Page:Harmony - its theory and practice.djvu/13

Rh CHAPTER XVI.— page 178

The major and minor thirteenths, 396—Which unavailable in a minor key, 398—Numerous forms of the chord, 399—The thirteenth a consonance with the generator, 400—Resolution of the chord, 402—Treatment of the thirteenth, 404, 405—The inversions, 407—How to recognise chords of the thirteenth, 408—Chords with the generator present: Generator, third, and thirteenth, 410—False notation of minor thirteenth, when used, 413—(2) Generator, third, fifth, and thirteenth, 417—(3) Generator, third, seventh, and thirteenth, 418—(4) Generator, ninth, eleventh, and thirteenth, 423 Chords of the thirteenth without the generator, 424—(5) Third, minor ninth, and thirteenth, 425—(6) Third, fifth, ninth, and thirteenth, 428—(7) Fifth, seventh, ninth, and thirteenth, 429—(8) Third, fifth, seventh, ninth, and thirteenth, 430—(9) Fifth, ninth, eleventh, and thirteenth, 431—(10) Seventh, ninth, eleventh, and thirteenth, 432—(11) Ninth, eleventh, and thirteenth, 435—Unused form of the chord, 436—The chord in its complete form, 437 Use of the chord in modulation, 438—Examples, 439–441—Summary of treatment of the chord, 442–445.

CHAPTER XVII. THE CHORD OF THE AUGMENTED SIXTH page 197

The chord of the Augmented Sixth made from the dominant and supertonic sevenths, 448—Harmonic derivation of the chord, 450–452—The chord is always chromatic, 453—Its resolution, 454—On which degrees of the scale used, 455—The Italian Sixth, 457—Its resolutions, 458—Its inversions, 459—Examples, 460—The French Sixth, 461—Its resolutions, 462—Its inversions, 463—Examples, 464–467—The German Sixth, 468—Its inversions, 469—Examples, 470–475—Rarer forms of the chord of the augmented sixth, 476—Modulation by means of this chord, 477–484.

CHAPTER XVIII. THE SO-CALLED "DIATONIC DISCORDS" page 214 The early use of discords, 486—All essential discords can be used without preparation, 487—Distinction between the root and the generator of a chord, 488—Definition of diatonic discords, 489—Diatonic sevenths; their derivation, 490—The old rule for their treatment, 492—Examples, 493, 494—Disregard of the rule by old masters, 495, 496—Modern practice, 497—General principles, 498—Diatonic ninths, 499.

CHAPTER XIX. SUSPENSIONS page 221

Definition of a suspension, 501—Difference between suspensions and diatonic discords, 502—Which notes can be suspended, 504— Rules for preparation of a suspension, 505—Position in the bar of a suspension, 506—Length of its preparation, 507—When it may be sounded with the note of its resolution, 508— Incorrect progressions, 509—Always resolved on the same chord, 510—Practical limitations, 511—Figuring, 513–516—Ornamental resolutions, 519 Examples, 521–524—Suspensions resolving upwards, 525–532—Double suspensions, 533, 534—Suspensions of complete chords, 535.