Harmony, its theory and practice . At {a) will be found in the third bar consecutive fifths bycontrary motion between the tenor and bass; and from thethird to the fourth bar, consecutive fifths between the extremeparts by similar motion. At the second bar of (1^) are fifths be-tween alto and tenor; at (f) are seen fifths by contrary motionbetween tenor and bass, ((/) four consecutive fifths be-tween extreme parts. These examples are not given for thestudents imitation ; experience is required to understand whenthey may be properly introduced; but it is needful to mentionthem here, for t
Harmony, its theory and practice . At {a) will be found in the third bar consecutive fifths bycontrary motion between the tenor and bass; and from thethird to the fourth bar, consecutive fifths between the extremeparts by similar motion. At the second bar of (1^) are fifths be-tween alto and tenor; at (f) are seen fifths by contrary motionbetween tenor and bass, ((/) four consecutive fifths be-tween extreme parts. These examples are not given for thestudents imitation ; experience is required to understand whenthey may be properly introduced; but it is needful to mentionthem here, for the sake of completeness. By beginners theprohibition of consecutive fifths must be strictly attended to. 73. If one of the £tbs~i&-^aaMwsfaed7 the rule doesnot apply, provided that 1^perfect fifth comes This progression is qtftte con^ect*^ut a diminished fifthfollowed by a perfect fifth iafforbidden between the bass and anyupper part, but allowed between two upper or middle parts, pro-vided the lower, or occasionally the upper part moves a semitone. Ex. 41.
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectharmony, bookyear1903
