John Stainer.

# Harmony, with an appendix containing one hundred graduated exercises online

. (page 4 of 8)
Online LibraryJohn StainerHarmony, with an appendix containing one hundred graduated exercises → online text (page 4 of 8)
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The following chromatic resolutions are of frequent occur-
rence : —

Ex. 87.

Ex. 88.

The minor seventh sometimes ascends chromatically, e.g. —

Ex. 89.

I

-gs^

S=^^

3

I2ZI

^

I

^

^

94. It will be seen that in Ex. 82 the resolution is on to the
chord of the tonic ; in Ex. 83 on to the chord of the relative
minor ; in Ex. 84 on to the dominant of the relative minor ; in
Ex. 85 on to the chord of the tonic ; in Ex. 86 on to the chord
of the super-dominant of the minor scale.

EXERCISE.

Write out the resolutions shown in Ex. 82 to 89 in several
different keys.

95. When 8 is followed by 7, there being no other figures,
the 3 generally remain stationary.

56

HARMONY.

It will be remembered that when 5 goes to 6, or 6 to 5, the J
generally remain stationary, e.g. —

■ 90. -i^

=t=S

-C — — — • • — ^ — =j-

^

P

-f—

5 6 6 6 8 7

96. Lines placed under notes, in the place where figures
usually stand, imply that the sounds of the previous chord are
to be retained, e.g. —

Ex. 91.

3 F=g=S

9

:r=t:

1 — I — r

^

A A J. J.

m^^^

^

Tt

"T^

97. A False Relation is the separation of two chromatic
notes, by giving one of them to one part and the other to
another part, e.g.—

Ex. 92.

P^^^

^-

sa^

m

?P2=

1=^-

-Ef^2_

P

If the chromatic notes both occur in the same part, the bad
effect is avoided e.g. —

Ex. 93

r^

m=t^

-f-T-

m

I I

Online LibraryJohn StainerHarmony, with an appendix containing one hundred graduated exercises → online text (page 4 of 8)