Harmony, its theory and practice . l.^^T^\IT?T^ ^IT^T^^IT^. g: Vy^ Ex. 183. ^ ^^ =S=g^ Haydn. 4th Mass. =* ^ ^ ^^ Eb: ^ ^^ V7f I* IV T06 Harmony. [Chap. VIII. Haydn, 4th Ex. 184. G: IV I V7f After the explanations already given, it is only needful to addthat in the second bar of Ex. 182 there is a modulation from Fto G minor, and that in the third chord from the end in Ex. 184,the A and F in the alto and tenor are passing notes. Beforeproceeding, it may not be superfluous to remind the student that,in this inversion of a dominant seventh, the seventh is onlyallowed to rise when the foll
Harmony, its theory and practice . l.^^T^\IT?T^ ^IT^T^^IT^. g: Vy^ Ex. 183. ^ ^^ =S=g^ Haydn. 4th Mass. =* ^ ^ ^^ Eb: ^ ^^ V7f I* IV T06 Harmony. [Chap. VIII. Haydn, 4th Ex. 184. G: IV I V7f After the explanations already given, it is only needful to addthat in the second bar of Ex. 182 there is a modulation from Fto G minor, and that in the third chord from the end in Ex. 184,the A and F in the alto and tenor are passing notes. Beforeproceeding, it may not be superfluous to remind the student that,in this inversion of a dominant seventh, the seventh is onlyallowed to rise when the following tonic chord is in its first in-version, not when it is in root position.* 260. It is rare for the second inversion to resolve on eithera submediant or a subdominant chord. If it does so, it is evidentthat, as the bass of Vy^ can only move by step, the followingchord will be inverted. Ex. 185, {a) (*) ^ =S=^ V7« vi* Vic ? IVo If the generator be omitted in this inversion, we have our old acquaintance vii°^. 261. (V7r)In consequence of the absence of the generator, the chord inthis position is now no longer a second, but a first inversion,and the bass, though it
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectharmony, bookyear1903
