. Harmony : a course of study . *^ bâFâb> #âFâs?âfiâre? ^âFâ«>âLTp i. 2. 6. ,âp_câ[,âpâ^g^g g jââ¢âs^â*â#-g^-]-*â#-gHu TTT ri 2J l?p=^=F&2f ±& m& #Â¥**=t=fr=t=l +â*- *=t P=^- The skip to the diminished seventh in the bass at of, 2, is excusedby the smoothness of the other voices. At d, 2, the free ascent ofthe third completes the chord. At d, 4, the crossing of the tenor bythe bass compels the change of position. EXERCISES TO LESSON XXXV. m t=& t=t t &â&- -g- t=i it I 1 I II /=* * fc=t 1 r^ 1 p ). f=e=e mrr p=* i±i I *5 BBLdjzgil t=tpt pggj at:* a:5. =Â¥ I $* §^r r r j jii
. Harmony : a course of study . *^ bâFâb> #âFâs?âfiâre? ^âFâ«>âLTp i. 2. 6. ,âp_câ[,âpâ^g^g g jââ¢âs^â*â#-g^-]-*â#-gHu TTT ri 2J l?p=^=F&2f ±& m& #Â¥**=t=fr=t=l +â*- *=t P=^- The skip to the diminished seventh in the bass at of, 2, is excusedby the smoothness of the other voices. At d, 2, the free ascent ofthe third completes the chord. At d, 4, the crossing of the tenor bythe bass compels the change of position. EXERCISES TO LESSON XXXV. m t=& t=t t &â&- -g- t=i it I 1 I II /=* * fc=t 1 r^ 1 p ). f=e=e mrr p=* i±i I *5 BBLdjzgil t=tpt pggj at:* a:5. =Â¥ I $* §^r r r j jii r riiuu^r rr?^ m (»% n6 HARMONY. LESSON XXXVI. COMBINATION OF THE PRECEDING MODULATIONS. The exercises of Lessons XXXIV and XXXV may be combined,forming complete periods containing a modulation from a major keyto its supertonic and return, or from a minor key to its minor seventhdegree and return. _L 171 ** 3 =t â¢^âg> fe -Â¥â a Eg 4=t=Et=t. 3a: J 37- -S. -ffi- -f2_ g ^ 1 S / i i The others may be combined in the same way. Our modulating phrases may be made more artistic by the use ofthe deceptive cadence (the triad of the submediant following thedominant seventh chord), since the chord of the subdominant in thefinal cadence may succeed the submediant as well as the tonic. a : I xV 7 vi or vi IV IJ V I x stands for the new key. This formula, applied to some of the given modulations, gives I to V. i I to IV. \ I to VI. i=4=\: F:Y1 a:V7 > \ HARMONY. 7 I to III. I to II. mlwitMHMitttti =t gâ|âf~2H-JM3L#--aL-#H-#-#-|â â*â*-^-j+^ I I *:V7 VI rf:VI II to I. i I- in to I. a. i i rrrt-y-H J 4 J=f t j 4 H 9± B S>- t=t II C:V7 C:V7 By combining all the modulations already given, as temporarytransitions from key to key, an interesting harmonic fabric is formed,which may be illustrated thus: 172. 4â-I- -1âr i -23- -&-ftzJ-\-&âsM-^â^-h5^â^ I r eX â
Size: 1955px × 1278px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookidharmonycours, bookyear1910
