« TrướcTiếp tục »
like manner by dots placed below the letters, giving one dot to those of the first octave, two dots to the fecond, three to the third, and fo on till you reach the bottom of the scale on the bass clef. In this way, the true tone of every note would be marked with the fame certainty and precifion as at prefent; and the use of this kind of gamut, after a little practice, would be found much more fimple than that at prefent employed, perplexed as it is, and ever must be, with the variety of clefs, which prove extremely embarraffing to a learner, the perfect application of which in practice requires a certain acuteness, and stretch of thought, which fome perfons, who would be in other refpects excellent muficians can never attain. By the mode of notation propofed, this embarraffing difficulty would be totally removed, and the whole doctrine of tones be rendered as fimple as the nature of things can poffibly admit of.
All that would be wanted to the mufical compofer in this cafe, would be a fet of types fimilar to those marked on the mifscellaneous plate, fig 3d. * Vol. II. P. 320.
So much for tone. We now proceed to time.
At prefent, mufical notes confidered as to time, are thus arranged:
Ift, A Semibreve ; 2d, Minums; 3d, Crotchets ; 4th, Quavers; 5th, Semiquavers; and fo on to Semidemiquavers, or as far as you will, every inferior denomination being precifely one half the length of that class of notes, which immediately precedes it. Now, can any thing be more fimple than to exprefs these different times by common Arabic numeral characters, obferving the fame order as that in which they are placed above. 1. then, of courfe would denote at all times a femibreve; 2. a minum; 3. a crotchet; 4. a quaver; and fo on as far as you please to go; or in
This paper should have been inferted Vol. II. but could not be
other words, 1. is equal to twice the time of 2.; 2. is double the time of 3.; 3. is twice as long as four, and so
To express all the varieties of time, however, it was neceffary to adopt a contrivance in mufical notation, that has been found to answer every purpose in the moft perfect manner. A dot placed to the right hand of any note, fhews that that note is lengthened precifely one half more than its original time. For example, a fimple minum denotes two crotchets; but a dotted minum denotes three; and fo on of every other note. Nothing can be better contrived, or more fimple than this is; and therefore the fame contrivance fhould be here adopted, a dot to the right hand of any figure, denoting that the time expreffed by that figure is one half longer than it otherwise would have been.
These particulars being explained, nothing farther is wanted than to fhew how time and tone can be connected in this new mode of mufical notation; nor can any thing be more eafy and fimple than this. The tone is denoted by its proper letter placed in one line, and its time by an Arabic figure immediately above it, either with, or without a dot, as may be required. Thus the notes below marked in the usual way, would
It is not to be expected that a perfon who has never feen this mode of notation before, could read it readily, no more than that a man who has never feen a note in mufic, could read a piece of mufic marked in the ordinary way; but it is fufficiently obvious that the one mode of notation is equally precife, and more fimple than the other, fo as that the ufe of it could, by a little practice, be acquired as readily as the other. To perfons therefore who are beginning to learn the gamut, this mode would be equally eafy with that now in ufe, though it muft fubject those who are already taught, to learn the gamut anew, if they were to read mufic according to this notation,
A reft, by this mode of notation, would be denoted by a fhort line or a blank placed in the letter line, and the time of that reft, by the figure placed above it. Sharps, flats, and naturals, when applied to a particu-. lar note, should be expreffed by the fame characters as at prefent; only, in place of putting them upon the particular line of notes at the beginning, the letter to which they apply fhould be there marked at the beginning.
Trills, flurs, and other directions, bars, beats, &c. could all be applied here equally well, as in the common mode of notation, and fhould be expreffed in the fame manner.
Grace notes, which are at present denoted by notes of a fmaller fize, fhould in this cafe be marked by fmall letters, or what printers call low-cafe letters. A gamut of thefe is marked on the plate, fig. 4th.
In short, there is not a particular that cannot be as eafily effected in this way, as by the mode of notation now in use, though I confider it as unneceffary to quote a greater number of particulars. It will perhaps afford fome fatisfaction to the reader however, to fee the following air set to mufic in both these ways. The words to it were given in the Bee, page 147, Vol. II *
There is only one objection that can be made to this mode of notation; but it is an objection of such a nature as will probably prevent its ever being introduced into practice. All thofe who have already been taught mufic, have been taught to read it according to the ufual notation; to them mufical notes are now familiar; and they will not be fond of beginning to learn anew to read mufic in another way, after they have got over the difficulty; and though their fcholars might be taught the new method more eafily than the old, yet the teachers would diflike to have scholars practising in a way they themselves could not understand, and
* Incorrectly. They are here corrected.
will of course refufe to teach any one according to this
But should any young mufician learn it, and teach in this way, his pupils would have a great advantage above others in getting their mufic at a much cheaper rate than they otherwise could have done, and in a more commodious form.
Mea - dow green, and Moun-tain grey, Cour-ting o' this young thing juft come frae her Mam-my,
And whar gat ye that young thing, my boy Tammy?
I gat her down in yonder how,
What faid ye to the bonny bairn, my boy Tammy?
I prais'd her een, fo lovely blue,
Her dimpled cheek, and cherry mou,—
I pree'd it aft as ye may true;
"She faid fhe'd tell her manmy.”
I held her to my beating heart, my young my fmiling lammy!
I've walth o' plenishan and geer,
Has the been to the kirk wi' thee, my boy Tammy?
She has been to the kirk wi' me,
And the tear was in her ee,
But O she's but a young thing, just come frae her mammy
Ď E F ¿
Whar hae ye been a' day
GAG FEC Č D E F G A B
boy Tammy? Whar hae ye been a'
ZÃ É É Ď Â Ď Ď |Ď ¦ Ď É † Ď Ĉ ¿Ẻ À
my? I've been by burn and flowery brae,
4. 5 4.
É Á Ĝ Á Ĝ É Ċ | Û Ê Ê ‡ Ď Å | ‡ Ċ Â Ġ î þ Ď
Mea-dow g een, and Moun-tain grey, Cour-ting o' this young thing juft cotne frae her Maxi-my,