This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1846 edition. Excerpt: ...the second measure, that b is a transition to the following c, as also d to e;--which explanation is, after all, the simpler of the two. the tone ab, which occurs in the harmony J, may be taken as it mere transition-tone (38-1, fig. 682, p. 613, ) it may also be regarded as continuing through the whole harmony ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1846 edition. Excerpt: ...the second measure, that b is a transition to the following c, as also d to e;--which explanation is, after all, the simpler of the two. the tone ab, which occurs in the harmony J, may be taken as it mere transition-tone (38-1, fig. 682, p. 613, ) it may also be regarded as continuing through the whole harmony ffi ( 386), as in k, where, accordingly, we have ai throughout, instead of a, the proper tone of the major threefold chord of J. It will readily be seen how much simpler the explanation of fig. i and k is, according to this method, than if we should each time take the combination c a? f c for the minor threefold harmony f, which is foreign to the scale of C-major. By this view of the matter, the explanation of the cadences in fig. 416, p. 511, and fig. 422, p. 513, is very much simplified. 395. If, in such examples as those in fig. 704, (Fig. 704.) J n i j i, _i we regard all the tones as harmonic, the passage will consist of the four following harmonies: C: I Vii vi V; or say I V VI V. But we may also take the second and third tones of the upper voice as transitions of the second and first order, the f of the middle voice as a transition to the following e, and the d of the lower voice as a transition to c; in which case, the first three combinations appear as depending throughout on the harmony C: I, which would make the whole harmonic progression as follows: C: IV. Or, again, we may regard the third combination as a harmonic one: this would produce the following harmonies: C: I VI V, and so on. Thus, we see in how many ways such progressions of thirds and sixths may be viewed and explained; and that in every such succession of chords, considerable freedom is allowed in selecting that mode of explanation which may be the most...
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