Inglis Collection of printed music > Printed text > Introduction to the skill of musick, in three books

i ox An Introduction to
Oblervc this always in Counterpoint, to avoid
Tautology in letting a Baft to a Trehle, and let
it be as Formal and Airy as the Treble will a<jl- ,
mit.
Let us a little examine this laft Example.,
And now fuppofing there were ho Bafs to the*
Treble, try Note by Note which is the properefl
Cord to each.
For the Fir ft Note y you inuft certainly have*
an Eighth, becaufe it relates to the Key it isf
compoled in.
For the Second, you have only two Cords toj
chufe, viz,, the Sixth, and Third ; the Fjth you?;
mult not ufe, becaufe 'tis expe&ed to the Note,
following to make a Third, therefore to bel
avoided , left you are guilty of that Tautology;
before-mentioned, and befides there is not that
Form and Variety which is required in fevy"
Parts j and an Eighth you cannot ufe neither,
becaule you run either into the Error of twJ|
Eighths together if you afcenjd, or of cloying" j
the Ear with too many Fcrfeft 'Cords if you de-
fcendj therefore the Third or Sixth is the only '
Cords you can ufe ; of thefe, the Sixth is much
the ben, for two Reafbns: Firft, you move by i
contrary Motion to the Bafs, which is an Ele-
gancy in two Parts ; in the next place, you in-
^iFpduce the next Note more Harmonically with
the Sixth than you can with the Third, but the
" Sixth mu{\ bzjh.irp, becaufe it has a nearer affi-
nity to the Key.
The T has a Third, which is generally
the conference of a Sixth.
The j