Inglis Collection of printed music > Printed text > Treatise on harmony

REMARKS ON THE PRECEDING EXERCISES.
Exercises.
31
6
43
2
I
88.
zi
5=z
i=^=
22:
zz
^=
:=2=z5t
E
3.
s
B FEP?3f¥
7rJ-
22:
=sfc
22=:
=pz
22:
2=
t=3
s
6
4 3
2=
6
4 3
221
=&
22:
22:
S
22==^
5.
jjJE
6 6 6 6
I&
22.
¥■
F=^
6 6 6 6
221
22:
S:
22:
t4±
^
■22=
F
7.
S
3 6 6
6
4 3
6, 6
7=2=^
«t
I
22-
?=
^
22
E±
zi
^
t=t
rf-g-F
§§E
=&
i
8 #
10.
^
^
22;
E=f
22:
P
22:
m
6
4 tt
11.
6
=^
221
22=
*=£
22:
REMARKS ON THE PRECEDING EXERCISES.
/n the first bar of Ex. 2, the position of the chord is indicated by the figure
5 being placed over the bass. The chord is therefore to be written with the fifth
in the soprano or upper voice. A similar system is observed in all following
exercises. If there is no figure over the bass note, it is understood that the octave
shall be given to the soprano.
In the second example the chord of diminished fifth appears in its inverted Inversion of
form as chord of the sixth. It is most used in this form. Its resolution always S^Xed '*
depends on the progression of the bass, which in most cases is as follows : — fifth -
6,
6
6
r»v
69. (££-
— S 1
— r2
p
3 _
i