Modern Harmony in Its Theory And Practice
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In our eReader you can find the full English version of the book. Read Modern Harmony in Its Theory And Practice Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book Modern Harmony in Its Theory And Practice
What reading level is Modern Harmony in Its Theory And Practice book?
To quickly assess the difficulty of the text, read a short excerpt:
^ 1 I i 3 6 6 f 6 J 5J 6 S 66 6 4 666 4 .. -j --^'b 4 1 -r F ^ 3 6 6 6 4 66$ 4 8. Open- 3 6 6 6 4 9. Open- -4SL -Close.
36666 4 10.
6 6 4 Open- 6 4 12.
>iz4: I 6 13. Close.
II 36656 14. (Chant. ) I 6 6 HARMONY 63 -R-%ff-2-H r. R- +ere(l that especial attention must be given to the bass (45); we Hhould try to have it melodious, preferring generally movement by step, rather than by skip, and avoiding awkward skips. An important gain resulting from the use of the chord of the Oth is that we can do... away with pointless repetitions of the same bass tone, resulting from the repetition of a triad; in case the triad is repeated in root position, the bass may skip an 8ve, up or down, with good effect.
64 HARMONY The skip of a 6th is unnecessary and not so natural as that of a 3d (measure 1 and 3-4); skips of a 7th (measures 2, 3) are so awkward and unvocal that they must rarely be used ; the monotonous repetitions in measures 4-5-6 can he improved by inversions; finally the 6 and 6-4 chords in measure 7 are excellent examples of what to avoid, each being weak and inappropriate in this connection.
What to read after Modern Harmony in Its Theory And Practice?
You can find similar books in the "Read Also" column, or choose other free books by Arthur Foote to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
^ 1 I i 3 6 6 f 6 J 5J 6 S 66 6 4 666 4 .. -j --^'b 4 1 -r F ^ 3 6 6 6 4 66$ 4 8. Open- 3 6 6 6 4 9. Open- -4SL -Close.
36666 4 10.
6 6 4 Open- 6 4 12.
>iz4: I 6 13. Close.
II 36656 14. (Chant. ) I 6 6 HARMONY 63 -R-%ff-2-H r. R- +ere(l that especial attention must be given to the bass (45); we Hhould try to have it melodious, preferring generally movement by step, rather than by skip, and avoiding awkward skips. An important gain resulting from the use of the chord of the Oth is that we can do... away with pointless repetitions of the same bass tone, resulting from the repetition of a triad; in case the triad is repeated in root position, the bass may skip an 8ve, up or down, with good effect.
64 HARMONY The skip of a 6th is unnecessary and not so natural as that of a 3d (measure 1 and 3-4); skips of a 7th (measures 2, 3) are so awkward and unvocal that they must rarely be used ; the monotonous repetitions in measures 4-5-6 can he improved by inversions; finally the 6 and 6-4 chords in measure 7 are excellent examples of what to avoid, each being weak and inappropriate in this connection.
What to read after Modern Harmony in Its Theory And Practice?
You can find similar books in the "Read Also" column, or choose other free books by Arthur Foote to read onlineMoreLess
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