MUSIC. 
330 
In melody, the preparation for clofes in the principal 
part are infinite; in harmony they are numerous, but may 
be numbered. In Gafparini there is an ample colledlion, 
chap. vi. per far le cadenze d'ogni forte. ■ From thefe, Wal- 
ther has cited many, but more corredlly ; foiVGafparini’s 
book is miferably printed. The cadences in Waither are 
good, as far as harmony is concerned, which is not fo 
changeable as melody ; and to thefe, chiefly from Gaf- 
parini, we have all the Italian names : as cadenza mag- 
giore, minore, maggiore Jminuita, cadenza sfuggita, ftnta, 
fiorita, perfetta, imperfvtta, irregulare, d'ivganuo, &c. 
In ancient mufic, cadence is nearly fynonyinous with 
rhythm. The French make ufe of the term cadence for 
a trill or fhake. 
OF CONCORDS. 
The whole fyftem of harmony is founded on two 
chords; viz. a fundamental concord, and a fundamental 
difcord : and from thefe two chords, or roots, arife all 
others. In a word, the two fundamental chords are 
the chords of nature ; and thole derived from them, 
the chords of art. The fundamental concord may, 
however, be confidered as the real bafis of harmony, 
fince to that alone the fundamental difcord owes three 
fourth parts of its exiftence. But, neverthelefs, the two 
fundamental chords are always confidered as diftinil, and 
\vill be treated accordingly. 
Of the fundamental Concord, called the Common Chord, or 
Triad. 
Any found may be aflumed at pleafure for the primitive 
or ftandard note of a piece of mufic, and is then deno¬ 
minated the key-note: and the idea of this note is perpe¬ 
tually imprefled on the mind in all Ample compositions, 
both from its frequent recurrence, and from the relation 
that all the other founds bear to it. C being the key¬ 
note of the fcale called natural, we {hall confider it as the 
foundation of the fcale. The next in importance is the 
fifth, G, w'hich is intimately connefted with the key-note, 
as it conflitutes the moft perfedl melody and harmony with 
C, fince every alternate vibration of C coincides with 
every third of G. The fifth, therefore, or G, is called 
the dominant, or governing note. The interval between 
C and G is moft naturally divided by the note E, which 
anfwers to the number 5, when C and G are reprefented 
by 4 and 6, and which is found among the natural har¬ 
monics both of chords and pipes. Thefe three notes, 
the key-note (or prime), its third and fifth, conftitute 
the harmonic triad, or common chord, in the major 
fcale, which is the moft perfetf, or rather the only perfect, 
harmony; and, in compofitions of four, five, fix, or more, 
parts, it can receive no other addition but from the du¬ 
plicates of its parts. This chord or triad may be either 
major or minor. The major fundamental triad confifts of 
the prime, major third, and perfect fifth ; and conflitutes 
the major mode. The minor confifts of the prime, minor 
third, and perfect fifth ; and conflitutes the minor mode. 
This fundamental triad, ftriftly fpeaking, is applied as 
fuch only on the key-note, or prime; for on any other 
note of the fcale it would at the fame time bear a dif¬ 
cord joined to it. The different fpecies of triads are 
fhown together at Ex. 20. on the back of Plate IV. 
By accompanying this chord in four parts, we add to it 
the eighth. Its prime, or fundamental, thus becomes the 
bafs, and the third, fifth, eighth, the foprano, alto, or 
tenor, part. Hence it follows, that the chord may be 
taken in three different ways by placing either the eighth, 
fifth, or third, at top, in the middle, or at the bottom. 
When the eighth is at top, the chord, confidered feparately 
from the bafs, mull be a compound of a third below and 
a fourth above. When the third is at top, then the re- 
verfe will appear; viz. a compound of a third above and 
a fourth below. And, when the fifth is at top, the chord 
is equally divided by two thirds, and the parts are of 
equal diftances on keyed inftrumeuts. Thefe different 
pofitions, in the major and minor keys, are fhown at 
Ex. 21. 
The imperfett triad confifts of a minor third and ex¬ 
treme flat or imperfedl fifth, which latter mull regularly 
refolve by defending to the next degree. It is applied 
only on the feventh note in the fcale of the major mode, 
and oit the fecond in the minor; this chord is figured 
thus T. as at Ex, 22. 
Of the different pofitions of this chord, that is moft 
pleafing in accompaniment where the third lies above. 
Obferve alfo, when the bafs is fharp, the eighth is to be 
left out. 
The extreme fharp triad confifts of the prime, a major 
third, and an extreme-fharp fifth. It is applied only on 
the third of the minor mode, and always afcends a femi- 
tone to the next note. The extreme-fnarp fifth is gene¬ 
rally prepared on a progreftive bafs, refolving afterwards 
to the fixth above it, as in Ex. 23. at A and B. 
The two laft triads, whereof one confifts of a prime, 
extreme-flat fifth, and major third, and the other of a 
prime, extreme-flat or imperfedl fifth, and an extreme-flat 
third, never occur in their fundamental pofition, but are 
fpecified among the reft only as being the foundation of 
fome other chords ufed by inverfion, as that of the ex¬ 
treme-fharp fixth, accompanied by \, which is derived 
from the former, and that of an extreme-fharp fixth, ac¬ 
companied by 5, which isderived from the latter; of which 
more w’hen we come to fpeak of inverfion. 
The common chord in thorough bafs is never figured or 
marked, unlefs its third or fifth requires an accidental 
fharp or flat, in which cafe it is fignified thus: {5, 
X, 5 > 5^> 5^. See Ex. 24. at A and B. or when the dil- 
cord refolves into a common chord, as at C. or when on 
the fame bafs note it is placed between different harmo¬ 
nics, as at D. 
Any note not figured in thorough bafs, and that is not 
confidered as a pafftng note, is to be accompanied with a 
common chord. 
Hitherto every common chord has been treated of Sngly, 
but now we proceed to the accompaniment of a fucceffion 
of common chords, the rules relating to the fame, as well 
as to accompaniment in general, are as follows : 
1. Two confecutive eighth and fifths in the fimilar mo¬ 
tion, whether gradual or by (kips, are to be avoided, chiefly 
by the ufe of contrary motion, or now and then by the 
doubling of a third. 
2. Inharmonic relations are likewife to be avoided. 
By doubling either the unifon or third, thofe unmelodi- 
ous progreflions may be prevented. 
3. Of the progreflions between the different parts; thofe 
between the extremes ought to be the moft regular of 
any. 
4. The uppermoft part ought to be the moft melodious 
of any; a third is more melodious than a fifth, and a fifth 
morefo than an eighth. 
5. Major thirds, whether naturally or accidentally fo, 
generally afcencl. 
6. The finifhing chord, whether it be at the end of a 
cadence, or at the final conclufion of a piece, fhould end 
with an eighth or a third in the upper part, rather than 
with a fifth. 
7. The chords in general are to be taken as near to 
each other as poflible, and not too much fpace muff; be 
left between the hands; 
Of the Chord of the Sixth. 
This chord arifes from the triad by inverfion ; for, by 
fubftituting the third of the latter for the bafis of the 
former, the fundamental note of the triad is changed to a 
fixth, and its fifth to a third, as in Ex. 25. 
Both chords are but one harmony, as being a combina¬ 
tion of the fame notes; with this difference only ; that the 
bafs note of the triad is a fundamental, and that of the 
fixth a iuppofed note only. The fixth in general is ac¬ 
companied by a third and eighth. Its fignature is that of 
1 a Angle 
