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Chord-Lines and Intervals                      67
The chief points to notice in employing chord-lines are:
(i) That, when a change, either to another cnord or to another device, takes place, this should occur on an accent, and
(2) That, when the chord-line ends, the melodic direc­tion is usually reversed. These points are both illustrated in the examples just given.
During the continuance of a chord-line the direction of the active steps will not be observed. When, however, an active step either begins or ends a chord-line, its de­mands will be respected as usual.
Closely connected with the chord-line is the wide leap. The narrow leap (or third) may be taken anywhere, as already seen, but anything beyond that interval must be regarded as a fragment of a chord. Hence, the best leaps are those that are taken from the strongest chords. Thus from the I in C we obtain
Each of these may be used in upward or downward direction. All the other strong chords may supply further leaps, but the octave should not be taken upon the leading-tone. Illustrations:
In the use of a wide leap there are two important points to notice.
(1) The leap being regarded as an unusual and un­expected effort (an extreme departure from the easy course of the scale- or chord-line), it should be followed
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