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.