. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . — (^ • ((VIA J J J J 1 1 1 1 vu;h- * • 0 • 11 j 1 1 4_— *i) This extremely irregular melodic progression (7-6-7, see par. 63) is justified by thesequence. — *2) An exception to Ex. 69, note *3), permissible because of its sequential re-lation to the preceding measure. — *3) Like Ex. 22, note *$), which see. 5o THE THEORY AND PRACTICE OF TONE-RELATIONS. Par. 130. 130. When the sequential form is adhered to in all jour parts, the re-sult is a complete harmonic sequence. Such ch
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . — (^ • ((VIA J J J J 1 1 1 1 vu;h- * • 0 • 11 j 1 1 4_— *i) This extremely irregular melodic progression (7-6-7, see par. 63) is justified by thesequence. — *2) An exception to Ex. 69, note *3), permissible because of its sequential re-lation to the preceding measure. — *3) Like Ex. 22, note *$), which see. 5o THE THEORY AND PRACTICE OF TONE-RELATIONS. Par. 130. 130. When the sequential form is adhered to in all jour parts, the re-sult is a complete harmonic sequence. Such chord-clusters in sequential succession are generally good, regard-less of the rules of regular chord-progression, excepting when the triad onthe leading-tone (Ex. 19, note *2) is involved. When this occurs, the sequenceis either abandoned, or altered. Sequences rarely extend beyond three (or four) recurrences. In minor they are less common than in major. For illustration (sequences, with triads and chords of the 6th): hs I Jr U- W- -fs- J- J A I I better rI l ii iE -0Z- :-^=t -&- ^ Seq *i) Leading-tone triad. In this case the sequence would be altered to the next higherstep. — *2) This is the connection of a triad and 6th upon the same bass tone. The figure 5(before 6) is necessary, to indicate the change in shape, and the progression 5-6, which occursin the soprano. — *3) Here the sequence is shifted to an unexpected higher step. At thesame time, the relative position of the inner parts is altered; but the harmonic form as awhole remains the same as in the first group. — *4) The inner parts are altered. LESSON 16. A. Re-harmonize, with triads and chords of the 6th, Lesson 10, melodies 1, 2, 3, 4, n, melodies 2, 4, 6. — Lesson 13, melodies 2, 3, 5. B. Harmonize the following: 1. 2. %-k RFF m ¥ ii^j 3. IE ^ Hi ■75»- S Par. 130. CHORDS OF THE 51 H s a t=t -*—• *=t -*—g- 4* 1* 5. 1^^ •«—C1—•- *3) *3) ¥=t t
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