Theory And Practice of Musical Composition
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$ iM^E^y J J T r T f f It is apparent that the manner of No. 167 is the lightest; that of No. 168 is also flowing, but the zigzag movement of the middle voice in No. 169 makes it heavier and only appropriate for slow movements.
4. The quart-sext chord can also be employed in a small suc- cession, like, 170.
W j=^ f rrT but a longer continuation of it gives a very unsatisfactory result.
The figuring of the above is easily found. If we dislike the constant repetition of the same figures, we can m...ark them by dashes placed under or over the bass. Thus the following figuring 171.
J i i :^ m -f-^-^^-^-r-^^ See Appendix A.
138 tells us that to each tone of the lower voice we are to take a sext chord.
B. — Combination ef Inversions with fundamental chords.
In the above we have used the inversions independently. The combination of inversions and fundamental chords gives us a much more extensive source of designs. We need not mention that evert/ inverston can be combined with every fundamental chord, as long as they do not cause faulty progressions.
What to read after Theory And Practice of Musical Composition?
You can find similar books in the "Read Also" column, or choose other free books by Adolf Bernhard Marx to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
$ iM^E^y J J T r T f f It is apparent that the manner of No. 167 is the lightest; that of No. 168 is also flowing, but the zigzag movement of the middle voice in No. 169 makes it heavier and only appropriate for slow movements.
4. The quart-sext chord can also be employed in a small suc- cession, like, 170.
W j=^ f rrT but a longer continuation of it gives a very unsatisfactory result.
The figuring of the above is easily found. If we dislike the constant repetition of the same figures, we can m...ark them by dashes placed under or over the bass. Thus the following figuring 171.
J i i :^ m -f-^-^^-^-r-^^ See Appendix A.
138 tells us that to each tone of the lower voice we are to take a sext chord.
B. — Combination ef Inversions with fundamental chords.
In the above we have used the inversions independently. The combination of inversions and fundamental chords gives us a much more extensive source of designs. We need not mention that evert/ inverston can be combined with every fundamental chord, as long as they do not cause faulty progressions.
What to read after Theory And Practice of Musical Composition?
You can find similar books in the "Read Also" column, or choose other free books by Adolf Bernhard Marx to read onlineMoreLess
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