Harmony simplified, a practical introduction to composition . NY SIMPLIFIED. The V7,9, however, is much used. In four-voiced writ-ing the chord is necessarily incomplete, the fifth usually beingomitted. Te and Fah progress as in the V7, and Lahgoes to Soh. The ninth Lah, must always be a trueninth, that is, it must never be a second, but must always be atleast an octave and one step from the root, Soh. The seventhmust always be present with the ninth, and the ninth is usuallyin the soprano part. The e,f, and g positions of chords, that with the ninth, eleventh, or thirteenth in the b
Harmony simplified, a practical introduction to composition . NY SIMPLIFIED. The V7,9, however, is much used. In four-voiced writ-ing the chord is necessarily incomplete, the fifth usually beingomitted. Te and Fah progress as in the V7, and Lahgoes to Soh. The ninth Lah, must always be a trueninth, that is, it must never be a second, but must always be atleast an octave and one step from the root, Soh. The seventhmust always be present with the ninth, and the ninth is usuallyin the soprano part. The e,f, and g positions of chords, that with the ninth, eleventh, or thirteenth in the bass, arenever used. Figure 96 shows the most common way of usingthese chords. 96. 0 U cj \ rj ^ IB X 0 r> & g ri irh 25 !> \s\) ly f> ,i> SrS, f> t^ 0 n n n JS- jZ- a* ^A V3 A A % /^ e> ej n r-j k a ? 1 1 ^ 7,9 ^7,9,11 ^7,9,11,13 ^7,9 ^7 ^7,9 ^ 7,11 7,13 The following are all from famous compositions of acknowledged masters. They illustrate the use of the V^ g, IV^,and V, 7,13* Schumann. To the Sunshine. Beethoven. Op. 14, No. 1. IVel V,_3(IVJI HARMONY SIMPLIFIED. 65 Chopin. Ballade in F. i ^^ =q: ^^- ^ i ^?3i lied -i—i—r il3t -.^w2-i smorzando. m ^ i 1^=^=^=^ ^^:^ -^—.=\-^~^ P •-•? V^^7,13 ^ 5 ^ ^7,13 ^ ^7,13 ^ Chopin. Nocturne, G Major. 0 ^ I r -^- » eI ^ift 3= IV, 70 Gounod. Faust. i?:^=i=SHFi
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