Harmony, its theory and practice . At (i) is a modulation to the key of F, the subdominant, byflattening the leading note of the key of C. At (2) the domi-nant of F is sharpened to become the leading note of its relativeminor. From D minor the music returns to C at (3) by takingthe first chord of the bar as the tonic of D minor and leaving itas the supertonic of C, thus reversing the -process shown in Ex. Chap. IX.] Modulation. 207. The second chord of this bar is a chromatic chord in thekey of C, which will be explained later. 289. A modulation from a major key to its mediant minoris usually
Harmony, its theory and practice . At (i) is a modulation to the key of F, the subdominant, byflattening the leading note of the key of C. At (2) the domi-nant of F is sharpened to become the leading note of its relativeminor. From D minor the music returns to C at (3) by takingthe first chord of the bar as the tonic of D minor and leaving itas the supertonic of C, thus reversing the -process shown in Ex. Chap. IX.] Modulation. 207. The second chord of this bar is a chromatic chord in thekey of C, which will be explained later. 289. A modulation from a major key to its mediant minoris usually made by treating the tonic chord of the first key asthe submediant chord of the second, and following it accordingly,as below. EXi 209i :it. AuBER. 290. Our next illustrations show modulations from a minortonic to the dominant minor (Ex. 210) and the subdominantminor (Ex. 211). The key is changed in each case at thethird bar of the extract; at 210 by treating the previous tonicas a subdominant; and at 211 by^ the reverse process, the firstinversion of the subdominant being here left as the first inversionof the new tonic. It should be mentioned that the A j| in thethird bar of Ex. z il is not a harmony note, but an auxiliarynote. (See Chapter X.) Mendelssohn. Im Herbst, Op. 9, No. 210,
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