Book VIII. Wondrous Music-Making.

Requirement II.

The Tonographic Table.

Just as the preceding phontactic system provides a material principle for arranging modulations, so we may not unjustly call this the formal principle of the same. It is nothing more than a representation of the 12 Tones together with the 7 species of the diapason arranged in columns corresponding to each tone and according to their harmonic numbers. But in place of profuse words—and lest we be compelled to repeat here what we treated extensively in the preceding books regarding the tones, their nature & condition—we place here before your eyes the entire system.

The Tonographic Table.

Quality of the tones Warlike Happy-
Joyful Pleasing Religious,
Sad, plaintive Volup-
Charming Full of faith Soft, empty Grandiose Severe, forceful
Ancient names Hypo-
Phrygian Lydian Dorian Dorian Hypo-
Ionian Hypo-
Iastian Hypo-
Soft Soft Hard Soft Hard Hard Hard Hard Soft Soft Hard Hard Soft
F 8 7 6 5 4 3 2 7 4 3 6 4 8
E 7 ♭6 5 4 3 2 7 4 3 2 5 3 7
D 6 5 4 3 2 8 7 5 2 8 4 2 6
C 5 4 3 2 8 7 6 4 8 7 3 8 5
B 4 3 2 8 7 ♭6 ♭5 3 7 ♭6 2 7 4
A 3 2 8 7 6 5 4 2 6 5 8 6 3
G 2 1.8 7 6 5 4 3 8 5 4 7 5 2
F 1.8 7 6 5 4 3 2 7 4 3 6 4 1

We have stitched this Tonographic table together using a secret artifice that allows us to accommodate the utterly infinite combinations of harmonic modulations using the fewest columns such that this Tonographic table may not unjustly be called the base & foundation of all of our wondrous Musurgy. And we have provided the twelve tones which are used everywhere in the Church & accordingly are called 'Ecclesiastic' lest the curious melothete1melothetæ. A practioner of melothesia or musical composition; a composer. lack anything that pertains to the enormous variety of modulations. However, rigorously speaking, there are not but six tones which undergo complete changes, for the remaining tones either fall into the same intervals or they manifest their difference by another system of changing from hard to soft which musicians call transposition, as will be discussed later on. We have not kept the natural order of the tones in our table so as to make the order of the numbers as well as the difference of the intervals more clear. And so that you may call each one by a suitable name we have appended to each the name used by the ancients together with their natures so that, in accordance with the theme which you wish to animate with a harmony, you may find amongst these tones the corresponding emotions. We have appended these descriptions to each tone (whether hard or soft) as if the tone were hard, for which case, use the Characterization fit for music which is hard; if soft, then soft. Also2Also the 17th century suffered from bad editing., so that you may call any tone by a suitable name, we have adjoined to each the names used by the ancients, together with the nature of each, so that in accordance with the theme which you wish to animate by modulation, you may find the corresponding emotion, such as joy, love, compassion, pain, grief, dissolution, religion, vanity, ferocity, indignation, and other similar ones that are suitable for exciting people's souls. For just as a modulation made upon the first tone acquires some sort of efficacy for inciting men toward piety, region and divine love, so contrariwise it is a property of the sixth tone to excite flashes of martial feelings & a fierce boldness. In the first column we have placed the keys indicated by the seven letters ABCDEFG as if they were the spirit and leader of our entire Musurgical operation, for this column, when one runs transversely through the columns of tones, reveals in every tone the correspondence of each interval with their keys as will be seen later in practice.

Things to be noted about the Tonographic Table.

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