. A treatise on harmony, with exercises . 20 HARMONIC PROGRESSIONS 1 W (/) u) w ifi I I a) -^- II- V+ VI- h2 U-s. =E: T-i J 1+ v+ IIII- ^- IV+ 1+ 3. The term movement is applied to the interval betweentwo notes of a melodic progression, while the term motion is ap-plied to two parts moving in relation to one another (§§40, 41). («)11 u Movement % Conjunct Disjunct. Oblique 4. Movement disjunctdisjunctconjunctconjunctconjunct(/) conjunct(g) disjunct(A) conjunct Motion contrary contrary similar oblique oblique similar contrary contrary Position closeopenclosecloseopenopencloseclose 5. Hidden con
. A treatise on harmony, with exercises . 20 HARMONIC PROGRESSIONS 1 W (/) u) w ifi I I a) -^- II- V+ VI- h2 U-s. =E: T-i J 1+ v+ IIII- ^- IV+ 1+ 3. The term movement is applied to the interval betweentwo notes of a melodic progression, while the term motion is ap-plied to two parts moving in relation to one another (§§40, 41). («)11 u Movement % Conjunct Disjunct. Oblique 4. Movement disjunctdisjunctconjunctconjunctconjunct(/) conjunct(g) disjunct(A) conjunct Motion contrary contrary similar oblique oblique similar contrary contrary Position closeopenclosecloseopenopencloseclose 5. Hidden consecutive fifths and octaves occur when a per-fect fifth or octave ( between the treble and bass), is approachedby similar motion. When the roots move a perfect fourth orfifth, except alone in the progression II to V, provided thetreble moves conjunctly, hidden consecutives rarely produce abad effect, and especially is this the case when both chords HARMONIC PROGRESSIONS 21 are primary triads. Hidden consecutives are bad if there is dis-junct movement in the treble, except alone in the progressionII to V, when hidden fifths, with disjunct movement in thetreble, are good. In this progression (II to V), hidden octaves,even though the treble moves conjunctly, are not good (^42). ((?) The hidden octaves are good, as the treble moves con-junctly, and the roots mo
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectharmony, bookyear1910
