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 song at Oxford. during this 3rd version of A conception of concord he ceased to name it a conception 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 approach of simply intonation. one other cause, in his view, was once that the perspective of clinical males towards smooth chromatic song had lately stronger, as they can see that their approach could by no means be followed so long as it threatened the life of a unmarried masterpiece of musical literature. besides the fact that, the approach will be permitted while it rendered such works able to extra ideal functionality. This influential Victorian textbook is now reissued for the advantage of these drawn to nineteenth-century composition and research.
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The British composer John Stainer (1840-1901) used to be organist at St Paul's Cathedral from 1872 to 1888, and in 1889 grew to become Professor of song at Oxford. during this 3rd version of A concept of concord he ceased to name it a idea based at the tempered scale, as he had formerly. He wrote within the Preface that he now believed the idea to be completely appropriate to the approach of simply intonation.
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Additional resources for A Theory of Harmony: With Questions and Exercises for the Use of Students
In Ex. 31 the removal of the note C takes away the only vestige of tonic harmony, and makes it an inversion of the seventh on the dominant. Ex. 32. BEETHOVEN. Mass in D. " tr &c. 76. At * Ex. 32 is the fourth inversion of the tonic eleventh and ninth of D. It is commonly called the fourth inversion of the suspension g. Had this chord been resolved thus— it would no longer have been a tonic chord, but would have become the second inversion of the chord given in Ex. 53, having for its ground-note A instead of D.
It may be well to remind the reader that chords of the ninth reject the ground-note in their inversions. Ex. 49. MENDELSSOHN. Op. 82. 1 > * . 7 J i-JTTn J — "f" r . r — L r-- &c. r - J—^ 98. At * Ex. 49 is the second inversion of the chord of the major ninth of BP. 44 DOMINANT CHORDS. Ex. 50. MENDELSSOHN. Vocal Quartets. No. 11. Op. 59. &c. <* 99. At * Ex. 50 is the third inversion of the chord of the major ninth of B I?. Ex. 51. SCHUBERT. Ex. 52. F. Sonata. No. 1. Op. 42. Mass in D. " BEETHOVEN.
TONIC SERIES OF MINOR KEYS. 12 , 13 , , 14 11 \ri ri Chord of 5th. Chord of 7th. ) 16 Chord of 13th. Chord of 9th. Chord of nth. Chord of 13th. DOMINANT SERIES OF MINOR KEYS. 17 18 19 Chord of 5th. Chord of 7th. (Common Chord. Chord of 9th. Chord of nth. Chord of 13th. The above diagram shows the chief diatonic chords 22 TONIC CHORDS. used in music* It will be observed that there is no E in No. 4. " There are, however, frequent exceptions to this rule. The G and the E are both omitted from No.