. Harmony : a course of study . *±tp=*±jl 1=3 S=fe: y~T fe» *- #*• Is 9± -W—g- -g—w 6b2* ^ * 1 We have treated the subject of chromatic alterations and the chords *54 HARMONY. derived fiom them thus specifically and exhaustively, because theprinciple involved is one of the most important with which we haveto do. Innumerable other combinations may be formed in the sameway, in which the dominant seventh and ninth with the fifth raised isof frequent occurrence. dg g»g—gzdzzg»—^—M -5r d: i 203. The student is recommended to study out such combinations forhimself. A knowledge of the preceding table
. Harmony : a course of study . *±tp=*±jl 1=3 S=fe: y~T fe» *- #*• Is 9± -W—g- -g—w 6b2* ^ * 1 We have treated the subject of chromatic alterations and the chords *54 HARMONY. derived fiom them thus specifically and exhaustively, because theprinciple involved is one of the most important with which we haveto do. Innumerable other combinations may be formed in the sameway, in which the dominant seventh and ninth with the fifth raised isof frequent occurrence. dg g»g—gzdzzg»—^—M -5r d: i 203. The student is recommended to study out such combinations forhimself. A knowledge of the preceding tables is indispensable for theanalysis of modern compositions. A ■ + I + I ! + 204. m sU—fa— f^TW Pr # 9t^ j hME iz62 ^3 .£2^ #. -^ H -£2- 6»- iS= 3=*$ « :ia r-jpdh BfeS ^ ±c=p: -£2i2- -e?- 1=t _^- EXERCISES TO LESSON XLVIII,1. Soprano and bass given. ^t»-y s .(2. ^f 5EP j=* ^H—z^— 2=f ?^B 3tz£ fcfcl* ^S 2. -25*- SSI ^rfhEzf-fe ^s ** -*>—ft -42—&± 1 HARMONY. 55 # p=fp=p: i—w-—\—. i=3t=t te^£^^^^^^E^ :^l es ffi3^zz^± ^S sS -#-r fc=f: g^=n^^N^^.=i^=gi ^ i i^ 6^—#—f-fl fj P^l 5. Melody alone given. t=t t=t « •^ g>- -s^—g- ^=2: fcg « ?=s: s a: s i LESSON XLIX. ENHARMONIC CHANGES. It has been already shown (in Lesson XLV) that the dominantseventh chord coincides enharmonically with the mixed chords 4-h- and £+.o Both of these altered chords, in their most natural relation (iv? in7 ** minor and ns in major) resolve to the tonic chord of the minor 1* \ 56 HARMONY. or major key one half Step below that of the corresponding domi-nant example 205. M tefc lim 3F #* -b: V7 <r: ivf+ 5 r* 6+C:ii4f- 3 I If now, all the tonic triads are connected with these altered chords,as they have already been connected with the corresponding dominantsevenths, a new and complete series of modulations is formed. (SeeTable). Thus with one chord and its enharmonic equivalent, modu-lations are formed to any given key and to th
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