. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . Later 1 jE Fgh 1 f—y %\ * % fix fr ilx-f-H 1 1 1 *3) *4) etc. *^r^rT£J 9 Schumann. Op. 2. C II## I 2. Allegro Schumann. Op. 21, No. 4 » t=t B3 i~T~f F=E •e) fr* i 3—^ Bg v it PES D major. Par. 209. ALTERED CHORDS IN MAJOR. 103 *i) The altered II7 of C major (raised 2d and 4th steps); repeated two measures later. —♦2) Here a transient modulation is made into d minor; — *$) and here C major is re-entered,through its IV7. — *4) The lowered 6th step of C major. — *5) *5) The comp
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . Later 1 jE Fgh 1 f—y %\ * % fix fr ilx-f-H 1 1 1 *3) *4) etc. *^r^rT£J 9 Schumann. Op. 2. C II## I 2. Allegro Schumann. Op. 21, No. 4 » t=t B3 i~T~f F=E •e) fr* i 3—^ Bg v it PES D major. Par. 209. ALTERED CHORDS IN MAJOR. 103 *i) The altered II7 of C major (raised 2d and 4th steps); repeated two measures later. —♦2) Here a transient modulation is made into d minor; — *$) and here C major is re-entered,through its IV7. — *4) The lowered 6th step of C major. — *5) *5) The comparison ofthese two measures illustrates the distinction between an altered and a legitimate first, the d#-f#-a-c is an altered II7 of C, because it resolves into the I of that key; twomeasures later, the same chord proves to be the legitimate of e minor, because itprogresses into the V7 (and then into the I) of the latter. — *6) The chord in themajor mode, on every alternate beat. See Ex. 153, note *i). — *7) This a is an embellishingneighboring-note. See later. — See also: Chopin, Mazurka 34, measures 53-68 (raised4th step). 209. The treatment of altered
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