. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . *i) Better, because the seventh, after ascending, returns to the resolving-tone. — *2) Theseventh resolves where it last appears. — *$) In the outer parts, the resolving-tone mustfollow immediately, as here. — *4) This is wrong, because both parts aim for the resolving-tone, and make unequal octaves. — *5) The ascending seventh, in bass especially, must re-turn to the resolving-tone. LESSON 23. tqp=P^= e± m33E5 EEEE£f t=t »i) s 0 s A^ -i-T-f3 * 9 P B * S gE^EEfeSSE^ •—25- w *
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . *i) Better, because the seventh, after ascending, returns to the resolving-tone. — *2) Theseventh resolves where it last appears. — *$) In the outer parts, the resolving-tone mustfollow immediately, as here. — *4) This is wrong, because both parts aim for the resolving-tone, and make unequal octaves. — *5) The ascending seventh, in bass especially, must re-turn to the resolving-tone. LESSON 23. tqp=P^= e± m33E5 EEEE£f t=t »i) s 0 s A^ -i-T-f3 * 9 P B * S gE^EEfeSSE^ •—25- w *l) 3. U. m *i)V iS E3 fV—*-•- ^35S^ ±=£±= *^ *i) Par. 159. OTHER LICENCES. 69 i 4 ?£b; ifct FTT«r*i »£^TiTng -H 1 P* i R ■ -V 1. •a) r#- ^ m g=tt£ «?—^ -z? 6. ** :fc£ft TTlT ■*fflt± 7. ite5 ss -f2_ ^ f2 ^. E==£ S *--«- ^sz. ^—sH IV y
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