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1'1'1 v s
t ioo, the pafrJge of lh difcorll mun be to lhe nc:ardl
con.:o, d ; ,herdore, ,he rerol ullon will be by ,he rmdllcf!
iOle: \ ~ I . that ¡s, by d\c (", milone .
1 'his is lhe CI.!i1eral th~orem fo r lhe. refolmion of c\f~ry
d ircord . \Ve wi ll now . pply i"
Tn e ... r.,lu,ion c r ,hc Q,lcord of ,he ,d is into lhc
c oncord 0 1 lhe ~i\',-n note.
1~hc 4th , o. fc:milone. wilJ O1o\'c iOlo tlu: 30, bUI the 3d
w:lllu vc forIlJrmony its 3J j the:reforc, thc6t hmuO dercend
ioto Ih e 5th, anJ lhe '2d's p;¡tf;¡¡ge by lhe nc'H\.f1 interval
\V dl be lotO lhe given note . By lht re palTdges is formc:d
tbe chord of lhe [a me; there(ore, lhe rc[aJul ion of the
di'(~ord of th:! '2d is inlo the concord of Ihe giv~ n note.
In a RH key. there are (\Vo p.lffJ&t:s by rc:mi tonesj th:'lt
or lhe nal 6,h inlo lhe "h, and of ,he 2d arecnding, by
contrary motian, ¡otO Ihe 3d.
E""nlpl< of ,he reColulion of lhe dircord of ,hc ,d , or
!Irll diCco,d. No. 83.
ro 'Per di/cord.
The rcColrnioo of this diCcord beiog into lhe giveo Dote,
(he b;l,{s ooes net move.
The reColulion of the Cccond dircord is inlO lhe concord
of the glven nOle .
The Cecood dircord is lhe ,d, 41h, .nd fh arp 7,h . The
{h arp jth anO 4th move by lhe Cemitoncs and conu ary mo–
t ion into lhe 8,h and 3d, whi le the 2d f. lIs a )th in,o
the 51h. Tilde are lhe concord of lhe give nOIe : ,here–
fore ,he reColulion of lhis diCcord is ioto the eoncord of
the given note.
. E H.mple of ,he reColulion of lhe [econd diCcord beiog
inharmonic. N o. 84.
lnharmoll ic ' iftord.
The refolu lion of lhis d iCcord being inlo lhe concord
of ,he given nOle, the bars .recnds by a Cemi,onc.
The parrage of ,his inh armonic by contrary motion or
t \\'o femi lOnes t and rhe other note falling a 5th. is lhe
n::folutíon of ry 10harmonic, wherc:·cver introduced.
This !hererole needs 00 repet itian. But ir lhe {uccceding
concord has. RH 3d, the parrage i, by I\VO areendinS re–
mitones; the 2d rifing iDto the ;d, the 7th into the 8th,
and ,he 41h by a whole IOne ioto the p h. T his move–
rncrH can only happen in the refoJudon ioto lhe key .
Theolher, of much more eXlcn(jyc urc, is th e true r(–
fol ulion of ,he inhumonic dircord; and more ¡nterening .
as, hy lIS c onlrary motion of the femi tones, it better binds
the hArmony.
Ir is here 10 explain fUrl her lh e nature of lhe
inharmonic difcord .
'T he inharmonic diCcord. lhen, is afways (he chord in a
lharp 3d. ~..i(h a OiU 7th; which lWQ notes frame lhe in –
fcrv.d \\'hi~h charatlen fes chis chord) namc: ly. the (ha , p
4th, or ¡Lit 5th: when Ihe flat 7th is the upprr note of
the two, the inter\'"l is the na t 5th ; when Ihe I'ha rp 3d
is the uppcr note, the (ame incerval is callut dle flJarp
4th. 'I'htl c: ncte~ ueing rchuivc 10 the rundanlent:d note
cH IIt:r of I hl:nl determine- the Ch01d .
As (he lnh:lrl1ltMIC i5 (ound 10 differcnt placcs of rhe
olhv(". ro (. nrt.-~} ucntly Ihe note of lhe chorJ mun viHy
accoldingl)'j Ih!.: lct:ond loharruunic thclcforc only, in lhe
e
nat ural arda , hJlh reference to the givcn note in the
table, as th.u happ..:ns tO be lh e nOte ot Ihe: c~ard . Far
(he ~iven note lhere is to be aecou.nlecJ only a paiol oc
uni ty, from whencc we procceded lO Hace the:: (.hfco rds iR
rh(ir IIltural oruer, as (hey lie belween Ihe concords.
T he chord note, lhu efo re, of the firH inharmoníc is th-e
51h 10 Ihe glvt:n nOle ; and of the laU inharmonic, it is
lhe ,d lO the Notv, as the \Vhole chord falls a
,th in lhe reColu,ion, Co lhe Grn is a preparation Cor a
cloCe 0 0 ,he kcy, lhe Cecood Cor a clore on the 4,h, and
lhe lall for a cloCe on lhe 51h; now, as any notc of ,he
chord may Iland in lhe bar" Co ,hc third is oflen prefer–
red befare the chord note, for the Cake of the movemcnt
of lile bars by a Cemitone, as tvell as bec.uCe fallins a.5th io
lhe baC, is more properly the part of harmony.
T he Ra! 7th is likewife chuCen for lhe baCs Dote; for
the (ame rea(on, the movl. menl of the ba(s by a remitooe
deCcending; which is no inconfiderable ufe of diCcords.
For io figurate deCcant, as wc have Caid, aH tbe i'arts
OlOVC more (reely . .
Tire neXl difcord is like",iCe in~armooic. I, iS:lhe fharp
3d, ,lh, and Ra, 71h 10 the given no,e; which nOle is Jike–
\ViCe lh.. of lhe chord . No. 8,.
N ote, the .re(ollltion of eve ry ¡nharmooic beiog int-o–
ilS 5,h below' lhc chord, lhe reColution of this w ill be
inlo lhe 4th of the given notel; as rifing a 1,h, aoel f. lI–
ing a sth, aoCwers lhe Came thing iD e!limaliog lhe inler–
vals of harmony.
¡"harmonic difcord.
Example of the Cecond ioharmonie diCcord and its re–
[olulion : hcre the baCs nore is lhe nOle of lhe chord ;
therefore, in ,he reColutioo il Call. a ,lh, which i, lhe 4,h
to lhe given note.
The Rar 71h dereends by a Cemi,ooe ioto lhc 3d, ,he
3d riCes by a Cemitone inlo ,he 81h, and lhe S,h fall. &
,lh into lhe 5th of lhe concord. The reColutioDlhercfo«
is into ,he 41h of lhe key.
1 "his ís th~t form of lhe ¡"humonic di(card on whicb
the compofi lion of the parraSe taken out of Corelli, (No_
73.) is grounded . O bCerve, lha! in lhe cited ,
and alCo in « ery like parrage, lhe lWO notes of the baCs
move tO ooly ane no~ of the fccond pan, which becomC's
the Rat 71h by ,his movemenl of the bars.
Thu, lhe Rar 71h is given, in ,he upper p.rts by
turns, to e\'"ery notc in lhe bafs, as halh beco before re·
marked_
Rejo/u/ion o/ /h, /hird di/cord.
The third diCcord is lh e 3d, "h, aod 7th, to
the given note i it i5 refoh'C'd ioto the 6t h to lhe f2 me.
F or lhc 7,h . Cecnd, into lhe 81h or 6th's 3J, the 5,h " Ce.
a who)e tone ioto ,he 6t h, and the 3d nOI mO\'ln~ becomcs
the 5th . T he refo)otion of lhis dl~corJ th: rcfore i5 into
lhe chord of lhe 6,h.
Example of lhe rerOIUlion of lhe lhird c,f.;orJ.
No. 86.
P rfif·ord.
This is a proper difcorJ; in thl! ,c~olu~i~n (Ir ~\'.hi ..b
the balo f,d ls a ' d while lhe \Vhole dtle." J IJlb a 11111'.
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