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Contents.
- CHAPTER IV.—The General Laws of Part-writing
page 42 Definition of a Part Progression of parts, 88—Rules of melodic progression, 89–92—Harmonic progression; similar, oblique, and contrary motion, 93—Four-part harmony; names of the voices, 94—Rules of partwriting, 95—Consecutive unisons and octaves, 96–98—Consecutive fifths, 99–101—Hidden octaves and fifths, 102–105—Consecutive fourths, 106—Consecutive seconds, sevenths, and ninths, 107–108—Progression from a second to a unison, 109—Five recommendations as to part-writing, 110–116. - CHAPTER V.—The Diatonic Triads of the Major Key: Sequences
page 52 Diatonic and chromatic notes in a key, 117—The diatonic scale, 118—A chord: its root, 119—Triads and common chords, 120—Major and minor. keys, 122—Major and minor chords: the diminished triad, 123—Doubling of notes, 124—Compass of the voices, 125—Close and extended position, 126—The best position of chords, 127, 128—The "root position" of a chord, 129—What notes may be doubled, 130—Progression of the leading note, 132, 133—Omission of a note of a chord, 134—Effect of chords in their root position, 135—A doubled part, 136—Sequence, 137—Tonal sequence, 138—Real sequence, 139—Irregular progressions justified by sequence, 140—Harmonising a sequence, 141, 142—Short score and open score, 143—An exercise worked, 144–147. - CHAPTER VI.—The Inversions of the Triads of a Major Key
page 65 Inversion of a chord defined, 150—The first inversion of a triad, 151—Figured bass, 152—Figuring of a first inversion, 153—A series of first inversions, how treated, 156—Which note to double, 157—The second inversion of a triad, 158—The fourth with the bass a dissonance, 159—Examples of second inversions, 160–163—Rules for approaching a second inversion, 164—Rules for leaving a second inversion, 165—Which note to double in a second inversion, 166. - CHAPTER VII.—The Minor Key
page 74 Difficulty of scientific explanation of the minor key, 168—Forms of the minor scale, 169–171—Signature of the minor key, 172—Relative keys, 173—Enharmonics, 174—Tonic major and minor keys, 175—The harmonic basis of the minor key, 176—The derivation of its diatonic triads, 177.
