. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . VT. C: Y; 84) 167. Passing Chords.—Passing tones are tones foreign to the har-mony, employed upon the unaccented part of a measure ( 161—Remark) inpassing from a tone of a chord to another (161—N. B.). N. B.—Passing tones may be employed in one (161), Two (165) and threeparts. Passing tones in threeparts form real chords which, as they occur upon the unaccented part of the measure (like the passing tones) are called passing CHORDS. A. -Passing six-chords: diatonic (a, b), chromatic {
. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . VT. C: Y; 84) 167. Passing Chords.—Passing tones are tones foreign to the har-mony, employed upon the unaccented part of a measure ( 161—Remark) inpassing from a tone of a chord to another (161—N. B.). N. B.—Passing tones may be employed in one (161), Two (165) and threeparts. Passing tones in threeparts form real chords which, as they occur upon the unaccented part of the measure (like the passing tones) are called passing CHORDS. A. -Passing six-chords: diatonic (a, b), chromatic {c).B.—Passing chords—Diminished sept-chord (d). o—o—o. 0—0— o — o. — o C:l V. V^ I. IV. The diminished sept-chord is the most useful of all discords as chord, asits combination of four tones forms a very mild discord, which is easily introduced(118—B), and is very pliant in its resolution (121—N. B.). At d and e the passingchords marked with a* are diminished sept-chords; the passing chords marked witha t are dominant sept-chords (see Remark). MAXIM.—The chords upon the accented part of a measure (101—Remark)should be essential, principal chords of the scale (see 197). Between these uponthe unaccented part of the measure the PASSING chords are employed (as at a, b, c, d).Even should the passing chords be foreign to the scale (as at c and d) the tonalityof the scale would not thereby be destroyed, as the passing chords appear upon theunaccented part of the measure between the essential chords of the scale upon theaccented part (as at d). The effect of passing chords upon the accented part of the measure instead of
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