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Extempore Playing |
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On account of its diminished fifth, the II is usually avoided in root position, though perfectly satisfactory in first inversion, e.g., |
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The III is harsh, containing as it does an augmented fifth. Its use is rare, but it can occasionally be introduced by a skilful performer with striking effect: |
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The lowered seventh may be employed when the soprano or bass moves down through 8, 7, 6, 5; e.g. |
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Similarly, the raised sixth may be used when either outside part takes 5, 6, 7, 8; e.g., |
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In general, the chief thing to remember in the minor mode is to avoid the interval of the augmented second in the melody-line. It is, of course, found in modern music, |
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