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 turned Professor of tune at Oxford. during this 3rd version of A idea of concord he ceased to name it a concept based at the tempered scale, as he had formerly. He wrote within the Preface that he now believed the speculation to be completely appropriate to the procedure of simply intonation. yet another cause, in his view, used to be that the angle of medical males towards glossy chromatic tune had lately enhanced, as they can see that their approach may by no means be followed so long as it threatened the life of a unmarried masterpiece of musical literature. in spite of the fact that, the process will be authorized whilst it rendered such works able to extra ideal 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 resources for A Theory of Harmony: With Questions and Exercises for the Use of Students
148. Requiem. " * T z m &c. MAJOR SERIES. 35 77. At * Ex. 33 is the fifth inversion of the tonic eleventh of A|,, commonly called the fifth inversion of the suspended fourth. CHORD OF THE TONIC THIRTEENTH. 78. The next combination of thirds produces the chord of the major thirteenth on the tonic (chord No. 5). This chord consists, in its fullest form, of the seven notes of the scale—C, B, D, E, F, G, A. But, as seven parts at least are required for its full exposition, it may well be imagined that it is not of common occurrence.
Augmented fifth. augmented sixth. augmented seventh. augmented octave. — %j Minor Ninth. Major Tenth. Augmented Eleventh. To discover the nature of any interval, consider whether it has been altered from the major scale of its lowest note. If it has been made less, it is minor; if greater, augmented; if it remains unaltered, it is major. For example, E to C INTERVALS. 13 is a minor sixth, because, in the scale of E, C$ is used ; F to B is an augmented fourth, because, in the scale of F, B|? is used; C | to E$ is a major third, because, E$ is the third of the scale of C$.
It has, of course, two inversions. Ml pr- MAJOR SERIES. CHORD OF THE DOMINANT SEVENTH. 90. The next combination of thirds produces the chord of the minor or dominant seventh (chord No. 7). Ex. f CHOPIN. Waltz. Op. 34. No. 3. -o- &C. =1=: 91. Ex. 43 consists of the chord of the minor seventh of C repeated several times. Ex. 44. CHERUBINI. " Credo. Mass. No. 4. &c. 92. At * Ex. 44 is the first inversion of the chord of the minor seventh of D. f The Examples 43—46 have been selected for the purpose of showing pieces or movements which commence on a chord of the seventh without preparation.
A Theory of Harmony: With Questions and Exercises for the Use of Students by John Stainer