. Harmony : a course of study . isa i68 HARMONY. LESSON LII. MODULATION A MINOR SECOND DOWNWARD. The modulation downward a diatonic semitone (the reverse of thepreceding one), is effected through the dominant seventh, preferablyin its first or second inversion, as follows: The third of the original tonic becomes the seventh of the modu-lating chord. The fifth descends a semitone to the root of the modulating chord. One root is raised chromatically, becoming the fifth of the modulat-ing chord. The other root descends a diminished third, to the thirdof the modulating chord. This awkward interval
. Harmony : a course of study . isa i68 HARMONY. LESSON LII. MODULATION A MINOR SECOND DOWNWARD. The modulation downward a diatonic semitone (the reverse of thepreceding one), is effected through the dominant seventh, preferablyin its first or second inversion, as follows: The third of the original tonic becomes the seventh of the modu-lating chord. The fifth descends a semitone to the root of the modulating chord. One root is raised chromatically, becoming the fifth of the modulat-ing chord. The other root descends a diminished third, to the thirdof the modulating chord. This awkward interval may be avoided by interposing a passingtone. (See Ex. 227.) pfei 4 f fe=t#2==t£=$=«>a Z7- M 1 g= Z2>=i=i Sft <? The second inversion of the dominant seventh chord (|) may beused with equal advantage. 228.
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