526 * Whether Music is necessary to the Orator 2” 
answered the design, the soni mobiles,.or moveable tones, re- 
quiring a new manner of tuning upon every change of mode. 
In these changes, the 3ds, no doubt, must have had their in- 
fluence, flattening the minors adding considerably to the plain- 
tive, and sharpening the majors to the maddening effect of the 
composition, 7 
Such niceties could hardly have been discriminated, much less 
executed, during the grosser ages; in which, according to Bur- 
ney, the singing of a simple semitone in tune was almost insur- 
mountable. Hence, and hence alone followed what we moderns 
have been pleased to term ‘the reformation of the scale.” 
* Guido arose,” say a number of musicians who never took the 
trouble of exploring antiquity: But what did this Guy Aretin 
achieve? Little more than the improvement of dines (for even 
these were partially adopted before his day), and the total aban- 
donment of tetrachords with all their delicate distinctions; sub- 
stituting in their place, not the system of octaves, but the less 
comprehensive one of hexachords or 6ths. 
As to harmony, or rather note against note,,—for he had no 
idea of more extensive combination*—the accompanying tones 
of the 4th, 5th, and Sth were employed a long time before him: 
the Monk Hubald, who flourished in the tenth century (nearly 
one hundred years before Guido), having left a sort of treatise on 
Music, which shows that not only the practice of limited coun- 
terpoint prevailed at that period, but also that in addition to 
the 4th, 5th, and Sth, both 2ds and 3ds were occasionally ad- 
mitted. 
Dr. Burney has given us some -particular accounts of Guido. 
Among other singularities, he forbade the use of the 5¢/ in har- 
mony, although he frequently employed the 2d and 4th, as like- 
wise the miajor and minor 3ds, which latter (the 3ds) had for 
some time been gaining ground. 
These, with the cultivation of lines and the abandonment of 
the tetrachords, as I have already mentioned,—together with the 
extension of the disdiapasou to two octaves and a sixth, assign- 
Ing, as some suppose, the name of G, or Gamma, to the lowest 
note, from whence the term: Gamut,—are the most notable mat- 
ters recorded of this applauded monk. 
* With respect to our é2me-table: even in the day of John de 
Muris, who lived in the fourteenth century, it contained but four 
or five characters, and was therefore very limited compared with 
that table which after-ages contributed to extend and improve. 
Nor can any music be found of the preceding centuries, con- 
sisting of more than two parts; and these in the strictest coun- 
terpoint of note against note. ise 
Thus every thing was progressive, nor have we any bay: to 
affirm 
