The Theory And Practice of Tone-Relations; An Elementary Course of Harmony With Emphasis Upon the Element of Melody
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^ e V 86 THE THEORY AND PRACTICE OF TONE- RELATIONS. Par. 185.
i -^—^ — ^ *3) -(J)^- ^^ i^\ J- -J- J 1^^^^^^^ I ^^ g V 7 V g *i) A-natural in major, and a-/ai in minor. — *2) These first five measures illustrate the resolution of the II'' into each of the five dominant chord-forms. — *3) The second inversion of the IP is best in minor. Otherwise no distinction is made between the two modes.
1 . . , , 185. The II and its inversions, like the dominant discords, are also en- titled to the licences... of chord-repetition (review par. 158); and those invol- ving the stationary seventh (review par. 160).
For the progressions with stationary seventh (into the tonic chords I or VI) the Second-class discords all evince great preference.
Ex.
136. / C major and minor, i 45- 1*1) -4^^- ^^ ^ VH^ i^ *4) f- *2)' ^ W^ m ^^ I ,iJ.,UM^^-A^.ii W W^^^^ ^ 1^*3) I a « I, *i) A curious example of parallel sths (perfect) in both pairs of upper and lower parts.
They are justified by chord-repetition. — *2) It is not unusual for the 7th of the IP to leap downward, thus, to the dominant, to avoid doubling the leading-tone, when the latter is in bass.
What to read after The Theory And Practice of Tone-Relations; An Elementary Course of Harmony With Emphasis Upon the Element of Melody?
You can find similar books in the "Read Also" column, or choose other free books by Goetschius, Percy, 1853-1943 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
^ e V 86 THE THEORY AND PRACTICE OF TONE- RELATIONS. Par. 185.
i -^—^ — ^ *3) -(J)^- ^^ i^\ J- -J- J 1^^^^^^^ I ^^ g V 7 V g *i) A-natural in major, and a-/ai in minor. — *2) These first five measures illustrate the resolution of the II'' into each of the five dominant chord-forms. — *3) The second inversion of the IP is best in minor. Otherwise no distinction is made between the two modes.
1 . . , , 185. The II and its inversions, like the dominant discords, are also en- titled to the licences... of chord-repetition (review par. 158); and those invol- ving the stationary seventh (review par. 160).
For the progressions with stationary seventh (into the tonic chords I or VI) the Second-class discords all evince great preference.
Ex.
136. / C major and minor, i 45- 1*1) -4^^- ^^ ^ VH^ i^ *4) f- *2)' ^ W^ m ^^ I ,iJ.,UM^^-A^.ii W W^^^^ ^ 1^*3) I a « I, *i) A curious example of parallel sths (perfect) in both pairs of upper and lower parts.
They are justified by chord-repetition. — *2) It is not unusual for the 7th of the IP to leap downward, thus, to the dominant, to avoid doubling the leading-tone, when the latter is in bass.
What to read after The Theory And Practice of Tone-Relations; An Elementary Course of Harmony With Emphasis Upon the Element of Melody?
You can find similar books in the "Read Also" column, or choose other free books by Goetschius, Percy, 1853-1943 to read onlineMoreLess
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