. Orchestration . ds are printedbelow. Chords of the Tonic and of the Dominant Seventh. The following groups of chords are arranged under their key-signatures, thus : The first and second bars give respectively three-partand four-part chords of the dominant seventh, then, after the doublebar, the third and fourth bars give respectively three-part and four-part chords of the Tonic. Almost all the tonic chords are available inboth the major and minor modes. In those few cases where a chordis only available in one mode an accidental is placed before the chordto show the only form in which it can
. Orchestration . ds are printedbelow. Chords of the Tonic and of the Dominant Seventh. The following groups of chords are arranged under their key-signatures, thus : The first and second bars give respectively three-partand four-part chords of the dominant seventh, then, after the doublebar, the third and fourth bars give respectively three-part and four-part chords of the Tonic. Almost all the tonic chords are available inboth the major and minor modes. In those few cases where a chordis only available in one mode an accidental is placed before the chordto show the only form in which it can be used. The student mustbear this in mind, as, in this case, the accidental is used with ameaning slightly out of the ordinary. Of course, whenever anaccidental is used, it refers only to the one note before which it isplaced. It does not affect that note in succeeding chords. Thus the22nd and 24th chords in the following list are available only in themajor mode, but the 23rd and 26th are available in both 1 For the normal spread of the fingers in String-chord-playing the student shouldsee page 422. The remarks there apply just as much to the Violin and Viola as to theCello. THE VIOLIN 325
Size: 2843px × 879px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, booksubjectinstrumentationandor
