A Practical Introduction to Composition Harmony Simplified
A Practical Introduction to Composition Harmony Simplified
Francis Lodowick York
The book A Practical Introduction to Composition Harmony Simplified was written by author Francis Lodowick York Here you can read free online of A Practical Introduction to Composition Harmony Simplified book, rate and share your impressions in comments. If you don't know what to write, just answer the question: Why is A Practical Introduction to Composition Harmony Simplified a good or bad book?
What reading level is A Practical Introduction to Composition Harmony Simplified book?
To quickly assess the difficulty of the text, read a short excerpt:
The use of the seventh chords in the* minor mode varies but little from their use in the major mode. All the harmonies on tiie dominant, that is, the V^, V^ g, V^ g ^^, Y,, g ^^ ^3, are only found when the dominant is made major, and are then used as in the major mode, but the chords themselves are slightly different in their form. The V^ is the same in both modes, and the reso- lution of the third (Se) and the seventh (Ray) is the same, only Ray moves down a whole step to Doh, whereas in the m...ajor mode the seventh of the V^ (Fah) moves down a half step to Me. The Y^ g is used as in the major mode, but the ninth (Fah) is a minor ninth, resolving downward a half step. The v., jj, or Y,j g ^^, is rare, but is used as in the major mode. The V,, j3, which is about the only form in which the chord of the thirteenth occurs, is used as in the major mode, the thirteenth being here a minor interval. The 11^ is very frequently used, and in the same way as in the major mode. Figure 119, d. The VI^ and the III^ are used as are the corresponding chords ia the major mode.
User Reviews: