Richmond enquirer. [volume] (Richmond, Va.) 1815-1867, 1816-09-14
SCOTTISH MUSIC.

in ibis musical age, many OF readers will no doubt he
sratasd by me following original Ie,ter,rom the cthr,
led Dr. EyarS!ia Lord Kei,'es with which We have
been thvo. by an" Amateur OF Pastoral Melody The
le,teri, da;sd June z, i76s. ". =. Courier.
In my passage America had your excellent work the
81 Gisnrn,s of Cyieisn - III which found great enter
reriainnent only wished yon had eagianed fully
.he subject OF nIusic and demonstrated ttat the pleasure
which artists it III hearing much u. that composed in the
modern ist. the natural pleasure arising from me
ay Ut harmony OF sounds bat OF the kinI With the
pleasure fe on seeirgthe surprising fas of umbIers
and r,pedancers who perform dfcuii things. For my
pan ie h'' TO DC The real case, and suppose 1t the
1panitd With those lifcuies, have e pleasure in
hearing this iuusIc many pieces OF u are compositions
cusna.on audsacc usrracsed in music placed myself so
ssto all their faces, and observed signs of pleasure u,
rreri, dnt great part OF wha was Admired by the p-
Themselves, willie pain u Scotch time. which they
ddaned ard eou' scarcely be prevailed play. gave
manifest and general delight Give leave, this coca
sion, extend littie the Of ycrr poiuls iha;
melody harmony separately agreeable and in u,,on
1,y The Scotch tnts hive lived so long ard f they es
cape being sii,d in mosrn affected orIsmeit will proba.
BIZ live for n,rely tisat they really com.
positions OF melody and harmony united rather ilrt ter
melody is harmony an the simple sung by \ in
say meaning.
In common aceePtation, an agreeable succession of
sounds cs'lcd Melody, te coxistence of agreeable
teing, FOX some moments perfect i'll of the pitch Of
ast .,,ml so rs TO compare with The itc of succeed,
crecment. tirc may, ard does arise from thence sense
OF harmon, between the present and past sounds, equally
pleasing with ilat between two present sounds.
Now the construction OF the old Scotch tunsi this that
amoHe,ery snceeeSli-g emphsticaI is third, flth
AN octave, Short thst is III concord With
The preceding note hii'ls are chiefly used which very
caneori. use the word emphatical distinguish oc
notes, which have stress laid on them in singing the tune
from the lighter connecting notes. that merely, like
grammar articles in common speech, to tack The whole
That layea perfect idea of sound justras,,
might appeal toali acquainted with musewho how
easy Is repeat Sound in the pitch with one
beard. lntnning AZ instrument, agoOd ear can easily de-
tcrnn, st strings in UNISON, by sounding Them
separately, Ivy sounding them together their disagree
is also easily believe may say easily, and
distinguished when sounding separately: for when
scidrd together though you know by the heating that
is higher than the other, yai cannot tell which IS have
sscribd memory the ability accompanying the pitch Of
present with that of past But tyre puld be
ts possibly there ie,) something IN the ear snar Ha
find in the eye that ability would not he entirely owing
10 rneuory. Possibly the vibrations given TIE auditory
Sl.ryCs by particular sound nay actually continue
time after the of these vibrations past, and the
grercnt isagr emrnt Of subsequent sound become
by comparon With them more iiSeedble Farlher-v hen
consider by whom these ancient were coutIosrd
aud they first performed shall see that such
barnOnca succession Of sounds natural ard even ne
ces,ary, their construction. They composed by the
Ministries of those days, be played the harp accom-
pned hy tie voice The har was strung with wr Which
gives sound of long ooniint nec, ard had no contriyance
like that Of TIE modern harpsicho. 10y which the sound Of
the preceding coul be stopt, The moment succeeding
began To avoid actual ccorI. was therefae
~, that the succeeding emphatic should BE- chord
i;t The pyecen as their sounds NEST exs, AZ ,h sa,c
time. Hthee that beauty IN those which had
50 long pleased and w please for ever, though
know why.
trt sfthe simple kind q mean a harp Without any
half bit tose W tic natural 'cs- and with no more
than Of strings, from c. CO conjecture from
another circunsancc which IS, that one of those nes
really ancient. has single artificial, note IN ; and at w.
where It convenient for the voice. 10 as tie
middle notes Of the harp, and place the key in r. there tie
II, which II used, should be fat, is always omitted by
psssie~ II with third.
lle C.hoiseur III molerb music will say have
TASTE INIT cannot belp adding, that believe our nm.
eesufs iuhearng good song distinctly ariicuiaifd se
u hcsr tunes, ami accompanied by the harp ia
real pleasure thar y communicated by the giierarty
o no Operas cxeluse VI that arising from lie scene
r. ard dancing.
lam, &c.
BENJAMIN FRANEIIr.