Harmony, Its Theory And Practice
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To quickly assess the difficulty of the text, read a short excerpt:
476. Wagner, Die Meistersinger.
D: V13 V7 v°7 (g: "°7) The analysis of this passage is instructive. Let the student par- ticularly notice the passing and auxiliary notes. The fourth semiquaver of the second bar is evidently an anticipation of the following dominant harmony. Observe that in the last bar the F ^ proves the key to be D major, and not D minor.
552. It was said just now that the derivative of IIii, which a moment's thought will show the student must be vi7 or vi°7 — that is ii7 or i...i°7 of the dominant key, according as the ninth is major or minor, — is in its nature ambiguous. We show both forms of the chord in the key of C.
('^) (*) Ex. 477.
C: vi7 vi°7 252 Harmony.
[Chap. XVIII.
It will be noticed that the first of these two chords is diatonic, and it has already been given as a rule (§ 417,) that every diatonic discord in a key is derived from the dominant. The chord (a) above may therefore equally be regarded as the ninth, eleventh, thirteenth and generator of the dominant chord (Com- pare § 445), or as the fifth, seventh, ninth and eleventh of the supertonic chord.
What to read after Harmony, Its Theory And Practice?
You can find similar books in the "Read Also" column, or choose other free books by Ebenezer Prout to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
476. Wagner, Die Meistersinger.
D: V13 V7 v°7 (g: "°7) The analysis of this passage is instructive. Let the student par- ticularly notice the passing and auxiliary notes. The fourth semiquaver of the second bar is evidently an anticipation of the following dominant harmony. Observe that in the last bar the F ^ proves the key to be D major, and not D minor.
552. It was said just now that the derivative of IIii, which a moment's thought will show the student must be vi7 or vi°7 — that is ii7 or i...i°7 of the dominant key, according as the ninth is major or minor, — is in its nature ambiguous. We show both forms of the chord in the key of C.
('^) (*) Ex. 477.
C: vi7 vi°7 252 Harmony.
[Chap. XVIII.
It will be noticed that the first of these two chords is diatonic, and it has already been given as a rule (§ 417,) that every diatonic discord in a key is derived from the dominant. The chord (a) above may therefore equally be regarded as the ninth, eleventh, thirteenth and generator of the dominant chord (Com- pare § 445), or as the fifth, seventh, ninth and eleventh of the supertonic chord.
What to read after Harmony, Its Theory And Practice?
You can find similar books in the "Read Also" column, or choose other free books by Ebenezer Prout to read onlineMoreLess
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