. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . g the 7th step from b§ to b\?.This descending form of the melodic minor scale exactly agrees with the adopted signature(par. 91). Par. 212. ALTERED CHORDS IN MINOR. 105 212. The external proportions of these various minor scales may be systematized with-out confusion as follows: 1. The first five tones, from tonic to dominant, are the same in all the forms of minor, andcontain the lowered {minor) third step. C minor, harmonic form II -bo- -s>—« ^zfe I -be- 2. In the melodi
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . g the 7th step from b§ to b\?.This descending form of the melodic minor scale exactly agrees with the adopted signature(par. 91). Par. 212. ALTERED CHORDS IN MINOR. 105 212. The external proportions of these various minor scales may be systematized with-out confusion as follows: 1. The first five tones, from tonic to dominant, are the same in all the forms of minor, andcontain the lowered {minor) third step. C minor, harmonic form II -bo- -s>—« ^zfe I -be- 2. In the melodic scales, the upper series of tones, between dominant and upper tonic,consists of whole step, whole step, half-step in both directions; thus:C minor, melodic form I I EM «j ^ -(?©- s-Aau ■&£. -e—sr b®-h»—- m 1 i 1 1 I 213. From this the important deduction is made, that the third scale-step is the only distinctive tone between the major form and the variousminor forms; it is major in major, and minor in minor. 214. The raised 6th step is applied and treated as follows: 2* L_ .. -III l_J J ^mm^m*. 1 r 1 7 VI3 IlfcjV I lit) v ivl} ivljv0 *i) The progression of these chords is defined by the resolution of their altered step;not rigidly by par. 206. Here, dominant chords must follow. — *2) The resolution of this 7th(c in alto) corresponds in this case to Ex. 121. — *3) The a\ in soprano is followed by ab intenor. See par. 200 b. 215. The raised 4th step often accompanies the raised 6th step, in Sec-ond-class chords. In this case only the 4th step requires the ascendingresolution; the 6th step may rise or fall. For illustration: Ex158. { C minor ^MSi^#Jsspp FU-i 1 1 *i) J J >^ m #= o^- 7 V I nirtt IVlfll m *i) See Ex. 136, note *2).—*2) Resolution into the I; stationary dissonances. — *3)Analogous to Ex. 153, note *2)\ rare. — *4) Comp. Ex. 157, note *3). — *5) The reso-lution into the triad V resembles a modulation. The dominant discords, or the I, are
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