Harmony, its theory and practice . 192 Harmony. [Chap. XIV. Judas Ex. 364. As the note which was the thirteenth is now a seventh, it is nolonger always advisable to keep it at the top of the chord; inEx. 364 it is in the tenor. 441. The chord in this form can also be resolved on thesecond inversion of the tonic chord, when the seventh will re-main as the third of the chord. (Compare Exs. 354, 361.) Mbndslssohn. St. Paul. ^ ^^ 4- Ez, 365. ^ * J. m==r~r~? T 442. The three upper notes (ninth, eleventh, and thir-teenth,) of a chord of the thirteenth give the chord of thesubmediant. As
Harmony, its theory and practice . 192 Harmony. [Chap. XIV. Judas Ex. 364. As the note which was the thirteenth is now a seventh, it is nolonger always advisable to keep it at the top of the chord; inEx. 364 it is in the tenor. 441. The chord in this form can also be resolved on thesecond inversion of the tonic chord, when the seventh will re-main as the third of the chord. (Compare Exs. 354, 361.) Mbndslssohn. St. Paul. ^ ^^ 4- Ez, 365. ^ * J. m==r~r~? T 442. The three upper notes (ninth, eleventh, and thir-teenth,) of a chord of the thirteenth give the chord of thesubmediant. As the notes of this chord, whether in a major orminor key, are all consonant, we do not analyze it as a deriva-tive (Compare §§ 391, 418), but as a diatonic triad. 443. It was said in § 421 that it was extremely rare to findall the notes of a chord of the thirteenth present at once. Theonly example we have met with is in a well-known passage inthe finale of Beethovens Choral Symphony, quoted by Mac-farren in his Six Lectures on Harmony as a specimen of thechord in its com
Size: 2875px × 869px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectharmony, bookyear1903
