MUSIC. 
quired, that the preparation of the new key 
should be rendered familiar and smooth, by 
means of some one or more notes which may 
appertain thereto: thus, in Example 21, 
we find the key of F is introduced without 
any harshness, because the fundamental 
note, C,is the fifth of the succeeding chord. 
The key of G is equally easy from C, as may 
be seen at Example 25, on account of G 
being the fifth of C. The chords of the 
fifth, and of the fourth, being so easily esta- 
blished from the key, are called adjuncts, 
they require not any preparation. The key 
of A minor may likewise be assumed, as it 
were, suddenly from the key of C, without 
offending the ear, because its common 
chord contahis two notes, C and E, which 
are constituents of the chord of C. We al- 
so find but little objection to shifting from 
the key of C major to that of E minor, be- 
cause the latter hastens notes in it apper- 
taining to the common chord of C. 
Music would be extremely insipid, were 
it not, that modern composers have shown 
with what excellent effect discords may be 
introduced : these serve to vary and to em- 
bellish passages, which would else be very 
tame, and nearly monotonous ! Discords 
are like those bold shadows in painting, 
which serve to relieve the lighter parts, 
making them appear more brilliant and 
more conspicuous; they serve like a rich 
sauce to an insipid viand, to give an agree- 
able zest to what would be scarcely tolera- 
ble. Tliey are generally furnished either by 
addition, as the added sixth to the chord of 
the fourth of the key; or by suspension, 
where, as in Example 27, the bass as- 
sumes some note contained in the chords of 
the second and fourth parts of the bar, while 
the treble keeps the sound of the former 
chord suspended. A chord, figured with *, 
is but a suspension of the third. The chord 
of the . ninth is but a suspension of the 
eighth; the seventh often suspends the 
sixth, while the sixth is frequenlly found to 
suspend the tiflii. The ninth, seventh, and 
fourth are often found, at the same moment, 
suspending the eighth, sixth, and third. We 
have another variety, called anticipation, 
exactly the reverse of the foregoing; in 
which the upper parts get forward into the 
harmony of a succeeding chord, in which 
the bass does not immediatelj join, but fol- 
lows in the same way that it precedes in sus- 
pensions. This is not quite so common as 
what we have just detailed; but, when 
well conducted, is full as beautiful. 
In former times, when music was less un- 
derstood as a science, than it is at this day, 
the rules, or rather the licences for accom- 
paniment were very limited, and confined 
the harmony to such a paucity of permuta- 
tions, as would, among modern theorists, be 
considered bald and puerile. We should not 
tolerate such music; for the habits ac- 
quired, by frequently hearing compositions 
in which -every possible change has been in- 
troduced, would render the inexpressive, 
tame, and monotonous accompaniments of 
those musicians, who were contemporaries 
with the celebrated Guido, (to whom the art 
is highly indebted), little more gratifying 
than a peal on an octave of bells. AVe are 
not, however, to suppose, that plain, simple, 
melodies are beneath the composer’s no- 
tice, far otherwise, we could quote many 
little strains, in which every note is attrac- 
tive, and which, when duly accompanied, 
give the greatest delight. Perhaps Pley el's 
German Hymn may, in that respect, be con- 
sidered as neat a specimen as could be 
quoted ; in it we have all the suavity of reli- 
gion, without any of the dull, tedious, or 
tautological circumstances which charac- 
terize a large portion of church music. The 
variations annexed to that pleasing air, are 
proofs of the composer’s taste ; while the 
presto which follows, and is upon the same 
subject as the hymn, gives a most agreeable 
termination, and is so managed as com- 
pletely to change the character of the 
music. 
The art of composition requires great ge- 
nius, taste, judgment, a fine ear, and the ut- 
most patience ! without these, good music 
will never be produced. We should, at 
the same moment, studiously avoid that pe- 
dantic bias, too often received by men of 
the first abilities, whereby a certain stiff, 
ness, and deficiency of air, are sure to fol- 
low ; few, indeed, have the happy gift of ac- 
quiring all tlie necessary attainments in the 
theory, and to preserve a pure taste for those 
lyric compositions which are so highly re- 
lished by the multitude. We have, how- 
ever, seen a Rosina start from the brain of 
science ! Yet, after all, it is frequently with 
some difficulty that the favourite airs of 
other nations gain admittance among us. 
AVith persons who can appreciate merit, 
and who can discover beauty, even among 
features which may not be very regular, fo- 
reign compositions are well received ; but 
it appears to us, that the English (speaking 
of the multitude) have nearly as much par- 
tiality for a peculiar stile, such as the 
ballads of Dibdin, as the Scots have for tlieir 
