Harmony, its theory and practice . C: Ic The chord in the second bar of this passage, is, as we shall seein the next chapter, a dominant eleventh. The first minim ofthe third bar is a dominant major ninth; the ninth falls to itsroot, and V7 remains. In such a case, the figuring of thechord should be as here shown. 373. We next show the minor ninth resolving on its root:— Beethoven. Sonata, Op, to, No. i. Ex. V9V7 With the help of the analysis, the student will easily be able todistinguish the passing and auxiliary notes. As this piece is forthe piano, in which there is no restriction as
Harmony, its theory and practice . C: Ic The chord in the second bar of this passage, is, as we shall seein the next chapter, a dominant eleventh. The first minim ofthe third bar is a dominant major ninth; the ninth falls to itsroot, and V7 remains. In such a case, the figuring of thechord should be as here shown. 373. We next show the minor ninth resolving on its root:— Beethoven. Sonata, Op, to, No. i. Ex. V9V7 With the help of the analysis, the student will easily be able todistinguish the passing and auxiliary notes. As this piece is forthe piano, in which there is no restriction as to four parts, thechord of the ninth at * appears in its complete form. Observethat Ak in the second bar is a passing note (§ 317.) 374. If the ninth, instead of proceeding to the root, go tothe third of the chord, it may either rise a second or fall a seventh. Chap. XII.] Chord of the Dominant Ninth. 163 ,J^-4 > Beethoven. Sonata, Op. 53.
Size: 2872px × 870px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectharmony, bookyear1903
