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Enharmonic Changes 121

(3) Finally, the dominant 7th-chord corresponds in sound with the augmented 6th, in the form known as the 'German Sixth'; accordingly, it may be resolved as if it 156

were that chord, thus:

Here only one change is available, but it is a very striking one, and frequently used with fine effect. It should be realized that, though the above chords are here rewritten in every case so as to show the change that has taken place, composers seldom do this; they resolve any such chord enharmonically without warning, on the assumption that the mental process will be understood, and accepted. This is what the keyboard student* must learn to do instinctively. Exercise 36. (a) Play a phrase in the key of C ending thus:

	and follow this final chord by a second

phrase in every one of the twenty-four major and minor keys. Before doing this, carefully study the table of resolutions of the diminished 7th, and use it as a guide, (b) Play phrases in all the twenty-four keys, commenc-

ing thus:		and using the enharmonic changes ex-

plained in this lesson. (c) Play the following, then transpose it one, two and three semitones higher: