[75] Bach died in 1750. Hawkins published his great History of Music in 1776, and in spite of the fact that he had his information direct from Bach’s son, John Christian Bach, then living in London, he appears quite ignorant of any of his works but the Clavierübung (1731-42), from which he prints three short harpsichord pieces. [76] This is certainly not so, historically speaking. The strict canon is far older than what we understand by “imitation.” [77] Long before Bach was born, we find an English composer anticipating this comprehensive treatment of the scales. Before 1667, John Jenkins wrote a series of “Fancies” on each degree of the alphabetical scale, three movements to the set. The keys actually used are C, D, E, F, G, A, B flat, all minor except F and B flat. But, as is mentioned in a previous note, in one of the three movements in F, Jenkins modulates nearly through all the flat keys, at any rate as far as D flat, thus showing that already in the middle of the seventeenth century an Englishman contemplated Bach’s accomplished work of using the scale on every semitone. And this by no means fixes the ultimate limit. Bull’s fantasia on Ut, Re, Mi, Fa, Sol, La--piece number 51 in the Fitzwilliam book--modulates into all the twelve keys. Though this does not _prove_ that instruments were as yet tuned with an equal temperament, it does prove that Bach was in no sense the originator of the idea, and the probability is very great that the system was in practical use in England in Elizabethan times. Bull was flourishing in 1590. [78] The date of the first edition of the “Forty-eight” is uncertain, namely, 1799 or 1800, London. (Author’s note.) [79] August Gottlieb Muffat, of Vienna, 1690-1770, son of Georg Muffat, organist of Strassburg Cathedral. [80] This movement is in three parts, and the allusion is to the two upper voices, which maintain a duet in _cantabile_ on a gently moving quaver bass. [81] The idea of the two subjects, and of the “free” section after the central double bar, was already realised incompletely. In the shortest “binary” movements the scheme of _keys_ is found to be P, Q. (double bar) || Q, various, P. [82] This paragraph is suggested by a corresponding one in the author’s German edition. [83] The author means such composers as Rameau, Galuppi, Couperin, who wrote for their audience to a great extent. [84] This expression may be misunderstood unless reference is made to the music. The passage arrives at the key of B (the “dominant” key), but the F sharp mentioned is merely the bass note. [85] See above, p. 92.