The Theory and Practice of Tone-Relations; A Condensed Course of Harmony Conducted Upon a Contrapuntal Basis
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from ... Show synopsis 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-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.