Harmony, with an appendix containing one hundred graduated exercises . lly, when octaves or fifths will appear. Q. Are they always forbidden ? A. No, they are sometimes used with good effect. EXERCISES ON THE SUSPENSION NINE TOEIGHT, AND ITS INVERSIONS. I. (Filled up for an example to the pupil.) g=5 J: ^±1 u zS: ^ ^?=: ^^^ r -o—.s —^ m -^ 9=(=^ ^ zz: z=^ ^^ ^^ ^ 1—r ^- jri. jS- -A I A. («^ zz: -^-^ Z2Z 1 1- 8 9 8 9 8 8 8 6 6- 5 4 [Notice that the fifth of the tonic is doubled in the inversions.] HARMONY. 69 ALTO AND TENOR PARTS TO BE ADDED. II. ie^ ^ ^ -~^ i^ Q Q I r :?= 98 6 986 98 98 6 98 9
Harmony, with an appendix containing one hundred graduated exercises . lly, when octaves or fifths will appear. Q. Are they always forbidden ? A. No, they are sometimes used with good effect. EXERCISES ON THE SUSPENSION NINE TOEIGHT, AND ITS INVERSIONS. I. (Filled up for an example to the pupil.) g=5 J: ^±1 u zS: ^ ^?=: ^^^ r -o—.s —^ m -^ 9=(=^ ^ zz: z=^ ^^ ^^ ^ 1—r ^- jri. jS- -A I A. («^ zz: -^-^ Z2Z 1 1- 8 9 8 9 8 8 8 6 6- 5 4 [Notice that the fifth of the tonic is doubled in the inversions.] HARMONY. 69 ALTO AND TENOR PARTS TO BE ADDED. II. ie^ ^ ^ -~^ i^ Q Q I r :?= 98 6 986 98 98 6 98 98 ^ i ?g r. =2:fc=S ->^ .^ fj 2ZI ::^ S (no 5th) (no 3rd) (no 3rd) -^^ S^ =?^ :^ Sfe: =^ It 766 6-B 6 6 986 6-6 3- 544 5 543 3 III. # 1 p^ 1 rJ - -^ H*- -^- ;« C^i —*- -rS^ —s^— ^- 1 r-v ^^:-^ -4— 1 —i L -| 1 r ^—I- 4 6 6 9 83 5 6 5 9 8 -^U- I i-:^i E^ * * -^ ^^ d ^ n (no 5th) (no 5th) (no 3rd) ^ =& :^ 6=1: r^ r-i- ^—^1—r cr- 7 63- 6 98 5G 7666 3 - 6 - 8 75 4 70 HARMONY. TREBLE. ALTO, AND TENOR TO BE ADDED.*. 4 7 62 3- V. E& ISIZZ ^ ^ ^=?=: isi 6 5 9 8 4 3 65 9 84 3 7 63- ^ ^^^ :St 7 63- 9 8 7 63- 9 8 6 54 3 VI. W^ m m ^ IE£ :?2= zi: 6 54 3 9 8 9 8 6- 5 4 9 8 grit it r^ g» ^^P^ ^ 2i: 2:^: 7 6 6 9 83- 5 t 6 98 0 7 63 - 5 63 4 * The pupil must be careful to remember that there is no 5 in I, and no 3in I when they represent respectively the first and second inversion of thesuspension g to 8. In all other cases ?, includes 5 ; g includes 3. HARMONY. 71 CHAPTER IX. 112. It has been already stated tliat the 9 to 8 is used onvarious degrees of the scale, and in the exercises just given itwill occasionally be found on the Dominant. But it is sofrequently used without preparation on the dominant that itcannot be called a suspension ; some authors call it the chordof the Added Ninth ; others, the Fundamental Ninth. Thechord of the Dominant Ninth is, however, the best name for its full form it is not so often met with as in its inversions. It is rarely
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