. Harmony : a course of study . therefore Rule. When the root of the tonic triad in the bass progressesto the root of the modulating dominant seventh, double the thirdof the tonic (see Table I, I, 2, 3, 4, 5, 6), or in other words, ap-proach the third of the dominant seventh from the third of thetonic, never from the root. Consecutive ffths also result fromparallel motion of the root and fifth of the tonic to the root andfifth of the dominant seventh, when the fifth is above the root. 166. 2 I -&■ II For this reason, as well as on account of the abrupt skip to thedissonance of the seventh (as

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. Harmony : a course of study . therefore Rule. When the root of the tonic triad in the bass progressesto the root of the modulating dominant seventh, double the thirdof the tonic (see Table I, I, 2, 3, 4, 5, 6), or in other words, ap-proach the third of the dominant seventh from the third of thetonic, never from the root. Consecutive ffths also result fromparallel motion of the root and fifth of the tonic to the root andfifth of the dominant seventh, when the fifth is above the root. 166. 2 I -&■ II For this reason, as well as on account of the abrupt skip to thedissonance of the seventh (as in Lesson XXIX), it is better not touse the third inversion in this modulation. HARMONY. 103 The available positions of this modulation through the dominantseventh are as follows: TABLE I. >> *• 2 • 3- 4* I r-| J gt=i =t^ :^=^ 7 iLiii^pi^^^ ?j*^ -•+U-* ^ * rre. il-=rH |e=)i: » N=* pl^^^S r-Q- FP=p: :fe (,.)* •—# ur-iti hpi & 5E=j=m=$=$-fg-f 3 Q t^-!2- t3=F N-^i); *6*3 2. 6. ■I—il 0—il—is m^mi

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