. A compendium: or, introduction to practical music. In five parts. ... By Christopher Sympson . Principles of Composition.^ 37 But if the Bafs be fet in a Sharp Key; then itis not fo proper, nor eafie, to make a middle Clofeor Cadence to end upon the fhavp 3J, and there-fore (inftead thereof j we commonly make ufe ofthe ^th or 2d above the Key for middle Clofes. E X J MT L E. K Key Thus you fee what Clofes belong to the Key,bot1i fiat and ftjarp ; and by thefe two Examplesfet in Gy you may know what is to be done, thothe Key be removed to any other Letter of theScale. § 7- How to fram
. A compendium: or, introduction to practical music. In five parts. ... By Christopher Sympson . Principles of Composition.^ 37 But if the Bafs be fet in a Sharp Key; then itis not fo proper, nor eafie, to make a middle Clofeor Cadence to end upon the fhavp 3J, and there-fore (inftead thereof j we commonly make ufe ofthe ^th or 2d above the Key for middle Clofes. E X J MT L E. K Key Thus you fee what Clofes belong to the Key,bot1i fiat and ftjarp ; and by thefe two Examplesfet in Gy you may know what is to be done, thothe Key be removed to any other Letter of theScale. § 7- How to frame ^ B b s s« ET the Air of your Bafs be proper to the KeyX-/ 2. If it have middle Clofes, letthem be according to the late Examples. 3. Thelonger your Bafs is, the more middle Clofes will berequired. 4. The movement of your Bafs muft be(for the moft parr) by Leaps of a 3^, 4?/?, or 5^/2,nfing Degrees no more than to keep it within theproper Bounds and Air of the Key. Lailly, Iw^ould have you to make choice of a fiat Key tobegin with \ and avoid the fettii>g oi fioarp Notesin the Bafs, for fome Reafons which (hall appearhereafter. Let this Ihort Bafs which follow fervefor an Inflance ; in which there is a Clofe cr Sedi-en at the end of the fecond Bm. P 3 £^- 3 8, ^ Compendium <?/ M u s i €• E X J 31 P L Ef Bafs» § 8. How to joyn a Treble to the Bass. THE
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