Harmony simplified, a practical introduction to composition . inor chords (the vi and the m) maybe used with the seventh added. Neither is of frequentoccurrence; when used they progress normally. Figure 91, Figure 89, the chord marked + is the in^ progressing nor-mally to the Ti. In this in^ the third is omitted, as we know issometimes the case ia the seventh chords. Sir John Stainer. 91. ^y^jp^a^ r # ^s- If: I a ^ -^- -^ gff=g=IP^ :. /> p 1 ^i 7b 7d^7b I Figure 91, h, from an anthem by Sir John Stainer, illustratesthe use of the vi^. In this case the ii also contains a seven
Harmony simplified, a practical introduction to composition . inor chords (the vi and the m) maybe used with the seventh added. Neither is of frequentoccurrence; when used they progress normally. Figure 91, Figure 89, the chord marked + is the in^ progressing nor-mally to the Ti. In this in^ the third is omitted, as we know issometimes the case ia the seventh chords. Sir John Stainer. 91. ^y^jp^a^ r # ^s- If: I a ^ -^- -^ gff=g=IP^ :. /> p 1 ^i 7b 7d^7b I Figure 91, h, from an anthem by Sir John Stainer, illustratesthe use of the vi^. In this case the ii also contains a progressions of seventh chords are very common. A chord of the seventh is also formed on the viio, thevn^. We may consider this as either a true seventh chord onTe, or, preferably, as a part of the V^ with added ninth. Itsprogression is either directly to the I or through the V_ to the goes to Doh, Lah to Soh, and usually Fah to Me. If its pro-gression is to the V^, Lah is the only tone to move. Figure92, a. MABMONY SIMPLIFIED. 51 St. Paul. viio V^ gVijO I vii?, I This chord is very frequently used, generally progressing tothe V^. In the progression of vn^^ to the I^ either the third ofthe I must be doubled or we have the parallel fifths Ray-Lah,and Doh-Soh, so the progression to the V^ is preferred. These last chords are of infrequent occurrence, and the addedseventh weakens rather than strengthens the chord; for it will benoticed that in each case the three upper tones of the seventhchords form triads that are the four strongest chords of the the vi^ = the sub-mediant tone + the I chord. The ii^ =the super-tonic tone -|- the IV chord. The iii^ = the medianttone -I- the V chord. The YU° = the sub-tonic tone + the nchord. In each case the tone that is trying to assert itself asroot and bear up the other tones as third, fifth, and seventh, isitself the weakest of the four. It wiU be interesting for the student to, follow out in the caseof these chords
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