6, on a gradual progression of the diatonic scale. It is derived from the mediant progression.

In this, and the following examples, the directs shew the radical base.

In C Major.

In A Minor.

The final chord of this is always major. The authentic cadence is the same as the perfect, and is only so termed in contradistinction to the plagal.

When the leading harmony of any cadence is not radical, but inverted, the cadence is, in this work, termed medial, and is used to express an incom. plete close.

I. Cadence of the leading note.-This is the first inversion of the dominant, and is used instead of the perfect cadence.

II. Cadence of the sharp sixth.-This is the second inversion of the dominant, and is sometimes used as a final cadence on the tonic, as in Non Nobis Domine; but more generally on the sixth of the descending scale, when it commonly bears a suspended seventh.

III. Cadence of the major or minor sixth.This is the first inversion of the mixt cadence, and is chiefly used in the minor mode. It is also liable

to the antecedent suspension of the seventh. These cadences may also become protracted by

using other harmonies on the dominant. Thus is formed what Dr. Pepusch calls the grand cadence.

This sequence, like that of sevenths, admits of the leading note as a temporary root; and it seems to have been for the sake of elucidating these passages, that Kirnberger and Kollmann have admitted the diminished triad among the consonant harmonies.

III. Of inverted sequences.-The principal inverted sevenths; and, of these, the most usual is that of a sequences are those derived from the sequence of 7, followed by a 6 on the gradual descending progression of the scale.

It is not unusual, in the first inversion of the sequence of sevenths (that of the fifth and sixth), to leave every other harmony as a simple triad, in the following manner:

Any similar succession of chords in the same scale, ascending or descending diatonically, is, in this work, termed a sequence.

All sequences are particularly distinguished by the irregularity of making the leading note a temporary root, to avoid modulation out of the original scale.

I. Of dominant sequences.-The principal descending sequence is that of sevenths; an example of which has been already given, derived from the progression of rising fourths and falling fifths in the dominant motion.

II. Of mediant sequences.-The principal ascending sequence is that known by a 5 followed by a

6 6 6 6 6 6

The same series may take place ascending; and the effect is nearly that of the medial sequence of 5 and 6.

V. Of compound sequences.-Compound sequences are those which by employing the chords of suspension, change their harmonies on the alternate base. Of these there are various kinds; one of the principal is that of descending thirds with afternate ninths; thus,

Also when any chords, or sequences, are taken upon the dominant base, as a holding note, a similar passage is formed; and the base then also be comes a dominant pedal note or organ point.

Not only the simple dominant, but its compound derivative, the added ninth, may be taken on a tonic pedal. Hence arises the chord of the sixth and seventh, or the thirteenth of Marpurg. This is used in the minor mode on the tonic, and sometimes, by extreme licence, on the dominant.

Not only these, but any other chords, whether of suspension, sequence, &c. &c. may be taken on the tonic, or the dominant, as a pedal base; and some instances occur, in which these sounds may be retained in a superior part.

Of the extreme sharp sixth. When, upon the first inversion of the mixt cadence, the sixth of the submediant (or fourth of the scale) is accidentally sharpened, the chord of the extreme sharp sixth is formed.

This harmony, when accompanied simply by the third, has been termed the Italian sixth.

Root B.

By this alteration of the fourth, the species of cadence is changed, from the first inversion of the mixt to the second inversion of the perfect; and it is considered as a licence, because the root bears a fiat fifth, while at the same time the third continues major.

The radical base, therefore, of the extreme fifth is allowed to be defective, that the original sharp sixth, is the supertonic of the key; and its minor mode may not be totally destroyed.

sixth the root itself is annexed, a chord of third, When to the simple combination of the Italian fourth, and sixth is formed; and, as this harmony is only found in the theory of Rameau, it may be properly termed the French sixth.

8

Root B.

A harmony still more remote, but extremely powerful, is formed upon this chord, by inserting the added ninth on the root, as a supposed dominant to the real one.

This occurs with great effect in the writings of Graun, &c. and therefore may be called the German sixth.

The remainder of the scale coincides with that of the major mode.

Although this scale is given in the above form by most of the theoretical writers, yet, in practical music, such is the prevalence of partial modulations, varied sequences, &c. that the rule is not often found complete.

Of chromatic modulation.-When the chromatie semitones are introduced between the notes of the diatonic scale, chromatic modulation is formed, in which the key is continually, although partially, changing.

As the diatonic sequence of sevenths is used to avoid modulation, so a chromatic sequence of sevenths consists of dominants alone, and the scale changes at every chord; thus,

Many other changes occur, to the relative minor (or submediant), to the mediant, to the supertonic, &c. some of which are peculiar to the music of the last forty years.

Of the rule of the octave.-It may at first sight appear singular to class this celebrated progression among musical licences; but, as the descending scale equally includes a partial modulation, and reject the original subdominant harmony, so essential to the constituent parts of the key, the propriety of the classification must appear obvious.

When a diatonic scale in the base is accompanied with harmony aecording to this rule, the roots and their inversions are thus intermixed:

Ascending Seale.

This sequence forms a descending chromatic

scale.

In a similar manner may be formed an ascending chromatic sequence, derived from that of 5 and 6; thus,

to express the words, "full of death and wild despair."

For the fourth general topic usually considered in treatises of music, that is rhythm, see the article RHYTHM in this work. See also part ii of Dr. Calcott's valuable Musical Grammar, which

may likewise be advantageously consulted, for many other examples in illustration of the precepts and observations here given. Those who wish to study the mathematical and philosophical theory of musical sounds are referred to Gregory's Translation of Hauy's Natural Philosophy, vol. i. p. 311-340. See also the articles ÆOLUS'S HARP, BASE thorough, CHORDS, GENERATOR, HARMONY, KEY, &c. in their proper places in this dictionary,

The plates numbered 116, 117, 118, and 119, exhibit interesting specimens of English, Scotch, and German music For many highly admirable specimens of Welsh and Irish music we must refer the curious reader to the collections of Welsh and Irish melodies recently published.

MUSICAL a. (musical, French, from music) 1. Harmonious; melodious; sweet sounding (Mitton). 2. Belonging to music (Addison).

MUSICALLY. ad. (from musical) Harmoniously; with sweet sound (Addison). MUSICALNESS. s. (from musical.) Har

mony.

MUSICIAN. . (musicien, French.) One skilled in harmony; one who performs upon instruments of music (Bacon).

MUSK An odoriferous substance of a peculiar nature, secreted into a bag, situated near the umbilical region of the moschus moschifer of Linnéus, a ruminating animal, re sembling the antelope. (See MoSCHUS.) This bag, according to Newman, has no external opening, like that of the civet cat, whence musk is not to be gotten till after the death of the animal.

In the article alluded to above, we have ob served that in commerce two sorts of musk are distinguished, the Tonquin or Indian, and the Muscovy or Persian. Musk is either of a dark brown or rusty reddish colour: sometimes clothed like coagulated blood. To the touch it is unctuous, and on drying becomes pulverizable. It has a bitterish savour, and its aroma is peculiarly strong and aromatic, disagreeable if too concentrated, but when largely diluted with other matters, or greatly extended in the atmosphere, it becomes a pleasant perfume. From its aroma being remarkably dif fusive and tenacious, every thing in its vicinity becomes thoroughly infected with it, and retains it a long time. Water extracts two-fifths of it by distillation; and is greatly with its aroma and savour: alkohol takes up one-third of it, but retains little or nothing of it, aroma. Nitric and sulphuric acids totally dissolve it, the first destroying the whole, the second the greater part of its aroma.

Soda extracts from it the smell of ammonia, when these two substances are rubbed together. Oils have no action upon it, Cast on red-hot coals, it emits the same fetid smell as urine. On distillation, Newmann obtained the same products as from other animal substances, viz. an empyreumatic oil, a volatile spirit and salt.

By impregnating the waters and spirits distiled from odoriferous vegetables with a minute portion of musk, their fragrance is considerably improved, without receiving any of its own peculiar aroma.

MUSK CAVY, MU K-RAT, See Mus. MUSK CRANES BILL. See GERANIUM MOSCHATUM.

MUSK OX. See Bos. MUSKET s. (musquet, French.) 1. A soldier's hand-gun (Bacon). 2. A male hawk of a small kind (Shakspeare),