ACCENT AND REGNANT HARMONY 131 

 5) 3135 3 13 5 



^ 



etc. or 



0) 



I V 



8 13 5 



^ 



? 



etc. 



513 



3 5 



^ 



i 



:^=Sia! 



f^^4 



^ 



etc. or 



V. 



5 



_IV 

 5 3 5 



Fq^rap^ 



i 



I 



i 



IV 



The next examples illustrate the prolongation of 

 harmonic cadence in the progressions V — IV and 

 IV— V at a), IV— V, at h). 



I 



\ 



.IV 



IV. 



« 



359315 35 



1 3 



i 



Hir nN 



I 



P 



t 



V9 



IV. 



At a) as we move from <i 3 to /a 3 and vice versa 

 the concomitant harmonies report progressions in 

 parallel fifths and octaves which though unseen are 

 there and are heard. Such parallels are unavoidable. 



A general survey of the foregoing analysis of 

 regnant harmony and the eflBcient accent enables us 



