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 tune at Oxford. during this 3rd variation of A conception 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 speculation to be completely appropriate to the procedure of simply intonation. one other cause, in his view, used to be that the perspective of medical males towards smooth chromatic tune had lately better, as they can see that their procedure could by no means be followed so long as it threatened the life of a unmarried masterpiece of musical literature. despite the fact that, the method will be authorised whilst it rendered such works able to extra ideal functionality. This influential Victorian textbook is now reissued for the good thing about these attracted to nineteenth-century composition and research.
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Additional info for A Theory of Harmony: With Questions and Exercises for the Use of Students
52. F. Sonata. No. 1. Op. 42. Mass in D. " BEETHOVEN. &C. 100. At * Ex. 51 is the fourth inversion of the chord of the major ninth of G, and at * Ex. 52 is the same chord derived from D. CHORD OF THE DOMINANT ELEVENTH. 101. The next combination of thirds produces the chord of the eleventh on the dominant (chord No. 9). This chord, like its relation formed on the tonic (§ 63), MAJOR SERIES. 45 appears in three forms : the first, accompanied only with the fifth ; second, with the seventh also; third, with both seventh and ninth.
49. At * in Ex. 6 is the third inversion of the chord of the major seventh of B. MAJOR SERIES. The following are examples of the major seventh treated as the subtonic :— Ex. 7. MOZART. Idomeneo. " 50. At * Ex. 7 is the original position of the suspended subtonic of E. Ex. 8. SCHUBERT. Pianoforte Sonata in Eb. Op. 122. 51. At * Ex. 8 is the first inversion of the suspended subtonic of E j?. It will be observed that the Efyis omitted in this chord on account of the rule before alluded to. ) It is similarly treated in the following :— Ex.
Starting from the Tonic. 2. Starting from the Dominant. DIAGRAM OF CHORDS FORMED FROM THE SCALE. 1 2 TONIC SERIES OF MAJOR KEYS. 3 . 4 ^ ^ Q, Chord of 5th. Chordof7th. Chord of 9th. ChorcTof nth. ChorcTof 13th. ) DOMINANT SERIES OF MAJOR KEYS. 6 7 8 9 Chord of 5th. Chord of 7th. Chord of 9th. Chord of nth. ) TONIC SERIES OF MINOR KEYS. 12 , 13 , , 14 11 \ri ri Chord of 5th. Chord of 7th. ) 16 Chord of 13th. Chord of 9th. Chord of nth. Chord of 13th. DOMINANT SERIES OF MINOR KEYS. 17 18 19 Chord of 5th.