Harmony, its theory and practice . i -A—t ^ (V) rt^fe^^^ St:^^ w m~rT ^ ^ =?=: l=-f- ^ =1=32 ^^ Si& l=t: r [a) Begin in extended position. 143. Our next step will be to work exercises in which onlythe bass is given. After what has been already said, no furtherdirections will be necessary. It is possible to begin with anynote of the first chord in the treble; we will only remind the 54 Harmony. [Chap. V. student of what we said in the last chapter (§ 115),—that thefigure under the first bass note of each exercise shows the bestposition for the first chord, and indicates which note is to beplace
Harmony, its theory and practice . i -A—t ^ (V) rt^fe^^^ St:^^ w m~rT ^ ^ =?=: l=-f- ^ =1=32 ^^ Si& l=t: r [a) Begin in extended position. 143. Our next step will be to work exercises in which onlythe bass is given. After what has been already said, no furtherdirections will be necessary. It is possible to begin with anynote of the first chord in the treble; we will only remind the 54 Harmony. [Chap. V. student of what we said in the last chapter (§ 115),—that thefigure under the first bass note of each exercise shows the bestposition for the first chord, and indicates which note is to beplaced in the treble. Finish each with the tonic in the treble. Bass only given. Add three upper parts. (VI) (VII). N. B.—In this exercise, begin the treble thus:(IX) (X) HHMr r i^J r i^^ ^ (XI ^ m.^ ^\^ ^\^^^^\^ ,\\r^^^ 8(XII) (XIII) Mi-f^-4J°-i>-r-r I r riJ-f%
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectharmony, bookyear1903
