368 / 868
u
s
T h;:i
libcrt'f is
ta be ufcd
chic!1y in
fh art
notes, anJ lly
¿ illllolllion.
E X;\01ple of difcords rucceediDg e2ch olher, or rCt note
.aglir.H
note.
Nv.
' 72 .
Sc~('nctl y.
D d'cords <lre admin cd , :lote
:I~,i nCl
note,
wht!n thl! f¡¡me d .fc·lrd is Orlen
rt·p~Hed .
-¡'his lillerty
is
t..lk: n
with
rhe d¡(cord of
the iLr
7l h
.Ibo,':
all
OtllC:rs ;
2nd
1$
mo!l
jullly
praé1i fcc\ in
nHdi d.:.
l.>f
(h rct: p'drts. \Vhcn
this
di!conl
is
hrou~ht
in fucl.:dlivc.l y in {wo p;¡ns, the
~omple:nc.;ilt
oC
lhe chord ouglll
tu
be
wri(lt:~
in lhe
treblt .
,
E xample of Ihe di[cord of Ihe
n ..
71h fucedlively .
N o.
H .
T hls
ex~mple
is takco out of the e!cv(:nrh
rOniUa
of
C ord li's fo urtlt opera,
I n this e Xil mple.
~ it
is remarkl ble. th at Ihe
lidl
aod
fecood !febles fu rnifh by luros Ihe difco,d 10 Ihe ba(s ;
which conft antly
defcer.dsby
a
5l h, while tht
interv~ls
"Of the upper parts are 5lhs and 41hs to the
UJrS
alternately .
O bferve, wheo Ihe nOle in tho bafs is
flat,
the d,[cord
will be the
n'lrp
7th .
T he imitation of (his pa{f3ge
mf\y
be
learned
by
in–
l1>etlion of ,be example. T he delDool1ra,ioo depends
0 0
the demonlhóltion
oC
lhe thi ld refolu ci(.'n oC the diC·
corq, following ; which \Ve mua .hereJore referve for ,h..
place.
An exasnple of this paf!'age {hall be gi Yen when we
come la teaen the ufe of difeords
in
ml:lfi ck of thrte parts.
H aving dooe with .he fingle difcord. aDd their paffa):e.,
we
proceed, in the next place, to the complex ones ;
by
which are meant lhe filme di(eords Wilb their accompany –
ments
f\5.1d
rerolutions.
Now, as,
by
axiom the recond of
the
theory, (rom lhe
natural arder of notts, lhe properties, proportions and
relad ons of founds, which arife OUt of their various corn–
e¡oatio'os and fu cceflions, are deduced; we Iball
demon~
/lrate .he propenies of the difcords upon the fame prin.
ciple.
The fi rl1 propen y of the difcord is ,he no' es which are
to be played in lhe thorough baCs. in concert Wilh the
d iCcord .
Thcfe
Dotes are ealJed lhe accompanimenrs .
00
the exatl koowledge of thefe depeod, the [econd
propcny of Ihe difcord ; namely, ilS paffage ioto a fue·
ceeding concord.
ThlS paffage i. called ,he refoluti"n of Ihe diCeord, as
mentioned above.
Each difcord hath its own
diClintr
propen ies . •T here–
fore the definition of diCcord already
given
is
jua;
where
it is
raid , thal d¡fcord conGas
in
ccn aio variable propor·
tions of the
diCl..
nce offounds,
As t\Vo {ingle notes lhntiinS! al a ccrtain interval, form
,he d,fcoro, fo ,hey m. y
c.fily be ,t folved in'o the pro·
per fuccecding cone<Jrd, as
we
have
aJre~dy
fhewn.
And
on
inH ruments whieh have not keys, DOmore
th~n
the
t .....
o notes can
wcll
be pt rfo lnled. Yct, as the rcro–
lutions of ,he <.Lfeords cannot be demonflralcJ wi,hóut
l he
knowlt"o~e
of the ae 'onlpanil1lt'llts, we (hall eOllfidcr
t he whúle dlfcurd togcthc:r ; and ocmon(lr,lIl!
lhe
a~':l'm ·
p. nimc'lts vf c.:ach pArticular tlifcortl. aft rr lhe fame me: ·
l lHld
\I.'e
llave
pruved lhe harmony of
c"eh
note of
lh~
oc–
l.n'c 111
COll:H(.'rpoim .
V OL.
11L.
N° . 83.
e
K.
335
T »
E
o
R
~
M .
S ince cvcry intel
vdl in
murick
is t.!iCcorJ
or Iiarmony . lhe aCCOmi)ilnllllents of
n1ú n
dilcords
wjll
be
harmony in lhcmrelvt s : fo r chus lhey
will bt;
difcorti
tO
Iht
givcn
note.
HtH
it
\Vii I all o hal'ilen.
l h J.t
fome note
of the
~ecom r:lnimt'nt
in ocha
c..lfes \ViII airo ut: h;J rmon y
to
(ht gi \'en nOI(", yct tht: wholt."
accom~anilllenl
difcord
in
¡trelr.
F or lhe foul
ro
accorJs
Wlch h:Hlllooy,
as nor
l O
hear an cntirt' perfra diLorJ.
N ow, as more: or Ie:(s
of
J lfcoro with the given note
prev:u l:;; fa (he diCl.:ords are natural'y cli viJetl loto propet'
"nJ inharmonic.
A
proper di(cord is the conco rd
of
fome member of
ilfd f, aod ooly difcord in pan wilh Ihe
b.fsor gi ven
nOle.
A n inh:.lfmonie difcorct is an abCaIute d¡fcord
in
¡tfelf,
and pa rtly concord t Othe b:t(s or given note.
, 'here a re: fJve prope:! d Lfeo ros; namely. lhe Ie:{ft!r and
gre" er od, Ihe Ibarp 41h
(01'
nat 5Ih,) the {harp 71h,
aod Ihe 91h.
'rhert: is one inh3rmon:c difcord
i
whieh
is,
the fl at
7th.
Ir
hath
lhree places in the: compJfs of lhe oélne ; where
it
appears in lhree dlfft ren t fO Ims .
It is called inharmonic ; nat onJ y becaufe íl is an aL–
fohue dircord in ¡tfdr. but alfo
b..:c~ufe
it ¡s not lhe
ilC–
compl oiment
te
the
bd.fsnote, from whence lite order of
the difeords is tra: ed io the nltural felies ; e:xeept in one
place or forOl, which is the feeonti ; whereio lhe fiat 7 th
is Ihe uppermofl note of ,he chord . T his will b= fecn
mol1 c1early, when we
0,.11
ha\'e gone Ihrough the diC.
cords of eaeh kiod in their nalur:¡I a rda,
in {he
table
oro
dif~ord
and h" mony. No. 8 2.
V/e
proceed lhcrefore to
rhe
dcmon!lration
of
lhe
dircords, AnJ, accordiog to
Ihe 2d
axioOl of the (heory,
lhaJl begin
witll
the deruoaftralion of lhe aecompaniments
of Ihe 2d .
As
in
the demon/1ration of
,he
eoncords we begin
wi th
the key-note, which
we
confiticred as ao ifRmoveable
puinr, from whcnce our caIculations were tO proceed; fa
we
lbal1
htre eonfider lhe bafs , or lower note of the
difcord, that immovc:tble poinl ; anJ lhe upper difcordant
nOte lhe in,lerval in queHioo, whofe propenies are
tO
b~
fo~nd.
DunOIlj1ralioñ
of
rhe
QccompalJi1lJCI:/J of
Ihe
u /.
T he aecompaniments of the 2d are Ih: 4th and 6th tO
the baCs or given note, or lhe d ircord of lhe
2d
is lhe
concord of the fame.
T he 2d is a proper difcord : T here(ore the aceo",.
p",nimeolS of the
2ct
are its 3d and 51h. BUI the 3d aod
)lh
t O
the 2d, or d,[cordant note, are to the giveo nOte
lhe 4th
anJ
6th
J
ther:.:fore, the aceompanimc::nts of lhe:
2d are the 4th and 6,h.
Ex,olple of the fi rll difcord, or difcord of the 2d.
N o. 74 '
P ro/," difcord.
T he difcord of Ihe od mufl be a proper ,!.[cord : for
the 3d :\Od 5th
to
Ihe b3 fs wuh lhe :2d \Vou lll be into–
lerable J ,rcolll, fl'cing they an: thr: t nott:sin the natural
order, and lhe
Slh
anu 7th
is
tllt! harmony
1..11
lhe
::,d ;
thercrole
"leY
mul! b. Ihe 6,h ond 8:ft,
"1,,
!. is Ihe g'-
.p
t
R B