. A key to Harmony simplified and a classroom manual. = ^-:^J L -^-w/-1-^: 1 -Q~. 1 i — 1- --1 . , ? n v ^ ! -—- II E \P -. ^J^T^^ zd=~=^d g fl^ - IB ^ J .V- P* A 1 ..J «>, J 11 ^ 11 %„ t i e 7 1 ^ - ^ -f2 d: I 5f . p i -9 ^ ^^=g- —& * 7 *r-=® I £ 1 II tS*- III VI7 nV 4- V, 1 , _[ « -(2- d: i J. VL li^i i s d 1- ~T 6 ta ^k-e [i «= VII° I ° r n° i ADDITIONAL EXERCISES 123 $t* 4 3 ,,7 6,7 6 7 7 $ ?=P -g^— gl E= 1 a: I vn£ 16. vil° I VI- 11S V, a^g—s>- qoq B rtS- 3 6 5 2 6 3 3 6 ^2: -«S>—(2- t=t If (2 ^i-i ^— d: I V7 1 II7 V7 I iv7 vn7 I n7 li7 Vr s 3Eg at* ^ -S-,~25^ 6D I ^^^^ c: I iEEf
. A key to Harmony simplified and a classroom manual. = ^-:^J L -^-w/-1-^: 1 -Q~. 1 i — 1- --1 . , ? n v ^ ! -—- II E \P -. ^J^T^^ zd=~=^d g fl^ - IB ^ J .V- P* A 1 ..J «>, J 11 ^ 11 %„ t i e 7 1 ^ - ^ -f2 d: I 5f . p i -9 ^ ^^=g- —& * 7 *r-=® I £ 1 II tS*- III VI7 nV 4- V, 1 , _[ « -(2- d: i J. VL li^i i s d 1- ~T 6 ta ^k-e [i «= VII° I ° r n° i ADDITIONAL EXERCISES 123 $t* 4 3 ,,7 6,7 6 7 7 $ ?=P -g^— gl E= 1 a: I vn£ 16. vil° I VI- 11S V, a^g—s>- qoq B rtS- 3 6 5 2 6 3 3 6 ^2: -«S>—(2- t=t If (2 ^i-i ^— d: I V7 1 II7 V7 I iv7 vn7 I n7 li7 Vr s 3Eg at* ^ -S-,~25^ 6D I ^^^^ c: I iEEfeE I IV xT W k ~». J H 4- 1 ==^^i fe3 S? • -II 7 gU—*A && & -&- 6 1—g»-i-_ =U 9-L^iri— II ^-H-^1— —« z*— «> -J a • —H VI IV V, 124 KEY TO HARMONY SIMPLIFIED afe= SYNOPSIS OF DIMINISHED 7TH-CHORDS. A form of Dominant harmony. From Dominant Minor o,th-chord by omitting in major keys by license. Diminished7th-Chord Peculiarity Consists of series of minor 3dscontrast in intervals. Resolution Cadencing — same as any Dominant har-mony. Resolves directly to 4 differ-ent keys by change of notation, andindirectly to all twelve keys. Interchange- (Identical in 4 keys by change of nota-ability ( tion. Useful in modulation, f Determined by the -J Change of notation changes root, withresulting change of key. Real root determined by sharpest of root causes change of notationand change of key. Root TOPICS FOR DISCUSSION 125 [Section 221.]See page 186. TOPICS FOR DISCUSSION. Proven to be truly Dominant harmony by its tenden- cies. An evolution from the chord of the Dominant of definiteness, owing to similarity of intervals(three minor 3ds ). The principle of the sharpest relation of the
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