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 grew to become Professor of track at Oxford. during this 3rd version of A thought 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 idea to be completely appropriate to the method of simply intonation. another cause, in his view, used to be that the angle of clinical males towards glossy chromatic track had lately greater, as they can see that their process may by no means be followed so long as it threatened the life of a unmarried masterpiece of musical literature. although, the process will be authorised while it rendered such works in a position to extra excellent functionality. This influential Victorian textbook is now reissued for the advantage of these attracted to nineteenth-century composition and research.

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Tionable, because G is not expressed, whilst the following is objectionable, 36. The simplest and most natural way of arranging chords is evidently to begin with the tonic, and to go on adding thirds from the scale, until the whole of the notes of the scale are exhausted. There are, of course, two entirely different sets of chords—one emanating from the major scale, the other from the minor. Chords are easily and distinctively named after the largest interval contained in them before inversion.

75. 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.

MENDELSSOHN. +T-. J J Walpurgis Night. €? ^/ r Final Chorus. 9 &c. 1 r ^ 1I S3 103. At * Ex. 55 is the chord of the eleventh of G, including the ninth, in its original position. It commonly happens that in the case of dominant discords, the higher numerical discord resolves before the lower. Thus in Ex. 54, D, the eleventh, is resolved before G, the seventh ; 4° DOMINANT CHORDS. similarly in Ex. 55, C, the eleventh, resolves first, then A, the ninth, and, lastly, F, the seventh. In musical analysis this knowledge is of importance, as a doubtful derivation can often be satisfactorily explained by tracing the order in which the notes resolve.

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