This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1827 Excerpt: ...Dominant chords in the above Example 157. We find that the Fundamental 7th, which has hitherto always descended a semitone, now descends a whole tone. This arises from the succeeding chord having a minor 3rd. The equal progression of the two principal intervals of the Dominant 7th (where the 3rd ascends, and the 7th ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1827 Excerpt: ...Dominant chords in the above Example 157. We find that the Fundamental 7th, which has hitherto always descended a semitone, now descends a whole tone. This arises from the succeeding chord having a minor 3rd. The equal progression of the two principal intervals of the Dominant 7th (where the 3rd ascends, and the 7th descends a half tone) is thus destroyed. The expectation which arises on the introduction of the 7th, is disappointed in the resolution, because the ear is prepared for the succession of a major, and not of a minor chord. Thus we are forced to resort to some other means of preparing the ear for the following minor. Our object will be attained, if we remove from the Dominant chord the 8th, and insert in its place the sound which is a major half tone above it, or in other words, the minor 9th to the fundamental bass: at the same time allowing the 7th to remain. This minor 9th will descend a halftone into the 5th of the succeeding tonic. It may be introduced into the Dominant chord, like the 7th, without preparation; which circumstance will sufficiently distinguish it from the 9th by suspension, which must be always prepared. At (a) the 8th is marked to be expunged. At (b) the minor 9th is inserted in its place. At (c) the 9th is resolved, descending a half tone into the 5th. At (d) the same in other keys and other positions of the chords. At (e) the minor 9th is relinquished, and the 8th of the same chord taken in its place. THE 9TM PREPARING THE 6V 125 This may be permitted, because the 9th, having been once heard, has already prepared the ear for the succeeding minor chord. It must be observed with respect to this useful and effective interval, that, when by its means we have once introduced a minor key, there is no necessity for our employing i...
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