KEY
(4iO
KHA
ter the manner of Confiles ; in the Corinthian and Com- fofite, 'tis a Confute enriched with Sculpture, Folia- ges, t£c.
Key is alfo ufed for EcclefiafKcal Jurifdiaion, and for the Power of Excommunicating and Abfolving. Thus the Romanics hy, the Pope has the po»er of the Key:, and can open and /hut Paradife as he pleads, grounding their Opinion on that Expreffion of Jcfus Chrift, I wittgive thee tie Keys of the Kingdom of Heaven. In S. Gregory we read, that 'twas the Cuftom heretofore for the Popes to fend a Golden Key to Princes, wherein they inclofed a little of the Filings of St. Peter's Chains, kept with a world of Devotion at Rome, and that tbefe Keys were wore in the Bofom, as being fuppofed to contain fome wonderful Virtues.
Key is alfo a Term in Polygraphy and Steganography, Signifying the Alphabet of! a Cypher, which is a Secret known only to the Perfon who writes the Letter, and him who decyphers it. Some Cyphers have a fingle Key, where the fame Characters are ufed throughout, in other Cyphers the Characters are varied, and the Key muft be double. In this Senfe it is that we ufe the words Key of a Book, Key of an Author, as beinglet by it into fome Se- crets, with regard to Perfons, Times, Places, &c. which don't appear without it.
Key , in Mufic, is a certain fundamental Note or Tone, fider the effential Difference 0? Keys ■■
oncerta, Sonata, Cantata, either flat or /harp, and every Sharp-Key being the fame, as to Melody, as well as every flat one. It muft be ob'
Keys ; i. e. it may begin in one Key, and be led out of that into another, by introducing fome Note foreign to the firft, and fo on to another : but a regular Piece' muft not only return to the firft Key, but thofe other Keys, too, muft have a particular Connection with the firfl. It may be added, that thofe other Keys muft be fome of the na- tural Notes of the principal Key, tho' not any of them at pleafure.
As to the Diftinctions of Keys, we have already ob- ferved, that to conftimte any given Note or Sound, a: Key, or fundamental Note, it muft have the feven effen- tial or natural Notes added to it, out of which, or their Octaves, all the Notes of the Piece muft be taken, while it keeps within the Key, i. e. within the Government of that Fundamental. 'Tis evident therefore there are bur two different Species of Keys, which atifc according as we join the greater or lefs Third, thefe being always ac- companied with the fixth and feventh of the fame Spe- cies ; the third r, for inllance, with the fixth and fe- venth g; and the third I with the fixth and feventh /. And this Diftincfion is expreffed under the Names of a Sharp-Key, which is that with the third g, &c. and the Hat-Key, which is that with the third /, i$c. whence 'tis plain, that how many different Clofes foever there be in a Piece, there can be but two Keys, if wee
f$c. is accommodated, and with which it ufually begins, but always ends. To get an Idea of the Ufe of the Key, it may be obferved, that as in an Oration there is a Sub- ject, -viz. fome principal Perfon or Thing to which the Dilcourfc is referred, and which is always to be kept in view, that nothing unnatural and foreign to the Subject may be brought in ; fo in every regular Piece of Mafic there is one Note, viz. the Key, which regulates all the reft. The Piece begins, and ends in this ; and this is, as it were, the mufical Subject, to which a regard muft be had in all the other Notes of the Piece. Again, as in an Oration there are feveral diitincl Articles, which refer to different Subjects, yet fo as that they have all a vifible Connexion with the principal Subjea, which regulates and influences the whole j fo in Mafic there may be va- rious fubaltern Subjects, that is, various Keys, to which the different Parts of the Piece may belong : but then they muft be all under the Influence of the firft and princi- pal Key, and have a fenfible Connection with it. Now to give a more diftinct Notion of the Key, we muft ob- serve, that the Octave contains in it the whole Principles of Mufic, both with refpect to Confonance or Harmo- ny, and Succeffion or Melody ; and that if either Scale be continued to a double Octave, there will, in that Cafe, be feven different Orders of the Degrees of an Oflave, proceeding from the feven different Letters with which the Terms of the Scale are marked. Any given Sound therefore, i.e. a Sound of any determinate Pitch or Tune, may he made the Key of the Piece, by applying to it the feven natural Notes arifing from the Divifion of an Octave, and repeating the Octave above or below at pleafure. The given Note is applied as the principal Note or Key of the Piece, by making frequent Clofes or Cadences upon it ; and in the Progrefs of the Melody no other but tbofe feven natural Notes can be admitted, While the Piece continues in that Key, every other Note being foreign to the Fundamental, or Key : For Inllance, fuppofe a Song begun in any Note, and carried on up- wards or downwards by Degrees and Harmonical Diftan- ces, fo as never to touch any Notes but what are refe- rable to that firft Note as a Fundamental, i. e. are the true Notes of the natural Scale proceeding from the Fundamental ; and let the Melody be fo conducted thro' thofe natural Notes, as to clofe and terminate in the Fundamental, or any of its Octaves above or below, that Note is called the Key of the Melody, becaufe it governs all the reft, limiting them fo far, as that they jnuft be, to it, in relation of the feven effential N
an Octave ; and when any other Note is brought in, called, going out of the Key. From which way of fpeak- \rtst,viz. a Song's continuing in, or going out of the Key, it may be obferved, that the whole Octave, with its natural Notes, come under the Idea of a Key, tho the Funda- mental, or principal Note is, in a peculiar Senfc, called the Key. In which laft Senfe of the word Key (viz. where it is applied to one fundamental Note) another Note is faid to be out of the Key, when it has not the Relation to that Fundamental of any of the natutal Notes belonging to the concinnous Divifion of the Octave. Here too it muft be added, with refpect to the two dif- ferent Divifions of the Octave, that a Note may belong to the fameA'cy, i.e. have a juft mufical Relation to the fame Fundamental in one kind of Divifion, and be out of the Key with refpect to the other. Now a Piece of Mufic may be carried through feveral
ferved, however, that in common Pradice the Keys are faid to be different, when nothing is confidcred but the different Tune, or Pitch of the Note, in which the diffe- rent Clofes are made : In which Senfe the fame Piece is faid to be in different Keys, according as it is begun in dif- ferent Notes, or Degrees of Tune. To prevent any Con- fufion which might arife from ufing the fame Word in different Senfes, M. Malcolm propofes the word Mode to be fubftituted inllcad of the word Key, in the former Senfe; that is, where it expreffes the melodious Confti- tution of the Octave, as it confifts of feven effential, or natural Notes, befides the Fundamental ; and in regard there are two Species of it, he propofes, that with a third X be called the greater Mode, and that with a third / the lefferMode ; appropriating the word Key to thofe Notes of the Piece in which the Cadence is made; all of which may be called different Keys, in refpefl of their different Degrees of Tune. To diltinguifh then accurately between a Mode and a Key, he gives us this Definition, viz. an Octave, with all its natural and effential Degrees, is a. Mode, with refpefl to the Conftitution or Maimer 'of di- viding it ; but with refpect to its Place in the Scale of Mufic.i.e. thcDegrcc-or-PkchofTunc,itisa Key ; tho' that Name is peculiarly applied' to the Fundamental : whence it follows, that the fame Mode may be with different Keys, i. e. an Octave of Sounds may be rais'd in the fame Order and Kind of Degrees which makes the fame Mode, and yet be begun higher or lower, i.e. betaken at diffe- rent Degrees of Tune with refpefl to the whole, which makes different Keys ; and, vice verfa, that the fame Key may be with different Modes, i. e. the Extremes of two Oftaves may be in the fame Degree of Tune, yet the Divifion of them be different. See . Modulation H ar ,ro»i Melody, Clef. ■"
Keys alfo fignify thofe little Pieces in the forepart of an Organ, Spinette, or Virginal, by means whereof the Jacks play, fo as to ftrike the Strings of the Inftru- ment; and Wind given to the Pipes, by railing and finking the Sucker of the Sound-board. They are in num- ber 18 or 19. In large Organs there are feveral Sets of thefe Keys, fome to play the fmall fecondary Organ fome for the main Organ, fome for the Trumpet, and' fome for the Echoing-Trumpet. In fome there are but a part that play, the reft being for Ornament. There are twenty Slits in the large Keys, which make the Half- Notes. M. Baljoaski of Vouliez pretends to have invented otes of a new kind of Keys vaflly preferable to the common ones
With thefe, he fays, he can exprefs Sounds, which fol- low each other in a continual Geometrical Proportion, andfo can furnifh all the Sounds in Mufic, and by confe- quence all the imaginary Intervals and Accords ; where- as the common Keys do but furnifh fome of them.
KHAZINE, the Grand Signior's Trcafury. Here are kept Regifters of Receipts, Accounts of Provinces, i- Drawers mark'd with the Tears and the Places Nam --s. Here alfo is kept part of the Emperor's Wardrobe. E- very Day of the Divan this Treafury is opened, either to take out or put fomething in. And the Principal Officers who have the Charge of it, are all to affift at this Open- ing. The Tchaosich-Bachi, in their Prefence, firft breaks the Wax wherewith the Key-hole had been feal'd up, and carrying it to the Grand Vifier, that Minifter firft kiffes it, and then draws out of his Bofom the Grand Signior's Gold Seal ; in the mean time he looks narrow.
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