9.

Remarks on all the preceding Chords 52

Jean-Philippe Rameau, Treatise on Harmony 10. Remarks on the different Ratios which can be given to a single Chord 53
11. How to relate the Ratios given by the Divisions to the Vibrations and to the Multipli-
CONTENTS
cation of Lengths 54

Preface xxxiii BOOK TWO:

On the Nature and Properties of Chords and On Everything Which
BOOK ONE: May Be Used To Make Music Perfect
On the Relationship Between Harmonic Ratios and Proportions 1. On the fundamental Sound of Harmony and on its progression 59
1. On Music and Sound 3 2. On the Chords appropriate to fundamental Sounds and on their progression 61
2. On the different ways in which the relationship between Sounds can be known to us 4 3. On the nature and properties of the Octave 62
3. On the origin of Consonances and on their relationships 5 4. On the nature and properties of the Fifth and the Fourth 63
5. On the Perfect Cadence, in which the nature and properties of all the Intervals are
I. On the source of Harmony or the fundamental Sound, 7 found 63
II. On the Unison, 8 6. On the Deceptive Cadence 71
III. On the Octave, 8 7. On the Irregular Cadence 73
IV. On the Fifth and the Fourth, 13 8. On the imitation of Cadences by inversion 82
V. On the Thirds and the Sixths, 15 9. On how to avoid Cadences by imitating them 83
VI. Summary of the contents of this Chapter, in which the properties shown in the 10. On Chords by supposition with which we may also avoid Cadences by imitating them
preceding Demonstration are represented on a single String, 17 88
4. Remarks on the properties of the Harmonic and Arithmetic Proportions 20 11. On the Fourth and the Eleventh 91
5. On the origin of Dissonances and on their relationships 27 12. On Chords by borrowing with which we may avoid Perfect Cadences by imitating
6. On doubled Intervals, and especially on the Ninth and the Eleventh 34 them 93
7. On Harmonic Division, or on the origin of Chords 35 13. Rule for the progression of Dissonances, derived from the progression of fundamental
8. On the inversion of Chords 40 Chords 95
14. Remarks on the progression of Thirds and Sixths 101
I. On the major Perfect Chord and on its derivatives, 40 15. On occasions when the Seventh should be suppressed from the Ninth Chord 108
II. On the minor Perfect Chord and on its derivatives, 42 16. On dissonant Consonances, in which the Fourth is discussed together with the false
III. On the Seventh Chord constructed by adding a minor Third to the major Perfect idea of it that exists because of superfluous Rules 110
Chord and on its derivatives, 42
IV. On the Seventh Chord constructed by adding a minor Third to the minor Perfect I. On the source of Dissonance: Which of the two Sounds of an Interval should be
Chord and on its derivatives, 44 considered dissonant, and for which of these two Sounds the Rule about prepar-
V. On the Seventh Chord constructed by adding a major Third to the major Perfect ing and resolving the Dissonance has been established, 112
Chord and on its derivatives, 46 II. Which Chord is the origin of all dissonant Chords; the number of Dissonances
VI. On the Seventh Chord constructed by adding a minor Third below the minor Per- and Sounds it contains; what are its limits, 114
fect Chord and on its derivatives, 48 III. How the most beautiful and universal Rule in Music is destroyed by treating the
VII. On the diminished Seventh Chord constructed by adding a minor Third to the Fourth as a Dissonance when the Bass is syncopated, 118
false Fifth divided harmonically and on its derivatives, 48 IV. On the faults of Authors in establishing Rules of Harmony; on the different
sources of these Rules and on the mistakes for which they are responsible, 119

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17. On License 123 7. Remarks on Dissonance 217
8. On Key and Mode 218
I. On the origin of License, 123
9. On how to Modulate harmonically when the Bass is given a diatonic progression 220
II. On Licenses derived from the Deceptive Cadence, 125
10. On the Basso Continuo 226
III. How a Dissonance may be resolved by another Dissonance, 126
11. On the progression of the Bass, which simultaneously determines the progression of
IV. That the Seventh may also be resolved by the Octave, 132
the Chords; how we may relate a derived Chord to its Fundamental 226
V. That the Seventh may be accompanied by the Sixth, 136
12. Continuation of the Rules drawn from the preceding Example 234
VI. On occasions when a Dissonance seems to be prepared by another Dissonance,
13. On the Perfect Cadence 235
137
14. On the Leading Tone, and on how all Dissonances are resolved 237
18. Observations on establishing Rules, in which the method of composing a Fundamental 15. On the Eleventh, called the Fourth 239
Bass is taught 139 16. On the Irregular Cadence 240
17. On the different progressions of a Bass which are related to one another in such a way
I. On establishing Rules, 139 that the Harmony in the upper Parts does not change at all 245
II. On how to compose a Fundamental Bass beneath any kind of Music, 147 18. On how to prepare Dissonances 248
19. On occasions when Dissonances cannot be prepared 253
19. Continuation of the preceding Chapter, in which it appears that Melody arises from 20. A precise enumeration of the different progressions of the Bass, according to the dif-
Harmony 152 ferent Dissonances used there 255
20. On the properties of Chords 154 21. On the Chord of the Second 260
21. On the Modes 157 22. On Keys and Modes in general 263
22. On the origin of our liberty to pass from one Mode or from one Key to another 162
23. On the properties of Modes and Keys 163 I. On major Keys, 263
24. On Meter 164 II. On minor Keys, 264
25. On the usefulness of this new way of indicating different Meters 170
23. On how to pass from one Key to another; i.e., on how to Modulate 267
26. On the number of Measures each Air should contain, and on their characteristic
24. Continuation of the Rules contained in the preceding Chapter 270
Movements 174
25. How to know which Chords must be given to the Bass Notes in any progression 273
27. How to proceed when setting Words to Music 175
28. On Design, Imitation, Fugue, and on their properties 178 I. On Cadences, and on everything related to the conclusion of a Strain, 273
29. On those Intervals which should be classified as major and minor; as just or perfect; as II. On Imperfect Cadences, 275
augmented and diminished 180 III. How to distinguish the Key in which the progressions of Imperfect Cadences oc-
cur, 277
BOOK THREE: IV. How to tell whether the Strain will come to rest on the Tonic Note or on the
Dominant in a diatonic progression, 283
PRINCIPLES OF COMPOSITION
26. How to use the Seventh on every Note of a Key in a diatonic progression 284
1. Introduction to practical Music 189 27. How the same Dissonance may occur in several consecutive Chords on different
2. On the Fundamental Bass 206 Notes; how it may be resolved by Notes which appear to be foreign 285
3. On the Perfect Chord, with which Composition in four Parts begins 207 28. On all Licenses, beginning with the Deceptive Cadence 289
4. On the succession of Chords 207 29. On the Chord of the augmented Fifth 292
5. On several Rules which must be observed 212 30. On the Ninth Chord 294
6. On the Seventh Chord 212 31. On the Eleventh Chord, called the Fourth 297

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32. On the Chord of the augmented Seventh 299 5. Useful Remarks concerning all the Chords 392
33. On the Chord of the augmented Second and on its derivatives 301 6. On Keys and Modes 395
34. On Chromaticism 304 7. On the order which must be followed for the succession of Chords found within the
Octave of each Key 399
I. On descending Chromaticism, 304
8. General Rules 406
II. On ascending Chromaticism, 306
9. On the different Chords which should follow the Seventh Chord when the Bass Note
35. On how to make use of everything we have discussed hitherto 309 remains on the same degree 410
10. On the Chord of the Second 414
I. On the progression of the Bass, 309 11. On Chords of the Sixth 415
II. On how to use consonant and dissonant Chords, 310 12. On the Chord of the augmented Second and on its derivatives 417
III. On major Dissonances caused by the Leading Tone, and on the Notes on which 13. On Chords by Supposition 418
they may occur, 312
IV. On minor Dissonances, 313 I. On the Ninth, 419
V. On those Consonances which should preferably be doubled, 313 II. On the Chord of the augmented Fifth, 420
VI. On Meter and Beats, 314 III. On the Chord of the augmented Seventh, 420
VII. On Syncopation, 314 IV. On the Eleventh Chord, called the Fourth, 420

36. On Composition in two Parts 317 14. Observations on the relations between all the preceding Chords 421
37. On False Relations 320 15. On how to prepare and resolve all Dissonances, from which we shall come to know
38. On how to write a Melody above a Bass 321 the Key in use and the Chords which each Note of this Key should bear 424
39. On ornamented Melody or Supposition 326
I. On the major Dissonance, 424
I. On ornamented Melody using consonant Intervals, 326 II. On the minor Dissonance, 427
II. On ornamented Melody using diatonic Intervals, 329
16. On Chromaticism 429
40. On how to compose a Fundamental Bass below a Treble 331 17. Recapitulation of the various successions of Chords 431
41. How to compose a Basso Continuo below a treble 341 18. Rules which are necessary in order to accompany properly 439
42. Useful Remarks concerning the preceding Chapter 344 19. On how to figure a Basso Continuo, and on how to know which Chords each figure
43. Rules to be observed in a Composition in two, three, and four Parts 346 denotes 440
44. On Design, Imitation, and Fugue 348 20. How to tell which Bass Notes should bear a Chord 442

After these chapters, there are several examples, together with a quintet and various canons.

BOOK FOUR:
Principles of Accompaniment

1. How to recognize the Intervals from the arrangement of the Keyboard 377
2. On the difference between major and minor Intervals; and between those which are
perfect and those which are augmented or diminished 380
3. On the Position of the Hand and on the Arrangement of the Fingers 385
4. On how to find Chords on the Keyboard 387