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It frames chord study as integral to understanding music as a whole, emphasizing practical learning through figured bass. The text explains how students compose their own basses, figure them, and fill in the parts, building proficiency in chord functions and part-writing through progressive mastery of the chapters. ",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":15,"@type":76,"position":81},"https://docshare.wps.com/document/literature/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/a-manual-of-chords-introduction/566013/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/a-manual-of-chords-introduction/566013.png","ImageObject",300,407,{"name":92,"@type":93},"Terk","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-26","2026-10-13",true,{"@type":102,"interactionType":103,"userInteractionCount":14},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What is the book’s core view of harmony?","Question",{"text":112,"@type":113},"Harmony is treated as an organized outcome of acoustic natural phenomena such as harmonics and triads, progressively refined into a coherent musical language.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does the manual teach students to work with figured bass?",{"text":117,"@type":113},"Students learn to compose their own basses, figure them themselves, and then fill in the parts, building understanding of chords and their functions.",{"name":119,"@type":110,"acceptedAnswer":120},"What learning approach does the introduction recommend before moving to later chapters?",{"text":121,"@type":113},"The student should master one chapter thoroughly before proceeding to the next, establishing a firm foundation for continued study.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},566013,1793052820,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":14,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},1099525198933,"https://ap-avatar.wpscdn.com/davatar_155a257f0dc6eb9ab79c44ca47cae57d","31812004240264  \n781.3 D75  \nCarnegie Library of Pittsburgh  \nis a free public.library;maintained by.theCity of Pitsburgh ond the Counfy of Alle-gheny,withsupplemental appropriationsfrom the State of Pennsylvania  \n\n| FROM THE COLLECTION  \u003Cbr>CAAMEGLELIBRARY QE PITTSBURGH   |  |\n| --- | --- |\n| CLP-Main   |  |\n\nFINES:Two cents a day on juvenile cards  \nand three cents a day on adult cards for eachbook kept past due date.  \nA borrower is responsible for books damagedwhile charged on his card.Books may not berenewed.  \n89.823  \n15)  \nA  \nMANUALOFCHORDS  \nBy  \nELLEN DOUBLEDAY,A.R.C.M.  \nMT50.D671967  \nDoubleday,Ellen,author.A manual of chords.Boston,Branden Press [1967]  \nBP  \nvonitatl  \nati ot  \nBOSTON  \nBRANDEN PRESSPUBLISHERS  \ncat  \nw  \nCCopyright,1967,by Branden Press Inc.Printed in the United States of AmericaLibrary of Congress Catalog Card No.66-26285  \n工80  \nCONTENTS  \nIntroduction  \nPART 1  \nConcordant Harmony  \nChapter  \n1.  The Three Tonal Notes  \n2.  Explanation of the figured Bass  \n3.  Four-part harmony  \n4.  The cadences  \n5.  Modulation  \n6.  Sequences  \nPART 2  \nDissonant Harmony  \nChapter  \n7.  The Dominant Seventh and Dominant Ninth  \n8.  The Sevenths  \nLeading Note,Diminished  \nSuspended  \nChromatic  \n9.Grace notes,Anticapted notes,Ornaments,Retards,Passing notes  \nConclusion  \n5  \n7  \n9  \n14  \n21  \n32  \n41  \n47  \n56  \n57  \n58  \n59  \n62  \n# INTRODUCTION\n\nIn his book Outspoken Essays on Music,Saint-Saens writes:\"Harmony is accord worked out by harmonics;it is a product ofnature antecedent to the human race.\"  \nCenturies ago Cicero is said to have expressed the idea that\"There is in the universe one sole harmony,and the harmony ofsound is its image.\"During that period there was a seeking forsome kind of affinity between the universe and music,and inancient Greece the study of music was given a prominent placein ethical culture.We have reason to believe that the Greeks ofthose days developed the diatonic scale which is the foundationof our present harmonic system.  \nThroughout the ages musicians have sought long and diligentlyto co-ordinate in some way a concord of sounds and so to formulatea scheme which might give clearer utterance to musical thought.Scholars of the fifteenth and sixteenth centuries affirmed that thetriad is a natural phenomenon;that when sounding one tone,vibra-tions are set in motion which produce overtones or harmonics.Thegreat French composer Rameau continued these investigations,andin his book Treatise on Harmony Reduced to Its Natural Principles,he re-affirmed the declaration made earlier,that the triad is givenby nature.  \nAt about this time the violinist Tartini became engrossed inhis discovery of differential tones,and contributed greatly to thescience of acoustics in his various treatises.Both of thesemusicians in common with their predecessors admitted the exist-ence of generating tones producing harmonics or overtones.  \nThe player of a stringed instrument,whether violin,viola,or'cello,will readily appreciate the idea of sumpathetic vibrations,for when practising thirds or sixths with meticulous care,he willhear very distinct harmonics,and the purer his intonation the moreresponse there will be from these vibrating overtones.  \nThe age-long research into the science of harmonic vibrationshas enabled musicians to reach a coherence whereby thought asmusic may be translated into a language of its own.This coher-ence is what is understood as Harmony.  \nThe study of Harmony should be approached as an intergralpart of a full appreciation of music,for by gaining an under-standing of chords and their immense variety of tonal colour,theconcept of music as a whole will be enlarged and enriched.Tothe composer belongs the role of discoverer,and it may well bethat,like the pebble which,when thrown into the pond,producesever widening circles upon the quiet surface,the present harmoniccoherence will be found to be a starting point revealing progres-sively a Music glorious beyond any we have yet h","cbCaieGHkjgW7ggH","https://ap.wps.com/l/cbCaieGHkjgW7ggH","pdf",3177119,76,"English","# Introduction\n# PART 1 Concordant Harmony\n## Chapter 1. The Three Tonal Notes\n## Chapter 2. Explanation of the figured Bass\n## Chapter 3. Four-part harmony\n## Chapter 4. The cadences\n## Chapter 5. Modulation\n## Chapter 6. Sequences\n# PART 2 Dissonant Harmony\n## Chapter 7. The Dominant Seventh and Dominant Ninth\n## Chapter 8. The Sevenths Leading Note, Diminished, Suspended, Chromatic\n## Chapter 9. Grace notes, Anticipated notes, Ornaments, Retards, Passing notes\n# Conclusion","[{\"question\":\"What is the book’s core view of harmony?\",\"answer\":\"Harmony is treated as an organized outcome of acoustic natural phenomena such as harmonics and triads, progressively refined into a coherent musical language.\"},{\"question\":\"How does the manual teach students to work with figured bass?\",\"answer\":\"Students learn to compose their own basses, figure them themselves, and then fill in the parts, building understanding of chords and their functions.\"},{\"question\":\"What learning approach does the introduction recommend before moving to later chapters?\",\"answer\":\"The student should master one chapter thoroughly before proceeding to the next, establishing a firm foundation for continued study.\"}]","A manual of chords - Introduction | PDF",1791860636,117]