. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . Further illustration:Presto. *i) FlV t*42 *2) HZ X>: ^^) S 5: I—T— tea^^paaBiai^iS- 7 VI 7 IV Par. 191. FIGURED BASSES. 91 *=* TF t^=CTt Schumann. Op. 20. ti n^ J S I i _LuL_L^ atz±atji n f=* ±*=3C etc. ii *** 7III 7VI *i) When the tempo is so rapid, successive beats, of similar harmonic import, blend;therefore these chords are defined by grouping both beats (represented by each bass figure)together. — *2) The figure in P-notes continues throughout

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. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . Further illustration:Presto. *i) FlV t*42 *2) HZ X>: ^^) S 5: I—T— tea^^paaBiai^iS- 7 VI 7 IV Par. 191. FIGURED BASSES. 91 *=* TF t^=CTt Schumann. Op. 20. ti n^ J S I i _LuL_L^ atz±atji n f=* ±*=3C etc. ii *** 7III 7VI *i) When the tempo is so rapid, successive beats, of similar harmonic import, blend;therefore these chords are defined by grouping both beats (represented by each bass figure)together. — *2) The figure in P-notes continues throughout, as in the first and last pupil is to play it in its correct form. THE AUGMENTED TRIAD. 191. One unusual chord, of the Fourth discord-class, claims special men-tion, namely: the triad upon the third step, in the minor mode. It is anaugmented triad (par. 1116), and is treated thus: Ex. 144. C minor H-&- ^=t FCT r -i r^w FIGURED BASSES. 192. The student is now sufficiently familiar with the figures placed be-low the bass tones, to work out an exercise from a figured bass. The figuresindicat

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