. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . be especially obse ved In a deceptivi cadenci 131 -127,128,130. How may the seventh of a sept-chord resolve in a decep- 129. Under what conditions may the seventh in the dominant sept-chord ascend? 133—131. Whicn Bept-chord, if irregularly resolved, forms a deceptive cadence? 134—131, In the ular resolution of a Bept-chord which progression o) the Beventh must be avoided? 135—132. wliu h sept-chord of a scale in its irregulai resolution is brought ■> connection with the four-six .
. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . be especially obse ved In a deceptivi cadenci 131 -127,128,130. How may the seventh of a sept-chord resolve in a decep- 129. Under what conditions may the seventh in the dominant sept-chord ascend? 133—131. Whicn Bept-chord, if irregularly resolved, forms a deceptive cadence? 134—131, In the ular resolution of a Bept-chord which progression o) the Beventh must be avoided? 135—132. wliu h sept-chord of a scale in its irregulai resolution is brought ■> connection with the four-six ..I I In major and mini 11 B< all 1 (59 Chapter IX. CHORDS OF THE NINTH, ELEVENTH, ETC. 133. Chords of the Ninth of the Major and Minor Scale.—Thedominant sept-ehord is the principal sept-chord of the major and minorscale (97). By adding a third to the seventh we obtain a chord consisting oi free /ours, whichcontains the intervals 1-3-5-7-9; this chord is consequently termed a chord of the ninth,and as it is formed upon the dominant it is called: chord OP THE dominant ninth;e. g.: <: N. B.—The ninth in the chord of the dominant ninth of the major scale is aviajor ninth; in that of the minor scale a minor ninth. REMARK.—The chord of the ninth formed upon the dominant of the major and minor scale most important essential chord of the ninth, as it has real harmonic significance, which no otherchord-formation forming ninths possesses see 138 . 134. Application of the Chords of the Ninth.—As the chord ofthe ninth is formed upon the dominant sept-chord, the treatment of theintervals forming the dominant ninth will consequently be the same as thatof the dominant harmony (96, 98). N. B.—The dominant ninths are mild dissonances, of which the ninth of themajor scale is the mildest; that of the minor scale is less so (133—N. B.). The introduction of these dissonant ninths demand the following conditions: A.—Either the ninth must be prepared (bein
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