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

Vfe ^/Discords. ^7
I'hess little Windings and Bindings with Dif-
tords and Imperfed Concords after them, do very
much delight the Ear \ yet do not fatisfie it, but
hold it in fufpence (as it were) until they come to
a Perfed: Concord ; where (as at a Period) we
underftand the Sence of that which went before.
Now, in paffing from Difcords to Imperfe<5i:
Concords, we commonly remove to that which i%
neareft, rather than to one that is more remote ;
which Rule holds good alfo in pafling from Imper-
fed: Concords, to thofe that are more Perfect.
§ y, 0/ Discords, Note againfi Note.
ALTHOUGH we have mention'd but two
ways in which Difcords are allowed ; that is,
in Diminutiouy and Syncofationy yet we find a third
Way, wherein Skilful Compofers do often ufe
them 3 which \s^ by fetting Note for Note of
the fame quantity one againft another. And
though it be againft the common Rules of Com-
pofition ; yet, being done with Judgment and
Defign, it may be ranked amongft the Elegances
of Figurate Mufic.
The prime or chief of which, for their Ufe and
Excellency in Mufic, are a Tritone and a Semidia"
^\pente ; that is, the Greater or Excefjive 4th, and
the Lejfer or DefeBive ^tk Which according to
the Scale, where we have no other divifions or
diftindions than Semitones or Half-notes, feem to be
the fame Interval, as to proportion of Sound, ei-
ther: of theni confifting of fix Semitones ; but their
ia{>pearance in Pradice is, one of them as a ^\th^
jthe other like a ph, which, if placed one above
the other, compleat the compafs of an OEiave^ in
manner following,
F 2 Semi-