is made sharp, to accommodate the seventh ; 
 thus the accidental scale of the minor is formed with two notes 
 altered from the signature. 
 
 £ 
 
 i 
 
 237. But, in the descending scale, the essential leading note 
 is depressed, to accommodate the sixth ; thus the naturai scale 
 Df the signature remains unaltered. 
 
 Sect, VI. — Of the Relative Minor Scales. 
 
 238. The minor scale, whose tonic is found on the sixth note, 
 ascending, of that major scale which has the same signature, is 
 termed the relative minor, because its signature is similar to that 
 of the other. 
 
 UAJOB. 
 G, one sharp. D, two sharps. 
 
 P=#: 
 
 dfz 
 
 m 
 
 W-m- 
 
 -jf-m 
 
 ±:i: 
 
 BELATrVB MIITOB. 
 E, one sharp. B, two sharps. 
 
 I«=i= 
 
 c* 
 
 ^=0- 
 
 f- 
 
 i 
 
 ■•-sMl 
 
 :t 
 
 itafc 
 
 m 
 
 ■•-*>■ 
 
 These tonics, it may be observed, are one degree below the last 
 sharp of the signature. 
 
 239. In the signature with flats, the relative minor (or sixth* 
 •of the key) is always on the third degree above the last; flaf ; 
 (hus; 
 
F, one flat. 
 
 MELODT. 
 MAJOK. 
 
 
 D, one flat. 
 
 BEIiATITE MQTOB. 
 
 B, two flats. 
 
 6, iico flats. 
 
 =?=fc 
 
 ^Si3i5*^P^ 
 
 g 
 
 I 
 
 -Jf=at 
 
 •-^ 
 
 Sect. VII. — Of the Tonic Minor Scales. 
 
 240. Every major scale, when its third and sixth are de- 
 pressed by the chromatic semitone, becomes a minor scale on the 
 same key-note, and will be called, in this work, the tonic minor. 
 
 241. But, as the signature requires that the essential sharp 
 seventh should not be inserted at the clef, the tonic minor must 
 have in its signature another flat, making in all three flats more, 
 or three sharps less, than the major scale of the same key-note ; 
 thus: 
 
 F minor. 
 
 F major. 
 
 ± 
 
 I 
 
 feSEEE 
 
 =pCi_ 
 
 It*: 
 
 C major. 
 
 C minor. 
 
 :F^tEtE^3: 
 
 ^*=£ 
 
 :*=i: 
 
 .^_^ 
 
 G major. 
 
 G minor. 
 
 ^^^^m 
 
 W-m- 
 
 In the last example, the F sharp, E natural, and B natural, 
 are aH to be considered aS sharps, when contrasted with the P 
 natural, E flat, and B flat of the minor scale. 
 
 8* 
 
90 callcott's musical geammak. 
 
 D major. D»minor. 
 
 In this example, the C natural, F natural, and B flat, of the 
 minor scale, are all to be considered as flats, when contrasted 
 with the C sharp, F sharp, and B natural of the major scale. 
 
 A major. A minor. 
 
 In this example, the G natural, F natural, and C natural, of 
 the minor scale, are aU to be considered as flats, when contrasted 
 with G sharp, F sharp, and C sharp of the major scale. 
 
 Sect. VIII. — Of Tkansposition, &c. 
 
 242. That change which arises from the performance of the 
 same melody in a higher or lower pitch, is called transposition. 
 
 243. Every melody in a major scale may be transposed into 
 any other major scale, by altering the signature according to the 
 pitch of the new tonic. The same alteration may take place in 
 every minor melody. When, however, any tune is performed in 
 the relative, or in the tonic minor, which tune was originally tna- 
 jor, such change is not called transposition, but variation. 
 
 244. When, in the course of a melody, the tonic is changed 
 and the original scale altered by the introduction of a new sharp 
 or flat, such change is called modulation. This will be further 
 explained in treating of harmony. 
 
 245. Every scale has two others immediately connected with 
 it ; one on the fifth above, which adds a new sharp to the signa- 
 ture ; the other on the fifth below, (or fourth above,) which adds 
 a new flat to the signature. These two scales will, in this work, 
 be called attendant keys — an epithet given them by Dr. Boyce, 
 in his manuscripts. 
 
 246. As every major key has a relative minor, and as this 
 relative minor has its two attendant keys, hence arise, from every 
 
MELODY. 91 ^ 
 
 signature, six scales,* nearly connected witli each other ; three 
 with major thirds and three with minor thirds. 
 
 247. Of these, two are principal, viz., the major and minor 
 of the signature itself; and four are subordinate, viz., the at- 
 tendant keys, both of the major and of the minor ; these require 
 another sharp or flat to complete their scales, when a modulation 
 occurs. 
 
 248. Thus, in the major scale of C, its attendant scales are G, 
 (its fifth,) with one sharp, and F, (its fourth,) with one flat ; to 
 which are annexed the relative minor, A, and its two attend- 
 ant scales, viz., E minor, with one sharp, and D minor, with 
 one flat. 
 
 249. The same arrangement takes place in every key ; and it 
 is necessary to observe, that when the minor key is first taken, 
 the major key of the same signature is called the relative major, 
 and is found on the minor third above the original minor key- 
 note. 
 
 CHAPTER V. 
 
 or THE QUAHTIES OF THE NOTES WHICH COMPOSE 
 THE SCALE. 
 
 Sect. L — Of the Tonic, Dominant, &c. 
 
 Art. 250. Every one of the seven notes which form the scale 
 of any key, major or minor, has an effect peculiar to itself; from 
 this effect they derive particular names, which are these : 
 
 251. I. The tonic, or key-note, before described, (Art. 221,) 
 is that chief sound upon which all regular melodies depend, and 
 with which they all terminate-t AU its octaves, above or be- 
 low, are called by the same name. 
 
 • Mr. Keeble (Harmonics, 1784) describes these scales, and terms them 
 auxiliary. Padre Martini has gifen a table of them. , . ^ , . , 
 
 t This only relates to the chiet melody, or to its bass ; the mtemal parts of 
 harmony, as will be hereafter shown, conclude upon the mediant or dommant, 
 
92 callcott's MCSICAL gkammae. 
 
 252. n. The dominant, or fifth above the 'key-note, is that 
 sound which, from its immediate connection with the tonic, is said 
 to govern it ; that is, to require the tonic to be heard after it, at 
 the final perfect cadence in the bass. 
 
 253. III. The suhdominant, or fifth below the key-note, is 
 also a species of governing note, as it requires the tonic to be 
 heard after it in the plagal cadence. It is the fourth in the regu- 
 lar ascending scale of seven notes, and is a tone below the domi- 
 nant i but the term arises from its relation to the tonic, as the 
 fifth below. 
 
 254. These three principal sounds, the tonic, dominant, and 
 suhdominant, are the radical parts of every scale ; of the minor 
 as well as of the major. All melodies whatever are derived 
 from these sounds, and are wholly dependent upon them. 
 
 255. IV. The leading note, or shaxp seventh of the scale, is 
 called, ia Germany, the subsemitone of the mode. This is al- 
 ways the major third above the dominant, and therefore, in the 
 minor scales, requires an accidental sharp or natural whenever it 
 occurs. 
 
 256. V. The mediant, or middle note between the tonic and 
 dominant, ascending, varies according to the mode ; being -the 
 greater third in the major scale, and the lesser, third in the minor 
 scale. 
 
 257. VI. The submediant,* or middle note between the tonic 
 and suhdominant descending, varies also according to the mode, 
 being the greater sixth in die major scale, and the lesser sixth 
 in the minor scale. 
 
 258. VII. The swpertonic,^ or second above the key-note, 
 has seldom been distinguished, in England, by this or any other 
 appellation. In theory it is considered as a variable sound, 
 being a comma higher in the major scale than when the mode 
 cfhanges to the relative minor. % 
 
 259. The effect of the principal notes above mentioned may 
 be impressed on the mind by the following short phrases : 
 
 * The submediant, in the major mode, is the relative minor key-note ; and 
 the mediant, in the minor mode, is the relative major key-note. 
 
 + This is a translation of the French term Sutonique ; and it may be ob- 
 served, that in the descending rule of the octave, the sixth of the key might 
 be called superdominant, (^Suaomirmnte,) from its analogy to this note. Be- 
 thizy, p. 15. 
 
 % This alteration is explained by Mr. Maxwell, in the Essay on Tune, and 
 by Bousseau, in his Dictionary, Art. Diacommatique. 
 
MELODT. 
 
 913 
 
 I. TOWIO AND DOMIBTAITT. 
 
 {We praise thee, O God.*) 
 
 h#- 
 
 *ez^-^: 
 
 i 
 
 a^=j=^^s= 
 
 1?:5q:=^=Hqi 
 
 -»-*Tr-*^*-#-*-T:jr 
 
 -#-«- 
 
 n. TONIC AND SUBDOMIirAlirT. 
 (-BreoA Ajs iands of sleep OMindei'.f) 
 
 t^ 
 
 m 
 
 '^— *T0r 
 
 r:r^==fflH: 
 
 -*-***— ^•Ww- 
 
 :^-4"!ar 
 
 ni. TONIC AND LEADING NOTE. 
 {The people that walked.%) 
 
 JBEgl^gE^S ^ i g^Pp 
 
 IV. TONIC AND MEDIANT. 
 {Softly sweet in Lydian measures. §) 
 
 r#: 
 
 3^ 
 
 1 
 
 *Si 
 
 -p—s-l- 
 
 :t=t 
 
 -^ — ^- 
 
 -^ — ^»- 
 
 V. TONIC AND STJBMEDIANT. 
 
 {In the battle, fame pursuing. ||) 
 
 * 
 
 I 
 
 *&=^ 
 
 A 
 
 f 
 
 ,^:g^-^ 
 
 -■'Tir#- 
 
 260. The signature of two sharps has been chosen for these 
 
 * Dettingen Te Deum, 1743, No. 17. 
 t Alexander's Feast, 1736, No. 66. 
 ■ Messiah, No. 9. H. S. iv. No. 301. 
 
 Alexander's Feast, No. 66. H. S. ii. No. 154. 
 
 Deborah, 1733, No. 144. H. S. i. No. 70 
 
94: callcott's musical gbammae. 
 
 examples, that the effect of the same tonic (and of its relative 
 minor, in the third example, from the Messiah) may be perceived 
 in performing them all.* 
 
 Sect. II. -^ Op the Chakactekistic Notes of the Scale. 
 
 261. The leading note and the subdominant are the two char- 
 acteristic sounds, by one of which every scale, whether major or 
 minor, is known, and its tonic immediately ascertained. 
 
 262. Thus, in sharp signatures, the leading note is a species 
 of index. Which points invariably to the next degree above as its 
 major tonic ; this is always the last sharp in the major mode. 
 
 263. In flat signatures, the subdominant is also a species of 
 index, which points to the fourth degree below as its major ton- 
 ic ; this is always the last fiaJt in the major mode. 
 
 264. In the minor modes, whose signatures have less than 
 four sharps or four flats, the subdominant, being always one of .the 
 natural notes, is not apparently a characteristic of the key ; and 
 therefore, in those modes, the hading note is the only certain in- 
 dex from which the key-note is to be found. 
 
 265. The great importance of these two notes appears evi- 
 dent, when, in occasional modulation, the new key is required to 
 be found by their assistance. In all flat signatures, (F major, B 
 flat major, E flat major, &c.,) the leading note is a natural; and 
 this is the sharp seventh of the key, as in the following exam- 
 ple: 
 
 (See the tallpalm.f) 
 
 I 
 
 p^ | -jT^f^=^ 
 
 fe^^^=F 
 
 Here the natural B is the leading note of the new key, C. 
 
 266. In the sharp signatures, on the contrary, the suldomi- 
 nant is distinguished by a natural, and requires, in modulation, 
 the alteration of the sharp in the signature. 
 
 » The further utility of these denominations will appear hereafter. In har- 
 mony especially, the terms toniCf dominant^ subdormTumt, and leading note will 
 frequently occur ; the two former as the principal and governing notes, the two 
 latter as the characteristic notes of the key. (See Art. 191.) 
 
 t Solomon, 1749, No. 90. H. S. iv. No. 294. 
 
MELODT. 
 
 95 
 
 (When warlike emigm.*) 
 
 Here the natural F is the suMominant of the new key, C. 
 
 267. Hence it appears, that whenever the characteristic note 
 of the new key is marked by a natural, that natural always has 
 the effect of a sharp or of a flat; of a sharp, when it is a lead- 
 ing note ; of a flat, when it is a subdominant.'\ 
 
 CHAPTEE VI. 
 
 OP ANCIENT SIGNATtniES. 
 
 Sect. I. — Of Ancient Signatures in general. 
 
 Art. 268. In the music of Corelli, Geminiani, Handel, &c., 
 the general rules of finding the tonic, either in the major mode, 
 by the characteristic notes of the signature, or in the minor 
 mode, by the leading note accidentally inserted, are not always 
 sufficient. 
 
 269. When, instead of the complete series of sharps or flats 
 of the signature, the last sharp or flat is suppressed, and inserted 
 accidentally when requisite, (like the leading note of the minor 
 mode,) such deviation from the usual method of notation will, in 
 this work, be termed the ancient signature. 
 
 270. Thus, in the seventh and twelfth Sonatas (or Violin So- 
 los) of Corelli, Opera quinta, the signatures % appear to be either 
 C major, or A, its relative minor ; but the accidental notes, C 
 sharp and B flat, show that the real key is D minor, and that 
 
 * Art. 148. 
 
 t See the remarks In Art. 97, in note. 
 
 X Although the term signature is_.defined, Art. 228, to be the number of 
 sharps or fiats at the clef, yet the word will be also applied to the two natural 
 keys of C major and A minor. 
 
96 
 
 callcott's musical gkammae. 
 
 the B flat, which is used in the modern signature, is omitted at 
 the clef. 
 
 271. Examples of the ancient signature of D minor maj also 
 be found in the third and fifth Concertos of Geminiani, Opera 
 seconda, and in the fourth Concerto of Opera terza. For" in- 
 stance, thfi first movement of his third Concerto begins thus : 
 
 :$P 
 
 & 
 
 1^ 
 
 -pr — -_ 
 
 Here the key is known to be D, by the accidental C sharp, 
 and to be also I) minor, by the natural F, which remains unal- 
 tered, as in the signature. 
 
 272. The same ancient method of notation is sometimes foum' 
 in the key of G major, where the sharp of the leading note F i 
 inserted accidentally when requisite ; as in the following exam 
 pie from the first Chorus of Handel's Oratorio of Saul, Bino ex 
 ceUent thy name, O Lord! One of the intermediate movementf- 
 commenc'es thus : 
 
 {_'rhe yaieth inured by: thee, O Lord.) 
 
 Here the key is known to be G, by the sharp before the F, 
 which is used in the second treble as a third below the A ; and 
 the B natural of the clef shows it to be G^ major. 
 
 Sect. H. — Of Ancient Shaep Signatubes. 
 
 273. The ancient signature of one sharp is applicable to the 
 keys of D major and B minor ; but the sharp signatures of this 
 ancient method are never found in the minor mode; for, as the 
 second (or supertonic) of the key would then require an acci- 
 dental sharp, the irregularity before mentioned (Art. 232) would 
 perpetually recur. 
 
 274. In the Solos of Coreli, (Opera quinta,) however, several 
 instances occur of the ancient sharp signature in the major mode; 
 
MELODY. 
 
 97 
 
 Tiz., the sixth and ninth Sonatas, in two sharps, afe in the key 
 of A major ; and the G sharp is accidentally inserted. 
 
 275. The eleventh Sonata of the same work bears the signa- 
 ture of three sharps, and is in the key of E major,* the D sharp 
 being inserted accidentally. 
 
 276. The ancient signature of four sharps is found in Han- 
 del's beautiful air, Rendi il sereno al eiglio, from the Opera So- 
 sarmes.'\ This is in B major, with the sharp to its leading note, 
 A, occasionally inserted. 
 
 Sect. HI. — Of AjsfciBNX Flat Signatttees. 
 
 277. The objection to the sharp signatures (Art. 273) does 
 not apply to the flat, since the second of their minor modes is not 
 affected by the flat. For this reason, and from the variable na- 
 ture of the sixth, or submediant, in the minor scale, (Art. 236,) 
 the ancient flat signatures are very frequently found. 
 
 278. I. The signature of one jlat belongs to* B flat major 
 and G minor. The following example, in the opening of Corel- 
 U's fifth Concerto, (Opera sesta,) is in B flat major. I 
 
 m 
 
 279. The eighth Concerto of Corelli opens with this signature 
 in G minor, as in the following example : § 
 
 -m—m- 
 
 ^^r—r- 
 
 ^: 
 
 * Handel's Duet, in the Oratorio of Athalia, (Joys in gentle train appearing,) 
 is also in this key, and has this signatuie. 
 
 t Introduced by Dr. Arnold, 1786, in the Oratorio of Kedemption, to the 
 words, Lord, remember David. 
 
 X This will be mentioned hereafter, as a very striking instance of the use 
 and effect of harmony in deciding the key and mode, independent of the sig- 
 nature. , . , J J 
 
 § This also depends upon harmony for the decision of its key and mode. 
 The melody, as it here stands, might be equally in B flat major, or G minor ; 
 but the F sharp, which accompanies the C in the second measure, decides the 
 key. 
 
 9 
 
98 CALLCOTT's musical GRAMMIAIt. 
 
 280. 11. The signature of <wo_/?i!8<s belongs to E flat major. 
 {Ceaae thy anguish.*) 
 
 & 
 
 
 ■0-^-0- 
 
 •v^-#-' 
 
 281. The signature of its relative minor mode, C, is very 
 common. 
 
 [The flocks shall leave the mountains.^) 
 
 j^zfct 
 
 iicpziizp: 
 
 li 
 
 ■•—»!- 
 
 m 
 
 H-#- 
 
 :U;;iUi--±:t3 
 
 -\~m- 
 
 282. III. The signature of three flats is unusual in the major 
 mode of A flat, but extremely frequent in the minor of F. " Han- 
 del, indeed, has seldom (if ever) used the modem signature in 
 this mode. 
 
 (Ye sons of Israel. J) 
 
 
 fe±^: 
 
 ^ 0^ 
 
 .283. In this example the E natural is the leading note, and 
 points to the key-note F ; of which A flat is the lesser third, and 
 decides the mode. 
 
 * Athalia, 1733, No. 3. H. S. ii. No. 98. 
 
 t Acis and Galatea; 1720, No. 30. H. S. iv. No. 320 
 
 % Samson, 1742, No. 63. H. S. i. No. 19. 
 
PART III. 
 
 HARMONY. 
 
 CHAPTEE I. 
 
 OF THE TEIAD. 
 
 Sect. I. — Of the Consonant and Dissonant Triads. 
 
 Art. 284. Two or more melodies, beard at the same time, form 
 harmony;* and the different combinations of notes in harmony 
 are termed chords. 
 
 285. The union of any sound with its third (major or minor) 
 and its perfect fifth, forms the harmonic triad,t or common 
 chord. 
 
 This is termed the major or minor triad, according to the na- 
 ture of its third. 
 
 Major triad. Minor triad. 
 
 ^^^^M 
 
 286. When the octave of the lowest note is added, four sounds 
 are heard in the harmony. 
 
 * Dr. B. 1. 136. Harmony was formerly (according to Tlnctor — see Dr. B. 
 ii. 458) synonymous with melody, and the term counterpoint was applied to 
 v^hat we call harmony. This term is derived &om the anaerA points, or notes, 
 which were placed counter or opposite to each other on the staff. The exam- 
 ples in this third part will be given in counterpoint ; that is, heads of notes, 
 without their stems, will be used. 
 
 f Triad, in music, signifies three different sounds combined together, at th« 
 distance of a third and : fifth from the lowest. 
 
 (99) 
 
100 CALLCOTf'g UUSICAL GBAHUAB. 
 
 Major common chord. Minor. 
 
 ^^^ 1 
 
 
 287. There are alao, besides these two consonant triads, two 
 dissonant triads;* one diatonic, the other chromatic. 
 
 I. The diatonic dissonant triad, or diminished triad of the 
 Germans, (B, D, F,) consists of two minor thirds. 
 
 m 
 
 II. The chromatic dissonant triad, or superfluous triad of the 
 chromatic scale, (C, E, G sharp,) consists of two major thirds. 
 
 @ — *g i #* — F 
 
 ~cr _i^ _0, 
 
 13 5 
 
 The consonant triads are formed of the two dissimilar thirds, 
 Kajor and minor, united ; the dissonant triads are formed of two 
 similar thirds, both minor or both major. 
 
 288. In the natural diatonic scale (Art. 50) there are six con 
 sonant triads :t three major and three minor. 
 
 Major triad. Minor. 
 
 • Marpur^ (Handbuch, 1755) adopted this classification,' which Kimherger 
 rejected. KoUman follows the system of this last ingenious writer, and con- 
 siders the diminished triad as a eonsoiiant harmony. The author of this work 
 prefers the arrangement of Marpurg, which seems most agreeable to the theo- 
 letical doctrine of harmonioa. 
 
 t From these triads are derived the six scales before mentioned, Art. 247 
 The primary and secondary scales of Mr. Keeble are reckoned in the major 
 node, first, fourth, and fifth, C, F, Q, second, third, and sixth, D, E, A, as- 
 ;ending, and are inverted in the minor mode. 
 
HARMONY. 
 
 101 
 
 All the major triads become minor by flatting their thircb ; 
 and all the minor triads become major by sharping their thirds ; 
 thus: "' 
 
 289. The diatonic dissonant tridd hks (by license) its third 
 sometime's flatted and sometimes sharped ; and thus are formed 
 two altered triads^* which are very seld9m used. 
 
 '^m- 
 
 ^ 
 
 -*•- 
 
 I 
 
 1 " ' 3 ' ' -' s; 
 
 • .These alt@«d triads consist of a major and an extfeihe flat 
 third, and are consequently both chromatic. ■ 
 
 29.0.' The prime, or lowest note of thei tristdy Wds called by Ea> 
 mean its fundamental bass-f In this work %he term raditidl bass, 
 or. simply the rooij will be adopted. - ^ 
 
 1 ;291j The roots of the two Consonant triads are 6di3il|y uhder- 
 Aooij' as jeverff radical bass imist have ' a' perfect Jifth f but the 
 roots. of the two dissonant triads, (Alt.: 287;)' and of the two al^ 
 tered triads^ (Art. 289,) cannot be explaiaed- till the nature of 
 discords is Jteown.; ' ■ "' , ■ 
 
 292. When the three sounds of the tri^d are taken as ah 
 accompaniment, and the root remains in the bass, the chord 
 assumes tteee different ggsitioiis. U- 
 
 Istposifiori;' 
 
 2d{toi^oii. 3dpo^S[on. 
 
 Et 
 
 I 
 
 ^ 
 
 I 
 
 * See Heck, (Thorough-iiass.) Tfre German auttors term these taaSidgflMOOT 
 alow. ^ee^lsoKpUman, (Essay on Hwno?iv,K86-Jii :^ .,;;.;.* ■;^^„„„ 
 t The root beiiig placed one oi' two octaves below the chord of the accompa- 
 0* 
 
102 
 
 callcott's musical gkammae. 
 
 The first position is that of the third, fiflh, and eighth. , 
 
 The second, of the fifth, eighth, and third. 
 
 The third, of the eighth, third, and fifth. 
 
 It must Ije observed, that the second position, in reality, con- 
 sists of the fifthf eighth, and tenth, and the third position, of the 
 eighth, tenth, and twelfth, of the root; but, as the tenth and 
 twelfth are octaves of the third and fifth, and as they are repre- 
 sented by the same letters, they are also called by the names of 
 third asiA. fifth, whatever may be their distances above the root. 
 
 Sect. II. — Inversions op the Teiad. 
 
 293. When the lowest note, instead of being the root, is the 
 third or the fifth of the triad, such change is termed inversion.* 
 
 294. The inversions of the triad difier from its positions ; as 
 the former relate to the whole harmony, including the bass, and 
 the latter to the accompaniment alone, independent of the bass. 
 Hence every triad has three positions, but only two inversions ; 
 for, when the root is in the bass, the chord is called direct, what- 
 ever may be the positions of the accompaniment. 
 
 295. I. The chord of the sixth is the first inversion of the 
 triad, when the bass note becomes the third of the harmony, in- 
 stead of the root. This chord, in the figures of thorough-bass, is 
 expressed by a figure ^6; to which also belongs the third of the 
 lowest note, (or fifth of the root ;) and in the practice of counter- 
 point, the octave of the lowest note is either omitted, or, if four 
 parts are requisite, the sixth or the third may be doubled. 
 
 i 
 
 niment, makes no difference in its derivation ; the radical bass depending al- 
 ways on the three combined sounds of the triad, whether in close or disperseA 
 harmony. For an account of Kameau and his system, see Dr. B. iv. 609^ Sir 
 J. S.: T. 384. See also a very satisfactory account of the discoveries of Galileo 
 Galilei, by Dr. Burney, art. BiKS,fimdamental, in Dr. Eees's Cyclopsedia, late- 
 ly pubUshed. 
 * Dr. Pepusch calls the two inversions supposed basses, and terms tbe chord 
 
HAEMONT. 
 
 103 
 
 296. The same arrangement takes place in the minor triad,* 
 and its first inversion ; in the first inversion of the diatonic triad 
 B, D, F, however, the sixth is never doubled, but the octave pre- 
 ferred, when four parts are requisite. 
 
 n 
 
 & 
 
 Root. 
 
 - 297. A stroke through the figure 6, thus, 0, elevates the sixth 
 note from the bass a chromatic semitone ; and, when used on a 
 minor sixth, makes it the first inversion of the dissonant triad ; 
 thus: 
 
 :tP= 
 
 When the same mark occurs on a major sixth, it makes it the 
 first inversion of the altered triad, (Art. 289,) thus : 
 
 of the sixth the uncommon chord ; not because it is unusual or improper, but 
 in contradistinction to the common chord, of that of which th.e lowest note is 
 a fundamental bass. 
 
 * An ingenious theorist, Pizzati, (Scienza de' Suoni, 1782,) reckons the 
 minor triad dissonant, Because it does not produce the third sound of Tartini, 
 &c. On the contrary, Kifnberger (1774) asserts that the diminished triad ig 
 communt, because it is used in harmonical progression, like the other two 
 triads. 
 
104 
 
 CALLCOTT'S MUSICAL GRAMMAR. 
 
 -#»- 
 
 ^ 
 
 i 
 
 These two chords, which are of great importance, will be here- 
 after distinguished by the names of the sharp sixth and of the ex- 
 treme sharp sixth ; the first always accompanied by a minor, and 
 the second by a major third. 
 
 298. II. The chord of the fourth and sixth* is the second 
 inversion of the triad, when the bass note is the fifth of the har- 
 mony, instead of the root. It is exprlsssed, in thorough-bass, by 
 a 4 under a 6, and in four parts the three positions t of the triad 
 are used as its accompaniment, (Art. 292,) without any regard 
 (as in the chord of the sixth) to the omission of one note or the 
 doubling of another, (Art. 295.) 
 
 ± 
 
 6 
 
 4 
 
 St 
 
 6 6 
 
 4 4 
 
 ~> Ml 
 
 6 
 4 
 
 I 
 
 Sect. in. — Of the Direct and Contrary Motions, 
 AND the Rules for their Use in Harmony. 
 
 299. Before the harmonical succession of triads can be rightly 
 understood, it is necessary to explain the different motions of th/s 
 
 * Kimberger considers this harmony, when suspended, as dissonant, (see 
 Mr. KoUinan'B Essay on Harmony ;) but Marpurg has, in the Appendix to his 
 ^ssay on Temperament, (1776,) shown that the classification of his opponent 
 is not well founded, and that the theory is not strictly true. 
 
 + Mr. Shield has given the positions, without distinguishing them by this 
 name ; the inversions are described by him under the titles of first and second 
 derivatives. 
 
HARMONY. 105 
 
 parts which constitute harmony. Two of these are essential, 
 viz., the direct motion and the contrary motioi). 
 
 300. In the direct motion the parts move the same way, as- 
 cending or descending. 
 
 301. In the contrary motion one part rises while the other 
 falls. 
 
 
 302. By the knowledge of these two motions, the power of 
 avoiding many harmonical irregularities may be obtained, and 
 the following rules* of harmony correctly observed: 
 
 I. All consecutive octaves and fifths must be avoided in the 
 direct motion. 
 
 Octaves and fifths by the The same aToided by the 
 
 direct motion. contraryi motion. 
 
 IL All unnecessary sMps are to be avoided, and all the chords 
 are to be taken as closely and as much connected as possible. 
 
 III. All/a?»e relations (such as the extreme sharp second, 
 &c.) are disallowed, unless for the expression of some particular 
 eSect I 
 
 IV. All irregukvr motions of the parts in harmony are to be 
 avoided. Every major or sharp interval ought to ascend, and 
 every minor or flat interval ought to descend ; that is to say, the 
 part in which those iltervals are found in combination, is to rise 
 after the sharp, and \afall after th.& flat. This rule, howevei^ is 
 always subordinate to that of avoidmg octaves or fifths,! and is 
 
 * The ten rules of Pietro Aron (1523, Dr. B. iii. 155) were afterwMds ex- 
 tended to twehe. See Cerone, (El Melopeo, 1613,) and Lorente, (El Porque, 
 
 t Nicolas Burtius, (Musiees Opusculum, 1487,) the Guidonian adversa^ of 
 Bartholomew Kamis, was a Pythagorean follower of Boethius, and admitted no 
 
106 callcott's musical geammae. 
 
 V , 
 
 not regarded when the melody is to produce an effect oppwite to 
 the rule. The internal parts of, harmony, however, are to be 
 regulated by these observations. 
 
 Sect. IV. — Of Haemonicai, Phogkession. 
 
 303. The Xena. prdffresdon* will be used, in this work, in con- 
 tradistinction to the term modulation,^ to signify that succession 
 of triads or perfect chords, which, by being confined to the scale 
 of the original key, only admits the tonic and its two attendantj 
 harmonies, occasionally interspersed with the relative tonic and 
 the two harmonies attending on that scale ; whether the original 
 mode be major or minor. 
 
 Although a change into the relative scale implies a partial 
 modulation, yet in aU cases, where the new scale remains unde- 
 cided,! by the omission of the leading note, and the original tonic 
 still continues a predominant sound, the term progression will be 
 retained. 
 
 304. As the scale consists of seven different notes, it is evident 
 that two triads, which only contain jive notes, (one note being 
 common to both,) cannot decide the key. - Hence the following 
 examples, although perfectly similar in notes, appear, by means 
 of the accent, to be in two different keys, and are therefore 
 equivocal. 
 
 In the key of O. lu the key of G. 
 
 9 » ■ # ■ ^ w^-» 9 — • * ' * *- 
 
 305. If, however, three different chords are taken, the key 
 may be decided ; this is performed by the progression § of tonic, 
 subdominant, and dominant. 
 
 consonances but octaves, fifths, and fourths. He calls the thirds and sixths al- 
 lowable dissonances, {dissonmitia compassibilea,^ and has given (fol. e, 5) five 
 precept* of counterpoint, which will ever be classical, particularly that of avoid- 
 i-Qg fifths and octaves in succession. 
 
 * Tonfuhrungt Koch's Anleitung, iii. 139. '^ 
 
 + Tonausweichung, Koch's Anleitung, ii. 169. 
 
 I Particularly in sequences, as will be explained hereafter. 
 
 9 The following excellent observation of Dr. Pepusch cannot be too often or 
 too strongly impressed upon the mind of the student, viz., aU n^elodiea have tht 
 vafect concords of the Ifey they are in for their fundamental baases. 
 
HAKMONT. 107 
 
 1 
 
 I 
 
 S- 
 
 806. Thus, in the tonic harmony are found the third and the 
 fifth of the root of the scale.* 
 . In the -subdominant are found the fourth and sixth. 
 
 And in the dominant, the second and seventh. 
 
 307. The major mode, with its relative minor, and the four 
 attendant harmonies, may be thus arranged : 
 
 Tonic. 
 
 Domt. 
 
 Subdt. 
 
 Rel. min. 
 
 Its domt. 
 
 Its snbdt. 
 
 O' 
 
 m 
 
 ^ 
 
 1 
 
 «J- - 
 
 ' m \ 
 
 m 
 
 m 1 
 
 
 :.. 1 
 
 308. The minor mode, with its relative major, and the four 
 attendant harmonies, may be thus arranged : 
 
 Tonic. 
 
 Domt. 
 
 Subdt. 
 
 Eel. maj. 
 
 Its subdt. 
 
 Its domt. 
 
 ^. • 
 
 m '1 
 
 •i. 
 
 m 
 
 ^ 
 
 9 "^1 
 
 
 * 1 
 
 
 L 
 
 309. The relative attendant harmonies are very seldom used, 
 particularly the. relative subdominant, or second of the major 
 mode, (as D in C major;) but, in modern music, this harmony 
 more frequently occurs, and will be further explained hereafter.t 
 
 310. The motions of the radical basses, or roots of these 
 chords, are reducible to six, divided into three classes. 
 
 I. The dominant motion, J or ascent of the fourth or fifth. 
 
 II. The mediant motion, or ascent of the third or sixth. 
 
 * This arrangement is like that before given, (Art. 191,) where the chords 
 are showi; detached in minims. 
 
 t Dr. Pepusch, although he expressly allows the harmonies of A, and of E, 
 in C major, makes no mention of D, 
 
 J The dominant motion is the foundation of the perfect and imperfect ca- 
 dences, as the gradual motion is of the false and mixed cadences ; these wiU 
 be explained in the fourth chapter of this part. 
 
108 
 
 callcott's musical gkammab. 
 
 III. The gradual motion, or ascent of the second or seventh. 
 These may, of course, be inverted, and become the same descend- 
 ing ; as the directs towards the remoter distances show, in the 
 example. 
 
 I. nornxNAmT. 
 
 Ascent of the fourth. 
 
 H. MEDIAJSfT. 
 Of the third. 
 
 HL aBADTJAJu 
 
 Of the second. 
 
 n* m 
 
 
 I 
 
 «J. " 
 
 ii 
 
 A 
 
 ■ 
 
 * 
 
 4 
 
 # • ■ 
 
 
 
 1 
 
 Descent of the fourth. 
 
 Of the thkd. 
 
 Of the second. 
 
 
 /-y -v- 
 
 1 
 
 *f- 
 
 1 
 
 m 
 
 M 
 
 ' hm 1 
 
 m. .... . _.^ . . ^ 
 
 
 311. Qf these motions, the dominant and the mediant are 
 regnlOT, having a sound common to both chords ; but the grad- 
 nal is irregular, as the chords have no connection with each 
 other. ' 
 
 312. When the melody moves regularly, by degrees, ascending 
 or descending, the following progres&icms * in the bass are c^en 
 employed. 
 
 X SOUIITAIIT MOTIOir BIT FOUBTHS. 
 
 Descending mekdy. Ascending melody 
 
 Bising fimtOa and falling fifths. Kising ffth* and falliiig/e>«r<^. 
 
 I 
 
 3E 
 
 I 
 
 ^ 
 
 II. MEDIANO? MOTIOIT BY THTRDS. 
 
 Descending melody. Ascending melody. 
 
 Bising ihirdi and falling ftmHttt. Kising fowrths and falling tMrds. 
 
 m 
 
 * See Koch's Lexicon, ait. DreyMartg, i. 491. 
 
HARMONY. 
 
 109 
 
 m. GBABITAIi MOTIOIT BY SBCOIfDS. 
 
 Ascending melody. Descending melody. 
 
 Bising seconds and falling thirds. Rising seconds and falling fomths. 
 
 ^^ 
 
 :S: 
 
 CHAPTER II. 
 
 OF THE DOMINANT SEVENTH, ITS INVERSIONS, RESO- 
 LUTION, AND OF MODULATION. 
 
 Sect. I. — Of the Dominant Seventh. 
 
 313. "When a minor seventh is joined to the major triad, a 
 chord of four different sounds is formed, and, as this only occurs 
 when the fifth of the kejris the bass note, the harmony is called 
 th&,daminant seventh.* 
 
 i 
 
 The note which forms the discord in this harmony is the 
 subdominant or fourth of the scale ; and being a minor inter- 
 
 * The dominant before mentioned (Art. 252) derJTes its name from the an- 
 cient Chvirch Tones, in which it was the Jifth in the authentic and the octave 
 in the plagal scales, but always a fifth above the final or modern tonic. Mer- 
 senne, in his learned work entitled " Traite de I'Harmonie TJiuTerselle," first 
 published in 8vo. under the assumed name of " Le Sieur de Sermes," (Paris, 
 1627,) has given the following explication of the term : 
 
 " II faut remarquer que le Pseaume est dit se chanter en fa, en la, &e., nou 
 qu'il n'ait que cette seule note ; mais parce ju'elle est plus souvent repeteeque 
 les autres ; de la vient qu'on Lappelle Dominante, car elle s'entead plus sou- 
 vent que les autres, et gouverne le ton." 
 
 10 
 
110 callcott's musical gkammae. 
 
 Val, requires the part in which it is heard, to descend one de- 
 gree. 
 
 314. In the major mode this descent is a semitone, as in the 
 following example : 
 
 In the minor mode the E becomes flat, and the descent is con- 
 sequently that of a tone. 
 
 315. The major third of the dominant, which is also the sharp 
 seventh or leading note of the scale, must ascend. Thus, in the 
 major scale, the two Qharacteristip notes are united, and form, 
 between themselves, the interval of the flat fifth, of which the 
 root is the dominant ; thus : 
 
 316. In all regular progression, the dominant seventh requires 
 the triad of the tonic to succeed it ; and hence its bass note is 
 called, by Bameau, the governing note, or dominant of the key. 
 
 317. The dominant seventh is used, like all other discords, 
 either hj transition, addition, or suspension;* and must in all 
 cases be resolved, that is, taken away, by the descent of the part 
 in which it is found. As a passing or added note, it is employed 
 without pr^c^ation ; thus: 
 
 I. By transition. II. By addition. 
 
 318. But, as a suspended note, it must be prepared, that is, 
 heard in the preceding harmony ; thus : 
 
 * Every discord of suspension must be prepared, struclt, and resolved ; 
 hence arise the three terms pr^aration, percussion, and resoltftion, described 
 by Padre Martini, Saggio di Contrappunto. 
 
HAEMONT. 
 
 Ill 
 
 • • —m ■- 
 
 I 
 
 In this instance the F prepares the seventh in the first har- 
 mony, is heard as a discord in the second, and resolves, by de- 
 scending to E, in the third. 
 
 319. There are several other sevenths, used in harmony, upon 
 the ditferent triads of the scale, (whether consonant or dissonant,) 
 in both modes. These sevenths,* although not exactly chords 
 of the dominant, are nevertheless used in its place, to avoid mod- 
 ulation, as will be hereafter explained in the fifth chapter of this 
 part, on sequences. They also preserve a uniform motion in the 
 progression of their roots, (Art. 312,) and, at the same time, 
 produce a melody, descending by degrees, in the original key. 
 These are, 
 
 320. I. 77ie minor sevenths with minw thirds, on the triads 
 of A, D, and E, which belong to A minor.f 
 
 321. II. 27ie major sevenths with major thirds,.aa the triads 
 of C and F, which belong to C major. These are often found 
 in passages of transition, as the directs show in the following ex- 
 amples : 
 
 * M. Framery (Encyclopedie Methodique, art. Dominante) controverts the 
 nomenclature of Bameau, Bethizy, &c., in which the sevenths are called sim- 
 ple dominants, and the principal one tonic domimmt, and shows that the term 
 ought to be confined to the fifth of the key ; this arrangement is followed in 
 the present work. 
 
 t The first inversion of this chord, taken on the subdominant of the major 
 key, is, in the system of Kameau, a fundamental chord with the added sixth. 
 It will be shown, hereafter, that the root depends upon the key or scale, and 
 that the seventh, D, F, A, C, has D for its root in A minor, and F for its root 
 [n C major- 
 
112 
 
 callcott's musical gkammab. 
 
 i 
 
 g: 
 
 322. III. 7%e minor seventh with the ^at fifth, upon "B. 
 In C major. In A minor. 
 
 -Jt 
 
 ^ — s 
 
 m 
 
 This belongs either to C major or to A minor, according to its 
 resolution, as shown by the directs. If, however, the dominant 
 on E should require G natural instead of G sharp, (as shown by 
 the last directs,) the chord becomes part of a sequence, and the 
 minor mode of A changes. 
 
 323. IV. The extreme fiat seventh,* upon G sharp in A mi- 
 nor, formed of three minor thirds. 
 
 -#•- 
 
 324. The seventh, consisting of four sounds, admits of four 
 different positions ; t thus : 
 
 
 First. 
 
 Second. 
 
 Third. 
 
 Fonrth. 
 
 (J ..SB 
 
 / 
 
 
 
 S 
 
 B 1 
 
 H^ 
 
 
 •- 
 
 •« 
 
 S 1- 
 
 ^y 
 
 *!• 
 
 '^ 
 
 !•* 
 
 ., |. 
 
 %j 
 
 ^ 
 
 - m 
 
 
 
 O' 1 
 
 *'• 1 
 
 i- 
 
 
 m 
 
 
 
 « 
 
 m 1- 
 
 * Or equivocal chord. Shield. 
 
 t In general the octave to the root is omitted, otherwise a chord of five 
 sounds Tiroiild he employed — a oomhinatiori seldom necessary. Pasquali 
 (Thdrough-Diiss) has uniformly given the chord of the seventh fill, with four 
 notes in the dccompanim^t ; but this appears irregular, as three notes are 
 genetaUy suffident. At' a final cadence, indeed, the dominant may be taken 
 thus : D, F, G, B ; but then the following tonic ought to consist pf (?, B, % (S 
 
HARMONY. 
 
 lia 
 
 The first positron is that of third, flftfi, seventhj and eighth. 
 
 The second, of fifth, seventh, eighth, and third. 
 
 The third, of seventh, eighth, third, and fifth. 
 
 The fourth, of'eighth, third, fifth, and seventh. 
 
 These positions, like those of the triad, (Art. 292,) contain the 
 tenth, twdfth, and fourteenth of the root, when the third, fifth, 
 and seventh axe taken above the octave. 
 
 SECTi II. — Of- the Inversions op the Dominant 
 
 Seventh. 
 
 325. This harmony, which consists of four different sounds, 
 has consequently three inversions, besides its direct form of third, 
 fifth, and seventh, just described. 
 
 326. I. The chord of the fifth and sixth is the first inversion 
 of the dominant seventh, when the lowest note becomes the third 
 of the root. In thorough-bass it is expressed by a figure 5 * un- 
 der a 6, (to which the third is understood,) and, in practice, the 
 octave of the bass note is omitted. 
 
 SL 
 
 327. II. The chord of the third and fourth is the second in- 
 version of this harmony, when the lowest note becomes the fifth 
 of the root. It ought, according to its derivation, to be expressed 
 by a figure 3 under a 4, (to which the sixth is understood ;) but, 
 as the fourth^ (or proper root of the harmony) is not pleasing 
 
 ^» It is often usual to omit the 6, and to express this chord by a 5 singly 
 with the stroke through it, thus, ^, like the sharp 0, (Art. 297 ;) and, as this 
 always implies the flat fifth, (Art. 163,) the sixth and the third are conse- 
 quently understood. This inTorsion is employed in the Hailstone l-horus, 
 (Israel in Egypt,) and finishes the sequence of sixths, to the words, Kan 
 along upon tne ground." . xi. j 
 
 t Mattheson (Orch. i. 1713) rejects the fourth from among the concords, 
 and asserts its dissonant nature. Handel, CorelU, &c., have uniformly omit- 
 
 10* 
 
114 
 
 callcott's musical grammar. 
 
 to the eai', it is usually omitted. Thus the chord appears as a 
 simple sixth, and also as the first inversion of the diatonic disso- 
 nant triad,' D, F, B. 
 
 4 
 3 
 
 m 
 
 328. JUL The chord of the second and fourth* is the third 
 inversion of this harmony, when the lowest note becomes the 
 discord, and the triad commences on the next degree above. It 
 is expressed by a figure 2 under a 4, (to which the 6th is under- 
 stood ;) sometimes by a 2 alone. 
 
 4 
 3 
 
 4 
 S 
 
 4 
 2 
 
 4 
 2 
 
 S 
 
 m 
 
 Sect. m. — Op the Resolution of the Dominant 
 
 Seventh. 
 
 829. The descent of the part in which the dominant seventh 
 is found is called its resolution ; and, as before observed, (Art. 
 
 ted it in this hannony. The theory of the one and the practice of the others ' 
 seem to be, in this instance, justified, by the want of melody in the intermedi- 
 ate part, when the fourth is inserted. In modem music, however, this inver- 
 sion is used complete with condderable success, when the tonic bass both pre- 
 cedes and follows it. See an admirable instance in the Opera of Montezuma, 
 by Sacchini, at the Chorus, "Nell' orror." 
 
 * As the third inversion of the dominant produces a very great effect, the 
 compositions of the best masters afford frequent examples of its utility. In 
 th£ last Chorus of the Messiah, ^Amen,) before the final pause, this inversion 
 of the dominant harmony of A, upon the bass note Q, is a remarkable instance 
 of the sublimity of Handel. 
 
HAEMONT. 
 
 115 
 
 314,) that descent is either a tone or a semitone, according to the 
 mode. 
 
 330. This resolution of the seventh occasions two apparent 
 irregularities,* viz. : 
 
 I. The fowr sounds of the dominant, followed by the three of 
 the triad ; in which the last harmony is weakened by two parts 
 becoming unison^ 
 
 II. 
 
 in. 
 
 ^i=f±^ 
 
 •• — «- 
 
 ■• — ••- 
 
 T 
 
 rf=f 
 
 -A- 
 
 % 
 
 e— ^ 
 
 IV. • 
 
 ^ 
 
 i 
 
 I 
 
 II. The omission of the fifth in the tonic triad, when the ante- 
 cedent dominant is taken without the octave to the bass ; thus : 
 
 ?=^^^i=^M 
 
 =3=?3 
 
 7 T 
 
 7 
 
 - ._..i!r^, ,; 1 
 
 -z^ *J 
 
 331. When, however, instead of the octave, the fifth or thir^ 
 of the dominant itself is omitted, the subsequent triad can b« 
 taken complete ; thus : 
 
 • See the remarks on Pasquali, in the note. _ . , ^ • -^ ^^ 
 
 t The unison parts are placed in the middle staff, with stems turning hoth 
 ways. 
 
116 
 
 CALLOOTT'S musical eSAMMABc 
 
 ._ — 4^_ 
 
 -t 
 
 i»--jt-=*ft=l==j!^=p: 
 
 =1 
 
 ^ 
 
 In all these examples, the minor seventh (or sitbdomiaaiit of 
 the so^e) descends j and the- major third of the dominant (or 
 leading note of the scale) asoends.* (See Art. 315.) 
 
 332. Two instances also occur, when this gdlieral " rule of re- 
 solving the seventh by the descent of the melody is apparently 
 negIeol$d: 
 
 I. 'When, by Ueense, the bass itself takes the resolution ;t 
 
 Thus, 
 
 Instead of 
 
 -0 \ »-^~ 1- 
 
 W 
 
 1 
 
 ^^ 
 
 n. Wheuj after the. third inversion, (Art. 328^) the bass, in- 
 stead of descending a semitone^ descends a fourth, to the tonic, 
 and another part takes the resolution ; 
 
 Thus, 
 
 Instead of 
 
 P^^ 
 
 4 
 2 
 
 ^^ 
 
 * Bouaseau, Ait. Sauver — ^Eoch and Sulzer, Ait. AufloKlmg:, have \nitten 
 Icuigiandusefol luticlea on this suttject. See also Shields 
 t Kollman, Essay on Hannony. Holden. 
 
HARMONT. 
 
 117 
 
 333. A more unusual license is tiilien in the following exam- 
 ple, from what are called Haydn's Sonatas, Op. 40,* where the 
 bass descends to the root by the contrary motion, and the seventh 
 is resolved by the intermediate part, as shown by the direct. 
 
 H^^ 
 
 1 
 
 «=# 
 
 i 
 
 3^1 
 
 ■-&■ 
 
 ~-^- 
 
 334. The same bass, in respect of the letters, but in the direct 
 motion, (which may be found in some attempts at composition,) 
 is decidedly false and ungrammatical, (as at A ;) although tha 
 very same melody, on the tonic bass continued," (as at B,) is fre- 
 quently and very properly employed." 
 
 (A.) 
 
 (B.) 
 
 i=^t 
 
 -j=^-f 
 
 m 
 
 &i 
 
 3-- 
 
 zii=tz 
 
 "S?" 
 
 335. Not only the positions of the dominant sevenths may bo 
 changed, but the inversions also may succeed each other, pre- 
 vious to its resolution. Great care, however, must be taken, in 
 the arrangement of the parts, to prevent transgressing the rules 
 given in Art. 302. 
 
 336. I. The first inversion, or chord of the fifth and sixth, 
 resolves by the bass ascending a semitone, as in the following 
 example, (as at A.) 
 
 • The first two of these three Sonatas were composed "by Pleyd, and onlj 
 the last, in G, by Haydn. 
 
118 callcott's musical gkammae. 
 
 II. The secoral, or chord of the third and fourth, resolves by 
 the bass descending a tone, (as at B.) And 
 
 m. The third, or chord of the second and fourth, resolves by 
 the bass descending a semitone, (as at C.) 
 
 337. The other sevenths, (Art. 319,) when used in sequences 
 have similar inversions ; and the same method of resolution is 
 generally applicable to them all. 
 
 Skct. rV. — Of Modulation. 
 
 338. As all changes of keys are known decidedly by the use 
 of the dominant seventh, the different modulations from both 
 scales will be now explained. 
 
 Modtdation from the Major Scale. 
 
 339. I. To the scale of its subdominartt. The principal and 
 most simple change of key, is that which, by adding a minor sev- 
 enth to the tonic, makes it a new dominant ; and hence the sub- 
 dominant becomes a new tonic ; thus : 
 
 bt 
 
 340. This modulation being continued, forms a circle of de- 
 scending fflhs, (or ascending fourths,) pf wliich the following 
 series is part: 
 
HAEMONT. 119 
 
 tlT ti7 fcl7 
 
 w^= Tr^^ 
 
 b7 b7 b7 
 
 S= 
 
 ;^^^ 
 
 341. II. To the scale of its dominant. The second change 
 is that ■which, by retaining the octave of the tonic itself as a sev- 
 enth, and by making the bass ascend a tone in gradation, de- 
 scends from the supertonic to the original dominant ; thus : 
 
 7 
 
 & 
 
 m 
 
 342. This modulation being continued, forms a circle of de- 
 scending fifths, (or ascending fourths,) of which the following 
 series is part : 
 
 7 7 7 
 
 M ■ tf # 
 
 nr— I 
 
 7 7 7 
 
 I ^_^_^ ^ 
 
 343. These two modulations are in continual use ; the last, or 
 dominant change, in the former part of a movement ; and the 
 first, or subdominant change, towards the conclusion, to restore 
 the ori^nal tonic. The subdominant modulation only requires 
 two roots, but that of the dominant requires three. 
 
 344. III. To the scale of the suhmediant or relative minor. 
 The third change is that in which the bass rises from the tonic 
 to the mediant ; and, making that a new dom,inant.hj the addition 
 of the seventh, descends to the relative minor tonic. 
 
12Q oallcoit's mxmioAL gbammab. 
 
 7 
 
 St 
 
 345. A similar modulation being continued, forms a cirde of 
 key^, in which the major and relatfve minor succeed each other 
 alte^ately, and of which the following series is part : 
 
 ^ 
 
 7 
 
 t^T ^ b7 i b7 
 
 =l^l^g=P^ 
 
 This modulation requires four roots, previous to the alteratior 
 of its signature ; but the sudden addition of the seventh (especial- 
 ly after the minor tonic) is rather harsh and unexpected. 
 
 346. IV. To the scale of the mediant, or relative minor of th» 
 
 dominant. The fourth change is that which, through a previous 
 
 modulation into the dominant) makes the original mediant a tonic ; 
 
 thus: 
 
 7 
 
 m 
 
 i 
 
 347. V; To the scale of the swperfomis, or relative minor of 
 the subdominant. The ffih chan^ is that which, by making 
 the submediant a dominant, fiirms a new scale oa the supertonic ; 
 thus: 
 
 ^ 
 
 I 
 
 348. This chsiage, although apparently simple, is in reality 
 very remote, as before observed, (Art. 309,) and will be hereaf- 
 ter more particularly considered. 
 
 Modulation from the Minor Scale. 
 
 349. I. To the scale of its subdominant. The principal 
 change, like that in the major mode, (Art. 339,) is made by add- 
 
HARMONT. 121 
 
 ing a seventh to the tonic, and shai*ping its third, to form a new 
 dominant; thus: 
 
 350. II. To the scale of its dominant. The second change 
 requires an additional harmony' (borrowed from the sequence of 
 sevenths*) to alter its signature, previous to the use of the new 
 dominant; thus: 
 
 7 I 
 
 Si: 
 
 ■ ^m lii-- 
 
 351. III. To the scale of its mediant, or relative major. The 
 third change is made by the reversed gradation, f. or the descent 
 of a tone ; thus : 
 
 7 
 
 St. 
 
 i 
 
 352. IV. To the scale of its «M5merf«ara<. The /owrfA change 
 adds a seventh to the mediant, as in the minor modulation before 
 given, in Art. 345. 
 
 b7 
 
 353. V. To thescale of its«efew«A. The^ilA change, which 
 is very unusual, is made from the original subdominant with a 
 major third ; thus : 
 
 7 
 
 i 
 
 • This will be more fully explained hereafter. , 
 
 t Shield. Diatonic Succession of Chords. Holden. Bameau. 
 
 11 
 
122 callcott's musical grammar. 
 
 354. Although no modulation is complete without the use of 
 the dominant harmony, which contains always one, and, in the 
 major mode, hoth, of the characteristic notes of the new scale, 
 (see Articles 261 and 315,) yet the order in which this harmony 
 is given in the foregoing examples, is not, in all cases, necessary 
 to be observed. 
 
 355. Modulations are continually fermed from one scale to 
 another, by means of tonic harmonies alone ; but, in those in- 
 stances, it is "proper to introduce the new dominant as soon as 
 possible, to decide the key ; otherwise the equivocal effect before 
 adduced (Art. 304) would frequently occur. 
 
 356. The limits of the present work will not allow a more 
 extensive consideration of this important branch of harmony. 
 The changes here given are the foundation of all regular modu- 
 lation ; and, in the chapter of licenses, a more ample explanation 
 of irregular modulation wDl be found. 
 
 CHAPTER III. 
 
 OF DISCORDS. 
 
 Art. 357. Discords are used in harmony either by transition, 
 suspension, syncopation,* or addition. 
 
 Sect. I. — Discords of Transition. 
 
 358. Any note which passes by one degree between the other 
 notes of the triad, forms a discord of transition ; and, if found on 
 the weak part of the measure, is termed a passing note. 
 
 * The discords of suspension and syncopation must be regularly prepared, 
 Btruck, and resolved, (Ait. 318 ;) but taose of transition and addition require, 
 as their names Imply, no preparation. 
 
HARMONY. 
 {Handel, itA Sonata.) 
 
 123 
 
 m 
 
 ^p 
 
 =^- 
 
 JjiZM-l 
 
 iEtEfE* 
 
 I r 
 
 "I — r 
 
 1 
 
 The following radical bass shows which are the discords of 
 regular transition, and which are concords, in the preceding 
 example. 
 
 m 
 
 3^ 
 
 Mnim 
 
 i 
 
 359, The notes of irregular transition are found on the strong 
 parts of the measure, and are called by the Germans changing 
 notes, (Art. 106.) 
 
 In the following example, a particular instance of irregular 
 transition occurs. 
 
 {Overture to tfie Messiah.) 
 
 \ r 
 
 •f 
 
 fijz^i 
 
 g= ^ 
 
 i 
 
 s? 
 
 eEP: 
 
 l»T- 
 
 I 
 
 # 
 
 '?^' 
 
 I 
 
 The last note but one (viz., the F sharp) is here taken as a 
 discord by irregular transition, which the radical bass placed 
 below demonstrates. 
 
 360. The notes of regular and irregular transition are inter- 
 mixed in the following passage. 
 
12i 
 
 callcott's musical gbamuab. 
 
 (7%U9 eaith the liord.*) 
 
 i^^ 
 
 W—rm mm — f-f — P-f' 
 
 _i r 
 
 " I — f 
 
 I r 
 
 I — r 
 
 " I r 
 
 361. In modem music, all the discords of transition may be 
 reduced to apppggiaturas or after-notes, (Art. 105.) Thus, the 
 quavers in the following phrase may be turned into crotchets 
 preceded by appoggiaturas. 
 
 (Bondo : Playd's Sonata 1, to the Queen.) 
 
 P 
 
 TfES^ 
 
 !5: 
 
 :«is: 
 
 362. The reduction of |;his phrase shows the real notes pf the 
 hafmony, and explains the nature of irregular transitioh,t in 
 which appoggiaturas are always employed, v; ' 
 
 :f3 
 
 1^—:^—^: 
 
 S 
 
 I 
 
 =% 
 
 'Or 
 
 -i£ 
 
 I 
 
 \ 
 
 368. When the notes of transition iire prolonged, they appiSar 
 as integral parts of the iannony, and are soidetimes marked % 
 
 *ltfpssia1fi',Dr.A..3Sro, 6.; ^ .' , ,; 
 
 t -Uttiiilet observes cbncenliiig passing riotes, that "itteimpija^bfe toasceflft' 
 >r descena in continual deduction without a discord ; " .biU^eiaeems tO'cdn- 
 lem^ ^0E«,vrUc{i^:a);,^.^ciWrt^i^pd[4iswtds of^fiji^egijlar transition. See some 
 aceflentremaris onthese'SistftWdsin'DK'Burney, ii. 482. , 
 
 X A stroke also drawn over the notes, iiildl^d' of the fig^es, is tt^e^- as a 
 
HAKMONT. 
 
 l&S 
 
 with the figures of thorough-bass ; as in the following exam- 
 ple : 
 
 (GortlU, Oonoerto 8th, Dr. Pymsck's eMtion.) 
 
 iic 
 
 es 
 
 ^ 
 
 ^-tr 
 
 ,^^_^,-^S-^-. 
 
 -p*gT 
 
 ^^ggP 
 
 6 
 4 
 2 
 
 ^ 
 
 I 
 
 These two intermediate notes between the tonic and the dom- 
 inant deseendlog, are discords of regular and irregular trianSition. 
 They are explained by an after-note smd aa appBggiatur% as in 
 the following Example : 
 
 0. b- f^ ■ ' 
 
 — -1 K* h 
 
 ^i±-e-i- 
 
 : i .^t- 
 
 — f p 
 
 _?±_bz_± 
 
 4 . t 
 
 3€4 The same bass passage (a semitone lower in D m^or) ' 
 is employed by Handel ; in which the notes are not transient^ but 
 each bears its own projiet harmony, according to the reveled 
 gradation from the dominant* 
 
 mark to show the continuance of the first hanhony. Emanuel Bacfr (Vfer- 
 BucA, 2d part,) has proposed several methods of distingtf shmg ttW notes of 
 irregular transition firbm those of thie harmony. He preffers the BbliqttS SthSke ; 
 a specimen of which may be seen in Heck. Mr. Kollraan (Essay on Har 
 mony) has explained the two kinds of transition in thtf class of aecidental 
 chords. 
 
 • The hypodiatonic cadence of Mercadier de Belesta, (17T60 a BrogrMsiou 
 which vriB ever reaiaiii cidssical, Notwithstanding th« objection bfMjia'Bbrde, 
 and his xemarks upon M. Levatts, iiij 646, 684. See alSb Bampfe's Th<*ft»^i 
 bass, (1737.) 
 
 11* 
 
126 CALLCOTl'S MUSICAI. GBAMMAB. 
 
 ^ (McUlehijah — Meaniah.) 
 
 r^f- 
 
 r f 
 
 ~& 
 
 i 
 
 W~^E^ 
 
 6 
 4 
 
 4 
 
 2 
 
 -Or-i 
 
 i 
 
 365. In passages of double transition, particularly whrai ireg 
 nlar, the slow time of the note does not afiect the harmony of 
 the root, as in the second measure of the following example : 
 
 {He teas hmiaed — Messiah.) 
 
 t-J 
 
 J=FP^=i 
 
 ^r^p=f^-f 
 
 r 
 
 I 
 
 J. -J- 
 
 i=fc—;=rPfe=— -=Ez==F=F 
 
 I . 
 
 9 
 b3 
 
 15 
 
 tin 
 
 3? 
 
 -^^ 
 
 
 I 
 
 98 
 b 
 
 366. In this passage, the harmony of D flat is succeeded by 
 that of F, and the transient fourth aad sixth are unnoticed in the 
 ■adical bass. 
 
HARMONY. 
 
 127 
 
 Sect. II. — Discords of Suspension.* 
 
 I. Of the Fourth.^ 
 
 367. The fourth, accompanied with the fifth and eighth, is an 
 uppogiatura, continued in the place of the third, on the strong 
 -part of the measure. It is generally prepared, and is resolved 
 by descending one degree. 
 
 {^CorreUi, Concerto 10.) 
 
 
 -J: 
 
 IPS'-:: 
 
 I 
 
 m 
 
 » 
 
 -e?~ 
 
 43 
 
 it 
 
 43 
 
 "I 
 
 368. It has two inversions, viz., the second and fifth, which 
 
 si'spends the sixth, (Art. 295,) and the fourth and seventh, which 
 
 suspends the fourth and sixth, (Art. 298,) the two inversions of 
 
 the triad. 
 
 1st Inversion. 2d InTeision. 
 
 ;i 
 
 I 
 
 f- 
 
 i=f: 
 
 t; 
 
 76 
 .44 
 
 ^^m 
 
 • While Rameau, in France, (1722,) was confusing his system with a false 
 theory of these discords, Fux, at Vienna, (1725,) explained them in a few words, 
 as simple retardations of the following note: " Notas Ugatas hand aliud esse, 
 quam notse sequentis retardationem." ,..-,, ^ . j i ■ 
 
 + This chord, under the title of eleventh heterochte, (that is, used only in 
 part, or in an imperfect state,) makes a conspicuous figure m the theory of 
 Bameau. 
 
t28 
 
 callcott's musical grammar. 
 
 n. Of the Mnth. 
 
 369. The ninth, accompanied with the third and fifth, is an 
 appoggi&tura, continued in the place of the eighth. It is, like 
 the fburth, generally prepared, and always resolved.* 
 
 (CoreOi, Concerto 10.) 
 
 98 
 
 98 
 
 
 
 370. The double suspensions of the fourth and ninth, and of 
 the seventh and ninth, frequently occur. An early example is 
 found in Carrissimi.f 
 
 ss 
 
 aEr=33a 
 
 m 
 
 Sa;^: 
 
 ^ 
 
 I 
 
 S 
 
 ■-«— S*- 
 
 r 
 
 98 
 43 
 
 98 
 46 
 
 98 
 76 
 
 jSC. 
 
 ZSZL 
 
 * The intermixture of tbe discords of suspension with those of transition is 
 beautifuUv ezerapHfied in the opening of Fergolesi's Stabat Mater. (See 
 Mt. Shield.) 
 
 t See his "Florate filise Israel," printed in Kircher, i. 604. -This passage is 
 J.1S0 used by Cbrelli, and by Ha&oel, in Samson, " Hear Jacob's God," &e. 
 Or. B. IT. 146. Sir J. H. iv. 92. La B. it. 460. (See also Rameau.) 
 
HARUONT. 
 
 129 
 
 371. The chord of the ninth has two inversions ; one figured 
 with a seventh, followed by its resolution the sixth, on the third 
 of the root ; the other figured as ^ftk and sixthf on the fifth of 
 the root. 
 
 372. The following tonic pedal, or organ point,, is a very im- 
 portant study for the chorda of suspension.* 
 
 (0 the pleasure of the plains.-f) 
 
 iS 
 
 5- 
 43 
 
 6-5- 
 6443 
 
 4-3 
 
 i 
 
 -fS- 
 
 is 
 
 98 
 
 43 
 
 m 
 
 fen 
 
 5 
 
 Badical bass. 
 
 TTT . Of the Appoggiatiirag cf Stespension. 
 
 373. Although every note of suspension may be reduced to 
 an appoggiatura,j: yet in modem music, some notes are more 
 
 • The Abbe Eoze (See La Borde, torn. iii. p. 476> shows clearly that these 
 passages form a species of supposition, in which the holding note is not con- 
 sidered in the radical bass, art. 9. 
 
 t Ads and (Jalatea. Dr. A. No. 28. See a similar passage in the celebrated 
 air of Vinci — " Vo solcando un mar cnidele." The remarks of Tartini are 
 also important. ..... 
 
 t The opinion of Emanuel Bach is very decisive on this subject ; he even 
 agrees with Fux, &c., that all ligatures and dissonances may be reduced to 
 
 " Man kann alle Bindungen und Dissonantien auf diese Vorschlage zuruck 
 fuhren." — Versuch, p. 45. 
 
 This is, however, extending the term somewhat too far, as the essential 
 sevenths of Kimberger, which are used in the sequence of descending fifths 
 (Art. 383,) cannot be considered as appoggiaturas, (Verschlage,) althoogh. they 
 are bound by the ligature, (Bindung.) 
 
130 
 
 callcott's musical geammab. 
 
 particularly used as such than others, and differ from those just 
 described by greater freedom in their resolution. 
 
 374. Any part of the dominant seventh may be retained on 
 the tonic bass, and afterward proceed according to its proper 
 motion, (Art. 331.) 
 
 375. The ninth also may resolve by ascending into the tenth, 
 and the sharp seventh (or leading note) must resolve by ascend- 
 ing into the eighth. 
 
 376. In this ascending resolution of the dominant seventh, the 
 figure of the suspended ninih often becomes a second i* thus, 
 
 78 
 
 78 
 43 
 
 78 
 23 
 
 78 
 45 
 2 3 
 
 S^ ^-^ ^^P^^ 
 
 377. In diatonic sequences, as will be shown hereafter, every 
 note of the scale may bear single or double suspensions. 
 
 All these notes are nothing more than the retardati<Tn or re- 
 tention of a sound, longer than the duration of its own root, upon 
 a new radical base.t 
 
 rV. Of AnUcvpation,X Sfc. 
 
 378. When a note is diminished by half its value, and the 
 following degree employed to fill up its time upon the former 
 bass, such change is termed antHcipaiion. These anticipated 
 notes are considered wholly as relating to melody, and are not ' 
 noticed by the figures of thorough-bass. 
 
 379. In the following example, taken ft'om the Lexicon of 
 Koch, § (art. Vorausnakme,) the first measure (A) contains the 
 
 * In modern music, the whole harmony of the dominant is often retained in 
 the place of the tonic, and the radical bass note of the tonic itself suspended 
 till the latter part of the measure. This will be further explained in treating 
 of the cfflsure. 
 
 t That peculiar effect which is produced from an internal melody by the em- 
 ployment of suspension, has been well described by Rousseau, art. Unity of 
 Meloeliy. In this valuable article, while he wishes to exalt his favorite branch 
 hi music, niuHody, at the expense of harmony, he actually proves the superiority 
 .if the latter, and praises those beautiful effects which, without harmony, could 
 not exist. 
 
 1 The term mtlicipatian, is used in a different sense by Heck. 
 
 9 Anticipations are considered by Koch as after notes, which may be tied on 
 to the chief note of the following melody. 
 
3AEMONT. 
 
 131 
 
 Simple notes ; the second (B) shows the anticipation in quavers ; 
 and the third (C) repeats the same anticipation in syncopated 
 notes. 
 
 (A) (B) (C) 
 
 
 s 
 
 5E^ 
 
 11 
 
 -^- 
 
 =r- 
 
 -z^r^'- 
 
 -^ — • 
 
 380. The Postpositions of Dr. Pepusch * are in reality nothing 
 more than irregulisir suspensions, being the reverse of the antici- 
 pations, and used in the following manner : 
 
 S^ 
 
 i 
 
 ffi 
 
 ^ 
 
 3^1 
 
 S2; 
 
 381. Many other chords o^suspension may be formed, by 
 combining all the preceding in different ways. Hence arise the 
 second andthird,t the sixth and ninth, &c. ; which may be fomid 
 in Kirnberger, KoUman, Shield, &c. 
 
 Sect. III. — Discords of Syncopation. 
 
 382. The discords of syncopation,X only differ from those of 
 suspension § by constituting part of the radical harmony, and by 
 not being merely appoggiaturas. 
 
 * Treatise on Harmony, 1731. " Postposition, or retardation of harmony, is 
 the putting a discord upon the accented part of the bar, followed by a concord 
 on the next unaccented part, but not prepared and resolved aooordmg to the 
 rules for discords." Example 130, 131, 132. ■ , -^ a ^ 
 
 + This chord, which arises from a suspension of the bass, is described by 
 Emanuel Bach, Heck, and Shield. . . 
 
 X The term syncope, or syncopation, signifies the division or cutting tnrough a 
 note by a bar, or accent expressed or understood. _ • 
 
 f The term siupension is used in its most extensive sense m a former article, 
 
llg 
 
 callcott's musical gbammak. 
 
 ; $^. The dUtcmic sequence of sevenths is one of tke priih 
 G^sl passages in wluch these discords are used. 
 
 Sirrii 
 
 -<si- 
 
 1321 
 
 :2?zi 
 
 §84. The German authors, previous to the writings of Kim- 
 berger, (1774,) seem to have classed the discords of suspension 
 ■with those of syncopation ; * but his arrangeiikent of chords, into 
 essential and aceidental, establishes that difference between them 
 trhich is adopted in this work. 
 
 Sect. IV. — Discords of Addition. 
 
 S85. When any discord which has not been heard in the 
 precediq^ harmony is united to the perfect triad, it is termed in 
 this work a discord of addition.'^ 
 
 ^86. Xhe 4iBCords of addition are the seventh, the niiath, both 
 oj^ the dominant ; and the sixth on the subdomiuant : these are 
 paji;t^|ilar}y useful in distinguishing those two harmonies from 
 that of the tonic. 
 
 I. Of the added Seventh. 
 
 387. The whole second chapter of this part relates to the 
 dominant seventh, particularly Art. 317, where the difference 
 between the added and the transient seventh is sho^wn. The 
 third section treats of its resdlution; which term is equally 
 
 (Art. 317,) for the purpose of showing the difference between prepared and 
 unprepared discords. 
 
 * Hecli; places them together ; and Heck was well versed in the musical lit- 
 erature of Germany. 
 
 t The discords of addition, although implied in the writings of Motley, Simp- 
 Bon, Fepusch, &c., were not fully established until Mr. Holden's Essay appeared, 
 in m6. The term addition is now adopted in Fianee by M. Langle, (1801.) 
 but in a less ext< -juTe sense. 
 
KABMONT. 
 
 133 
 
 applied to the descent of th« seventh^ whether used ISgr traasition, 
 suspension, syncopatdon, or addition. 
 
 11. Of ik& added Sixth. 
 
 388. As the dominant harmoaj is distinguished frojoo. that of 
 the tonic by its added seventh, so the subdominant is distinguished! 
 from the tonic, and from the dominant, by its added sixth.* 
 
 389. Whenever the melody of a single part, (as at A,) or the 
 harmony of the whole, (as at B,) requires it, the subdominant 
 may have its own sixth (or supertonic of the scale) added to its 
 triad. 
 
 (A) (A> 
 
 1221 
 
 laz^i: 
 
 :g2= 
 
 6 
 
 4 
 
 6 
 
 4 
 
 S 
 3 
 
 Wz 
 
 H 
 
 i 
 
 :22: 
 
 22: 
 
 Sixth added for the melody^ 
 (B) 
 
 ^ 
 
 -©1- 
 
 -(©? 
 
 ^ 
 
 I s» C 
 
 w 
 
 jsa,^ 
 
 g 
 
 ::psr 
 
 1221 
 
 i 
 
 Sixth added for the harmony. 
 
 * Theer&ts are divided in their opinions concemjng the root of this chord ;^, 
 but a great majority of authors are in favor of its derivation from the second or 
 supertonic of the key. (See Shield, &o.) . , v j 
 
 Eameau seems to have been the fliBt who classed it as a theoretical chord ; 
 but Morley gives a specimen of its practical use, and even allows it in counter- 
 point where concords are chiefly employed. Holden follows D'Alembert and 
 Serre, and inclines to the doctrine of double fuodamentals- MUrpurg, and 
 Kirnberger unite in rejecting this chord as an «4Sition,. and. both censurfl 
 Rameau. 
 
 12 
 
134 
 
 callcott's mdsical geammae. 
 
 390. The fifth and dxth on the subdominant may be pre- 
 pared by the tonic, by the Bubmediant, or by the dominant,* 
 vs, radical basses ; thus. 
 
 ^^^^^^^^ 
 
 jS.- 
 
 -es~ 
 
 m 
 
 -&- 
 
 6 
 6 
 
 ->S- 
 
 i 
 
 s- 
 
 I 
 
 2s: 
 
 By the Tonw. 
 
 By the Submediant. By the Dominant. 
 
 391. This discord may resolve two ways, viz., into the tonic, 
 (on its second inversion,) or inro the dominant harmony .t 
 
 i 
 
 3SI 
 
 m 
 
 "sr- 
 
 -SJ- 
 
 6 
 4 
 
 rs2= 
 
 -<s>- 
 
 32: 
 
 i 
 
 Added Sixth. 
 
 Tonic. 
 
 Added Sixth. 
 
 Dominant. 
 
 392. The inversions of this harmony are seldom used ; one 
 instance, however, occurs in Handel's Overture to Esther. 
 
 ^ 
 
 -H- 
 
 m 
 
 -^m 
 
 Mri=—:=iJSZ=.*zM^. 
 
 rh 1 
 
 ee^ 
 
 4- 
 3- 
 
 6 4 
 4_3 
 
 W-\i- 
 
 :pxi=zp: 
 
 Ei 
 
 i 
 
 £2 
 
 -LM 
 
 * The prepuration of the added sixth by the -dominant is found in the final 
 cadence of Steffiini's motet, Qui diligit. 
 
 t Bameau has resolved it also into the tonic bass, as an itresular cadencA. 
 See also Playford, (1700.) 
 
HAKMONT 
 
 135 
 
 393. "When this harmony appears in the form of a seventh on 
 the supertoaic, it frequently constitutes part of the diatonio 
 sequence of sevenths, and, as such, may be accounted radical, 
 , like the dinuiushed triad of Kimberger. 
 
 i--f-p 
 
 ^ -^ (s- 
 
 -S-^.gr' 
 
 SE 
 
 i 
 
 -.^sz 
 
 =^- 
 
 i2s: 
 
 394. Bameau * estimates the root of the harmony by its res- 
 olution, calling it D when followed by G, and F when followed 
 by C. Heck f considers it as a compound of both the harmonies 
 of D and of F. Dr. Boyce, (in his MSS.,) and with him the au- 
 thor of this work, thinks that the root is decided by the scale of 
 the key in which it is found ; thus, 
 
 ^^ 
 
 .# 
 
 I 
 
 -&~ 
 
 "521 
 
 D in A minor. 
 
 F in C major. 
 
 395. Koch, in his Lexicon, (art. Verbindungs Accord,) has 
 placed his accidental X harmonies in a different point of view. 
 He considers them as connecting chords, and seems to agree with 
 
 • Rousseau, Art. Double Emploi. , j. ,-. 
 
 t Heck says, " The ascending fourth of the scale bears its own natural har- 
 mony with an additional sixth, m order to prepare the succeeding fifth, and is 
 thus compounded of two common chords, that of D and F." 
 
 t Koch terms the three harmonies of the key essential, and the three rel- 
 »jJTgs tfcciijenfal. (See before, Art, 305.) 
 
136 
 
 CALLCOTT'S MUSICAl GEAMMAK. 
 
 Kirnberger,* who asserts that, by a species of transition, tha 
 barmony of. the triad is thus united to another of its inver- 
 sions. 
 
 ^ 
 
 ^E^E 
 
 H- 
 
 W- 
 
 3^: 
 
 -&- 
 
 'St 
 
 4 
 
 22: 
 
 -P- 
 
 In tb,ese examples, the middle harmony is said to pass, or to 
 be wholly transient. - 
 
 396. Which of these opinions is nearest the truth, the author 
 does not at present presume to decide ; but the consideration of 
 the minor mode with the imperfect fifth on its superto.nic B, au- 
 thorizes him to assert that the system which makes that note, a 
 radical bass cannot be true. 
 
 A minoT. 
 
 T2I 
 
 I 
 
 ^g:: 
 
 :gr 
 
 1221 
 
 7 
 
 "S?- 
 
 i 
 
 * See E,i)iiberg,er (die wahren Grundsatze.) 
 
 Heck tliiiiks that the seventh used by transition (as in this passage) does 
 not resolve at all. 
 
 Keeble also has accounted for this seventh in a similar manner, under thi 
 name of extension. 
 
HAKMONl laZ 
 
 III. Of the addtiL Ninth.* 
 
 397. When to the chord of the dominant seventh tho ninth 
 is also joined, a- chord of five sounds is formed. It rises from the 
 root by regular thirds,! in tlie following manner : 
 
 ^ 
 
 -(S- 
 
 -&- 
 
 In C major. In A minor. 
 
 398. This harmony being generally used is four parts, the 
 radical bass is commonly omitted; for the leading note is always 
 sufficiently powerful to guide the ear to its proper root. In this 
 form, the two chor^ have been already described. Art. 322 
 and 323. 
 
 399. The added ninth J; of the dominant is really the sub- 
 mediant of the scale, or sixth from the tonic ; it is consequently 
 major in the major mode, and minor in the minor mode. Thus, 
 although there is but one added seventh, there are two added 
 
 400. The omission of the root forms a chord of the seventh, 
 (Art. 322,) on the leading note, which may be known from the 
 other sevenths (either of the sequence or of suspension) by its 
 resolution into the tonic. It may sometimes be prepared, but is 
 generally used without preparation. 
 
 * M. Langle (Nouvelle Methode pour chiffrer les Acpords, Paiia, 1801) ha? 
 completely overthrown the doctrine of Kameau concerning supposition, and the 
 absurdity of imagining sounds wader a fundamental bass. 
 
 t The construction of all chords by uniting thirds, was a favorite ncftion of 
 Rameau's : it has had some success ; but the simplicity of Kirnberger's system 
 of suspension has evinced its fallacy, particularly in the chords of the fourth 
 and ninth. Marpurg extended it beyond the chord of the elmienth to that of 
 the thirteenth ; but it, will not be easy to find examples to justify any addition 
 after the ninth. 
 
 X Mr. Kollman (Essay on Harmony) terms this ninth a suspension of the 
 original fundamental note. Such is also the system of Kimberger ; but the 
 nomenclature is defective, since the above harmony is used generally without 
 preparation, and in some instances actually rises from the dominant by thirds. 
 See Handel's Chorus in Israel in Egypt—" The people shall hear;' at the 
 words, " till thy people pass mer." See also the opening of Haydn's celebrated 
 Overture in D, composed for Bach and Abel's concerts ; where, upon a dom- 
 inant pedal bsjss, tlje fourth is, suspended, and the ninth ad^d. 
 
 12* 
 
138 
 
 callcott's musical geammak. 
 
 I 
 
 gEE|3- 
 
 g^-EtE=^~d 
 
 at 
 
 :S3Z 
 
 331 
 
 Prepared. 
 
 Unprepared. 
 
 401. None of the inversions of this seventh are employed in 
 the major scale, but all are used in that of the minor. 
 
 402. This chord has been considered as a combination of the 
 dominant and subdominant harmonies, since it contains the B 
 and D of the former, and the A and F of the latter, while the 
 resolution of D and F falls on the same note.* 
 
 1^^ 
 
 Dominant. 
 
 Subdominant. 
 
 Union of both. 
 
 403. It is observable, that the above combination of sounds 
 includes every note of the scale, excepting the three notes of the 
 triad on the tonic, and that it also decides the mode of the scale, 
 siiice the sixth or submediant is part of the chord of the sub- 
 dominant, which is major or minor, according to the key. 
 (Art. 399.) 
 
 404. The same chord in the minor mode consists of three 
 minor thirds ; t and its extreme notes are the sharp seventh and 
 minor sixth of the scale. It is of such importance in modern 
 music, that it is termed the diminished seventh, (Art. 323,) or 
 equivocal chord. In the resolution of its parts, it conforms to 
 that of the major chord in' the last example. (Art. 402.) 
 
 * This explanation of the chord corresponds with the system of M. Bemetz- 
 rieder, whose calls (appels) are precisely the four sounds of this harmony. 
 Lecons de Clavecin, Paris, 1771. Translation by Bernard,'l778. The union 
 of these two harmonies, G and F, is a system far more plausible than the com- 
 bination of D and F in the added sixth. (Art. 394.) 
 
 t Eameau terms this harmony a borrowed chord, because the dominant 
 "lends her fundamental to the sixth note of minor keys." This'explanation 
 is very obscure, although it is finally reducible to the theory of Kirnbergcr. 
 (See Art. 399.) 
 
HAEMONT. 
 
 139 
 
 ^^S 
 
 <s 
 
 -#g 
 
 405. This harmony has a great advantage over the former, 
 (Art. 402,) since it decides the key ; for the harmony of B with 
 a seventh may be in A minor or in C major. 
 
 m 
 
 h^^ 
 
 ^fe 
 
 tsT -„— 
 
 r 
 
 IS?: 
 
 ■-"^^& 
 
 ■r 
 
 f- 
 
 r 
 
 -e- 
 
 i: 
 
 ."g?" 
 
 22: 
 
 ST 
 
 -^1^ 
 
 _s_ 
 
 Added sixth. 
 Kadical bass D. 
 
 Added ninth. 
 Radical bass O. 
 
 Added ninth. 
 Badical bass E. 
 
 But the seventh of Gr sharp can only be found in the key of A 
 minor.* 
 
 406. The radical bass of this chord may be found in extreme 
 modulations by two methods. 
 
 I. By the major third below the last sharp. 
 
 II. By the semitone below the last flat. 
 
 When naturals occur, the observations concerning them (Art. 
 97) must be strictly regarded. 
 
 407. This chord is not only considered as a, direct harmony, 
 but all its three inversions are occasionally employed. 
 
 — ^- 
 
 Supposed 
 radical. 
 
 j^E ^=J^:^ Ep 
 
 First 
 inversion. 
 
 I 
 
 6 
 3 
 
 Second 
 inversion. 
 
 6 
 
 A. 
 
 Third 
 inversion. 
 
 I 
 
 See the note in the preceding page. 
 
140 
 
 CALLCOTT's MUSIOAJS, &BAMMAR. 
 
 408. In those keys ■vrhere the clef does not agree with the 
 modulatic»n, the seeoad inversion * rec[aires a flat or natural under 
 the sharp fourth. 
 
 ^=ds 
 
 gb:z=t 
 
 ■oF 
 
 m 
 
 sizg? 
 
 
 ig=;i[^ 
 
 5z:bs8i 
 
 'P" 
 
 ** h 
 
 i^"^ 
 
 ^1 
 
 I 
 
 I 
 
 4 
 
 
 m 
 
 ci_T 
 
 - (g— ^- F#' 
 
 _r 
 
 -P- 
 
 :s?: 
 
 409. These two chords of the added ninth have been termed 
 chords of major and of minor su^stitwtion ; f since they are con- 
 sidered as derived from the dominant seventh; bj substituting 
 the nintk in the place of the eighth. 
 
 They are ajso styled chords of borrowed harmony ; since the 
 seventh and ninth are supposed to be derived or borrowed from 
 the subdominant.| 
 
 410. All these chords are liable to have any of their sounds 
 suspended on the following tonic harmony ; and hence arise many 
 figured basses, too numerous to be inserted within the limits of 
 the present work;. 
 
 * The effect of tliis harmony is truly sublime in Handel's Deborah. See the 
 first chorus, "immortftl I<ora>" ftt the words,. " whose anger, when it awful 
 glows." 
 
 t The Abbe BauBsier (Traite des Apcords 1764) seems toemploy the terms 
 suostitution and borrowed harmony (enmniTtt) as synonymes. Neither teijajs 
 found as an article in the Dictionary orRousseau. (See Holden.) 
 
 The principle of supposition, from which Eameau has deduced these chords,, 
 by placmg sounds below the ftindamental, is now (except in pedal harmoniesi) 
 deservedly forgotten. 
 
 J Mrs. Gunn (Introduction to Music, 1803) has giyen this explanation of 
 JxyrrowedJumMmf, which differs from the original idea of Rameau, although i* 
 is not inapplicable to the combination.^ (See Art. 402.). 
 
HARMONY. 
 
 141 
 
 CHAPTER IV. 
 
 OF CADENCES. 
 
 Art. 411. A cadence* in harmony consists of two distinc, 
 chords, (the last of which is generally acceated,) and is used ta 
 terminate the sections and periods of musifial phythra. 
 
 Sec:?. I, — Of Radical Cadences, 
 
 412. When the basses of both chords are the roots of their 
 respective triads, the cadence is termed radical; and of these 
 radical cadences there are four in general use, the perfect, 
 imperfect, false, and mixed ;t to these m^y be added the plc^ 
 gal or church cadence, which is only a variation of the imper- 
 feet I and the authentic, which is only the ancient term for the 
 perfect. 
 
 413. I. The perfeet cadence t consists of the dominant har- 
 mony, followed by that of the tonic ; thus. 
 
 jL. 
 
 
 ^ • 
 
 -U- 
 
 -■-. 
 
 
 -Y 
 
 7 
 
 ^ -gr- 
 
 __|_ 
 
 — . 1 
 
 
 4 
 
 ^— 
 
 ^- 
 
 1 «r— : 
 
 . _,. 
 
 
 
 p 27: : 
 
 — |— 
 
 ~ 
 
 
 -f 
 
 In C major. In A minor. 
 
 The first or leading harmony is always major. 
 
 * The term cadence was formerly applied to the final melody of a musical 
 close. See Morley and Butler. The Germans adopted the Latin word claiueula 
 in the same sense. See Walther's Lexicon, 1732. 
 
 f See the origin of the cadences before explained, Art. 310. 
 
 j See Rameau, of the perfect cadence. 
 
142 
 
 callCott's musical grammab. 
 
 414. H. The imperfect cadence* consists of the tonic, fol- 
 lowed by the dominant without its added seventh, and is the 
 former cadence reversed. 
 
 ZZC 
 
 u 
 
 =g: 
 
 zss:. 
 
 ±g: 
 
 -a?- 
 
 -^ 
 
 
 "e: 
 
 25:; 
 
 In C major. 
 
 In A minor. 
 
 The second or final harmony is always major. 
 
 415. m. The false cadence t consists of the dominant, fol- 
 lowed by the submediant (in diatonic gradation), taken in the 
 place of the tonic. In the major mode, this cadence forms the 
 interval of a tone ; in the minor mode, only a semitone ; and it 
 is used instead of the perfect cadence, from which it is derived. 
 
 221 
 
 321 
 
 ^: 
 
 "s" 
 
 -rgr- 
 
 321 
 
 I 
 
 I^ 
 
 In C major. 
 
 In A minor. 
 
 416. IV. The mixed cadence % is the direct gradation of th'o 
 Bubdominant to the dominant, and is used instead of the imper- 
 fect cadence, from which it is derived. 
 
 * This is termed by Bameau the irregular cadence, and he wishes extremely 
 to have the sixth added to the leading chord. This fancied improvement has 
 been, with great propriety, rejected by subsequent theorists. See Kimberger, 
 Bie Kunst J and Kollman, Essay on Harmony. 
 
 f The false or flying cadence is placed by Bameau among the licenses. 
 
 X Tartini. Bameau has also mentioned another cadence, which he terms 
 interrupted, (interromjme,) from the dominant to the mediant. (Code de la 
 Musiciue, 1760.) Of this progression at a rhythmic close, there are few, if any, 
 practical examples. 
 
HARMONY. 
 
 143 
 
 I 
 
 =*g= 
 
 sr 
 
 
 W 
 
 ::ssi 
 
 I 
 
 zzsz 
 
 In C major. 
 
 In A minor. 
 
 417. The plagal cadence * only differs from the imperfect as 
 to its place in the scale, being the progression of the subdominant 
 to the tonic. This is used as a final cadence in church music, 
 particularly in the Hallelujah Chorus, Messiah, and in the Cor- 
 onation Anthem, Zadock the Priest. 
 
 <s L 
 
 -ST- 
 
 S 
 
 1221 
 
 2s: 
 
 :2Si 
 
 In C major. 
 
 In A minor. 
 
 The final chord of this is always major.f 
 
 418. The avthentic cadence is the same as the perfect, (Art. 
 413,) and is only so termed in contradistinction to the plagal. 
 (See Art. 177.) 
 
 Sect. II. — Of Medial Cadences. 
 
 419. When the leading harmony of any cadence is not rad- 
 ical, but inverted, the cadence is, in this work, termed rmdicU, 
 and is used to express an incomplete close. 
 
 * This is a,ecadama-<mtmeticao{Tf.nim. ^F"' *%f y'^°^°By/ *J'„'„*e?^| 
 plagal and a^ltentic, see Dr. Burney, ii. 13. ^\f^^°f^^- ^ii Z 
 
 %t;?l»e?etlLi^^oJ^^^^^^^ 
 
 of ™usfc 4ith the major third, whatever might be the cadence. (See Padr. 
 Mwtini, iJaggio 1.) 
 
144 
 
 CALLCOTT'S BXTSieAL GEAMMAB. 
 
 420. I. Cadence of the hadiT^f note. This is the first inveif ion 
 »f the doEainant, and is ssed instead of the perfeet eadence.* 
 
 SiE^E 
 
 li^izzQi 
 
 1221 
 
 221 
 
 ■z'Ssi 
 
 -P^- 
 
 :?2! 
 
 6 
 
 s 
 
 -(2_ 
 
 5 
 6 3 
 
 4, 
 2 
 
 -&- 
 
 421. II. Cadence of the sJiairp sixth. This is the. secom' 
 inversion of the dominant, and is sometimes used as a final ca- 
 dence on the tonic, as in Nbn Nobis, Domine ; but more generall_> 
 on th& sixth of the descending scale, when it commonly bears 
 suspended seventh. 
 
 T 1- 
 
 I 
 
 ^1 
 
 -o- 
 
 -Sl- 
 
 3Z 
 
 .=p= 
 
 -«■ 
 
 g_ 
 
 -^ 
 
 .. ._o_, 
 
 Pt 
 
 6 7 6 
 
 -P 
 
 6 6 
 
 P^ 
 
 r&- 
 
 "dt 
 
 I 
 
 -(S- 
 
 rsz 
 
 -IS- 
 
 422. III. Cadence of the major or minor sixth- This is tha 
 first inversion of the mixed cadence, and is chiefly used in tha 
 minor mode. It is also liable to the antecedent suspension of 
 the seventh. 
 
 " Q~T"'^'T "~'g~T~ ^"-^"" i ""« i — T""' 
 
 ^^^^^^^^^ 
 
 rsz. 
 
 pr 
 
 76 
 
 I 
 
 j^ 
 
 *f 
 
 1^ 
 
 ^ 
 
 :22: 
 
 * See examples of all these cadencet in Handel's Jndaa It^accabieus, " Wt 
 worship "^od." 
 
BARUOHT. 
 
 145 
 
 423. These cadences may also become protracied, by ueing 
 other harmonies on the dominant. Thus is f&tmed what Dr. 
 Pepusch calls the grand cadence.* 
 
 1=1^^=33^1 
 
 '=f 
 
 f^r 
 
 56S5 
 3443 
 
 ^ 
 
 rszi 
 
 ^^ 
 
 •424. To these may be added those decdftive cadences, whicl^ 
 by varying the final chord, avdid the final close. 
 
 6 5 
 4 3 
 
 6 6 
 4 3 
 
 SE 
 
 ^iS 
 
 :^=p: 
 
 w 
 
 6 5 
 4 3 
 
 =P=^ 
 
 ^=1!^ 
 
 CHAPTER V. 
 
 OF SEQUENCES. 
 
 Art. 425. Any similar succession of chords in the same scale, 
 ascending or des(iietlding diatonicaHy, is, in this work, termed a 
 sequence.^ 
 
 • Godfrey Keller (1731) calls the Sth and 4th cadence common; the -eth 
 and 4th cadence bears its own name ; and that given in the example above is 
 called the great cadence. (See Dr. Pepusoh.) ... . . 
 
 + The great distinction between a sequence and a modulation consists in 
 the scale or kev reraainina; unaltered in the seqnenoe, aid being changSd in tlMr 
 modulation. (See Art. 303.) 
 13 
 
146 
 
 callcott's musical grammar. 
 
 426. All sequenoes are particularly distinguished by the irreg- 
 ularity of making the leading note a temporary root, to avoid 
 modulation out of the original Bcale. 
 
 , I. Of Dominant Sequences. 
 
 427. The principal descending sequence is that of sevenths ; * 
 an example of which has been already given, (Art. 383,) derived 
 from the progression of rising fourths and falling fifths in the 
 dominant motion. (Art. 312.) 
 
 II. Of Mediant Sequences. 
 
 428. The principal ascending sequence is that known bj»a 
 figure 5 followed by a 6, on a gradual progression of th'e diatonic 
 scale. It is derived from the mediant progression. (Art. 312.) 
 
 In this and the following examples the directs show the 
 radical base. 
 
 .-I !_ 
 
 "gy 
 
 -&■ 
 
 S 
 
 is: 
 
 W- 
 
 56 
 
 56 
 
 56 
 
 56 
 
 -j*v — &- 
 
 J^l 
 
 -7%V S~ 
 
 -^=^,^~M^ 
 
 S: 
 
 I 
 
 i: 
 
 56 
 
 66 
 
 60 
 
 • Dr. Burney calls it a chain of seventh*. Tlw \eir\ ff^ ,«r »••« pTcb^My 
 fiist employed by Fascjuali. It is found ■« tihuasri i\. tu* iLotc ertwnuTe 
 sense of progression. 
 
HARMONY. 
 
 147 
 
 This sequence, like that of sevenths, admits of the leading 
 note, as a temporary root ; * and it seems to have been for tha 
 sake of elucidating these passages, that Kimberger and KoUman 
 have admitted the diminished triad among the consonant har- 
 monies. 
 
 III. Of Inverted Sequences. 
 
 429. The principal inverted sequences are those derived from 
 the sequence of sevenths ; t and of these, the most usual is that 
 of a 7, followed by a 6 on the gradual descending progression of 
 the scale. 
 
 -Si- -SJ- 
 
 J-^ 
 
 56 
 
 ii 
 
 76 
 
 76 
 
 .''^- 
 
 I 
 
 Z^f". 
 
 :--^ 
 
 — r 
 "SSI 
 
 ■± 
 
 \ 
 
 -&~ 
 
 -st_ 
 
 ~o" 
 
 8: 
 
 76 
 
 76 
 
 IS?: 
 
 76 
 
 rs^i 
 
 I 
 
 * Nothing but the rhythmical arrangement of the passage, which divides 
 every semibreve into two roots, permits this departure from the first principles 
 of harmony, viz., that every ramcal bass must bear a perfect fifth, (Art. 291,) 
 and that all melodies belong to the three chords of the key. (Art. 306.) These 
 two rules are liable to no exceptions, except what arise from the nature of the 
 sequences and the licemes. Dr. Boyce, in his air of " Softly rise," has used this 
 sequence with great effect. Shield. 
 
 Essay, the sequences are thus explained. 
 
146 
 
 OALLCOTTS MUSICAL GRAMMAR. 
 
 430. It is not unusual in the first inversion of the sequence 
 Of serenths (that of the fifth and sixth) to leave every other har- 
 m&aj as a simple triad, in the following manner : 
 
 -A 
 
 ;BElESEgE-S 
 
 :b: 
 
 I 
 
 ^ 
 
 rr 
 
 
 W 
 
 f; 
 
 :£ 
 
 :p:=^: 
 
 '& — 'Of 
 
 
 -^■ 
 
 -P- 
 
 % 
 
 ".ZT 
 
 IV. Of Simple Sequences. 
 
 431. A descending sc^e may also be accompanied by a simpte 
 seaueHce of sixths alone. The theory of this progression is in ; 
 volved in some diificulty ; * but the uniform practice of authors, 
 both ancient and modern, has established its use. 
 
 ^ 
 
 fcr^r^^ 
 
 -^ 
 
 ^= 
 
 ZtSZ 
 
 I 
 
 s 
 
 -o- 
 
 -?si 
 
 6 
 
 w 
 
 -<s- 
 
 i 
 
 t--- 
 
 432. The same series may take place ascending; and the 
 effect is nearly that of the medial sequence of 6 and 6, as the 
 preceding series of the descending scale resembles the inverted 
 .sequence of 7 and 6. 
 
 * Bimeau observes of this se^iitence, that Zarlino expressly forbids it, (In- 
 JJtS. tiaimonicfae, fedit, 1673 ;) but its high antiquity, and its great effect in 
 aodern music, ridel's it clasHcal, notwithstanding the defect of &e false ha)> 
 tony on D, derived from the imperfect Wad of B. (Alt. 287-) 
 
HA.RMONT. 
 
 149 
 
 Wz 
 
 :^: 
 
 r^- 
 
 -(S- 
 
 zs^ 
 
 -&- 
 
 _J_,-s)— i 
 
 ^ 
 
 6 
 
 -ts- 
 
 6 
 
 I 
 
 V. Of Uompound Sequences. j 
 
 433. Compound sequences are those which, by employing the 
 chords of suspension, change their harmonies on the alternate 
 bass. Of these there are various kinds ; one of the principal is 
 that of descending thirds with alternate ninths ; thus : 
 
 ■^!a=X 
 
 i 
 
 ,=g: 
 
 p5- :g:-p: ^--^ -^ -^ 
 
 SE 
 
 i£2.,:&_^._^.. 
 
 m 
 
 ■Xr. 
 
 9 3 
 
 434. These sequences also may be doubly compounded, and 
 then bear double suspensions. 
 
 -ei- 
 
 W 
 
 m 
 
 6 
 3 
 
 13* 
 
 5 9 6 
 3 7 3 
 
m 
 
 caIllcott's MtrsicXi geammak. 
 
 435. To 'these may be added the partial sequences of two sim- 
 £^ Ibatmbsies, frequently ibund in Handel, &c.j thus: 
 
 ^ 
 
 ^ 
 
 m 
 
 i 
 
 p-v ^r r r y^yf 
 
 m 
 
 I 
 
 ?s=xz?s=^ 
 
 i 
 
 6 6 
 
 5 5 
 
 4 
 2 
 
 VI. 0/" Irreffitlctr Sequences. 
 
 436. It is not unusual to find an ascending scale accompanied 
 
 with the figures 7 and 6, with 9 and 8, or with their compounds 
 
 9 8 
 
 „ and v., which form irregidar sequences.* These chords belong 
 
 regularly to a descending series. 
 
 SE3 
 
 n_^_J^L 
 
 - ST 
 
 i3-jLj3. 
 
 i 
 
 #— #• 
 
 ^2: 
 
 76 
 
 76 
 
 98 
 
 98 
 
 :22: 
 
 It 
 
 Ih/thege sequences the unaccented harmony must be divided 
 in half, after the resolution of the discord, to prepare the follow- 
 ing one, as in the antecedent example ; the seventh is then pre- 
 pared by the eighth, and the ninth by the tenth.f 
 
 * Xumpe giTes tin ^xamjde of these sequences, in Trhich, by the contrail 
 motiofi, the necessity pf dividing the last haimony is avoided. 
 
 f That the present classification cannot comprehend all the sequences whicl 
 have been or can be invented, is sufficiently obTious, (Sen Bhield.) 
 
HARMONY. 
 
 151 
 
 CHAPTER VI. 
 
 or LICENSES. 
 
 Sect. I. — Of Pedal Harmonies. 
 
 Art. 437, When the dominant harmony is taken unprepared 
 upon the tonic bass as a holding note, whether preceded by the 
 tonic or by the subdominant harmony, the passage is termed a 
 tonic pedal or organ point. 
 
 iES^SEfiES^ 
 
 1221 
 
 r f 
 
 p 
 
 8 
 6 
 3 
 
 II 
 23 
 
 67 
 42 
 
 SI 
 34 
 
 8 
 3 
 
 '^■ 
 
 
 
 
 1 
 
 •-'■ 
 
 
 
 ■ 
 
 1 
 
 v*t> 
 
 O 
 
 to 
 
 ej 
 
 <^ 1 
 
 
 
 
 
 ^ I- 
 
 In the chord of 4 the dominant note itself is generally omitted, 
 2 
 for reasons before given, (Art. 327 ;) and the chord ^appears (in- 
 dependent of the holding bass) like that of the sharp sixth on the 
 supertonic. 
 
 438. When also any chords or sequences are taken upon the 
 dominant bass as a holding note, a similar -passage is formed, and 
 the bass then also becomes a dominant pedal note or organ point. 
 
 439. Not only the simple dominant, but its compound deriva- 
 tive, the added ninth, (Art. 391,) may be taken on a tonic pedal. 
 Hence arises the chord of the sixth and seventh, or the thirteenth 
 of Marpurg.* This is used in the minor mode on the tonic, and 
 sometimes, by extreme license, on the dominant. 
 
 * Marpurg's arrangement of chords into the consonant trjads, dissonant 
 triads, and sevenths, in the fe«< class, and into the nintVeleTenth, and thir- 
 teenth, in the second class, w clearly explained -by Xiwk, {General Bims, 1791.) 
 
m 
 
 callcott's musical grammar. 
 
 *=*?: 
 
 *s 
 
 ISZ 
 
 -*=? 
 
 I 
 
 r 
 
 -gsr 
 
 S; 
 
 jSL. 
 
 ZSZL 
 
 3 4 
 
 8 
 
 8*f7 
 
 8 
 
 S 
 
 5 6 
 
 » 
 
 3 
 
 *f 4 
 
 
 440. Not only these but any other chords, whether of suspen- 
 sion, sequence, &c., may be taken on the tonic, or the dominant, 
 as a pedal bass ; and some instances occur in which these sounds 
 may be retained in a superior part, as in the following example 
 from Mozart, Op. 11. 
 
 ^ 
 
 Bfcitafci: 
 
 a^3=5 
 
 1 
 
 •=tt»p<tMfcit:pfct:#tl!.tqitji» 
 
 £ 
 
 Sect. II. — Of the Extreme Sharp Sixth. 
 
 441. When, upon the first inversion of the mixed cadence, 
 (Art. 422,) the sixth of the submediant (or fourth of the scale) 
 is accidentally sharped, the chord of the extreme sharp sixth* is 
 formed. This harmony, when accompanied simply by the third, 
 has been termed the Italian sixth. 
 
 -#©i- 
 
 :?= 
 
 isl: 
 
 -#0- 
 
 3E 
 
 1321 
 
 Boot B. 
 
 I 
 
 * See Art. 297. Bousseau asserts that this harmony is never inverted. 
 ■ Pramery (Art. Amcord) has shown, from a Passione of Faisiello, that its in- 
 Te/sion may be Ho«d; and we have an exalhple in 'Weldon's Anthem, " Hear 
 jay crying." Dr. Boyce, Cath. Music. 
 
HABIUONT. 
 
 153 
 
 By this alteration of the fourth the species of cadence is changed 
 from the first inversion of the mixed to the second inversion of 
 the perfect, (Art. 421 ;) and it is considered as a license because 
 the root bears a flat fifth, while at the same time the third con- 
 tinues major. 
 
 The radical bass, therefore, of the extreme sharp sixth, is the 
 supertonic of the key ; and its fifth is allowed to be defective, 
 that the original minor mode may not be totally destroyed. 
 
 442. When to the simple combination of the Italian sixth the 
 root itself is annexed, a chord of the third, fourth, and sixth is 
 formed ; and, as this harmony is only found in the theory of Ba- 
 meau, it may be properly termed the French sixth. 
 
 ? 
 
 r#i 
 
 321 
 
 -#; 
 
 ■■^ 
 
 I 
 
 4 
 3 
 
 8 
 
 rsr 
 
 I 
 
 Boot B. 
 
 443. A harmony still more remote, but extremely powerful, 
 is formed upon this chord, by inserting the added ninth on tha 
 ixmt, as a supposed dominant to the real one. 
 
 This occurs with great eflfect in the writings of Graun, &c.,* 
 and therefore may be called the German sixth. 
 
 -#^ 
 
 @ 
 
 .Si. I- 
 
 i 
 
 65 
 
 4^ 
 
 _&: 
 
 I 
 
 Root B. 
 
 • See the example in Shield. The music of France, Italy, and Germany, 
 cannot be illustrated in a smaller compass than by the use of these three 
 
154» 
 
 CALLCOTT'S MirSJCAL GEAMMAE. 
 
 It pequireS) however, a continuation' of its third and fifth on the 
 dominant bass, (as a new fourth and sixth,) to prevent the con- 
 seciiltive fifths. 
 
 Sect. HL — Of Paetial Mchwi-ation. 
 
 444. Whenever the dominant and tonic of a new key are em- 
 pfoyed without the subdominant harmony, such change consti- 
 tutes » partial modtdation. 
 
 445. One change of this kind arises when the seventh of th« 
 major mode is flatted, and the modulation returns ag!U» through 
 the leading note to the tonic ; thus : 
 
 ^^^m' 
 
 r-f' 
 
 6 5 
 4 3 
 
 8b7 
 
 ^ 
 
 -&- 
 
 i 
 
 zsz. 
 
 446. Another change towards the dominant ia also feequeatly 
 used; thus: 
 
 32: 
 
 d— d-T#s)— ^sL^-^ — J-r- 
 
 ^^^ 
 
 s 
 
 I 
 
 S: 
 
 7 6 
 
 5 
 
 rf 6 
 
 Many othee changes occur, to the relative minor, (or subme- 
 
 chords. The feebleness of the French sixth compared with the elegance of 
 the Italian and the strength of the German, leaves no doubt of their superioi 
 excellence. The admirable genius of Graun knew when to employ Italiaa 
 sweetness, and when tq< change it for German force. 
 
HARMONY. 155 
 
 diant,) to the mediant, to the supertonic, &&, some of which are 
 peculiar to the music of the last forty yeaps. 
 
 Sect. IV. — Op the Rule op the Octave. 
 
 447. It may appear singulac to class this celebrated progres- 
 sion among musical license's;* but, as the desee&ding scale 
 equally includes a partial modulation, and rejects the original 
 subdominant harmony, so essential to the constituent parts of the 
 key, (Art. 305,) the propriety of the classification appears ob- 
 vious to the author of this work. 
 
 448. When a diatonic scale in the bass is accompanied yfith 
 harmony according to this rule, the roots and their iuTersionst 
 are thus intermixed : 
 
 Ascending Scale. 
 
 
 22=z;s=z22: 
 
 gg-:gz^^zz=g=z ^-rg^-g 
 
 6 
 
 * 6 
 
 3 6 6 6„ ^ -«?- 
 
 6 
 
 ^ g*- 
 
 i 
 
 ^ ^ . , gj ys ^ 
 
 ZS2L 
 
 Badical Bass.t 
 
 I 
 
 a — z? ^ — "^ RJ - 
 
 -S> ^ ST — o- 
 
 449. The descending scale makes, a partial modulation into 
 ttie dominant, like that given in Art. 446. 
 
 • Rouasean ascribes the invention of this rule to De Laire, 1710. See hw 
 art. BMgle de V Octave. 
 
 •f- In the minor mode, when the accidental scale is employed, the sixtn 
 must be sharped. ' , , , , ^ . u 
 
 t The directs placed over F, on the supertonic, show the fundamental bassea 
 of the French theorists. The hyperdiatonie cadence of Mercadier de Belesta 
 coincides with the under mites. 
 
ise 
 
 CALLCOTT'S musical 6RAMMAK. 
 Descending Scale. 
 
 I 
 
 ^zz:^^r=S5=g:: 
 
 :*2:: 
 
 -o- 
 
 :#: 
 
 2z: 
 
 :c2. 
 
 -<S> gp<&- 
 
 ^= 
 
 -25- 
 
 -!2_ 
 
 -23" 
 
 :^-=zssL 
 
 :: g g ^ j- 
 
 _C2- 
 
 I 
 
 4 
 3 
 
 4 
 2 
 
 6 
 4 
 3 
 
 132: 
 
 zsz: 
 
 -^- 
 
 7 
 
 450. In the minor mode the inversioa of the mixed cadenct 
 takes place, which, in modem music, is generally varied by the 
 Italian sixth. 
 
 The directs mark the roots of the chords. 
 
 1"" 
 
 -^- 
 
 ~s?z: 
 
 — o- 
 
 — sj-q 
 
 Ciea" 
 
 -T5J- 
 
 -n .1+1*^ 
 
 - S" 
 
 r 
 
 J. 
 
 _._ 
 
 :o 
 
 
 ff®._ 
 
 
 
 U\ '-'<=> 'vur:.. 
 
 
 
 & 
 
 JJ>,«^ 
 
 
 "^1 ^- #cs 
 
 - -■ +r— ■ 1 
 
 
 <S 
 
 
 6 
 
 6 
 
 *f.. 
 
 
 6_ 
 
 
 
 __ JH _ .'. 
 
 r8* 
 
 
 e3 
 
 
 
 ^^ ^^ .M-i 
 
 1 
 
 VS: 
 
 
 
 G** 
 
 :23 
 
 
 
 "-^ 
 
 ____0 , 
 
 
 ^^ . ..... 
 
 
 * 
 
 
 /•bV 
 
 
 " 
 
 : 
 
 AV 
 
 
 "' 
 
 . 
 
 
 The remainder of the scale coincides with that of the major 
 mode. 
 
 451. Although this scale is given in the above form by most 
 of the theoretical writers, yet, in practical music, snch is the 
 prevalence of partial modulations, varied sequences, &c., that 
 the rmle is not often found complete.* 
 
 * See a striting instance in the Scales of Emanuel Bach, gJTen by Mr. 
 Shield. Geminiani ako (Art. of Aceomp. Op. 11) veiy strongly objects to these 
 rules, because " they are uncertitin and precarious." The example before ad- 
 duced (Art. 363) shows that the descending scale may be extremely varied, and 
 that it may employ an inversion of the subdominaut harmony with great effect 
 
HAEMONT. 
 
 157 
 
 Sect. V. — Op Chromatic Modulation. 
 
 452. When the chromatic semitones are introduced between 
 the notes of the diatonic scale, chromatic modulation is formed,, 
 in which the key is continually, although partially, changing. 
 
 453. As the diatonic sequence of sevenths is used to avoid 
 modulation, so a chromatic sequence of sevenths consists of dom- 
 inants alone, and the scale changes at every chord ; thus : 
 
 -A 
 
 
 tl7 
 
 ^7 
 
 'I 
 
 ""l 
 
 fclT 
 
 S: 
 
 -G)- 
 
 I 
 
 This sequence forms a descending chromatic scale. 
 454. In a similar manner may be formed an ascending chro- 
 matic sequence, derived from that of five and sis ; thus : 
 
 ilSl 
 
 Z23Z 
 
 :*gr 
 
 rs- 
 
 iS: 
 
 I 
 
 -gy 
 
 .« 
 
 ^ 
 
 -g?~ 
 
 _(S- 
 
 This also makes a partial change at every other harmony. - 
 
 455. In modern music a species of chromatic transition is 
 employed, in which the semitones occur, not as parts of the radi- 
 cal harmony, but as appoggiaturas, after-notes, or acciaccaturas.* 
 
 456. The two following examples, from the celebrated opera 
 of Mozart, the Zauberflote, are instances of chromatic appoggia- 
 turas. 
 
 • Geminiani (Treatise on Good Taste, 1749) asserts that the Acmaecatun 
 hafl been then in use above a hundred years. 
 
 14 
 
168 
 
 callcott's musical obammab. 
 
 (" Wie stark ist niokt.") 
 
 *=s 
 
 (" SchneUe Pusse.") 
 
 ft£;^^jr? }-?-f - iJ 
 
 rs^s 
 
 457. The (Kmaecafura, or half beat, is also used with great 
 effect, in a terzet from the same piece.* 
 
 (" Seyd uns zum zweytenmal.") 
 
 r*#- 
 
 *^£iSf 
 
 W=^ 
 
 ^ 
 
 _^ S9 aj. 
 
 H 1- 
 
 I 
 
 Sect. VI. — Of Enhakmonic Modtilation. 
 
 458. The last and most difficalt branch of harmony is that 
 which arises from the suddrai change of key made by the enhar* 
 monic diesis, (Art. 214.) 
 
 459. When any one of the sounds of the equivocal chord (Art. 
 S28) is called by a new name and placed on a new degree,! the 
 root, scale, and signature all change at once. 
 
 -#«•- 
 
 I 
 
 ±1 
 
 sSEMSs: 
 
 Root E, key A minor. " Boot G, key C minor. 
 
 460. As this harmony t consists of four sounds, each of which 
 
 * The half beat may also, in some few instances, be found on the semitone 
 above, taken as a fiat. See dementi, 0^. 2, Sonata Ima, first moTement. 
 
 t Although the temperament of keyed instruments authorizes the expres- 
 sions here used, yet it must be understood that, in other instruments, the dif- 
 ference between O sharp and A fiat can be made, and is in theory Etlways to be 
 considened as a real intenr^ 
 
 t "Phe harmony of the extreme flat seeetOh has attracted the notice of all the 
 theonstp who have written ou the subject of chords iu modern times ; and ''' 
 
HAEMONT. 
 
 159 
 
 may be altered by the diesis, the two following modulations arise 
 from the same chord. 
 
 Boot B flat, key E flat minor. 
 
 BpQt (3 s)\a.tp, key ^ sharp minor. 
 
 461. As the chromatic octave, upon keyed instruments, con- 
 sists of twelve different sounds, (exclusive of the diatonic eighth 
 or replicate of the first,) there are but three different chords, in 
 respect of the keys themselves, on the key-board. These, in 
 their simplest forms, are the added ninths of D, A, and E, domi- 
 nants of their respective minors. 
 
 t^^-zzt-i 
 
 -&- 
 
 Each of these chords, by the use of the diesis, may change 
 into three other h^'i'inonies ; and thus an immediate step to any 
 one of the twelve minor modes may be gained.* 
 
 462. These chords may also, under certain limitations, suc- 
 ceed each other ehuomatically, descending or ascending. 
 
 (Descending.) 
 
 SsfeEiz! 
 
 Boot B. 
 
 Boot £. 
 
 Boot A. 
 
 Part of the ascending series is the same inverted, as befora 
 given, (Art. 461.) 
 
 complete discussion would fill an ample treatise. The well-knovra Air, by 
 Handel, in Samson, " Betum, God of hosts ; " the " Alma del gran Pompeo," 
 in Giulio Cesare, (see Dr. Bumey, Commemoration of Handel;) "Vouchsafe, 
 O Lord," in the Dettengen Te Deum, &c., are all passages which mi^ht jusfafy 
 a particular analysis, and which the author hopes, on a future occasion, to lay 
 before the public. (See, also. Shield.) „.,... i , 4. i 
 
 * Mr. Corfe of Salisbury, in his T/ummgh-Bass Stmphfled, a work lately 
 published, has given » Wje 9f these chords, as iise4 in the twelve minoj 
 kevB, ^Pr 
 
160 
 
 callcott's musicai, gkammab. 
 
 463. The last and most nnnsual species of enharmonic modu- 
 lation* is that which changes the dominant seventh into the Ger- 
 man sixth, t A remarkable instance occurs in Handel's Solo- 
 mon, at the Chorus, Draw the tear from hopekss love; thus : 
 
 3sr 
 
 S^ 
 
 i 
 
 ±s?E: 
 
 :ig-- 
 
 p^^ 
 
 b7 
 
 'I 
 
 n 
 
 6 
 
 Stir 
 
 ~sz 
 
 ^■=tz 
 
 b^ 
 
 Kadical Bass, 
 b b7 
 
 7 
 
 6 5 
 
 4*f 
 
 rzsi. 
 
 to express the words, FuU of death, and wild despair. 
 
 * Bonsseau, art. Enharmomgue, does not mention this modulation; al< 
 though it is extremely worthy of notice, being formed upon a chord so appar- 
 ently perfect as the dominant seventh. 
 
 t Art. 443. 
 
PART IV. 
 RHYTHM. 
 
 CHAPTER I. 
 
 OF ACCENT. 
 
 Sect. I. — Of Simple Measures. 
 
 Art. 464. The disposition of melody or harmony, in respect 
 of time or measure, is termed rhythm. 
 
 465. Those branches of rhythm which are necessary to be 
 considered in the present work, are, 
 
 1. 
 
 Accent. 
 
 4. The Phrase. 
 
 2. 
 
 The Musical Foot, 
 
 5. The Section 
 
 3. 
 
 The Musical Csesure. 
 
 6. The Period. 
 
 466. Accent has. been already described (Art. 80) as part of 
 notation ; but it must be now examined more accurately, since 
 upon this peculiar arrangement of sound all rhythm depends. 
 
 467. The necessity of dividing the notes of music into equal 
 portions of time called measures, (Art. 65,) may be shown by 
 considering the subsequent series of notes. 
 
 ^ 
 
 468. The above cannot be performed, as melody, without 
 making certain points of division, on which a pressure must be 
 laid. It may, for instance, be accented two ways, in equal time ; 
 thus : 
 
 14* 061) 
 
162 
 
 P=W- 
 
 callcott's mdsical grammak. 
 tboohaio rhythm. 
 
 j-— P-T-J^-T^- 
 
 -jSi- 
 
 I 
 
 Or thus : 
 
 IAMBIC BHTTHM. 
 
 3: 
 
 ^ 
 
 I. DACTYLIC BHYTHM. 
 
 ^ ^^ V-^ ^ V-/ \-/ ■— ■ 
 
 ;iq=?2=:p: 
 
 ^2=#= 
 
 I 
 
 W=P=¥'- 
 
 ::p=:::^ 
 
 II. AWAP^STIO BHYTHM. 
 
 "^z s.^ 
 
 p 
 
 :pr=p: 
 
 F=^= 
 
 i 
 
 ipzzpc 
 
 F=-=^" 
 
 m. AMPHIBBACHIC BHYTHM. 
 
 ;i=i:p=^ 
 
 1?^^ 
 
 iz=^=E 
 
 469. These passages are also distinguished by the differeni 
 harmonies they bear in each variation of rhyljim. 
 
 I. DACTYLIC. 
 
 
 n. AWAP^STIC. 
 
 SE^it 
 
 :*=3t 
 
 3 
 
 ::ffi: 
 
 i 
 
RHYTHM, 
 rn. AMFEIBBAOEIC. 
 
 16a 
 
 *^ «w 
 
 3 
 
 ■^^^ 
 
 ^ 
 
 :t=g±: 
 
 -&' 
 
 470. The simple measures of equal time consist of two parts, 
 and are subdivided into four times; the parts are minims in 
 common time, and crotchets in two crotchet time ; and the times 
 we crotchets in common time, and quavers in two crotchet time.* 
 
 ?s:. 
 
 T 
 
 ^ 
 
 1^ 
 
 471. The simple measures of unequal, time also consist of two 
 parts, one double the length of the other ; but the times are only 
 three ; hence arises a varied expression, according to the value , 
 of the notes in quantity. 
 
 =P=5= 
 
 ^ 
 
 EE 
 
 ^ 
 
 472. In the further division of simple measure, the accents 
 are known by the groups, which are regulated by the times of 
 the measure, as before noticed, (Art. 80 ;) thus, 
 
 ^ p^^ ^ig 
 
 473. In triple measure, the same arrangement of groups is 
 in general use ; thus, 
 
 * Koch terms a part Tactt&eil, and a time TactffHeder. 
 
164 callcott's musical grammak. 
 
 H. S. Tol. ii. No. 92 : " Daughter of Gods " — Hercules. 
 
 ± 
 
 ^z=g^E?^^E^^|EffiEE^Ei 
 
 --^^ 
 
 -^- 
 
 A thou - sand pleas - ures reign. 
 
 474. These inferior accents, which belong to the times of the 
 measure, do not, by any means, destroy that great and predomi- 
 nant accent that belongs to the first note which follows the bar, 
 and which is accompanied by the thesis* or depression of the hand 
 in beatipg time. The or«s,t or elevation of the hand always 
 follows on the weak part of the measure. (See Art. 81.) 
 
 Sect. II. — Op Compound Measuees. 
 
 475. The accents of compound measures are exactly similar 
 to . those of simple measures, which are only their halves, and 
 which differ chiefly in their notation and their appearance to the 
 eye. 
 
 ^-_- 
 
 -rr~ 
 
 
 
 ~r?~ 
 
 FS 
 
 ~J- 
 
 <^- 
 
 =P 
 
 A. t' 
 
 0. 
 
 . « 
 
 =£= 
 
 -~p ■ 
 
 : =1 
 
 .__, 
 
 ~f^ 
 
 4 
 t 
 
 vO) 
 
 =t- 
 
 : t- 
 
 : t= 
 
 : tJ 
 
 . 1 
 
 
 rt= 
 
 =4 
 
 476. The Germans and also the French % consider the meas- 
 ure of four crotchets as a species different, not only from that of 
 three, but even from that of two crotchets, (Art. 67 ;) a distinc- 
 tion which arises from the nature of accent, and which is thought 
 of importance by those authors. It is considered by some § of 
 them as a simple measure ; but it really seems merely to differ 
 from that of two crotchets, by the omission of the alternate bar. 
 
 477. In compound time, the difference between six crotchet 
 and three minim measure, or between six quaver and three 
 crotchet measure, (both of which contain an equal portion of 
 
 * The Niederschlaff of the Germans. 
 •)■ The Aufachlag of the Germans. 
 t Frincipes de Musique du Conservatoire. 
 f KoUmani Essay on Harmony. 
 
Rnrrnji. 
 
 165 
 
 time between the bars,) is only known by the accent. The 
 groups, indeed, regulate the accent to the eye, and show the 
 compound time of six quaver measure by their equal division, 
 ^ 478. Thus, in the example before mentioned (Art. 81) the 
 simple measures contfiin the quavers grouped by sixes, which 
 have one strong accent on the first, and two inferior ones on the 
 third and fifth notes ; thus : 
 
 S. W. 8. w. s. w. s. w. s. w. s. w. s. w. s. w. s. w. 
 
 479. In compound time, the accents are as under : 
 
 ^^^^^^^ 
 
 O. W. W. S. W. W. S. W. W. B. W. W. ». W. W. 9. w. w. 
 
 480. The compound triples of nine crotchets, or nine quavers, 
 t»ke their accents from the simple measures, as before, (Art. 76.) 
 
 Sect. III. — Of Mixed Measures. 
 
 481. The mixed measures before described (Art. 78) take 
 their accents from their measure notes ; and the groups decide 
 the alteration made in the time marked at the clef. 
 
 482. Thus, in the Air, " "Whither my love," (La Rachellina 
 of Paisiello,) although the melody is written in two crotchets, 
 the accompaniment is in six quavers ; * thus : 
 
 -^-H«- 
 
 :t-i: 
 
 :^rs=5ii 
 
 -^-k<»- 
 
 - L^^^-^'"'^ F 
 
 imiig 
 
 ■S3^ 
 
 I 
 
 -•- -•- -0- 
 
 -{-0- 
 
 * There is some doubt whether this melody should be played as written, or 
 as if it were compound ; that is, one dotted crotchet, one crotchet, and one 
 quaver, in the first measure. 
 
16S 
 
 callcott's musical gbammab. 
 
 483. If, however, any variation in the subordinate parts of 
 these mixed measures should be requisite, they must be changed 
 to their relative compounds ; thus, ^ will become %, -j will be- 
 come -g i and common time will become -g^. 
 
 484. The following passages from Koch will show the neces- 
 sity of using the compound, instead of the mixed measure, in 
 two crotchet time. 
 
 :M:: 
 
 ^^=t 
 
 485. The same variation takes place when the compound is 
 taken, instead of the mixed, in three crotchet time. 
 
 ^i^r^ ^ 
 
 486. In a similar manner, Handel uses the compound twelve 
 quavers for the accompaniment of "Mtrth, admit me of thy crew," 
 in 6, (I'allegro,) while the vocal part and the bass.dre written 
 in simple common time. 
 
 Sect. IV. — Os Eiiphasis. 
 
 487. The particular sense ii which the term emphasis is era- 
 ployed in the present work, has been explained (Art. 83) with 
 appropriate examples. 
 
 488. The emphasis is distinguished from the accent (as before 
 observed) by its occurring on the weak pai-ts of the measure ; by 
 the different grouping of the quavers, semiquavers, &c. ; and by 
 the emphatic marks of JRf, Sec. (Art. 142) placed over the notes. 
 
KHTTHM. 
 
 16J; 
 
 489. In performing on the piano-forte, a great difference 
 seems to exist between them ; since accent always requires 
 pressure immediately after the note is struck, and emphasis re- 
 quires /orce at the very time of striking the note. Thus, accent 
 may be used in the most piano passages ; but emphasis always 
 supposes a certain degree oi forte, 
 
 490. To the same species of effect which is derived from em- , 
 phasis, may be referred the Tempo d' Imhroglio {deUa Gonfusione) 
 of modern music, in which the music, although written in one 
 kind of measure, is really performed in another. 
 
 491. Among the simplest instances of this nature, is that 
 change of time used by Corelli, Handel, &c., which forms one 
 .single measure of three minims, from two measures of three 
 crotchets, each,, as, in the following example from. the. Fassione 
 of Graun : 
 
 i^ 
 
 i 
 
 ^i=t 
 
 f-r- 
 
 I 
 
 -r -1 1 
 
 ^ T Y 
 
 492. A more singular example may be found in the final 
 chorus of the Pilgrim, by Hasse ; in which the time, though £lp- 
 parently three crotchets, produces the effect of two crotdiela ia 
 a measure.* 
 
 ± 
 
 a=^ 
 
 -^ 
 
 :M=M: 
 
 r -f T -f-' -t ^ "5 ' ^ 
 III ^ 
 
 493. In the last movement of Haydn's Instrumental Passitme, 
 Op. 45, generally known by the name of the seven last words, 
 several passages occur, in which, as in the preceding example, 
 the time changes from three to two crotchets. In the final sec- 
 tion, the time changes to four crotchets, &c. As that movement 
 is termed il terremoto, or the earthqrmke, this confusion is par- 
 ticularly appropriate. 
 
 * A. Tery beautiful passage of this nature may be found in the terzette, 
 "Conrade the Good." See Shield, at the words, " Melting strains ease hta 
 pains " This elegant and scientific composition is the production ot Sarti, 
 and was originally set to a part of a MiserarB in, the Kusaian language. 
 
168 
 
 CALLCOTT'S MUSICAI, GEAMMAE. 
 
 CHAPTER II. 
 
 OF THE MUSICAL FOOT. 
 Sect. I. — Of Simple Feet. 
 
 Art. 494. A small portion of melody, with one principal 
 accent, including the value of a measure, is termed in this work 
 a musical foot. 
 
 The knowledge of this rhythmic subdivision of melody is of 
 great importance in practical music ; as the singer must not take 
 breath, nor the performer on keyed instruments separate tht 
 notes, in the middle of a foot. 
 
 495. It has been usual with some authors to apply the name 
 of the ancient poetical feet to corresponding musical passages \ 
 but the difference between ancient and modem quantity and 
 accent leaves a doubt concerning the propriety of using the 
 terms of Grecian rhythm. 
 
 496. An English trochee, as cuitor, hateful, Sec, may be rep- 
 resented in musical notation several ways, as in the following 
 example : 
 
 I 
 
 S:=t 
 
 t: 
 
 497. An English iamhus, as reject, observe, may be represent- 
 ed by the opposite rhythm. 
 
 m 
 
 ^: 
 
 ^SE^£ 
 
 i 
 
 m 
 
 ■+-0- 
 
 498. The other two dissyllabic feet of the ancients, viz., the 
 spondee, both syllables long, as pale moon, and the pyrrhic, both 
 short, as level, may, in respect of the measure (which is guided 
 
RHYTHM. 169 
 
 fay the accent) be always considered as trochaic in the English 
 language, with some small occasional change in the value of the 
 notes.* 
 
 499. The difference between the two dissyllabic feet is well 
 exemplified by the word desert, which, when set to music as a 
 trochee, (desert,-^) signifies a hnely place. Thus, in the Messiah, 
 " Comfort ye my people." 
 
 S3^ 
 
 =»=F=F= 
 
 -+- 
 
 Make straight in the des - ert. 
 
 500. The same word, set to music as an. iambus, {desert^ sig- 
 nifies merit. Thus, in Judas Maccabseus : 
 
 with hon - or let de - sert be crowned. 
 
 The effect of these feet, in respect of deciding the key by 
 means of the accent, has been before exemplified, Art. 304. 
 Another instance of harmony and rhythm being united .to de- 
 termine the key, in contradistinction to the signature, may be 
 seen, Art. 278. 
 
 501. The English feet of three syllables may be divided into 
 three classes, answering to the dactyl, the anapcest, and the am- 
 phibrach of the ancients. 
 
 I. The dactyl may be represented by the words laborer, pos- 
 sible ; and in notes, thus : 
 
 \^ \^ 
 
 II. The anapcBst may be represented by the words contra^ 
 vene, acqmesce ; and in notes, thus : 
 
 • See examples of this variation in the cadences of the Glee, " Sigh no mme, 
 ladies," by K. J. S. Stevens, and the Madrigal, " Since first I saw your face," 
 by Ford. 
 
 t The liberty of marking the accentual difference of poetical feet by the 
 ^iitns of quantity, is taken by Koch, art. MeArwm, &0. 
 15 
 
170 
 
 gallcott's musicail gbammar. 
 
 pg^^^HP 
 
 III. The- amphibrach may be represented by the words de- 
 Ughtfid, domestic ; and in notes, thus : 
 
 Sect. II. — Of Compound Feet. 
 
 502. As a musical foot is equal in Talue to a measure,* al- 
 though it dififers in accent, on account of the place of the bar ; 
 so in the compound measures the feet are double, and may be 
 resolved into two by dividing the measure. (See Art. 75.) 
 
 503. The following trochaic example from Haydn, Op. 40, 
 Sonata 3, might be resolved into single feet of two crotchets in a 
 measure. 
 
 504. The same may «ccur in the iambic measure, as in 
 the following example from Haydn's first Symphony, (Salomon's 
 Concerts.) 
 
 505. An example of the compound foot in six quaver time 
 divided by the bar, is found in Haydn, Symphony 3d, (Salo- 
 mon's Concerts;) 
 
 * Kollman, Essa^ on Hamumy, mentions the similarity of the bar (meas- 
 ure) in music to the foot in poetry, taut does not «how their accentual difference. 
 
RHYTHM. 
 
 171 
 
 S 
 
 :p=i= 
 
 Foot. 
 
 iit 
 
 rr^ 
 
 :*r* 
 
 i 
 
 Foot. 
 
 506. The difference between compound and simple feet may 
 be further exemplified by the following extracts from the Mes- 
 siah, in addition to the remarks given in the preceding page. 
 
 (" O thou that telleat.") 
 
 * 
 
 -^- 
 
 :*#=^= 
 
 ipz^ 
 
 A- 
 
 :^E^ 
 
 -^- 
 
 s 
 
 strength, lift it up, be not a - fraid. 
 (" / know that my Redeemer.") 
 
 ^ 
 
 ^m- 
 
 :^ 
 
 *i:^=pi 
 
 I 
 
 know . 
 
 that my Be - deem 
 
 The second measure of both examples is divided in the same 
 manner ; but the accent, and consequently the feet, are entirely 
 different. 
 
 CHAPTER III. 
 
 OF THE Mf SICAL C^SITRE. 
 
 Art. 507. The term ecesure is used in this work in the signifl- 
 lation annexed to it by Koch, as the rhythmic termination of any 
 passage which consists of more than one musical foot. In other 
 words, the csesure is the last accent of a phrase, section, or peri- 
 od, and is distinguished in all the simple measures by the place 
 of the bar. 
 
 608. The utility of this distinction will appear, by consider- 
 
172 
 
 CALLCOTT'S UUSIGAL GRAMMAB. 
 
 ing.the two methoiis in which the music vinight be composed to 
 the lines, 
 
 " Conquest is not to bestow, 
 In the spear or in the bow." 
 
 Dr. Arne'a Judith. 
 
 t • t • 
 
 fe— P=±: d-q-^-± ::^dj31 ^-^T^- -" ^ 
 
 rn^-r^- -^^-0- . j:-ii**i-:f -i-j— . :^-4 
 
 If these measures were not divided as they are, the csesure, 
 which now is properly placed on a strong part, *, would fall on 
 the weak part, t, contrary to the nature of accent. 
 
 609. The caesure,* in ancient music, most frequently occurs 
 in the middle of the compound measure, and thus appears to a 
 modern view irregular and incorrect. 
 
 510. The exceptions to the musical csesure falling upon the 
 last syllable of the line in poetry, are few, but very important. 
 
 511. From the nature of harmony, it sometimes occurs that 
 the three last syllables may belong to a melody derived from the 
 same chord ; in that case the CKsure is thrown back, as in the 
 following example : 
 
 " So shall the lute and harp awake, 
 And sprightly voice sweet descant run." 
 
 Handel's Judas MaeeahiBua. 
 
 lEE 
 
 eS; 
 
 «iji 
 
 H J- i ' 
 
 Here the csesure falls on the third crotchet to the syllables 
 descant run, instead of being placed on the last syllable, "ntn. 
 
 512. It appears that the CiEsure, or rhythmic termination, is 
 not always the last note of the passage. The melody is often 
 prolonged after the csesure, by varying the tonic harmony ; thus. 
 
 • The term CtBswra was used by Prinz (Sat. Camp. P. I J in two senses ; the 
 first of which corresponds with that here given. See Dr. Burney, art. Caesura 
 llees's Cyclopiedia, vol, y. P. II. 
 
EHYTHM. 
 
 173 
 
 :^^S 
 
 :3==:t 
 
 -•-•- 
 
 33^ 
 
 m 
 
 513. The whole chord of the dominant is also often retained 
 (see Art. 376) upon the csesure ; as in the following example 
 from Mozart's Duet in C, Op. 14 
 
 5=P= 
 
 
 m 
 
 514. The Air by Handel in the OccaBional Oratorio, of which 
 the subject is here given, will be found an excellent study for the 
 correct position of the csesure. 
 
 I 
 
 Pro- phet - ic vis - ions strike mine 
 
 eye. 
 
 515. In the following instance Handel has not been so care- 
 ful, since the ciesure comes in the wrong place, and the bars are 
 consequently erroneous. It should begm like the example, Art. 
 508, with the half measure. 
 
 (H. S. I. No. 47 : Alexander Balits.) 
 
 d=5 ^■ 
 
 :ti^: 
 
 3 *- 
 
 Strange re - Terse of 
 
 hu 
 
 fate. 
 
 516. In the old arrangement of compound common time, it 
 was usual to change the place of the csesure ; sometimes forming 
 the cadence at the beginning of a measure, and afterwards re- 
 peating the same caesure in the middle of a measure. The Airs 
 of Pergolesi, Jomelli, &c., are remarkable for this rhythmic va- 
 riation. See a particular instance in the admirable Song ty 
 Hasse, Pallida il Sok** 
 
 • Delizie dell' Opere, torn. il. Dr. B. Jv. 378, S48. Sit J. H » iS® 4t». 
 
174 CALLOOTT'a MUSICAL GEAMMAK. 
 
 First Part. Siscond Part 
 
 ^bMfei i a^^s 
 
 517. In the national dance tune called Polonaise, or Polacca, 
 a considerable exception to the rule of the caesure occurs, as it 
 falls there on the weak part of a measure ; thus : 
 
 618. An instance also of equivocal csesure might occur in the 
 common melody of SaUy in our Alley,* which is properly barred 
 13ius : 
 
 I 
 
 f=i 
 
 f:P= 
 
 =P=P 
 
 P=t 
 
 ^ 
 
 4===: 
 
 519. This might be barred diflFerently, for the sake of throw- 
 ing the csesnre on the last syllable of the second line, contrary to 
 the accent of all the other feet. 
 
 ^m 
 
 -p-p 
 
 a= 
 
 CHAPTER IV. 
 
 OF THE PHRASE. 
 
 Sect. I. — Op the Eegulak Phkase. 
 
 Art. 520. A phrase (Mngchnitt) is a short melody, which 
 contains no perfect nor satisfactory musical idea. 
 
 * This Air was composed by Harry Carey, and benns Of aU the girls that 
 are to imart. See Sir J. H. y. 194. Dr. B. It. 300, 6S2. Tlie style of melody 
 
KHTTHM. 
 
 175 
 
 521. The phrase is generally formed of two musical feet in 
 simple time, and therefore contains the value of two measures ; 
 thus: 
 
 {Beethoven, Op. 2.) 
 
 A 
 
 SB 
 
 :* 
 
 m 
 
 522. In compound time of the older writers, a phrase some- 
 times consists of a single measure ; thus : 
 
 &*• 
 
 (" 0, had I JvbaVa lyre.") 
 A 
 
 «=©= 
 
 ■t^^^^z 
 
 •»=FP 
 
 S^£3 
 
 Phrase. 
 
 Phrase. 
 
 523. Koch has used the mark of a triangle (A) to express 
 the phrase, and places it over the final note.* In musical punc- 
 tuation, this sign seems analogous to that of the comma ( , ) in 
 language. 
 
 524. Riepel, of Ratisbon, in 1754,t has analyzed the rhyth- 
 mical arrangement of musical thoughts with great success. 
 
 525. He divides musical phrases into two species — perfect, 
 when concluded by the tonic harmony ; and imperfect, when con- 
 cluded by the dominant. 
 
 A 
 
 3^ 
 
 A 
 
 Imperfect Phrase. 
 
 Perfect Phrase. 
 
 526. In the works of Kirnberger, the term ccesure seems 
 equivalent to the term^Wse; and the rejection of the word, 
 Mnschnitt, is, as Koch observes, a defect in the theory of that 
 able contrapuntist.! 
 
 which distinguishes this tune has been often imitated with considerable 
 success. .. 
 
 • Anleitung, (1787,) yol. u. 
 
 t De Rhythmopoeia, Tactordnung. 
 
 { Koch's Lexicon, ait. Absatz. 
 
*76 
 
 callcott's musical gkammar. 
 
 527. The phrase 13 subject to all tlje varieties of accent that 
 distinguish the feet of which it is formed ; and the two measures 
 of the regular phrase should always be complete. 
 
 (" Basserena." — Sacchini.*) 
 
 m^-^- 
 
 ^ 
 
 528. "When the same phrase is repeated per tonos, that is, a 
 note higher or lower, a slight variation oiay occur. 
 
 (JVbn vi twbaie. — Gluck.) 
 
 _ A 
 
 ■I ^ ld«»- 
 
 =«^ 
 
 i 
 
 &^^^. 
 
 3i=:jJ«?: 
 
 £z± 
 
 529. The too frequent repetition of the same passage in va- 
 rious keys, particularly on the chromatic modulation (Art. 454) 
 ascending, as found in Corelli, Dr. Green, &c., is termed by the 
 Italians, Rosalia. See Koch, art. Trangposition, 
 
 530. Koch makes three remarks upon the harmonica! con- 
 struction of the phrase, which apply to what has been already ob- 
 served from Biepel. 
 
 First, That the phrase frequently terminates with the sub- 
 dominant harmony. 
 
 ^ 
 
 ^— (» 
 
 A 
 
 Era 
 
 I 
 
 Secondly, That, as the phrase is an incomplete passage, th» 
 csesure may be made on a discord, particularly the dominant 
 seventh. 
 
 _ _ A 
 
 ^ 
 
 W=W^ 
 
 :j=p: 
 
 r 
 
 :ge 
 
 T 
 
 * CoRi'8 Select Collection, vol. i. 
 
EHTTHM. 
 
 177 
 
 tkirMy, That the caesure may also take place on the inversion 
 of a chord. 
 
 531. Rousseau (art. Phrase) has defined the term in a more 
 extensive sense, very similar to that applied to the word section 
 in the following chapter. He distinguishes between phrases in 
 melody and phrases in harmony. These last seem to correspond 
 with the dominant and the mediant sequences. See Art. 427. 
 
 532. Heck, in his Musical Library, describes the phrase, sec- 
 tion, and period, under the terms section, period, and paragraph, 
 and considers the term section as synonymous with rhythmus.* 
 
 533. Holden also uses the term phrase in a general sense, 
 and appears to include all rhythmic varieties in its definition. 
 
 534. The Kev. Mr. Jones, of Nayland,' calls the phrases, 
 ctauses; and considers two similar phrases following and de- 
 pending on each other, as antecedent and consequent ; upon which 
 succession he makes some very just and useful remarks, referring 
 to Corelli's 8th Concerto at the close Of the adagio, Handel's 
 Air in the Overture to Berenice, &c. 
 
 Sect. H. — Of the Iebegxjlak Phbase. 
 
 535. Whenever, by repeating one of the feet, or by any other 
 variation of the melody, three measures are employed instead 
 of two, the phrase is termed extended, or irregular. 
 
 (Ereusser, Op, xi., Waltz the 2d.) 
 
 rpr^zpi 
 
 m 
 
 536. A beautiful example of two extended phrases, the latter 
 
 * The compound rhythm of KoUman, Essay on Harmony, and the term 
 rhythmua in Shield, seem to correspond with phrase or Bection. 
 
178 
 
 cailcott's musical geammae. 
 
 of which contains a measure of double time, (Art. 491,) is founa 
 in HandeL 
 
 (" He waa brought a> a Umib." *) 
 
 A __ A' 
 
 e:-tr 8^ 
 
 -#-»- 
 
 prpzp: 
 
 -^ 
 
 r^ 
 
 I 
 
 :^^:± 
 
 £ 
 
 *x*: 
 
 -+- 
 
 537. The contracted section resembles the extended phrase 
 in the number of its measures, both consisting of three feet ; but 
 the phrase is always an imperfect melody, whereas the section 
 always terminates with a cadence. 
 
 538. A phrase is often extended by continuing the harmony 
 of its first measure, as in the following example : 
 
 {Clemenii, Op. 2, Sonata 4.) 
 
 539. A phrase also becomes irregular, when a measure for- 
 eign to its subject is introduced by way of prelude ; thus : 
 
 (Mozart, Op. 3, Duetto.) 
 
 •-P- 
 
 540. In some passages, the variation of the caesure note by 
 an appoggiatur^a, or by other means, will give to a contracted, 
 section the effect of an extended phrase. 
 
 541. The following example from Haydn's Creation is of that 
 nature, and is therefore equivocal; as its melody indicates an 
 extended phrase, and its harmony a contracted section. 
 
 (" Now vanish.") 
 
 S 
 
 -gJ— r^ 
 
 * Bedemption, 
 
RHTTHSr. 
 
 179 
 
 542. The next passage is, however, more complete, and really 
 terminates the section. 
 
 '^^ ^=u=m^ m 
 
 Hence appears the propriety of terming the first an extended 
 phrase. 
 
 543. In choral music of the ancient school, the contracted 
 phrase seems to be, in many cases, equivalent with the com- 
 pound foot. . See an instance before adduced, in " TJie fiockx 
 shall have," Art. 281. 
 
 544. Thus, also, in the sublime chorus, "For unto us a Child 
 is bom," the first phrase is little more than a compound foot. 
 
 A 
 
 iS^ 
 
 -w—p—^ 
 
 ^ 
 
 :/■=•= 
 
 m 
 
 e£ 
 
 II 
 
 For un - to 
 
 a Child is 
 
 born. 
 
 545. In fugues, by augmentation, feet become phrases, phrases 
 become sections, &;c. In fugues, by diminution, on the contrary, 
 phrases become feet, &c., as in the following example : 
 
 (" Let all the angels of God.") 
 Subject in Phrases. 
 
 -^- - ^^ A .^ A 
 
 ^ 
 
 4= 
 
 |r:i=^=pc=i 
 
 ^f^E^^E^S 
 
 :^=p: 
 
 £ 
 
 546. The answer by diminution changes crotchets into qua- 
 vers, quavers into semiquavers, &c. 
 
 Answer in Feet. 
 
 II I 
 
 * 
 
 ^- 
 
 ■=t— •- 
 
 i^i^^S^ 
 
 •=t*: 
 
 ^^a 
 
 ^ 
 
180 
 
 callcott's musical gkasimae. 
 
 Sect. III. — Of Interwoven Phrases. 
 
 547. In figurative counterpoint, anciently termed descant, 
 where imitations, fugues, and canons are employed, the phrases, 
 as they occur, are interwoven in the diflFerent parts. 
 
 Thus the extended phrase to the words " shaU be revealed'" 
 is interwoven in the various parts. 
 
 (" And the glory of the Lord" — Messiah.} 
 
 =tT 
 
 ^ 
 
 I 
 
 S^J 
 
 m 
 
 ;*-- 
 
 ?z-s 
 
 -P- 
 
 648. The union of phrases towards the end of a fugue, &c., 
 is sometimes even closer than a foot, being at a distance of a 
 crotchet only. Many examples of this style may be found in 
 the madrigals of Wilbye, Weelks, &c. In Italy this is called 
 io 8tr>etto DeUa Fuga,* the knot of the fugue. . 
 
 ^49. The accent of the words, however, will not always per- 
 mit them to agree with so close a union of the music^ as the ai- 
 tecation in the following example will show : 
 
 (" Ye sms of Iarael."\) 
 
 A 
 
 550. A similar passage is introduced with great effect at the 
 end of " Thefiocks shaU have" where the violins reecho the 
 
 * F. Martini. Saggio, torn. ii. 
 t Joshua. Sedemption. 
 
EHYTHM, 
 
 181 
 
 same notes (in the octave above) as are sung in the preceding 
 time to the words " Die, presumptiMms Ads." 
 
 W-h- 
 
 ^7, 
 
 -b- 
 
 
 651. In those pieces of music termed canons, in which the 
 same melody is continually heard in the diflferent parts, the 
 phrases are, of course, united throughout the whole compo- 
 sition. 
 
 Of this kind of music, the finest specimen now extant is the 
 celebrated 27bn Nobis Domine,* by Bird ; which will ever remain 
 a lasting ornament to the taste and science of the country in which 
 it was produced. 
 
 The phrases of this canon are as follow ; 
 
 s 
 
 =1: 
 
 1^3 
 
 t: 
 
 ■-fS- 
 
 -JSSl 
 
 Non no - bis. Do - mi - ne, non no - - bis, 
 
 :=i=&i?E 
 
 Sed nom - i - ni tu 
 
 da ^0 - nam. 
 
 T=\^=t 
 
 1^ 
 
 m 
 
 ^:=e2 
 
 '&■ 
 
 Sed nom - i - ni tu - o 
 
 da, glo - nam. 
 
 • See before, Art. 421, and La Borde, torn. ii. Dr. B. in a note. 
 16 
 
182 
 
 oallcott's musical gkammab. 
 
 CHAPTER V. 
 
 OF THE SECTION. 
 
 Sect. L — Op the Regular Section. 
 
 Art. 552. A section (Absatx) is a portion of melody formed by 
 two regular phrases, the last of which is terminated by a cadence. 
 
 553. The section takes the name of tonic, or of dominant, ac- 
 cording to its final harmony ; as in the two following examples 
 from Haydn's Creation : 
 
 (" The heavens are telling.") 
 Dominant Section. 
 
 I 
 
 sr^ 
 
 i^zip: 
 
 Tonic Section. 
 
 IS-. 
 
 n 
 
 
 554. In music of the older school, the section often consists 
 of two measures only, as in the example, " 0, had IJubcd's lyre" 
 Art. 522. 
 
 555. Koch has also adopted the mark of a square (D) to ex- 
 press the section, and places it, like the trian^e of the phrase, 
 over the final note. This sign seems analogous to that of the 
 semicolon ( ; ) in language. 
 
 556. In the Arioso or Legato style of music, it is usual to 
 find sections which are not subdivided into phrases, as in the 
 following example : 
 
 {J. B. Cramer, Ex. 41.) 
 
 :9^^ ^ _ a 
 
 W- 
 
 m^m^ 
 
RHYTHM. 183 
 
 557. Koch makes also three remarks upon the section* (art. 
 Absatz) as relating to its punctuation, to its rhythm, aind tw- its 
 harmony. 
 
 First. Its conclusion, or the form and harmonical disposition 
 of the cadence, termed by Koch its interpunctual nature. ITpoa 
 this depends the classification into tonic, dominant, or even scSi 
 dominant sections, the variation of csesure note, &c. 
 
 Secondly. Its extent in the number of measures and in' the 
 similarity of feet, (see Koch, art. Metrum,) termed its rhythmical 
 nature. By this the regular section, or rhythm,t {Vierer,) of 
 four measures is distinguished from the irregular section, whether 
 extended or contracted, &c. 
 
 Thirdly. The extent and variation of its component harmo- 
 nies ; or the degree of its perfection as to being dependent or 
 independent of the adjoining sections, termed its logical nature.^ 
 
 Sect. II. — Of the Ibre&ulab Section. 
 
 558. Irregular sections are of two classes — contracted of less 
 than four feet, and extended of more than four feet. 
 
 I. The contracted section differs from the extended phrase by 
 ■ its terminating with a cadencie, as before observed, (Art. 534,) 
 and generally consists of three feet. 
 
 n. The extended section may consist of five, six, seven, or 
 more feet; and the sections are distinguished from each other 
 by the similarity of time or modulation in their respective feet. 
 
 III. The extended section of five feet§ is formed by various 
 methods. The following example from Koch augments the two 
 first notes of the regular section. 
 
 i^ ^S 3^^ 
 
 * Prinz, in 1696, used the Latin term sectio, as signifying a part of melodv 
 terminated with a formal cadence. " Sectio ist ein Theil deT Melodey, so sica 
 endet mit einer Clausula Formali." Sat. Comp. P. I. chap. Tiii. 
 
 f See before, Art. 532. 
 
 J Turk (Klavierschule) has entered fully into the doctrine of rhythm, and 
 has invented a mark (similar to that of our passing shake ; see Art. 110) which 
 he places over the final note of a foot, phrase, section, or period, to detach 
 them from each other. 
 
 i See tffQ examples of this kind in Shield. 
 
184 
 
 oallcott's musical geammak. 
 
 559. The section c^ six feet consists either of two extended 
 phrases of three feet each ; thus : 
 
 [Mozart, Duet, Op. 3.) 
 
 m 
 
 M 
 
 ^m 
 
 =!=? 
 
 S 
 
 #?- 
 
 dE 
 
 ::**: 
 
 t^ 
 
 ^.^.fi..^ ^. 
 
 ^^ 
 
 *•- ^ 
 
 
 ■$-- 
 
 Or of three regular phrases of two feet each ; thus : 
 
 (Avison, Book iv. Concerto iv. p. 31.)- 
 
 h#- 
 
 WT^ 
 
 =F=» 
 
 £ 
 
 §g^ 
 
 i 
 
 ±it±:^; 
 
 560. The limits of the present work will not admit any fur- 
 ther examples of more extensive sections. 
 
 Sect. III. — Of the Intebwoven Section. 
 
 561. When the regular section is so united to the following 
 one, that upon the caesure note of the first the second commences, 
 the section is not only contracted, but interwoven. 
 
 662. Thus the following section, which is regular in a former 
 part of the page, is interwoven in this example. 
 
 (Mozart, Op. 3, Duetto, p. 7.) 
 
 dt 
 
 jg z3^;g 
 
 Hig 
 
 568. When the subject of a fugue constitutes a section, the 
 answers are interwoven at the eaesure of the melody. Thus, in 
 the Overture to Esther, 
 
EHTTHM. 
 
 185 
 
 -•-F- 
 
 t 
 
 1 
 
 n 
 
 the second section commences in the middle of the fifth meas- 
 ure, on the csesure note. 
 
 564. In the ancient style of music, great effects are produced 
 by interweaving phrases, sections, &C., and also by intermixing 
 subjects of different rhythms. 
 
 Thus, in the final chorus of Steffani's motet, the original 
 plain song,* " Qui diligit" is introduced with unexpected effect 
 in the bass, while the other parts are singing the descant, 
 " Frangere telum" t 
 
 -P-#P- 
 
 m 
 
 g3 
 
 m 
 
 "•^•_ 
 
 e-:#— — 
 
 rs:: 
 
 m 
 
 In the choruses of Handel, these effects continually occur. 
 A remarkable instance may be seen in that of " Wretched lovers " 
 (in Acis and Galatea,) at the words " Behold the monster Poh/- 
 
 565. In compound time, the interwoven sections commence 
 at the half measure, and consist of only,a measure and a half. 
 The following example is taken from the duet in the same mo- 
 tet of Steffani, Qui diligit. 
 
 ipzi:: 
 
 ■me: 
 
 -Gi 
 
 it 
 
 -»~m- 
 
 X=^ 
 
 566. From this union of the parts arises the custom before 
 mentioned (Art. 515) of placing the csesure in the middle in- 
 stead of the beginning of the measure. 
 
 * The Canlo Fermo of the Italians, or Chorcd of the Germans. 
 t The •• Qui dili^ " of the Abhate StefFani ia at present unpubhshed; but 
 it would be a useful study iotfugtte, &c., if printed with annotations. 
 
 16* 
 
186 
 
 CALLCOTTa MUSICAL GRAMMAR. 
 
 567. It is also usual to protract the harmonies A an inLer- 
 woven section, so that it shall appear regular in the number of 
 measures. Such is the following section, in the last chorus of 
 Graun's Passione.* 
 
 4 
 2 
 
 ^e 
 
 ^m 
 
 s- 
 
 ^T. 
 
 568. In this instance the prolongation of the tonic harmony 
 in the j?rs* measure makes the section appear regular, although 
 it is really interwoven. 
 
 569. In vocal music the harmony of a section is also pro- 
 tracted for the sake of expressing the words, as in the Glee of 
 the " Red Gross Knight" by the author of this work ; the first 
 section of which, if regular, would have been expressed thus : 
 
 Blow, ward-er, blow thy «ound - ing horn. 
 
 But to give greater effect to the words, " Blow, warder, blow," 
 the first two notes are augmented to minims ; and the section, as 
 written in common time, appears contracted, although it is really 
 extended ; f thus : 
 
 P-: 
 
 ^=:::S=:ia: 
 
 i^ 
 
 -.St 
 
 -#-. -0- 
 
 -Jti9z 
 
 Blow, ward - er, blow thy 
 
 sound 
 
 mg 
 
 horn. 
 
 Sect. IV. — Op the Codetta. 
 
 570. A short phrase, or any other passage, which does not 
 constitute part of a regular section, but serves to connect one 
 section or period to another, is termed in this work a Codetta. 
 
 » Der Tod Jeau, or the Death of our Sa.yiour. See Hiller's edition, (17850 
 f This section is consequently similar to that exemplified before. Art. S58, 
 being really five measures of two crotchet time. 
 
EHYTHM. 187 
 
 The term is used by Sabbatini, the successor to Vallotti, at 
 Padua, in his Trattato sopra le Fughe, in a more limited sense. 
 
 571. In the duet of Mozart referred to, (Art. 659,) the fol- 
 lowing phrase unites the minor period to the original theme. 
 
 -a:#: 
 
 — H^ — l-l^ 1- 1 f 
 
 tfi: 
 
 \-\- H^ — H-^ 
 
 572. The extempore divisions made at a close by singers or 
 solo performers, and termed cadenze or cadences ad libitum, are 
 all a species of codetta. 
 
 573. In the repetition of a strain, the passages marked first 
 time and second time generally contain each a short codetta ; 
 one to lead back to the commencement, the other to lead forward 
 to its continuation. 
 
 (Woelfi, Op. 25, p. 16.) 
 First time. Second time. 
 
 ^^t^s^E 
 
 574. In this example the short Attaceo * of each time is not, 
 as in genersil, a separate codetta, but very ingeniously makes 
 part of the original subject. 
 
 575. In the Da Capo airs of Handel, &c., (Art. 126,) a co- 
 detta is generally inserted, to lead back to the theme. Thus, in 
 " the pleasure of the plains." 
 
 a=t=:qz::^z=5=fcrp=i: 
 
 m 
 
 576. The most successful composer in this style is Graun, 
 who, in his celebrated Te Deum,t has used the codetta at the 
 end of several movements, to unite them to the next. 
 
 * Padre Martini, Saggio, torn. ii. Dr. Burney (art. Attaceo, Dr. Rees's Cyclo- 
 
 Eaedia) defines it, "A kind of short subject or point, not restricted to all the 
 iws of regular fugue," &c. . 
 
 f Several of the best movements from this excellent composition are now 
 
 Srinted in the Selection of Sacred Music publishing at Bu-ohall's, by the Kev. 
 Ir. La Trobe. 
 
188 
 
 callcott's musical grammar. 
 
 Thus, after the final cadence of the air, '? Tu ad Uheramdum," 
 the following codetta is inserted in different modulation. 
 
 ^^ 
 
 
 t^rtr- 
 
 •—m 
 
 ■^^r-^- 
 
 :^-=±z± 
 
 ^1^3 
 
 With what great eflfect this passage leads into the following 
 theme, the adjoined example will demonstrate. 
 
 ^ 
 
 H^»-»- 
 
 &t 
 
 ifi: 
 
 -M 
 
 CHAPTEE VI. 
 
 OF THE PEBIOB. 
 
 Sect. I. — Of the Tonic Period. 
 
 Art. 577. A period consists of one or more sections, occasion 
 ally interspersed with independent feet, phrases, or codettas. 
 
 Thus, the air of "God save the King" (Art. 156) consists ot 
 two periods ; the first period contains one extended section, (Art 
 559,) and the last two regular sections. 
 
 578. When one or more periods are terminated by a double 
 bar (Art. 130) they are termed strains. 
 
 579. The period always ends with a radical cadence, like the 
 section, (some few instances excepted. Art. 424,) and answers to 
 the full stop ( . ) in language. 
 
EIlYTli:.!. 
 
 189 
 
 580. Those periods wliicU terminate with the perfect cadence 
 are, from their last harmony, termed tonie periods. 
 
 581. The following example of a tonic period is taken from 
 the third Sonata of Pleyel, dedicated to the queen. 
 
 ? 
 
 First and third Sections. 
 
 A 
 
 D 
 
 -*-S- 
 
 W- 
 
 eee; 
 
 f2- 
 
 :^s 
 
 n 
 
 -s>- -^-^- 
 
 I 
 
 3?: 
 
 :2z;«: 
 
 — 1_. 
 
 Cadence of the second Section. 
 
 Cadence of the fourth Section. 
 
 This whole period consists of four regular sections, and is 
 distributed into eight regular phrases. 
 
 The third section is a repetition of the first by the violin, 
 ■while the piano-forte takes the accompaniment. The fourth 
 section is similar to the second in respect of its leading phrase, 
 but^differs in the final phrase by terminating with the perfect 
 cadence. 
 
 582. In the example above given all the transient notes are 
 omitted, and none but the chief sounds of the harmony retained. 
 (See Art. 187.) 
 
 683. As the Sonatas of Kozeluch are particularly distinguished 
 by the regularity and clearness of their rhythm, another instance 
 of a tonic period may be taken from his Opera 21, Sonata 2, in 
 A major. 
 
 v^- 
 
 :z-=p==rn^T=l=: 
 
 
 I 
 
 584. The second section consists of one regular phrase, 
 repeated; thus: 
 
 lE ^^ P 
 
190 
 
 callcott's musical geammar. 
 
 585. The third section (with the omission of the passing notes) 
 concludes the period ; thus : 
 
 m 
 
 :p=^ 
 
 :^=&- 
 
 ¥=P=^- 
 
 586. Many more examples mi^ht be given from the works 
 of-the Bachs, Vanhall, Haydn, Mozart, &c., since the variety of 
 periods, in respect of their component parts, is as great in music 
 as in any other language. 
 
 Sect. II. — Of the Dominant Period. 
 
 587. When a period concludes with an imperfect cadence 
 (Art. 414) it is termed a dominant period. 
 
 An example of this period may be found in Kozeluch, Op. 23, 
 Sonata 1. 
 
 A a 
 
 I 
 
 -G>-f^- 
 
 ^ 
 
 -•-F- 
 
 ^^■^ 
 
 -•--(- 
 
 588. The second section, being interwoven with the third, is 
 contracted, and consists of three measures only. (See Art. 562.) 
 
 t#= 
 
 3^ 
 
 ■=t 
 
 D 
 
 XXX 
 
 ^ 
 
 -.■X 
 
 -^ l-H-l- 
 
 589. The third section is formed of two extended phrases 
 with one measure repeated, and concludes on the dominant; 
 thus : 
 
 ^ 
 
 m 
 
 ^ 
 
 *: 
 
 ^^^1^^ 
 
 ■m — « — •- 
 
 I 
 
SHYTHM. 191 
 
 ^ 590> It 4* to be understood that the terms tonic and dominant 
 i-elate only tn the nature of the cadence, not to the modulation 
 of the perioQ. 
 
 591. It HWft unfrequently happens that a period, after modu- 
 lating from «he original tonic to its own dominant, may ter- 
 minate with An imperfect, or even with a mixed cadence, in the 
 new key. 
 
 592. The final chord, in this case, will be the supertonic of 
 the original scale, made a new dominant.* 
 
 593. As the knowledge of feet and phrases is very important, 
 to prevent the bad delivery ( Vortrag) of vocal or instrumental 
 pieces, so also the distinction of sections and periods gives the 
 performer an opportunity of lengthening or contracting his per- 
 formance at pleasure. 
 
 594. The following hints may be useful, till a more extensive 
 analysis of rhythm can be given. 
 
 I. Every section and period may be repeated, provided the 
 codetta (if any) leads back to the original note. 
 
 II. Every repetition of a section or period may be omitted, 
 due care being taken to play the last codetta (if any) instead of 
 the first. 
 
 III. Those sections and periods which contain solos for the 
 violin, flute, &o., when not practised with the accompaniment, 
 should be omitted j t and the two sets of Sonatas by Kozeluch, 
 Op. 21 and 23, will admit of these omissions with great 
 propriety. 
 
 IV. In all omissions of periods great attention must be paid, 
 to make the harmonical conclusion of one period agree with the 
 harmonical commencement of the next, and to join the passages 
 by their attendant keys. 
 
 V. The difficult modulations at the opening of the second 
 strain of a Sonata may be sometimes omitted, for the sake of 
 gaining time ; but Svery person who wishes to excel in science 
 or execution will practise those passages much oftener than any 
 other in the movement. 
 
 * An instance of this termination of a period may be seen in the popular 
 Sonatas of Clementi, Op. 22. The first period of the first Sonata concludes on 
 the original supertonic E, with the major third as a dominant to the new key 
 A major, as a modulation from I> major. „ ^ • 
 
 t Particularly where the -violin melody is not inserted in small notes, or in 
 a separate line. "When they are inserted, the passages may be sometimes in- 
 troduced on keyed instruments with good effect. 
 
192 
 
 oallcott's musical geammae. 
 
 Sect. III. — Of the Interwoven Pbeiod. 
 
 595. As the periods of modern music are distinguished by 
 the accuracy of their phraseology, (being for the most part 
 regular^ so those of the old school are generally interwoven, 
 and the csesure note of one period becomes the first note of the 
 next. 
 
 The fugues of Sebastian Bach are highly celebrated through- 
 out Europe for union of periods and closeness of harmony. 
 
 596. The first fugue of his twenty-four pieces,* entitled Deis 
 wohltemperirte Klavier, is formed on the following subject : 
 
 ^^^^^^^ 
 
 •*zz^2±:^*zz?^« 
 
 W^ 
 
 -^' 
 
 The first period terminates in Gr major, on the middle of the 
 tenth measure. 
 
 The second in A minor, on the beginning of the fourteenth 
 measure. 
 
 The third in D mindr, on the middle of the nineteenth 
 measure. 
 
 Th& fourth in G major, on the middle of the twenty-first. 
 
 The fifth in C major, on the beginning of the twenty-fourth ; 
 whence the sixth and last four measures conclude on the tonic 
 pedal.f 
 
 597. The third fugue by Handel (Op. 3) of two subjects in B 
 flat major contains a greater number of interwoven periods. 
 
 :S 
 
 I 
 
 «-#- 
 
 - r-LLLPXi 
 
 Th& first dominant period of two contracted sections ends on 
 the csesure note of the seventh measure. 
 
 • First set of fugues in all the twenty-four keys, major and minor. 
 t The tonic pedal of this fugue is really a coda. See a copy printed by Mr 
 Diettenhofer, in the third set of his fugues, by Messrs. Gouldmg and Co. 
 
EHTTHM. 
 
 193 
 
 The second on the fifteenth measure. 
 
 The third on the middle of the thirty-first. 
 
 The fourth on the middle of the thirty-fifth. 
 
 The Jifth (a tonic period in D minor) on the csesure note of 
 the forty-fourth, &c. 
 
 598. Another instance of a fugue on two subjects, much 
 longer than this of Handel, is that by Domenico Scarlatti, vol. 
 ii., on the following theme : 
 
 -— Mm— I 
 
 0-^03 
 
 m 
 
 s 
 
 S^ 
 
 :^ 
 
 tr- 
 
 599. All the fugaes in Handel's Choruses, in his Overtures, 
 in hi^ Lessons, in his Violin Sonatas or Trios, in the Sympho- 
 nies to the Chandos Anthems, &c., are masterpieces of learning 
 and effect. 
 
 600. Among all the various methods of interweaving the 
 periods of the fugue, none has more effect than that of making 
 the tonic harmony of the final cadence a new dominant. 
 
 This may be performed diaionicaUy,* by flatting the third of 
 the leading chord, (Art. 424,) or chromatically, by the modular 
 tion given in Art. 553. 
 
 Oiatonically. 
 
 ^m^^^^ 
 
 r 
 
 w 
 
 42= 
 
 I 
 
 %<■ 
 
 76 
 64 
 
 5-br 
 43 
 
 * Tbia is the claiatila ficta of the older school, in opposition to the claiuula 
 formalit, or perfect cadence. 8ee Fox, {Qradiua ad PamMmm.y 
 
 17 
 
194 
 
 callcott's musical grammar. 
 Instead of thus : 
 
 ]P=i^=i-^ 
 
 F^-f 
 
 5- 
 
 0-J ^— 
 
 
 The same effected chiomatically.* 
 
 -^•» — « — 
 
 -J3- 
 
 ss 
 
 1 
 
 Pi=p: 
 
 ffi^ 
 
 ^ 
 
 -*-•- 
 
 tqt¥ 
 
 S^E 
 
 m 
 
 fe^ 
 
 :t=: 
 
 Sect. IV. — Of the Coda. 
 
 601. The concluding passage of many movements, when it 
 occurs after a proiracied perfect cadence (Art. 423) is termed 
 the coda,* or final period. 
 
 602. The length of the coda may be various ; in some pieces 
 it contains several sections, in others merely a single phrase. 
 
 603. The following short coda from Ebiydn, Op. 40, will serve 
 as an example : 
 
 tfcs: 
 
 £ 
 
 ^m 
 
 ■m^m-m- 
 
 I 
 
 i=sa= 
 
 SE 
 
 * In modem music the coda is generally preceded Vy a long shake on one 
 of the notes of the dominant harmony. 
 
RHYTHM. 195 
 
 In this passage the first two measures of the coda might be 
 omitted without injuring the harmony. 
 
 604. When the coda consists wholly of the tonic harmony, the 
 open or right pedal of the grand piano-forte, which raises the 
 dampers, may be employed with good effect. 
 
 605. Instances occur in Kozeluch, Op. 40, Sonata 1, in F 
 major, and in Op. 41, Sonata 1, in B flat major, where he uses 
 the term aperto (open) for this purpose. 
 
 606. In foreign printing, the abbreviation C. S. con Sordini, 
 with dampers (or mutes,) S. S. senza Sordini, without dampers, 
 are used for the same purpose. (See Woelfl's Sonatas, Op. 27, 
 Paris edition.) 
 
 607. In ancient music, the coda generally occurs on the tonic 
 pedal; and in minor movements it is used as leading to the 
 plagal cadence, (Art. 417.) 
 
 608. There is a style of coda peculiar to Italian bravura 
 airs.* (See the conclusion of the chorus in Haydn's Creation, 
 Hie heavens are telling.) 
 
 609. In rondeaus, &c., the coda is placed as a separate strain, 
 with the term itself annexed. (See Shield.) 
 
 610. But, to show what great effects are derived from this 
 addition, after the last perfect cadence of the movements has 
 been heard, the Hallelujah Chorus of Handel's Messiah may be 
 adduced. The last section before the coda closes the period 
 with the perfect or authentic cadence, (Art. 418 ;) thus : 
 
 1= 
 
 -I — I — *. 
 
 And he shall reign for - ev - er and ever. 
 
 This is followed by a coda on the chords of subdominant and 
 tonic, concluding with the plagal cadence. 
 
 ^; 
 
 t=r=5=t=tr=5:: 
 
 -• ~ ! -I — K^— =?- 
 
 f: 
 
 • The harmonieB of this coda are five — the tonic, submediant, subdominant, 
 dominant, and tonic. The subdominant generally bears its added sixth. 
 
196 
 
 CALLCOTTS MUSICAL GKAMMAB. 
 
 9:# — ^Pi-=-«f»-P- 
 
 m 
 
 im 
 
 "* 
 
 8 
 
 -#-=!■ 
 
 -•-P-F-# 
 
 -I— t- 
 
 Sucli were the simple hot sublime notes which, occurred to 
 the genius of this truly great composer ; and the chorus in which 
 they occur will ever remain a striking memorial of the immortal 
 talents of HandeL