EIGHTY
MUSICAL SENTENCES,
TO ILLUSTRATE
CHROMATIC CHORDS.
G. A. M AGFA KEEN, MUS. DOC.
PROFESSOR OF MUSIC IN THE UNIVERSITY OF CAMBRIDGE, AND PRINCIPAL OF TIIE
150VAT, ACADEMY OF MUSIC.
Hon&on :
,1. I!. CRAMER & Co., 201, REGENT "STREET, AY.
C'uiiwr.N & Sons, 8, Warwick - ''Lane, EC.
T/ice Three?Klt'tUbiys, \
/ V*
/ j
Digitized by the Internet Archive
in 2017 with funding from
University of Illinois Urbana-Champaign Alternates
https://archive.org/details/eightymusicalsenOOmacf
It
MUSICAL SENTENCES,
TO ILLUSTRATE
CHROMATIC CHORDS.
6. A. Macfabren, Mcs. Doc.
PROFESSOR OF MUSIC IN THE UNIVERSITY OF CAMBRIDGE, AND PRINCIPAL. OF THE
ROYAL ACADEMY OF MUSIC.
Hontfott;
J. B. CRAMER & Co., 201, REGENT STREET, W.
Curwen & Sons, 8, Warwick Lane, E.C.
Trice Three Shillings.
IT
INTRODUCTION.
chords when employed to change the key (in
which case they are diatonic chords in the new
keys) and when employed without change of
key (in which case they are chromatic chords in
the permanent key). These are, when used
chromatically, the chromatic concords of the
supertonic and the minor 2nd. in the minor form
of the key; and the same chords, as well as those
of the subdominant minor and of the minor 6th.
and of the first inversion of the triad with the
diminished 5th., in the major form of the key.
The particular fact illustrated in the Sentences
from hTo. 22 to the end, is that, though consist¬
ing of the same intervals, the discords derived
from the three fundamental roots, are proved by
their resolution to belong either to the dominant,
or to the supertonic, or to the tonic. The
natural resolution of dominant discords is upon
a chord of the tonic. The natural resolution of
supertonic discords is, either upon a dominant dis¬
cord, or upon sl tonic concord. The natural
resolution of tonic discords is, either upon a domi¬
nant discord, or upon a supertonic discord. Other
progressions than these occur in musical com¬
position ; but the term “ natural ” is here em¬
ployed to signify the most usual and the most
definite treatment of the harmonies in question.
When the student is familiar with what I here
call the natural resolutions, it will be for him to
exercise his own discretion in making still more
various applications of the chords.
The author is happy to issue this publication
as a confession of musical faith, avowing implicit
belief in the harmonic theory on which it is based,
and thorough conviction that the theory accounts
for everything that is beautiful, anR guards
against what is unsatisfactory in musical com¬
bination and progression.
August, 1875. G. A. MACTABREK
INDEX.
NOS. PAGE.
1-3 Major Chord of supertonic in minor
key, modulating, and as a chromatic. 1
4-5 Chord of minor second in minor key,
modulating, and as a chromatic. 1
6-10 Minor Chord of subdominant in major
key, modulating, and as a chroma¬
tic. 2
11 & 12 Inversion of Chord with diminished
fifth of supertonic in major key,
modulating and as a chromatic. 3
13-15 Chord of the minor sixth in the ma¬
jor key, modulating, and as a chro¬
matic. 3
16-18 Major Chord of supertonic in major
key, modulating, and as a chro¬
matic. 4
19-20 Chord of minor second in major key,
modulating, and as a chromatic. 5
21 Inversion of chord of minor second,
minor chord of subdominent, and
chord with diminished fifth of super¬
tonic, in major key. 5
22-33 Chromatic chord of supertonic 7th
in minor and major keys. 5
34-43 Chromatic chord of tonic 7th in mi¬
nor and major keys. 9
44 & 45 Dominant 7th, with all its inver¬
sions, in minor and major keys. 12
NOS. PAGE.
46-53 Dominant minor 9th, with its inver¬
sions, in minor and major keys. 13
54-57 Supertonic minor 9th in minor and
major keys. 16
58-61 Tonic minor 9th, in minor and major
keys. 18
62 & 63 Minor 9th of dominant, supertonic,
and tonic in opposition, in mi¬
nor and major keys. 20
64 & 65 Dominant major 9th. 22
66 Supertonic major 9th. 23
67 & 68 Tonic major 9th in major and mi¬
nor keys. 23
69-73 Chord of dominant 11th in major and
minor keys. 24
74-76 Chord of the minor 13th in major
and minor keys. 26
77 Chord of the major 13th. 28
78 & 79 Chord of the augmented 6th, with
dominant for primary, and su¬
pertonic for secondary root, in
minor and major keys. 29
80 Chord of the augmented 6th, with tonic
and dominant roots, and with sus¬
pended 4th in major and minor keys. 31
SENTENCES
TO ILLUSTRATE CHROMATIC CHORDS, BY G. A. MACFARREN.
No. 1. Modulating to G,
No. 3. First Inversion of Chromatic Chord of Supertonic in the Minor Key.
1
1
IS !
i
1 1 1
III
-:==»ap-
[I2Z2ZZZ
-
\
n . h f •
r
1
1
1
.sL
-0-
i
1
ji. •
/II 1
i 1
i
.dL
-G-
[ °S^e- b —
F--
2
-i—
a —
B 5
(
d
5
-i—
7
B
c
B*
b a b c
f7
1 Q
a
<5
No. 4. Modulating to A \).
i 1 j T ~
1 te i i
—
1 _5_y* fJ G' W J.
r' p p g
i V/ P * r T !
\ tr r r
I'i
) S • J.
i r r r
J- 4 bi . e .
[ '/T» li
i 1 ^
r7T. l? ( * a P
b [, v y /CJ r |
r i i ■
K p ; *=*
b l-L 1-
R7
a e b a a 6 a a
6
CHROMATIC SENTENCES.
No. 5. Chrom . .. Chord of Minor 2nd in the Minor Key.
-I—i— -J--
&-
1SZM
-&—
#-■
I I
I I <11
^ fi ^ J- A
=?-=te=
E
~Bcl
eIeS:e*e£epeI-:|eI|e:
r--s—r
i .=). ©
-- — —
t i
i=p:|=p=te ;
E- plEzEt
:s:e
- 0 -
No. 6. First Inversion of Chromatic Chord of Minor 2nd in the Minor Key.
-E-),~fa=P--g= ? q=F-- E~- = p=j
&8
No. 7. Modulating to E
-,- d - -L-J-
; 1- m~\-0 —
p±i=fzid=3=*=t&=pd[
r t t
tifei
IE!iZIIK2ElEZ E
- b «-T^=rj-
|| ’I I I I I u I J J.
gOiEpgiiislip^ 6
!r I 1 7 . f I ii ft h
a
I
No. 8. Chromatic Chord of Subdominant.
4
—|:—J-l—i— =:
i st -*4-©—
I- I
A
t I
: H—i—E
_*_
— Ft
:lE -4—
fa -
- 0 -
BE3E*=:=Sr
FI
-e>—
1 I I I u 1 I ^
rnfftHTT
No. 9. First Inversion of Chromatic Chord of Subdominant.
3E3=-=E|^EE|^=^=^r^|^^iE=»=;EFy5EEE|ESEIi:
BE3Ei='i=p
-fc Sb=F
I I.
* g ; : -
r
4 .
•=r-=i
B
4 4
4 4
3 =
4 «
2=E
i=irp=i=
Euing Lectures,
7
CHROMATIC SENTENCES.
No. 10. Second Inversion of Chromatic Chord of Subdominant.
4—k-sL^J-4
lid
I_ /—-}
— f|
1 ^
22 i
No. 11. Modulating to E !?•
“ 4 /—r>- 1 -1-1-|—1- \- x -& -J-,——,—I-]-!-
n=5=*='
1 11 11 j J
J-1-l--J = z»=fia ! :pjr-
bp—ic-
I I
3E3E*= P =£
—^- p —t=t=
1
-s»-
J- i
—
—
=^0±=
:p"l==
*=T-.
t= Fr
1 k
0 c
r-r-r-r-
1 1 1
~ frd_ j®:
t?P=
= E =S= t
t>5
b^ bd •
k
No. 12. First Inversion of Chromatic Chord with Diminished 5th.
d=4
t =4=d- ^-'-d
!=*=•=*=£
1 1 I
I I I
U EEE *=j =j -
- £= —P —1 - 1 —
t=t
-&—
-1 -
IE—
fi d.
-i-1 —I— g —4-(-•f—I—
rr
rr— t—Pt
I--
-l±J
j
r=*
t=t=
5 5
No. 13. Modulating to A \).
\=t:
!=p:
:B:
I I
J ~ =g=J=^ Qi=a:
.... ~
j- -d- J- I L I
-p- 90 - 9 — ,9G —
J==
£
.— fo¬
gs
&8
-fo
: b#-
±l
hi.
l>5
No. 14. Chromatic Chord of Minor 6th of the Key.
4 — 1 — 1 —.— 1 —
a=p ES=p=;EFJ=«:
I I.
J J tf "" 2._]
r ~
1
I
! t e .. !
- d
--E
3E
e:
J. -i .1
J
- d - hi
1
-e
1 ' 1
-9
1
c
1
-e
L J
t—W=J=\
-P n
P
Iss
Suing Lectures.
8
CHROMATIC SENTENCES.
No. 15. First Inversion of Chromatic Chord of Minor 6th
rs- 0 —§> 0 —
I22Z
bS --d= ^|=j^j=[ j= g=[=g:
-©- l- p —gs-L| p—I-e-
I I I
- 0 -
I
jd.
- 0 - - 0 -
aizp-^-—*—«= f—
—
-fa_p-f—f-l-s p_|_a_|_a_
2 . ... -
-0 —
P—
:Z22Z=Z
a cab
No. 16. Modulating to G-.
i
E%=3:
•A-1-—5:
« i - i
i r i
i i i
3IES = i *=*=*
-
- 0 -
I
±:
;;==E==;=ii
4 =
\ MN
m
-0 —--
~P~
I I
i A-*.
No. 17. Chromatic Chord of Supertonic
a —
IH-
- 0 -
1 i
E3
l i
-zi~.
-i
-i
*=}eZ±
1—«—u
I I
I 1
zi
I 5»
a
No. 18. First Inversion of Chromatic Chord of Supertonic.
IE§5
- 0 -
~ 0 ~
=t
~d~
-o-
----1-1-I--Z
^=I^ g .Lg- —Fg-^ prp=Eg
i f i 5 r i i i
- 0 -
E*i:e±dZE'
_d. .d. J
r=»E|fpZIZ
s±
—
=P2=P
l=ti=
r
zdzzz 1
*
.d. r
.q.
- 0 -
— b a o b a
-0 - %0-\-P-
eeezeIeee
Lectures,
9
CHROMATIC SENTENCES.
11
No. 19. Modulating to D \j.
EB3—
—#— r-r i - a - J ^—f-Vw —£
P-Xl
fed
.£ 2 .
==fe=n
Z2B— pzI==:B
\>7 l ^5
a a a b a a b
No. 20. Chromatic Chord of Minor 2nd.
H
BEEEEEE Ei
=t
I I
a±
--
I
I I
-j
SEH==t=3
r -d—:f
r—r—r
i i i i
:d=cdzzzzi=*=; ^
:p= tp~=T=^- *
~t— t—r
Y
r -4
mr^m
m
— sip—
-GO-
=j=^
%&-
es:
:g=lziEi-*
-E-fcd-
3i=te:
:dn
I
-©•
r
i i -Q-
i~
i
- 9 —
EE
fo ==t=E=i
■A
-P-
X-
1
CL
0 -
-0-
I* 3
a
Z22I
No. 21. First Inversion of Chromatic Chord of Minor 2nd, of Subdominant, and with Diminished 5th
n „ P>. I—iv I _ IV4^5-1—Afcj—iVs-'- -4—JL_ g-|--i—^, -U—
La -v L r— Ft—rt—irr— ft— r—i— 1 —■r—
\
A
—#-
—•-
a?
_- i =zpi E =|^= T F=l
T~^—p i p=feFl-P
7 / b K
:pi3—
t=
' # 'C-fei--C-
EF=E=
_ # _P :
=t&=t
7 '/
0
' 7 / b 7 ' tf* 7
abaaabaaab a e b b
No. 22. Chromatic Chord of Supcrtonic 7th in tho Minor Key resolved on Dominant Discord.
±=?eEe
Suing Lectures .
10
CHROMATIC SENTENCES. 13
a - b e a b a a a
No. 23. Chromatic Chord of Supertonic 7th, in the Major Key, resolved on Dominant Discord.
No. 24. Chromatic Chord of Supertonic 7th, in Minor Key, resolved on Tonic Concord.
abac d b a b — b b be a
a b a c d b a e c c a a
Euing Lectures.
11
CHROMATIC SENTENCES.
Chromatic Chord of Supertonic 7th, in Major Key, resolved on Tonic Concord.
=p
15
M. >
SsEJEfEEEfEIifii
i s''.
9 -
'/
I'
Mm
e -rifc 9 9 9 9 - 9 m — | — 9 — ;• tti—-1—•-• 9 - 9 —T—
^^==^==M==^^ ==l?=i=f^=== i ?=:JrS=i
=zS=t=ni^=iti=tizzzz^zii[= - . . F ^r ^:i~gzzr~g=zp - gzziir^:
No. 26. First Inversion of Supertonic 7th, in Minor Key, resolved on Dominant Discord and Tonic Concord.
tr 'O , b —I-rr—1-1-^—I-1-J-]-|—I-1-|—I-J-|——I-[—-|—I———n—
L --1—'-H 2 -!-1-j-j--1—'-f 2 -1—H-i-F— - U -
na^=i
_ J.
:p=
-i—
I I
fl?:
I
I I I
r
zp--c
i •
|—r
J. ^
St=p=
5=t=
l
I
4
1
Ti
m
d be
b $
No. 28. Second Inversion of Supertonic 7th, in Minor Key, resolved on Dominant Discord and Tonic Concord.
* J-ff-j— e jjjp— i- L§>—
m i r r i w i. i r i i if
ii i i i i
n--d —gU jJ-gj—»
_; | i d
1 “
'« S
& 1= ’
b b
J l" ^ is
JEuing Lectures.
r—r
2 B
-f
a
12
CHROMATIC SENTENCES. 17
No. 29. The same in the Maior Kev.
a cae a cbba a — c a c a c e a a
No. 30. Third Inversion of Supertonic 7th in the Minor Key.
a - a b a a a o b c a a a
No. 31. The same in the Major Key.
a - a b a a a o b c a a a
Euing
13
CHROMATIC SENTENCES.
19
(7)
riff eV -r tTrr^ - r t ^ rii r -f ^ r-r
I I s 'I— V i
-iTtt ~ • -» 1 « •-«--" -’ ' -* | -»-
ar^Vr^^'W n*Vf~
-j-» :
\ i . . i IL i
rn I * ± '± e ± • fi*:
•■— =^mm^
'iii
alJg.
m
No. 34. Chromatic Chord of Tonic 7th, in Minor Key, resolved on Dominant Discord.
6-k-..:rjrg^-T:£ id=;t±t:fpr=pil:s-: f: -?—S-.=.:|J:g3= - dg5rrn—Ite^dfc
"i F-'B'ttF' *
i
i i
seb:
\ _a
LT.iii
lIQIIIi
fZTill
1 ' 1
c2___
pj
C2J-,
-1
-—f
1
_
i —
-F— £—
-i
“ —
->
i' i
■ -e>
£
i i
* 0-
iEEEEEE
-©-
P=
is:
i
7 /
Eiting Lectures.
14
CHROMATIC SENTENCES.
21
No. 35. The same in the Major Key.
f-hr-j flp- f- I l il I r I H I
3En=z|
l i' I
~ii yj j . t c c ri
E£E
t=E
P> i
*~h
t 4
Sz|
E=6
J. J> J,
I
I “|
sT
-g>-
EZzEEEzzEEE
t>7
a
t>7
No. 36. First Inversion of Chromatic Chord of Tonic 7th, in the Minor Key.
- ' > 4-J—F* > -
TTVT'V 15 T U I jr . r
r-r
i „ i
asiEESBEiEE
==fct=lt=«=
r? i n i i i -•- -j- jj-j
g^ ; g=a ^i=| gggj;g=^,^==
-e>-
No. 37. The same in the Major Key.
■P2-,^U,
I I
lEff E5|E3EHE±|E^£ 3-^ff^P,
No. 38. Second Inversion of Chromatic Chord of Tonic 7th, in the Minor Key,
O.- - 1 - fr-T-t
&=
dzszdziirr—ii;?z±3t=Cit?-e=Eg=zE
•vs r
^“rr^rrrT^ 1-
I I s i M . I .
F t=i=d“i=*±l=TrSi;
tfzzz=|;=t:=:^=IiE=
I
1^ I
t=t=
JU
I
: p—
:tfp±
1—
il
ift
I ? ' r r * I I ' I 1 "^- r |
, > ! 1 I IN I 111 II. J
IL I ^ J . J . J J J ^ . I J . J . ' -C2- •
.pd
aEEE==ES=
^- [-1-j/~
jL
Sazzlzfc
H=|pEE
f 1 I
Fwt'wy Lectures.
15
CHROMATIC SENTENCES, 23
No. 39. The same in the Major Key.
16
CHROMATIC SENTENCES. 2$
17
I—Resolved on 2nd Inversion. II—Resolved on Tonic Chord direct. Ill—Dominant without 7th. IV—First
Inversion. V—Second Inversion, resolved on Tonic direct, with 7th falling. VI—Second Inversion, resolved on
1st Inversion of Tonic, with 7th rising. YII—Third Inversion. VIII—Second Inversion, with Root omitted.
IX—Dominant 7th resolved as 1st Inversion of Mediant, §
05
No. 46. Dominant Minor 9th resolved on Root, in Minor Key.
( 10 )
i i
t=3=CF3=d=
j=q=q=pt==3q cfetrcp rt
m
ks: .d. .<±-
I
I I
jL
1 — p-p-
I I
—l-
J -\-<3 -
P=P=FdT-
— 8 |
-e-
I i I
r r
i i
3S
Euing Lectures,
'W P
i i
—i
SEEEE£
I I I
:d ~ 0 ~ n zti:
I
in
18
CHROMATIC SENTENCES. 29
No. 48. Dominant Minor 9th resolved on 3rd, in Minor Key.
Suing Lectures.
19
CHROMATIC SENTENCES. 31
a a b a b c a bah a a b c c c a a a
No. 50. Dominant Minor 9th, in Minor Key, resolved on 3rd when Koot goes to 7th.
-4-4—E?-,-4—-4— ^,-^-1 -N— i — TT—r ~ n-
zgz=r*^*±*z|ij—*- gi ^):li=^=»ig=:j£!gE|=jz=n:
I us r 1 J r ^ F r I r Ca n-
I I | J J J I ivJ I
» & *
'—2 • *1
i ^_ i _
-i
T ? - ~
l. I
%
•EE*=S=felt
Suing Lectures,
c b d
b i b
* §
c b b c
2 o
20
CHROMATIC SENTENCES.
33
No. 52. Dominant Minor 9th resolved on Tonic in Minor Key.
*- 1 —i'J—J—| . .. -fl- T —U=J—,
r i-r - LF ^=i— | -^=r- L r^!i- t — jc — fi ,*—
»/■ —■=, — i i i i
&=i=tT&==t=^=P*==3=FT=i=F3r=a==t=z=r=
t—%ztz fes=P=5= :»=p=?=tr*- K—S =*=&=$&
e —i 1 i ; 1 —m 1 --— F — e —fl »— L ft
I I
i ■
.d.
H=
t=f—f=h»=t:=—t
No. 53. The same in the Major Key.
y-&Ti$ -J—-h-,—I-1-1-\—,-J-£}J---J—,-J-!-I—-—1- r
-1-h—- 0 -1-1-'-I-1- h — L l-1-1-h - -I-1-h - L
- * & i • jL
b d b b a c b d - c
No. 54. Supertonic Minor 9th resolved on Dominant Discord, in Minor Key.
b=;=f_^=lE
-« s -» r Xj
I
*■ m - • J 6*
ae3e?=;=^rzf==s
10 8 7
N 1
d
-r-n-tt-
I s FTP
d ± d
:pz=p=
£=!==
-#-
^p±:
*'{— 1
a o
^uing Lectures,
e a a
e a
/ n?
I I
c a a a a
b b
21
No. 55. The same in the Major Key.
No. 56. Supertonic Minor 9th resolved on Tonic, in Minor Key.
Buing Lectures,
22
CHROMATIC SENTENCES.
37
^ii*=^l r p^ii^=filz^“^&zz=?ilzp=p==^?=Ef=p?*^t^E
l I
I
I I
r—r
r- A -t--
i i
*-p
i i
i , r
I I I > 1 I «, \ A - I i J l«*l 1 I | I I
'J.j .=i._r »_J_: *« *J«?. .: t » l J^'- d. ♦ jlJ. ±^.
J c
9-
$=
d e d
deb
T
T—7 3
(-8
c a a
No. 57. The same in the Major Key.
Ifihbn
1* #V^ 11 1 vi 1A-H 0 t ■ # ^ st 1_■ 1 r
l sjzzziiiij ■ g^izr^im g^iipipd
1 —1 — J-Li—M — B— 1 —l_p—*—p - L
r >1 > H j rj>- v r 1 1 / 1 '/' * i w i
1 MT! Ul j > U l > 1 iV J-rJ „
1 Zj p*h 2 .* I 1 h 9 Jr 1
i/*m * 1 1 /
-«-#- -P---P-#- <*—•-»- - tt*----H-t-l- r- 2 P-#-P-I-,- 1 - K-t
-•— 0-0 f-t— tM-h -p-t-f-h-f-p*=* 4 —p-h
V ? V =1 / /
—I- 1 1 —bsa 1 M- 1 b^~ IJ A --—'-r-- 1 — A -— -■*■— 11 -'--—L.
1 / b^r r *7 b 9
* 7
a c b
b c
c b
ai S t“ig:— a»zrz* = K a,zzi«±r ;*—*=•= ifiirf-fr S*:rfqfcfi:: _.-
7-7 7 7
£9 b
7 7
(
b c c c
* The Supertonic Minor 9th is frequently thus written, a sharp of the note below, when ifc is alternated with
the Major 3rd of the Tonic Chord. The false notation is more frequent when the chord is in the third or fourth
inversion (d e) than when it is direct or in the first or second inversion.
No. 58. Tonic Minor 9th resolved on Dominant Discord, in Minor Key.
a a b cab a a a a a a a 0
Suing Lectures*
23
CHROMATIC SENTENCES.
39
(9
3
d b
~h'
r
c a
\ —-l-
P i r r i i r r r t -p-^r i ■
1 1
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24
CHROMATIC SENTENCES.
41
No. 61. The same in the Major Key.
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No. 62. Minor 9ths on Dominant, Supertonic, and Tonic in opposition, in the Minor Key.
25
CHKOMATIO SENTENCES.
43
( 8 )
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26
CHROMATIC SENTENCES. 45
No. 63. The same in the Major Key.
& d b e a ■-- § § 6 a d b a a
No. 64. Dominant Major 9th resolved on Root, on 3rd, and on 3rd while Root goes to 7th.
27
OHEOMATIC SENTENCES. 47
No. 65. Dominant Major 9th resolved on Tonic Chord.
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No. 66. Supertonic Major 9th.
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No. 67. Tonic Major 9th, in the Major Key.
28
CHROMATIC SENTENCES.
49
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No. 70. The same in the Major Key.
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Euing Lectures.
29
CHROMATIC SENTENCES. 51
No. 71. Chord of 11th resolved on 5th.
No. 72. Chord of 11th resolved on 5th, while Boot goes to 7th.
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30
CHROMATIC SENTENCES.
53
No. 73. Chord of 11th resolved on chord derived from another root.
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No. 74. Chord of the Minor 13th resolved on 5th.
Euing Lectures.
31
CHROMATIC SENTENCES. 55
d a a a b a b b bo oca e
No. 75. Chord of the Minor 13th resolved on a chord derived from another root, in the Minor Key.
No. 76. The same in the Major Key.
32
CHROMATIC SENTENCES. 57
No. 77. Chord of the Major 13th.
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33
CHROMATIC SENTENCES.
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59
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No. 78. The Chord of the Augmented 6th, with Dominant for Primary, and Supertonic for Secondary Root.
* See Day’s “Treatise on Harmony,” Part 2, Chap. X, Sec. 3. These figures (in thick Egyptian type) refer
to the Secondary Root—C and F sharp are the 7th and 3rd of D (Secondary Root), while A flat is the 9th of Q-
(Primary Root).
f This might also be figured as Suspension of Dominant over 1st Inversion of Tonic.
Euing Lectures,
34
CHROMATIC SENTENCES. 61
No. 79. The same in the Major Key.
35
CHEOMATIC SENTENCES.
63
No. 80. Chord of Augmented 6th with Tonic for Primary Eoot, also with Dominant for Primary Eoot,
and with Suspended 4th resolved on 3rd of Secondary Eoot,—in the Minor Key, in the Major Key with tho
same Signature, and in the Major Key of the same Tonic.
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36
CHROMATIC) SENTENCES.
65
UNIVERSfTY OP ILLINOIS-URBANA