Text book of Harmony
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In our eReader you can find the full English version of the book. Read Text book of Harmony Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book Text book of Harmony
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Sea Pigs. 55, 61, 62, 63. When the interval is raised a Semi-tone, as in Fig. 55, whether, as there, by a #, or by a 1} it is often expressed by an oblique line drawn through the figure.
134. In confirmation of what was said in § 1 25 that a change of key is not necessarily involved by the mere introduction of the altered note, the commonest chromatic uses of the sharpened fourth will now be shown. In the following example — Pio. 58.
Fio . 88.
•KEY :s C.
fe :f n :d r :t, d :s 1 :s s :n r :8| d ...the altered note is harmonised with the same chord that is used to effect a transition to the Dominant key, but instead of the chord moving to the Tonic chord of that key it goes at once to the Dominant Seventh of the original key. The chromatic use is in this case most obvious.
135. In the following altered version of Mg. 52 the chord that follows that with the sharpened fourth is the Tonic of the original key instead of (as in Fig. 52) the Tonic of the Dominant key, and hence the threatened transition is not consummated.
What to read after Text book of Harmony?
You can find similar books in the "Read Also" column, or choose other free books by Oakey, George, 1841- to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
Sea Pigs. 55, 61, 62, 63. When the interval is raised a Semi-tone, as in Fig. 55, whether, as there, by a #, or by a 1} it is often expressed by an oblique line drawn through the figure.
134. In confirmation of what was said in § 1 25 that a change of key is not necessarily involved by the mere introduction of the altered note, the commonest chromatic uses of the sharpened fourth will now be shown. In the following example — Pio. 58.
Fio . 88.
•KEY :s C.
fe :f n :d r :t, d :s 1 :s s :n r :8| d ...the altered note is harmonised with the same chord that is used to effect a transition to the Dominant key, but instead of the chord moving to the Tonic chord of that key it goes at once to the Dominant Seventh of the original key. The chromatic use is in this case most obvious.
135. In the following altered version of Mg. 52 the chord that follows that with the sharpened fourth is the Tonic of the original key instead of (as in Fig. 52) the Tonic of the Dominant key, and hence the threatened transition is not consummated.
What to read after Text book of Harmony?
You can find similar books in the "Read Also" column, or choose other free books by Oakey, George, 1841- to read onlineMoreLess
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