. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . b minor B major *i) The dom. triad of a minor, resolving into A major. — *2) A direct chromatic tran-sition from major to minor. — *$) The g-flat is the lowered 6th step of the next-related key,B-fiat major. — *4) The dominant chords of B-jlat major resolve here into b-flat minor. —*5) See Ex. 160, note *2).— *6) B-jlat major here finally asserts itself. — *y) Directchromatic transition from b minor to B major. LESSON 49. Harmonize the following melodies and basses, introduci
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . b minor B major *i) The dom. triad of a minor, resolving into A major. — *2) A direct chromatic tran-sition from major to minor. — *$) The g-flat is the lowered 6th step of the next-related key,B-fiat major. — *4) The dominant chords of B-jlat major resolve here into b-flat minor. —*5) See Ex. 160, note *2).— *6) B-jlat major here finally asserts itself. — *y) Directchromatic transition from b minor to B major. LESSON 49. Harmonize the following melodies and basses, introducing the Opposite mode at each *:1. A, r iJ r r rjn^wtrf^ w i sS -$*=#=& r=^f==r t=t=t -d—b+ Tr 11 jX-i 1 1 11. Par. 230. SEQUENCE AND CADENCE MODULATIONS. II9 5. bb-Bb c—C d—D e—E f# E—e ^^^^s^^^^fe^^^t^ A\> major6. *o) *4) | *i) f S^P^ %* 6 65 6 3 7 43 4=Bpe==t b3 2 bC6 b3 ^6 C3 j,7 b 3 te: 7. teEtEEjE SS3 F—P—^-^g^+^fjf1—gggrggZZjpFbg—nzrJ3 3 a 2 6 rj , ,6 b3 b-& wb 03 2 Do 0 f=t I hsz- ■&—&- 6- Q3 b6 Q5 53 *i) At each f, the foregoing dominant chord is resolved into the opposite mode of theexpected (next-related) key. — *2) Lesson 48, note *2).— *3) This is the Stride (G-c),simply because minor is substituted for the expected major. — *4) The cross-relation (seepar. 200&) is often unavoidable in sequences, as here; but, as usual, the sequence justifies it. —*5) The signature is omitted here, and in No. 5, because the notation, during such extensivemodulation, is more convenient with accidentals. — *6) Analyze the basses thoroughly. CHAPTER AND CADENCE MODULATIONS. 230. In all the foregoing modulations, both next-related and extran
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