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The Theory Of Sound Which Constitutes The Physical Basis Of The Art Of Music.

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II. § 32.]         CONCORDS AND DISCORDS.                   65
of an Octave, or indeed for a fifth part of anything, but for the difference in pitch between the first and fifth notes of the scale.
The several pairs of notes which form the intervals laid down in our table do not all pro­duce smooth and agreeable impressions. The five pairs
1—3, 1—4, 1—5, 1—6, 1—8 yield smooth effects : the remaining two,
1—2 and 1—7, are decidedly harsh-sounding combinations. The in­tervals in the first line are therefore classed as con­cords, those in the second as discords.
32. The Minor scale has the notes 1, 2, 4, 5, 8 in common with the Major scale. It substitutes for 3 a sound lying between that note and 2 and forming with 1 a consonant interval called the Minor Third. According to circumstances it may either retain 6, or replace it by a sound lying between that note and 5, and forming with 1 a concord called the Minor Sixth. Similarly it may employ 7, or, in the room of that note, a fresh sound situated between it and 6, and forming with 1 a discord called the Minor Seventh.
Thus, if we include the Octave, the two scales together give us a series of eleven notes, which, severally combined with the tonic, form ten distinct
t.                                                                    5
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