This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1903 Excerpt: ...7 1 45. The introduction of the Inversions corresponds to that of the V itself. For illustration (comp. Ex. 92): CHAPTER XXI. Dominant ...Read MoreThis historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1903 Excerpt: ...7 1 45. The introduction of the Inversions corresponds to that of the V itself. For illustration (comp. Ex. 92): CHAPTER XXI. Dominant-Seventh and Inversions. Melodies. 1 46. In applying the Dom.-seventh and its Inversions to the harmonization of Melody, the following facts must be recalled: 7 Firstly, that the V is simply an extended form of theSDominant Triad (140); therefore it harmonizes the 5th, 7th and 2d steps of the scale, as substitute for the V. For illustration: Secondly, that the V contains, besides the tones of the Dom. Triad, the additional chord-seventh, which is the 4M step of the scale. There fore the 4th step may be harmonized, --not only by the Subdominant chords IV and II as heretofore (Ex. 64 b), --but also by the Dom.-Seyenth. The choice is determined chiefly by tbe..de'reciion in which the 4th step progresses; 7 it is only when it descends diatonically that the V can be employed for this step (138, Rule I). For illustration: i) It is not advisable to use a Tom.-seventh at the Semicadence; the Horn, concord (i.e. the Triad) is much to be preferred.--2) Comp. Ex. 76.--3) Here, the 4th step in the Melody must be harmonized with II or IV, because it leaps downward to d. Lesson 21. 7 Harmonize the following Melodies, with the V and its Inversions; and with reference to this summarized table: See Appendix A: i) The Bass begins on the first beat, and the 3 upper parts follow on the second. Also reharmonize Lesson 10, Nos. 2, 3; 11, No. 5; 13, No. 1; 16, No. 1; 18, Nos. 1, 4, 5. i) Basstone d-flat for both notes (compare Ex. 79, note 4).--2) One chord, or two, at option.--3) These slurs usually indicate that the tones which they embrace all belong to the same chord. The voices may remain stationary, or may change. The former is preferable, as a.Read Less
Good. Former Library book. Reprint. Green covers have mild shelf wear. Pages are bright and clean. Structurally sound with tight and sturdy bindings. Hinges are intact. Shows some signs of wear, and may have some markings on the inside. Shipped to over one million happy customers. Your purchase benefits world literacy!
Good. No DJ, Blue boards and spine tight, corners square, light rubbing wear to edges. Gold lettering on front boards, spine lettering rubbed. PO name on fly-leaf. Some pencil markings and notations on some pages, not excessive. Tracking available on most domestic orders.
Good. No Jacket. 8vo-over 7¾"-9¾" tall. 174 pp. The front hinge is cracked, but holding. There is a 1" diameter white stain on the front cover, and light wear at the base of the spine. Infrequent pencil notations in text.
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