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M u s
T hc ~th OIun .I\V. , be "ken .. the clore; or.vhen
the trcble is dt"rl.:entling into the kcy ; ror lhen rhe hars
,.ill (.dl a 5th in.o .he key; whieh flIovement is ealled
the grc:u cad~n..:e. Otherwirc the 7th or 5th may be
u kcn indifcriminatcly: yet, unch:r lhe reUrillion or lhe
rules. (p. 3.6. col. 2.) (or Celling .he harmony o( .he
key.
Demonjlralion of Ihe harlllony of Ihe 3d.
T he h>rmony of the 3d i. the eoneord of the key.
f""ro01 the dc:monCl ration o( [hchí\fmony oflhe key. the
key.will h:nc its 3d ~ and, by invcrting. lhe 3d \ViII have
lhe kc:y. Now, the kcy and its 3d wllI AdmH no other
concorJant note bOl ilS 5th: Far lhe 2d is dir~ord 10
bo.h• •he 4th is direord '0 the 3d. and the 7th diCeord .0
, he key: bu, the key. i1S 3d and 5'h. are .he eoneord o(
,he k<y. There(ore. the harmony o( ,he 3d ;s the con·
cord o ( ,he kcy.
Tbe 6th indeed, which is a 4th tO lhe 3d, which is
:10 improper concord, will, with the key, (orm lhe con–
card of lhe 6th ; bUl lhe demon(lration of lhe concord of
the 6.h in a n"rp key. dependiug on ano.her priueipl<. as
\Viii be Ihewn in its place, can, for lhe fame reafon, bear
DO rehtlOn to rhe harmony of [he 3d, whieh is a member
of the key. No. 27.
T he tWO notes in rhe b;lfs ml y be uken indircriminafC'
Iy; ye< complying wi.h the rules. (p. :;26. col. 2.)
Hu •• i( the 3d in ,he !reble be pr<pared to d,Ccend into
l he key, by its p:\{)age into the 2d, lhen the 5th is more
<1igible ; whieh fall ing an 8.h for the nex' note• •heoee
delCeods by a 5.h ioto the key. This i••he mon (lri
king movemeDl of lhe bars; and, al lhe fame lime, lhe
mofi commoo, at a 6nal ciare in either fia, or (harp key.
Demonf/ralion of Ihe of Ihe 41h.
T he harmony o( .he 4th is the eoncord o( i.Celf.
Tn a (hup key• •he pl"es of .he .wo 7ths are
the (harp 3d .nd fharp 7th 'o the key: ando of the Cemi·
tones, lhe 4th and 8th, or kcy; Therefore, the 3d is
'o .he ~th as the (hup 7th tO , he key. NolV. finee by
2xiom 2". the contbinatioos are dedueed from the natu 4
ni o.der of .he no..S aCeending and de(eenc1iog; .he hu·
mony of .he 4,h wdl be as .he harmooy o(the key: But
the harmony o(,he key is (uy demonflra.ion l .) the con·
cord of ¡tCelf :. chercfore, lhe h¡rmooy oC lhe 4th is lhe
concord ofi.(el(. No. 28.
T lle nOles in lhe bars may be taken indifcrinlin:uely:
only obrcf\'ing lhe furegoing rule, . If a clore on the
4th be prepared tron) the: 4th ¡delf, eilhu notc will do:
fet lhe kcy is pn:Cerable, io order tO prepare CUf the grcat
cadence.
D'lnonjlrali. n of Ihe h.ulnMy o/Ih, 5/~.
T he h.rmony of .he 5.h i••he coneord of .he key.
From lhe: dcmonCl rauon uf Ihe 113T1nony of the k~y,
-the key WIII h3ve its sth; ::lnrl. by In\'ening, the 5th
ill h:\\e ,he I:~. N o\V, ,h~ ~t y .n<ftu ph \ViII admit
no other nole.: lhan lhe ..,d. For. lhe ~tI do,t
4th afe d,rc(lrd wllh lhe L.t.:y ;mtl Slh; lhe: ()tll (1If((1I0
\L Ulo th,: Slh; aod lhe ¡:h clifcoru wllh lhe k( )". Jiut
tI,e l.t·Y, its Slh Olnrl 3d , .ue lhe (;oncorJ of the kty!
VOL . JI!. 1'1°.6 2.
e K.
.hcrcCore. the harmon, o( the 5.h is the eoneord o( the
kcy. No. '9.
There is no exccption in the c~oice of the h.. fs notes;
but lhe clir.,lIowance of lhe confcculion of 5th5. Hut if
lhere be a prep:\ration for aclore on the kcy, and lhe 5th
Oand in the: hars; in order 10 make the gre.u cadcllce.
Ihe 5th will hl\·C ¡ts oW'n concord. 'fhis depends ún
the dcmonflration of .he 2d.
n fm,,,j1ralion .f Ihe harmony oflh. 61h.
T he harmony of .hc 61h is ,he concord o( .he 4,h.
From lhe dt.mnnClration of the 4th, liS harmony is ies
owo ('nncord. ·fhe 4th, then, \ViII h;lve its 3d ; and, by
invertin/: ilS 30 (.h.. is. the 6.h) \Viii have .he 4.h.
Now, lhe: 4th and 6lh will admit 00 other eoncordant
note.hanth<8.h: For the2d is . (wi.hthe 4' hand6th.)
a direord. as \Viii be: fhewn in tho demonílratiQn oC lhe
diCeords. The 3d and 5.h are diCcord to .he 4th. and
lhe 7th to the 61h. Bm lhe 4th. 6th , and 8th , are the
eOllcord of lhe 4th: there:rore. the harmony of lhe 6th
is .he concord of .he 4.h. No. 30.
Enher nOle in the bars ·may be taken at will. B ut ir
there be a preparation (or a c1oC. on ,he 4.h• •he Cccond
note. or key, is prefcrable, fúr the rearoos affigoed in
tht' demonílranon of ~hc 4th, which ¡s, tO make the great
cadence. prepared by the bars. (¡rn deCceoding ao 8th.
and [henee a 5lh, into lhe 4th, or clore.
D,monjlrali.1I oflh<harmony if Ihe 7/h.
The harmony o( the 7th is .he coneord of .he 5th.
T h. h..mony o( the 7th is par! of the harmony of ,he
2d. (by demonHration 2.) but ,he harmony o( ,he .d is
lhe concord of the 5th : therefore the harmony of [he
7.h i. the concord of ,he ,.h. No . 3"
If the 71hl or treble note. precede a ciare on the key,
the fjrn note in lhe example muft be: the bars DOte, in
order tO makc lhe great cadence.
The 8,h being the key. hath (or harmony ilS O\VO eoo–
cord ; as by demonftr;llion l .
From lhe foregoing demonUralions, the bars notes, ret
tO the 8 arccnding oote, in the [reble, will fiaod thus .
G ENERA l.. R ULE The co"rceUtiOD of 8ths, 5'h"
and 4th•• is no. aHowed. (.. by coroll.,y 4' ) exeept
by contrary mOl1on oCthe parts . or in Ihe pafT.tgeof\'e:ry
qUlck notes in compofition of m~ny parts. No. 32.
Fro01 u.king in one vicw the hitrrnony of lhe reven
notes, we Ih:\1I ¿~duce rome uft.ful corollcHics. No. 33·
K.y ld. 3d. 4.h. 5th. 6th. 7. h •
II;uh Ihe h;¡rmony of the
Key 5'h. Kcy 4.h. Key aod 5.h. 4.h. 5th •
Semilone . Semllone.
CORo 1. tévery no.e in .he oélave (exeept .he 2d 'o
the kq') admits in its harmony a. 3d.
CO Ro 11. Thc !:ey. the ,d .nd 5th••dmit in their
harmonya 4th.
SCHOLIA.
When the J..ey aJmits a 4,h, lhe eoncord is of .ph.
'\'Iu:n lhe 2,1 .dmirs a 11th. lite cOOlorJ is of lhe 5th.
'Vllen lhe 51h :tdmiu J .¡,II. lhe cuncord is of Ihe key.
H..:ncc 11 e lntcrvoIl of tll", note wlulh otdmits a 41h, i5
in (" ... ,\ a ph: lhcrefurc t\VO .;tll$ are DO more allowe,l
4 N 1- in