. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . ion of the chord, disappears in the sound of the chords, on account of the en-harmonic coincidence of the augm. second with the minor third. 130 THE THEORY AND PRACTICE OF TONE-RELATIONS. Par. 244. 244. As the different inversions of the chord can therefore notbe distinguished from each other in sound, it follows that the identity of theseparate intervals is not distinctly definable, or recognizable by ear. Thatis, it is impossible to determine, by ear, whic
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . ion of the chord, disappears in the sound of the chords, on account of the en-harmonic coincidence of the augm. second with the minor third. 130 THE THEORY AND PRACTICE OF TONE-RELATIONS. Par. 244. 244. As the different inversions of the chord can therefore notbe distinguished from each other in sound, it follows that the identity of theseparate intervals is not distinctly definable, or recognizable by ear. Thatis, it is impossible to determine, by ear, which of the four tones is the leading-tone, which the original gth, which the yth, etc. Hence, each tone of the chord may be assumed in turn to be a leading-tone, whereby it will represent in each case a different key, and will be sub-ject to a corresponding alteration of notation, As the alteration in notation does not alter the sound of the interval or chord, it will simplybe an enharmonic exchange. For example, adopting the chord of b minor: Leading-tone a-sharp, resolvinginto B minor or B major:. 3^r«&-J ■at*. Leading-tone c-sharp, resolvinginto D minor or major: Leading-tone e, resolvinginto F minor or major: m -bs- 1 m^^m Leading-tone g (or/x), re-solving into A-flat (or G-sharp) minor or major: bs- lie m 53 *i) The form and notation of each chord of the is denned by the formula givenin par. 176 (which see); namely: it must constitute a chord of the seventh upon the leading-toneof each key, respectively, and correspond in notation to the minor scale of its key. — *2)Here the ^-form of the original chord ( 0V9 in b minor) on c-sharp, is transformed into a chordof the 7th on the tone c-sharp, whereby an enharmonic change from a-sharp to b-flat is selfsame procedure gives rise to the other two enharmonic exchanges which follow. 245. The same system of enharmonic exchange is applied with similarresults to the other two chords of the d
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