An essay towards a rational system of music . notes are generally introduced with-out preparation, and on the unaccented part of the meafure,provided that the courfe of the melody lead naturally to thefenotes ; whereas fufpending notes are generally prepared, andintroduced on the accented part. (2.) A chord, difionant by fubfiitution admits of inverfionsof all kinds, the bafs eafily taking either the fubftituted note,or any other note of the chord ; whereas difionances by fu-fpenfion are rarely inverted, except when the fufpending noteis introduced in the bafs. (3.) The fubftituted notes are l
An essay towards a rational system of music . notes are generally introduced with-out preparation, and on the unaccented part of the meafure,provided that the courfe of the melody lead naturally to thefenotes ; whereas fufpending notes are generally prepared, andintroduced on the accented part. (2.) A chord, difionant by fubfiitution admits of inverfionsof all kinds, the bafs eafily taking either the fubftituted note,or any other note of the chord ; whereas difionances by fu-fpenfion are rarely inverted, except when the fufpending noteis introduced in the bafs. (3.) The fubftituted notes are limited in their progreflion,on account of the difcord which is to be refolved, much likefufpending notes; but in fubftitutions the chord changeswhen the difcord is refolved, as it alfo does in the refolutionof fundamental difcords; whereas in fufpenfions the chord re- ErrliTrer . £?# S%Le&e<f ayrid^a,/^^ I £ mm&M^ ^fjSF^ ? JlJ- |JJJ|J rrT7lt=Ri fr X J? 5# /5 telil m a & # itirf-rrr rrf^Tf j£d j^,-); <U^,.-^, day i, ^i-iJ Jul .lu-nJ^^ J §1 I § .1 i .Hi i Mw^I 4y ?y>N> r i .—° .»—7fr , «@—t«h—<—»,?% x y . a ?.*» -_ Chap. XII. Of Sufpenftons, Subflitutions, and Divifions,per found has fucceeded; that is. mains the fame after the pr<after the difcord is refolved. Ex. LXXII. contains inftances of the ufe of all the licencesin this and the two preceding articles, in the flat feries of D. 315. In breaking, or fubdividing a note of an upper partinto feveral fmaller ones, it mult be obferved, that if the fun-damental chord, which exifts at the time, be perfeft, we maybreak any note into as many fmaller ones as we pleafe, ufingnone but the notes of the chord : but if the chord contain adiflbnance, and confequently force of its founds be reftricled intheir motion, care mult be taken, that if the figurative melodytouch upon one of thefe reftri<fred notes, it may be heard re-folved in the fame part, when the chord changes: and if thefi
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Keywords: ., bookcentury1700, bookdecade1770, booksubjectharmony, bookyear1770
