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The Theory and Practice of Tone-Relations; An Elementary Course of Harmony with Emphasis Upon the Element of Melody

The Theory and Practice of Tone-Relations; An Elementary Course of Harmony with Emphasis Upon the Element of Melody


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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1917 Excerpt: ...2, 7, 11, 16.--Lesson 13, Nos. 4, 9.--Lesson 16, Nos. 2, 8.--Lesson 18, Nos. 2, 5, 7. i) One chord, or two, at option.--2) One bass tone (e-flat) for both of these notes. Comp. Ex. 93, note 2).--3) The slurs indicate, as usual, that the chord remains the same. The lower parts may change, or may be simply held; the latter is preferable, almost regardless of duplications, as such active melodic figures should be harmonized as quietly as possible.--4) At each repeated tone throughout this melody the bass note must be changed. CHAPTER XXII. DOM.-SEVENTH. LICENCES OF CHORD-REPETITION. 158. When the chord of the dom.-seventh is repeated, the following liberties may be taken with the chord-seventh: 7 a) During the repetition of the V, the seventh may pass downward to any other interval of the chord. This is possible in any part, and is equivalent to resolution. i) The seventh disappears; V becomes V--another form of the same chord.--2) Here the seventh reappears, in another part.--3) Carefully note the manner of figuring the bass. These figures should indicate all the essential tones, and, generally, the manner in which they move. b) Much more rarely, the seventh may pass upward, when the chord is repeated, but only in an inner part, as a rule. If the seventh passes upward, in soprano or in bass, it should immediately turn back, if possible into the resolving-tone. i) Better, because the seventh, after ascending, returns to the resolving-tone.--2) The seventh resolves where it last appears.--$) In the outer parts, the resolving-tone must follow immediately, as here.--4) This is wrong, because both parts aim for the resolvingtone, and make unequal octaves.--$) The ascending seventh, in bass especially, must return to the resolving-tone. LESSON 23. i) One bass note, ..


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Product Details
  • ISBN-13: 9781231924556
  • Publisher: Rarebooksclub.com
  • Publisher Imprint: Rarebooksclub.com
  • Height: 246 mm
  • No of Pages: 38
  • Spine Width: 2 mm
  • Width: 189 mm
  • ISBN-10: 1231924551
  • Publisher Date: 01 May 2012
  • Binding: Paperback
  • Language: English
  • Returnable: N
  • Weight: 86 gr


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