Harmony, its theory and practice . loo Harmony. good example of this resolution : </ [Chap. VIII. Ex, 167. Schumann. Paradise and the Peri. *l. fifi I 244. As a chord of the seventh contains three notes besidesthe root, it must of course be susceptible of three speaking of the treatment of each inversion separately,we will explain their figuring, and the way in which the rootsare to be marked. If the student thoroughly understands thefiguring of the various positions of a common chord, those of thedominant seventh will cause him but little difficulty; for thischord is simp
Harmony, its theory and practice . loo Harmony. good example of this resolution : </ [Chap. VIII. Ex, 167. Schumann. Paradise and the Peri. *l. fifi I 244. As a chord of the seventh contains three notes besidesthe root, it must of course be susceptible of three speaking of the treatment of each inversion separately,we will explain their figuring, and the way in which the rootsare to be marked. If the student thoroughly understands thefiguring of the various positions of a common chord, those of thedominant seventh will cause him but little difficulty; for thischord is simply a major common chord with an additional thirdabove it. Let the student remember the simple rules for findingthe root of a chord given in §§ 174, 175. We already know(§ 232,) that the root-position of a chord of the dominant seventh 7is figured 7, the full figuring being 5—all odd numbers. 3 245. Let us now take the three inversions of the same chord,and compare the first two of them with the inversions of acommon chord. Ez. 168.
Size: 3315px × 754px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectharmony, bookyear1903
