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 concept based at the tempered scale, as he had formerly. He wrote within the Preface that he now believed the speculation to be completely acceptable to the procedure of simply intonation. another cause, in his view, was once that the perspective of medical males towards smooth chromatic track had lately more suitable, as they can see that their method could by no means be followed so long as it threatened the lifestyles of a unmarried masterpiece of musical literature. besides the fact that, the procedure will be approved while it rendered such works able to extra ideal functionality. This influential Victorian textbook is now reissued for the good thing about these drawn 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
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. 101. The next combination of thirds produces the chord of the eleventh on the dominant (chord No. 9). This chord, like its relation formed on the tonic (§ 63), MAJOR SERIES. 45 appears in three forms : the first, accompanied only with the fifth ; second, with the seventh also; third, with both seventh and ninth.
59. At * Ex. 16 is the second inversion of the chord of the tonic major ninth on A, the resolution being interrupted. Ex. 17. BEETHOVEN. Mass in D. " -* ksF— &c. 60. At * Ex. 17 is the third inversion of the major ninth and subtonic of G. MAJOR SERIES. Ex. 18. SCHUBERT. Pianoforte Sonata. Op. 42. 61. At * Ex. 18 is the fourth inversion of the chord of the tonic major ninth of C. 62. In all the above examples (except, of course, Ex. 17) the seventh has not been heard. The chord is not so pleasing with this interval as without it; but the student who desires examples of the chord with the addition of the seventh can easily find them in crude contrapuntal writers of the last century.
MAJOR SERIES. Ex. 36. MOZART. J. 37 Symphony, No. 6. j &c. 80. At * Ex. 36 is the tonic thirteenth and eleventh (sixth and fourth) of C. In this form it has, of course, the appearance of an ordinary second inversion of the common chord of F. But if we attempt to fill up the 1 chord, we shall find that B and D, the —g-—^ 1— seventh and ninth of C, when heard in- w stead of the C, as annexed, do not I I disturb our notion of the key the passage is in; whil? on the other hand, the substitution of F (the derivative of the common chord of which * Ex.