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M u s
That lhe notes wh'Ofe harmony is their own chords,
Ot'cd no figuftS. is cvidcnt {rom the deflnitioo ('Ir harrno–
ay ; which canl¡Hs of one , invJ.1 ia:"le prOpOrtluD
of (o\¡nJs.
T he(e a,. ,he key, Ra, 3d, 4,h of a Rtarp I:ey, S,h,
R" 61h, O.. 71h.
l -hey which, as members of other chords, r~<]uire tht
G~l.' es of harmony. (et over them, iill e thde following ;
und are redllced 10 th is genc-ral ru le:
The 3d of every eoneord Imh a { ; and ,he S,h of
evcry concord halh a ~.
Thcrefore. A ncl ,
Key "1 {Ke y od "1
}';., 3d anel Charp I FI>t 3d and Charp I
5,h of a A., h y ~ ha". a 4,h of aRa, key } ha< a
1'1., 6\h and Charp J 4- S,h of a Charp key {
Sharp 7,h l ¡:Ia, 7,h
L alll y, The 4,h in a A .. key, when i, has i.. own
thord. mufl: have a 5th (el OTer ¡t, to difiinguilh lhe
ehord from ,h.. of Ihe R. t 7,h . And ,he 6,h in the
r.nrp kcy, when it hath its Qwn chord, muC1: hayc a
Slh lik.cwife (el aver jt, to ddlinguifh (he chord (rom
that of the 4th.
The proof of ,he 6,h iD a Charp key , having for har·
nlooy its own coocord, dcpends on lhe rcJative propor·
,ion of ,he R., .nd Charp key.; as will be ,hewn in ,he
~ha pt<r on tranfpoutioD. So mueh for figuring ,he uars
in concords.
Let ·us oow inquire ioto the (hortdl aod clearefi me–
. ltod of figurin!: ,he difeords. Thi. will be no diRieul,
mauer, when Vle confidu well che whole difcords. as
.hey are full figured in evory example .
Th<re ,he figures fe, over ,he bafs exprefs ,he in·
tervals whích the optes io the upper pan s form with
, hem. Thefe t>k~n IOgetbcr make ,he whole dlfeord.
¡\nd as theCe, with (he harmooic chords ,in cucccffion, ex ·
prefs ,he whole eompofi,ioD, ,hey are ,herefore eall.<I
Ihe ,
To render ,he performance of ,he ,horotlgh.haf. eafy
{.ntl expt!d,ti ous ueinc the chicf imention of figu ring the
baf, ; ,h;, will be heCl anf\Ver,eI hy d"linguiChing ,he dif·
cords , which h;\Ve forr.e figures in comOlOO Wllh each 0 -
ther, by (ueh figure, only as will flrnncly mal k
di(eord . For Ihough all ,he figu..s (e, down in ,he ex·
2mple:s be nccdfary 10 demonUrate the properties uf the:
di(cords, anu truth of ,he comporarion : the cafe is quite
othcrwife in rerpt,ll lo lhe figh t i many marks caufing
perpltxil Y and confuCion, wht:n one (ingle mOlrk in this,
2$ in all other caféS, belt difcovers lhe d¡frercnc~. 1"h6
proper diCcorels Ihen being coneords in {hemfdves, the
~gure, or figure" direordiog Wilh the: baCs note, will di–
(tinpuilh. eaeh of ,hefe.
The inharOlonic di Ccords being the Carne in oi ffert nt
furm, will be d;f!inzuiChtd uy ,he difeording figure. pe·
culiar 10 each form ,
Of th~ properties of Ihi!l diCeord. and Olíl nner oC fa–
k;ng ,he fame, we II..t fpokt n fulfieicntl y. W e Oral!
tltererorc only fel dO'Nn lhe clifcordlng figu res of caeh
furm, in (he: ff}lIowi n~ cx"mple.
¡':"amplc üf ,he proper di lcolGs fi¡;u red for :akinS Ihe
f ,m. a' r.Zht. No. 96.
e K. ~4 1
l ·hc ill!t:lrmonic dir..:oro6 figureu ror t;¡,kin<1 lhe I ....nl~
at figlít. ~ o. 97. •
'l\1<Hcovcr, the' pror!'r diCconh ll:in~~ C'unCCII('ot, l""d~
in ¡'{d f i evt:.ry chf urt! ,,·ill he ,,:unCI.llct Iv lvlllt. '..JIC dlt:
fercn! (ro01 {he bar!' , or dlfc.:·)'cLlnt noto:: ,
Tu rcmemlJer t1us note \,/,11 rend~ r Ihe r.. !;' ill~ of Ihil
djfcord ready- al (¡ gilt, ir ;prt."arin~ in tlus li&h t .. d~Ul l
of humony.
T he: fame is in fome mcafure true of Ihe inharmolli~
difeord .
Thercfore lhe: Ii¡::ures in the cXtlmplet , under the
baCs lines, expreCs the names of theCe concoros rela.
tive to eaeh.
It reOlalns tO he obferved, tilat the areompaniments of
che 2d are the t , and of the 9th Ihe 01íHp T' as they ap·
pea r in Ihe n(llural order C?f Ihe proronion of lhe r.tme,
(Nn. 80. ) 1< will be necdrary ' o demon(lra,e here ,he
lrudl of this.
The 4,h and 6th he;ng ,he aeeo;npaniments of ,he od,
the fif,h .nd Ch"p 7,h are ,he aeeompaniments of ,he 91h.
For ,he proporoon of ,he 9,h ' o ,he od (whofe 8,h it
is) is O tO , . And ,he proportion of ,he 4,h and 6,h .:.~.
{herefore, by ,be rule of proponion, .fay,
as 1 : .}{.:: 2 : -}~:
bUI the 4th number, or {.~. is the proponion of lhe 5th
and 71h; (for -} 1-; , ~ive -} o ;) ,herefore ,he S,h,
and lharp 7th, are the accompanimenu of the 9th. ~
k,o.
The 1.(1 ufe we Chall mention of ,he d;feord is ,be fur–
oinling the inward pans of mufick, in campoCilion of many
paru.
As , in harmooy. eadl I,art 01 lhe rour takes one of the
concording nute" and hene::, by lhe continual mix.ture
of theCe by their eontrary mOllon, the compofition is
framed; fo, in 6gurate dercant. lhe notes of (he difcord
furn ín) lhe p<trts in fheir turno
And th: filme notes, pO\fling by re:mitones chi~f1y, (orm
among themre1ves tL,n rt.f~lutioD \\ h:ch lhe baCs performs
alon~ .
T he comporer therefore, whcn, Cct1in2 a bafs , he iotro.
duces a di l\;,.,rJ, is as wdJ prepared for lhe Dotes of lhe
othcr paru in this elre as in (euinó a eoncord j and if
he: oe \Vell fktllcd 10 lhe: refolu\ions, will with ~r("at eaCe
compare Ihe fu cel!tding cuneord.
For lhe thorougi) lurs. be.ing lhe wholc compofition in
one view, lhe knowledge oC lhe Dile anJ of lhe: other
muH ue lhe:: (¡me. As , thoen , he \Vho undedl.tmls Ihe rules
of harmony and lhe d,Ccords , and their fef\)lutions, wilt
fueceed with eaf!! in conlpoCition ; fo. on lhe OIh er hanJ.
he caonm bl! a. fl..dfu l compofer ",ho is ignorant uf the
prupertlfs 01 harmonical chnrds ~nd diCeoros.
One cXtlll1plc: in thrct parts , being the ["me:: fel aboye
in twO , wj ll lufTi..:icody illultrdte thls.
Ex. mplo of Ihe ufe 01" difcord in ,he eompofi,ion of
many pJrts. No . 98.
CHAro IV. OF l\1ELODY.
HITIIP..RTO we have confidaed mu(ick in its C(veral
pil rlS l(lk~n togt:lhcr, or ,he art of compoCition . Qu r
nc)(.t hulineCs wdl ue inqui re loto the mcthod of fr..lmlnl!
a fioglc pan, o, makinu ,he ",clod)'.
M S L OD1