Minor-mode specifics

The diminished triad in its home position: standing on its third, figured ♯6, the bass doubled and both restless tones resolving by step.

The two homes of the raised leading tone below the tonic: in the bass as V6, and inside the ♯6 chord — never doubled in either.

The half-diminished seventh on the second degree — minor’s own pre-dominant, its seventh prepared as a common tone and falling onto the raised third of V.

The half-diminished 6/5 — the classic approach to the cadence: its seventh is held straight through the cadential 6/4 as the suspended fourth, and falls onto the sharp.

The diminished seventh on the raised leading tone: the bass carries the accidental on the staff, four voices carry four different tones, and the resolution doubles the third of the tonic.

The diminished seventh’s 6/5, standing on the second degree: struck twice, once falling to the tonic root and once rising to its first inversion — the tritones bending to fit.

The Picardy third: the exercise closes, then the minor subdominant confirms it twice against a tonic whose third the ♯ has turned major.

The Phrygian question and the brightened answer: the half-step fall onto the dominant leaves the phrase open, and the reply closes it on a major tonic.

The minor dominant becoming the true dominant over one held bass note: the third above it inflects in a single voice, and the figure ♯ is the whole event.

The rising line minor cannot sing unaided: the sixth and seventh degrees are raised in turn — each announced by a figure — so the soprano climbs to the tonic in whole and half steps.