. Tone thinking and ear testing : a work that directs the student in helping himself to develop discriminative hearing from the simplest beginning to difficult modulations and chromatic harmonies. loyed for the embellishmentof harmonies; to create melodic direction of a part; to create ademand for other than the logical harmony, and to create acertain character or color for the harmonies. Tones chromatically sharped are tip-leaders; flats, direction has nothing to do with flats or sharps that happento be diatonic degrees, but only those that are foreign to thescale. 157. Ex.
. Tone thinking and ear testing : a work that directs the student in helping himself to develop discriminative hearing from the simplest beginning to difficult modulations and chromatic harmonies. loyed for the embellishmentof harmonies; to create melodic direction of a part; to create ademand for other than the logical harmony, and to create acertain character or color for the harmonies. Tones chromatically sharped are tip-leaders; flats, direction has nothing to do with flats or sharps that happento be diatonic degrees, but only those that are foreign to thescale. 157. Ex. 106 shows the Dominant harmony with the aug-mented root demanding the Submediant instead of the Tonic;the Tonic harmony with the augmented root demanding theSupertonic; also the Tonic with a small seventh, the lattercreating a demand for the Subdominant harmony: # JZL. ex. 106. ifo m m s 158. One of the most commonly used chromatic tones is theaugmented scale~4th. The pure 4th is a down-leader. To createa demand for resolution in the other direction, the augmented4th is employed, and incidentally, the quality of the chord inwhich it occurs is brightened. 126 127 Wagner: Siegfried. Ex. 159. Chromatic material may be associated with a mod-ulation, but if it finally becomes a member of the new scale andkey, it is no longer chromatic, but diatonic in the new key. A complete modulation is not effected unless there is a well-defined cadence in the new key which establishes a new tone-center. a. At Ex. 108, the D chord is followed by V7-I of theoriginal key, C, so there is no change of key and Fjf is a chro-matic tone in the Supertonic harmony. At b of the sameexample, the D chord is followed by a well-defined cadence inthe key of G, and the D chord is heard as the Dominant of thatkey: Ex. 108. a fea fe^ jg—*-Ff=i II7 v7 iS b. So it follows that in the use of chromatic material, onemay hear a modulation, but not necessarily so. Key is the resultof relationship, and no single c
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