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40 Lessons in how to correctly play improvisations.

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	LESSON VII
	First Inversions: The IIi, VIi and IIIi—Diversity of Rhythm The inversions of the subordinate triads are weaker than those of principals. The Hi is the best, and is especially useful when approaching the perfect cadence. Its third (now in the bass) may be freely doubled, as it is a principal tone. The VIi is rarely used, and the IIIi still less frequently. All first inversions may, however, be used in scale-line, when their relative importance need not be regarded, provided the passage commences and ends with a strong chord, e.g.,
	In using a succession of first inversions in keyboard composing it is not necessary to play in four parts, the usual plan of doubling alternate notes in vocal music being unnecessarily hampering to the player. This is the first time we have departed from strict four-part playing. It will be wise to continue the strict­ness in all other combinations. In a succession of first inversions in scale-line the roots should always appear in the soprano. These passages, though never wrong, should not be indulged in too freely. They are very easy to play, but weak and wanting in character. Exercise 7. (a) Play the following chord-groups, in every major key:
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