. A key to Harmony simplified and a classroom manual. ^tr 5Q 8 1 iP=^ I 76 8 M\ 7. Si -& m 4 ife gp^-gj- -Z3<- 6 I I_„ I as 14. .it -7<a- F: I IV I f= t IV vn° vi vi (B5) V7 o o S^-gPg-^gf fr *. * Not a true Augm. 6th-chord, but the Dom. 7th-chord with accidentallyraised 5th TOPICS FOR DISCUSSION 131 [Section 233. ]sSee page 186. [ Section 235. ] To be more exact, the synopsis should show the chordof the Augmented six-four-three as derived directly fromthe Dominant 7th-chord, and the Augmented six-three asderived from the Leading-tone triad. But, as stated, theyare all derived from domin
. A key to Harmony simplified and a classroom manual. ^tr 5Q 8 1 iP=^ I 76 8 M\ 7. Si -& m 4 ife gp^-gj- -Z3<- 6 I I_„ I as 14. .it -7<a- F: I IV I f= t IV vn° vi vi (B5) V7 o o S^-gPg-^gf fr *. * Not a true Augm. 6th-chord, but the Dom. 7th-chord with accidentallyraised 5th TOPICS FOR DISCUSSION 131 [Section 233. ]sSee page 186. [ Section 235. ] To be more exact, the synopsis should show the chordof the Augmented six-four-three as derived directly fromthe Dominant 7th-chord, and the Augmented six-three asderived from the Leading-tone triad. But, as stated, theyare all derived from dominant harmony. [ Sections 235 and 236.] As we go further on in the work it becomes more andmore desirable to trace the connection between the latersections and the earliest principles. When we more fullyrealize the wonderful unity of it all, it becomes more andmore simple. Try and think, first, that there is but o?iescale; then, only one key (both scale and key meaning agroup of relationships); then, that there is structurally but one chord but one set of tendencies (melodic, harmonicand of continuity), which are almost universally operative;but one law of resolution; that the various fundamenta
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