period, the choir that rested from the fixed song may have continued to sing in

descant against the opposite choir. 5. Harmony is the simultaneous sounding

of several notes, and includes concords and discords. The di~tinction, if there
be any, between harlllony and counterpoint is, that the term harmony defines
the combination of a mass of musical soumIs, or music regarded vertically;
and counter~ point defines the combination of two or more uistinct melodies,
or music regarded horizontally. III harmony, every progression from chord to
chord involves the melodious element, but this is sub-ordinate to the complete
effect of each combiuation; every part should be free from unbeautiful
successions of notes, but melodic interest is not necessary in any of the parts,
save in the one to which all the others are submissive accompanilllen~. In
countprpoint, every combination of melodies constitutes a succession of
harmonies j but while the need is despotic of harmonic propriety, the interest
of each separate melody is of high consideration; so, counterpoint bears but
feudal sub-jection to harmony, holuing still a minor sovereignty of its own.
Once it was the use to study counterpoint as a succession of intervals from the
bass, regardless of their radical derivation. Fitness becomes more perspicuous
if every combination of two or more notes be referred to it s harmonic source,
and thus the arts of melodious progression and harm()nious combination will
be made each to illustrate the other, and both will appear clearer in one
another's light. 6. A chord is a combination of notes traceable to a root. The
root is the note by which a chord is named, and from whieh all the notes of the
chord stand at intervals of uneven numbers, as 3rd, 5th, 7th, 9th, though the
notes may be so disposed among the several parts of the harmony as to stand
at even numbers from one another. 7. A concord is a chord that is satisfactory
in itself, and has no need to be followed by any other chord.(a) It cannot
comprise more than three notes, but these may be duplicated to any extent -
(3;-by other parts, either in the 1st (or Unison) or ill the 8th.
~;~~I~~~f~~~f~;2f=;~f~~~~ ~l _@_ _~_ _@_ _@_ _@_ -e-8. A discord is a
chord that is unsatisfactory in itself, or it is a note foreign to the prevailing
harmony. Some discords must be followed by a particular chord, and all
discordant notes must proceed by defiuite progeession. The chord, or the note
to which each proceecls is the resolution of the discoru. CHAPTER II.
INTERVALS. 9. AN Interval is the distance from any note to another, and is
nanied by number from the chosen n-ote which stands as the 1st in
numeration. Intervals are counted uFwards from the 1st, unless the contrary
be specified. Two parts in a piece of harmony may occasionally have the same
note (or may sound in unison), which note being doubly sounded is a
combination, but not strictly an intenal j it is, however, convenient to f:peak of
the combination of a 1st (or unison) as an interval, and this convenienc0 must
justify the anomalous use of the term. The 8th above an iuterval counts as the
original note; thuc::, any E above C counts as the 3rd from C, though it be (a)
This freedom llelongs not to the second inversion of a common chord, which,
however, is unavailable ill ~trict diatonic counterpoint, Hnd its use is peculiar
to the modern free style.