1000000031

is not under lhe nectlIity of mak.ing a clofe in (heCt! places

in evcry paffage;

~nd

then he is

libeny

of fcuing lhe

notes as

the example

This obCervation clearly points

out (he diffcrence of

compofitioD

in a

na t

key,

and where

il is

be praélifcd.

And indecd an aUlhor, whofc fole end is lO pl eafe lhe

~ar.

will

delignedl

introc.luce a

clore

lhe

{lat 3d, and

as maoy other parrages as he can,

Create

lhe variety

fo mueh d<r. lCd. In lhefe cafes, ,he rules deli"cred (or

com por.lion in lhe

fla!

key mufl undoubtedly take place .

The rourth exam ple is (el

fllew ,he movt:ment of the

bafs lO lhe defcendi ng nOles. The compor.,ion is lhe fame

as in (be other examples .

L et us now t-..kc, in ane vicw, the rul! harmony of every

note in lhe nat key. ;¡nd where lhe difference between

ar.d lhe (harp

kcy lies:

{rom which we may derive fome

" fe(ul corollarie.. No. 36.

The h.rmony of ,be

3d,

4,h,

is lhe concord of the

3d, Flal 6,h, Elat 71h.

Co R

The 2d admits a 3d; lheo ;he concord is of

the

rl..

7,h.

COR o

U .

The 3d admi" a 5th; ,he concord i, o(

the , d .

COR o

Uf.

Agai n~

,he 3d admi" a 4,h; ,hen ,he con–

cord is of tlle Ba, 6lh.

COR o IV . The 4,h admits a 41h and 6,h ; ,he con–

cord is lhe Ba, 7,h.

conlpAring

there

with

the corollaries

the

{hup

key, it

wilJ

be evidem, th.n each

note in

lhe Hat key ad·

mlls fOf its harmony thar nOte whi ch was excluded in lhe

(harp

key.

And therefore, that all harmony is divided

between lhe Hal and filar p keys; and \Vonde rfully d¡"erú·

fied' by changing ,he places o( ,he femitOne.

From the denlonUratron ofthc harmony of lhe 5th, wi th

corollary 3. on lhe O,a, p k<y, and the (cholium 3. on ,he

fame, we galher how great a filare of lhe humony belongs

to lhe Stb . Far

part

of lhe

harmony

of ,he

key,

and

o( ,he ,d (which chord

its own, or lhal o( ,he 5th) in

both fla t and (harp key: 41nd, in lhe Aat ke y, it is likewife

in ,he harmonyof ,he 3d.

The nature and propcrties of the

remitone

being lhe

fame in both keys, \Ve can

n QW

more clearl y demonllrate

lhe harmooy of

in lhe following manner.

Tht harmony of every [e;:mitone;: is lhe caecard o f lhe

f, me.

T hc key always flands be' lVeen ,he gre..er 7,h below,

=end lhe whole tone, or 2d, above. Now, byaxiom 2. of

tht: thevry, (he proportlans, propp.rties and rt l.Hlons of

{fI\lOds are deouced from the n. tural arder of lhe;: notes

afcend,ng .nd defcending: The 4,h

(10 •

O,arp key,) ,he

3d, and Oa( 61h , being femi .ones, ar< d,II. ". by a

h.lr

tone belci\v, ..nd a whote tont:

above,

as is lhe ke)'; there–

fore they luve Ihe fdome propcrties Wilh lhe key. Uut lhe

harmony of lhe kcy is lhe chord of lhe Came : lhereforc

lhe humony of the (t!mitone, or 1]\h, Aat 3d, ano flat Gth,

is lhe lhan.l of lhe [.. me.

11c

nce

raire

die

foliowlog

ólXlo m .

AXIOM

l . T he h;\rmany of cvery

OIe:71b~r

nf t!:e

cOlJ<;;urJ vf lhe

kl:y,

is lCC C(¡IlCOld uf

~hc !~(y .

)\I,U

tlH:

harmony of every note in the comp3{s of mufick, proved

by lhe rules of harmony, is part either of the concord o f

~he

ke.y, ?

r.of

iu 5th, or of a Jemitonc. Hence 'fatiuy

muhck

tn~rodllced

by Ihe contrary

mOl

ion

of the

part~,

and by changlOg ,he kcy, by bringing in new femi,ones.

T he beu cr to illufirate lhis axiom, we

Olall

hett:aflcr in

the examples (el harmonical figures

over

cvery note,

ex~

prdlive of lhe chord.

F1RST EXAMl>LE.

Le, it be require.!

fe< a bafs tO lhis !reble in G Charr.

No. 57 .

H armony of lhe

S ECOSD EXHtnE.

No.

38:

H armony o( ,he

T H IRO

EXAMPLE .

In A

n ..,

No. 39.

F O URTH EXAM PL E .

I n G Bal, No. 40 .

FI f'TH EXAMP L E .

In A Oal, No. 4 "

SI XTH EX A MP L E.

In D CRarp, No. 42.

In ,hefe examples every pa{

f.ge

occurs whieh ha,h becn

dcJivered in lhe precc:pls of compo(ition.

T ake nelice, lhal in the lafl eXiolmplc, lhe four paffage9"

wherc lhe harmonic ligures are nOl fe;:t over 1h:;: nOles, are

pan of

di[cord; which would

takt:

place, ir the compo–

fi tion were in duce pans; and which \Ve canoot explain

till

come tO figurate dt:fcant.

Sea. 3.

Of Col/lf',y;tion ;1I

T HREE

PA RT S.

T H E

harmony

full

concord, of every note being \Ven

underfiood, both

readi ng

Ihe

fotegoi ng examplcs, as

wdl as making . pplication of Ihe

rules

of comp?lition

which Ihe examples are framed,

trial of fctting barres

to other air!; Ihe neXI

Ii~p

w llI

proc~cd

compo–

lition of three paru .

T his requi re.h no olher prcccpl ,h. n t.J10fe . lr<ady de–

livered , touching lhe harmony of eaeh ootc. }'o r the

Ih ird

pan

confifls of the rem.unining notes of each con'·

cord which have nOl b(en

m.de

ufe of

in.

th e compofition

lWO

pans . Yet Ihis caution

mull

be ured, thal lhe

twO upper

p 2rtS

(land in Ihe neareH concord ' to each

Iher: Ihat is

fay, in 3ds as much as may be, and is

confi{lent with v:arietyand contraty motion of thelll . f or

heteby t\Vo points will be gaint:o:

tirO,

it will bind Ihe

harmony; <lnd recondly, Ihe bOlt!;, bcina more! M hben y

to tife and fa ll by greater illlcrvals, will mcel lhe upper

parts al every poinl, and produce vollicty

his contrary

motion . T he following examples are t!u: (amc (el in two

pans

aboye.

PRono

L et it be rcquircd 10 fet

a'bar~and

[econu pan

IhlS

treble. N o.

4 3·

}'Kon. L el

tC'1uircd

le'

rel

the

a(eencJing notes

Ihe c(t¡\,e

tLl re

r:lrI ~.

n,lt

kc:y.

U lb,

'<o.

~1'

Jn A lb "

rl0.

45.

r:.;

Jl.~t)

N o . 4(1.

Tiro