Harmony, its theory and practice

Framed Prints

Framed Print of Harmony, its theory and practice

Harmony, its theory and practice. in the submediant chord. 222. It will be noticed that the submediant is a secondarynote of the key, and that the tonic—the third of the submediantchord—is a primary note (§97). In a minor key the subme-diant is seldom a good note to double; and when it occurs inany chord (ii°, iv, or VI) which is followed by the dominantchord, it should not be doubled at all. The reason is that, aswe saw in Ex. 147, the root is the only note of the dominantchord to which in most cases the submediant can go ; and if > this note be doubled, we shall have the same bad progres Harmony, its theory and practice. in the submediant chord. 222. It will be noticed that the submediant is a secondarynote of the key, and that the tonic—the third of the submediantchord—is a primary note (§97). In a minor key the subme-diant is seldom a good note to double; and when it occurs inany chord (ii°, iv, or VI) which is followed by the dominantchord, it should not be doubled at all. The reason is that, aswe saw in Ex. 147, the root is the only note of the dominantchord to which in most cases the submediant can go ; and if > this note be doubled, we shall have the same bad progressionsshown in Ex. 147, (a) {b) {c) (d). 223. All the diatonic triads of the minor key like those ofthe major, can be used in their first inversion. The general rulesgiven in the sixth chapter (§§ 169-171) are still to be observed, and care must be taken to avoid, wherever possible, the intervalof the augmented second, Thus the following progression at 88 Harmony. [Chap. VII. (a) is faulty, and should be corrected as at (^).. Ex. 148. The student can always avoid the augmented second, if he willremember the following rule:—Whenever in a minor key thesubmediant and leading-note are found in two adjacent chords, they must not be both in the same voice.^ 2 24. In addition to the first inversions of all the triads given in§ 213, there is one first inversion to be met with under specialconditions with which we have not yet made acquaintance. Ifthe bass moves by step from tonic down to submediant it some-times takes the minor seventh of the scale on its way instead ofthe leading note; and in this case only (but not in the reversedirection) the minor seventh is allowed to bear a first inversion.This chord is only allowed when preceded by ? the tonic in thebass and also followed by the note below ; either of these notesmay, however, bear a chord either in root position or in aninversion. The following is an excellent example of the employ-ment of this chord. It will be seen tha. © The Reading Room

Your chosen combination is quickly and professionally made to order, our shipping page has more details

If you are not entirely happy with your items, simply return them to us within 30 days for a replacement or full refund. Please read our full returns policy.

Media ID 48625039