. Harmony : a course of study . S ■Mra—gp53 J ^—F3!—g—g} H gi^j 2$ e :si ^m m r~2: mm r f^ * Weak position. This table is to be transposed into every key at the pianoforte. TO LESSON XXVIII. 97 Either the dominant or diminished seventh may be used as amodulating chord. i. 2. £=£ E^^HIIS -fSL 1 3. 4. hfeii f r r i r j Jji ,i j i gflft-ff rr i ffffiffla Eg^»±zr-f-r=f^gE3 ^-r-3 *t ;s==d=t^: I I IV I LESSON XXIX. / MODULATION FROM A MINOR KEY TO ITS PARALLEL MAJOR. The modulation from a given minor key to its parallel major bymeans of the dominant seventh involves progression by
. Harmony : a course of study . S ■Mra—gp53 J ^—F3!—g—g} H gi^j 2$ e :si ^m m r~2: mm r f^ * Weak position. This table is to be transposed into every key at the pianoforte. TO LESSON XXVIII. 97 Either the dominant or diminished seventh may be used as amodulating chord. i. 2. £=£ E^^HIIS -fSL 1 3. 4. hfeii f r r i r j Jji ,i j i gflft-ff rr i ffffiffla Eg^»±zr-f-r=f^gE3 ^-r-3 *t ;s==d=t^: I I IV I LESSON XXIX. / MODULATION FROM A MINOR KEY TO ITS PARALLEL MAJOR. The modulation from a given minor key to its parallel major bymeans of the dominant seventh involves progression by contrarymotion. The different positions are as follows : TABLE I. {a.) With the V7. I. 2. 3- 4- . 5- , , 6. ES33 -«- -<9- 7 -s^ 9-b * • - \* i- —+g— • 1 m # I F—g |-F f a ILI f*- 3 98 HARMONY. (*). With the J. i. 2. 3. 4. 5. b. Bad. Bad. 1 , 1 S-5F^ 9^
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