A Treatise of Musick
A Treatise of Musick

Author: Alexander Malcolm

Publisher: Travis and Emery Music Bookshop

Published: 2008

Total Pages: 652

ISBN-13: 9781904331568

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This is a facsimile of the first edition, printed for the Author, in Edinburgh in 1721.

A Treatise of Musick
A Treatise of Musick

Author: Alexander Malcolm

Publisher: Forgotten Books

Published: 2017-12-05

Total Pages: 634

ISBN-13: 9780332458960

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Excerpt from A Treatise of Musick: Speculative, Practical, and Historical Silent, anon, we fink, reiign 'd m Grief But 'ere our yielding Pa lions quite fubfide, Some fwelling Note calls back the ebbing Tide, And lifts Us to Relief. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Malcolm's Treatise of Music, Speculative, Practical, and Historical
Malcolm's Treatise of Music, Speculative, Practical, and Historical

Author: Alexander Malcolm

Publisher: Palala Press

Published: 2016-05-06

Total Pages: 106

ISBN-13: 9781355647911

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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Malcolm's Treatise of Music, Speculative, Practical, and Historical
Malcolm's Treatise of Music, Speculative, Practical, and Historical

Author: Alexander Malcolm

Publisher: Theclassics.Us

Published: 2013-09

Total Pages: 34

ISBN-13: 9781230423647

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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1779 edition. Excerpt: ... modes. them, as it was in them to plagal. Authentic, differ about it. The material %v(. 8w. point is, if we can sind it, to / A t know what they meant by (-- these distinctions, and what stth. ith, 4th. was the real use of them in '--" x--" music j but even here where g... c---g--c j-ey ought to have agreed, we a... d--a--d sincj tney differed. The best b e--b e account to be given of it is c--/--c--/ this: They considered that an i--g--d--g gve which wants a 4th or 5th, e--a t--a js impersect; these being the concords next to 8ve, the song ought to touch these chords most frequently and remarkably; and because their concord is different, which makes the melody different, they established by this two modes in every natural octave, that had a true 4th and 5th: then if the long was carried as far as the octave above, it was called a persect mode; if less, as to the 4th or 5th, it was impersect; if it moved both above and below, it was called a mixt mode: thus some authors speak about these modes. Others considering how indispenfable a chord the 5th is in every mode, they took for the sinal or key-note in the arithmetically divided octaves, not the lowest chord of that octave, but that very 4th; for example, the octave g is arithmetically divided thus, g-c. g, c is a 4th above the lower g, and a 5th below the upper g, this c therefore they made the sinal chord of the mode, which therefore properly speaking is c and not g; the only difference then in this method, between the authentic and plagal modes is, that the authentic goes above its sinal to the octave, the other ascends a 5th, and descends a 4th, which will indeed be attended with different effects, but the mode is essentially the fame, having the fame sinal to which all...