This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1897 Excerpt: ...t. LESSON XXXI. MODULATION FROM A MAJOR KEY TO THE PARALLEL MINOR OF ITS DOMINANT. This modulation presents a slight difficulty in the progression from the original tonic to the dominant seventh chord, i.e., if the bass progresses from the root of the one to that of the other, it compels either an augmented second or ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1897 Excerpt: ...t. LESSON XXXI. MODULATION FROM A MAJOR KEY TO THE PARALLEL MINOR OF ITS DOMINANT. This modulation presents a slight difficulty in the progression from the original tonic to the dominant seventh chord, i.e., if the bass progresses from the root of the one to that of the other, it compels either an augmented second or consecutive octave in some other voice; therefore Rule. When the root of the tonic triad in the bass progresses to the root of the modulating dominant seventh, double the third of the tonic (see Table I, t, 2, 3, 4, 5, 6), or in other words, approach the third of the dominant seventh from the third of the tonic, never from the root. Consecutive fifths also result from parallel motion of the root and fifth of the tonic to the root and fifth of the dominant seventh, when the fifth is above the root. For this reason, as well as on account of the abrupt skip to the dissonance of the seventh (as in Lesson XXIX), it is better not to use the third inversion in this modulation. The available positions of this modulation through the dominant seventh are as follows: At c an inversion of the intervals in the bass; 9---J (T) while not forbidden, would be much less melodious. The modulation through the diminished seventh chord is somewhat smoother than that through the dominant seventh, because the root of the original tonic becomes the seventh of the modulating chord. The free upward progression of the third at Table II, /," 3, 4, 6, is particularly strong. The positions are as follows: LESSON XXXII. MODULATION FROM A MINOR KEY TO THE SUBDOMINANT OF ITS PARALLEL MAJOR. This smooth change of key (the reverse of the preceding one) presents no difficulty, as two tones are common between the tonic triad and the dominant seventh, and one between the tonic ...
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