Download A Theory of Harmony: With Questions and Exercises for the by John Stainer PDF

By John Stainer

ISBN-10: 1108001874

ISBN-13: 9781108001878

The British composer John Stainer (1840-1901) was once organist at St Paul's Cathedral from 1872 to 1888, and in 1889 grew to become Professor of song at Oxford. during this 3rd version of A idea of concord he ceased to name it a thought based at the tempered scale, as he had formerly. He wrote within the Preface that he now believed the idea to be completely appropriate to the approach of simply intonation. a different cause, in his view, used to be that the angle of medical males towards smooth chromatic tune had lately more desirable, as they can see that their approach could by no means be followed so long as it threatened the lifestyles of a unmarried masterpiece of musical literature. even though, the process will be authorized whilst it rendered such works in a position to extra ideal functionality. This influential Victorian textbook is now reissued for the advantage of these attracted to nineteenth-century composition and research.

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Extra resources for A Theory of Harmony: With Questions and Exercises for the Use of Students

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It occurs in three forms, namely:— Ex. 19. 1 fd 7 4 8 3 9 7 4 8 3 TONIC CHORDS. In the first, the fifth only is heard with the eleventh ; in the second, the seventh also is heard ; in the third, both seventh and ninth appear. ROSSINI. Messe Solennelle, Ex. 20. -J. r I r re Ky - ri I &c. 64. At * Ex. 20 is the original position of the chord of the tonic eleventh (suspended fourth) on C, the tonic third not being displaced, as might naturally be expected. Ex. 21. BACH. 48 Preludes and Fugues. Book II.

MENDELSSOHN. Op. 82. 1 > * . 7 J i-JTTn J — "f" r . r — L r-- &c. r - J—^ 98. At * Ex. 49 is the second inversion of the chord of the major ninth of BP. 44 DOMINANT CHORDS. Ex. 50. MENDELSSOHN. Vocal Quartets. No. 11. Op. 59. &c. <* 99. At * Ex. 50 is the third inversion of the chord of the major ninth of B I?. Ex. 51. SCHUBERT. Ex. 52. F. Sonata. No. 1. Op. 42. Mass in D. " BEETHOVEN. &C. 100. At * Ex. 51 is the fourth inversion of the chord of the major ninth of G, and at * Ex. 52 is the same chord derived from D.

122. 51. At * Ex. 8 is the first inversion of the suspended subtonic of E j?. It will be observed that the Efyis omitted in this chord on account of the rule before alluded to. ) It is similarly treated in the following :— Ex. 9. ty 1 RAFF. Sym. No. 5. 26 TONIC CHORDS. But in the following the tonic is retained:— Ex. 10. Ex. n . BRAHMS. Schicksalslied* J. B. CRAMER. Cadenza in Mozart's Pianoforte Concerto in D minor. U , i. —1 J- &c. 52. At * Ex. 11 occurs the second inversion of the suspended subtonic of A.

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