Tone [1]. This word has several meanings in music. 1. It is taken to mean the interval which characterizes the diatonic scale and system. See Intervalle. There are two types of tones or keys; the major, of which the relationship is eight to nine, which results from a difference between the fourth to the fifth note; and minor, of which the relation is nine to ten, which results from a difference between a minor third to the fourth. The generation of major key and minor key are found in the second fifth, ( re ) beginning with C ; the quantity by which re raises the octave of the first C is exactly in a relation of eight to nine and that of which the same re is raised by the mi major third of that same C octave, in proportion of nine to ten.

2. One calls tone or pitch the degree of elevation that voices have or upon which instruments are based to perform music. It is in this sense that one says in a concert that the pitch is too high or too low. In churches, there is the pitch of the choir for plainchant; in churches there is plainchant or opera key; the latter does vary but is usually lower than the former, which is set by the organ.

3. The name of tone is also given to the instrument that serves to give the chord to an orchestra: this instrument that some also call a chorister is a whistle that by way of a graduated valve, by which one lengthens or shortens the pipe at will, represents more or less the same sound with the same gradation. But this "more or less," which depends upon variations of the air, prevents one from being assured that the set tone is always the same. It is possible that since the beginning of time no one has sounded exactly the same tone twice. M. Diderot proposed ways of perfecting tone , which is to have a sound set with much more precision, by attenuating the effects of air variation. See Son fixe.

4. Lastly, tone is taken to mean the sound of a note, or principal chord which serves as the foundation to a piece of music, and upon which is based the harmony, melody and modulation of the tone of the Ancients. See Mode.

As our modern system is composed of twelve chords or different sounds, each of these sounds can serve as the foundation of a tone , and this fundamental sound is called tonic . There are therefore twelve tones ; and since major mode and minor mode are applicable to each tone , there are twenty-four modes of which our music is expressive. See Mode.

These tones differ among themselves by differing degrees of elevation from the low to the high that their tonic encompasses. They also differ by various changes produced in each tone by temperament; such that on a well-tuned harpsichord, a practiced ear easily recognizes any tone of which he hears the modulation, and these tones are equally recognized on harpsichords tuned higher or lower than others; which shows that this knowledge comes as much from the differing modifications that each tone receives from the total chord, as from the degree of elevation that the tonic has in the keyboard.

Hence the source of the varieties and the beauties of modulation. Hence the variety and admirable energy of expression. Hence, in a word, the ability to arouse different emotions with similar chords hit in different keys. If majesty and seriousness are called for, the tones of F, C, and the major keys with flats will express it nobly. If one were to want to animate the listener with brilliant, bright music, on would use the A-mi major, the D re, in short, the major tones, sharps. C minor expresses tenderness of soul, C and F minor express lugubriousness and despair. In short, each mode has its proper expression that one must know; and this is one of the elements that makes a knowledgeable composer, master of the affections of his listeners; it is a type somewhat eqivalent to the modes of the Ancients, although far from their energy and their variety.

It is, however, of this pleasant variation that M.Rameau would like to deprive music, in bringing to it, inasmuch as it is possible, an evenness and a total monotony in the harmony of each mode, by the rule of his temperament, a rule already often proposed and abandoned before him. According to this author, harmony would be the more perfect for it; it is certain however that one would lose as much as one would gain by this method. And when one would take into account that harmonic purety might be gained, which we are far from believing, would it make up for what we would lose in expressivity? See Temperament

Notes

1. Valerie Porcello would like to thank Vincent Giroud, Professor of Historical Studies, Bard College and  Michael Pisani, Associate Professor of Music, Vassar College for suggestions on this translation.