. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . v. i. — ii. I. iv. I. v. I. In the foregoing working-out of the given Bass in H4,the fundamental is doubledin the fundamental and six chords, with the exception of the six chord at a, wherethe fifth is doubled in order not to double the third, which is in the Bass. See 91—Ex. XXXII. EXERCISE XXX.—Form a fundamental, a six. and a four-six chord upon each of the fol-iowing tones ( D i i G, a B, as triads of the scale ofC major, and mark them as they appearupon the degrees i the scal<
. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . v. i. — ii. I. iv. I. v. I. In the foregoing working-out of the given Bass in H4,the fundamental is doubledin the fundamental and six chords, with the exception of the six chord at a, wherethe fifth is doubled in order not to double the third, which is in the Bass. See 91—Ex. XXXII. EXERCISE XXX.—Form a fundamental, a six. and a four-six chord upon each of the fol-iowing tones ( D i i G, a B, as triads of the scale ofC major, and mark them as they appearupon the degrees i the scal< ol C major see 88—Maxim), thus:. (35; 86. Inversion of the Diminished Triad.—The regular resolutionof the diminished triad is explained in 5-4 and 72—B. The third maymove one degree up or down. A.—The first inversion—six chord—places the third of the diminished triad inthe Bass. The third (Bass-tone) may, consequently, move one degree down to the key-note (a) or one degree up to the third (six chord) of the tonic triad (b). B.—The third (Bass-tone) of the diminished triad is mostly doubled—as the rootis the leading-tone, which should not be doubled (85—N. B.) ata, b.
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