Harmony, its theory and practice . ersion is not broken here, as the chord ii7 is notan inversion of another chord, but only the derivative of an in-version. 409. In the last chapter it was pointed out (§ 382,) that aderivative chord of the seventh could be distinguished from adominant seventh by the nature of its intervals. But if wecompare the two derivative sevenths, vii°7 in a major key (theLeading seventh,) and ii°7 in a minor key, we shall findthat their intervals are identical, — Ex. 334. m^ ^ c: ii°7(VI I.) Vii°7(Vg^) In order to be sure of the nature of the chord in such a case as
Harmony, its theory and practice . ersion is not broken here, as the chord ii7 is notan inversion of another chord, but only the derivative of an in-version. 409. In the last chapter it was pointed out (§ 382,) that aderivative chord of the seventh could be distinguished from adominant seventh by the nature of its intervals. But if wecompare the two derivative sevenths, vii°7 in a major key (theLeading seventh,) and ii°7 in a minor key, we shall findthat their intervals are identical, — Ex. 334. m^ ^ c: ii°7(VI I.) Vii°7(Vg^) In order to be sure of the nature of the chord in such a case asthis, it will be necessary to look at its resolution. It must beremembered that a derivative of a dominant discord, if resolvedon a tonic chord, will define a key as surely as the dominantseventh itself (§ 241). In the absence of proof to the con-trary—we shall see directly what this means—the commonchord on which the discord resolves will be the tonic chord ofthe key of the passage. Let us apply this test. {a) {b) {c). ii°7 \\\°^b ib ii°7(Vllf) (Vgr) (Vilf) At («) the chord resolves on the chord of E flat major, and at 178 Harmony. Chap. XIII.] (^) on the dominant seventh of the same key, which is followedby the tonic chord. Both these passages are therefore in E flatmajor. But at (c) the same chord is followed by the first in-version of the chord of C minor, and at (rf) by the chord ofthe diminished seventh in the same key. At {e) the chord isfollowed by the common chord of G. But here we have theproof, referred to above, that the chord is not a tonic chord;for its root, G, is approached by a semitone from above ; and thenote above a tonic is always a tone above it, both in major andminor keys. Even if the A were natural, as in Ex. 329 (a), Gcould still not be a tonic, because it is approached by a tonefrom below. The G is a dominant here; and the key, as at (c)and (^), is C minor. 410. The three inversions of iiy will evidently be the deriv-atives of the thir
Size: 2605px × 959px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectharmony, bookyear1903
