This page needs to be proofread.
x
Contents.
- CHAPTER XII.—The Chromatic Scale—Chormatic Triads in a Key
page 121 The Chromatic Scale, 266—How obtained from the major scale, 267—The true form of the chromatic scale, 268—Convenient notation, 269—Definition of chromatic chords, 272–274—Chromatic triads in the minor key. The chord on the minor second, 275—Its first inversion, the "Neapolitan sixth," 276—Its second inversion, 277—Its harmonic de rivation, 278—The chromatic chord on the supertonic, 279—Treatment of the third of this chord, 280, 281—Examples, 282—The inversions of this chord, 284—Examples of the chord, 285—Its harmonic derivation, 286—The tonic major chord in a minor key, 287–289—Chromatic triads in a major key, 290, 291—Table of chromatic triads, 292—Modulation by means of chromatic chords, 293. - CHAPTER XIII.—The Fundamental Chords of the Seventh on the Supertonic and Tonic
page 134 The supertonic and tonic sevenths both chromatic chords, 294—The supertonic seventh, 295—How distinguished from a dominant seventh, 296—Its inversions, 298—Doubling of the seventh, 299—Progression of the chord, 300—Change of position, 301—The same in major and minor keys, 302—Examples, 303–306—The tonic seventh, 307—Why used with major third in minor key, 308—Progression of the third and seventh, 310—It resolves on another discord, 311—Examples, 313–317—Modulation by chords of the supertonic and tonic seventh, 318—General laws for the treatment of all chords of the seventh, 319—Resolution, 320—Progression of the third, 321—Progression of the seventh, 322. - CHAPTER XIV.—Chords of the Ninth Enharmonic Modulation
page 147 The chords of the ninth, 324—Which note omitted, 325—Which chords not used in minor keys, 326—Figuring of the chord, 327—Inversions, 328—How to distinguish inversions of chords of the ninth from chords of the seventh, 330—How to find the generator of a chord, 331—Resolution of a chord of the ninth on its own generator, 332-338—Resolutions on other generators, 339, 340—False notation of the minor ninth, 341—Examples, 342–352—Chord of the diminished seventh, 354—How used in modulation, 355—Enharmonic change of notation, 356—Enharmonic modulation, 358–360—Analysis of passage from Bach's "Chromatic Fantasia," 361, 362—The "Leading Seventh," 365—Chords of the ninth without generator or third, 366–368—Summary of rules for treatment of chord of the ninth, 369–371. - CHAPTER XV.—Chords of the Eleventh
page 168 The chord of the eleventh, 372—Which notes mostly omitted, 375—Figuring, 376—Resolution, 377—First inversion, 379—Second inversion, 380—Third inversion, "Chord of the Added Sixth," 381—Fourth inversion, 385—Fifth inversion, 386—Summary of rules for treatment of dominant eleventh, 387, 388—The tonic eleventh, 390–392—The supertonic eleventh, 393–395
