This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1899 Excerpt: ...produces the 6 5. The third suspended produces the 4 3. The figuring of the other notes of the chord remains the same. The progression of the suspension to its resolution is shown by the two successive figures. The above suspensions might therefore be figured--9 8 8--8--5--6 5 5--8--3--4 3 Usually, however, the figures ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1899 Excerpt: ...produces the 6 5. The third suspended produces the 4 3. The figuring of the other notes of the chord remains the same. The progression of the suspension to its resolution is shown by the two successive figures. The above suspensions might therefore be figured--9 8 8--8--5--6 5 5--8--3--4 3 Usually, however, the figures of the remaining intervals are omitted, and the suspensions are marked 9 8, 6 5, 4 3. Care must be taken not to confuse 4 with the chord of the six-four, the suspension 4 being always accompanied by the 5 unless otherwise indicated. 122. There are three other intervals found in the inversions of chords (viz., sixth, fourth, and second), each of which may form the resolution of a suspension. The sixth suspended produces the 7 6. The fourth suspended produces the 5 4. The second suspended produces the 3 2. The figuring of the other notes of the chord remains the same (see par. 121 above). It is, however, very necessary to note the difference between a fundamental seventh that resolves on another bass, and a suspension 7 6 that usually resolves on the same bass. The latter, being a suspension of a chord of the sixth, can, as a rule, have no fifth. 123. Eules for the use of Suspensions: --I. The suspension must be prepared--i.e., it must appear as a note of the previous chord and in the same part (see a). The suspension should, as a rule, be prepared by a note at least equal in length to the suspension. a. b. c. II. The suspension is formed (b) when the note is sustained on the next accented part of the bar, and it will descend one degree in resolution (c). III. The note on which the discord of suspension will resolve must not appear in another part except the bass during the existence of the suspended discord--V. The suspension, being a note havi..
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