Harmony, its theory and practice . (XI) Hymn Tune. ^^yg^f^ r If- J ^ 3= I I ^ 3= ^^ i=i-isl ---^ 5 6 6 6 4 62 9 77. (4 5^ 6 6 7 2 2 - 4 J 198 Harmony. [Chap. XV. CHAPTER XV. CHROMATIC TRIADS—THE CHROMATIC SCALE. 452. In the preceding chapters of this book we have treatedof the whole of the diatonic material of a key, and it has beenseen that this is all obtained from seven notes, one on each de-gree of the scale, all of which conform to the , as a key consists of twelve notes (§ 32,) there are fiveother notes remaining, each of which requires an notes are calle
Harmony, its theory and practice . (XI) Hymn Tune. ^^yg^f^ r If- J ^ 3= I I ^ 3= ^^ i=i-isl ---^ 5 6 6 6 4 62 9 77. (4 5^ 6 6 7 2 2 - 4 J 198 Harmony. [Chap. XV. CHAPTER XV. CHROMATIC TRIADS—THE CHROMATIC SCALE. 452. In the preceding chapters of this book we have treatedof the whole of the diatonic material of a key, and it has beenseen that this is all obtained from seven notes, one on each de-gree of the scale, all of which conform to the , as a key consists of twelve notes (§ 32,) there are fiveother notes remaining, each of which requires an notes are called Chromatic notes, and chords that containthem are called Chromatic chords. 453. When treating of modulation in Chapter IX, it wasshown that a change of key was effected by putting an acci-dental before one of the notes of the key we were quitting, thealtered note thus becoming a diatonic note of the new in Ex. 203 the sharp before the F in the third chord of{a) takes the music from C into the key of G, the new keybeing established by the chords that follow. But it was pointedout in § 278 that no
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