. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . -^—«?- -^—f» -g g>- IL * I 3. #2) #* >!!J-rrTF ^=^. *i) Two bass notes. — *2) Lower voices may be held through the measure. — *3) Lowervoices * 1 1; and the same in the next measure. CHAPTER XXVII. UNFIGURED BASSES. 178. In adding the three upper parts to an unfigured bass, the same generalrules must be observed as in adding three lower voices to a given two processes, though inverse, are nearly identical. The following table(which compare carefully with that
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . -^—«?- -^—f» -g g>- IL * I 3. #2) #* >!!J-rrTF ^=^. *i) Two bass notes. — *2) Lower voices may be held through the measure. — *3) Lowervoices * 1 1; and the same in the next measure. CHAPTER XXVII. UNFIGURED BASSES. 178. In adding the three upper parts to an unfigured bass, the same generalrules must be observed as in adding three lower voices to a given two processes, though inverse, are nearly identical. The following table(which compare carefully with that given in Lesson 28) will therefore suffice: Ex I IV2 7 V 7 II Maj. O V(II Min.) 9 v* oV (in) 7V IV of l 0V V 7 V9Vh VI VIIVj (9) )ov / (2) V 7 V 9 oV(„v) major R: 1 __/a_ 0 -&—and—0 —— _. -0 \r& 1 and minor Steps: 1 2 2 3 3 4 4 % 6 6 7 179. Besides which, however, the following generalities must be recalled and borne inmind: The bass note is not as likely to be the chord-fifth as it is to be the root, third or leading-tone is not likely to be a root apparent (see par. 164), as 0V7. And inminor, neither the 2d nor 3d steps are like
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