. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . ^ *-* *~* *=^ M fqc -=M-i—4- *8) tjQ v* M *4) *5) FT*f_ -#— * *6) Eb I- Bb major9 97 oVblVb 0V V- bb minor -Hib iv# Bbmaj. 3. Andante Brahms. Op. 10. 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. — *$) The g-flat is the lowered 6th step of the next-related key,B-fiat major. — *4) The dominant chords of B-jlat major resolve here into b-flat minor. —*5) See Ex. 160, note *2).— *6) B-jlat major he
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . ^ *-* *~* *=^ M fqc -=M-i—4- *8) tjQ v* M *4) *5) FT*f_ -#— * *6) Eb I- Bb major9 97 oVblVb 0V V- bb minor -Hib iv# Bbmaj. 3. Andante Brahms. Op. 10. b minor B major *i) The dom. triad of a minor, resolving into A major. — *2) A direct chromatic tran-sition from major to minor. — *$) 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
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