Elements of Harmony

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A. P. Schmidt, 1899 - Harmony - 117 pages
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A root ascending a forth hi Terrill I'm Immanuel the Holy spirit and me 5-8 Americans Terrill is dealing with depression come mental health/mental illness as you my son will grow to be 5'8 and I'm happy about it because 5+8 with me G.O.D always equal 1st Corinthians 13. On my way to 5'8 I was also on my way to 3rd grade 5+3 equaling 8 and my September 5th baptism there in 1982 again equaling God's 1st Corinthians 13 . A root ascending a forth. " A Element of Harmony". Terrill TC! 


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Page 10 - Names of the degrees of the scale : 1, Tonic ; 2, Supertonic ; 3, Mediant ; 4, Subdominant ; 5, Dominant ; 6, Submediant ; 7, Leading tone.
Page 10 - C, is identical in its successive steps with the major scale; from D to D is the Dorian Mode; the Phrygian is from E to E; the Lydian from F to F; from G to G, the Mixolydian; from A to A, the Aeolian. It is immediately evident that the half-tone steps which come between the third and fourth and the seventh and eighth degrees of the major scale, vary in position in each of these modes. The resulting unexpectedness of the intervals and emphasis on unusual degrees of the scale, give these modal tunes...
Page 72 - When standing on the first line of the staff, it is called the soprano clef; when on the third line, the alto clef; and when on the fourth line, the tenor clef. The five notes on the next staff sound exactly alike — Violin.
Page 8 - ... natural order of scale transposition. By writing the second half of each scale as the first half of a new one, we find ourselves beginning each new scale on the fifth degree of the preceding and obliged each time to introduce one new sharp to preserve the same succession of intervals.
Page 4 - Harmony is itself an indispensable part of one's study in every other department of music , enabling one to sing or play recognizably better than could otherwise be possible.
Page 97 - Consecutive octaves or fifths must not occur between the last chord of one phrase and the first of the next.
Page 16 - When any accidental (chromatic sign) with no numeral by its side, stands over a bass note, it shows that the same sign should be written before the...
Page 26 - A regular transposition must progress uninterruptedly in the same direction and each time the same number of degrees.
Page 109 - I V7 i V7 VI F V7 IC V7 I vn° I a 11° I V7 I 3 m 3|E d \ vn°7o i MI" i0vn°7o i C V7 IF V7 I d n
Page 26 - Sometimes in order to preserve a sequence in all the voices, the rule for keeping the same notes in the same voices must be laid aside.

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