Harmonitation of both types is given inthe tables on pp.24o-24r. To hasmonize in smajce ras it is necessary to alternate the Octave, Tertan, and Quintan positions given in tke table. In harmonizing by seventh-chords, ninth-chords, and wholecone chord, any chord under a given melody note wil furnish a workable harmony. “The paueens in the Diatesaron and Diapente Progressions lend themselves har monization characteristic ofthe Dominane-Tonic ecle. When harmonized in consecutive seventh-chords, such patterns acquire a Schumannesque quality Harmonization in Seventh-Chords Petecn 0006 ‘A harmonization ofthe Dominan-Tonic «ype wil impare a feeling of tonality even ae eeenas Total Harmonization of a12-Tone Patora a 2271. f = aE SSS t _— ae “aon trpaiaton in aja ins ky ue cos fore by edi cra Sy ney ssa bs hme th fe ea by sence Mets Eu! ofr Asal Hae se ans spate Tere tie al el dere sad Se oy, wh Zeit! wk Crjerad Fr is The tae tale No-393 pale Tiago wy oe ere sch oy ot lds eg a ‘dean poss te Tousuns eel co Car be nce ed om cdg pes straying at ee posi ee wanes 0) sr essing scope seus “Su Ml Sct a ome ye hgh fe aust of mata onan The sane sel of ene so rots lil anergy ne pune of ys of wh as ‘Sat poponon re bess note Geet ened way Rave nay Boel nls cul xe or np sos of Mond Woe seeks ts lve deel sessing ve of sal ‘Tirso of ace, ay, paps be ough to resemble that of he pilsopters of [Dp oo eared ee un be ot fava Jo Sua Silt none. Thee ate «901,600 posible com bint fhe ans ft ote ale, Wit A veyed we tebe unten lode pcan he ele th sew un vile Sf2eual seven ene ne eas x January 1947 Boston, Massachuseres INicoxAs StoNIMseY