. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . hord; that is, the intervals which accompany thegiven bass tone, reckoned upward from the latter. The most important aimis to secure a good soprano melody. The following fairly elaborate modelshould be carefully studied: Given bass, figured Ex. 145. Pil I ^ fc* *= » +=r Solution: 6 65 4 ttl J .1 1 J uru u 87 876 6 65 5 43 ■&-*- •—* W=± ■&- pgg + J ! *—m 6 6 7 5 4 4 2 6 P. •—* 8765 92 THE THEORY AND PRACTICE OF TONE-RELATIONS. Par. 192. LESSON 36. 7 7A. Harmonize the following
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . hord; that is, the intervals which accompany thegiven bass tone, reckoned upward from the latter. The most important aimis to secure a good soprano melody. The following fairly elaborate modelshould be carefully studied: Given bass, figured Ex. 145. Pil I ^ fc* *= » +=r Solution: 6 65 4 ttl J .1 1 J uru u 87 876 6 65 5 43 ■&-*- •—* W=± ■&- pgg + J ! *—m 6 6 7 5 4 4 2 6 P. •—* 8765 92 THE THEORY AND PRACTICE OF TONE-RELATIONS. Par. 192. LESSON 36. 7 7A. Harmonize the following melodies. A Second-class discord (II or IV) is possible at each * : 1. 2. A, m-- #—• t?=± &=* $ £=*- 3t=t r rr^ jij ^ #* »? r-Pr» -*—*-#■ § * * 4 3. gEEE+j II kfi ■ I J I J J J J \p\p-p p * »—3 * * ^ n * * ®* 4. i± 1, *i) n r 3z± ftt ;^i^=* m •zt^ ^ •-*: te E5pEHi 11IV III V VI *T •—*- 3sJ 3tt± t^» f-rtf-*- t=t fEE i 7=s VI IVX *i) The brackets indicate Work out, and analyze, the following figured basses:1. 2. t*l) ,38 U -111 1 ft==^ %r^ 7 IV. 87 6 5 5 •^P-U^f11 6 6 76 ^™ ^ 6 6 _ 34 7 26 26 547 6 9#=? SE 6 7 7 7 76 76 76 2 6 6 4 jj nil iff-H 6 6 6^ 5 5 4 7 6. SeI^S1I1eS§ fete ^ St t=i -B) gl Tj-g- 77 267 767 677 *i) The figures afoz>e the bass indicate the interval the soprano is to take. —*2) Thesharp is a necessary reminder of the accidental before the leading-tone, in minor. Par. 193. THE SYSTEM OF KEYS AND MODES. 93 DIVISION THREE. KEY-RELATIONS AND ASSOCIATIONS. MODULATION, CHAPTER SYSTEM OF KEYS AND MODES. 193. The relation of key to key is precisely the same as that of tone totone, and is measured by the interval of the perfect fifth (harmonic degree,par. 8). Keynotes which lie a fifth apart have adjacent signatures; for ex-ample, e-flat (3 flats); b-flat, its upper perfect fifth (2 flats); a-flat, its lowerfifth (4 flats). As shown in Ex. 64, N. B., the relative minor of a major key has the
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