139. In the minor mode, the fundamental progression from the tonic common chord to the dotninant seventh, on the same bass, is also very good : but as the third on the tonic chord is minor., care must be taken that the change to the major third take place in the same part. On this account, severztl of the derived successions become objectionable. Nos. 2, 5, 7, 8, 10, the false relation crossways, in a manner untunes the intervals. Nos. 5, 7, aud 8 however, are much less offensive than Nos. 2 and 10; which is attributable in part, at least, to the chromatic movement of the uppermost, which prevents the effect of the false relation crossways from being felt. For if these passages be written as in Nos. 13, 14, the false relation becomes more offensive, though still less so than 2 and 10.
It is plain, that all these examples will, after a modulation into the fifth of the key, conduct back again to the principal.
140. To go from the fundamental tonic harmony, major mode, to the dominant seventh, leading to the relative minor, (sixth of the key,) is not very good. There is something sud den and harsh in it. But many of the derivative successions arc excellent. These are all given in the examples. Nos. 2, 6, 9, 11, and 12, are to be rejected on account of the false relations of octave, taken crossways. Nos. 3, 4, 5, 8, and 10, are very good, and much in use. In ihese the bass is stationary, or moves only by single degrees. No. 7, like No.1, is harsh; and in these the bass leaps several degrees to :the next chord. The diatonic movement, except in the case of cadences, says Monsieur Choron, suits always best for the bass. This obser vation, however, is rather too broadly stated.
141. From the minor tonic harmony, we pass very agreea bly to the dominant seventh, leading to the sixth of the key major mode; especially by means of the appoggiatura of the octave, as No.-1. 'The inverted progressions also are in ge neral good, and in use. The best are still those in which the 6 bass is stationary, or moves diatonically. From the par 4 tieularly, the leap of the bass, Nos. 9, 11, 12, is sudden and rude. No. 10 is very good.
142. In returning from the relative minor to the relative major, (3d of the former keyz) it is rather sudden to go direct ly from the minor tonic to the dominant ; as the two chords have no sound in common. It may, however, be practised by
the opposite motion of the parts. We shall copy AIonsieur Choron's examples, with his observations. " The greater number of these successions are good, and practised in three as well as four parts. The succession, No. 1, very often takes place in passing from the minor mode to the third of the key major. The succession, No. 2, is employed in the same case. No. 3 is good; No. 4 is sudden, and little used, unless we interpose the G as a passir.g note. No. 5 does not phrase well. No. G is better. No. 7 goes well. No. 8 is harsh.
The next four examples are surprises, since the E carrying 46 annutuices, in general, a close on A, as is seen in the example No. 13.* Nevertheless, they may be employed advantage ously; especially Nos. 9, 11, and 12." The procedure from the tonic minor to the dominant lead ing to the relative major, may be rendered less sudden by the 6 interposition of the 4, as in No. 14; which is in effect taking the chord of the new key, and thence proceeding to its domi nant, sufficiently exemplified in former articles. Or tile sub dominant of the relative major may prepare the dominant chord, as No. 15; the inversions of which have already been sufficiently explained.
143. In returning from the sixth major mode to the minor. principal, the direct procedure from the tonic to the leading chord is still more sudden and less practicable than that in the preceding article. We shall set down from Alonsieur Choron only such inversions as have a tolerably good effect, Nos. 1-7.
This procedure, like the former, may be softened by the 6 on the dominant, No. 8; or by interposing tlie subdominant, 4 as .No. 9.
144. From the tonic major we may go directly to the dominant, leading to the second of the key minor mode. The fundamental progression, and several of the derivative become objectionable, on account of the fa:se relations crossways. Of the rest, Nos. 5 and 8 are least pleasing, on account of the leap in the bass. Nos. 10 and 11, in which the 46 leaps to the leading chord, arc still more disagreeable. No. 12 is very good.
MUS