Nikolai Rimsky-Korsakov · sección 36 de 96

El acorde de subdominante menor y el acorde de sexta del segundo grado en el modo mayor armónico

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Traducción automática de la lectura en inglés. Borrador; aún sin revisión por un hablante nativo.

§ 35. — 1) En los siguientes ejercicios en tonalidad mayor puede emplearse el grupo de acordes de subdominante del modo mayor armónico:

la tríada menor del cuarto grado y su primera inversión, y el acorde de sexta del segundo grado con la quinta de la fundamental rebajada:

In C major: the minor triad of the fourth degree F–A♭–C, its first inversion (A♭–C–F, figure 6), and the sixth chord of the second degree with lowered fifth (F– — Fig. 121 · Verlo en el lector

2) No se emplee el movimiento cromático:

The chromatic motion A–A♭ (to be avoided) — Fig. 122 · Verlo en el lector

ni, en general, se alterne con demasiada frecuencia dentro de una frase entre la armonía de subdominante del modo mayor natural y la del modo mayor armónico.

3) No se emplee el modo mayor armónico al realizar corales.

(*) Empléese ocasionalmente la sucesión de los grados quinto y cuarto en medio del coral.

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