. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . C: V7. C: V7. N. B.—The third inversion of the sept-chord is consequently called Two-FOURCHORD or chord OF THE second. It is indicated over the Bass by a 2-4 or a 2 (d). (42) 104. Derived Sept-Chords.—The Jive-six chord (101), the three-four chord (102), and the two-four chord (103), are not fundamental chords(76), but inversions of a fundamental chord. The inverted chords havethe same four tones contained in the fundamental chord (a). By placingthe different tones of the chord in th
. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . C: V7. C: V7. N. B.—The third inversion of the sept-chord is consequently called Two-FOURCHORD or chord OF THE second. It is indicated over the Bass by a 2-4 or a 2 (d). (42) 104. Derived Sept-Chords.—The Jive-six chord (101), the three-four chord (102), and the two-four chord (103), are not fundamental chords(76), but inversions of a fundamental chord. The inverted chords havethe same four tones contained in the fundamental chord (a). By placingthe different tones of the chord in the Bass, however, (a, b, c, d,), the chordchanges its fundamental character, but not its actual formation and locatiofiupon the degree of the scale. The inverted chords are consequently allformed upon the same degree of the scale; namely, the fifth—V7. I11 Major. In C: V. V7. V7. V7. a: V7. V7. V7. V7. N. B.—The five-six chord (b), three-four chord (c), and two-four chord (d), arechords derived through the inversions of a fundamental sept-chord (b, c, d). They areconsequently called DERIVED sept-chords. 105. Resolution of the Inverted Sept-Chords. — In the resolu-tion of the inverted sept-chords (101, 102, 103,) the principal point to beobserved is the resolution of the dissonant intervals (96). These are: thediminished fifth (from the third of the chord) and the minor seventh. A.—In the FrvE-Six chord (first inversion) the third of the chord, the leading-tone, is in the Bass. This moves up to the tonic, while the diminished fifth (seventh)moves down one diatonic degree. The fundamental remains stationary, as it is in anupper voice (96—B) ; thus: ;s—H—« =H=g-=S=fl (: V I. Y7. 1. B.—In the three-four chord (second inversion) the fifth of the chord is in theBass. This generally descends one diatonic degree to the tonic (b, d,),
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