_That every different Key in Music ought to have a different Effect or
Sound._
This is an Error which belongs chiefly to those who play a little upon the
Harpsichord; it arises from the Imperfection of their Instrument. As a
greater Number of Keys would be inconvenient to the Performer, they are
obliged to make one Note serve for another, such as B flat for A sharp, and
many others, which necessarily renders some of the Keys imperfect. But we
are not to take Notice of the Imperfection of any one Instrument, and
regulate our Ear by that alone; we are to consider what is the real Scheme
of Music, and what was the Intent of having different Keys introduced into
Harmony.
It was intended for the Sake of Variety. When the Ear begins to be
surfeited with too much of the _Cantilenam eandem Canis_, as Terence
expresses it, then Contrivances are made, without infringing upon the Laws
of Harmony, to have the Burthen of the Song upon a different Note; not that
this Key is to differ from the former in it's Mensurations from one Note to
another, unless it changes from a flat third Key to a sharp third, or vice
versa. For notwithstanding all the different Sounds which an imperfect
Instrument will give, in different Keys, there are in Reality but two Keys,
viz. a flat third Key, and a sharp third Key; and however the different
Keys upon any particular Instrument may sound, we will venture to affirm,
that any Piece of Music, let it be set in what Key it will, either is not
true Composition, or is performed badly, if it does not sound smooth and
harmonious.
For though we do agree, that Variety is grateful in this Case as well as in
others, yet that Variety ought to be introduced with as little
Inconvenience as possible. When we shift our Scenes, we should order the
Carpenters to make as little Noise in the Execution of it as they can help,
and take Care that the Pullies are all well oiled. For shall any Man
entertain me, by making a most hideous jarring Discord before he begins
what he intends to be Harmony? It is as absurd as for a Lady to take you
half a dozen Boxes on the Ear, before she permits you to salute her, and
then to tell you she only did it, that you might have a more lively
Apprehension of the exquisite Happiness which her unparallelled Charms
should very soon make you sensible of.
We may apprehend the Difference of perfect and imperfect Instruments, by
listening to a Harpsichord, when any Music, where the Key changes often, is
played, and to a fine Band, such as the Playhouse or the Opera. We shall
find, in the latter, that the Composer has taken Care to make every
Transition quite smooth and harmonious; and that tho' the Music be ever so
cromatic, yet it never departs from it's melodious Effect. Whereas in an
Organ or Harpsichord, even the greatest Performers cannot avoid a
disagreeable Roughness in complicated Harmony. Nevertheless, as has been
before observed, we must acknowledge the Organ to have Powers which other
Instruments have not.
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