Glen Collection of printed music > Printed text > Compendium, or, Introduction to practical music

66 qA Comfe?idium ofMvsic.
These Examples do fhew you all the Bindings
or Syncopations that are ufually to be found ; as
jths with 6thi ; 6ths with <)ths ; ^ths with -^ds %
Sds with ids. Why Sths and $ths are exempt from
Binding with their neighbouring Difcords, (hall
prefently appear.
In this way of Binding, aDifcord may be appli-
ed to the firft Part of any Note of the Bafsy if the
other Part of the Binding Note did found in Con-
cordance to that Note of the Bafs which went be-
fore j and fometimes alfo without that Qualifica-
tion wherein fome Skill or Judgment is required.
§ 4. Fajjage (?/ D i s c o r d s.
DISCORDS thus admitted, we are next to
confider how they are brought off, to render
them delightful ; for fimply of themfelves they are
harfii and difpleafing to the Ear, and introduced
into Mujic only for variety ; or, by ftriking the
Sence with a difpropottionate Sound, to beget a
greater Attention to that which follows ; to the
hearing whereof we are drawn on (as it were) by
a nccelTary expedation.
This winding or bringing a Difcord off, is al-
ways beft affeded by changing from thence into
fome Imperfed Concord^ to which more fweetnefs
feemsto be added by the D//cor^ founding before it.
And here you have the Reafon why an 2th and a
^th do not admit of Syncopation or Binding, with
their neighbouring Difcords ; becaufe a jth doth
Pafs more pleafingly into a 6tb ; as alfo a gth into
a loth or 3^. And as for a ph though it Bind
well enough with a 6th (as you did fee in fome of
the foregoing Examples) yet with a 4//? it will
not Bind fo well, becaufe a 4?/; doth Pafs more
proper! V into a ^d.
These