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noticing, are left to be considered as anomalous or capricious. Though of ten terminating on the key-note, like the music of modern times, the melodies of Scotland have almost all possible sort of cadences; namely, on the second, third, fifth, sixth, and seventh degrees of the scale; and unless we get some clue to these singularities, we remain still in the dark as to an important part of the question.

We think that a new and most valuable light has been thrown upon this question by Mr Finlay Dun's "Analysis of the Scottish Music," to which we have already adverted. Mr Dun observes with truth, that "we cannot say, with our present scanty information upon the subject, what the Scottish scales originally were. But we know to a certainty what the tunes are that have been handed down to us." He has, therefore, commenced his essay by an analysis of ancient Scottish airs, with the view of tracing their peculiar features, before attempting to explain them. Mr Dun's examples are taken chiefly from the airs in the Skene MS., although he informs us that these tend merely to corroborate the ideas which he had previously adopted from a minute analysis of those common melodies which have been transmitted by tradition.

On an examination of their prevailing modulations and cadences, Mr Dun has been led to the conclusion that our characteristic melodies are of ancient date, and are, for the most part, regular compositions, according to the laws of melody which were then in force. Those laws are illustrated by a reference to the chants of the Church, composed according to what are known as the ecclesiastical modes, which may be thus explained in Mr Dun's words:"The arrangement or disposition of the sounds composing the scales upon which these chants were constructed, was made according to the natural or diatonic order of progression, without any accidental alterations of flats or sharps, that is, from D (the first mode) upwards to its octave above: from E, F, G, A, and B in like manner; employing, in short, in all these scales the same sounds as the moderns do in the scale of C major (which was also among the number), but beginning the series from D, E, F, G, A or B, according to the mode." These modes are un

doubtedly very ancient. "They were originally four in number, and were first reduced to fixed laws by St Ambrose, Archbishop of Milan, in the fourth century, and about 200 years afterwards they were increased in number to eight by Pope Gregory the First." They are probably the relics of a still higher antiquity than the remotest of these periods.

We shall not enter into detail on this subject, but shall content ourselves with saying that the examples given by Mr Dun, from ancient chants, appear to us strongly to confirm his proposition, that "in the character of the melody, and in the peculiar cadences upon various sounds of the modescadences initial, medial, and final_ strong points of resemblance may be traced between the ancient Canto Fermo of the Romish Church, and a number of the Scottish airs, particularly those of a graver cast.'

It is obvious how comprehensive an explanation is thus afforded of the peculiar structure of Scotch melodies. It not only reconciles to a general principle the cadences which otherwise appear anomalous, but it shows the origin, also, of those omissions in the scale which the other theory is intended to account for. Although in the ancient music the various major and minor keys of modern times were not properly established, yet as the sensibilities of the human ear are, in all ages, substantially the same, there must have been from the earliest period a tendency to run into the same series of sounds with which we are delighted at the present day. In the different ancient modes, accordingly, impressions would come, in a great degree, to be produced, corresponding to those of the major and minor keys, which are now founded upon the several initial notes from which the modes proceeded. Thus there would be a disposition in the mode of D to run into the sounds which we now use in D minor, and in the mode of F into those which belong to the modern key of F major. The circumstance, however, that the ancient modes were all framed upon the notes which occur in the diatonic scale of C major, made it necessary often to avoid those intervals that were inconsistent with the general impression of the several modes. Thus, in the mode of F, the natural B, or fourth of the mode, would frequently

be a disagreeable note, and there being no flat B in the scale, that interval would come to be often omitted. Again, in the mode of G, the natural F, or seventh of the scale, would be omitted for the same reason, except in those cases where it could be made subservient to a pleasing and peculiar modulation. In this way the frequent omission of the fourth and seventh in Scotch music is accounted for, and the occurrence of the flat seventh is, at the same time, explained, as well as many other peculiarities of structure.

The theory which we first noticed has been familiarly illustrated by saying, that the Scottish scale is to be found in the black notes of the piano-forte, which exhibit the key of F sharp deficient in the fourth and seventh, which, in that key, are found in the notes of B natural and F natural. The theory now submitted to consideration, supposes the Scottish scale to be comprised within the white notes of the instrument, which afford one perfect scale in the key of C, while the other keys or scales are, according to modern ideas, deficient or peculiar in certain respects, according to their several positions in the general scale. Thus, the key of D is a minor key, but has a sharp sixth and flat seventh. The key of F major has only a sharp fourth, a note rarely admissible in vocal music. The key of G has only a flat seventh, and the key of A minor has both the sixth and seventh flat.

It is important to observe that the airs in the Skene MS. confirm the views above submitted. They contain numerous instances of semitonic intervals, inconsistent with the idea of their being systematically constructed according to a rude scale in which those intervals were wanting. They are generally, however, reducible to the more comprehensive principles which we have endeavoured to illus

trate.

We have also, with reference to these views, gone over the original volume of Thomson's Orpheus, and the result of our examination is that out of fifty airs which it contains, only about half-a-dozen are defective, both in the fourth and seventh. Ten of them contain a flat seventh in the major key, and the whole of them, abating here and there a stray appoggiatura of the editor's, are referable to the system of modes, with this exception, that, in

minor keys, the ascending sixth and seventh are generally made sharp-a feature which does not radically affect the structure of the melody, and which we know, from historical evidence, to have been a modern innovation.

If it were necessary to account for the influence of the ecclesiastical modes upon Scottish music, it might not be difficult to do so. The power of the Church, built as it was upon truth and knowledge, and extended by policy and superstition, was not less considerable in Scotland than in other countries. Our ecclesiastical architecture shows the tendency of our churchmen and their patrons to cherish the arts of refinement; and, if music was cultivated by them in any proportional degree, the influence of their style would extend through all ranks of society. Even the perversions of the system might tend to a similar result. suppose the reality and frequency of such scenes as are described in the "Freiris of Berwick," where the hospitality and example of Symon Lawder draw forth the convivial talents of his clerical guest

If we

"They sportit thame and makis mirry cheir With sangis lowd, baith Symone and the Freir "

we can easily conceive the foundation of a school of parody, where the ecclesiastical Cantus would soon be converted into excellent drinking songs. But, in truth, we do not know that the Scottish music is derived from the ecclesiastical: we only see that it resembles it. For ought we can tell, our own system may be, not the daughter, but the sister or cousin of the other.

Neither must it be thought that a correspondence in the scales of the Scottish music and the ecclesiastical modes, while it proves the antiquity of our national melodies, deprives them of their title to originality. What is thus accounted for is only the scale itself and its general laws. These, as Mr Dun observes, supply merely the colours with which the artist is to work. All that gives expression or beauty to the composition must come from the individual composer. "The Scottish music has measure, rhythm, accent, besides a very peculiar manner or style of performance. The Canto Fermo had none of these."

It remains to advert to a question which we formerly proposed on this

subject, how far, namely, the absence, in any air, of the striking peculiarities of structure above noticed, is demonstrative of its recent origin. This question is attended with difficulty. But we would say that so long as an air could be reduced to the diatonic key of C, without any modulation requiring notes extraneous to that key, we have no right to infer that it is not ancient, if it has been handed down to us by immemorial tradition. We have many regular airs for whose antiquity we have the same, or nearly the same, evidence as for others of a more peculiar character. Thus the air of "Alace that I came o'er the Moor," as given in the Skene MS., has much of the polish of a modern composition. "The Lass of Patie's Mill," "The Bush aboon Traquair," ""The Bonny Boatman," "An thou wert mine ain thing," which have all a character of much regularity, are given in the first edition of the Orpheus as the compositions of Rizzio, and this may at least be received as evidence that they were then reputed to be ancient. Goldsmith, in one of his essays, tells us that Geminiani was of opinion that the Scotch mu sic was of Italian origin; and although this evidence does not go far back, and we are not bound to adopt Geminiani's conjecture, it tends to show that a large proportion of regular airs were considered to be mixed up in the general body of our national melody. We have no grounds for concluding that they were derived from Italian models, as we know little of the early history and diffusion even of national Italian music. But we have no precise right to limit the powers of ancient melody except, at least, to the boundaries of its own established scale. Compositions might be made at a very early period, on the mode of C major, which would be little distinguishable from modern airs.

Mr

Dun has, in the plates accompanying his Essay, given us a specimen of the Ambrosian chant of the year 400, which presents us with an exquisite strain of melody, that has no peculiar character of antiquity except its simplicity. We cannot infer that Scottish com posers might not, in like manner, at a very early period, have composed melodies such as those we have above re ferred to, and which, it will be observ. ed, are all confined within the limits of one diatonic key.

To illustrate the views which we

have submitted, we think it may be curious and interesting to go over the different scales, as they occur within the peculiar range we have described that is, on the notes of the diatonic of C, or white notes of the piano-forte

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and to point out one or two airs, which may be adapted to each of them. In the key of C, "The Lass of Patie's Mill," "The Yellow-haired Laddie,' "Saw ye my Father," "Jenny's Bawbee," or any other of our airs, that are composed on what a modern ear would consider a more regular plan. In the key of D minor, "Ca' the Ewes to the Knowes," "My boy Tammie," "Brose and Butter," Peggie is over the Sea," (from the Skene MS.), all of which illustrate, in different ways, the peculiarities of this singular and beautiful mode. In the key of E minor, "The Mucking of Geordie's Byre," a pleasing and peculiar air, which wants the second of the key. In the key of F major, any air, defective merely in the fourth of the scale, such as "Fye let us a' to the Bridal," as given in the "Orpheus Caledonius," and "Alace that I came o'er the Moor," as in the Skene MS., or even its modern representative, with the omission of a single grace note. In the key of G major, any air deficient merely in the seventh, such as "An thou were my ain thing," "Auld Rob Morris," or, on the other hand, any air exhibiting a flat seventh, such as "The Fowers of the Forest," either the old or new set, where that

peculiarity has a plaintive effect; or the tune of "Pease Strae," where its occurrence is extremely quaint and comic. On G minor we may arrange the air of " Adew Dundee," as given in the Skene MS.; which, although will, when thus set, exhibit no flat the signature of that key is two flats, note whatever, the B never occurring at all in the melody, and the E occur ring only in its natural state. То А minor we may adapt a great number of Scotch airs, such as "Up in the morning early," "Katherine Ogie," and "Logan Water." All the arrangements, it will be observed, have the character or impression of the different modern keys we have mentioned, and yet require no notes that are not to be found in the key of C major. On the mode of B it would be diffi cult to compose any effective air, and no example of it occurs to us.

It must, at the same time, be observed, that all dogmatism on this subject is unbecoming our state of knowledge, and that we cannot expect to reduce everything to strict regu larity. The principles of the ecclesiastical modes themselves are but partially understood by those who have studied them most, and many ancient ecclesiastical compositions are found which it is difficult to assign to any mode. The same thing may, and indeed does, occur as to several Scotch airs. It would not, we think, be an argument for the correctness of any view, if, in a matter so obscure and perplexed, it left nothing for doubt or investigation. It is a great matter to trace a connexion between the modes and the Scottish music, though we should be unable to follow out all its bearings.

The ideas above adverted to, however imperfectly here developed, may, we think, be of use to performers and harmonists in the execution and arrangement of Scotch music. There has long been a tendency to alter the character of our melodies, by the introduction of ornaments and intervals, foreign to their structure, and at variance with their essential features. The result is a mongrel breed of musical monsters, which could never possibly have sprung from any genuine and pure stock. The original part of the melody has been composed upon a certain system of tones, which is disregarded by the modern artists who are dealing with it, and who load it with embellishments framed upon a totally different system. Consistency is thus destroyed; the ear is perplexed between conflicting effects, and the heart refuses to yield to affectation and effort that tribute of emotion which is only due to nature and simplicity. It is plain that the performer of a Scotch melody ought to place himself, as much as possible, in the situation of the original composer, so as best to give elect to the true intention of the composition; and, at least, not to thwart any of its principles. For this purpose it is necessary that something should be understood of the ancient tonalities,

within the limits of which the melody must be confined. Not that we would exclude all ornament from such airs, but only those graces are admissible which an enlightened taste may suggest, and which lie within the range

of the legitimate scale, so far as we can discover it. Where we are doubtful of our ground, the more sparing we are of our embellishments the better.

In arranging accompaniments for our Scotch melodies, the composer has considerable difficulties to contend with, as the prevailing system of harmony is chiefly founded on the varieties of Nevertheless we modern tonality.

are of opinion that here also the ancient modes should be, as much as possible, preserved, even at a sacrifice in point of fulness of accompaniment : and, at least, that all extraneous intervals should be kept in the background, and not brought in collision, as we often see them, with those parts of the melody which are regulated by different laws. We believe that in this department there is great room for the exercise of ingenuity and taste, when guided by knowledge, and that the composer who can imbibe the spirit of the old Scottish melodists will overcome or elude the difficulties of his position, and will even elicit new beauties out of those difficulties, and produce effects in harmony which will at once sustain the original airs, and add to their peculiar and affecting character. We find, in what we have above said, that we have been expressing the ideas, and almost using the very words of Mr Dun, in his analysis, where these views are strongly enforced, upon better authority than ours. We hope that the whole discussions which we have been noticing, will meet with the attention they deserve, and hasten the attainment of the ends in view.

We cannot conclude this article without a humble but earnest exhortation to our musical artists and amateurs to cultivate the study of those delightful melodies of which Scotland may so proudly boast. Enough has been said to show that our music is not harsh or crabbed, rude or capricious: but regular, according to laws of high origin, and animated by a spirit of true feeling and poetry. Without depreciating the Italian school, we would say, that its tendency, at least in its more modern shape, is to refine away the language of melody till it loses its strength and freedom, and becomes soft and voluptuous. The reign of very chromatic music cannot be lasting or extensive. The broad and grand effects produced by the greatest com

posers are calculated to be more generally delightful and impressive, as they excite feelings in themselves more noble, animating, and powerful than any that can be touched by the languishing refinements of minute divisions. Those great effects, it is obvious, are referable to a musical system which, in many respects, has an affinity to the laws of Scottish melody. But it is needless, for our argument, to assimilate these various styles to each other. There is room enough for them all in every comprehensive and vigorous heart. In music, as in every thing else, a taste which is not catholic in its objects, cannot be pure or high. Let Scottish melody occupy only its rightful share of attention, and nothing further needs be asked. But surely its claims are the more strongly recommended by the consideration, first, that it is the music of our native land which, for ages past, has been the language of all who have gone before us, whether high or low, who could give utterance in song to the emotions of joy, or pity, or affection; and next, that in this school success is most easily attainable by our native vocalists. Not that in our opinion it is an easy matter to sing Scottish music. On the contrary, it is a task both hard and honourable to achieve. The attainment of true simplicity of taste is itself arduous, and requires diligent study. But we think that if this difficulty be overcome, and it lies, in truth, at the threshold of all musical education, it is more likely that a pupil with a voice of ordinary compass and flexibility will be able to sing a Scottish melody well, than any Italian composition equally well that is at all worth hearing. It is, of course, necessary that the airs to be perform ed shall be carefully chosen; and for this purpose we must draw out of that well of undefiled simplicity which can alone give nourishment or delight to the affections. But if the best airs are selected, we know of nothing which

affords a better scope for musical talent than this field. A genuine Scottish melody, performed with all the recommendations of regulated intonation, simple embellishment, lucid articulation, and appropriate feeling, is calculated, not only to please ordinary ears, but to give more delight to the most scientific than they could derive from any composition of a more ambitious style attempted by the same performer. It is only those, indeed, who are in the debateable land between simplicity and science that will seem indifferent to its attractions, and affect to scoff at what they are afraid to admire. We do not know if we are heretical in saying that one obstacle to the cultivation of Scottish vocal melody arises from the inferior and unsuitable character of the poetry with which many of our airs are united. In spite of what Burns has done, and he, too, has been often unsuccessful, there are many exquisite airs which have no words that can be sung to them without impropriety or absurdity. Much may yet be done in this department by a fine genius and taste, combined with a thorough understanding of the character of our music, and of the ancient form of our dialect, to which it may be best adapted. But even as it is, we have many beautiful melodies, with words sufficient to give a direction to the music without disturbing its effect; and some of our lyrics, united to the very finest of our airs, possess a beauty and simplicity altogether unrivalled. The finest judgment may here be shown by a performer in the choice of the songs to be sung, while the successful execution of our best music is at once attainable, by moderate abilities, so as to convey considerable pleasure, and is, at the same time, a fit occasion for displaying some of the highest quali ties of musical style, the very same, we think, that are needed to do justice to the tender simplicity of some of the noblest works of Handel and Mozart.

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