[ 753 ] 
5'. I come now to the fifth point, which has been 
the fubjedt of much dilpute, and which might well 
afford an endlefs controverfy, whilft the union of the 
two dodtrines was not underftood ; for whatever rea- 
fons, from probability or teftimony, might be urged 
in favour of the mufical, the harmonic dodtrine ap- 
pearing to be ftill better fupported, and feeming to 
eontradidt the other, was fure to fufpend the deci- 
fion, at leaft, if not gain one in its own favour. But 
the agreement between the two dodtrines being fhewn, 
and their views diftinguifhed, the teftimony borne to 
the harmonic dodtrine will no longer be in the way 
of the mufical, and we may fafely allow whatever 
appears favourable to the latter, its full weight. I 
fhall therefore offer, in fupport of this point, the fix 
following arguments. 
Firft, No one accuftomed to hear and judge of the 
effedts of mufic, can conceive, that a mere alteration 
in pitch of the fame melody, though in the hands of 
the moft artful mafter, can have fo powerful an effedt, 
to change the mode or ftyle of compofition, as an 
alteration of the melodious fucceffion : or, if this 
fhould be aflerted, it might be difproved, by an ap- 
peal to the works of all the compofers of eminence 
among the moderns ; who having, in all the variety 
of their modulations, but one change, that truly an- 
fwers to the mufical dodtrine of the modes, viz. the 
change of the fucceffion of the fame key, from the 
major third to the minor, have all referved this change 
for their pathetic paffages. I fhall give but one in- 
fiance of it, from our countryman Purcell, who, 
in his Mad Be/s, has fo happily introduced this 
change, upon the words, “ Cold and hungry am I 
“ grown,'” 
