Dissonance

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T. Presser, 1903 - Harmony
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Page 69 - This interval should not be inverted, because the upper note being a secondary harmonic and capable of belonging only to the secondary root, should not be beneath the lower, which can only belong to the primary root.
Page 68 - ... can be found for them. Thus the chord of the augmented sixth is probably nothing more than the modification of a melodic progression of one or two parts at the point where naturally they would be either a major or minor sixth from one another, the downward tendency of the one and the upward tendency of the other causing them to be respectively flattened and sharpened to make them approach nearer to the notes to which they are moving. In the case of the augmented sixth on the flat second...
Page 2 - ... in the orchestra, but pitched the interval of a third higher. Terzina (ter-tse'-na) It. n. A triplet: a group of three notes played in the time usually given to two notes of similar value. terzo (ter'-tso) It. n. See Terz. Terzquartakkord (terts - kwart*- ak kord) Ger. n. The second inversion of the chord of the dominant seventh. The chord of the dominant seventh is a chord founded on the dominant or fifth note of a scale, plus notes at intervals of a third, a fifth and a seventh, respectively.
Page 69 - ... uncompromising than the above from the pen of this distinguished English musician. He adds : "The inversion of the above-mentioned augmented sixth, as a diminished third is remarkable for two reasons. In the first place, because when used with artistic purpose it is one of the most striking chords in modern music, owing to the gradual contraction towards the resolution, — as is felt in the employment of it by both Bach and Beethoven to the words 'et sepultus est...
Page 6 - Ex. 9. It will be remembered that in the resolution of a six-four chord, one of the notes forming the perfect fourth should remain stationary, making a part of the succeeding chord. When a dominant seventh chord stands with its fifth in the bass, the root of this chord, ie; the dissonant fourth above the bass note, should be held over, forming a part of the succeeding chord : Ex.lO.
Page 124 - Eighty-seven Lessons in Harmony," by Theodore Dubois, published by H. Ileugel & Co., Paris. These exercises were written for the classes at the Paris Conservatory, and many of them appear as harmonized by first prize pupils. These are interesting as showing the proficiency one must attain before competing for this prize. As the figuring given in " Practical Harmony " is precisely the same as that in use at the Paris Conservatory there will be no difficulty in understanding the work mapped out by...
Page 7 - The progression at b, with all voices moving in similar motion to the second chord, would be forbidden did it not appear in its first inversion. (See Part I, Chapter X, example 168. ) The dominant seventh chord, in addition to the dissonant seventh, contains another note which must be carefully resolved. This note is the third of the chord, which is always the leading-tone of the key. The rules given in Chapter II regarding this note, apply here.
Page 43 - CONCLUDED. SEVENTHS OF THE FOURTH ORDER. The seventh of the fourth order is composed of a major triad and a major seventh. It is found on the ist and 4th degrees of the major mode, and on the 6th degree of the minor mode. It is the most dissonant of all the seventh chords, and for this reason needs more careful preparation. When a seventh is added to a triad, like the followin : Ex.
Page 11 - ... depends largely upon which voice holds the seventh of the chord. If the seventh occurs in the bass, the succeeding chord will usually stand in its first inversion, in order that the dissonant note may resolve downward: Ex. 21. With the other three positions the tonic chord will most naturally stand in its root position, although it is not infrequently found standing in its second inversion in a cadence like the following: Ex.
Page 15 - DOMINANT SEVENTH. CONTINUED. A dominant seventh chord may resolve to the dominant seventh of either of the five nearest-related keys. The two notes requiring resolution should conform to the rules given on page 5 : i. e, the seventh, and leading-tone should either resolve regularly, remain stationary, or ascend chromatically. The leading-tone alone forms one exception; it may ascend one whole step in place of one-half step. Moving from the dominant seventh of C to the dominant seventh of each of...

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