. Harmony for ear, eye, and keyboard (first year). TJ-®- ®-t]TT m jggg |»„ 0^o JCSZ o t> o a o w ASSIGNMENT Keyboard Work: Play and transpose to several othermajor keys. Listen especially to V-vi and n-V: — HARMONY FOR EAR, EYE, AND KEYBOARD 89. Written Work: Harmonize. (Remember that a bass notewith no figure is a root.):— M M 2 i ^ u S * Close position m m 2 6 £ »yl*j Mr e LESSON 31 The most useful of the secondary triads isfnZlo^Cotf the supertonic in the form of n or n*. used as a substitute for IV in various formsof half and full cadences. Its third is often doubled whenin root positio

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. Harmony for ear, eye, and keyboard (first year). TJ-®- ®-t]TT m jggg |»„ 0^o JCSZ o t> o a o w ASSIGNMENT Keyboard Work: Play and transpose to several othermajor keys. Listen especially to V-vi and n-V: — HARMONY FOR EAR, EYE, AND KEYBOARD 89. Written Work: Harmonize. (Remember that a bass notewith no figure is a root.):— M M 2 i ^ u S * Close position m m 2 6 £ »yl*j Mr e LESSON 31 The most useful of the secondary triads isfnZlo^Cotf the supertonic in the form of n or n*. used as a substitute for IV in various formsof half and full cadences. Its third is often doubled whenin root position, and best doubled in first inversion. Therule for n to V does not apply to n-V6, nor to V7 in any come now to such an increase in the possibilities that itis impossible to exhaust them within our limits. Study thefollowing at the piano and by ear:—

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Keywords: ., bookcentury1900, bookdecade1920, booksubjectharmony, bookyear1922