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) used to be organist at St Paul's Cathedral from 1872 to 1888, and in 1889 turned Professor of tune at Oxford. during this 3rd variation of A idea of concord he ceased to name it a concept based at the tempered scale, as he had formerly. He wrote within the Preface that he now believed the speculation to be completely acceptable to the approach of simply intonation. another cause, in his view, was once that the angle of clinical males towards sleek chromatic song had lately more suitable, as they can see that their method might by no means be followed so long as it threatened the lifestyles of a unmarried masterpiece of musical literature. besides the fact that, the procedure will be approved whilst it rendered such works in a position to extra ideal functionality. This influential Victorian textbook is now reissued for the good thing about these attracted to nineteenth-century composition and research.

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

Sample text

INTERVALS, II £b Voll - mond strahlt I 1-7 |, \ i I auf \ Ber I Jgj % ges - hohn, &c. \ m* 1 \ &c. INTERVALS. 28. The distance between any two notes is termed an Interval. Intervals are reckoned— 1. Upwards. 2. Inclusively. 3. By the number of names of notes they contain. The first rule requires no explanation. No. 2 signifies that both boundaries are counted in; as C to E, a third. No. , C to Gl? and C to F$ are practically the same; but C to G\r is a fifth, and C to Ff a fourth, because the former contains five names, the latter four.

No. y, r 105. At * Ex. 56 is the second inversion of the chord of the eleventh of G. " For example, the above chord,* which may be written z cannot be derived from D. If it were a seventh on D as the dominant of G, the F would be sharp ; if it were on D as a tonic, both F and C would be sharp; if it were on D as the tonic of D minor, the C would be sharp. Therefore D cannot be the ground-note.

Mass in D. " tr &c. 76. At * Ex. 32 is the fourth inversion of the tonic eleventh and ninth of D. It is commonly called the fourth inversion of the suspension g. Had this chord been resolved thus— it would no longer have been a tonic chord, but would have become the second inversion of the chord given in Ex. 53, having for its ground-note A instead of D. Ex. 33. SCHUMANN. ^ 1 . Op. 148. Requiem. " * T z m &c. MAJOR SERIES. 35 77. At * Ex. 33 is the fifth inversion of the tonic eleventh of A|,, commonly called the fifth inversion of the suspended fourth.

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