The Nature Of Harmony And Metre

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1888 edition. Excerpt: ...cannot be represented in a chord with the contents C--e--G--b--D, but only in the notes b--D--e--G; that is, in the union of the triads e--G--b and G--b--D. We have similarly seen the passages into the wholly disjunct triads, e.g. from C--e--G into b--D, F and DF--a, always resulting in unions of triads most nearly related to one another: the first in b--D--F--G, the second in C--D--F--a. Therefore the so-called chords of the Ninth, Eleventh, and Thirteenth are self-excluded from the harmony of dissonance which springs from the union of triads. 239. To resolve the chord G--b--D--a or G--b--D--F--a let us make the notea descend to G. That by this no resolution of the dissonance G--a is effected is plain; for, considering the combination G--a in itself and keeping inside the key of C major, that could only consist in progression to F--a, to G--b, or to F--b. Consequently, in the passage G--b--D--a-G--b--D--G the lowest note of the first chord is entirely neglected in the resolution, and the dissonance b-a is alone taken into account, for which the resolution b G is given. A direct harmonic reference between the outer parts is no more to be pretended in this chord of the Ninth K 2 and its resolution than in the series continued in the descending sequence Gb--D--a-Q--b--D--G--Q--a--C--G-G--a--C--F--of dissonance chords and their resolutions 'corresponding with the first. The Ninth a, which progresses to the Octave G, is resolved as Seventh of b, just as in the continued succession r--a--C--G-Q--a C--F the upper G moves to F as Seventh of a and not as Octave of G. In the last succession we cannot hesitate to recognise a pedal, or organ-point, that is a series of chords under which is placed a note independent of them, and the first succession..

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The first detailed study of a prolific and influential early twentieth-century composer, critic, educator-a true sage of music.

The second part of Hegel’s Encyclopaedia of the Philosophical Sciences in outline. Translated, and with an introduction by, MJ Petry. This edition first published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.