Universal Harmony, Volume I

...when one puts twice ut, and twice re, and twice mi; or four times each of them. 148. These are the traditional solfège syllables; ut is the older name for the note C.

XIX. To determine the number of Melodies original: "Chants" that one can make from any number of notes as one wishes, by varying the time, or the measure of one, or several, or all the notes. 149. Wherein one sees an example of 256 Melodies made from the four different notes of the Tetrachord. A tetrachord is a series of four notes spanning a perfect fourth.

XX. To determine in how many different ways two or several voices can sing a Duet original: "Duo", or another piece of Music. 152.

XXI. To know if one can determine which is the best Melody, and the sweetest among several proposed melodies; for example, from the 24 of a Tetrachord. 154. Which are seen here.

XXII. How one must compose Songs and dances to be the most excellent of all possible ones: and if one can arrange ballets in such a way that one learns all the sciences while dancing, or while watching others dance. 158. Wherein one sees the "We Praise Thee, O God" original: "Te Deum laudamus" set into verse.

XXIII. To explain and describe all the species of Airs, Songs, and Dances used in France, with examples. 163.

XXIV. To explain all the species of Branles A "Branle" or Bransle was a popular 16th- and 17th-century French dance performed by a circle or line of dancers. now used at balls and ballets. 167.

XXV. To explain the Dances and the Rhythmic movements of ordinary ballets, and particularly the Canary, the Bocanne, the Queen's Courante, the Bohemian, and the Moresque. 170. These are specific types of baroque dances: the "Canarie" was fast and lively; "Bocanne" was named after the dancing master Jacques Cordier; the "Moreſque" was a Moorish-style dance.

XXVI. To determine if sad and languishing Songs are more agreeable than gay ones. 172.

XXVII. To explain all the movements used in French Airs, particularly in Ballets, with an example; and alongside them the feet or Rhythmic movements. 177.

Forty Propositions from the Book on Consonances.

The Preface contains seven or eight very considerable things that must be read: and most of the Corollaries that follow the Propositions contain several excellent moral lessons.

I. To determine if there are Consonances and Dissonances in Music, and what they are. 1.

II. To determine the difference that exists between Sound and Unison; and what the origin of Unison is. 5.

III. To explain in what manner Sound takes its origin from Unison. 7.

IV. To determine if Unison is a Consonance; and if it is sweeter and more agreeable than the Octave. 10. Wherein one sees several beautiful moral lessons for Preachers and devout persons.

V. Unison is the conjunction or union of two or several sounds, which resemble each other so perfectly that the ear receives them as a single sound; and it is the most powerful of all Consonances. 23. See the moral lessons for raising the spirit to God.

VI. To explain the reason and the cause of the trembling of strings that are in Unison. 26. See the excellent elevations of the spirit to devotion.

VII. To know if the ratio of inequality comes from that of equality, and the Consonan—

Printer's signature mark.