Harmonies Of The World - Ch. 8 by Johannes Kepler Lyrics
8. IN THE CELESTIAL HARMONIES WHICH PLANET SINGS SOPRANO, WHICH ALTO, WHICH TENOR, AND WHICH BASS?
Although these words are applied to human voices, while voices or sounds do not exist in the heavens, on account of the very great tranquillity of movements, and not even the subjects in which we find the consonances are comprehended under the true genus of movement, since we were considering the movements solely as apparent from the sun, and finally, although there is no such cause in the heavens, as in human singing, for requiring a definite number of voices in order to make consonance (for first there was the number of the six planets revolving around the sun, from the number of the five intervals taken from the regular figures, and then afterwards—in the order of nature, not of time—the congruence of the movements was settled): I do not know why but nevertheless this wonderful congruence with human song has such a strong effect upon me that I am compelled to pursue this part of the comparison, also, even without any solid natural cause. For those same properties which in Book III, [300] Chapter 16, custom ascribed to the bass and nature gave legal grounds for so doing are somehow possessed by Saturn and Jupiter in the heavens; and we find those of the tenor in Mars, those of the alto are present in the Earth and Venus, and those of the soprano are possessed by Mercury, if not with equality of intervals, at least proportionately. For howsoever in the following chapter the eccentricities of each planet are deduced from their proper causes and through those eccentricities the intervals proper to the movements of each, none the less there comes from that the following wonderful result (I do not know whether it is occasioned by the procurement and mere tempering of necessities): (1) as the bass is opposed to the alto, so there are two planets which have the nature of the alto, two that of the bass, just as in any Mode of song there is one [bass and one alto] on either side, while there are single representatives of the other single voices. (2) As the alto is practically supreme in a very narrow range [in angustiis] on account of necessary and natural causes unfolded in Book III, so the almost innermost planets, the Earth and Venus, have the narrowest intervals of movements, the Earth not much more than a semitone, Venus not even a diesis. (3) And as the tenor is free, but none the less progresses with moderation, so Mars alone—with the single exception of Mercury—can make the greatest interval, namely a perfect fifth. (4) And as the bass makes harmonic leaps, so Saturn and Jupiter have intervals which are harmonic, and in relation to one another pass from the octave to the octave and perfect fifth. (5) And as the soprano is the freest, more than all the rest, and likewise the swiftest, so Mercury can traverse more than an octave in the shortest period. But this is altogether per accidens; now let us hear the reasons for the eccentricities.
Although these words are applied to human voices, while voices or sounds do not exist in the heavens, on account of the very great tranquillity of movements, and not even the subjects in which we find the consonances are comprehended under the true genus of movement, since we were considering the movements solely as apparent from the sun, and finally, although there is no such cause in the heavens, as in human singing, for requiring a definite number of voices in order to make consonance (for first there was the number of the six planets revolving around the sun, from the number of the five intervals taken from the regular figures, and then afterwards—in the order of nature, not of time—the congruence of the movements was settled): I do not know why but nevertheless this wonderful congruence with human song has such a strong effect upon me that I am compelled to pursue this part of the comparison, also, even without any solid natural cause. For those same properties which in Book III, [300] Chapter 16, custom ascribed to the bass and nature gave legal grounds for so doing are somehow possessed by Saturn and Jupiter in the heavens; and we find those of the tenor in Mars, those of the alto are present in the Earth and Venus, and those of the soprano are possessed by Mercury, if not with equality of intervals, at least proportionately. For howsoever in the following chapter the eccentricities of each planet are deduced from their proper causes and through those eccentricities the intervals proper to the movements of each, none the less there comes from that the following wonderful result (I do not know whether it is occasioned by the procurement and mere tempering of necessities): (1) as the bass is opposed to the alto, so there are two planets which have the nature of the alto, two that of the bass, just as in any Mode of song there is one [bass and one alto] on either side, while there are single representatives of the other single voices. (2) As the alto is practically supreme in a very narrow range [in angustiis] on account of necessary and natural causes unfolded in Book III, so the almost innermost planets, the Earth and Venus, have the narrowest intervals of movements, the Earth not much more than a semitone, Venus not even a diesis. (3) And as the tenor is free, but none the less progresses with moderation, so Mars alone—with the single exception of Mercury—can make the greatest interval, namely a perfect fifth. (4) And as the bass makes harmonic leaps, so Saturn and Jupiter have intervals which are harmonic, and in relation to one another pass from the octave to the octave and perfect fifth. (5) And as the soprano is the freest, more than all the rest, and likewise the swiftest, so Mercury can traverse more than an octave in the shortest period. But this is altogether per accidens; now let us hear the reasons for the eccentricities.