. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . 232. The limitations for such abrupt modulations are: That there shallbe a reasonable degree of coherency between the keys; and, as a generalthough not strict rule, that at least one tone be sustained from the old keyinto the new one, as connecting-link. Of these pivotal modulatory tonesthe best are the tonic, the mediant, or the dominant of the old key,which may be exchanged at option for either the dominant, the mediant,the tonic, or the leading-tone (perhaps the 4th or 6th

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. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . 232. The limitations for such abrupt modulations are: That there shallbe a reasonable degree of coherency between the keys; and, as a generalthough not strict rule, that at least one tone be sustained from the old keyinto the new one, as connecting-link. Of these pivotal modulatory tonesthe best are the tonic, the mediant, or the dominant of the old key,which may be exchanged at option for either the dominant, the mediant,the tonic, or the leading-tone (perhaps the 4th or 6th steps, as seventh orninth of the dominant chords) of the new key. Illustrations of abrupt cadence-modulations, and pivotal modulations:1 Presto DAlbert -•- -•- V >- bm-_ Cadences m f\ 1^-^-0^ -m- A *>-*+ ^=P «^pr wt tt tt i *l) u- i# S £ a minor I- II f minor I- -VI Par. 232. SEQUENCE AND CADENCE MODULATIONS. 2. Allegro _•«-_ ^—v V 121 m fcrt s— « &£ Brahms I 1LJ m^tt W^m^#*F ESt ^ &— •a) 1K »=**t j^- -w— etc. g* ffl ££3 g :fc^=jg^ D I- C I 3. Vivace n# i n## i Hummel. (^OT^ u u B B B P-g=rjcEz>c^z}i Ab V-

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