. Tone thinking and ear testing : a work that directs the student in helping himself to develop discriminative hearing from the simplest beginning to difficult modulations and chromatic harmonies. primary chords of a key. The three minor harmonies of amajor key are often termed the substitutional harmonies beingused in the place of the primary harmonies when the harmonicrelations would naturally demand the latter. As such, theSupertonic is a substitute for the Subdominant, and the Sub-mediant is a substitute for the Tonic. For example, the Dom-inant demands the Tonic. If a full cadence is unde
. Tone thinking and ear testing : a work that directs the student in helping himself to develop discriminative hearing from the simplest beginning to difficult modulations and chromatic harmonies. primary chords of a key. The three minor harmonies of amajor key are often termed the substitutional harmonies beingused in the place of the primary harmonies when the harmonicrelations would naturally demand the latter. As such, theSupertonic is a substitute for the Subdominant, and the Sub-mediant is a substitute for the Tonic. For example, the Dom-inant demands the Tonic. If a full cadence is undesirable, theSubmediant is employed instead of the Tonic, which delays thecadence, as seen in the foregoing example. 148. There are so many good hymns in which this harmonymay be found, the author considered it unnecessary to includemore excerpts for analysis. The teacher will find it profitable to play as the studentsdictate, their choice being what is naturally demanded by thechord relations. For example, No. 1. After V, the secondchord, the Tonic will be expected. When vi is played, thefact that V did not resolve will make it easy to recognize vi, thesubstitute for I: Ex. 99. i Istricj:. 104 /T\ *=t 3t=qt ^=£j=p^f /T\ m £—>- 0- -#- far c if 7-tf^^fg P^ i i e & *=* ?&- r 3: £=& -•—• (5»- -£- -*- -£2- ^ J *sc i ?H—h JJ i be £=£ • i -# #- rr F -<S- 3F¥ Eg^T^N^^! -U2- m
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