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Published online by Cambridge University Press: 01 January 2020
I think it advisable first of all, to explain a little more fully the title announced in, the Syllabus for this evening's paper, viz. ‘A Practical Method for Beading Harmony.’ The title originally sent was, ‘A Practical Method for Reading Harmony, adapted to performers on the organ or pianoforte, and distinct from the composer's manner of analysis.’ I was kindly recommended to leave something to be explained, rather than adopt a title too long to be well remembered.
1 The diminished triad in the chord of the minor seventh, I know well, has its root a major third below its bass note; but it is very often used, and inverted, independent of this, just as the major or minor triads are, and therefore in this method I class it with them.Google Scholar
∗ For explanation of the tie-dashes, see pp. 108–109.Google Scholar
∗ Introduction to his Six Lectures on Harmony.Google Scholar