This issue includes diatonic harmonies. It was necessary to discuss some chromatic harmonies, but only a very limited number, e.g., those presented using the dominant seventh chord of the minor scale in the major scale, and by using the passing tone from the scale as a contrast to the gradual modulation.

Volume III will generally deal with chromatic harmony. We hope that using various types of exercises will give the student the ability to apply the solutions we discussed in a practical way and will also provide the mind with the practice that the figured bass denies it.

The exercises have been made simple and concise as the students for whom this book is intended do not have much time to dedicate to it. The aim is to help them make the most of the little time they have as effectively as possible.