. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . in No. 5, because the notation, during such extensivemodulation, is more convenient with accidentals. — *6) Analyze the basses thoroughly. CHAPTER AND CADENCE MODULATIONS. 230. In all the foregoing modulations, both next-related and extraneous,the fundamental rule given in par. 198 has been strictly observed. Butmore abrupt and irregular modes of transition are possible, under favorablecircumstances. The most auspicious conditions are afforded by the momen-tary br
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . in No. 5, because the notation, during such extensivemodulation, is more convenient with accidentals. — *6) Analyze the basses thoroughly. CHAPTER AND CADENCE MODULATIONS. 230. In all the foregoing modulations, both next-related and extraneous,the fundamental rule given in par. 198 has been strictly observed. Butmore abrupt and irregular modes of transition are possible, under favorablecircumstances. The most auspicious conditions are afforded by the momen-tary breaks or interruptions which occur between sequences, or at (, after)cadences of any kind. Hence: 231. Upon passing into a sequence, or into a new phrase, or distinctmember of a phrase, an abrupt transition may be made into the desired key(whether related or not) without necessarily interposing the usual dom.(or second-dom.) modulatory chord. For example: 1. _ 2. o Sequences m V *t n Vi m :4zf?: U etc. m -&- 4r*~ sz sgfel K -1 dl- E I- *i) 120 THE THEORY AND PRACTICE OF TONE-RELATIONS. Par. jlii^^^te^^^^ftl §s=» Allegro % W , 1 ift , ,H gal it :S ^= r :i^ d# min. II- *4) d min. II- *4) c# min. II- *i) The transition is made abruptly from the I of the old key, into the I of the new ( 197, Rule III, second clause). There is no common tone connecting the keys (see ), but the sequences are so close and coherent that the connecting-link may be dispensedwith. — *2) This modulation is made in the regular way, but the keys are not related. — *3)Here there is a succession of tonic chords, and one single chord must suffice to represent a par. 203. It is all accounted for by the sequence. — *4) The old key is abandonedat its (comp. par. 197, Rule IV). The connecting-link into the first sequence(which is a very close one) is the tone ex = d (leading-tone becoming a tonic). 232. The limitations for such abrupt modulations are: Th
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