. Harmony : a course of study . q-r 1 1 TTTTh i—I—,——I—i—1-+ H-J—M •+. LESSON LXVII. ACCOMPANIMENTS. Accompaniments are formed by representing the tones of a funda-mental harmony in succession or by repetition, or as combinations ofboth, forming figures which are reiterated at each accented beat, oroftener. These conventional figures, of which there are practicallyan infinite number, trace their rhythmic origin to the broken chordsand arpeggio forms in one, two, three, or even more voices. In themore idealized forms, the nonharmonic tones and embellishments arealso freely combined with the ton
. Harmony : a course of study . q-r 1 1 TTTTh i—I—,——I—i—1-+ H-J—M •+. LESSON LXVII. ACCOMPANIMENTS. Accompaniments are formed by representing the tones of a funda-mental harmony in succession or by repetition, or as combinations ofboth, forming figures which are reiterated at each accented beat, oroftener. These conventional figures, of which there are practicallyan infinite number, trace their rhythmic origin to the broken chordsand arpeggio forms in one, two, three, or even more voices. In themore idealized forms, the nonharmonic tones and embellishments arealso freely combined with the tones of the chord; two ( or more )figures of accompaniment may be used simultaneously; contrapuntalparts are even introduced, or secondary melodies in the form of anobligato added to the accompaniment. The function of the accompaniment is to furnish a harmonic andrhythmic background, which shall enhance the beauty and effect ofthe melody itself. 2I4 HARMONY. Some of the more common figures of accompaniment are a?follows. Beginning with the broken chord form, in one vo
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