Music.

When the minor second is employed in three parts, it must be accompanied with the fourth and never with the fifth. There are three ways of using it. First. The fourth with the minor second, in which case the upper parts hold on, whilst the lower or bass descends to resolve it; thus the second becomes a third and the fourth becomes a fifth, then the two upper parts both fall one degree and the bass rises one degree, and the whole may serve as a final cadence.

Second. The preparing note is accompanied by the sixth and eighth. The eighth rises to the ninth where it stays till the resolution is over; the sixth falling a third thus becomes a fourth, accompanying the second, which fourth, on the resolution, rises one degree, thus becoming a sixth; this afterwards rising one degree more, the other upper part falling one degree, and the bass contemporaneously rising a fifth, the upper parts will then become a third and fifth to that bass. This arrangement serves as a middle cadence.

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Third. The preparing note is accompanied by the third and sixth. The part in which the third appears is to rise one degree and become a fourth; that part carrying the sixth is to rise a fourth, thus becoming a second, which holding on is a third on the resolution; whilst the fourth rises one degree becoming a sixth, this sixth afterwards rising one degree more, the other upper part and the bass each falling one degree, the upper become a third and eighth to that bass.

When four parts are employed, the sixth and fourth are taken with this second. As in the following example.

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Independently of the above resolutions of the ninth, it may be resolved by the fifth, if the bass rise a fourth or fall a fifth when the upper part falls one degree for its resolution. It must be accompanied at the resolution by an eighth if the piece be in four parts.

The minor ninth is prepared in the third only and resolved in the eighth, if the bass hold on till the resolution is made; but it is resolved in the third if the bass descend a third on the resolution. These resolutions, however, must be followed by something further, as will be seen by the examples.

When the Music is of four parts, the sixth, and sometimes the fifth, accompany it; of the two the former is most agreeable if the bass keep on at the resolution; but either of them may be used if the bass descend a third at the resolution.

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Music.

The ninth may have other discords mixed with it. For example, it may be mixed with the fourth, and in that case the fourth must be also prepared and resolved as a discord. The ninth may be also mixed with the seventh, which must also be separately prepared and resolved. It is to be held in mind, that when the fourth and ninth are mixed the fifth must be in the fourth part, and when the seventh and ninth are mixed the third must be in the fourth part.

The other natural discord is the seventh. Which is also of two sorts, the major, which contains one semitone The major less than the octave, and the minor, which is one whole tone less than the octave. These sevenths are seventh. both prepared and resolved in the treble as well as in the bass, most generally, however, in the upper part. They will be here classed under those two heads.

The preparation of a major seventh, is a third, a fifth, a sixth, or an eighth. Its resolution in a third, a Prepared sixth, and a fifth, from the concords in which it is prepared, as under.

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solved in the treble.

We may here remark, that the sharp seventh must have the major third on its resolution, otherwise the bass would rise a tritonus or descend a semidiapente, which are unallowable skips. For example, when the seventh is between F and E, it is resolved into a third major to avoid the tritonus. This seventh is resolved into a sixth major, the bass holding on. It may be resolved into a sixth minor, if the bass rise a semitone minor at the resolution.

The minor seventh is prepared in a way similar to that of the major seventh, but it can only have its resolution in a third or a fifth. The third into which it is resolved may be either major or minor, as the discord respectively descends a semitone major or a whole tone. If on its resolution into a fifth, the upper part descends and the bass rises, each a whole tone, the fifth will then be a defective one, and in this case the treble afterwards descends one more degree, and the bass must ascend another to resolve the semidiapente.