Complete Encyclopaedia of Music/A/Ancient signatures

Ancient signatures. In the music of Corelli, Geminiani, Handel, &c., the general rules of finding the tonic, either in the major mode by the characteristic notes of the signature, or in the minor mode by the leading note accidentally inserted, are not always sufficient. When, instead of the complete series of sharps or flats of the signature, the last sharp or flat is suppressed, and inserted accidentally when requisite, like the leading note of the minor mode, such deviation from the usual method of notation is termed the ancient signature. Thus, in the seventh and twelfth sonatas, or violin solos, of Corelli, op. 5, the signatures appear to be either C major, or A, its relative minor ; but the accidental notes, C sharp and B flat, show that the real key is D minor : and that the B flat, which is used in the modern signature, is omitted at the clef. So we see, that, although the term signature is defined to be the number of sharps or flats at the clef; yet the word will be also applied to the two natural keys of C major and A minor. Examples of the ancient signature of D minor may also be found in the third and fifth concertos of Geminiani, op. 2, and in the fourth concerto of op. For instance, the first movement of his third concerto begins thus : -

Here the key is known to be I), by the accidental C sharp, and to be also D minor by the natural F, which remains unaltered, as in the signature. The same ancient method of notation is some-times found in the key of G major, where the sharp of the leading note, F, is inserted accident-ally, when requisite ; as in the following example from the first chorus of Handel's oratorio of "Saul," "How excellent thy name, 0 Lord ! " One of the intermediate movements commences thus :

Here the key is known to be G, by the sharp be-fore the F, which is used in the second treble as a third below the A ; and the B natural of the clef shows it to be G major.