Harmony, with an appendix containing one hundred graduated exercises . CCG DDA DGAF CNow this would give the fundamental basses, but not a fullaccount of the chords formed on those basses. The pupilwould therefore analyse it thus (as if reading the writing belowthe music):—Ex. 68. -I-. 48 HARMONY. 78. If nothing is said to the contrary, a common chord isalways supposed to be major. Thus the common chord of Fmeans F, A, C ; the common chord of D,—D, FJf, A, and so it is desired to name a minor common chord, the wordminor should be added. Thus the common chord of G minorwould of course b
Harmony, with an appendix containing one hundred graduated exercises . CCG DDA DGAF CNow this would give the fundamental basses, but not a fullaccount of the chords formed on those basses. The pupilwould therefore analyse it thus (as if reading the writing belowthe music):—Ex. 68. -I-. 48 HARMONY. 78. If nothing is said to the contrary, a common chord isalways supposed to be major. Thus the common chord of Fmeans F, A, C ; the common chord of D,—D, FJf, A, and so it is desired to name a minor common chord, the wordminor should be added. Thus the common chord of G minorwould of course be understood as G, Bb, D ; of B minor, as B,D, FJ, and so on. 79. If, however, a common chord has been made major byan accidental, it is usual to say major after naming the funda-mental bass, so as to prevent mistakes. If the reader will referto Ex. 68 he will find that the sixth chord from the beginning iscalled the common chord of A major (not simply of A); this isdone because it contains an accidental (CJ{). Following the method shown in Ex^ 68, the pupil shouldanalyse the tunes now given ; when completed, the list of chordsmust be read over to his master. CHORDS TO BE Choral. Harmonised in a simple form by J. S. ? ? I I I
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