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. 1851 edition. Excerpt: ...6-; and the major or minor ninth becomes the 3 or -3. (The fundamental tone itself, when it is not left out, appears as 2.) And, vice versa, the tone which appears, in the third inversion, as the base tone, is the principal seventh; the 4-of the base tone is T; the 6 of the base tone is F; the 3 or 3 of the ...
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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. 1851 edition. Excerpt: ...6-; and the major or minor ninth becomes the 3 or -3. (The fundamental tone itself, when it is not left out, appears as 2.) And, vice versa, the tone which appears, in the third inversion, as the base tone, is the principal seventh; the 4-of the base tone is T; the 6 of the base tone is F; the 3 or 3 of the base tone is the major or minor ninth. (Whenever the 2 of the base tone appears, it is the retained fundamental tone.) If we take a particular chord as an example, if you please the principal four-fold chord (r)f7 with major ninth, in the third inversion, we find that the principal seventh, /, appears as the base tone; the T, b, becomes 4 of the base tone; the F, d, becomes 6; and the N, a, becomes 3; (the fundamental tone g itself, when not omitted, appears as 2-.) And, vice versa, in the third inversion of the above harmony, the base tone f is the / the 4, b, is T; the 6, d, is F; and the 3, a, is the major ninth. (The 2-, g, is the retained R.) Or if we choose for our example the four-fold chord (c)7 with minor ninth, its principal seventh, d, appears, in the third inversion, as the base tone; the T, gt, as 4 of the base tone; the F, b, as 6 of the base tone; and the minor ninth, /, as 3. (The fundamental tone itself, e, whenever it is retained, appears as 2.) And, vice versa, in the third inversion of this harmony, the base tone, d, is the principal seventh; the 4% g$, of the base tone is T; the 6-, b, is F; and the -3, y) is the minor ninth. (The 2, e, is the retained fundamental tone.) (4.) Finally, if the ninth itself lies in the base--a case which may be termed a fourth inversion ( 87), the ninth itself appears as the base tone; the T becomes the 2 or 2; the F becomes 4 or 4-; and the s becomes 6 or 6. (Th
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Add this copy of Theory of Musical Composition to cart. $29.74, new condition, Sold by Books2anywhere rated 5.0 out of 5 stars, ships from Fairford, GLOUCESTERSHIRE, UNITED KINGDOM, published 2022 by LEGARE STREET PR.
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