. Harmony : a course of study . the root in the soprano and IO HARMONY. bass, the cadences are said to be perfect. If with any other inter-val in either soprano or bass they are said to be imperfect. THE PERFECT CADENCES IN C MAJOR.{a.) Authentic. {b.) Plagal. {c.) \ J 4- 18. 19. 1 -«3 s -a s<- &- --%-- &- ^B complete. If f2 5 VAuthentic I IV I ITHE IMPERFECT CADENCE. IV Plagal. 9 h I ~&: .a. i i jO. Play the perfect cadences in every major key. LESSON III. THE PRINCIPAL TRIADS OF THE MINOR SCALE. The harmonizing of melodies in the minor mode involves no newprinciple. In harmonizing the exe
. Harmony : a course of study . the root in the soprano and IO HARMONY. bass, the cadences are said to be perfect. If with any other inter-val in either soprano or bass they are said to be imperfect. THE PERFECT CADENCES IN C MAJOR.{a.) Authentic. {b.) Plagal. {c.) \ J 4- 18. 19. 1 -«3 s -a s<- &- --%-- &- ^B complete. If f2 5 VAuthentic I IV I ITHE IMPERFECT CADENCE. IV Plagal. 9 h I ~&: .a. i i jO. Play the perfect cadences in every major key. LESSON III. THE PRINCIPAL TRIADS OF THE MINOR SCALE. The harmonizing of melodies in the minor mode involves no newprinciple. In harmonizing the exercises the raised leading tonemust not be overlooked. In a figured bass, it is indicated by a $or t[ over the dominant of the key. I. 3 EXERCISES TO LESSON % t »» 1 jQ- -&- 3S I 2. 5 Hi -27- II 9r &- 3. Unfigured bass « » JJ g^T *-* HARMONY. <0) it &£= & -•-*- ■JK -N-4-4 1 gfepff^g :3=jE t=t 1=4=t *H=i i • #-* Play the following cadences in every minor key. Authentic. * m- ^ si ja 22 1 IS I 21 1 V 1 1 V 1 Plagal. i BE §§± E6 *■■ I IV s 3=£ r—r ~72l - -s>- -fi- II LESSON IV. THE CHORD OF THE SIXTH. If the third or fifth of a triad, instead of the root, appears in thebass, the triad is said to be inverted: 22. SB _£?. i 1 Root. Third. 12 HARMONY.
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