Logier's comprehensive course in music, harmony, and practical composition - Tapa blanda

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. 1920 Excerpt: ...HARMONIZED ACCORDING TO THE SIXTH RULE OF MODULATING BY THE INTERVALS OF A. MELODY. As this rule is also divided into two parts, we have, in order to distinguish them, employed the letters G and H for this purpose. t Notes of modulation, according to G. t Here, in order to obtain a flowing melody for the tenor, we have permitted the fundamental 7th to descend to the 5th, prio to its resolution. As the "note of modulation," B, bar 2, ascends a 4th, we have modulated to the key of E; instead of which, we have continued in the original key. Why? It is not good to modulate so soon out of the original key. Compare this bar with bar 6, where we have modulated to the key of E. Bar 3. The "note of modulation," A, ascends a 4th, and modulates to the key of D, by the first part of that rule (G). Bar 4. We have modulated back to the original key, by the second rule. (Page 127.) Bar 5. Compare this bar with bars 2 and 6. Snbdominant.--Let it be remembered that we are not obliged to modulate. N.B. There, in order to procure a flowing melody in the bass, we have employed the first inversion, although it does produce similar motion. Bar 6. We have, for the same reason, employed the second inversion. This will suffice to show the most efficacious manner of choosing inverted basses on those occasions. Bar 6. The " note of modulation," B, ascends a 4th, and modulates to the key of E, in which key the first part closes. Bar 9. The "note of modulation," B, ascends a 4th to E, and modulates to the key of A (the original key). Here the second part of the sixth rule (H) is employed. (See Ex. 190, II.) Bar 13. C J, the "note of modulation," modulates to F J minor, t by the fifth rule. (Vage 131.) Bar 17. F descends a fifth to B, an...