CHAPTER XX.—PEDALS page 237
A Pedal defined, 536—Which notes are used as Pedals, 538—Treatment of the harmony when the Pedal is not a note of the chord, 540—Examples of dominant pedals, 541—Tonic pedal, 542—Inverted pedals, 543—Pedal above and below, 544—Pedal in a middle voice, 545—Generally ends with a chord of which the pedal is a part, 546—Modulation on a pedal, 547–550—Ornamentation of a pedal note, 551—The double pedal, 552—A curious pedal, 553.
CHAPTER XXI. HARMONY IN FEWER AND MORE THAN FOUR PARTS page 245
Harmony wholly in four parts rare, 554—Three-part harmony, 555—Characteristic notes to be retained, 556—Broken chords, 557—Position of chords in three-part harmony, 558—The cadence, 559—The motion of the separate parts, 560—Examples, 561—Two-part harmony, 562—Examples referred to, 563—Examples given, 564–567—Harmony in more than four parts, 568—Greater freedom of part-writing allowed, 569—Five-part harmony, 570—Six-part harmony, 572—Seven-part harmony, 574—Eight-part harmony, 575—Conclusion, 578.
