By John Stainer
The British composer John Stainer (1840-1901) used to be 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 thought 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 process of simply intonation. a different cause, in his view, used to be that the angle of medical males towards sleek chromatic song had lately more desirable, as they can see that their procedure might by no means be followed so long as it threatened the lifestyles of a unmarried masterpiece of musical literature. even though, the procedure will be permitted whilst it rendered such works able to extra ideal functionality. This influential Victorian textbook is now reissued for the good thing about 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
It is evident that every chord has one inversion fewer than the number of notes required to form that chord. CHAPTER IV. 43. Having defined a chord as a combination of thirds taken from a scale, it is necessary to exhibit a scale in thirds instead of single degrees, and to give names to the chords formed. SCALE DRAWN OUT IN THIRDS. 1. Starting from the Tonic. 2. Starting from the Dominant. DIAGRAM OF CHORDS FORMED FROM THE SCALE. 1 2 TONIC SERIES OF MAJOR KEYS. 3 . 4 ^ ^ Q, Chord of 5th. Chordof7th.
If any interval smaller than a third be heard, it requires to be adjusted to a third before the ear is satisfied. For instance, if C and D be struck on a pianoforte or harmonium, we must either move the C to B, making a third between B and D, or move the D to E, making a third between C and E. 35. '* The discordant interval may be implied or expressed. -—jt&£51 Thus, i-i jj contains no interval less than a third, but as the note D is implied, it is a discord. This will be more noticeable in treating of the inversions of the chord of the minor ninth.
No. , C to Gl? and C to F$ are practically the same; but C to G\r is a fifth, and C to Ff a fourth, because the former contains five names, the latter four. 29. — C to D is a major second. If in the next octave above, a major ninth. C to E is a major third. „ a major tenth. C to F is a major fourth. „ a major eleventh. C to G is a major fifth. „ a major twelfth. C to A is a major sixth. „ a major thirteenth. C to B is a major seventh. ,, a major fourteenth. C to C is a major octave. „ a major fifteenth.