The Harmonies of the World by Johannes Kepler



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Here the aphelial movement of Jupiter is not allowed, but at the most acute tuning Saturn practically joins in with its perihelial movement.

But there can also exist the following harmony of the four planets, Saturn, Jupiter, Mars, and Mercury, wherein too the aphelial movement of Mars is present, but it is without latitude of tuning.

p. 1047






p. 1048


Accordingly the movements of the heavens are nothing except a certain everlasting polyphony (intelligible, not audible) with dissonant tunings, like certain syncopations or cadences (wherewith men imitate these natural dissonances), which tends towards fixed and prescribed clauses—the single clauses having six terms (like voices)— and which marks out and distinguishes the immensity of time with those notes. Hence it is no longer a surprise that man, the ape of his Creator, should finally have discovered the art of singing polyphonically [per concentum], which was unknown to the ancients, namely in order that he might play the everlastingness of all created time in some short part of an hour by means of an artistic concord of many voices and that he might to some extent taste the satisfaction of God the Workman with His own works, in that very sweet sense of delight elicited from this music which imitates God.

NOTE: The comparison Kepler draws between the celestial harmonies and the polyphonic music of his time may be clarified by a simple example for four voices from—Palestrina, O Crux:



 

As will be observed each of the four voices (as it would also be with the six to which Kepler refers) moves from one consonant chord to another while following a graceful melodic line. Sometimes bits of scales or passing tones are added to give a voice more melodic freedom expressiveness. For the same reason a voice may remain on the same note while the other voices change to a new chord. When this becomes a dissonance (called a syncopation) in the new chord it usually resolves by moving one step downward to a tone that is consonant with the other voices. As in this example each section or "clause" ends with a cadence.



E. C., JR.



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