359 / 868
M
u
s
f\u tion of thdr Iengths, tontracred
¡«no
the ,time of
2
quavers, or one crotchet,
coofhntly
DOled
by
lhe figure
(3)
over tbem.
..
Aod
la.Clly,
the moa common movemellt of Jl&:lS,
which is
by
lix:
or twelve
qU3\'ers
in a har, havc their
baCs,
fo.r
the fmoorhne(s of [he movement, o(teo \Vriucn
in plain
crolchen; 2
in a bar
foc
[he
tre~le
';';,
and
fouT,
inarked (has
e,
foc
(he [reble
'Tl..
le
as
.pla1o,
there·
fore, that aJl tune! in thefe movements truJy beloog to
COI1UDOn time, fince every
ba r
is
meafured
by
(he beating,
or dividiog
il
¡mo even
pans,
as, expreíTed in the bar! .
A
paufe or Teíl in
mulick, 15 a
~e{f.Hion
of the found,
in one or mo:-e of the pans; or of all the parts together.
N o:hing hath
iI
finer effea in mafick th an a paufe of ·all
the pl\rts judicioufl
y
made
j
or of one, or more of the
p.rts, fur ,he fake of imi'.tion. The re(ls therefore
are writtf.n dO\lOn
h.l
the
pJac~
of notes, and cach Dote
hath in own rdi, which is of the rame Jength witb tbe
note whofe "ame
¡·t
bearA. l "hus,
A
femibreve rd l:.
fs
.as long as
a
G:mibreve.
A
minum ren as long
as a
minum.
-' od fo of the
n(l.
The next thing 'o be coo.Gdered is the cliA' io which
any pan of the mu(ick
1S
faid to be wr.iuen ; according as
t he cliff is pre6xed
te
e.ch(lave of the wri,ing.
The ure of ,he clj'ff is to aCcenaio tbe names of the
BOtes;
and
to
denomina te
tbat part of
rhe mufick to whicb
it is prefixed.
'rh~re
are three clifTs, to
an(\Ver
and
diftinguilh the
three parts in mufick: The
~aCs,
or
F
clifF; the teoor,
or
e
cliíf; aod th. treble, or
G
cliff. NO.24'
The bafs is fo called, from its berng the
Jowe(l
parl,
o r that wherein are ret the graver
tl;mes.
The terior, Qr middle pan, hath its name from hold–
Ing
lh~
baC. and upper parts together. ThlS will beclear–
Iy underlloqd, when we
Onll
have learoed to compofe il)
four parts .
The uppermo(l part i, cálled the cOUo'er·ttnor in vo–
cal mu(ick
j
and,
in
inll:rumemal, the firRotreble.
The baCs aod treble clifis- are now .con(laotly written
in the fame places as io the exameles. The tenOr cliff
¡s of,en removed, accordiog ' o the f,ancy of ,he compo–
fer
Or writer
of
rnufick; tO anrwer the convenience of
ihe notes Cl:andiog, as much as
may
be, within the com.
pafs of the five lines, or Haf'e. Which convenience
is
the rearon for lhe inventioo
oC
the diverGry of c1iffs, as
~ve"
as the ufes already named. F or it is eafy to "ppre.
,hend, rh:lt the natural tones, Ind lheir proportioDs, are
invariably the Carne, whether exprelTed by the voice, or
an
inftrumenr. however lhey
may
'be diflinguifhed byar–
tific:al '6g05.
Obferve, that the c1 iffs, according ta
their n.!mes.
rife
above each orher by the ¡nterval
oC
a
5lh: ,hu! the tenor ' is equ. lly di(lant from each other
parl . F or
e
is a 5th tO
F,
as it is alfo 3 5th below
G.
C HAPo
I.
OF COMPOSITION
IN
COUNTER-
POINT.
C O MPOS1TI ON
jo courtlerpolnt is wheo, in theruccef.
!ion o( concolds in lhe parts, lhe notes
of
each pan are
of . he fame Ih¡;lh. or lime of fou nding.
A ccordtng to the 2d .xiom,
,ve
Ih,.U
begin ",ilh
,be
1
e
K.
h3rmon·y of the key note; and procced 'o demoo(l ra¡e the
harmon)' of ,he remainioi notes of che oétave in tbeir na–
tural order.
D ""OnJlTdlion of Ih, harlllon.J
if
lb<
~'.l.
The harmooy of the key is ,he concord of itfelf.
The harmony of [he key mu(l
~e
perfea harmony.
Now, che notes concording
iD
perfeét harmony, are., by
coroIJary 3d, ,he 3d, 5tb, and 8th: But thefe, with tho
key, are tbe conc<?rd of itCelf: Therefore, Ihe harmooy
of [he key i. ,he concord of it(e1f.
T his démonfiradon is grounded
00
this evident truth ;
namely, (hat any other co acord would, by the rcrm, or
name of it, in' efFeél change ,he key; whereby the uni'll
of ,he tuoe 'Vould be de(lroyed, and by this contradi8ion
the au,hor's meaoiog renderec! unintelligible. T he ne–
ceffi,y of perfeét harmony in the key b<ing eviden',
DO
o.
tber fort of demonnration
i,
required, nor indeed
can
be
admiued .
PI.OK. Let it be required 'o fet a bafs ' o ,he OOtes of
"O
oétave a(ceoding io
G
(harp. No 25.
Any one of the three notes in the baf. is conéordin¡r,
by corollny 3; bUl the 8th is preferable wheo it is
~he
lira or la(l note of the 'UDe ; for ,hDSit be(l afcerlains the
key. The preference of ei,her of the other ' wo dep, od.
0 0
the foJ/owiog rules.
Fir(l, The 5,h caono' cake pl ace when the coocord
immediately preceding lh aJl happeo 'o be
a
5,h, the for–
bidding the coorecutioo of 5th. being alferlc:d iJl coroUary
t he 4th.
Ag.in, the moveraent of the baf. ollgh, generally to
be by defceoding
a
5th, or rifiog a 4th, 6,h, or 8th, or
any other great interval ; tbereby mecting tbe treble, and
cfFeffling 'faricty
aod contrary
motion of the
paru; (be
ellablilhed rules of harmony by the 4th axiom.
L.(lJy, T .he air of the bafs ma(l be cooCulted ; and, if
poflible, an imit.tion of fome foregoing palfage io the
upper
p'r<.
T he .applicatión of thefe rule. will decide which
oC
t~\Vo
or tbree Dotcs
is
prefcrable
in
(bis or
aay
othc:r
conC"trrd.
D ,molljlraliM
of
Ine hannor..l
of
In,
W.
The harmony of Ihe 2d is the concord oJ the 5·th .
The harmony of the k.y h.ving becn (hewn, we mll{l¡
conGdcr
it
as
an irnmoveable point, in reJation tO which
we are to order (he ren of ou r computatiODS, confinen,
with Lhe e(lablilhed priociple of unifol'mi ty.
The .d to the key immediately defcending ioto ,be
key, will
haV'e, for its ncxt concordiog nole, the g reatec;
7th; which
at
the fame time afcends by a
Cerni<oo~
ioto.
lb.
key; tO which 7th the 2'd i, • 3d.
, F or,
by
ax iom
2 .
'¡he combinatioD of fo unds are,
deduced from the · natur.1 orda of notes afcending an?
defceodiog. But· Ihe 2d .and 7th can .dmit no oth..
concordant )lote bu, lhe 5,h
10
,he key. F or ,he 3d is
diCcord with the 2d;' aod the 4th, 6th, and 8th dilcord
with the Iharp 7th.
N o.., the. 2d, 7,h, .nd 5th are ,he eoocord of ,he
5th; thercfore, the ha[Dlouy of the 2d is the concord of
the
)th.
No . 26.
T he