. Harmony : a course of study . rictest writing. This iseasily avoided by observing the following Rule. When the dominant triad {without the seventh) is pre-ceded or succeeded by that of the supertonic, the connecting tone(supertonic) is to be disregarded, and the upper voices are to movein contrary motion to the 75. not i or £ F FE4J JU J ■s- not ?^^ f # g HARMONY. 35 The tritone is the interval of an augmented fourth which exists be-tween the fourth and seventh degrees of the scale. Progressionswhich involve these two tones in succession, like 76. i *s^3F ii are avoided in strict coun

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. Harmony : a course of study . rictest writing. This iseasily avoided by observing the following Rule. When the dominant triad {without the seventh) is pre-ceded or succeeded by that of the supertonic, the connecting tone(supertonic) is to be disregarded, and the upper voices are to movein contrary motion to the 75. not i or £ F FE4J JU J ■s- not ?^^ f # g HARMONY. 35 The tritone is the interval of an augmented fourth which exists be-tween the fourth and seventh degrees of the scale. Progressionswhich involve these two tones in succession, like 76. i *s^3F ii are avoided in strict counterpoint. Example 75, page 34, covers aPnecessary progressions of this kind in harmonizing the exercisesgiven. EXERCISES TO LESSON M 4 2 6 SEE zlEzdE*—•—- + 6 4 =l=t P Third doubled, £. n followed by I4. 1 . Figured bass given. 63 a, 4 S2=r —I &- & -&■ m 4 2 6 3 537 IB 3. Unfigured bass. =+=!=$ 3yj=j=«bM 1=1=4 -«<—•- £gll 4. Soprano given. :& ^=r :F 11 ivjve4 5 :p=s: S£ ?=*: I II IV6. II w u> * 3« HARMONY: iiisE jtTW v^w l-U-L-L gffTff[fT[gflra Play in every major key, 77.

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