. Harmony : a course of study . wwmw¥*$^^ ~J. ugi I=fej CT *-^ ^^^^fe^^^S ff if HARMONY. Io5 ±=A Poor. m -•- -&- -*- -3- wmgm 1=f=* 1 I \ Transpose into every key. i _£2 fZ- W^—r EXERCISES TO LESSON XXXI, -(2- -«2- #*= 1 u &EE^^&£1 iM^p ** <^- 3. fc BS u. *-#-=i: S at=t :5- ^^J^J is u=fc 3 t=t !-—tt 1 H LESSON XXXII. MODULATION FROM A MINOR KEY TO THE SUBDOMINANTOF ITS PARALLEL MAJOR. This smooth change of key (the reverse of the preceding one)presents no difficulty, as two tones are common between the tonictriad and the dominant seventh, and one between the tonic triad andthe diminished se
. Harmony : a course of study . wwmw¥*$^^ ~J. ugi I=fej CT *-^ ^^^^fe^^^S ff if HARMONY. Io5 ±=A Poor. m -•- -&- -*- -3- wmgm 1=f=* 1 I \ Transpose into every key. i _£2 fZ- W^—r EXERCISES TO LESSON XXXI, -(2- -«2- #*= 1 u &EE^^&£1 iM^p ** <^- 3. fc BS u. *-#-=i: S at=t :5- ^^J^J is u=fc 3 t=t !-—tt 1 H LESSON XXXII. MODULATION FROM A MINOR KEY TO THE SUBDOMINANTOF ITS PARALLEL MAJOR. This smooth change of key (the reverse of the preceding one)presents no difficulty, as two tones are common between the tonictriad and the dominant seventh, and one between the tonic triad andthe diminished seventh. io6 HARMONY. The third and fifth of the original tonic triad become the root andthird of the new dominant seventh, and the fifth of the original tonictriad becomes the root of the diminished seventh. The positions andinversions, all of which are entirely practicable, are as follows: r \ TABLE I. 7b i§£ rt BEEEE5E* J—J—I- *ee is BE t=s* f -J p I Ifar «_i. V #-J^F- ■«- « m 3=2t f- tf $ U.) ^rrpzzsz. IlJ I . I uJ 1 m m »—»—(2- g^pg^S J*3?JS +.VfL -&. M
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Keywords: ., bookcentury1900, bookdecade1910, bookidharmonycours, bookyear1910
