A Treatise On Harmony Vol 3 Of 3 PDF Download

Excerpt from A Treatise on Harmony, Vol. 1 of 3: With Exercises Considerable attention has been devoted, throughout this work, to the exercises at the end of each chapter. These, it will be seen, are both numerous and of a varied character. In addition to figured basses, which may be regarded as the staple form of exercise, there are also exercises on the analysis of chords, on the introduction (including the preparation and resolution) of discords, on the harmonization of melodies and unfigured basses, on clothing blank rhythms with harmony, and on composing original passages, etc. In all cases the exercises have been carefully graded, and have been arranged with the special view of assisting candidates preparing for examinations. The student, however, is not necessarily expected to work all the exercises at the end of each chapter; many of them being of a suggestive character, may, at the discretion of the teacher, be omitted, or on the other hand, others of a similar type may be added either by the teacher or by the student himself. It seems to be a moot question as to whether the student should, or should not, be taught to harmonize melodies from the beginning. The author is inclined to think not, but everything really depends on the student; for though one student will grasp the principles readily enough, and another will fail to do so, both of them may in the end prove to be equally successful in their general work. This matter must also be left with the teacher, and if the exercises on harmonizing melodies, etc., are omitted when the chapter is first studied, they will probably be found useful in review work at a later day. Another feature, and one to which the author attaches much importance, is a system by which both time and space may be saved in writing the names of chords. By the use of the signs, + for major, - for minor, o for diminished, and x for augmented, combined with certain Roman and Arabic numerals, each chord may be designated by means of a symbol (somewhat resembling the symbols used in Chemistry), placed below the bass-note. Suspensions, and in fact every chord employed in music, may also be represented. In no case, it may be said, is the generally accepted system of figures (employed for the figured bass), tampered with. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.