Harmony, its theory and practice . V7* vi* vii Vyi y\b I02 Harmony. [Chap. vin. This resolution is much rarer than when the chord of the seventhis in its root position. 250. It is seldom that V73 resolves on a subdominant chord;if it does, the best position of the latter will be the secondinversion : C: Nib VJc but, as the leading note is now free to fall (§ 101), it is alsopossible to resolve the chord on the first inversion of the sub-dominant. Ex. 172. C: V7* ivi 251. If the root of this chord, which it must be rememberedis also the generator, be omitted, which in the first inversio
Harmony, its theory and practice . V7* vi* vii Vyi y\b I02 Harmony. [Chap. vin. This resolution is much rarer than when the chord of the seventhis in its root position. 250. It is seldom that V73 resolves on a subdominant chord;if it does, the best position of the latter will be the secondinversion : C: Nib VJc but, as the leading note is now free to fall (§ 101), it is alsopossible to resolve the chord on the first inversion of the sub-dominant. Ex. 172. C: V7* ivi 251. If the root of this chord, which it must be rememberedis also the generator, be omitted, which in the first inversionrarely happens, we shall have the root position of the diminishedtriad on the leading note (§ 99.) Ex. 173. *C: vii This chord is therefore in reality the chord of the dominantseventh without the generator; and here we see for the first timethe importance of the distinction between root and generator,referred to in the foot-note to § 36. The dominant is always thegenerator of this chord,—that is, the note from which the chor
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