. Harmony for ear, eye, and keyboard (first year). (g). Do not leapin the same direction to both root and seventh {from anotherchord), as at (h). (a) (b) (c) (d) (e) (J) (g) (g) (h) J-J J J,, J ; w 2 *£=# p t n w e W P A I Bad U 7 6 7 8 7 7 67 57 87 67 4 In Ex. 28 (c) the fifth in V7 between alto and soprano isdiminished. These are therefore not bad parallels. At (/)the leap of an octave is equivalent to note-repetition. At(h) the seventh in outer voices is so exposed as to be verydisagreeable. SIGHT-SINGING AND EAR-TRAINING Sight-Singing: Spend a few minutes on two-part sight-reading.
. Harmony for ear, eye, and keyboard (first year). (g). Do not leapin the same direction to both root and seventh {from anotherchord), as at (h). (a) (b) (c) (d) (e) (J) (g) (g) (h) J-J J J,, J ; w 2 *£=# p t n w e W P A I Bad U 7 6 7 8 7 7 67 57 87 67 4 In Ex. 28 (c) the fifth in V7 between alto and soprano isdiminished. These are therefore not bad parallels. At (/)the leap of an octave is equivalent to note-repetition. At(h) the seventh in outer voices is so exposed as to be verydisagreeable. SIGHT-SINGING AND EAR-TRAINING Sight-Singing: Spend a few minutes on two-part Ear-Training: When having occasion to write chro-matics, be sure to analyze the tendency of the chromatic tone beforenotating it. If its tendency is upward, use the notation of the ascendingform of the chromatic scale; similarly, if its tendency is downward, usethe notation of the descending scale: —Ex: Mi ri mi, not Mi me mi;Re ra do, not Re di fi fa is the common exception to this rule. HARMONY FOR EAR, EYE, AND KEYBOARD 77 iU. Harmonic: Use examples 27(a), (e), and other positions of V7. ASSIGNMENT Keyboard Work: Play (and spell) the V7 in one hand inevery key. Play and resolve the V7 to I in everymajor and minor key. In some of these omit thefifth and double the root in the V7. Sometimesplace the fifth highest, again the third, etc. Written Work: Harmonize the following:— t> 4 7 i^ ^m 8 7 IE & v, £S v7 IP3 f LESSON 27 Inversions of the The dominant seventh chord has three inversions or tne inversions whose regular resolution is toDominant Seventh ,. 7 ..... < , f T j -. -Li- Chord the tonic triad, as before. Lead its seventh down a degree, likewise its fifth, tie the root as a common tone, and lead the third up a degree. All four tones must now be used. Reckon up from the bass and you will see, in each case, the meaning of the figures, which are used in full only where necessary. Notice that the V* must resolve to a first inversion; also, that if
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectharmony, bookyear1922
