Harmony, its theory and practice . Here, at * is seen the second inversion of the supertonic chord(iiir). It is preceded by the first inversion (ii^) of the samechord, and the bass falls a step to the dominant. Chap. VI.] Inversions of Triads. 69 185. The triad on the mediant is less often met with thanthe other chords of the major key, and its second inversion (\\\c,)is exceedingly rare. The following is one of the best examples ofits use: W. S. Bennett: Part Song, Come, live with me. Ex. 120. As in the preceding examples, we have marked the V chord with *. Note that here the bass of the chor
Harmony, its theory and practice . Here, at * is seen the second inversion of the supertonic chord(iiir). It is preceded by the first inversion (ii^) of the samechord, and the bass falls a step to the dominant. Chap. VI.] Inversions of Triads. 69 185. The triad on the mediant is less often met with thanthe other chords of the major key, and its second inversion (\\\c,)is exceedingly rare. The following is one of the best examples ofits use: W. S. Bennett: Part Song, Come, live with me. Ex. 120. As in the preceding examples, we have marked the V chord with *. Note that here the bass of the chord is approached andleft by step. 186. In the following example of the second inversion of thesubmediant chord (vi^:)— Ex. 121i ^ Mendelssohn. Lieder, No.
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