. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . passing seventh of the chord, which, as the other tones of the chordare sustained, has the character of a passing tone descending (161 ). The sevenththus receives more the character of melody than harmony. See Remark—128. 123. The Leading-Tone in the Harmonic Minor Scale.— Theleading-tone in the harmonic minor scale is chromatically raised ascendingand descending (64—B ). This gives us an augmented second between thesixth and seventh ascending and seventh and sixth descending, which
. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . passing seventh of the chord, which, as the other tones of the chordare sustained, has the character of a passing tone descending (161 ). The sevenththus receives more the character of melody than harmony. See Remark—128. 123. The Leading-Tone in the Harmonic Minor Scale.— Theleading-tone in the harmonic minor scale is chromatically raised ascendingand descending (64—B ). This gives us an augmented second between thesixth and seventh ascending and seventh and sixth descending, which is anunmelodious progression. The leading-tone can not be employed as a passing seventh (122—A) upon thetonic triad of the minor scale (as at b), as it would have to descend to the sixth of thescale, which forms the step of an augmented second (78). If the seventh of the minorscale is to be used as a passing seventh las in the major scale, 122, at a, b, c,), it willbe necessary to employ the melodic minor scale (6-1—C) as at a, in which the seventhof the scale is lowered descending. See 161— N. B.—The descending melodic minor scale does not contain the chromatically raised seventh(leading-tone). In descending thi^ scale as at a , the seventh of the scale is consequently not theproper seventh of the tonic triad, at b see 116—A . As the seventh of the scale is in this case em-ployed as a. passing seventh which has the character of melody, 122—N. B. i we may therefore use theseventh of the melodic scale descending in connection with the tonic triad as at a . avoiding therebythe step of an augmented second and making the progression of the Bass more melodious. (52) 124. The Perfect Cadence.—The conditions necessary to a perfectcadence of the major or minor scale are: A.—The Bass moves from the fundamental of the dominant chord to the funda-mental of the tonic triad—authentic cadence (45), at a ; in the plagal cadence(40) from the fundamental of the sub-do
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