Jean-Philippe Rameau · section 16 of 109

CHAPTER TWO. On the Chords Assigned to Fundamental Sounds and Their Progression

The sounds, or rather the intervals, assigned to the progression of the fundamental bass must also accompany it everywhere in the parts united with it, but with a certain restraint that we do not impose on the progression of the bass, their guide. In short, the perfect chord, being the first and only chord formed by division of the string, must also be the only one suited to each sound of this fundamental bass. If the seventh chord cannot be excluded, this does not mean that the third added to a perfect chord to form the seventh could not be removed without impairing the perfection of harmony. But the variety this chord creates by introducing a certain bitterness, which simultaneously heightens the sweetness of the perfect chord, should make us desire it, far from rejecting it. We must then count it among the fundamental chords, since it does not destroy the principle that always remains in the lowest sound of the perfect chord.

As for the progression of the parts, each containing one sound of these chords, Zarlino has already observed that it should be diatonic. This constraint arises from the consonant progression of the fundamental bass. Even a slight knowledge of the distances of intervals inclines us, almost against our will, to give the upper parts this diatonic progression. A pleasing succession of chords results without recourse to any other rule: nature herself has taken care to guide us to her proper perfection. See Chapters XIX, XX, XXIV, and XXV below, and Book III, Chapters IV and VI.

Once these progressions assigned to each part are understood, we are indeed free to give one part the progression belonging to another. But we must always be guided by this original disposition and succession of fundamental chords, especially concerning the seventh, which the ear accepts only under these conditions. Its progression can only be diatonic from the sound preceding it to the one following it, and those sounds must moreover be consonant. This is evident in a perfect cadence, which also proves where this dissonance should stand in harmony. Of the two bass sounds preparing a melodic conclusion, the one that ends it is undoubtedly the principal sound: this final sound also begins the whole musical piece, which is founded upon it. It therefore seems somewhat natural that the preceding sound should be distinguished by something making it less perfect. If both sounds bore perfect chords, the soul, having nothing further to desire after such a chord, would be uncertain which of the two sounds to choose for repose. Dissonance seems necessary here: its harshness makes us desire the following repose more ardently. We even feel nature's involvement in the indispensable choice of the third, the only consonance able to compensate for the dissonance's harshness. Despite its imperfection, this third becomes the sole object of our desire after the dissonance, lending new grace to the perfect chord. Hence the rule of resolving dissonances was established. But those who could not perceive that there was only one minor dissonance consequently could not imagine that there was only one consonance to resolve it. This is nevertheless a truth that the following discussion will leave no room to doubt.