Harmony, its theory and practice . Chap, vm.] Chord of the Dominant Seventh. f Handel. Samson. Ill. At Ex. 200 the mediant chord, with the fifth omitted, is inter-posed between the chord of the seventh and its regular resolu-tion on the submediant. This may be regarded as akin to theornamental resolutions spoken of in § 239. At Ex. 201 thethird inversion of the seventh is resolved on the root positionof the tonic chord instead of on its first inversion; and at the seventh is irregularly resolved by rising to the last two progressions are rarely if ever met with exceptingin the
Harmony, its theory and practice . Chap, vm.] Chord of the Dominant Seventh. f Handel. Samson. Ill. At Ex. 200 the mediant chord, with the fifth omitted, is inter-posed between the chord of the seventh and its regular resolu-tion on the submediant. This may be regarded as akin to theornamental resolutions spoken of in § 239. At Ex. 201 thethird inversion of the seventh is resolved on the root positionof the tonic chord instead of on its first inversion; and at the seventh is irregularly resolved by rising to the last two progressions are rarely if ever met with exceptingin the accompaniment of recitative. 269. As we are at present treating only of diatonic chords,we defer till later the explanation of the various chromatic resolu-tions of the dominant seventh, in which the seventh rises achromatid semitone, or the third falls the same interval. Someof these progressions will be dealt with when, in the next chap-ter, we have to speak of modulation ; others will be more suit-ably examined in connection with the chromatic chords of a key. [We shall in future give only
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