372 / 868
M
u
s
To.
n.xldireod i.
,"o
Olarp 41h, 61h,
.nd
81h. 11 i.
inharmonic. li s rerolution is
iOlO
lhe chordof lhe givcn
001'"
S'h.
No. 87.
R ,jo/u/ion 'f /he /J..ird inhumo".i, difcord.
Of
this
diCcard the b:¡fs
nOh!
is the llar 7th
j
it
dcrcends
by. femitonr, while lhe wholc dlOrd falls a Slh .
Inharmon;c difi:orá.
Its reralution is (he [..l;me as
lh,l!
of evcry inh.\' monie,
in
what form foc'Ver.
by
the contrary
mOlioo
of lAC tWO
{emitones, while the lbird note
f.lI. a S'h.
Rifo/u/ion of
/~,
four/h difclrd.
Th. fourth dircord is tbe !harp 41h. 61h, and 91h.
Iu rcfohHion is likewife iota the chold of the
nOlt"
5tb .
Forthefharp4th "fcends ioto lhe fucceediog cCAeard'.
81h, the 61h paere. in.o the 3d, aod the 91h not moying
become. lhe sth. Tbofe aro lb. chord of lhe nOl'" 51h.
Example of the refolutioo of me fourtb difcord.
No. 88.
Prop" difclrd.
This dircard is a mixture of the propcr and inharmonic.
It
is a proper
dircard, for (hilt the
Dotes
of the treble are
cODcord ; and inharmoDic, in refpell of the
bar"
with
",bich it m. ke••he difcord of the
!h.rp41h.
11 dilf.... from the foreloing, where lh.
fiar
'lh i.
'l<–
,reffed
iD
both
treble and bar.; whcreas,
in
tbis,
it
ji
on·
1)'
iD Ihe bar•.
The baf. htre alfo defeend. by a femitooe, while Ibe
cbord fall•• 5th.
Rej%/ion
if
th, ffl}, difeord.
The Gflh difcord is lh. Sth, (harp 71h, &od 91h.
11
i.
refolved iDto the
cODcord
of
the
bar,
DOte.
For lbe 5tb i. tha, note', 51h; Ihe (harp 7th aCeond.
by.
remilOoe inlO tbe 81h ; aod Ihe 91h (or 2d) paír"
ioto the 3d. Thus it is refol..d ¡nto the dlord of the
Ji,en.
or
bar,
note.
E"ample of tbe refolulion of tbe fif,h dircord. No.89·
P roptr difcord.
ID Ihi. "folution lhe wbol. chord fall•• 51b, whil.
lb. baf. {laod. {lill, or defcend. iDIO the oélav•.
Thi. i. plaiol y Ih. la{l difcord in lh. order .f Coundo,
It. rerolution ¡s ioto the gíven note
or
key, by
the
par.
{age of Ihe gro.. cadeocr, or defeenl by • ¡rh.
Ir
i.
a
concord iD
ilfclf;
aDd
i.
in
harmony the concord
oE
Ihe 51h.
lo thi. chord difoord .nd harmony 2fe unirrd . Wheo
il {land.·
in
difcord wilh lhe baf., lhe bafs doth nOI mo.e
iD
the
r([olutioD; when
it
founds perfcét
hannony
with
. ,he baf., lhen lhe b, f. defcend.
a
~th .
Thereforr we coneludr, Harmony and diCcord are lilte
tUlO
6nite lines, ",ho{e begioning!
are
at
a certain
di·
Ilance; and
in
the natunl progreffion
conver.gecoallant·
Jy" untll
tht'Y
meel in
a point.
T h. difcord, which we hay. "Cerv, d lo the fix.h
place.
is that of the Jelfer 2d., or femitone.
11.
pl.ees in • fl.l
lr.cyare lhe 3d .lId 61h; and <o •
VOL .
Ill. N°.
S3.
2
r
e
K.
(harp key Ihe 4,h and 81h,
ot
whe,,·cvcr a n.'" femi–
tone is introduced.
Jt
i,
a proper difcorct, b(ing
1
cODcurd in
¡,felf,
whoCc
ehord halh .
Iw.ys•
!h.rp3d.
Its
propenies
are
cf'ery where
alike
i
but in
rerolu.~
tinn dllfcr!
from
that of
the
gr(ater
2d, for
the ((afon
affigned
in [he
rcfolut ion
of
every
difcord;
thu
U,
th~
p. n:'ge by Ihe femilOne.
n _¡o/ution
if
Ih.
Iif'r 2d.
Ir
fomilon•.
The difcord of the I.erer 2d i. lhe 2d, 41h, ond 6th
t~
tbr bars ; or, lhe eoncord of il(rlf.
lt!
nCoJution is into the concord of
¡ti
own
3d
or
5th.
1t rifes into lh. coneord of i.. 3d
by
lh. fHlgle'paerog.
oC
th,
femitone deíccnding.
And
~nto
the
cancoed of
¡ti
ph by lhe 41h defcending .Iong Wilh lhe femilone.
Ex.mple of
lh~
refolutioo of the difcord of the fe!JIi–
lone.
No.
90.
In Ihe
'dI
refoJulion, Ihe chord rifes
2
3d, .nd Ihe
bafs f.lIs a Slh. In lhe feeond, Ihe chord rif..
a
51h,
and tbe baf. fall. a 3d, lh.
reverCe
of lhe former.
From the refolulion. of Ihe difcords we derivo lb. fol–
lowing corolJaries.
Co
R. .
I.
There
i,
no
intern.J
of ha.rmony
tl.1at is
petfo.med by the baC. in the reColulioo of one difcordor
another.
Hcnce we
m~y
conccive that harmony reguJares e,en
the difcords, &nd preGde. in evcry part of muficle.
CORo
lI.
Th. iob.lrmooic difcord, or Aat 7th,
i.
a
prepara,ion 10 a elofe on a key, the 41h and 5tA,
A.. 3d
and flat 6th ;
for into (he harmony
of fhefe
it
is
refolved;
lhey
being the
in{(rval, on \Yhich
clafes
may be made ac–
cording 10 lhe e{labli!hed rul.. of mclody. And univer–
{ally, wherefoever.
eloC.
may be made by iorrodacing
a
new femilOo" the prepar..ion may b. made by lhe
O ..
7th,
or inharmonic difcord.
This difcord, being
of
fl1eh eXleofive uCe, will defero.
fome
funher
remarlLs, which
may
r(nder
lhe fettil1g
of
Ihe Came moro e. fy, &nd
.!lill
Ihe performer iDIhe laking:
and
refolution
of
h.
In
the inharmonic
diCcord,
then, are
three
notes
chiefly
concc:rned, which are the note
of
the concord; its
3d.
(which i.
alwa~$
!harp;) ond lhe Rat , Ih : eithu of ,befe
may be fet iD
t~e
baf. . H ence lhero will arife lhre.
va–
rielies.
If Ihe no.. of the chord b. the baC. nole, me ligu",
i.s
the flat 7lh; .tbe chord is that
of
the fame
flOte;
and
,he baf. fall.
a
Slh.
Secondly, When the 3d i. lh. bafs nott, the figurea
are ftat
srh
aod 6th ; lhe chord i. th.. of , he 6th lo Ibe
fame 3d; anel lhe hars . fceod, by • femilooe.
Thirdly,
lf
lhe lJ.l 7ih /land in the baf., lh. figuro.
are Ihe
lharp
4th,
6th, and 9th;
the
chord
is that
of Ihe 2d lO lhe b.f. no.. ; aod Ihe baf, <lerceDd. by
a
femitone.
Example.
No. 9"
Th. 5'h o( lhe chord may lik."iCe
/t.odin th. baC, .
but as the
mOYernent
of
the
fame
is
by
.a.
whole toce de:
fceDdi ng, it i. very feldom ufed.
The
6.ur.. are !harp 61h.
"
.Il..
3d.
4
~
t
Ca..