in Music, is when one of the parts dwells on a note, while another part makes two or more lesser notes equivalent to it, by conjoint degrees.

Supposition is defined by a late author the using of two succeeding notes, of the same value as the time; the one whereof, being a discord, supposes the other a con- cord.

The harmony, Mr Malcolm observes, is always to be full on the accented parts of the bar or measure; but, on the unaccented, discords may transiently pass, with- out any offence to the ear. This transient use of dis- cords, followed by concords, make what we, after the French, call supposition.

Concord by supposition are those where the conti- nued bass adds or supposes a new found below the fun- damental bass; whence such concords always exceed the extent of the octave. Of these concords there are three sorts, all which are concords of the seventh: the first, when the added found is a third below the fundamental found; such is the concord of the ninth: and if the concord of the ninth is formed by the mediant, added below the sensible concord in the minor mode, then the concord is called the superfluous fifth. The second kind is, when the supposed found is a fifth below the funda- mental found, as in the concord of the fourth or ele- venth; and if the concord be sensible, and the tonic be supposed, this concord is called the superfluous seventh. The third kind is that where the supposed found is be- low a concord of the diminished seventh: if it is a fifth below, i.e. if the supposed found be the mediant, the concord is called the concord of the fourth and super- fluous fifth: if it is a seventh below, i.e. if the supposed found be the tonic, the concord is called the lesser sixth and superfluous seventh.