Harmony, its theory and practice . We g^ve two examples. — Handel. Messiah. J Ex. Bach. Cantata.— Sehet, wir gehen hinauf. Ex. 346. f ^ r ?; I- Wtf-^ 1 Chap. XIII.] Chord of the Dominant Eleventh. i8i We give no. analysis of these passages, because it will be verybeneficial to the student to make his own. 417. The figuring of the chord iiy in its various positionswill, like that of vii°7 (§ 383), be the same as that of thedominant seventh, but, as with vii°7 the intervals of the chordswill be different. We have already seen, earlier in this chapter(§ 409), how to distinguish the deri
Harmony, its theory and practice . We g^ve two examples. — Handel. Messiah. J Ex. Bach. Cantata.— Sehet, wir gehen hinauf. Ex. 346. f ^ r ?; I- Wtf-^ 1 Chap. XIII.] Chord of the Dominant Eleventh. i8i We give no. analysis of these passages, because it will be verybeneficial to the student to make his own. 417. The figuring of the chord iiy in its various positionswill, like that of vii°7 (§ 383), be the same as that of thedominant seventh, but, as with vii°7 the intervals of the chordswill be different. We have already seen, earlier in this chapter(§ 409), how to distinguish the derivative of a ninth from thatof an eleventh, though both may contain exactly the samenotes. When in Chapter VI rules were given for finding theroot of a chord from the figured bass, it was said that, for thediscords above the ninth, the rules needed modification. If weturn to Ex. 324, we shall see an illustration of this. In thefirst bar, the root (which is here also the generator,) is in thebass throughout, and the 4 and 2 of the figured bass show theeleventh and ninth of the cho
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