. Harmony : a course of study . 5 85. f s V7 vi £ IV 3= J 3 4° HARMONY. LESSON MEDIANT TRIAD. The triad of the mediant, the parallel minor of the dominant, isthe least useful of the secondary harmonies of the scale. Its princi-pal use is to harmonize the leading tone, in the descending melodicsuccession, tonic, leading tone, submediant. This, like the super-tonic and submediant triads, is indicated by a small numeral, fromthe fact that the triad is minor. 86. J =t jfi_ II :J: {I m =t i I in IV Like the submediant, its third is often doubled. It should only bepreceded by the tonic, domi
. Harmony : a course of study . 5 85. f s V7 vi £ IV 3= J 3 4° HARMONY. LESSON MEDIANT TRIAD. The triad of the mediant, the parallel minor of the dominant, isthe least useful of the secondary harmonies of the scale. Its princi-pal use is to harmonize the leading tone, in the descending melodicsuccession, tonic, leading tone, submediant. This, like the super-tonic and submediant triads, is indicated by a small numeral, fromthe fact that the triad is minor. 86. J =t jfi_ II :J: {I m =t i I in IV Like the submediant, its third is often doubled. It should only bepreceded by the tonic, dominant or submediant, the progressionsupertonic to mediant, or subdominant to mediant, being harsh in anyposition. 87. iH -g 75~ t-H i f? £ - J J— \-n ««- * -% 4 - J -J i S -g 2 - 5 «J -[ r? J r? J r? f r? ^ ~F~\? r? If -r :- i— r + -r :+ r H—r 11 It may best be succeeded by the subdominant or tonic triad, thesuccession mediant to submediant, mediant to dominant, or mediantto supertonic being either harsh or weak. On general principles the progression of a secondary triad to itsrelative major, supertonic to subdominant, submediant to tonic, or HARMONY. 41 mediant to dominant, although possible, is not to be recommended,although the reverse progression is always of good effect. In each position. Good. Possible. 4__L_J__I—I I—|. 89. I
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