Harmony, its theory and practice . 290. Our next illustrations show modulations from a minortonic to the dominant minor (Ex. 210) and the subdominantminor (Ex. 211). The key is changed in each case at thethird bar of the extract; at 210 by treating the previous tonicas a subdominant; and at 211 by^ the reverse process, the firstinversion of the subdominant being here left as the first inversionof the new tonic. It should be mentioned that the A j| in thethird bar of Ex. z il is not a harmony note, but an auxiliarynote. (See Chapter X.) Mendelssohn. Im Herbst, Op. 9, No. 210,. 291. Our la
Harmony, its theory and practice . 290. Our next illustrations show modulations from a minortonic to the dominant minor (Ex. 210) and the subdominantminor (Ex. 211). The key is changed in each case at thethird bar of the extract; at 210 by treating the previous tonicas a subdominant; and at 211 by^ the reverse process, the firstinversion of the subdominant being here left as the first inversionof the new tonic. It should be mentioned that the A j| in thethird bar of Ex. z il is not a harmony note, but an auxiliarynote. (See Chapter X.) Mendelssohn. Im Herbst, Op. 9, No. 210,. 291. Our last example will show a modulation from a tonicminor to the relative major of its dominant minor—in this casefrom D minor to C major. This modulation is not very com-mon, and in the present instance C major is quitted as soon as it 122 Harmony. [Chap. IX is entered. Ex. 212. Schumann. Nordisches Lied, Op. 68, A 1-,—I-
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