Modern harmony, its explanation and application . eptableness of the root in theInversions _^ • j- • of the inversions is entirely dependent on the 3udicious Ninth. distribution of parts. The series may be extended to the eleventh and thirteenth, and aU the alterations may apply with equal force. Example 194 shows the appearance of the root, together with the ninth, in the third inversion of a thirteenth on the Dominant. 94 MODERN HARMONY Largamente. BUTTERWORTH,Shropshire Lad Rhapsody W ±: £,. X- (Orch.) ^ -i_J=- T=^ We have already shown in Chapter II. the greater freedomused in
Modern harmony, its explanation and application . eptableness of the root in theInversions _^ • j- • of the inversions is entirely dependent on the 3udicious Ninth. distribution of parts. The series may be extended to the eleventh and thirteenth, and aU the alterations may apply with equal force. Example 194 shows the appearance of the root, together with the ninth, in the third inversion of a thirteenth on the Dominant. 94 MODERN HARMONY Largamente. BUTTERWORTH,Shropshire Lad Rhapsody W ±: £,. X- (Orch.) ^ -i_J=- T=^ We have already shown in Chapter II. the greater freedomused in applying the harmonic series to any note of the empirical method is just as widely applicable. If we regard the triads—the five-threes, the six-threes,and the six-fours —as so many ways of dividing an octaveinto three parts, we may consider these more extensive seriesof thirds as methods of dividing the double octave. TheDebussy and Ravel examples exemplify the application ofthe diatonic type shown in Example 195 (a). ,. RAVEL,Valses nooles.(later) ^ ^ ^
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectharmony, bookyear1915
