i 
\ 
HA R 
made the bafe, which happens in the chord of the 6th and §. 
See Dinuct and Invegtep. 
HARMONIST, a nein learned in harmony. 
js good harmonift. “Du Rouflez 
eateft majler of harmony ie Teal that is, in the whole w 
latti, which are claffical and ftandard ftudies for the great- 
eft fingers. 
HARMONOMETRE, ‘an ner calculated t 
meafure the relative harmonies. If we could obferve px 
ear the cndelselonc the magic 
and all the divifions of a 
accurate hathonswitte ; but our fenfes being to too or ofs for 
fuch nice obfervations, their deficiencies are fup lied by a 
‘monochord, which we divide at our pleafure Se moveable 
bridges, that conitate the beit “facaogsnetce hitherto 
found. See Monoci 
HARMONY. The “ate citizen of Geneva, Rouffeau, 
having Seta the fubjeét of this article, in his Mufical Dic- 
x 
amply and intelligently than any other author 
e iiiiene © ae of Cad. 
y fo vague and indeterminate, 
that i it is impoffible t 
ticular ftudy of all the feveral parts of the art into which 
anciént mufic was divided,’’ thefe were /ounds, intervals, /y/- 
dems, genera, motlesy mai aP re te or Tse compoli- 
tone Gated 
fo cases 
oe or the art of - fingi Pe ‘and it fill (adds Roufieau) har 
ey will be very diffic f to oe from melody. 
We - by. 4 paflage J from Nic omachus, and. by others, : 
that foe harmony was given to confo- 
nance ene the octave, and to a i of voices and iniltru- 
“ents formed « of. ‘unifons and octaves, which were generally 
bi car tai 
able to then es of modula 
© . vel, more delicate, and 1 
fhall Yr 4 erin: into. our | 
o fix its precife meaning, but by a par- _ 
t was denomi- | 
futed by facts and reaf 
ry. accordin to the moderns, isa fueceffion of - 
HAR. 
i which he has filled many cbfcure books, and thefe M. 
d’ 
lem ert at length took the trouble to explain to the 
public 
Be we mutt 
major 17th, which accompany every mufical found, but Ga- 
lileo Galilei. See his article, and Bafz FonpamenTa.e. 
And M. d’Alembert in the 2d edit. of his «* Elements of 
Mulic, on the Principles of Rameau,’’ difputes his origin of 
the minor mode, snd ae nies that any part of. his fyftem will 
admit of demonitra 
s 'Fartini,’ Site a from pe experiment, more n 
not lefs certain, arrived at fimilar- 
conchs ious, by. a very different road. Rameau made the 
bafe produce the treble ; Tartini made the treble generate 
the bafe. The latter derives harmony: from melody, the for- 
mer the contrary. To. determine from which of “shithe two 
{chools the belt works are likely to proceed, we have only to 
confider which ought to oe Siagmars ts the other, the me- 
lody or the accompaniment.’”’ See System, Harmonics, 
FunDAMENTAL Basr, " ERZA “pais CounTER NPOINT, 
and CoMposIrion. 
Of all the paradoxes of this eloquent and powerful writer, 
none will furprife muficians more than the following, with 
a he clofes the prefent article in his Mufical Dic- 
tiona 
“ When we reflect, that of all the inhabitants of the 
earth, who have ithe: the Europeans aloné are fond of 
’ hare and deliglited with different parts, moving at the 
fame.time; when we remember how many ages the world 
es endured, Bests ath oo ay nt fee cultivated the 
of the 
and exercifed with fo much art, have never guided t thi 
luptuous and impaffioned people towards our harmony ; 
that without it their mufic has produced fuch prodigious 
effects ; that with it, thofe of our mufic are fo feeble; and, 
laftly, that it fhould be referved for people of the north, 
whofe organs are grofs and pe to be more touched with 
the clangor and noife of warrin 
: ent 
unds, than with the {weet 
a refi na 
2 4 very bite tind te avoid fi Jeet ng, that,all ou 
but a Goth d barbarous sie siowe which eile never 
ae hea sti us, if we had eed ee ore fenfible'to the true 
beauties of the art, and to mufic truly natural, 
« Rameau, however, pretends, a! A epee isthe fource 
of the greatefl beauties in mufic 5 t this fentiment i is con- 
» from t} 
edeéis of mufic having ceafed, and that it.has loft its 
and energy, fince the invention of counter-point ; to which 
I muft add, that the beauties of what is called fine harmony, 
- are Bae “of learning, and often of pedantry, whieh 4 
“tran{port 
hereas 
the true. fhe of mufic being thofe of ne ee (ts and 
(rea 
ought to be, curls felt asf all men, poaznce and 
part of the 5 es 
ato and 
ekg , depended on 
ftop to Pat le a miftake of iad natiy: 
writer ; it was neither Pére Merfenne, nor M. Sauveur, who. 
‘ difcovered the /ons harmoniques, or harmonics of the 12th and 
