* 
nd fet up 
“terefts, they mutually injure each other, and difpleafe their 
- ancients, it only 
- common chords, or 
founds, 44 within the odtave, invented: 
_ Org 
_ availed himfelf, and effected, 
the ip 
_ in fhall be equally, and the moft 
HARMONY. 
‘pleafure they afford, and having very little power over the 
: eart.”? ‘ : : 
We fhall leave the exclufive admirers of «melody and har- 
“mony to fight it out, and declare that we never wifh to hear 
i harmony without melody. 
up different in- 
belt friends. 
idore’s defnition of harmony is a proof that, with the 
implied melody. ‘ Prima divifio mufice 
que harmonica dicitur, id eft, modulatio vocis—non vo- 
cum.’’ . 
“Harmony, figurative, in oppofition to the harmony of 
note againit note, otherwife called plain 
_ counterpoint. It had its title of figurative after the invention 
of the time-table, when different figures or notes were ufed 
f o-fermo, commonly called Gregorian. 
. See GreGcortan and FIGURATIVE. 
Harmony, Perfed, of Maxwell, is a fyftem of mufical 
by Mr. Maxwell of 
_ Broomholme in Scotland, the application of which, to the 
violin and other bowed inftruments, is fully explained in his 
« Effay on Tune,” printed at Edinburgh in 1781, and 
wherein fome hints are given towards its application to the 
an, of which, unfortunately, no mufical mechanic has yet 
on this. noble inftrument, the 
temperam 
tated. 
RD 
of mufical eerealie invéftigated by this author in his *¢ Har- 
ics 5’ rinciples of which are, that every concord there- 
mOnics 5 > 
harmonious, that the unalter- 
able nature of the fcale will admit, according to the compafs 
’ or extent of it; thus, for the compafs of one octave, Dr. Smith 
calculates (p. 153. 2dedit.) that the major thirds muft all be 
" fattened £'th of a major comma, or 1.3455 2: for the compais 
of two otaves, the I1Tds mutt be flattened 4c, = 1.36702: 
for the compafs of three o€taves, the temperament mult be as the 
d for the compafs of four o€taves 
qe, or more nearly, the tempera- 
For feveral reafons, Dr. Smith preferred 
“feveral wolves alfo, which 
to the common inftrument with onby 
4 
to be calle 
his treatife of the C ; 
‘ciple, he lays down gréen as the moft agreeable of colours 
confequently equally tempered, which is the Equan tem 
erament, or LsoTontc /yfem, (which fee,), but this ought not — - 
equal harmony, as Mr. Emerfon, and fome 
other writers, have done. pes 
Harmony, Temperaments of, are applied to the tempera- 
ments of the intervals, in common keyed i 
imperfe& inftruments, where the fame temperaments necef- 
arily apply alfo to the melody, or leaps from one note to 
another : but in a paper by Mr. Farey, in the Philofophical 
as are vol. 27. p. 206 and 314, it is fhewn, that good 
performers on perfe¢t inilruments, and correct fingers, make 
nod temperaments in the harmony, but throw the fame en- 
tirely into the melody or. leaps, fo as to produce every chord 
or confonance of notes heard together perfe& throughout 
their performance, at leaft, they can do fo, if fkilful and- 
fufficiently careful ; and it is truly afferted, that they never 
attemper their harmony by defign, as a tuner of imperfect 
inftruments is forced to do, and hence the vaft importance 
of the infiruments for yielding perfect harmony, on the 
and conftruétion of which Mr. Maxwell has fo ably 
exerted himfelf; fee his “ Effay on Tune.”’ 
Harmony is fometimes alfo ufed, in a laxer fenfe, to de- 
note .an agreement, fuitablenefs, union, con ormity, &c, 
In mufic we fometimes apply it to a fingle voice, when fo- — 
norous, clear, and foft; or to a fingle inftrument, when it 
yields a very agreeable found, _ ‘Thus we fay, the harmony 
“of her voice, of his lute, &c 
In Matters of Learning, we wfe harmony for a certain 
: agreement between the feveral parts of the diteoutin: which 
renders the reading thereof agreeable. In this fenfe we fay, 
harmonious periods, &c. 
In Architedéure, harmony denotes an agreeable relation 
between the parts of a building. See SymMETRY 
inti. ak harmony, both in the or- 
ition, and in the colours of a picture 
harmony of founds. ) 
lours of the Rainbow. 
correfponding to the o€tave in mufic; red, to a fifth; yellow, 
See Harmony, in Painting 
quently ufed metaphorically for 
various things which have no connetion with found or prac- 
Harmony, or Evangelical Harmony, is alfo a title of 
divers books, compofed to fhew the uniformity and agret- 
ment of the accounts given by the our evangellits, by 
hem to the order of time in which the events recerd- 
‘double fharps ; but which can now be ufed, even on the. Theophilus of Antioch, under the title of Diateflarom, oF 
_ organ, as well as the piano-forte, without wolves, as of the four, inthe fecond century. After ris example, dt 
‘ {ar as two double fharps and one double flat; on the patent vers other harmonies have been comp ed by Ammontus of 
-jnftruments of M. Loefchman of Newman-ftreet, whofe \ Alexandria, about the year 220, Teufebins of Claret about 
‘ergans in particular f exceed any thing hitherto effeGed in 315, Ofiander, Janfenius bifhop of Ghent, . Mr. Toisar’, 
‘mufical inftruments. The ab ftems, by ‘Dr. Smith, Mr. Whiffon, Lamy, Le Clerc, Doddridge, Mackmp 
are all for equalizing the f the feveral concord:, Pilkington, Prieftley, Newcome, &c. ‘Thele feveral 99 
with refpect t each other : a different oe is aimed at by monizers have entertained very different opinions with 
ne theorifts and tuners, all: eral to the period of out Lord’s public miniftry, which 
ceflarily occafioned a correfponding diverfty in the ditpe” 
