“Even nature is concerned, for it leads us to choose the third as the sole consonance which may makeup for the harshness of the dissonance. The third despite its imperfection becomes the sole object of our desire after a dissonance… — Jean-Philippe Rameau Copy Share Image
In f-major, c* is a sonority contained within the overtones of the tonic f*. — Jean-Philippe Rameau Copy Share Image
Therefore we well observe that the title of perfect cadence is attached only to a dominant that progresses to the main tone, because this… — Jean-Philippe Rameau Copy Share Image
“Even nature is concerned, for it leads us to choose the third as the sole consonance which may makeup for the harshness of the… — Jean-Philippe Rameau Copy Share Image
“The smaller ones should always be preferred to the larger; i.e., rather than having the bass ascend or descend a sixth, we should have… — Jean-Philippe Rameau Copy Share Image
Music is a science which should have definite rules; these rules should be drawn from an evident principle; and this principle cannot really be… — Jean-Philippe Rameau Copy Share Image
Nature endows us with the feeling that moves us in all our musical experiences; we might call her gift instinct. — Jean-Philippe Rameau Copy Share Image
When reason and instinct are reconciled, there will be no higher appeal. — Jean-Philippe Rameau Copy Share Image
“This is what Zarlino means when he says that the bass should proceed by separated intervals, for intervals cannot be consonant unless they are… — Jean-Philippe Rameau Copy Share Image
We must have recourse to the rules of music when our genius and our ear seem to deny what we are seeking. — Jean-Philippe Rameau Copy Share Image
