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Contents.
ix
- CHAPTER VIII.—The Diatonic Triads of a Minor Key and their Inversions
page 79 The triads of a minor key, 180, 181—The different character of major and minor keys, 182—The diminished triad on the supertonic of the minor key, 183—The augmented triad on the mediant, 184, 185—Employment of major chords on the subdominant and supertonic, 186—Progression between the dominant and submediant, 187—First inversions in the minor key, 188, 189—A first inversion on the minor seventh, when used, 190—Second inversions, 191, 192—The " Tierce de Picardie,"—193, 194. - CHAPTER IX.—The Chord of the dominant seventh
page 87 Mental effect of tonic and dominant harmony, 195—Cause of the difference, 196—The chord of the dominant seventh, a "fundamental discord," 197—Its resolution, 198, 199—Resolution on the tonic chord, 201—Ornamental resolution, 202—Resolution on the submediant chord, 203—Resolution on the subdominant chord, 204—First inversion of the chord of the seventh, 205–208—Second inversion, 209–212—Third inversion, 213–215—Changes in the position of chord of the seventh, 216—Exceptional resolutions, 217—Reason of the importance of the chord of the dominant seventh, 219. - CHAPTER X.—Key Relationship Modulation to nearly Related Keys—False Relation
page 101 Modulation, 220—What constitutes Key Relationship, 222–224—Unrelated keys, 225—The most nearly related keys, 226–228—How to effect a modulation, 229 —Immediate and gradual modulation, 231—Modulation from a major key to the supertonic minor, 232—Modulation from minor keys, 233—Examples of modulation, 235–242—Which modulations are generally preferable, 243—False Relation, 244. - CHAPTER XI.—Auxillary Notes, Passing Notes, and Anticipations
page 112 Auxiliary notes defined, 246—How taken and left, 247—When a tone and when a semitone from the harmony note, 248—Chromatic auxiliary notes, 249—Auxiliary notes in more than one part, 250—Examples referred to, 252—Auxiliary notes quitted by leap of a third Changing notes, 253, 254—Passing notes, 255—Ditto in the minor key, 256—Two successive passing notes, 257—Passing notes quitted by leap, 258—Chromatic passing notes, 259—Examples referred to, 260—Auxiliary notes cannot make false relation, 261—Anticipation 263, 264—Exceptional treatment of auxiliary notes, 265.
