Harmony, with an appendix containing one hundred graduated exercises . 221 :^ 12^ 321 =?z: 7 64-2- 9 8 4 3 ^^ :S?2: VI. 4 3 6 76 6 4— 53- 9 8 9 8 6- 5 4 ^^E&^=^ rir r :a= 7 64-3- 7 64-3- 9 8 :f=F :& ^ S :^ 6 4 6 7 64 2 3- 4 5-54 6-652 2-32 5643 -:^:- 8i CHAPTER XI. 122. When two notes are suspended the chord is termed aDouble Suspension. When three notes are suspended thechord is called a Triple Suspension. Double and triple suspensions are formed by the combinationof those already learnt by the pupil—namely, 9 to 8, 4 to 3, and7 to 8. Ex. 120. Ex. 121. Ex. 122. m \ L f -r:)- m i s ^ g> i ?
Harmony, with an appendix containing one hundred graduated exercises . 221 :^ 12^ 321 =?z: 7 64-2- 9 8 4 3 ^^ :S?2: VI. 4 3 6 76 6 4— 53- 9 8 9 8 6- 5 4 ^^E&^=^ rir r :a= 7 64-3- 7 64-3- 9 8 :f=F :& ^ S :^ 6 4 6 7 64 2 3- 4 5-54 6-652 2-32 5643 -:^:- 8i CHAPTER XI. 122. When two notes are suspended the chord is termed aDouble Suspension. When three notes are suspended thechord is called a Triple Suspension. Double and triple suspensions are formed by the combinationof those already learnt by the pupil—namely, 9 to 8, 4 to 3, and7 to 8. Ex. 120. Ex. 121. Ex. 122. m \ L f -r:)- m i s ^ g> i ?ci= ~<r:n ^ ==±: S m 9 8 By combining 9 to 8, and 4 to 3, we obtain-Ex. By combining 4 to 3, and 7 to 8, we ohtain- Ex. 124. .V ^ 82 HARMONY. By combining 9 to 8, and 7 to 8, we obtain— 4^ Ex. 125. i JFf zaLi m 0Z 1— I These three (Ex. 123 to 125) are the most important doublesuspensions in use. They may be remembered by their figuring : 9 8- 78 4 3 > 4 3 7 123. By combining the three suspensions in Ex. 120 to 122,we obtain— „ 1 ,--:rr^ 1 1 Ex. 126. W^ =P2= -^r- w=^ -^rr- This triple suspension may be remembered by its figuring: 7 8_ 124. We have already stated that the dominant eleventh isheard not only by itself, but also with the seventh. Ex. 127. i i -- d Ex. 128. m -^zr \ ^ ^ ::^ m ~izr If we add the dominant ninth to Ex. 128, we shall obtain— Ex. 129.
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectharmony, bookyear1900
