chromatic passing tone. Some possibilities 6 are a. A5 over root movement by descending Sth as in VEL b. decorating a 5-6 over a sustained bass, often leading to an A6. c. (less frequent) bass passing motion leading down from a minor triad 7 Dominant seventh chords frequently have an augmented 5th leading to the 3rd of a major tonic. V7 with diminished 5th is much less frequent EXERCISES Exercises Common-tone diminished seventh chords are a frequent contrapuntal decoration of major triads and dominant seventh chords, especially I, ¥ and V7. The upper tones generally function as neighbors to the 3rd and 5th (also to 7th of V7), with the root of the main chord as the common tone. Other chromatic embellishing chords include common-tone augmented 6ths and apparent dominant sevenths, They usually embellish tonic triads, with 1 as common tone. 1. Preliminaries. Write short progressions, each in a different key, shat contain the fol- lowing chromatically altered chords: BVIL in major Vig in major Vil in major aoe an augmented triad as V of IV in major 7, VJ, in major Vi, in minor common-tone °7 decorating 1 in major sm oe common-tone °7 decorating V4 in major 2. Figured bass (for mixture) soprano: eb? a common-tone augmented 6th decorating | in minor 559