Harmonies of the World, by Johannes Kepler, tr. Charles Glenn Wallis , at sacred-texts.com
Accordingly, if the image of the retrogradation and stations is taken away and the proper movements of the planets in their real eccentric orbits are winnowed out, the following distinct things still remain in the planets: 1) The distances from the sun. 2) The periodic times. 3) The diurnal eccentric arcs. 4) The diurnal delays in those arcs. 5) The angles at the sun, and the diurnal arcs apparent to those as it were gazing from the sun. And again, all of these things, with the exception of the periodic times, are variable in the total circuit, most variable at the mean longitudes, but least at the extremes, when, turning away from one extreme longitude, they begin to return to the opposite. Hence when the planet is lowest and nearest to the sun and thereby delays the least in one degree of its eccentric, and conversely in one day traverses the greatest diurnal arc of its eccentric and appears fastest from the sun: then its movement remains for some time in this strength without perceptible variation, until, after passing the perihelion, the planet gradually begins to depart farther from the sun in a straight line; at that same time it delays longer in the degrees of its eccentric circle; or, if you consider the movement of one day, on the following day it goes forward less and appears even more slow from the sun until it has drawn close to the highest apsis and made its distance from the sun very great: for then longest of all does it delay in one degree of its eccentric; or on the contrary in one day it traverses its least arc and makes a much smaller apparent movement and the least of its total circuit.
Finally, all these things may be considered either as they exist in any one planet at different times or as they exist in different planets: whence, by the assumption of an infinite amount of time, all the affects of the circuit of one planet can concur in the same moment of time with all the affects of the circuit of another planet and be compared, and then the total eccentrics, as compared with one another, have the same ratio as their semidiameters or mean intervals; but the arcs of two eccentrics, which are similar or designated by the same number [of degrees], nevertheless have their true lengths unequal in the ratio of their eccentrics. For example, one degree in the sphere of Saturn is approximately twice as long as one degree in the sphere of Jupiter. And conversely, the diurnal arcs of the eccentrics, as expressed in astronomical terms, do not exhibit the ratio of the true journeys which the globes complete in one day  through the ether, because the single units in the wider circle of the upper planet denote a quarter part of the journey, but in the narrower circle of the lower planet a smaller part.
Therefore let us take the second of the things which we have posited, namely, the periodic times of the planets, which comprehend the sums made up of all the delayslong, middling, shortin all the degrees of the total circuit. And we found that from antiquity down to us, the planets complete their periodic returns around the sun, as follows in the table:
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Accordingly, in these periodic times there are no harmonic ratios, as is easily apparent, if the greater periods are continuously halved, and the smaller are continuously doubled, so that, by neglecting the intervals of an octave, we can investigate the intervals which exist within one octave.
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All the last numbers, as you see, are counter to harmonic ratios and seem, as it were, irrational. For let 687, the number of days of Mars, receive as its measure 120, which is the number of the division of the chord: according to this measure Saturn will have 117 for one sixteenth of its period, Jupiter less than 95 for one eighth of its period, the earth less than 64, Venus more than 78 for twice its period, Mercury more than 61 for four times its period. These numbers do not
make any harmonic ratio with 120, but their neighbouring numbers60, 75, 80, and 96do. And so, whereof Saturn has 120, Jupiter has approximately 97, the Earth more than 65, Venus more than 80, and Mercury less than 63. And whereof Jupiter has 120, the Earth has less than 81, Venus less than 100, Mercury less than 78. Likewise, whereof Venus has 120, the Earth has less than 98, Mercury more than 94. Finally, whereof the Earth has 120, Mercury has less than 116. But if the free choice of ratios had been effective here, consonances which are altogether perfect but not augmented or diminished would have been taken. Accordingly we find that God the Creator did not wish to introduce harmonic ratios between the sums of the delays added together to form the periodic times.
 And although it is a very probable conjecture (as relying on geometrical demonstrations and the doctrine concerning the causes of the planetary movements given in the Commentaries on Mars) that the bulks of the planetary bodies are in the ratio of the periodic times, so that the globe of Saturn is about thirty times greater than the globe of the Earth, Jupiter twelve times, Mars less than two, the Earth one and a half times greater than the globe of Venus and four times greater than the globe of Mercury: not therefore will even these ratios of bodies be harmonic.
But since God has established nothing without geometrical beauty, which was not bound by some other prior law of necessity, we easily infer that the periodic times have got their due lengths, and thereby the mobile bodies too have got their bulks, from something which is prior in the archetype, in order to express which thing these bulks and periods have been fashioned to this measure, as they seem disproportionate. But I have said that the periods are added up from the longest, the middling, and the slowest delays: accordingly geometrical fitnesses must be found either in these delays or in anything which may be prior to them in the mind of the Artisan. But the ratios of the delays are bound up with the ratios of the diurnal arcs, because the arcs have the inverse ratio of the delays. Again, we have said that the ratios of the delays and intervals of any one planet are the same. Then, as regards the single planets, there will be one and the same consideration of the following three: the arcs, the delays in equal arcs, and the distance of the arcs from the sun or the intervals. And because all these things are variable in the planets, there can be no doubt but that, if these things were allotted any geometrical beauty, then, by the sure design of the highest Artisan, they would have been received that at their extremes, at the aphelial and perihelial intervals, not at the mean intervals lying in between. For, given the ratios of the extreme intervals, there is no need of a plan to fit the intermediate ratios to a definite number. For they follow of themselves, by the necessity of planetary movement, from one extreme through all the intermediates to the other extreme.
Therefore the intervals are as follows, according to the very accurate observations of Tycho Brahe, by the method given in the Commentaries on Mars and investigated in very persevering study for seventeen years.
Intervals Compared with Harmonic Ratios 1
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 Therefore the extreme intervals of no one planet come near consonances except those of Mars and Mercury.
But if you compare the extreme intervals of different planets with one another, some harmonic light begins to shine. For the extreme diverging intervals of Saturn and Jupiter make slightly more than the octave; and the converging,
a mean between the major and minor sixths. So the diverging extremes of Jupiter and Mars embrace approximately the double octave; and the converging, approximately the fifth and the octave. But the diverging extremes of the Earth and Mars embrace somewhat more than the major sixth; the converging, an augmented fourth. In the next couple, the Earth and Venus, there is again the same augmented fourth between the converging extremes; but we lack any harmonic ratio between the diverging extremes: for it is less than the semi-octave (so to speak) i.e., less than the square root of the ratio 2 : 1. Finally, between the diverging extremes of Venus and Mercury there is a ratio slightly
less than the octave compounded with the minor third; between the converging there is a slightly augmented fifth.
Accordingly, although one interval was somewhat removed from harmonic ratios, this success was an invitation to advance further. Now my reasonings were as follows: First, in so far as these intervals are lengths without movement, they are not fittingly examined for harmonic ratios, because movement is more properly the subject of consonances, by reason of speed and slowness. Second, inasmuch as these same intervals are the diameters of the spheres, it is believable that the ratio of the five regular solids applied proportionally is more dominant in them, because the ratio of the geometrical solid bodies to the celestial spheres (which are everywhere either encompassed by celestial matter, as the ancients hold, or to be encompassed successively by the accumulation of many revolutions) is the same as the ratio of the plane figures which may be inscribed in a circle (these figures engender the consonances) to the celestial circles of movements and the other regions wherein the movements take place. Therefore, if we are looking for consonances, we should look for them not in these
intervals in so far as they are the semidiameters of spheres but in them in so far as they are the measures of the movements, i.e., in the movements themselves, rather. Absolutely no other than the mean intervals can be taken as the semi-diameters of the spheres; but we are here dealing with the extreme intervals. Accordingly, we are not dealing with the intervals in respect to their spheres but in respect to their movements.
Accordingly, although for these reasons I had passed on to the comparison of the extreme movements, at first the ratios of the movements remained the same in magnitude as those which were previously the ratios of the intervals, only inverted. Wherefore too, certain ratios, which are discordant and foreign to harmonies, as before, have been found between the movements. But once again I judged that this happened to me deservedly, because I compared with one another eccentric arcs which are not expressed and numbered by a measure of the same magnitude but are numbered in degrees and minutes which are of diverse magnitude in diverse planets, nor do they from our place give the appearance of being as great as the number of each says, except only at the centre of the eccentric of each planet, which centre rests upon no body; and hence it is also unbelievable that there is any sense or natural instinct in that place in the world which is capable of perceiving this; or, rather, it was impossible, if I was comparing the eccentric arcs of different planets with respect to their appearance at their centres, which are different for different planets. But if diverse apparent magnitudes are compared with one another, they ought to be apparent in one place in the world in such a way that that which possesses the faculty of comparing them may be present in that place from which they are all apparent. Accordingly, I judged that the appearance of these eccentric arcs should be removed from the mind or else should be formed differently. But if I removed the appearance and applied my mind to the diurnal journeys of the planets, I saw that I had to employ the rule which I gave in Article IX of the preceding chapter.
 Accordingly if the diurnal arcs of the eccentric are multiplied by the mean intervals of the spheres, the following journeys are produced:
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Thus Saturn traverses barely one seventh of the journey of Mercury; and hence, as Aristotle judged consonant with reason in Book II of On the Heavens, the planet which is nearer the sun always traverses a greater space than the planet which is farther awayas cannot hold in the ancient astronomy.
And indeed, if we weigh the thing fairly carefully, it will appear to be not very probable that the most wise Creator should have established harmonies between the planetary journeys in especial. For if the ratios of the journeys are harmonic, all the other affects which the planets have will be necessitated and bound up with the journeys, so that there is no room elsewhere for establishing harmonies. But whose good will it be to have harmonies between the journeys, or who will perceive these harmonies? For there are two things which disclose to us harmonies in natural things: either light or sound: light apprehended through the eyes or hidden senses proportioned to the eyes, and sound through the ears. The mind seizes upon these forms and, whether by instinct (on which Book IV speaks profusely) or by astronomical or harmonic ratiocination, discerns the concordant from the discordant. Now there are no sounds in the heavens, nor is the movement so turbulent that any noise is made by the rubbing against the ether. Light remains. If light has to teach these things about the planetary journeys, it will teach either the eyes or a sensorium analogous to the eyes and situated in a definite place; and it seems that sense-perception must be present there in order that light of itself may immediately teach. Therefore there will be sense-perception in the total world, namely in order that the movements of all the planets may be presented to sense-perceptions at the same time. For that former routefrom observations through the longest detours of geometry and arithmetic, through the ratios of the spheres and the other things which must be learned first, down to the journeys which have been exhibitedis too long for any natural instinct, for the sake of moving which it seems reasonable that the harmonies have been introduced.
Therefore with everything reduced to one view, I concluded rightly  that the true journeys of the planets through the ether should be dismissed, and that we should turn our eyes to the apparent diurnal arcs, according as they are all apparent from one definite and marked place in the worldnamely, from the solar body itself, the source of movement of all the planets; and we must see, not how far away from the sun any one of the planets is, nor how much space it traverses in one day (for that is something for ratiocination and astronomy, not for instinct), but how great an angle the diurnal movement of each planet subtends in the solar body, or how great an arc it seems to traverse in one common circle described around the sun, such as the ecliptic, in order that these appearances, which were conveyed to the solar body by virtue of light, may be able to flow, together with the light, in a straight line into creatures, which are partakers of this instinct, as in Book IV we said the figure of the heavens flowed into the foetus by virtue of the rays.
Therefore, if you remove from the proper planetary movement the parallaxes of the annual orbit, which gives them the mere appearances of stations and retrogradations, Tycho's astronomy teaches that the diurnal movements of the planets in their orbits (which are apparent as it were to spectator at the sun) are as shown in the table on the opposite page.
Note that the great eccentricity of Mercury makes the ratio of the movements differ somewhat from the ratio of the square of the distances. For if you make the square of the ratio of 100, the mean distance, to 121, the aphelial distance, be the ratio of the aphelial movement to the mean movement of 245´32″, then an aphelial movement of 167 will be produced; and if the square of the ratio of 100 to 79, the perihelial distance, be the ratio of the perihelial to the same mean movement, then the perihelial movement will become 393; and both cases are
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greater than I have here laid down, because the mean movement at the mean anomaly, viewed very obliquely, does not appear as great, viz., not as great as
245'32", but about 5' less. Therefore, too, lesser aphelial and perihelial movements will be elicited. But the aphelial [appears] lesser and the perihelial greater, on account of theorem 8, Euclid's Optics, as I remarked in the preceding Chapter, Article VI.
Accordingly, I could mentally presume, even from the ratios of the diurnal eccentric arcs given above, that there were harmonies and concordant intervals between these extreme apparent movements of the single planets, since I saw that everywhere there the square roots of harmonic ratios were dominant, but knew that the ratio of the apparent movements was the square of the ratio of the eccentric movements. But it is possible by experience itself, or without any ratiocination to prove what is affirmed, as you see  in the preceding table. The ratios of the apparent movements of the single planets approach very close to harmonies, in such fashion that Saturn and Jupiter embrace slightly more than the major and minor thirds, Saturn with a ratio of excess of 53 : 54, and Jupiter with one of 54 : 55 or less, namely approximately a sesquicomma; the Earth, slightly more (namely 137 : 138, or barely a semicomma) than a semitone; Mars somewhat less (namely 29 : 30, which approaches 34 : 35 or 35 : 36) than a fifth; Mercury exceeds the octave by a minor third rather than a whole tone, viz., it is about 38 : 39 (which is about two commas, viz., 34 : 35 or 35 : 36) less than a whole tone. Venus alone falls short of any of the concords the diesis; for its ratio is between two and three commas, and it exceeds two thirds of a diesis, and is about 34 : 35 or 35 : 36, a diesis diminished by a comma.
The moon, too, comes into this consideration. For we find that its hourly apogeal movement in the quadratures, viz., the slowest of all its movements, to be 26´26″; its perigeal movement in the syzygies, viz., the fastest of all, 35´12″, in which way the perfect fourth is formed very precisely. For one third of 26´26″ is 8´49″, the quadruple of which is 35´16″. And note that the consonance of the perfect fourth is found nowhere else between the apparent movements; note also the analogy between the fourth in consonances and the quarter in the phases. And so the above things are found in the movements of the single planets.
But in the extreme movements of two planets compared with one another, the radiant sun of celestial harmonies immediately shines at first glance, whether you compare the diverging extreme movements or the converging. For the ratio between the diverging movements of Saturn and Jupiter is exactly the duple or octave; that between the diverging, slightly more than triple or the octave and the fifth. For one third of 5´30″ is 1´50″, although Saturn has 1´46″ instead of that. Accordingly, the planetary movements will differ from a consonance by a diesis more or less, viz., 26 : 27 or 27 : 28; and with less than one second acceding at Saturn's aphelion, the excess will be 34 : 35, as great as the ratio of the extreme movements of Venus. The diverging and converging movements of Jupiter and Mars are under the sway of the triple octave and the double octave and a third, but not perfectly. For one eighth of 38´1″ is 4´45″, although Jupiter has 4´30″; and between these numbers there is still a difference of 18 : 19, which is a mean between the semitone of 15 : 16 and the diesis of 24 : 25, namely, approximately a perfect lemma of 128 : 135. 1 Thus one fifth of 26´14″ is 5´15″, although Jupiter has 5´30″; accordingly in this case the quintuple ratio is diminished in the ratio of 21 : 22, the augment in the case of the other ratio, viz., approximately a diesis of 24 : 25.
The consonance 5 : 24 comes nearer, which compounds a minor instead of a major third with the double octave. For one fifth of 5´30″ is 1´6″, which if multiplied by 24 makes 26´24″, does not differ by more than a semicomma. Mars and the Earth have been allotted the least ratio, exactly the sesquialteral or perfect fifth: for one third of 57´3″ is 19´1″, the double of which is 38´2″, which is Mars very number, viz., 38´11″. They have also been allotted the greater ratio of 5 : 12, the octave and minor third, but more imperfectly. For one twelfth of 61´18″ is 5´6½″, which if multiplied by 5 gives 25´33″, although instead of that Mars has 26´14″. Accordingly, there is a deficiency of a diminished diesis approximately, viz., 35 : 36. But the Earth and Venus together have been allotted 3 : 5 as their greatest consonance and 5 : 8 as their least, the major and minor sixths, but again not perfectly. For one fifth of 97´37″, which if multiplied by 3 gives 58´33″, which is greater than the movement of the Earth in the ratio 34 : 35, which is approximately 35 : 36: by so much do the planetary ratios differ from the harmonic. Thus one eighth of 94´50″ is 11´51″ +, five times which is 59´16″, which is approximately equal to the mean movement of the Earth. Wherefore here the planetary ratio is less than the harmonic  in the ratio of 29 : 30 or 30 : 31, which is again approximately 35 : 36, the diminished diesis; and thereby this least ratio of these planets approaches the consonance of the perfect fifth. For one third of 94´50″ is 31´37″, the double of which is 63´14″, of which the 61´18″ of the perihelial movement of the Earth falls short in the ratio
of 31 : 32, so that the planetary ratio is exactly a mean between the neighbouring harmonic ratios. Finally, Venus and Mercury have been allotted the double octave as their greatest ratio and the major sixth as their least, but not absolute-perfectly. For one fourth of 384´ is 96´0″, although Venus has 94´50″. Therefore the quadruple adds approximately one comma. Thus one fifth of 164´ is 32´48″, which if multiplied by 3 gives 98´24″, although Venus has 97´37″. Therefore the planetary ratio is diminished by about two thirds of a comma, i.e., 126 : 127.
Accordingly the above consonances have been ascribed to the planets; nor is there any ratio from among the principal comparisons (viz., of the converging and diverging extreme movements) which does not approach so nearly to some consonance that, if strings were tuned in that ratio, the ears would not easily discern their imperfection--with the exception of that one excess between Jupiter and Mars.
Moreover, it follows that we shall not stray far away from consonances if we compare the movements of the same field. For if Saturn's 4 : 5 comp. 53 : 54 are compounded with the intermediate 1 : 2, the product is 2 : 5 comp. 53 : 54, which exists between the aphelial movements of Saturn and Jupiter. Compound with that Jupiter's 5 : 6 comp. 54 : 55, and the product is 5 : 12 comp 54 : 55, which exist between the perihelial movements of Saturn and Jupiter. Thus compound Jupiter's 5 : 6 comp. 54 : 55 with the intermediate ensuing ratio of 5 : 24 comp. 158 : 157, the product will be 1 : 6 comp. 36 : 35 between the aphelial movements. Compound the same 5 : 24 comp. 158 : 157 with Mars 2 : 3 comp. 30 : 29, and the product will be 5 : 36 comp. 25 : 24 approximately, i.e., 125 : 864 or about 1 : 7, between the perihelial movements. This ratio is still alone discordant. With 2 : 3 the third ratio among the intermediates, compound Mars 2 : 3 less 29 : 30; the result will be 4 : 9 comp. 30:29, i.e., 40 : 87, another discord between the aphelial movements. If instead of Mars you compound the Earth's 15 : 16 comp. 137 : 138, you will make 5 : 8 comp. 137 : 138 between the perihelial movements. And if with the fourth of the intermediates, 5 : 8 comp. 31 : 30, or 2 : 3 comp. 31 : 32, you compound the Earth's 15 : 16 comp. 137 : 138, the product will be approximately 3 : 5 between the aphelial movements of the Earth and Venus. For one fifth of 94´50″ is 18´58″, the triple of which is 56´54″, although the Earth has 57´3″. If you compound Venus 34 : 35 with the same ratio, the result will be 5 : 8 between the perihelial movements. For one eighth of 97´37″ is 12´12″+ which if multiplied by 5 gives 61´1″, although the Earth has 61´18″. Finally, if with the last of the intermediate ratios, 3 : 5 comp. 126 : 127 you compound Venus 34 : 35, the result is 3 : 5 comp. 24 : 25, and the interval, compounded of both, between the aphelial movements, is dissonant. But if you compound Mercury's 5 : 12 comp. 38 : 39, the double octave or 1 : 4 will be diminished by approximately a whole diesis, in proportion to the perihelial movements.
Accordingly, perfect consonances are found: between the converging movements of Saturn and Jupiter, the octave; between the converging movements of Jupiter and Mars, the octave and minor third approximately; between the converging movements of Mars and the Earth, the fifth; between their perihelial, the minor sixth; between the extreme converging movements of Venus and Mercury, the major sixth; between the diverging or even between the perihelial, the double octave: whence without any loss to an astronomy which has been built, most subtly of all, upon Brahe's observations, it seems that the residual very slight
discrepancy can be discounted, especially in the movements of Venus and Mercury.
But you will note that where there is no perfect major consonance, as between Jupiter and Mars, there alone have I found the placing of the solid figure to be approximately perfect, since the perihelial distance of Jupiter is approximately three times the aphelial distance of Mars, in such fashion that this pair of planets strives after the perfect consonance in the intervals which it does not have in the movements.
 You will note, furthermore, that the major planetary ratio of Saturn
and Jupiter exceeds the harmonic, viz., the triple, by approximately the same quantity as belongs to Venus; and the common major ratio of the converging and diverging movements of Mars and the Earth are diminished by approximately the same. You will note thirdly that, roughly speaking, in the upper planets the consonances are established between the converging movements, but in the lower planets, between movements in the same field. And note fourthly that between the aphelial movements of Saturn and the Earth there are approximately five octaves; for one thirty-second of 57´3″ is 1´47″, although the aphelial movement of Saturn is 1´46″.
Furthermore, a great distinction exists between the consonances of the single planets which have been unfolded and the consonances of the planets in pairs. For the former cannot exist at the same moment of time, while the latter absolutely can; because the same planet, moving at its aphelion, cannot be at the same time at the opposite perihelion too, but of two planets one can be at its aphelion and the other at its perihelion at the same moment of time. And so the ratio of plain-song or monody, which we call choral music and which alone was known to the ancients, 1 to polyphonycalled "figured song,"; 2 the invention of the latest generationsis the same as the ratio of the consonances which the single planets designate to the consonances of the planets taken together. And so, further on, in Chapters 5 and 6, the single planets will be compared to the choral music of the ancients and its properties will be exhibited in the planetary movements. But in the following chapters, the planets taken together and the figured modern music will be shown to do similar things.
1026:1 GENERAL NOTE: Throughout this text Kepler's concinna and inconcinna are translated as "concordant" and "discordant." Concinna is usually used by Kepler of all intervals whose ratios occur within the "natural system" or the just intonation of the scale. Inconcinna refers to all ratios that lie outside of this system of tuning. "Consonant" (consonans) and "dissonant" (dissonans) refer to qualities which can be applied to intervals within the musical system, in other words to "concords." "Harmony" (harmonia) is used sometimes in the sense of "concordance" and sometimes in the sense of "consonance."
Genus durum and genus molle are translated either as "major mode" and "minor mode," or as "major scale" and "minor scale," or as "major kind" and "minor kind" (of consonances). The use of modus, to refer to the ecclesiastical modes, occurs only in Chapter 6.
As our present musical terms do not apply strictly to the music of the sixteenth and seventeenth centuries, a brief explanation of terms here may be useful. This material is taken from Kepler's Harmonies of the World, Book III.
An octave system in the minor scale (Systema octavae in cantu molli)
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In the major scale (In cantu duro)
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As in all music, these scales can be repeated at one or more octaves above. The ratios would then all be halved, i.e.,
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Various intervals which Kepler considers are:
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All these are simple intervals. When one or more octaves are added to any simple intervals the resultant interval is a "compound" interval.
1 : 3 equals ½ × ⅔an octave and a perfect fifth
3 : 32 equals (½)3 × ¾three octaves and a perfect fourth
1 : 20 equals (½)4 × (16/20)four octaves and a major third
Concords: All intervals from diesis downward on above list.
Consonances: Minor and major thirds and sixths, perfect fourth, fifth, and octave.
"Adulterine" consonances: sub-minor third, ditone, lesser imperfect fourth and fifth, greater imperfect fourth and fifth, imperfect minor sixth, greater major sixth.
Dissonances: All other intervals.
Throughout this work Kepler, after the fashion of the theorists of his time, uses the ratios of string lengths rather than the ratios of vibrations as is usually done today. String lengths are, of course, inversely proportionate to the vibrations. That is, string lengths 4 : 5 are expressed in vibrations as 5 :4. This accounts for the descending order of the scale, which follows the increasing numerical order. It is an interesting fact that Kepler's minor and major scales are inversions of each other and hence, when expressed in ratios of vibrations, are in the opposite order from those in ratios of string lengths:
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An arbitrary pitch G is chosen to situate these ratios. This g or "gamma" was usually the lowest tone of the sixteenth-century musical gamut.
ELLIOTT CARTER, JR.
1032:1 cf. Footnote to Intervals Compared with Harmonic Ratios, p. 1026.
1034:1 The choral music of the Greeks was monolinear, everyone singing the same melody together.E. C., Jr.
1034:2 In plain-song all the time values of the notes were approximately equal, while in "figured song" time values of different lengths were indicated by the notes, which gave composers an opportunity both to regulate the way different contrapuntal parts joined together and to produce many expressive effects. Practically all melodies since this time are in "figured song" style.E. C., Jr.