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Keyboard Training in Harmony: 725 Exercises Graded and Designed to Lead From the Easiest First Year Keyboard Harmony up to the Difficult Sight Playing Tests for the Advanced Students - Couverture rigide
Synopsis
Lang:- eng, Pages 140. Reprinted in 2015 with the help of original edition published long back. This book is in black & white, Hardcover, sewing binding for longer life with Matt laminated multi-Colour Dust Cover, Printed on high quality Paper, re-sized as per Current standards, professionally processed without changing its contents. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Hope you will like it and give your comments and suggestions. , Original Title: Keyboard training in harmony : 725 exercises graded and designed to lead from the easiest first year keyboard harmony up to the difficult sight playing tests for the advanced students [Hardcover], Author: Heacox, Arthur Edward,
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Présentation de l'éditeur
Ex.1 Keyboard Training inH armony PARTI ARTHUR E.HEACOX Chap. I. Triads Primary Triads in Fundamental Position 1. To harmonize these basses (at the key-board) observe the following rules: (a) The bass must be the root of I, IV, orV. (b) The common tone is always kept, the other voices progressing to the nearest chord-tones. (c) The soprano will begin on the root, third, or fifth, according to the figure over the first bass note. (d) The alto and tenor, with the soprano, will form a complete triad in close position. (I nreview, solutions in open position are recommended.) CI IV IV IF IV I IV Ie i I iv 4. 1-o5. 6. t-i, ey i ex .T oharmonize these sopranos observe the following rules: (a) The bass must be the root of I, IV, or V, but the soprano may be the root, third, or fifth. (b) The last chord will be I, the tonic. (c) If the soprano repeats a note, do not repeat the chord but change to another. (C hord repetition has a legitimate place but the purpose of these, first exercises is better served without it). (d) The bass should not leap two fifths in succession in the same direction. (e) The chords should be so chosen as to provide a common tone which must be kept, hence for the present the succession, IV-V, or V-IV, is not available. (f) If the soprano does not end on the key-note, it may require some testing to decide whether the mode is major or minor. For example Nos.12 and 18 must be solved in minor or the rule can not be kept. Let the pupil show why. 91 -CIV I IV CI IV a I (R emember Vis always major). rr fr a i iv Copyright 1917 by The Arthur PS chmidt Co.
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