330
M
U
S.
""J'h:
h.l;,ra~ny
of the rcvcolh bar in the:
ha
example,
1$
::tltercd in the rcpetitioo; though the notes of lhe
lidl
treble: be
lhe
Came.
In (he (id\:
¡nnance,
(he concord:: are of lhe key and
Slh . In lhe rcpc:tition, lhe conconJs are of me 3d and
fI
at
7th.
.
!
n the "rn innance, the r . lfage rrom the 5th .nto the
key. (in the Bth b..,,) beinc the gre., c.dence. is jull . .
Bu, if o.h«wire a cloC. h. d breo made on ,he
3d,
(.~
lhe
8th bar.)
lhe hannony
i!l
(he {econd
¡Rfiance
mufl,
'tor ,he
r~l11e
rearón,
be preferred.
H ence it will be eaCy 'o decide in
an
/la< keys, (tO
which only this
c. C"
belongs) when tile harmony of .he 3d
ís to be par[ of the concord of lhe key, anu lhar of lhe
'o
the concord of lhe 5th;
01",
when lhe harmony of
lhe
3d
is to
be
ies
own concorJ, anJ
that
of lhe 2d or
4th pan of the concord of the /la, 7th.
H ence, .nd from corollary
l .
of ,he theory, and from
lhe demunnró\lion of the harmony of (he [I;!mitonl!, we de·
Juce this general thc:orem.
The truell harmony is p.oduceJ by the whole concords
tak~ogether
(J.lllng in fu ccdlion, as fre'luent as is con–
fillent with the . pproved rules of humony, by. 5th .
W eCh311 pllt an c:nd
tO
compo(jtion in dHee pans , with
the follolVing cx ample in a
/1..
key, being one of theCe
aboye in
( \Vo
pans.
No. 47.
1~he'
ufe \Ve fuall make of this example is to remark,
that .lthouoh the baCs be altcred from that which is fo<
in lhe
lamt
example
in t\Yo parts
~
yet lhe harmony is
lhe fame, as is
c:vident
from lhe harmullic figures (el ayer
cach o
Sccoodly, T he 4th h:w ing its own concord, palres
iOlO
(he kcy,
oc
3d, in
lhe
pallage
of
quick
nOles ,
and
whc:rc. there is
nOI
a
clore.
BUl wherc, on lhe 6th bar,
a c10re is made on the 3d. the baCs m?king the gre"
c;¡JencC'.
lhe 4th in lhe precedinr. bar is
pUl
of the
.concord of the /lat 7th. A nd thu, the whole harmony
f.lIs a 5th.
\'le have al tered the blfs alfo to anfwer the purpofe of
the müvc:ment of lhe upper
pan s
in lhe
cloreH
harmony.
And likewifc
la
pro\'e, that
compofjtion
of
Inany
pan s
JifFers from that of
t wO
only. A truth which every
COm –
pofa
Chould
alwd.ysluve
in
view.
l;'or
it
will
be
fauno,
UPOI}
trial, that,
when
lhe
mufick
is
Cet
in
twO pau so
ir
il
be rcquired
10
add a
third,
it
wiIl
not
be
io
lhe powcr
of
the: com?ofer
to
give
that third
pan
'tn
airo :\
rnd.t –
te r
which
ou~ht
to
ue
Cludied
by
.tl l ntC':lns;
and which,
~
is
c·;id:nt
from
lhe eXdl1l p!e, C<lO
be
executed,
without
~ njurin~
lile
humony in
the
l.:afl.
by
compofing
the thl
ce
put..
u~cthcr.
W e thul!rnre reco01m: nd
it
10
(he pratlitioner
10
ma!(e
himl('lf
perfc.:I...'l:
in
lhe
eornpClfition
of
two
p.trts. befare
he
cng'l!!cs in three; as he \ViII th
re
by
nOl
only
Coon\."r
be::
COIl"!
m~ftcr
of lhe
harmony;
bm
alfo,
by ..
Ii(cuvel ing
more
clc:lI ly
th\! J incrence
\Ve are
poin tin~
OUt,
\Vtll ex–
tCU1~
lhe eompofilion of
threc
pans
Wilh
more
eal:: Oll1 d
propriety.
S~{t.
4'
C;l/Ipofi'iol/
o/"FOUR P J\RTS.
1
~
c<.mpo(jtiun of "
pUlS,
evcry
no te
in lhe concord
is
talen;
oc
tO
I:.\'CIY
note
ttH:r'';
is f l11 h.\nuuny.
e
K .
The fourth part, or tenor, now to be
~dded,
conr.n.
of Ihe
rem~i D illg
no te
of
the
concord, which \Vas
nOI
ufed
in
compofition of
[hree. The oétave therefore will u'ke
pl ace
in
the
concord of every
nate.
The
eont~c\1tion
of
which, as well as of 5ths and 4ths. is to be avoidt d be·
tweeo the fame
parts.
The rules alread y delivcrcd in
the
compofition
of duee parts
muO: be
attel]~ed
tO
in
this .
E xaOlple ofthe .Ccending notes of the oélave io compa–
filion of 4 pans. No. 48.
S EC O N O E XAM PL E .
In the deCceoding nOtes of the oélave in compofition of
4 pans . No. 49·
THI RO E X AM PL E
in
4 Pnts .
In
A
/1."
No. 50.
F OU RTH
EXAMPL E
in
4
farts.
In
G
lIat, No. 5
t .
In
compofition
of 4
pans,
it \Vas
raid,
that
to
everynme
there is full harmon y. N otwithn.nding. in the ,id l ex–
ample,
the
fixth notes of the fi dl.
treble
ttnd
tenor ue in
uniCon;
eaeh
being a 6th
tO
the
bafs ; fu thal
the oébvc:
hath no pan in
that concord.
This is done
tO
avoid the
confecution of
8lhs, hy
the fucceeding note of
[he!
tenor.
whoCe place mun be, for the .ir's f..kc, tbe 8 th
to
lhe
bafs,
as
well as
tO
bind
the
harmony.
In the fecond example, the reventh notes in the "rfl:
and fecond
trehles
are
in
unifon;
borh being a
5th
to
lhe:
baCs. L e, not this be undernood
10
be a conrecution
0 1'
5ths,
as
they
are
memhers
of
the
fame chord;
bu[
i,
done for the fake of the air of the f<tond treble. L e!
this
remark ferve
fur
tvery
like in(laDee
which may
hap.
pen
hert'aftcr.
In the fifth bar of the third example, the Cecond note,
the
fecoad
treble
and tenor are in uoiCoo .
This
is
done
tO
avoiJ the
conCccutioo of
t}ths,
whlch. had
the:
lenor
kept his
pl.ce, would have h. ppened froOl the furegoing
note
bctween the
{j rC~
treble and
tenor.
10 the fdme
examplc, there
is a
conCecution
of
5ths ia
the
tuto
next bars,
by
lhe
tenor
falling
a 4th, and the
bafs
ri(jng
a
p h.
T llIs feeming
error
is toleratcd .
fince
it
is dreéted
by
cont rary mOlion
of
there
pans .
For as
well
as it is
by
the contrary motioo of tite pal'ls , that the
conlecution
of
perC~I...'t
concord9
is
avoided ;
fo for
lhe
Carne
re~fof1. t~e
f.\Olcnl.!fs o(
the
h;\rmony
cl ililpp;!arS,
or
efca pcs
tht: ear;
c:fr~ci,dly
ir.
compofition of nlany parts.
By
lhis
reafon, the confeculion
of
4th, is
prevcnted
by
lhe
bilfj,
riling
a
3d,
ac~ording
to
the ¡irU obC!.!n ·,nion on
this
cx,101ple,
at lhe
5th
bar.
For
that woul\1 have
hap–
pencd
by
all the
r .1rfS
JefcC'nding ;
cha l
is. not h:willg
contr;
a.rymetian. 1 'he
Cccund
nOt~
then
of
lhe
Ud'S
in
lhat bar
is
chanr.cc!rrom
that
\Vhi..:!l
is
f~t
in lhe
Ltm~
cxamplc:
in
lh r~('
pan s.
A Ic\V ceneral
remad;.,
occur in this place. frol11
'001·
parinl! tht:
compulitiol1
oC
four l'.\ft S with
tl12t
uf .thr<:r.
t:'lrtl,
\\rhC'le~s ~hc p...:rrc,,~1:
concorJs
h~,\·.!
pJ.u::e:
in
h"mc.::
pu:
of lhe: h:lrmony of l'\·l.!ry
note
in
muli.::~
of 4 roll ts ;
fu tI'e ("h ... llc!.!!' of lhe
con!c("lItloll
o( Slhs .\11.1
;ths.
l, ..
IIl !
mor;;
Jrl"()1h'lH_
l h~
more 11.111 :md
.n\l'I111~1l
will l'c
n"r
ll '
J
l J tO
J.\o..,id
1I1t.'1:l.