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40 Lessons in how to correctly play improvisations.

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	LESSON IV
	Subordinate Triads: The II and the VI A glance at the tone-family on page 2 will remind the student that, after leaving the three principal scale-tones, the next in order of importance is the II, followed by the VI and the III. The chords built upon these steps' may now be used. They should be regarded as alternatives, used for the sake of variety, and each considered as the relative of a principal, thus: VI is the relative of the I,
	This last chord will be dealt with in the next lesson. The above way of regarding these chords is both in­teresting and helpful. It is a well-known fact of modern harmony that the principal triads may be used without their fifth. There is no doubt that to the ear of the
	accepted as an optional ingredient of the chord, its omission above the major third may be made good by its intro­duction below, i.e., discarding G as the fifth above C, A may be substituted as the fifth below E. And thus the subordinate will appear as a reflexion of the principal, produced by counting downwards from the upper note of the third instead of upwards from the lower note. The most important subordinate is the II, built, as it is, upon the tone occurring, in the tone-family, third in
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