In f-major, c* is a sonority contained within the overtones of the tonic f*. — 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
