6 " Whelher Music is necessary to the Orator, — 



of discipline was evidently directed ; the notation of his intervals 

 became, in some cases, a literary desideratum. The Apostles' 

 Creed, in which he certainly excelled, particularly attracted our 

 attention, as furnishing us with two examples : the one, of an 

 ascending climax, in decreasing forte or diminuendo ; and the 

 other, of an ascending Jinish. 



The concluding portion of this Creed is sufficient for our pur- 

 pose. It was clerically spoken, thus : 



f For the method of executing this and the subsequent passages, let the 

 reader consult the antecedent Magazines.] 



I be-lieve isi the Ho-ly Ghost, the ho-ly ca-tho-lic church, 

 the com - niu - nion of saints, the for - give - ness of sins, the 



al— >- feerz^fei 



gl=l=tEf3EEeEEEEE=^gEEEE 



re-sur-rcc-iion of the bo-dy, and the life e-ver-last-ing. 



The reader will necessarily observe, that neither in the fore- 

 going passage, nor in the passages which follow, have the rules 

 of the Diapenle been transgressed, except in one single instance 

 of a semitone. Every individual clai/se throughout the whole is 

 confined within the limits of that interval [the Diapente] ; and 

 notwithstanding the several parts of the previous climax, the mo- 

 dulation has been so governed, that the extent of the Diapason 

 or Octave has not been reached, even from extreme to extreme. 



A few words may be here offered with respect to the forte and 

 piano of the above passage : but of this task the musician will 

 readily feel the difficulty, and must therefore make every allow- 

 ance for the inadequate description. 

 " I believe in the holy Ghost " (Moderately loud). 

 *' the holy catholic church " (Somewhat louder and swelling). 



" the communion of saints " (Soft). 



" the forgiveness of sins " (Very soft). 



« the resurrection of the body " (Lo«der than any preceding clause, 



and swelling). 

 ** and the life everlasting " (Forte and swell somewhat dimi- 



nished, especially at the close). 



Dryden's memorable five falleris (in Alexander's Feast), on the 

 merits of which evcrv petty critic thinks himself competent to 

 decide ; but which, until now, either on or off the stage, it had 

 never been my lot or the lot of my Associate to hear even to- 

 lerably 



