KEY 



418 



K HA 



4 17!) i, the number of visitors was 1540. There are two 

 )>riv:ite museums \:i the town, which are open for pub- 

 . Kty ^ lie in-pi-ction. Tfn- Uruiilical stones at Castlerigg, 

 about two miles to the south of the town, are worthy 

 of ln-ini; seen. In 1811, the population of the town- 

 ..hi|, houses, and l()S:i inhabitants; of whom, 



2.08 wen- returned as employed in trade and manufac- 

 ture.-. The maximum quantity of rain that falls at Kes- 

 wk-k is 84.605 inches, the minimum 34306, and the 

 mean 68.5. See West's Guide to the Lakes ; and the 

 >ti<:\ i>l' England and Wales, vol. iii. p. 23Q. 



KETTERING is a populous market town of Eng- 

 land, in Northamptonshire. It is situated upon a small 

 river running into the New. The town is but poorly 

 built, but is gradually improving. The church, which 

 i nave, north and south aisles, a chancel, and a 

 handsome tower .and spire, is a tolerably good build- 

 ing. There is here a sessions-house, a well endowed 

 free-school, an alms-house, amj two dissenting chapels. 

 The manufactures of the town consist of sorting, comb- 

 ing, spinning, and weaving tammies and laatings of 

 different sorts. In 1811, the parish contained 713 

 houses, and 3242 inhabitants ; of whom, 587 were re- 

 turned as employed in trade and manufactures. See 

 Bridge's History of Northamptonshire ; and the Beau- 

 ties of England and Wales, vol. xi. p. 194. 



KEVV is a village of England, in the county of 

 Surry, celebrated for the royal palace built there by 

 George III. and the magnificent gardens which belong 

 to it. There is a fine stone bridge of seven arches thrown 

 over the Thames, from a design by Paine. There is 

 here one of the royal palaces, which is held on lease. 

 It is a small house, in a bad style of architecture. His 

 present majesty, however, began, in 1802, a new pa- 

 lace in the Gothic style, and of an embattled form, from 

 the designs of James VVyatt, Esq. This palace is still 

 unfinished. A very full account of the royal gardens 

 of Kew, will be found in our article HORTICULTURE, 

 vol. xi. p. 125. 



KEY, IN Music, is a term ambiguously used by 

 most practical musicians. Sometimes by this term 

 they mean a scale or system of intervals ; at others, it 

 implies the lowest or fundamental note of the system, as 

 above; and, on other occasions, this term also designates 

 one of the short levers on which the fingers act, in per- 

 forming on organs, pianofortes, &c. Writers, who have 

 aimed at greater precision in their terms and writings, 

 have made the following distinctions, viz. 



KEY-KO/C, called formerly ison or mese, the funda- 

 mental or bass note of every mode or scale of intervals, 

 as above ; each tune, or piece of music, usually begins 

 with its key-note, and invariably ends with it; other- 

 wise, as experience has shewn, the ear would not be sa- 

 tisfied, or the subject of the tune seem closed and ended. 

 The moderns consider C as the principal or first key 

 of the major mode ; and by a series of modulations into 

 its successive or consecutive fifths, above and below, 

 they derive all the other key-notes. Mr. Listen first 

 shewed how this modulation could be conducted, with- 

 out departing from the harmonic relations of the first 

 key-note, or C, by returning sufficiently often to one of 

 the consecutive 3ds or 6'ths of this first key-note ; and 

 thus he extended the scale to 5y notes in the octave ; 

 and Mr. Farey has now extended the same to 612 

 notes. See our article INTERVALS. 



KEY, or Mode, implies a system, or scale of inter- 

 vals. The practical, and less correct writers on music, 

 have often asserted, that a key or mode, whether ma- 

 jor or minor, consists only of seven sounds, which, in 



the first or principal key, or mode major, are C, D, E, F, 

 G, A, and B; and in the principal minor key, or note, 

 are A, B, C, D, E, F, and t> ; but Mr. Liston, in pp. 

 59 and 6l of his Essay, shews that the major mode C 

 is not complete, or capable of corrector euharmonic 

 performance in it, (such as violins and voices actually 

 accomplish,) without 10 notes instead of 7 ; viz. C, D\ 

 D, E, F, $ F, G, A, A', and B. In like manner, in 

 pp. 6't and 67, he shews that the first, or principal mi- 

 nor mode or key A, requires also 10 notes, viz. A, B, 

 C, D, % D, E, F, $ F, G, and # G. 



Combining, therefore, these two scales together, it 

 thus appears that 12 notes are required instead of 

 7, as some still inconsiderately assert, for simply accom- 

 panying, or producing the harmonics to 1 an ascending 

 and descending bass octave, in the modes C major and 

 A minor. It need, therefore, excite no surprise, that 

 in modulating through all the keys or modes in use, so 

 many as 59 notes become necessary ; but rather, how 

 so few notes should suffice, which is owing to so many 

 of the notes answering in various keys. 



Finger-K.E\s, manual keys, or clavier, are the short 

 levers of the keyed instruments, by means of which 

 they are played upon ; usually there are 1 2 of these to 

 each octave, of the compass or extent of the instru- 

 ment ; seven of them longer and broader than the other 

 five, which are shorter and narrower, and stand up 

 higher between the longer keys ; according to the ar- 

 rangement which is explained in our article FINGES- 

 Keycd Instiwnenls. 



The organ in the Temple church in London, has two 

 of its short keys divided in their lengths, so as to pro- 

 duce two distinct levers or keys, by which means the 

 fingers can act occasionally on 14 notes in each octave, 

 instead of 1 2 : we have read, or heard, of attempts for- 

 merly to divide more of the keys, one as early as 1683, 

 by a Mr. Player, and thus to multiply the powers of the 

 fingers in performance, as to improved harmony ; but 

 so many difficulties, and liabilities to mistakes, in the 

 hurry of performance, were thereby introduced, that 

 we believe these divided finger-keys nowhere remain 

 in use, except two of them in the Temple organ scale, as 

 already mentioned. 



The late Dr. Robert Smith supplied the place of more 

 finger- keys, in his improved harpsichord, by stops, to be 

 moved by the hand, which put some notes out of ac- 

 tion by the ordinary 12 finger keys, and brought others 

 into action in their stead ; and this mode remains yet 

 in use in the Foundling-hospital organ in London, for 

 four additional notes; but, within a few years past, Mr. 

 Hawkes, and, since him, Mr. Loeschman and Mr. Lis- 

 ton, have effected these occasional shiftings of the notes, 

 belonging or attached to the ordinary finger-keys, by 

 means of pedals, or short levers, to be moved by the 

 feet of the performer, which seems an improvement of 

 very considerable importance in the practice of instru- 

 mental music. In March 1811, John Trotter, Esq. 

 took out a patent for finger-keys of equal width through- 

 out, in two ranges, for facilitating the transposition of 

 music into any key, during its performance, as may be 

 seen in the second series of the Repertory of Arts, vol. 

 xxii. p. 197. (5) 



KHARASM.orCnoRASM, is a country of Asia; bound- 

 ed on the north by Turkestan, on the east by Great 

 Bucharia, on the south by Khorasan, and on the west 

 by the Caspian Sea. It is about 350 miles in length 

 and breadth ; and was once a powerful kingdom The 

 principal produce of the country is cotton, lamb-furs, 

 and a small quantity of raw silk. Cattle, furs, and hides, 

 6i 



