Harmony, its theory and practice . (XVI) Hymn Tune. wi Y rif- r ^ ?p p p=^g= :^ ^ 6 »6 4 62 6 $64 *J ^E ?=f=t 3 ^m =t=^ fel a- I zt (XVII) Hymn Tune. ^ ^^ ^r r I- ^ ir> r^ 3 674 6 65 ^E ^ TirjJi-^ 7 t =I=t= ^ ^t=* 16 6 $4 6(42 S6 -6 86(6 (XVIII) Hymn Tune. Chap. IX.] Modulation. 129 (XIX) Hymn Tune. 3 6 6 6 S6 5 6 f6 6 t5 5 4 4 X 3. 298. The Student will now be able to attempt the hannoni-zation of chorals containing modulations; but before he pro-ceeds to do this, there are a few additional hints to be givenhim. The first refers to the cadences. We already know(§ 117,) that every piece of
Harmony, its theory and practice . (XVI) Hymn Tune. wi Y rif- r ^ ?p p p=^g= :^ ^ 6 »6 4 62 6 $64 *J ^E ?=f=t 3 ^m =t=^ fel a- I zt (XVII) Hymn Tune. ^ ^^ ^r r I- ^ ir> r^ 3 674 6 65 ^E ^ TirjJi-^ 7 t =I=t= ^ ^t=* 16 6 $4 6(42 S6 -6 86(6 (XVIII) Hymn Tune. Chap. IX.] Modulation. 129 (XIX) Hymn Tune. 3 6 6 6 S6 5 6 f6 6 t5 5 4 4 X 3. 298. The Student will now be able to attempt the hannoni-zation of chorals containing modulations; but before he pro-ceeds to do this, there are a few additional hints to be givenhim. The first refers to the cadences. We already know(§ 117,) that every piece of music must end with a fullcadence; but, were a full cadence introduced at the end of everyphrase, the effect would be extremely monotonous. For themiddle cadences it is therefore generally better to employother forms, unless the music modulates, in which case a fullcadence in the new key is allowable. Of the various middlecadences, one—the half cadence, ending on the root posi-tion of the dominant chord,—has been already explained(§ 178) ; there are two others which must now be briefly de-scribed.* 299. If one, or both of the two final chords of a fullcadence be inverted, instead of their being both in root-posi-tion, we have an Inverted Cadence. Of this there are severalpossible varieties ; among the most common are («)
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