Harmony, its theory and practice . , must appear asa consonance in the same voice in the preceding chord (§ 334,)—and that it must resolve upon a chord the root of wluch is afourth higher than its own. Though it is by no means compul-sory to prepare the seventh,—for no discords except suspensionsabsolutely require preparation—it will be advisable, if the sev-enth has appeared in the preceding chord, to keep it in the samevoice. The best resolution in general is that prescribed by therule just given ; the student will find instances of it in the reso-lution of iiy in Exs. 331, 332, 337 and 344.
Harmony, its theory and practice . , must appear asa consonance in the same voice in the preceding chord (§ 334,)—and that it must resolve upon a chord the root of wluch is afourth higher than its own. Though it is by no means compul-sory to prepare the seventh,—for no discords except suspensionsabsolutely require preparation—it will be advisable, if the sev-enth has appeared in the preceding chord, to keep it in the samevoice. The best resolution in general is that prescribed by therule just given ; the student will find instances of it in the reso-lution of iiy in Exs. 331, 332, 337 and 344. It is also possibleto resolve it on a chord the root of which is a second above itsown, as in Ex. 363. 448. The following interesting passage shows a series of thesesecondary sevenths, each in its third inversion, and each resolved,according to the old rule, on a chord the root of which is afourth above its own. Notice that in each case the seventh isprepared by the third of the preceding chord. Ek. 368. i^ Handel. Bir: I Chap. XIV.] Chord of the Dominant Thirteenth. 195
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