haps, which is well adapted to the purpose intended; but it is afterwards to be found, in different circumstances, in the composition of his dependents, till, by endless repetition, it becomes trite and commonplace; and from that time it is to be regarded by the superficial student as an original specimen of vulgarity. So true is this remark, that the existence of familiar passages, skilfully arranged, may be often considered as evidence of the well-founded celebrity of an eminent author; for, as one observes, they show to whom the rest of his contemporaries were indebted for materials.

But, though the productions of the musician are of a less desirable nature than those of the poet, their longevity may be greatly promoted by an intimate knowledge of ideas and impressions; and this knowledge, as we have already shown, must be acquired by extensive analytical examinations of the most approved specimens of ancient and modern composition.

Many musicians seem to suppose that a thorough knowledge of the grammar is all that could reasonably be required of them; but a greater mistake than this could not well be committed. Grammatical knowledge is but a mere introduction to future study. Though indispensable to success, it can do no more towards forming a Pergolesi or a Beethoven, than a knowledge of poetic quantities can towards creating a Homer or a Milton.

The composer who would excel in his art, must be not only a hard student, but a severe censor over his own productions. Horace tells us of an ancient bard, who boasted that he could invent a hundred lines while standing upon one foot: his likeness is beheld in too many a musician of modern times, whose works are soon to be forgotten. But the composer, whose works are destined to survive him, will have more resemblance to the poet of modern times,* of whom it is said, that "not satisfied with his own corrections, he often consulted the taste of his friends. With one of these he read the manuscript of a certain poem several hundred times, at home and on the continent, and in every temper of mind that varied company and varied scenery could produce, before he would consent to publish it."

* Rogers.

CHAPTER VIII.

CERTAIN TRAITS AND CONTRIVANCES IN HARMONY.

SECTION I.

PHILOSOPHICAL PRINCIPLES.

THE science of harmony has given rise to much metaphysical speculation. Some of the celebrated philosophers of modern times have labored in this field with more industry than success. Rameau and D'Alembert, for instance, endeavored to account for all the laws of harmony, by a few specific results of philosophical experiments. Their theory seemed plausible but as composers would not subject themselves to the guidance of hypothetical principles, while the fruitful fields of discovery and invention lay open before them; it became every day less applicable, till it finally exploded.

Philosophy was here out of its proper element. The principles of harmony are to be regulated, in some degree, like those of language; and, certainly, those who speak and write any living language, will do so, with more reference to general usage than to mere hypothetical restrictions. Even the grammarian

is often constrained to forsake his analogies in favor of the prevalence of custom. Numerous imperfections of diction are thus sanctioned by the best writers, so as to be quite beyond the reach of his control. There are some principles in literature and the arts, which philosophy has to deal with. It may deal with such as are fundamental; and here its province is important. But when it presumes to invade acknowledged usages, to limit the invention of writers and composers, and to furnish the grammarian with a perfect and invariable code of laws, it will find, at best, but rebellious subjects, whose brief term of allegiance will end in the expulsion of the usurper.

Such, indeed, has been the history of musical science in modern times. It has been divided into speculative, theoretical, and practical departments; but it is now allowed, that speculative music, which has for its object the philosophy of sounds and the origin and temperament of the scale, belongs more properly to the science of Acoustics. Dr. Burney intimates that the best composers have generally been the most ignorant of the mathematical ratios of intervals. However this may be, it is certain that speculative music-technically so called-can have little to do with the art of composition or execution. The scale is before us, and we need not hesitate to use it as the alphabet of our language, though ignorant of its precise history, or of the number of vibrations which a sonorous body performs while sounding its

intervals. It would be well for some of our mathematical professors, if they were more fully aware of this distinction. They would then less frequently mislead the minds of their pupils, as well as the public at large, on the subject of musical theory; the very simplest elements of which are not embraced in their course of instruction.

To give even a brief system of the rules of harmony, would transcend our present limits. We propose to speak more particularly of such traits and contrivances as are discoverable at once, both to the novice in theory and to the amateur.

SECTION II.

OBSERVATIONS ON CHORDS.

A coincidence of sounds forms a chord, and a succession of chords constitutes harmony. Chords are consonant or dissonant, as they effect the ear agreeably or disagreeably. Discords, separately considered, are never agreeable to the ear; but when skilfully employed, they have an important effect. They awaken attention, create expectation, relieve the ear from the monotony of concords, and increase among perfect and imperfect chords, the ever-changing varieties, which like light and shade upon the painter's canvas, give life and beauty to the strain. Avison says, that "

as shades are necessary to re

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