From the minor third to the fifth is better by contrary motion, though also good by similar motion, if one part Music. move a degree. Thus,

Music.

A perfect fifth may be followed by the false fifth if the latter be immediately succeeded by the third major, Ma and that by contrary motion.

From

sixths.

5 b5 #3

From the fifth to either of the sixths it is better to proceed by oblique motion, though it is allowable by similar motion if one of the parts moves a single degree. It is also allowable ascending, but not in descending, to leap from the fifth to the sixth minor, though not to the major.

From the fifth through a sixth to the octave, the sixth must never be minor, and the motion must be contrary.

An octave after the fifth in leap by similar motion is to be avoided. By oblique and contrary motion it is good, and if one of the parts move a single degree it is allowable by similar motion.

The sixth major naturally moves to the octave. The sixth minor to the fifth. From the sixth minor we may go to the unison but not from the sixth major. It is best by contrary motion, by oblique motion it is not allowed.

A third minor after a sixth major, and a third major after a sixth minor, are best in contrary or similar motion. In oblique motion the thirds and sixths must be either both major or both minor.

Music.

best b

From the sixth minor to the fifth by similar motion is bad, it is best by oblique motion.

Music.

Oblique.

It is only in oblique motion that the progression from the sixth major to the fifth is allowed, and then the parts must afterwards meet in a third, and the major is preferable.

Sixths to any extent may follow each other, and by any motion, but better descending than ascending. In descending begin with the minor and in ascending with the major, in each case changing them alternately. Two major sixths follow better than two minor when one part divides upon the other, also when the parts move by single degrees, but they are not desirable by leaps. In quick divisions they may be used at pleasure if the parts move by single degrees. Example of sixths:

From a sixth minor to the octave is to be avoided. From the sixth major to the octave may be taken by oblique motion, but it is preferable by contrary motion and single degrees. It is bad by similar motion.

octaves.

Of the concords, that of the octave is the most perfect; by oblique motion we may proceed from it to any From the other concord, except the third minor, but by the other motions we may go from it to the third minor. The unison after an octave is allowed by oblique motion only.

Music.

From an octave to a third minor is preferable by contrary motion and a single degree, allowable in similar Muse motion, forbidden in oblique.

Major keys.

From an octave to a major third is allowed by all the three motions, one part must, however, move by a single degree in similar and contrary motion.

From an octave to a fifth is a good progression in oblique motion, and is permitted in contrary and similar motion, one part moving a single degree, but in similar motion it is forbidden if both parts move by leaps.

A sixth minor after the octave may be taken by any of the motions, but the sixth major after an octave is bad in similar motion.

It will be convenient, and equally answer the purpose, to use the key of C as an example for major keys in the following pages, as we shall hereafter that of A as an example of minor keys.

The perfect concords of the key are the fundamental basses, and require their common chords for their harmony.

If the third, sixth, and seventh of the key are used as basses with uncommon chords on them, that is, their third, sixth, and eighth, they are supposed basses. Hence it is to be observed, that every bass note which has a sixth upon it is a supposed bass.

The key note, its fifth and fourth being the fundamental basses of the key, have major thirds for their supposed basses, that is, their thirds may be used as basses. It is only the fifth of the key that has two supposed basses, inasmuch as, besides its third, it may also have its fifth for its other supposed bass.

In the accompaniment, or making parts on the third and sixth of the key, when they are supposed basses, three methods may be adopted. The first and best is, doubling the sixth to the supposed bass; the next preferable is that of doubling the third to it; the last and worst way is doubling the octave.

In the accompaniment upon the seventh and ninth of the key, that is making parts on them when the basses are supposed, only two methods are used. For the seventh the best way is to double the sixth; the other way is to double the third to the bass. For the ninth the preferable method is to double the third, the other way being to take the octave to that bass.

Thus far on the fundamental and supposed basses of the perfect concords of the key. There is, however, another way of modulating which produces great variety. We are stil! speaking of the key of C, and in strictness