M U S I C. 
Now tlie completion oF our whole diatonic as well as 
chromatic fcale, feems to have taken place in the mere 
occ'afional tranfpofirion of the explained tetrachord. For 
-when it was tranfpofed a fourth higher, as thus, B, C, 
D. E E. F, G, A ; or a fifth lower, as thus, E, F, G, A ; 
B, C, E>, E; it produced the feven notes of our modern 
diatonic oftave. The former tranfpofition produced what 
the Greeks called the tetrachord conjoined, becaufe the 
higher and lower four notes united in the one note in 
tlie middle, as the double letter E E Ihows ; and the latter 
the tetrachord disjoined, becaufe the tranfpofition did not 
unite the twice four notes in one note in the middle: but 
in both tranfpofitions- the chief confideration remained, 
the two tetrachords ; and no real confideration feems to 
have been paid at firft to the diatonic oftave which they 
produced. 
The next tranfpofition of the tetrachord in queftion, 
attempted by the ancient Greeks, was that of a 1'eventh 
higher, or fo as to begin a new tetrachord conjoined, in 
the higheft: nore^of the former one, as thus: B, C, D; 
EE F G, A A B, CD. But there it was impoflible to 
produce the true tetrachord, of a diatonic major third, 
and a femitone below if, with the oftaves of the former, 
B, C, D, except by introducing between the A and B a 
new note, which was a femitone above it, and a tone be¬ 
low C. This being done, it produced our B flat, and 
with it the true tetrachord A, B h, C, D ; and at the fame 
time it Ihowed that the tetrachord might be tranfpofed 
on any note of the diatonic oftave (or rather ancient 
tetrachord conjoined) by a fimilar divifion of the other 
four whole tones, C D, D E, F G, and G A, into femi¬ 
tone?, as found in the ancient diagram (or fcale) of Arif- 
toxenus, and preferved in our modern chromatic oftave. 
From the above it follows: that, though our modern 
fcale is generally cor.fidered as a diatonic or chromatic 
oftave, with its repetitions, it is nothing more than a 
diatonic or chromatic major third, and its tranfpofition a 
fifth higher, with an equal fourth to the key-note, as 
the oftave of the key-note is to the fifth of the fcale; 
as thus: 
Diatonic Major Scale. 
€ D E F -- GAB C 
major 3d. £ of C major 3d. £ of G. 
The chromatic fcale depends on the fame principle, 
5*ith the mere addition of the femitones between the 
tones. 
A modern diatonic fcale is that, which proceeds by 
whole tones, and fuch interfperled femitones as make a 
whole degree of modern notation. It may be either 
major or minor, according to the greater or lefs third of 
the key note, which it contains. A major fcale is that, 
whofe third of the key note confifts of two whole tones ; 
as in C minor. And a minor fcale that, whofe third of 
the key-note confifts but of a tone and a femitone ; as in 
A minor. A modern chromatic icale is that, which 
proceeds by femitones throughout, though in every 
oftave two of them make whole degrees in modern no¬ 
tation. 
Of the Modes at present in use. 
The chief of the modes at prefent in ufe are the major 
and the minor. The major mode is that which depends 
oii the modern diatonic fcale with the major third, as 
that of C major. The minor mode depends on the mo¬ 
dern diatonic fcale with the minor third, as that of A 
minor. The major and minor fcale can be tranfpofed on 
all the other eleven notes of the diatonic chromatic fcale. 
This is called the harmonic circle, as given at Plate III. 
fig. 5. with the iharps or fiats that are required for every 
fuch tranfpofition. 
Both the major and minor mode, may be either ftriftly 
diatonic 5 or diatonic chromatic. To play or compofe 
Vol.XVI. No. 1115. 
325 
ftriftly in the diatonic major or minor mode of any key, 
requires the obfervance of the two following rules. 
1. No other notes mult be introduced but thofe con¬ 
tained in the diatonic fcale, on which the modulation 
depends. 
2. Every degree of the diatonic fcale mult be allowed 
to carry the fame chords in harmony, and take the fame 
progreflions in melody, as that of the key-note, or its 
oftave. In regard to this fecond rule it mult be obferved, 
that, though every degree of the diatonic fcale is allowed 
to be treated like all the other degrees 5 yet, according to 
their different perfeftion, it is natural that fome chords, 
intervals, and progreflions, fltould be introduced lei's fre¬ 
quently than others. 
From the above two rules follow the different difpofi- 
tions of the diatonic oftave; as when the fecond, third, 
fourth, &c. degree of the fcale, is i’ubftituted as a funda¬ 
mental note, inftead of the key-note. See the following 
examples. In C major, both afcending, and defcending 
at the back of Plate III. Ex. 6. C, D, E, F, G, A, B ; and 
in A minor at Ex. 7. a, h, c, d, e,f, g\ The flur in the 
preceding examples Ihows the different pofitions of the two 
diatonic lemitones between the five tones in an oftave. 
Concerning the minor mode in particular, it mult be 
obferved, that it chiefly depends upon the notes of the 
defcending fcale of the key-note, as in the 7th example, 
a, h, c, il, e,f, g. For the lixth and feventh of the key¬ 
note are made accidentally lharp, merely in thofe cafes 
where the melody proceeds to a clofe on the oftave of 
the key-note; or where the harmony is a leading chord to 
a perfeft cadence on the key-note, or fome inverfion of it. 
See Ex. 8. a, h, c , which are afcending examples : and the 
application of the fame rules to a defcending feries at 
Ex. 9. a, h, c. 
All thofe difpofitions of the diatonic oftave, with the 
paflages that depend on them, may take place in the bafs, 
or in a middle part, as well as in the higheft. But, 
though the accidentally-lliarp feventh of the key-note in 
minor becomes neceffary in the cafes here Ihown, the ac- 
cidentally-lharp fixlh is introduced merely for the lake 
of avoiding the progreflion of an extreme-lharp fecond to 
and from that feventh ; as in all other refpefts the fixth of 
the key-note in minor ought to be natural. 
Though the modulations of fome of our modern mu- 
ficians feem to let all rules at defiance, yet we con- 
fider the major and minor modes, as we have given them 
in all keys on Plate III. as the only legitimate kales for 
modern mufic. We lhall therefore fay a few words more 
upon that head. A very obvious diftinftion- between 
thefe modes, and eafily remembered by a learner, in this : 
In the major, you have firft a lharp third, then a flat third ; 
in the minor, you have a flat third from the key, followed 
by a lharp third; the fifth being the fame in both. 
Signior Muflolini’s remarks and explanations on this 
fubjeft are fomewhat Angular, but, we think, not un¬ 
worthy of attention; as will appear from the following- 
extraft: “ All writers on mufic have found tliem- 
felves embarrafled when they come to treat of the minor 
mode. Unacquainted with its origin, or with its funda¬ 
mental or generating found, they have advanced different- 
opinions, in order to give it a more fuitable progreflion 
and fcale; but, in recurring to the principles I have efta- 
bliihed, every difficulty will vanifli. Of what do the har¬ 
monics of the key C confift ? of a greater third C E, and 
of a minor third E G : now it is evident that, if the har¬ 
monic E G is inverted into A C, which is precifely of the 
fame dimenfions and nature, we lhall have the two thirds, 
A C minor, and C E major, which preferve the fame re¬ 
lation and the fame nature with the two former, C E and 
E G, and confequently mull equally produce the lame 
natural and pleating efreft. Moreover, if we proceed dia- 
tonically from A to its oftave, without altering any of the 
intervals which fill up that extenfion, is it not the fame 
progreflion as is made ufe of from C to its oftave t We 
4 O repeat 
