Counterpoint: A Practical Course of Study |
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Page 7
... melodies in these modes are sung in Greece wholly without harmony . ( e ) The 7th , or leading - note , was not then accepted . Key - note or Tonic . Supertonic . Major tone СНАР . 1II . 7 SCALES , MODES , AND KEYS .
... melodies in these modes are sung in Greece wholly without harmony . ( e ) The 7th , or leading - note , was not then accepted . Key - note or Tonic . Supertonic . Major tone СНАР . 1II . 7 SCALES , MODES , AND KEYS .
Page 8
... Supertonic . Mediant . Subdominant . Dominant . or Tonic . Major tone . Major semitone . Submediant . Leading - note . Minor tone . Major tone . Major semitone . Augmented 2nd . O CHROMATIC SCALE OF C MINOR AND C MAJOR . Key - note or ...
... Supertonic . Mediant . Subdominant . Dominant . or Tonic . Major tone . Major semitone . Submediant . Leading - note . Minor tone . Major tone . Major semitone . Augmented 2nd . O CHROMATIC SCALE OF C MINOR AND C MAJOR . Key - note or ...
Page 16
... supertonic and submediant are minor . The triad of the leading - note , having a diminished 5th , is not a common chord . The triad of the mediant , though having a perfect 5th , cannot be classed as a concord , by reason of its harsh ...
... supertonic and submediant are minor . The triad of the leading - note , having a diminished 5th , is not a common chord . The triad of the mediant , though having a perfect 5th , cannot be classed as a concord , by reason of its harsh ...
Page 17
... Supertonic then , with its 3rd and 6th , is treated in every respect as the first inversion of a concord ( Sect . 67 ) . ( b ) The dominant is the true root also of this chord . ( c ) This is , perhaps , because the bass being thus ...
... Supertonic then , with its 3rd and 6th , is treated in every respect as the first inversion of a concord ( Sect . 67 ) . ( b ) The dominant is the true root also of this chord . ( c ) This is , perhaps , because the bass being thus ...
Page 18
... supertonic and the dominant in the bass ( Sects . 68 and 69 ) the duplication of the bass is unobjectionable ; but in the inverted chord upon the Supertonic the 3rd from the bass may be doubled with best effect ( Sect . 68 ) . 75. Any ...
... supertonic and the dominant in the bass ( Sects . 68 and 69 ) the duplication of the bass is unobjectionable ; but in the inverted chord upon the Supertonic the 3rd from the bass may be doubled with best effect ( Sect . 68 ) . 75. Any ...
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Common terms and phrases
according applied appoggiatura approached augmented bass bass-note bears begin belong Cambridge CHAPTER character chromatic Church cloth College combination common chord concord constructed continued contrary Counterpoint Demy Octavo desirable diatonic diminished direct discord distinction distinguished dominant Double Edited effect elemental employed English example exception Fellow Fifth figure forms of Cadence four given gives Greek harmony higher highest interest interval Introduction inversion key-note late leading-note leap less London lower major mediant melody minor minor form models of Exercises modes motion moving natural passing-note perfect preparation present Press Price proceed produces Professor progression reference resolution resolved root rules scale School Second Species Sect semitones sounded Species stands student style subdominant Subject succession supertonic suspended syncopation Third tone tonic treatment triad University upper volume writing written
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