. Harmony : a course of study . ^P=^ p^P^P^pfP 7=^Z = ft~=r- 9: ggg 3^ S3 33 te± 202 ^^Jl *tJ—Mz :§ lib—* 5 5«s4- r r i p ff^p -p^i ^y^^ffl |S« -^ Or on the tonic to extend and elaborate a final cadence: 274. u Bach. m =H ?=0 7^—for ii w i^^U-j-j-^-a _£2_ tzz: In this example the pedal point is in both the upper and lowervoices. The sustained tone is used occasionally on other degrees of thescale, and sometimes on both tonic and dominant at once : 275. ^ese^ee^s ; ! - ! etc. 95*^ S^====sa; ^ S§ 3- TSH I Numberless examples of such passages are to be found, especiallyin works of a pas
. Harmony : a course of study . ^P=^ p^P^P^pfP 7=^Z = ft~=r- 9: ggg 3^ S3 33 te± 202 ^^Jl *tJ—Mz :§ lib—* 5 5«s4- r r i p ff^p -p^i ^y^^ffl |S« -^ Or on the tonic to extend and elaborate a final cadence: 274. u Bach. m =H ?=0 7^—for ii w i^^U-j-j-^-a _£2_ tzz: In this example the pedal point is in both the upper and lowervoices. The sustained tone is used occasionally on other degrees of thescale, and sometimes on both tonic and dominant at once : 275. ^ese^ee^s ; ! - ! etc. 95*^ S^====sa; ^ S§ 3- TSH I Numberless examples of such passages are to be found, especiallyin works of a pastoral character. The principle involved is the same as that of combined passingtones or passing chords, the moving voices progressing independentlyof their connection with the sustained tone. Thus many dissonantcombinations are formed, among which the dominant and diminished HARMONY. 203 seventh chords on a tonic pedal (a) and the secondary seventhchords on a dominant pedal (6) are the most important. 276. wmmm 9*# <2_ ft* :?fe»: =j 4: _^_ ^E 3^Ej J I- IE ;E£r t=t o tit r U
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