. A key to Harmony simplified and a classroom manual. S ^ C: I III -1—^ 11 34 KEY TO HARMONY SIMPLIFIED Do not be troubled by the monotony of the soprano inthese early exercises. w* =i | .-*—=^-=^ I] &y % g>^ -^ * $• £ II 3 _A__ ^-_ -Oh• * — O MH 6. £z5r —Sg,^* ^—Lg <^ 9± C:I vi IV I F: I IV. G:I IV -40- -gr^r_ A: I VI IV VI II I Z7 . I i See Note under §n6, No. 6. GENERAL NOTES ON PART-WRITING 35 GENERAL NOTES ON PART-WRITING. (For Frequent Reference and Discussion.) ( i) Not an absolute and slavish following of rules, buta tactful recognition of the several influences affecting theart,
. A key to Harmony simplified and a classroom manual. S ^ C: I III -1—^ 11 34 KEY TO HARMONY SIMPLIFIED Do not be troubled by the monotony of the soprano inthese early exercises. w* =i | .-*—=^-=^ I] &y % g>^ -^ * $• £ II 3 _A__ ^-_ -Oh• * — O MH 6. £z5r —Sg,^* ^—Lg <^ 9± C:I vi IV I F: I IV. G:I IV -40- -gr^r_ A: I VI IV VI II I Z7 . I i See Note under §n6, No. 6. GENERAL NOTES ON PART-WRITING 35 GENERAL NOTES ON PART-WRITING. (For Frequent Reference and Discussion.) ( i) Not an absolute and slavish following of rules, buta tactful recognition of the several influences affecting theart, will give the best results. (2) The only rule without an exception is the oneagainst Consecutive Octaves and Consecutive PerfectFifths. Next in inflexibility comes the one against doublingthe Leading-tone, which is very seldom violated in strictwriting. (3 ) All other so-called rules are not absolute, but are,in the last analysis, only influences, varying in degree ofStrength according to the conditions obtaining at themoment, a given rule being in one place paramount, andin another place subservient to another rule. The firstpoint for the student, then, is to understand the directionsfor the early efforts not as hard and fast rules to bind himinto awkward rec
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