Skip to content

A Theory of Harmony: With Questions and Exercises for the by John Stainer

By John Stainer

The British composer John Stainer (1840-1901) was once organist at St Paul's Cathedral from 1872 to 1888, and in 1889 grew to become Professor of song at Oxford. during this 3rd variation of A conception of concord he ceased to name it a thought based at the tempered scale, as he had formerly. He wrote within the Preface that he now believed the idea to be completely acceptable to the procedure of simply intonation. an additional cause, in his view, used to be that the perspective of clinical males towards sleek chromatic tune had lately more suitable, as they can see that their procedure could by no means be followed so long as it threatened the lifestyles of a unmarried masterpiece of musical literature. even though, the method will be accredited while it rendered such works able to extra excellent functionality. This influential Victorian textbook is now reissued for the advantage of these attracted to nineteenth-century composition and research.

Show description

Read or Download A Theory of Harmony: With Questions and Exercises for the Use of Students PDF

Best music books

Here, There and Everywhere: My Life Recording the Music of the Beatles

Geoff Emerick turned an assistant engineer on the mythical Abbey highway Studios in 1962 at age fifteen, and used to be current as a brand new band known as the Beatles recorded their first songs. He later labored with the Beatles as they recorded their singles “She Loves You” and “I are looking to carry Your Hand,” the songs that may propel them to foreign superstardom.

The Beatles Are Here!: 50 Years after the Band Arrived in America, Writers, Musicians & Other Fans Remember

The arriving of the Beatles used to be a type of unforgettable cultural touchstones. during the voices of these who witnessed it or have been swept up in it in some way, The Beatles Are right here! explores the emotional impact-some may possibly name it hysteria-of the Fab Four's February 1964 dramatic touchdown on our seashores.

The Story Of Naxos: The extraordinary story of the independent record label that changed classical recording for ever

In 1987, the cheap classical list label was once begun in Hong Kong via Klaus Heymann, a German businessman who enjoyed classical tune. rapidly, it won an international broad popularity for trustworthy new electronic recordings of the classics at a remarkably low cost. regardless of competition from the classical checklist institution, it grew at a impressive speed, and shortly increased into opera, early tune, modern track and expert repertoire in order that it turned favored via professional creditors in addition to the overall song lover.

Music and Schema Theory: Cognitive Foundations of Systematic Musicology

Tune and Schema concept tune is a crucial area of software for schema idea. The perceptual buildings for pitch and timbre were mapped through schemata, with effects that experience contributed to a greater realizing of tune belief. but we nonetheless want to know how a schema comes into life, or the way it features in a selected conception activity.

Extra info for A Theory of Harmony: With Questions and Exercises for the Use of Students

Sample text

48 is the first inversion of the chord of the major ninth of Bl?. This chord is sometimes called the chord of the seventh on the leading-note. It may be well to remind the reader that chords of the ninth reject the ground-note in their inversions. Ex. 49. MENDELSSOHN. Op. 82. 1 > * . 7 J i-JTTn J — "f" r . r — L r-- &c. r - J—^ 98. At * Ex. 49 is the second inversion of the chord of the major ninth of BP. 44 DOMINANT CHORDS. Ex. 50. MENDELSSOHN. Vocal Quartets. No. 11. Op. 59. &c. <* 99. At * Ex.

Cats -F F- 94. At * Ex. 46 is the third inversion of the chord of the minor seventh of C. It should be remarked that many chords having a minor seventh in the bass have a tendency to resolve on the first inversion of their tonic. CHORD OF THE DOMINANT NINTH. 95. The next combination of thirds produces the chord of the major ninth on the dominant (chord No. 8). It includes under it a minor seventh, whereas the chord of the major ninth on the tonic includes a major seventh or subtonic. MAJOR SERIES.

7 J i-JTTn J — "f" r . r — L r-- &c. r - J—^ 98. At * Ex. 49 is the second inversion of the chord of the major ninth of BP. 44 DOMINANT CHORDS. Ex. 50. MENDELSSOHN. Vocal Quartets. No. 11. Op. 59. &c. <* 99. At * Ex. 50 is the third inversion of the chord of the major ninth of B I?. Ex. 51. SCHUBERT. Ex. 52. F. Sonata. No. 1. Op. 42. Mass in D. " BEETHOVEN. &C. 100. At * Ex. 51 is the fourth inversion of the chord of the major ninth of G, and at * Ex. 52 is the same chord derived from D. CHORD OF THE DOMINANT ELEVENTH.

Download PDF sample

Rated 4.53 of 5 – based on 17 votes