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