. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . d the connection of these two chords, vi., V., make this succession of chords appear stilfand unusual see 197—B ). At 3, 4 the Tenor makes a skip of a fifth downward, which is not ob-jectionable, as it occurs in a middle voice, but the progression downward of the Alto and Basslikewise, makes this progression sound forced ( see 91—Exercise . The use of the mediant(in. degree , at 5, is not well chosen at the close I see 197—Remark ). The progression of the Bassat b is melodious, but t
. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . d the connection of these two chords, vi., V., make this succession of chords appear stilfand unusual see 197—B ). At 3, 4 the Tenor makes a skip of a fifth downward, which is not ob-jectionable, as it occurs in a middle voice, but the progression downward of the Alto and Basslikewise, makes this progression sound forced ( see 91—Exercise . The use of the mediant(in. degree , at 5, is not well chosen at the close I see 197—Remark ). The progression of the Bassat b is melodious, but the unfavorable application of the collateral chords makes this example stiffand unsatisfactory. 205. Melody in the Tenor and Bass.—The compass of the Tenoris notated partly in the Bass clef and partly in the Treble clef (34 ). A.—The following melody in the Tenor may be placed in the Treble or Bass clef,as the limit of its compass will permit of either. It may also be placed in the C clef—Tenor clef; this latter, however, is most frequently employed in the exercises incounterpoint. b 12 3 4 5 6. X. B. Mfe 1» UJTl* Ife lij mmm REMARK I.—At a, NT. B. the Tenor makes a skip of a sixth which should only be employedin the melody or in the Bass. At a, * the Bass holds the common tone which is not objectionable,as it forms the four-sir cadence. In the example at b, however, the Hass holds the common tone at1, 2; 3. I; and 5, 6. This makes the Bass part very undecided and weak compared with that at example at b is therefore faulty (see 202—A, B1. B.—A melody in the Bass will give us no more difficulty in harmonizing than dida given Bass in the four-part exercises, as the Bass part (which to form correctly is themost difficult) is given in both. ^^ffftJ=fnNNfr°-tH^t=^ N. B. £e^ iwsMmMMmM^m C _7 a. _7 C G7 C.
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