. A key to Harmony simplified and a classroom manual. ncy-tones or active tones, theprogressions of which are fixed. The other two tones( Root and Fifth of the Dominant Seventh-chord), havingno tendencies, may be called neutral or inactive have no fixed progression, but may progress eitherupward or downward, or may remain stationary, as may ADDITIONAL EXERCISES 75 make the best effect. The Fifth usually progresses down-ward in the resolution, since it is better to double the Rootof a chord rather than the Third ; while the Root, beingthe common note, usually remains stationary. ADDI
. A key to Harmony simplified and a classroom manual. ncy-tones or active tones, theprogressions of which are fixed. The other two tones( Root and Fifth of the Dominant Seventh-chord), havingno tendencies, may be called neutral or inactive have no fixed progression, but may progress eitherupward or downward, or may remain stationary, as may ADDITIONAL EXERCISES 75 make the best effect. The Fifth usually progresses down-ward in the resolution, since it is better to double the Rootof a chord rather than the Third ; while the Root, beingthe common note, usually remains stationary. ADDITIONAL EXERCISES. [Section 159.] Compare the tendencies (melodic and harmonic) ofthe chords of the Seventh upon the seven degrees of thescale. This will show the preponderance of tendencies inthe Dominant Seventh and its incomplete form, the Dimin-ished Seventh-chord on the seventh degree. ( See , §211.) Incidentally, it will show why the DominantSeventh-chord dominates the key, and why it is called dominant. [ Section 160.] L - - - 1 4^-1. U I. S ft —- II ±gr rfe4 ^ -&~ m d=F ^^Sg: §i$: C: I IV II IV V, 1 76 KEY TO HARMONY SIMPLIFIED A Ot M^s^rg: ^—r&*—i -r>5—^ m Ft ^- tr ^=cg!=s^tg: 6 f=t C: I IV V I =t S*- ii V, II I
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