Treatife of Mufic, CONTAINING THE PRINCIPLES OF COMPOSITION. WHERELN The feveral Parts thercof are fully explained, ond made ufeful both to the Profeffors and Students of that Science. > By Mr. RAMEAU, Principal Compofer to his Mott Chritian Majefty, and to the Opera at Paris, ‘Trantlated into Engl from the Original in the French Language LONDON: Printed for j. FRENCH, No. 4y, oppofite Hatton Garden, Holborn, ”T A B L §£ OF THE CONTENTS. CHAP.-L Page ‘oduction 0 Practical Mufic = —— _ I Nr CHAP. Il. Of the fundamental Bafs = ==————- + IE CHAP. Il. Of the perfect Chord, by which begins Compofition in ‘our Parts —_— _—_ 12 CHAP, IV, Of the Succefion or Sequence of Chords —_ 13 CHAP. VW. Of fome Rules that muff be obferved —_—— 17 CHAP. VIL Of the Chord of the Seventh —_— —_— 18 CHAP. VIL ” Remarks touching the Difccrd ———- ew 233 CHAP. VU. ‘Of the Key, and of its Denomination of Flat and Sharp ib, CHAP. Ix, . Of the Manner of Modulating harmonically, when @ diatonic Progreffion is given to the Bafs —_— 25 CHAP. X, Of the continued Bafs —_ — T 3 3 CHAP,4 TABLE of the CONTENTS. CHAP. XL Page Of the Pragreffien ¥ the Bat, which fixes at the fame 8 Time that cf the Chords, and of the Manner of reducing a derivate Chord. to its fundamental Chord ——~ CHAP. XIL Of fome’ cher Rates taken m from the laft Example ~- Xi. Of the perfect Cadene — CHAP. XIV.’ Of the Leading Note, or fharp Seventh, and of the Man- ner of refolving all Difcords ——— = ——— / of refolving ee Oe x Of the Eleventh, ner led the earth _— HAP. XVI * Of ‘the irregular Cat —_— CHAP. XVII, Of the different Progrefions of a Bafs that bear a Relation to each cther, wherein the he Harmony doth not alter in the u Parts Peer ‘CHA LP. Xx XVIL Of the Manner of preparing all Difcords =—— : CHAP. XIX. Shews where Difecrds cannot be prepared CHAP. Xx. win exact Enumeration of all the different Progreffions of the Bas, according to the different Difcords therein ufed CHAP. XXL Of the Chord of the Second = —— me CHAP. XXIl. Of Keys and Modes in general —- ARTICLES 1. Of fharp Keys — crerene 2. Of fiat Kos Ha CHA Px XXII. : Of Midalation, or the Manner of remo removing from om te Key Into another Cc HA AP. “xxrv. Seme farther Rules on the foregoing Chapter —< 31 39 4t a 44 46 ge 53 5} 60 65 67 ib. 69 2 2 4 CHAPA TABLE of the CONTENTS. CHAP. XXV.. Shews what Chords are to be given te to the Notes of a nap + in all Progrefions — 2B ARTI ric LES 1. Of Cadenet and of all that hath a Relation to a Chofe of a Song or Melody —- _- ib. 2, Of imperfect Cadences - 80 3. How the Key may be diftinguifhed, wherein # the Progreffion of the imperfect Cadences are ufed — 82 4 How to diftinguifh, in a diatenic Progreffion, whether the Melody vefls or flops upon the Key-note, or pr its Governing-note —~ 8] CHAP. XXVI, Of the Manner of practifing the Seventh upon every B Note of a Key ina diatonic it Progen _ 89 AP, XXVIL : How one and the Jone ‘Diford may be ufed in feverat Chords fucceffively following upon different Netes ; and how it may be refolved by Noles that t feem to be foreign to that Purpofe = — —- — 90 CHAP. ~XXVIIL Of Licences, and firjt of the falfe or flying Cadence — 94 CHAP. XXIX, Of the Chord of the extreme frarp Fifth —~ 99 CHAP. XXX, Of the Chord of the Ninth -—— = ——= ——= 108 CHAP. XXxXI Of the Chord of the Bevel, tiene calla the Fourth 104 CHAP Of the Chord of the este, Sharp Sek — 106 CHAP. XXXII. Of the Chord of the extreme Sharp Sccond, and of its its De- rivatives 108 CH HAP. XXXIV, of Chromatic = —— 9 ——— sat ‘ . ARTICLES 1. Of Chromatic defcending ——«> —— 12 2. Of Chromatic afcending men TG. az CHAA TABLE of the CONTENTS. CHAP. XXXV. Page Of Mer ring that hath deen hitherto of A AR rIck c a 8 ib. a. Of the Progrefion of the Bafs —— ——. i "2. How confonant and diffonant Chords, Concords and Brfcords are to be ufed mame 118 3. Gf major Difcords proceeding from the Ltading- | note, and of thofe Notes on which oe they are ¢ wld hig 4. Of minor Difcords- = > 120 5 Of thofe Concords or confonant Nee that at are to ‘be preferred when they are to be doubled —- 121 6. of the Meafure or Time _ _ ips T- Of Sincopation, or of a driving Note —~ — ibe oF 6a CHAP, XXXL mmpofition in ‘tas Parts —_ 124 Of fille Ree CHAP. XXXVI . le lons —_—- 427 CHAP. XXXVI. Of the Manner ¢ compofing a Treble or an Air to a Bajs 128 CHAP. XXXIX. Of figurative Melody, * a Sebefien and pafing Notes 133 AR ES 3. -Of feurative Minty ly: conn hitervals — 134. 2, Of figurative Mevdy » diato ic Intervals — 137 CH XL. Offtke Manner of ania Fine Bafs to a Treble 139 Of. the Manner of compaing a @ tint ae under a Treble 149 CHAP. XLIil, Ofeful Remarks wpm f the ¢ freacing Shafter o———— 153 Rules to be siferved in a 12 Comin oe two, three, or . four Parts — 164 CHAP. XUV. Of Defign, Imitation, Fugues, and Canons — 157 The Reader is -defired to- corre&t fome {mall Miftakes that have + inadvertently happened i in the Impreflion, according to the Errata at the Ead of the Book, PRI N QlsPRINCIPLES COMPOSITION. CHAP L Introduction to Pradical Mufic. . Of the Gamur. § there are but feven Diatonic Sounds, that is to fay, A feven Degrees, fucceffively in a natural Voice, fo like- wife in Mufic there are but feven Notes, C, D, £, F, G, 4, B, which is called the Gamut; and, if we proceed further, it can be but by repeating the firft Note, and fo on, according to the above Order. . Thefe fame Notes repeated, and which are but the Replicates of the one or the other, are called O@aves, It is proper to add the O&ave to the firft Note at the End of the Gamut, for better diftinguifhing this O@ave; thus, C, D, E, FG, 4, B,C. If we begin and end this Gamut by any other Note (which is proper to be prattifed, though it be contrary to the Diatonic Order) it is plain by this Oave added, that the like may be done to the other Notes; fo that, if we begin by G, we mutt then fay, G, 4, B, C, D, Ey F, G, in alvending; ‘and G, F, £, D, C, B, 4, G, in defcending ; fo of the other Notes. Of Intervals, The Gamut may be repeated as well afcending as defcending, and by different Notes; but the Diftance from one Note to the other mat alia be obferved, and this only in afcending. A. Ie4 Principles of Comprjition. Tt is from this Diftance, that all Tatervals in Mufic are formed 5 and rhete Intervals take their Denomination from Arithmctical <, . 3. +f Numbers, and are calledss.5.a, Third, Fourth, Frith, Siath, Seventh, and cates We have placed the Figures over the Names of cach In- terval, becaufe we fhall hereafter ule thefe Numbers for denoting the Intervals we fhall {peak of; fo that it muft be remembered, that 2 denctes the Second, 3 the Third, 4 the Fourth, &c, until the OGave 8; and when we fhall fay the Third, the Fourth, & thofe Interyals are to be saken in the Gamut, by afeending from the Note chofen for the firft Degree, that Note being deemed the foweft, : The Intervals in the Gamut defcending arp alfo to be obferved, asherein it will be found, that the Fonrth below C is G, as the Fourth ahove G is C, which is not difficult to comprehend, and may be very uicful upon Occafion, Of intervals farverted. The two notes that create the Oftave, arc in the Main but one, and ferveas Limits or Bounds to all the Intervals, fince all the Notes in the Gamut are inciuded in an O@ave. Thus by deeming the two C's, by which the Gamut begins and ends, 2s one and the fame Note, it may eafily be apprehend- ed that, whatever other Note he compared to cach of thofe two C's, it will net produce two different Intervals; but by obferv- ing, that the ficft C is below the Note compared, and that the Second is above, there feems to be a Difference; this Difference in Appearance is proper to Le explained. pon viewing | the Gamut in this Shape, it appears, t D makes the nd to the firft al that the fecond akes the Seve: 1 Be 5: } €& D, £ F, G, a, 8, G taat the fecoad C makes the fame F; alto that GPrinciples of Ccmpofitions 5 arifes from another ; for if we take any other for the firft De- gree, by placing it at the Beginning and at the End of the Gamut, and following the above Method, we fhall always find the fame Thing, that is to fay, that the Sccond to the firit Note will make the Seventh to the OGave of that fir Note, To make this better underftood, it muft always be.fuppofed, that the Ogtave is infeparable from the Note taken for the firft Degrees fo that having compared a Note with this firft Degree, it muft afterwards be compared with the O&ave, from whence will arife two Intervals, the Firft of which is called Fundamen- tal or Principal, and the _Secend, Inverted, as it is in Effedt ; for if we compare @ to £, and E to C, we find but a Comparifon inverted, in the fame Manner as it is in Numbers, by fuppofiag that 8 anda reprefent the fame Note, and this Comparifon is firft made from 1 to 3, and afterwards from 3 to 8 OF all Intervals, there aré but ‘Three that ave Fundamental, and which ought confequently to be remembered ; ‘they are the 3, the 5, and the 7, which may be placed in this Manners cach firft Note antivers to 1, and their 3, 5, and 7, anfwer to the Nombers which denote thofe Intervals; and when once thee three Intervals are known in Relation to one of the feven Notes, taken for the firft Degree, we need only to add the OGave to that firt Degree, in order to find thar the Third becomes a Sixth, that the {ifth becomes a Fourth, and that the Seventh becomes a Second 5 thefe Vhyee laft Intervals, viz the Sixth, the Vourth, and the Second, being then inverted from the thvec firft Fundamental Tat This Article ought to be carefully contidered, for the better it be underftood, the readiéy will the reft be comprehended. There are three Sorts of the Tenor, or G CiIT; and Che ie, the Bafs, or F Chiff; 5 which is the Low- Ltipon the Fourth, o¢ or C CHR, whi ppon ail the hisa Fifth Lines, ex- Ye, cr G Ch, which isa Fifth ‘Venor, or C CHR, is gene he Second, or upon the tink Line, i oF& Principies of Compofition. Of Parts. As Harmony confifts in the agreeable Union of. feveral different Sounds, and as thefe Sounds cannot be produced but from a Voice or.an Inftrament, each Voice or Inftrument is called a Part, and each Part hath its particular Name, which is not al- wayt mentioned, but is known by the different Situation of EXAMPLES. } . | Thefe two Parts are adapted > to Female Voices. cS Second Treble. a oe Bafs or Concordant, a mean Part between the r: preceding and following Part. oF oe = _ Connter Ba, the moft grave, or loweft of Male ee Voices. ThisPrinciples of Compofition. 1 This Mark, or Guide “, fhews that one may exceed the Note until that Mark, at the Difcretion of the Compofer, who is to keep his Voices within a proper Compafs, by Reafon that they are always ftrained or forced, When at the extreme Parts. . As to Inftruments, they have their different Compafs; the Violin, for Example, is limited to an Oétave below its Cliff, but it is not fo limited above. As the Violin and the Haipfi- chord, or Organ, are fufficient to execute all Sorts of Mufic-in General, we fhail pats over in Silence the other {nftruments, the Knowledge of which may be acquired by thofe who prattife them. . * oP ne Of Unio, Unifon is two Notes in the fame Degree, or the fame Note repeated ; the Example thews &)-——— where the Notes of ‘éach’ Part are to be -@- placed fo as to be at the Unifon. pero ent Po a ee a As Variety of Parts confifts in different Sounds, and not in the Quantity, we may fay, that all thefe Parts are but one; from hence the Unifon is forbidden in Compofition, yet Beginners may ufe it until they have made a further Progreis. of& 8 Principles of Compofition. Of Meafure, cr’ Time. . Meafore is divided by’ Bars, and cach Bar contains cither 4 , or 4 Parts, and is diftinguifhed by Common Time and Triple ime. Cominon Time is when there are 2, or 4 equal Notes, or Parts ina Bar; and Triple Time is when there are but three equal Notes, 6r'Paits in a Bar. The flowef Moveshent in Common Time is known by thts wC) 9 yas when it is fomewhat fatter, | and ‘the quickeft of all by a or 25 0 or — 4 Triple Time is diftinguifhed by this Mark, which is thé floweft Movement, and contains three Minims in a Bar. By i; ‘and contains tliree Crotchets i ina Bary and ¢ quickelt of ail and contains three Quavers ‘There is another Kinkof Triple? Time matked=thus— " or zm which_is compofed of the former, and contains g Crotches, or nine Quavers in a Bar, There is alfo another Kind of commonTime, compofed of Triple Time, marked thug yo aad contains fix Crotchets in a Bar; or thus 4, which then confifts of twelve Quavers in a Bar. ‘of Notes and their Lengths, and of Slurs, Points, Refts, or Paufes. There are fix Notes moftly in Ufe, which are a Semibreve a Minim E 2 Crotchet, E a Quaver B a Semiquaver b and a Denifemiquaver Es their Proportions to each other are thefe, a Semibreve as long as two Minims, four Crotchets, eight Quavers, fixtcen Semiquavers, or thirty-two Demifemiqua- vers. EXAMPLE.Principles of Compoft i - 9 EXAMPLE. 1 Semibreve, “a Minims. 4 Crotchets, 8 Quavers, 16 Semiquavers. 32 Deniifemiquavers. The Characters for denoting ag, ns aed Refts, or Paufes, ASemibreve, A Minim, ACrotchet, A Quiver, ASemiquiver, Demifemiquaver, - === FourSemibreves, Two Semibreves. Ss wa The laft Cha- rater is ufed as a Guide or Direttory tothe next Note, A Point or a Dot, added to any Note, makes it half as long again, EXAMPLE.10 Principles of Compofition, A Slur is marked thus“. : A Repear is made thus *s:; and is, ufed to fignify, that fuch a _ Part of a Tune mutt be played over again from the Note over which it is placed. . . ‘ A fingle Bar ferves to divide the Meafure, and a double Bar See : | is fet to divide the Strains of Songs or Tunes, as =| The leaft Interval we have taken Notice of at the Beginning of this Chapter, was under the Denomination of a Second, and this Second may be alfo diftinguifhed by a whole Tone or a Semitone. The Semitone is found between & and F, and be~ tween B and C; whereas a whole -Tone is found between all the other Notes-of. the Gamut, that make a Second. And although this Semitone, by which the fmalleft Interval is formed, be not found between all the Notes of the Gamut, it may nevertheleis be ufed by Means of certain Signs, or Marks, which, being added'to any Note, either increafe or leffen it a Semitonc, Thee Signs.are called Sharp, or , Natural, or , and Flat, or O. - - ay AX, or Sharp, increafes 2 Semitone that Note againft which z itis placed, wherezs a or Flat, leffonyit a Semitone; anda 4 jay or Natural, which fometimes -bears the. Property of a-X, is 4, uled to contradi& thofe Flats and Sharps, in ‘order ‘to replace the “sNotes in their natural Order, EXAMPLE ‘The fame B leflened | The fame Cincreated a Note a Note Semitone. | replaced. Semitone. | replaced. Thofe Intervals whofe Jifference confifts but of a whole Tone, or a Semitone (provided that the Name of the Interval be not thereby altered) are diftinguifhed by Major and Minor, or Sharp: . and Flat; for Example, the Third from C to E is called Major, ~ or Sharp, becaufe it exceeds that from D to F, which is confe- quently Minor, or Flat; fo likewife the Sixth from E to C is Minor, or Flat, becaufe it contains a Semiténe lefs than- that from F to D; fo of the other Intervals that bear the fame Name, the Difference coafifting caly of a Scmitonc, more or lef, and which may be allo diftinguifhed by extreme Sharp, or extreme Flat, as will be more fully explained hereafter. 1 . icPrinciples of Compofition. , Tt is generally by Means of.a , or ty, that the Difference from the Major to the Minor, or.a fharp or flat Interval, is known; a Sharp K added to the lowermoft Note (/*) generally” makes a Minor Interval, and added to the uppermoft Note (G) makes it Major; on the contrary, a 6, or Flat, added to the low- ermoft Note (HH) makes a Major Inteaval, and placed againft the upper Note (J) makes it Minor, °°"? * ipper (2) makes Te EXAMPLE G == 3d Minor, gd Major, 6th Major, 6th Minor, sth, Falfe sth, or flat sth, =| It is by comparing the upper Note with the correfponding Note in the Bafs, that the Major and Minor Intervals in the Example will be found. : ~ When aX, ah, or a B, is placed over or under a Note in the Bafs, it does not alter that Note, but denotes only Major or Mi- nor Intervals, coe CHAP IL Of the Fundamental Bafs. HE grand Art or Myftery in Compofition, either for Har- mony or Melody, principally confifts, and efpecially at prefent, in the Bafs, which we call Fundamental, and as fuch mutt proceed by Confonant Intervals, which are the Third, the Ba Fourth,a2 Principles of Compofition, Fourth, the Fifth, and the Sixth; fo that we cannot make any of the Notes of the Fundamental Bafs to afcend or defcend, but only by one of thofe Intervals, the leaft of which is to be pre- ferred to the greateft, that is to fay, that, if we had a Mind to make that Bats afcend or defcend a Sixth, it would be better to _ make it defcend or afcend a“Third ; for it is to be obferved, that to afcend a Third, or defcend a Sixth, is the fame Thing; fo Tikewife to afcend a Sixth, or defeend a Third ; tp afcend a Fifth, or defcend 2 Fourth; to afcend a Fourth, or defcend a Fifth, as the following Example fheweth. , . EXAMPLE Todeleed Sah, ash, a ath, aad ‘The Name of the Note being fufficient for determining a pro- poled Interval, and knowing that the Third to Cis £, it matters not in the Progreffion of that Bafs, whether E be placed above o below C; fo of the others; and this ought to be well remem- bered; for when we fhall hercafter fay, to afcend a Third, a Fourth, a Fifth, or a Sixth, it is to be underftood to defcend a Sixth, a Fifth, a Fourth, or a Third; or if we fay, to defeend a Third, it is to be underftood to afcend a Sixth, &. obferving that thié only regards the Progreffion ofthe Bafs. We have not included the O@ave among the Confonants, be- caufe that the O@ave being the Replicate of 1, it is as well for thé Bafs. to remain upan 1, as to aicend or defcend upon the Oc- fave; yet we are fometi:nes obliged to make the Bats defcend an Olave, for a greater Liberty to the other Parts, which ase to be placed always above the Bais. CHAP IIL Of the perfe® Chord, by which begins Compeftion in four aad -Parts. : : A CHORD is the Difpofition. ‘of feveral. Sounds heard to- gether, which Sounds are marked hy a Note in cach of the Parts propbied, “ , oe : ThePrinciples of Compofiticn. “13 »'The only Chord we have at prefent need for, is the perfect, which is compofed of one Note placed in the BaGs, and of its Third, Fifth, and O@ave, placed in the other Parts. The Gamut will ferve to find thefe ‘Intervals, and this Bafs aay be reprefented by the Number 1, as thus + G RG. G Ga “th OS 1, or 8. : 1, 2) 3, 4s 5) 65 7) 8.———=We have marked 1, or 8, be- caufe the O@ave is always reprefented by the fame Note that was taken for the Bats, . The Third, the Fifth, or the O€ave, may be placed indif- ferently in any of the-Parts, being at Liberty to place the Third. above the Fifth, or the Oétave, and the Fifth above the Oftave, rovided that thofe Intervals are found to be always above the Tags and each Part is to be kept within its watural Bounds, and fo contrived, that the Tenor may be above'the Bafs, the Coun- ter-Tenor above the Tenor, and the Treble above the Counter- Tenor, . ‘ CHAP. IV. Of the Succeffion or Sequence of Chords. . F the Bafs is to proceed by confonant Intervals, the other Parts on the Contrary are to proceed by diatonic Intervals 5 fo that in thefe laft Parts we cannot fkip from one Note to ano- ther, but to that which is the neareft; as thus: C can go but to D, or to E, if it does not keep on the fame Degree, as it often happens; 10 of the ot 3 and here follows the Manner of doing it. We chafe 2 Noie which is called the Key-note, by which the Bafs is. to begin and end: This Note fixes the Progreffion of all thofe contained within the Compafs of its Ofave? If then we take C for the Key, we can_ufe as well in the Bafs as in the other Parts, but the Notes C, D, E, F, G, 4, and B without it, it being permitted to alter them by any Sharp or Flat. " This Rote € being placed in the Bals, you difpofe the Chord in the other Parts, ob{erving that which makes the O&tave to C, that which makes the Fifth, and that which makes the Third, 2, If after C the Bafs afcends a Third 4, or a Fourth B (fee the Example) the Tenor—that made the Qdtave to C, which is the4 : Principles of Compofition.” the Bafs, ought afterwards to make the Fifth to the Note which. in that Bafs afcends a Third ora Fourth after C. : : The Counter-Tenor, which made the Third ‘to C, ought af« terwards to make the Oétave to the Note which afcends a Third or a Fourth; and the upper Part, or Treble, which made: the: Fifth to C, ought afterwards to make the Third to the Note’ fo afcending a Third or a Fourth. o : - I€ after C the Bafs afcends a Fifth C, or a Sixth D (fee the Example) the Tenor—which made the’O@ave, ought, after- wards, to-make-the Third; the Counter-Tenor—that made the. Third, ought afterwards to make the Fifth, and the upper Part, or Treble that stiade the Fifth; ought to make the O@tave, ~ 4. and -Laftly, - Thofe that will not burthen their Memory: "by retaining the Progreffion ‘of cach ‘upper Part, in refpee to. the Bafs, need only to remember, that each of thofe Parts can. make but one of the three Intervals that compofe the perfect Chord, and only in three different Manners, either by keeping)’ oa the fame Note, or ont the.fame Degree, or by afcending or defcending diatonically whatever Road the Bafs may take; fo that if 2 Note of one of the Parts can make the Third, the Fifth, or the O&ave, without altering its Pofition, it mutt ab- folutely. remain; but if. by this Manner you cannot find any one, of thote Intervals, you will infallibly find it by making it af- cend or defcend diatonically, : If two Parts fhould, by Chance, happen to meet upon the fame Note or Degree, wliereby one of the Intervals in the per- fet Chord fhould. be wanting, it would procced. from one of . thofe two Parts having made ‘one of the three Intervals of that rfe& Chord, either by afcending or defcending: So. that,_ aving “made it'to afcend, it muft afterwards defcend, or having made it to deftend, it muft aftérwards afcend ; which is natural. fo that Part that makes the Fifth to a Note in the Bafs followed by another afcending a Fourth, to which Note, fo aftended, this Part can’make the Oftave by defcending, or the Third by afcending, to which Degree this Part ought then to-afcend; this is alfo natural to that Part that makes the Oftave to a’ Note of the Bafs followed by another afcending a Fifth, and, in that Cafe, that Part, muft defcend upon the Third, to the Note’ which afcends a Fifth ii the Bafs. . EXAMPLE,Principles of Compyyition. 1g. ‘EXAMPLE AALOD GAR 5 f TF ‘Treble. | X Ht = JGR. FRG8 FA FARTS. Counter 5 Tenor. Tenor. f Fundamental | Bats. Afcend a x4, oF de- fonda 6th, Afeend al Afcend a ath, or de-Isth, ox de- fcend a sthifeenda 4th. Afcend a| 6th, or de- fcenda3d ‘Afcend a| 6th, or de-] : feend a 34 ‘Afcend a] Ateend a] Afgend a, sth, or de-| sth, or de-|3d, or de- feond agth|fcend a sth,|feenda 6rh The Progreffion of the upper Parts in this Example may be eafily remembered, fince you will find in all but 8, §; and 8, 3, E, Fs 3, 8, and 3, 5, G, H3_5) 3, and 5, 8, 7, £3 when the Bafs afcends a Third 4, or a Fourth B, it is found that 8 feads to 5 E; 5 to 3 F; and 3108 G: And when the Bafs attends a Fifth C, or a Sixth D, it is found that 8 leads to 3 F;-g to 5H; and 5 to8 L: Sothat, whatever Road the Bats takes, we may know by the firft Interval (be it a Third, Fifth, or Eighth) that which muft be the next to the following Note in the Bafs; and fo on until the End, by following the fame Method, for each Part feparately, and obierving that the 3, 5, and 8 be al- Ways contained ja the three upper Parts, being at Liberty to give to any one of theParts the 3, 5, or 8, to the firft Note of the Bats; but in a Succeffion or Sequence of Chords, one cannot help following the Method above prefcribed, to cach Part that fhalt have made the 3, 5, or 8th. I t36 Principles of Compofition, Tt appears alfo by this Example, that this Order pre(cribed doth not only happen between the firft and fecond Note of each Bar, bot tikewife between the fecond Notes of a Bar and the firft _ Of the next; £0 that, wherever tlie Progreffion of the Bafs is the fame, that of the other Parts.will be fo likewife. Therefore, the Interval marked 4, between the tivo Notes’ of the firft Bar, and between the. two.laft Notes of the Example, being the fame, the Progreffion.of the upper Parts muft likewife -be the fame ; fo of the other Intervals of the Bafs marked by a B, aC, or 2 Dz as well above’ as under the’ Bafs: Nevertlielefs, one muft not ftridtly: feek the like Uniformity in one upper-Part only, by Reafon thar the Succeffion of Chords will obligé it to make fometimes. the Third, fometimes the Fifth, @. but it will the Fifty or the OBave, will anays olow the Proton the: cor the O wi S ~ thé: Pri fion which is-affigned to it by that-of the Bas. From hence it is to be concluded that, after having fixed and determined the Chords of the Parts according to“ the Progreffion' of the two firft. Notes of the Bafs, we mmuft alfo fix and determine the Succeffion by: that of the fecond-Note-of. the Bafs. to the Third, from this to:the Fourth, and from this to the’ Fifth, and. fo on tothe End, each Note of the Bafs always making one of the confonant Intervals ‘prefcribed to’ its: Progreffion with that that follows or precedes it; and each Interval of that Bafs fixes or determines the Progreffion of the upper Parts. - We have placed the Number 1, either above or below each Note of the Bas, to thew thar in’ each Chord there will be. found but the’ Numbers 1, 3, 5, 8. . You may at prefent compofe a Bafs after what Manner you will, neverthelefs, by making it begin and end by the Note G, being at: Liberty. to make it proceed by all the confonant Tntervals, without altering the feven Notes, , D, E, F, G, 4 B, by any; Sharp. or Flat, and obferving to avoid the Note B, in the. Bals only, and after having, difpoled the firft Chord in each Past, the Progreffion of thole Parts that make the 3, §, or Sch—will: be fixed by, that of the Bats. : EXAMPLE.Princidles of Compyition. 17 EX AMPLE. 8. 3+ 5. 308. § 3: 5-3: $+ 3 $.8: 5.8. 5 haha sthes sn eset ses wate | Qi sgenad 23a alee, 3+ §- 8.5. 8. 3 8. 56 SEE8 Hs 30 Se Be Se Be fear | Biges|esRS SE Peesiaceciey 4 8.3. $63 $8, 53 hoe 8. 5.8. 3.8. 3. 8. ron | MgeseaeSSIP SESS Fundamen- | 5p7R— [815 (5 Slog [ al] tal Babs. Bae see =e] ail To afcend a 5.6.4. 6.6. 4s de de 3s Se 3+ $+ 30 54 Se 4 Remember that to afcend a Sixth, or defcend a Third, is the. fame Thing ; likewife to afcend a 4th, or defcend a 5th. It is proper at firft to begin by Common Time, and you may ufe either a Minim or a Cfotchet for cach Part of the Meature or Bar, in the fame Manner as we have ufed a Semibreve. It is eafily perceived, that the Difpofition of this Bats depends only upon Eoney or Tafte; yet one may keep to it in the Be- ginning, to fee if the Parts that will be placed above it be agreeable to ours; after which you may compoje other Baffes at Pleafure, obferving that the laft Note of the Bafs ought always to he preceded by another of the Diftance of a Fourth below, or a Fifth above it: that is to fay, that the Note C ought to be preceded by the Note G, at the Conclufion, or final End of the iece. ; CHAP V. Of fome Rules which mut be obferved. % WO O€taves, or two Fifths, are never to follow one |. another immediately 3 yet it may be praétifed in Pieces of four Parts, provided that the Progreffion of the two Parts that mak: two Ottaves, or two Fiftns, moves by a contrary Motion, that is to fay, that if one of the OStaves’ alcends, th: other ought to defcend. Cc Exanjre18 Principles of Compoftian. Example of two Oaves, and trvo trary Main ifihs, moving by a con- ===E eee _ om You muft avoid afcending from a Minor, or flat Third, to the Q@ave, which cannot be found in the foregoing Examples, by Reafon that the Major or Minor, or fharp or flat Third, was not as yet in Queftion; but the Difcord we are going to treat of, will cafily make us obierve this Rule. CHAP VIL Of the Chord of the Seventh. ARTICLE T. Uppofing that you are arrived at a fufficient Knowledge of the confonant Intervals, of which the perfeé&t Chord and the Progreffion of the Bafs are compofed; the Relation, which-thefe Intervals bear together, is now to be examined; and without taking any Notice of the Oave, which may be looked upon but as the Replicate of the Bafs, reprefented by the Number 1, it will be found, that the perfeét Chord is compofed of three different Sounds, the Diftance af which, from the frft to the Second, is equal to that from the Second to the Third, as appears by thefe three Numbers, t, & a Third from 1 to 3, and another from yto 5. Now, to &, the Chord of the Seventh, one need only Zo add another Sound in the fame Proportion thus, Ty 35 59 79 which makes another Third from 5 tq 7; and this laft Chord Giffers from the perfeét, only by the 7th, which is added to it. This Interv:! added to the perfeét Chord, being Diffonant or a Difcord; the Chord wherein it takes place j is called Diffonant, and the O&ave may be added to it, as in the perfeét Chord, hiker fer coe; pofing ia five Parts, or for giving a better diatonic Fion to the npper Parts; in which Cafe it is to be ob- ave oftentimes takes the Place of the Fifth, re being, in ‘ate, only to let the crfey wi to proceed diatoni- callyPrinciples of Compofician. 19 tally, whether the O&ave, or the Fifth, happens to be in this Chord of the Seventh, or not; as to the Third, it cannot pro- perly be left out. This Chord of the Seventh muft not ar prefent be ufed, but only upon fuch Notes of the Bafs as are preceded and followed by a Fourth afcending, or a Fifth defcending, The diffonant Interval of this Chord, which is the Seventh, ought to be prepared and refolved by a confonant Interval ; that is to fay, that the Note which made the Seventh to the Bats muft be prepared and refolved by a Third. The Third which prepares or precedes the Seventh mutt be upon the fame Degree, or upon the fame Space or Line with the Seventh that follows its and the fubfequent Third, by which the Seventh is refolved, is to de(cend diatonically. It muft be fo contrived, that the firft Seventh be heard upon the firft Note, or Part of the Bar, and confequently prepared upon the fecond Note, or Part of the preceding Bar; the firft Seventh being that which is not immediately preceded by another Se+ venth. As foon as a Seventh hath been taken upon a Note of the Bafs that hath been preceded by a Fourth afcending, or a Fifth -defcending, the Bafs muft always proceed by the like In- tervals, until the Key-note, which at prefent is that of C, by giving the Chord of the Seventh to each Note, excepting the Kcy-note and its Fourth, which are C and F.C, or the Key- note, is excepted, becaufe the Key-note cannot be deemed as fuch, but with the perfeét Chord; and F, or the Fourth, is excepted, becaule, it being forbidden to ufe the Note B in the Bais, if the Fourth, or ¥, carried the Chord of the Seventh, it would in that Cafe be obliged to afcend a Fourth, or defcend’a Fifth up- on B, Eis likewife to be excepted, fince one could not give it the Chord of the Seventh, without its being preceded by B, by reafon of the Progreffion limited to the bafs of this Chord; fo that this Chord of the Seventh is not for the prefent to be ufed, but upon the Notes 4, D, and G. EXAM-2a Princit es of Compofition, EXAMPLE, f 385 B. G5. 3. £. 8. 3 8. 5. 3+ 8 5. 8. GR, Ge Pe laqr(— FEE me aS ate eae x . | Se 3+ 7+ 3+ Jo 3+ Be 3 f- 8.G. 3.8, fe Ip beh Countér oS-< |~-e fe (=r cor ESSE obs py ; 8. 5.367 308. 5-8. 3+ Se 368. 6. 7. 5.8 3. B- Beet babel | "ne ease ey Toafcend 2 3. 4-4- de 4e 4-6. 5. 5. 04 fede gedede Se fe Terors { Tn the upper Parts, the Seventh is found always between two S, Thirds, thus: ' 33 and the fir Seventh is always red. \ in the fecond Pia the BarC. ts werce A. 0 - cS Pps ’ The Neceffity we are under to make the Seventh defcend upon the Third, by which it is refalved, alters the Progreffion of that Part, which, as we have faid before, ought to aicend from the Fifth to the Third, when the Bafs atcends a Fourth; but as that’ ~ fame Part may alfo fall opon the O&ave, we mutt abfolutely’ ive it that Progreffion, when the Seventh happens to take Place’. Beaute, that the Seventh is obligéd to fall upon the Third: | therefore, fincé we cannot alter the Progreffion of the Seventh, that of the Fifth 4 rouft be altered according to what we -have’ already faid, that we were fometimes obliged to ufe the Oave inftead of the Fifth, in the Chord of the Seventh, by Reafon of the diatonic Progreflion of the upper Parts; and in Chap. IV. that when tro Parts happen to mect upon the fame Degree, . that Part that can make one of the three Intervals moft be al- yoo © tered,- either by aicending or deicending. we The fame Part that made the Fifth, can alfo make another Fifth B, provided that its Progreffion, and that of the Bats, be ‘Contrary, as was faid in the foregoing Chapter, which is done in order to cothplete the Chords, or to put the parts in their na~ tural Place ; tee the Guide at B, which fhews the O@tave, which we have avoided in this Place, becaute’ it is found in another Past L. : ARTICLEPrinciples of Compofiticn. 2t ARTICLE I HE Seventh, which is the firft, and we might fay the Prin- cipal of all Difcords, may be prepared and refolved by all the Concords ; but as its feveral Refolutions are derived from the preceding Manner, we fhall not as yet {peak of it, but only fay, that it may alfo be prepared by the Fifth, aud by the Odave, and in that Cafe the Bafs muft defcend a Third 5 in order that the Seventh may be heard prepared by the ‘Fifth, and afcend dia- tonically, when the Seventh-is prepared by the Odtave; obferving that all the upper Parts defcend, when that Bafs afcends diato- nically, excepting that Part which makes the Seventh, and which “y . # remains upon the fame Degrec, in order to fall upon the Third, -* 4 7 ‘The Seventh may be alfo prepared by the Sixth, but it is not #7) © yet Time to fpeak of it, becaule at prefent we arc only talking YS 4 of the Fundamental Harmony, compoted only of the Bais, of its ee he Third, Fifth, and Seventh, as thus, 1, 3, 5, 7. Re N. Bs That the Progreffion we have preicribyd to the Bas for a the Chords of Sevenths, in the firft Article? cannot alter but . only in redpeét to the firk Seventh, and it is only in that Caie that that Seventh may be prepared by the O&ave, or by the - Fifth; for after the firft Seventh, you will always find the Se~ venth between two Thirds? and by whatever Manner it be pre= pared, it will always be refolved by the Third, bony a & MAGS Es S EXAMPLE. “~ PS PERE SRA Se EE s ve (GSES see | Se Be Gs 8s Se Se Be Se Je Be BB. Fe Be 70 Be es Counter. ———— 2 === Teor. =o |= = «BB ZB. 3. 3.8. 3. 5. Be ge rn 8. yg asa Tenor. | = =e Fonene a 17 b22 — tal Bats, 15 5 ae — (Sie eee eS To afcend a 4. Os gede 4s $e O06. Ge ge Be he he he oe Lhe. kere gh Hoke, rn) fe Past eae’ ied ee i aeCereed | See Lan, fh neh eed erect) S ANNE hee22 Principles of Compofition, - oN oN 58 38 5. 8. 2 37+ 3. 3 8. 5. Se ee : ca -"N : B. 5. he he Te TR BB 7 3 Boge eee Bh . 53 83. 6. Bg. 8 fe 3. Se | Ree echt pe 77 77 77 | ——— |] u 3 Ee SS HE eae oe a -e Thi is Example fhews how the Seventh may be taken upon the. four Notes, E, 4, D, and G; by the liberty of making the Bafs to fall a Third, in order to prepare the Seventh by the Fifth, or to make it afcend a Second for preparing the Seventh by the Oc- tave. We find, in this Example, two Parts that afcend together, an O@ave (C,) which may be done in order to put the Parts in their natural Place, provided that thofe Parts do not make to- gether two OGaves, or two Fifths following ; for what we have faid in refpe& to the Bafs, muft likewife be underftood of any two Parts taken feparately. : I£ wwo Parts can afcend an Oave, the like rule holds for one fingle Part, as appears by the Bats (7) inftead of remaining upon the fame Degree ; yet-an upper Part could not do the like, where a Difcord ba; to be prepared, and it muft in that Cafe keep on the fame Begree. Te is nor yet neceflary to take any Notice of the Sharp placed before F, as Beginners are not obliged to wfe any Sharp or Flat, until they are, better inftruéted, - If the Bafs exceeds its natural Bounds, and if the Fenor Happens to be above the Counter-Tenor, it is by reafon.that we would not alter the diatonic Order of the upper Parts, to which we muft fubje& ourfelves, efpecially in thie Cafe. . - We have nothing more to fay, but what depends upon thefe firft Principles ; the better they: are -underftood, the lefs Diffi- culty there will be in comprehending the reft, CHAPPrinciples of Compofition. 23 CHAP. VIL Remarks touching the Difcord, A DISCORD, inftead of being sroublefome te a Compofer, on the contrary, it gives him a greater Liberty, for in all Progreffions of a Bais afcending a Second, a Fourth, or a Sixth, there will always be found one Note in the upper Parts, which having made a Confonant Interval with the firft Note of the Bafs, may, without altering it, make the Seventh to the fecond Note of that Bafs, which ought to he pradtifed as often as pofli- ble, and by that Means the Fault of afcending from the flat Third to the Ogtave, or from the flat Sixth to ‘Be O€tave, will be avoided; but at the fame Time it muft be confidered, whe-- ther the Note in the Bafs upon which you would take the Se- venth, be followed by another, that can refolve it by the Third, otherwife the common, or perfeét Chord mutt be taken. EXAMPLE, nny T cannot take the Seventh upon the Note at (B,) though it be prepared by the Fifth to the Note at (4,) becaufe that it cannot be refolved by the Third to the Note at (C;) but by putting the Note at (D) in the Place of the Note at (/C) I then can take the Seventh to the Note at (B) fince it will be naturally re~ folved by the Third to the Note at (D,) fo of the reft, taking Notice that the Key-note cannot as fuch carry the Chord of tha Seventh, and that we fpeak here only of the fundamental har- mony. CHAP: VIL Of the Key, and of its Denomination of Flat and Sharp. Wt have called the Key-note, that by which the Bafs is to begin and end; and we have mentioned that that fame Key-note fixed the Progreffion of the other Notes con- tained in its Oftave ; confequently, if we take C for the Keys note,24 Principles of Compu/ition. note, we cannot alter the Notes C, D, E, F, G, 4, and R, by any Sharp or Flat; for it is thus that the Gamut reprefents it ia the O@ave of C; from whence we conclude, that the Word Key is adapted to one Note, clicfen as Principal ta compote a Piece of Mufic in, and for that Reafom is talked the principal Key notes this Note having the Privilege to determine all the iatonick Intervals, wherein all the Tones or whole Notes and Semitones, ‘or. half Notes, which ought to follow each other from the Kev-note to its O@ave, take Place, and which is called Mo~ dulating ; and. the Difference of the Mode or Key is this: The Mode (from whence Modulation. is derived) confifts in the Third to the Key stote ;. and as the Third-can be but either Major or Minor, or Sharp or Flat; to likewife the Mode is diftinguifhed but by thofe two Sorts. and for that Reafon the Word. Mode is generally comprehended or underftood in that of Key, faying ool actharp key, or flat Key. . * . f we give the tharp Third to C, we fay that we are in the Key of C Sharp, or C Major ;-and if we give it a flat Third, we fay, that we are in the Key of C Flat, or C Minor; Modulation confifting oaly in thefe two Species-of Major and Minor, which depends upon the Third given ‘to the Key-note. ‘he Note C, within the Compafs of its,O€tave, contains all the Tones Major.that can be.ufed ;-aud there being but a final Difference between the Major and the Minor, we fhall not thew Hie Duference ‘until we have fully examined and explained the jor. ‘ The. Key of C will ferve-as an Example for all sharp Keys, for D, E, F, G, &c. may be taken. as Key-notes, as well as C5 but when once a Note hath been chofen for the Key-note, one annot {peak of ‘the others, but comparatively to that fame Key. I the fecond Note, the Third, the Fourth, the Fifth, &c. will be fuch, but comparatively to the Note fuppofed for the Key-note ; and confequently, in the Key of C, the fe- éonad Note is D, the Third E, the Fourth F, &c, and here fol- low the Namiés of the feveral’Notés or Tones in the Key of C, {Cc - - - - - - - - O€ave, 1 - Bo - Sharp Seventh, or leading Note, do. 2 - - - - The Sixth, G - + The Fifth, or governing Note of the Key, Spo. oe - - - The Fourth, Eo 7. 2 «# ¢ = The Third, D- + - - =- - + The Second, Coe ew ve ef - - - The Key-note. j Obéree two Notes, which, befides the Key-note, have @ pro- per Nem: 20 diitingaih thom trom the others; the one is the governPrinci pes of Compofi'ion. ag governing Note af the Key, or the Fifth, and is thus called ; becau‘e, in all final Cadences, this Note always precedes the Key-note, as may be feen in the foregoing Examp'es, where G, which is ‘the governing Note of C, always precedes it, and elpe- cially at the End or Cio, The other is the leading Note, or fharp Seventh, and is thus called, becaufe, in whatever Part this Note is heard, the Key-note immediately follows it; therefore it way we properly be called the leading Nove of the Key; and in the Key of C, the fharp Third is Z, the governing Note is G, and the léading Note is B, and the governing and Icading Notes, and the fharp'Third, do in all Keys make the fame Intervals as L, G, and B, make in the Key of C; excepting in flat Keys, in which the Third is flat. . ~ oo . CHAP IX Of the Manner of modulating Harmonicaliy, when a diatonic : Progreffion is given to the Bajs. oo : LL Notes that carry the perfe& or common Chords.may be deemed Key notes, and all thofe that carry the Chord of the Seventh, may be deemed governing Notes, with this Dif- ference, that the governing Note of the Key is diftinguifhed from that which is but fingly a governing Note, by reafon’ that the Third tothe governing Note of the Key muft always be fharp ; whereas the Third'to thofe Notes which are but fingty governing Notes, is oftentimes flat; and there being no other Key-note in the Key of C, but C itfelf, the perfe& Chord mut be given but to that fame Note C; there being no other governs ing Note of the Key, in that fame Key of C, but G, confequent- ly one cannot give the Chord: of thé Seventh with the fharp Third, but to that fame Note G. Thete two Chords, ‘the Perfeét and that of the Seventh, are as it were the only Chords in Harmony, for all other Chords pro- ceed from them; and thefe are only affected to a Progreffion of ‘the Bafs, fuch as we have hitherto treated of ; and if we are go- ing to alter that Progreffion, we fhall not thereby alter their »Chords, but only the Difpofition, by placing the oétave, either -above gr helow one of the Sounds, of Notes, comprized ia the Chord; which obliges us to give them another Name, in ordet to diftinguifh thote from which they are derived. D » Confonant26 Princij les of Compofition. Confanant Chores d:rived from th: P.rfeit. Tt muft be cbfrved, that the Number 1 reprefents the Bafs, and that the other Numbers fhew the Diftance from one Sound, or Note, to that of the Bafs; end that the Numbers 8, 10, 12, &, are but the Replicates, or OGtaves, of 1, 3, 5, Ge. and as 8 is the Replicate of 1, fo 10, and 12 are the Replicates of 3 and of 5: Alfo, that all Nembers may be reduced to a-‘meancr or lower Term, the Intervals whereof will be equal: For Example, 4, 5, 6, may be reduced to 1, 2, 33 becaufe the Diflance from 4to-5 is not greater than from 1 to 2, Therefore, the Numbers 6, 8,10, 12, miay be reduced 0 1, 3, °5, 7, by realon that there is not a greater Diftance from 6 to 8, than from 5 to 33 fo of the others, it being neccilary to reduce to a Unity the firt Noniber of each Chord; be that Unity reprefents the Bats to the perfeé&t Chord, and that of the Seventh, from whence all Concords and Difcerds are derived, . We fhali nct take Notice of the 8 in the Chords, becaufe that Number is the Replicate of the Bats 1. C,E,G. Figures which are pla-) The perfe€&t Chordis compofedof 1, 3, 5, ced over or under the | ‘“Lhis Chord is always takea Bais, to fhew all the pupon the Key-note, and fome- Seunds the Chord is { tumes upon its Governing-note, compoted of. Jor F Chords inverted, derived from the perfect Chord, E,G,C, 6, EG 6. The Chord of 6 is compofed of 1, 3, 6, inverted | 6,8 10 from yO, 10% : Wb 5s This Chordis elways ufed upon the Third of the Key. ~~~ ‘ GG 2, G, E, G. -. The Chord of - is compoied of 1, 4, 6, inverted + + 4, 6, 8 from : 1,3, 5 een) This Chord is ufed but upon the Governing-note or Fifth of the Key, but aot 10 often as the perfeét Chord, or that of the Seventh.” EnumerationPrinciples of Compafiti.n, 27 Enumeration of D'f:or's, or Diffnant Chords, derived from the Choid of the Seve.th. G, B, D, FB 7. The Chord of the Seventh to a wots ft , note, or Fifth of the Key, is compofed of » 3 5, Je Chords inverted, derived frem the Chord of the Seventh. G, B, D, F. B,D, F, G, . 6, 8, 10, 12. compofed of 1, 3, 53, 6, inverted from '5 35 Sy Te ony This Chord is never ufed but upon the Leading-note or fharp Seventh of the Key. §t5, or sii The Chord of the flat or falfe Fifth ‘| 5 D, F, G, B, 4, 6, 8, 10. 6X. This Chord is calied the finall Sixth, and is}G, B, D, F. compofed of 1, 3, 45 6, inverted from } by 3x Ss Ts ep This Chord is generally ufed upon the fecond Note of the Key. 4K, This Chord is called the Tritonus, and is\G, B,D, Fy F,G, BED, 2, 4, 6, 8 compoled of t, 2, 42, 6, inverted from 1) 35 5) 7s Ces This Chord is never ufed but upon the fourth Note, Ttis to be obferved, that the Key-note lends its perfec Chord but to its Third and Fifth; the Third under the Name of 6 Sixth, and the Fifth under that of -; fo that, when you can in 4 all Keys diftinguifh the Third and Fifth, you may at the fame Time know what Chords are to be taken, though the perfect Chord more properly belongs to the Fifth or Governing-note than the Chord of ‘; and even the Chord of the Seventh fees 4 to belong only to the Fifth, efpecially when it immediately pre- cedes the Key-note ; but let not the Difference between the pzr- feé&t Chord, and that of the Seventh, puzzle you, fince this laft Chord confifts only in a Note or Sound added to the perfec Chord, which the Compoter is at Liberty to leave out; fo that, wherever the Chord of the Seventh might be ufed, you may take only the perfe& or common Chords 3 yet, as it is proper to know what we are about, it matt not be ied out without a Rea- fon, efpecially as this Chord of the Seventh is the Origin of al Da Dilcordsciples of Compofitio 38 Prin: itis upon its Conftrudtion and its Progreffion that , or Chords diffonant, are regulated. If we have faid, that the Fifth of the Key carried the Chord of the Seventh, only when it preceted the Key-note, it is to be az the fime.Time underfood of all the Notes which compote tie perfe&t Chord of that fame Key-nore; that is to fay, of the Third, and even of that fame Fifth, when thofe two Notes bear the Chords derived from the Perfeét, the Fifth may carry the Chord of Six and Four, after that of the Seventh, when its Length chay permit it, at che Will and Pleafure of the Compofer ; Nores derived from the Key-note are to be preceded in the fame Manner as the Key-aote, fo likewife the Deriva- tves of the Fifth of the Key canaot be deemed as fiach, unicfs tiey immediately precede that fame Key-note, or its Derivatives; aad one muft not only confider a Chord in its Conftrution, and ia its natiral Progreffion, but alio in the different Dilpofition that may be given to the Notes that comprfe it, by placing in the upper Parts thole that are found in the Baf, or by plating in the Bafs.thome that are in the upper Parts; which obliges. us to give different Names to ont and the fame Chord, according to its different Dispofition, aiid in order to know, at the fame Pime, thoie Notes which ought in that Cafe to accompany the Pa; and as it is known that the Third and the Fifth (which compote the perfe&t Chord of the Key-note) may reprefent the Key-note, by bearing a Chord derived from the Perfeét, wWlien thofe Notes hzppen to be in the Bais; fo likewife the Notes which compofe the Chord of the Seventh, to the Fifth of the Key, cannot immediately appear preceding the Key-note, or its Derivatives, without bearing a Chord derived from the Seventh 5 and, therefore, it muft be remembered, that if, in the Key of C, one of thele + G; B, D, or F, fhould immediately precede C, or £,in the Bais (we omit G, becaufe it is our chief Subjedt in the Chord of the Severith) the three other Notes are to ac- ay it, We have faid that the Fifth or Governing-note the perfe& Chori as Well asthe Seventh, and be- the perfeét Chord always fubfifted in thit of the Se- veath; therefore, the Chord of the Seventh muft be preceded in the fame Manner as the Perfe&t; which obliges us to attri- tute a Goterning-note to all thofe Notes that bear the Chord of the Seven: as a Governing-note is always a Fifth above below the Note governed, it is not difficult to comprehend that G can have but D for its Governing-note ; aml as a Note is cated a Governing-Note, but by reaton only of its being a Fourta Leiow, or a bitth above, it can carry in thatPrinciples of Compcftion. 29 that Cafe but the Chord of the Seventh: fo that, by folloviing the tame Difpofition that wé have given to thé Chiérd of the Seventh to thé Nate G, we fhalt firid that of the Note D between the’e Notes D, F, 4, C3 from whence we conclude, that the Note D, d¢ thore comprchénded in its Chord, cannot appéar int the Bifs imfiedistely before the Note G, without thtir Chord being coutpotd of ary other Nutés than D, F, 4, C, in the fame Manner as G, By D, F outht to cothpofe the Chord tb each of thote fine Nores, when the Note © toilows them ; the harmonic Progreffion of Difcords being bit a Succtffion or Se+ quence of Gorerming-notes, of Fifths, which is not difficult té comprehend in its Bottom, as the Examples of Sevenths prove fo us; arid it is by the Relation theré is betiveen the fuhdamens tal Chotd aitd its various Progreifidns that arifes the Liberty we have Of ofing fhdifferently any dite of the Notes coritained in the fuvtamental Chords, which are the Perfé& afd the Sévonth s and it is in this Relation chat all our Attention is hardly tuff. cient; nevertliclefs; by ktopiig it within thé Conipafs of an Odtave; it is omy neceflary to knoi the Manner how a Concord, ora confonant Chord, is té Ke préckdéd, havirig given to under= Rand, that 4 Ditcord is stot précedéd by any other Manner; ahd qlivs we fay; witout making ule of the Nantes of the Notes, but only of thé Interval wliith edch 6f thofe Notes makes with the Key-note, in order that it may ferve for all Keys in general 5 Yor when it is necefflary but to kiiow how to dittinguith the Key- note, You will then have got over niott Difficulties. The Key-note catries ‘the peife& Chord; its Third always carries that of the Sixth; aid its Gov -nété, or Fifth, al- ays ‘carries the Petfedl, when it doth dot immediately precede “ Rey-hore 3 otherwile the Seventh F mutt be added to its perfe& Chord G, B, D. The tecond Note, which, it & diaténic Progreffion. is betweeit the Key-note, and its Third, cah carry, in that Cafe, but the Choril of the finall Sixth D, F, G, B. The Leading-note, or fharp Seventh, which in alcending pre= cedes the Key-note, miuft carry the Chord of the falfe or fixt Vitth B, D, F, G3 but when th descending it precedes another, Which is not contained ih the Chord to the Key-note, then it is deemed but as the Third to the Governing-note, or Fifth of the Key; and in that Cafe muft carry the Chord of the Sixth B, D.G, inverted from G, B, D, ‘The fourth Note, which in aicending precedes the Goverring- nore, mut in that Cafe carry a& Chord like unto that of the Leading-ote, when the Leading-note afcends to the Key-nete, fiace the Kry-note and its Fifth mutt be preceded alike 5 fo that, as the ng-note or {harp Seventh hath carried in that Cafe a Chord derived from the Fifth, to likewite the Fourth will carry a3° Principles of Cunpifitisn. a Chord derived from that Note, which is the Goveining-note, or Fifth, to that Fifth. So that, if G governs C, D for the fame Reafon governs G; and as, in the Key of C, F is the fourth Note, it will thea carry the Chord of, or the great Sixth F, 4, C and D, devived from that of the Seventh D, F, 4, C. This Chord of the great Sixth differs from that of the falfe Fifth, hot in refpe& co the Fifth which is perfe&t one Way, and flat or falfe tue other; which proceeds from the different Specics of Thirds, which is tharp between C and £, and flat or minor berweea D and F; for it may be obferved, that the Difpofition of thefe two Chords is the fame, and they are taken equally upon the Third to the fundamental Note, on which the Chord of the Seveath is ufed; we fhall in its proper Place fhew the Reafoa why this Diftinétion is made upon the derivative Chords, and not upon the Fundamental. This fame fourth Note, which in defcending, precedes the Third, muit carry the Chord of the Tritonus F, G, B, D. The fixth Note, which one Way or other precedes the Fifth and its Third, muft carry the Chord of the fall Sixth 4, C, D, F, inverted, or derived from that of the Seventh to D, which governs G in the fame Manner as the Second, in the like Cale, carries the like Chord, when it precedes the Key-note or its Third. : If thefe Particulars be examined with the Enumeration of Chords, it will give 2 better and a clearer Idea of the Whole, obferving that the fifth, or Governing-note, may be deemed or looked upon as 2 Key-note, by reafon that thofe two Notes are equally preceded by the fame Chords, which fixes the Objeé ; and obferving alfo, in a diatonic Progreffion, thofe Notes which derive from the Chords affeéted, or adapted to the Key-note and its Fiith, and the Notes that follow them; becaufe that one and the fame Note may happen to belong to two different funda- mental Chords, in which Cafe, in order to fix the Chord that it ought to carry, we mutt be be guided by the next Note that follows it, taking Notice of the three or four Notes that com- pote the perfeét Chord, or that of the Seventh, and with which the Note in the Bais ought to be accompanied in the upper Parts, CHAP.Principles of Compofiticn, 3h CHAP X Of the continued Bats, TE muft not confound the distonic Progreffion of a Rats, which we now {peak of, with the confonant Progreflion, of which we have given fome Examples upon the perfeét Chord, and that of the Seventh ; theie two Chords are the Fundamental, and as a Proof of it, we fhall hereafter, under our Examples, place that Bafs which we call Fundamental, the Notes of which will carry but_perfe€t Chords, or of Sevenths, whilft the Notes of the ufual Bafs, which we call continued, will carry Chords of all Species, the Whole making together a complete Harmony ; fo that this fundamental Bafs will ferve as a Proof to all our Works and Examples, whereby it will be evident, that the feve- ral different Chords which weil be therein ufed, willtproceed only from an oppofite Progreffion to that of the fundamental Bals, according to what we have juft now explained, though the Chords, compared to one or the other Bafs, will be always the faine ju the main, their Difference proceeding from the Liberty of placing in the Bafs any one of the Notes contained in the fundamental Chords; but all the Notes of the Chord tuken to- gether will always be the fame, and the Progreflion, fixed to them by the fundamental Chords, will not be thereby al- tered, CHAP. XI. Of the Prozreffion of the Bals, which fixes at the fame Time that of the Chords, and of the Manner of reducing a deriva- tive Chord to ifs Fundamental. HE Progreffion of the Notes of a Bafs that carry confo- nant Chords, fuch as the Key-note, its Third, and its soverning-note, or Fifih, is not limited, provided that that Progreffion be not foreign to the Key compoled in; but, as at pretent the Queftion is only of one Key, one cannot be miftaken, by ufing only the Notes C, D, £, #, G, 4, B. The Progeethon of the Notes of a Bats that carry Difcords are limited, fuch as the Governing-note, when it carries the Chord of the Seventh, and all its Derivatives, or rather thofe which do not carry the perfeét Chord, or any of its Derivatives; becaule, as foon as a Note carries a Difcord, it is certain that it governs another; and if the Difcord is not that of the Se- ° yenth,32 Principles of Compofition. venth, it is certain that it proceeds from jt; it will then he onty by reducing it to its original or fendamental Chord, that you mey furely know the Chord that guft follow, whatever Note happens to be in the Bafs. : In order to reduce a Difcord to its original fundamental Chord, it muft be obferved, that there are always two Notes, or FG, G, D, tivo Nuashers together, as 3, 4, §, 6, &¢ which is likewife found in the Seventh, -by placing the Note of the Bafs at its: FG, GD, Gave, thus: 7, 8; fo likewife of the Second, +, 2. This being the Cafe, the uppermoft ‘Note, or the higheft Number, muft be placed at the fundamental Bafs, and it will -be found that the lowermoft Note, or the leaft Number, always makes the Seventh to the other, by thus reducing derivative Chords to their original fundamental Chords 1, 3, 5, 7, as we have cnu- moerated atWPage 27. So that, if the Note G fhould be found in the Bats after the Reduétion, it is certain that the Note C will follow it; and if youfhould not mect with it in the Bafs, you will certainly find one of thofe that compofe its perfeét Chord, or that of the Seventh, fuppofing that you was in another Key; fo tikewife, if the Note D fhould be found in the fundamental Bak, the Note G, or its Derivatives, will follow; fo of the others ; obferving that, after a Chord of the Seventh, the funda- mental Bafs mutt always defcend a Fifth, What we have faid of a Bals already compofed, muft be alfo underftood of the Manner of compofing it; and if this rule fhould meet with fome Exceptions, as i the falfe and irregular Cadences, &. one mut not as yet.think of it. Before we give an Example of what we have already meuti- oned, it muft he obferved, that the Chord of the Notes, which, in a nateral Progreffion, ‘leads to thofe that ought to carry a perfe& Ghord, is to be fuited to the Note that/foliows it, and not to that which precedes it; and that this Progreflion .is gene- rally made from the Key-note to its Fifth, or vice verfa, from the Fifth to the Key-note, by foppafing the Fitth to be a.Key- aote, as we have before mentionei ; 10 that in.a.diatonic Fro- grefhon, by knowjng theiChords that lead yon to.ope.of thole Noses, you will cergainly know thote that lead to.the other; from ‘hence we give for a general ‘Rule. 3. That all Notes that precede by aicending a whole ‘Tone, or a Semitone, that-Note.on which tne perfeét.Chord is taken, 6 Are-to.carry the Chard of 32 OF tne great Sixth, or the Chord of the flat or falfe Fifth. EXAMPLE.Princtples of Compofiticn. 33 ERE AMPLE | Great | Perled | Falle | Perfeét | Sixth. Chord, Fifth. Chord. —— — : Obferve that the Difference of thefe two Chords is only in the Bafs; for, whether you afcénd a whole Tone, or a Semitone, upon a Note that bears cothmon Chords, the Chord of the upper Parts will always be the fame; the Corhpofer being at Liberty to caufe his Bats. to proceed by a whole Tone, or 2 Semitone, even though he fhould be in a Key wherein the Semitone did Rot properly belong, by reafon that as the Fifth, or Govern- ing-note, may be taken for a Key-note, we may introduce all the Sounds that naturally precede a Key-note, by adding (as the Example fhews) 4 Shasp to the fourth Note, which in that Cafe is changed, and becomes a Leading-note, or fharp Seventh ; and it is by this Progreffion of a whole Tone, or a Semitone, af- cending upon a perfeét Chord, that a Governing-note may be diftinguifhed from.a Key-note, the Bafs afcending a whole Tone upon a Governing-note, and a Semitone upon a Key-note; and though, by this Progreffion of a Semitone, the Attributes of 2 Key-note are given to a Governing-note, yet we may afterwards continue in the original Key, notwithftanding that fame Go- verning-note appeared as a Key-note, for after a perfeét Chord, We may remove into any other Key. : 2. All Notes that precede in defcending thofe that carry sonmen or perfeét Chords, are to carry the Chord’ of the fmail ixth. so E BXAMPLE.34 Principles of Compoftion. =| t 6 - 6m ee [sce] S| se] & | The Guides fhew that the Bafs may afcend upon the Third to each of thofe Notes that carry common Chords, without al- tering the upper Parts, and of Courfe, thofe Thirds will then any the Chord of the Sixth, We cannot well in this Place perceive the Difference between a fecond Note and a Sixth, and from a Key-note and its Fifth, by reafon that the perfe&t Chord, which the Fifth, or Governing- Rote, carries, requires to be preceded alike, which doth not give us Room to diftinguifh them in a fharp Key ; for ina flat Key, the fixth Note, which falls upon the Fifth, is but a Semitone higher, whereas the fecond Note is always a whole Tone above the Key-note ;_ moreover, the Governing-note, or Fifth, always hath its harp Third, whereas the Key-note hath only a flat Third in a flat Key; burt, if a Governing-Note cannot be dif~ tinguifhed in a tharp Key, let it not puzzle you, becaufe in that Cale you may ule it as a Kev-note, by fuiting to its Key. the Chords of the Notes which - precede it; and by what follows, it may be eafily known, whether it be truly a Governing-note, or a Key-note, EXAMPLE. SSS A B Fe ‘The Progreffion of the firft Note to the Note at (4) doth not give any Room to difcover whether the Note at (4) be a Key- note, or a Governing-note; which is of no Signification, by reafon that the Chords affigned to either of thofe Progreffions are the fame; but it is obvious that the Progreffion from (4) to (B)Principles of Cempofition. 35 (B) leads to a Key-note, therefore (4) is the Governing-note. If the Progreffion from (B) to (C) leaves us doubtful, the Note at (D) fhews that the Note at (C) is the Governing-note; in Jike Manner, that at (F) thews that fame Governing-note at (G,) becaufe, in all Keys, the Note immediately below the Key~ note is but a Semitone ; whereas there is a whole Tone between a Governing-note and that which is immediately below it. If in a Hat Key, defcending from the Key-note to its Fifth, or at Jeaft to its Sixth, the Note immunediatel below the Key~ note is a whole Tone, the flat Third to the Kote diftinguifhes it, becaufe the Governing-note, or Fifth, mutt always have its tharp Third. . 3. All Notes that are a Third above, or below the Key-note, or the Governing-note, muft carry the Chord of the’ Sixth, when the Progreffion of the Bali leads to one of thofe two Notes, EXAMPLE 2232235 4 6 sé 6 | Beast 69701 BE ye > F Gy) 2k The Progreffion of the Bafs which leads to the Notes at (B} (D) (G) and (L), where the perfeét Chord is taken, obliges as te give the Chord of the Sixth to the Notes at (4) (C) (F) and (7). “a The Third, reprefenting the Key-note, by reafon that the Chord of the Sixth upon the Third is the fame as the common or perfe&t Chord upon the Key-note; we muft give the Chord of the Tritonus to the fourth Note detcending upon the Third, though one may give it alfo the Chord of the great Sixth: but we thall {peak of it elfewhere, E2 EXAMPLE,36 Frinciples of Compofitions _f B (4) the fourth Note defcending upon the Third at (2). * By thele five laft Examples, we can draw very ufeful Infer fences, by abferving the different Difpaftion of the Sounds of which a fandamental Chord is compofed, according to the difr ferent. Progreffion of the Bais; for if the Fourth bears the Chord of the great Sixth afceading upon the Governing-note, or Fifth; if it carry the Chord of the Tritonus defcending upon the Third; _if the Leading-note, or fharp Seventh, bears the Chord af the Hat or falfe Fifth; and if the Second and the Sixth carry the Chord of the fmall Sixth defcending upon the Key, or upon the Governing-note, or Fifth, it is vifible that! thefe different Chords are but one and the fame Chord, and de~ rived from that of the Seventh upon the Notes which in that Cafe govern thole that follow; which will he more clearly ex- plained, by placing a fundamental. Bafs under a general Example of all we have hitherto faid; wherein it will be obferved, that the Leading-note,’ or ‘fharp Seventh, is fach but in afcending to the Key-note: for, if it defcends, then it becomes but a Third to the Fifth, or Governing-note of the Key; though this laf Note may in that Cafe be looked upon as a Key-note, in order that we may not be miftaken, GeneralPrinciples of Compofition. 37 General Example of the OCtave afcending and defcending, =aaenanees omer ———— - | as | Continued Bale, 1 — — — == Ye As D D Fundamental Bats. As the fundamental Bafs is placed under the other Parts, only a8 a Proof that all their Harmony is included and comprehended in the perfe&t Chord and that of the Seventh, one’muft not éx- amine, if the Rules are ftriétly obferved between the Parts and the fundamental Bafs; but only whether there be found any other Chords than thofe that are figured over cach Bafs ; for the Sequence'of the Sounds are to be examined but with the con- tinued Bafs, fince the Queftion at prefent is of a diatonic Pro- greflion given to the Bafs. t. After having obferved in the continued Bafs the fame Suc- ceffion, or Sequence of Chords, from 7 to Z, and from B to AY, afcending to the Governing-note, or to the Key-note, as from N tok, and Oto FV, defcending to the Fifth, or to the Key- note, it may be thereby inferred that the Whole is relative to each of thot fe two Notes which are the only Notes that can na~ turally bear the porfe&t Chord in any Key whatever, remem- bering that thofe Rotes, which are a Third above, are deemed Thirds, when the Bafs defcends from thefe to the Firft, though the38 Principles of Compofition. the Third to the Key-note will always be fuch, whatever Road it takes ; and that a perfe&t Chord cannot be preceded by a Dif cord, but by that which governs it; thus it appears that the Chords of the fmall and great Sixth, .of the falie or flat Fifth, and Tritonus, are no other but that of the Seventh to the Notes, in the fundamental Bafs, which naturally govern thofe that follow. The fmall Sixth to the fecond Note, the flat or faite Fifth to the Leading-note, or fharp Seventh, and the Tritonus to the Fourth, derive from the Chord of the Seventh upon the Governing-note of the Key D, after which immediately follows the Key-note the great Sixth to the fourth Note, and the mall Sixth to the fixth Note, alfo derive from the Chord of the Seventh to the fecond Note at 4and C, which governs in that Cate the Fifth, or Governing-note of. the Key, and which faid Fifth immediately follows ; and the Chord of the Sixth is given to the Third, the Sixth, and the Leading-note, or fharp Se- venth, only becaufe that thofe Notes are a Third-above or be~ fow the Key-note, or the Fifth, ta which the Progreffion of the Bafs leads us immediately afterwards. . 2. It-would be imagined, that the fixth Note at (B) ought to carry the’ Chord of the fmalf Sixth, agreeable to that of the Seventh, which is figured over the Note at (B) in the funda- mental Bats ; but we leave out one of the Sounds that make the Difcord for divers Reafons; firlt, becaufe it is indifferent; {e~ condly, becaufe, the next following Note in the Bafs being the Leader, or fharp Seventh, and as fuch creating a Difcord Major (as we'fhall hereafter'éxplain) and as Difcords ought not to be doubled, we could not for that Reafon, and in this Cafe, give the Chord of the {mall Sixth to the fixth Note, without caufing the Third to that Sixth to defcend upon the Difcord Major > and the laft Reafon is, that our Rule for taking the Chord of the. Sixth, upon all fuch Notes that precede thofe that are a Third above or below thafe on whicn the perfeé Chord is taken, fubfitts. 3. If the fourth Note R had nat been placed in the continued Bais, and the fecond Note 4 or C, or the Sixth 7, had been taken in its Stead, immediately preceding the Governing-note ZL or K, we fhould then have been obliged to fharpen the Fourth, as we have donc it at S, by reafon that the Note on- which the Common or perfg& Chord is taken, chutes to be preceded hy its fharp Seventh, or Leading-note, excepting in tat Kews, wherein the Sixth never deicends but a Semitone upon ne Fifth; aad the fharp Seventh in that Cafe cannot then be d, whatever Note in the Bafs precedes that Fifth; for, if it was ureceded by the harp Seventh, it would then be deemed the Ke;-noie, and the trag Key we thea intended ta.compole. pyPrinciples of Com pajition. a9 in could not be difcovered but by the Notes that followed that Fifth; which is very plainly feen by our Example, where the Governing-note may be taken for a Key-note, it not uppearing whether it be a Governing-note, or a Key-note, but by the Note that follows it; conlequently the Chord of the Tritonus derives from that of the Seventh to that fame Governing-note which is found to be under it in the fundamental Bafs at D. 4. The diatonic Progreffion of the continued Bats alters that of the Parts at (F,) (G,) and at (H) which cannot be other- wile, either to avoid two Odtaves, or two Fifths, following each other, or for replacing one Part in its natural Pofition, and above the Bais, or in order that all the Sounds of the Chord inay be heard. : Tf the upper Parts are to follow a diatonic Progreffion, it is only when the Bafs follows a Confonant, and Fire verfa; be+ fides, 1t is fometimes proper to alter the diatonic Order of one Part, in order to diverfity the Melody; one could cven alter the Order and Progreffion of -thofe Parts that are above the Bafs, without committing any Fault, but that is not at preient our Subjea, §- There happen to be in our Example feveral Sevenths, without being prepared, which feems to contradi& our firft Rule; but of this we fhall treat hereafter, and fhall now keep only to the Progreffion fixed to the Chords, according to the Order of this Gave; and we fhall alfo hereafter fhew, that, after a confonant Chord, we are at Liberty to remove any where, provided we at the fame Time obierve the Rules of Modulation. if it be permitted to make the fundamental Bafs to afcend awhole Note, or a Semitone, the Progreifion of a Third, and of a Fourth, is thereby always underftood, as appears between the Notes at (Z,) (15) and (.4,) where the Note (2) is added; the Seventh to that Note being prepared by the Fifth ¢Z,) ane the Third preparing the Seventh to the Note (.4,) which doth not alter the Foundation of the Chords, CHAP. XIL Of fonie other Rules taken from the loft Example. AKE Notice, that when a Note in the Bafs ought to carry the Chord of the Seventh, you ma always leave out that Note which sakes the Seventh, unlefs it was found prepared40 Principles of Compofition. prepared by a Concord in the preceding Chord; though if that Concord was a Major, or a Sharp, as the Third and the Sixth may be, ic will be better to make that Third, or Sith, afcend- = Semitone ; but if the Note of the Bafs carries only a Chord derived from the Seventh, you may ftrike out of that Chord cone of the two Sounds that makes the Difeord; thofe two Sounds being eafily difcovered, by reafon that they are always joined ther, according to what we have faid in Chap. XI. The fame Note in the Bafe amay be repeated, by giving it the fame Chord, or by giving it different Chords, as we increafe in Knowledge how to do it. ; You may {kip from ne Note to another, where thé Chord differs but in the Name, by going from the Chord of the Seveath to that of the flat or falfe Fifth, upoa the Third to that Note, on which the Seventh hath been taken; and, upon the Fifth to it, one may give it the Chord of the fmall Sixth, and in like Manner one may give the Chord of the Tritonus to that which makes the Seventh’; -becaufe all-thefe Chords ate, in the Main,. bat one and the fame Chord ; fo of the Others in the like Cafe ; fee the following Example. : Hen. cy \ [° F ve | Ident. Idem, vial Thofe Notes, that are a Third above the Note which imme- diately afterwards bears common Chords, ought, generally fpeak- ing, to bear a Chord derived from that which follows; fee at 4,) where it is feen that the Chord of Sixth derives from the erfect that follows it; and at (B,) where the Chord of the great Sixth, or the falfe Fifth, derives from that of the Seventh, which follows it. ‘When the Notes in the Bafs alter their Pofition, and the fun- damental Chord fubfifts ; ail the other Parts may remain as they were, without altering them, as to what concerns confonant Chords, or Céncords ; but, as to Diftords, it ought to be con: trived, that all the four Notes, or Sonrds of which they arc sompoted, be heard together, which may be-done by addi the : ave. . . t Principles of Compofiticn. 41 O€ave of the Note you quit /D,) if it had_not a Place in-the Chord, to that fame Note in the fundamental Bats, or by leaving out the O€tave to the Note (7,) in order to place in its Stead the Ogtave of the Note you quit (C.) . . CHAP. XII. / Of the perfect Cadence. W* call a perfe&t Cadence, all Conclufions made upon 2 V Key-iiote, preceded by its Fifth, or Governing-note ; and this Key-note muft always be heard upon the firft Part, or Divifion of the Meafure, or Bar, in order that the Conclufion may he the better difcerned and in that Cale its Governing-note which precedes it, ought to carry the Chord of the Seventh, or the Perfeét, becaufe the Seventh may be therein underitood; fee the following Example, 7 perth . Iti by the Means | of this perfeé&t Ca- dence that x oa . judge what Notes o! : a , . a Bafs are to bear 2 | Third, perfeét Chords ; be- my caufe, wherever we $ Leading-note, or feel the Melody to & | fharp Seventh, reft,it is certain that L Major Difcord. inthat Place theper- 7 §& fe& Chord muft be -O-|=a7| heard ; and this Reft Continued Batt | BE | doth not only make itfelf felt in the moft , natural Progreffion i . aS =|=—= of this Cadence, but Continued Bab. He | likewife in the Pro ~ greffion arifing by De the Sounds ufed for \. | its’ Accompaniment, Fandamental Bal ESE | the Difpofition of . . - len whichis on the othet : Side, each Part being, figured according to thé Chord it, fhould bear if it was placed in the Bafs, romembering that the perfe&t Chord may be heard af- ter the great Sixth, as well as after the falfe Fifth ; fo that, pro Vi42 Principles of Compofiticn. vided we do not go out of the Key, it is but upon the Key- note and its Fifth, that the Melody may reft, which fixes the Obje@ in fuch a Manner, that whatever Progreffion is given to a continued Bafs, we may feel and know, at the fame Time, thofe Notes on which the Melody may reft, and the Chords that are to precede it, according to the different Progreffions of that Bafs, as it is marked in each Part; for whatever Part is cholen for Bafs, the other Parts will always accompany it in the like Cafe, In order to_ give a better and clearer Idea of it, we fhall fhew the Power of the Leading-note, or fharp Seventh, in this Cafe; how by its Means we diftinguifh the Difcords, and the Obligation it lays us under in the Order and Diftribution of the Chords. CHAP. XIV. Of the Leading-note, cr fharp Seventh, and of the Manner of refolving all Difcords. -§ foon as the Leading-note appears in a Chord diffonant, A itis certain that it determines a Conctufion of Melody, and therefore it muft be followed by the perfeé&t Chord upon the Key-note, or its Derivatives ; whereas, if the Leading-note, or fharp Seventh, doth not appear in a Chord diffonant, the Cons clufion is not determined, and this diffonant Chord mutt be fol- Jowed by another, and to on fucceffively from one Chord to another, until the Leading-note, or fharp Seventh, be heard, which then determines a Conclufion, or at leaft an Imitation of it, as when we fall upon the Third, inftead of the Key-note. The Examples we have given of the Seventh prove what we here advance, fince, after the firft Chord of the Seventh, there always follows another, and fo on until the Governing Note of the Key, where the Leading-note, or fharp Seventh, is then heard, Remember that, notwithftanding the Rule we have juft now given, the Common or perfeét Chord, to a Fifth, or Governing- foie, may follow that of the great Sixth to a fourth Note, though the fharp Seveath doth not take Place in this laft Cherd, which notwithftancing is a Difcord. To diftinguith at pretent the Leading-note, ot fharp Seventh; in a diffonant Chord, there muft abtolurely be found therein an Jnterval of a falfe Fifth, or of a Tritonus, either betwixt the Parts, or betwixt one Part and the Bais; and thofe Intervals aauft be made wp of the fharp Third and of the Seventh to the fundamentalPrinciples of Compsfilion, 43 fandamental Note of a Chord of the Seventh, this Note being always the Governing-note of the Key, otherwife the Rule would be falfe ; fo that, in the Key of C, the falfe Fifth, or the Tri- tonus, will be found to be betwixt the Notes B and F, accord- ing to their different Difpofition, the one making the fharp Third, and the other the Seventh to G, which is the Govcraing-note of the Key, EXAMPLE, Leading-note. Tritonus. { FalfeFifth. Leading-note, The fame Thing will be found in the Example of the perfect Cadence ; fo that, whatever Part of this Cadence is chofen for Kafs, the other Parts being to accompany it, one of thefe two Intervals will always be found ; becaufe their Difference arifes only from the different Difpofition or Tranfpofition of the two Notes that compofe one or the other of thofe Intervals, The Guides w thew the natural Progreffion of thofe Inter- vals, as it is marked in the perfeét Cadence, from whence a fare and certain Rule is taken for the Progreflion of Ditcords, which is called the Refolution. As we have diftinguifhed the Third by Major and Minor, fo Ikewife we diftinguifh all Difcords by Major and Minor. All Major Ditcords are thofe that arite from the Leading- note, or fharp Seventh; and as this Note ought naturally to afcend a Semitone to the Key-note (which is obvious by the preceding Examples) all Major Difcords are to do the like. In order to diftinguifh a Major Diicord, you muft know the Key you are in, and you will find that every Time that a Note which is bata Semitone below the Key-note, happens to be in a diflonant Chord, that fame Note will be the Major Ditcord ; otherwife, by reducing a Chord to its Fundamental, you will find, that it will always be the fharp Third to the Governing- note of the Key, bearing the Chord of the Seventh: therefore the fharp ‘Third to the Governing-note of the Key, bearing a Chord of a Seventh, may be deemed a Major Ditcord, and con- fequently the Leading-note, on which the fale Fifth it taken $ the fharp Sixth to the fecond Note of the Key, and the Tritonus to the Fourth, are likewife Major Ditcords, All Minor Difcords are thofe which arife from that Note that snakes the Seventh to the fundamental als; and thefe Difcords Pa are44 Pi rinciples of Compefition, are to be refolved by defcending diatonicaily ; fuch are the, Se- senth’and the falfe Fifth. . : - When you do not meet with the Major Difcord in a diffonant Chord, ‘it is certain that the Minor Difcord only takes Place 5 but this laft always meets with the Major, which doth not alter their fixed Progteffion. 7 > Thus it is that one may at once be inftruéted- in the various Ways of refolving Difcords, which doth not confift in their dif+ ferent Progreffion, but only in that of the Bafs, where it is per- mitted to pats to each of the Notes of the Chord that is to be naturally heard 3 which may be always known by reducing it to its Fundamental, CHAP XV. Of the Eleventh, otherwife called the Fourth, HE perfeé& Cadence is generally preceded. by a diffonant 2 Chord, hitherto called the Fourth, but which ought rather to be called the Eleventh; this Chord, on this Occafion, differs trom the Perfeét, only by taking the Fourth inftead of the Third, and therefore is never ufed but upon fuch Notes as ought naturally to.bear the perfeét Chord, or that of the Seventh, one of which.two Chords always follows it upon the fame Note that the Fourth was taken; the Difcord which the Fourth creates being by this means refolved by defcending diatonically upon the ‘Third, and therefore muft be reckoned and admitted among the Minor Difcords; we thall more; fully explain it, when we fhall tpeak of Diicords by Suppofition. “Here follows only an Ex- ample of all the different Ways of preparing it, and of its Re. falution, . EX AM-Principles of Compofition. 45 EXAMPLE The Eleventh, pete Mowry ‘Eas prepared. a { by the 3. by the 4. by the 5. 4. 3. Bafa. sae Sel (SeteSiteee=el Ee" by sb by the 6, the 7. Y Sb y the by, bythe 7: ws pe SS s by8 ‘ 8 Nag 3 Bale :. j = U i The Eleventh, which.to follow the Cuftom we figure by 2 4, is prepared (as appears by the Example) by all the Concords, and even by the falfe Fifth, and by the Seventh; which may be obferved at all thofe two Notes bound by a Semicircle “, and is always prepared at the fecond or laft Part of the Bar, and heard upon the firft Part of the next fucceeding Bar. One mutt ftick clofely to the Key of C, in order to know all thefe different Preparations, which. proceed from the different Progreffions of the Bafs, by reafon:that it is the fame Thing in- all other Keys; this was not ftriétly the proper Place to {peak of this Difcord, but as the perfect Cadence is: feldom ufed with. out its being preceded by it, and even feveral Authors not having feparated it from that Cadence, we thought it not improper to follow them on this Occafion, CHAP.46 Principles of Campofticn. CHAP XVL Of the irregular Cadence. HE irregular Cadence is ufed upon the Governing-note, a or Fifth, preceded by its Key-note; whereas the perfect Cadence is ufed upon the Key-note, preceded by its Fifth; and this laft Cadence is by defcending a Firth, and the other is by afcending a Fifth, in fuch a Manner, that this laft may be male upon the Key-note, preceded by its Fourth, fince to defcend a Fourth, or to aicend a Fifth, is the fame Thing ; the two Notes which terminate this Cadence are naturally to carry the perfeét Chord, but, by adding the Sixth thereto, the Conclufion is there- by more feafibly felt, and befides we may thereby draw an agreca~ ble Connexion of Harmony and Melody, This Sixth, added to the perfeé&t Chord, makes the Chord of the great Sixth, which the Fourth naturally carries, when it immedi- ately precedes the Governing-note of the Key ; fo that by-paffing from the Fourth to the Key-note, by the fame Chords that this Fourth ought to carry afcending to the Fifth, and which the Key- note ought naturally to carry, this creates an irregular Cadence, in like Manner as by paffing from the Key-note to its Fifth, by adding a Sixth to the perfect Chord of the Key-note, EXAMPLE : oo) Foor S-[e—e- Fee] —— ~e-e- S—§ -+s--~- = - — 6 a bb ar | B= - = { a See ~~ (A) An irregular Cadence from the Key-note to its Fifth. {8} An irregular Cadence from the Fourth to the Key-note. We find, in this Example, a Difcord between the Fifth and the Sixth, which Difcord proceeds by the Addition of the Sixth; and, as this Sixth cannot dzfcend upon the Fifth, it maft of Courfe af- cend upon the Thi the Example where that Progreflion is marked by a Strok: This Sixth, added to the perfeét Chord, gives us, in an inverted Manes, aa galy Way of making four or Sve Parts to feveral Notes . followingPrinciphs of Compefition 47 the Bafs, with which ove of the Parts alwa ays proceeds a Sixth, withoat committing any Fault again& the Rules, which is is proved by the fundamental Bats, EXAMPLE | — nolan = Part which ens makes the 6th with the continued Bats. ze —— A, B, irregular Cadences where the Sixth is added to the perfeét Chord of the Note 4. ‘Thefe fix Parts might be heard together, excepting where the fcndamental Bafs afcends a Second to the Note that bears a Seventh,48 Principles of Compefition, Seventh, at which Place one of the Parts that makes two Fifths, ‘together with that Bafs, ought to be altered : Obferve thofe two Parts that proceed always by Sixes, as well afcending as de- fcending, which with the Sixth, added to the perfeét Chord, procures an cafy‘Manner of niaking three other Parts, notwith- Gaading that this Progreffion be compofed but of three different rds. . You will find at C the perfeé& Chord to the Key-note, which caufes that of the Sixth upon its Third; and at D, that of Six and Four upon its Governing-note, or Fifth, At F you wilt find the Chord of the Seventh to the Governing-note of the Key, which caufes that of the fmall Sixth to the fecond Note ; and at G, that of the Tritonus to the fourth Note. And laftly, at H, ou will find the perfe& Chord-upon the Fourth, to which the Sixth is added, which creates that of the fmall Sixth to the fixth Note £; but, as this fame Chord is not always affeéted to an irregular Cadence, it then proceeds from that of the Seventh pon the fecond Note J, where it follows its natural Progref. on. : Before we had a Knowledge of thefe finall and great Sixes, it ‘was almoft impoffible to add two Parts with thele Sixes; where- as we can eafily add three Parts, and even the fundamental Bafs may be added to it, which proceeds from an inverted Har- mony, and by making the Harmony always fuitable to one’ of the ‘two Cadences we have fpoken of, or.to the. natural Pro- greffion of the fundamental Bafs, which will be found in our firt Examples; for, if the Progreffion of the Bafs is not'limited after a confonant Chord, yet the Chord that ollght to be heard after it is limited, according to the Progreffion of that Bafs ; and, fappofing that one could not.eafily reduce a: certain Pro. greffion of the Bafs to its Furidamental, you netd only to ob- ferve the Place occupied’ by the Notes of the Key you are in, and the Key of C being only at prefent in Queftion, and knotr= ing that fach and fach Notes ought to bear fuch and fuch Choris, according fo their different Progiefffon, you caft never fail by giving to thofe Notes the Chord that belongs to theni in the like Cafe ; and, Experience incredling by Pragticé, you will become Maftet of the Choice of two differeiit Chords, that may. be heard upon oae and the fame Note;_as may be obferved in the laft Example, where the Tritonus may be heard upon thé fourth Note, inftead of the great'Sixth, or this Jaft inftead of the other, and even one after the other, by placing, the great Sixth the firft, all which may be prattifed when the fourth Note falls upon the Third, or the Key-note, haying divided . e' Principles of Compofitions 49 the Bars where that happens by Strokes ———=— over or under c Aa the Parts as thus, HC} GCs; HG. uC HS When the Progreffion of the Baf is like unto the Pundamens tal, you muft give to each Note of that Progreffion fundamental Chords, excepting when you go from the fixth Note to the Third, in which Cafe the Harmony inverted from the irregular Cadence is extremely proper. Fundamental Bafs to the upper Part. We give the Chord of the Seventh to the fecond Note 4, be- caule the Progrcffion from 4 to B is fundamental. We give the Chord of the Seventh to B, hecaufe the Seventh is found to be prepared by the flat Third to the Note 4; fo that it is better to keep on that flat Third, than to make it af- cend upon the O&ave, which is abfolutely forbidden, excepting that it be found to be doubled in a Compofition of more than three Parts, in which Cafe we may make it to afcend, whilft the Rule holds in the other Parts that keep on, ‘The fharp Third being heard at B, we cannot avoid making it afcend upon the Key-note, on which the perfeét Chord is to be heard; but as this Key-note doth not appeat in the Bafs, and there being but its Governing-note, or Fifth in its Stead, we are obliged to reprefent the Key-note, by giving to that Fitth of C, the Chord.of Six and Four. We could have given the Chord of the great Sixth, as well as that of the Tritonus to the Fourth Note D, which defcends upon the Third. . We cannot help giving the Chord of the Sixth to the Third F, by reafon that the Difcord to the preceding Note cannot be tefolved but by that Chord, though the Progreffion of that Third to the fixth Note G be fundamental ; the Difcord, which, in this Cafe, abfolutely requires to be refolved, being our prin- cipal object, G Between50 Principles of C ampofition, Between the Notes H, ¥, you wi!) find an irregular Cadence inverted ; fee the fundamental Bais underneath it, The Note L muft carry the Chord of the great Sixth, which is the fame as that of the Seventh, which the Note at Af bears, and which is found to be a Third below, according to what we have before faid at Chap. XII. The Note Af bears the Chord of the Seventh for the like Rea~ fon as the Note 4. ‘Tne Eleveath prepared hy A, N, this Eleventh preparing the perfeét Cadence that follows. CHAP XVII, Of the different Progrefisns of a Bas which bear a Relation to cach other, wherein the Harmony doth not alter in the upper Parts. S the Key-note, its Third, and its Fifth may cach carry a Chord compofed of the fame Sounds, wherever the na- tural Progrcffion of a Bais leads to the principal Note, which is the Key-note, we may place in its Stead one of the two other Sounds ; fo likewife of the Progreffion leads to the Third, we may place the Key-note in its Stead; for the fame Reafon we may piace, in Licu of the Fifth, its Third, its Fifth, and its Seventh, when it carries the Chord of the Seventh, or its Third and Fifth, when it carries the perfeét Chord ; fee the following Exampic. EXAMPLE. r aaa be S| So [ro So Sy 4 | 2758-858 Fali uvon | Or upor. | Or upon “Upon the{ Or upon the Keg- | iteThird. |theFiith.| Key-note. | its Third. | ‘Third | Rote.