cumstances in the Succession of Sounds, necessary to constitute Music.

1. The mere Succession of related Sounds is not in itself pleasing. Although the Succession of any two related Sounds is agreeable, yet a whole series of such Sounds, in which no other relation was observed but the relation between individual Sounds, would be absolutely disagreeable. To render such a series pleasing, it is necessary that it should possess Unity, or that we should discern a relation not only between the individual Sounds, but also among the whole number of Sounds that constitute the series. Although every word in language is significant, and there is a necessary relaamong words, established by the rules of grammar; yet it is obviously possible to arrange words according to grammatical rules, which yet shall possess no meaning. In the same manner, a series of Sounds be composed, according to their individual relations, which yet may possess no general

tion

may

relation, and from which, as we can disco ver no end, we can derive no pleasure. What Thought is to the arrangement of words, the Key, or the fundamental Tone, is to the arrangement of Sounds; and as the one constitutes a whole in language, by establishing a certain and definite idea, to which all the words in a sentence bear a relation, so the other constitutes a whole in Music, by establishing a definite and leading Sound, to which all the other Sounds in the series bear a similar relation. The first circumstance, therefore, that distinguishes musical Succession, is the preservation of this relation among all the individual Sounds to one key or fundamental tone, which is the foundation and end of the composition.

2. The second circumstance which distinguishes Musical Succession, is the Regularity or Uniformity of that Succession. In natural events, Succession without Regula- . rity is confusion; and wherever Art or Design is supposed, is positively disagreeable.

In Music therefore, as an Art designed to please, Regularity or Uniformity is absolutely necessary. The most pleasing succession of Sounds, without the preservation of this Regularity, or what is commonly called Time, every one knows, is positively displeasing. For this purpose, every suc cession of Sounds is supposed to be divided into certain equal intervals, which, whether they comprehend more or fewer Notes, occupy the same space of Time in the suc cession of these Notes. To preserve this Uniformity, if there are few Sounds in this Interval, these Sounds must be prolonged to occupy the whole space of Time. If there are many, they must be sounded quickly for the same reason. The one constitutes what is called Slow, the other what is called Quick Time in common language. In both cases, however, the space or portion of time allotted to each Interval is uniformly the same, and constitutes the only Regularity of which Sounds in succession

are capable. A regular or uniform succession of Sounds, therefore, related to one Key or fundamental Note, may be considered as constituting Musical succession, and as distinguishing it from all other successions of Sound. The accurate perception both of this Regularity, and of this Relation, constitutes that Faculty which is generally called a good or a Musical Ear.

II.

If, therefore, we consider Music as such a succession of Sounds as I have now described, the two circumstances which distinguish or determine the nature or character of every Composition, are, the Nature of the Key, and the Nature of the Progress; the Nature of the Fundamental and governing Sound, and the Nature, or (as it is commonly called) the Time, of the Suc

cession.

With both of these characteristics of Mu

sical composition I apprehend that we have many Associations.

The Key or Fundamental Tone of every Composition, from its relation to the Tones of the human Voice, is naturally expressive to us of those qualities or affections of mind which are signified by such Sounds. It is perhaps unnecessary to offer any illustration of this, because it is so obvious to every man's observation. The relation of such Tones in Music to the expression of the qualities of mind is indeed so strong, that all Musicians understand what Keys or what Tones are fitted for the expression of those affections, which it is within the reach of Music to express. It is also observable, that they who are most unacquainted with Music, are yet able immediately to say, what is the affection which any particular Key is fitted to express. Whether any piece of Music is beautiful, or not, may be a subject of dispute, and very often is so; but whether the Sounds of which it is composed are gay or