Harmony, its theory and practice . 7 6 5 6 The first of these examples is very rich in suspensions; the stu-dent has already met with all of them excepting the one marked #. IS4 Harmony [Chap. XI. This at first sight looks like the triad on the mediant; that itis not so is proved by the preceding chord ; for a second inver-sion of a dominant seventh never resolves on a mediant chord(see Chapter VIII). The C is therefore the suspension of thefollowing D. 359. Ex. 282 is rather different. Here the root of thedominant chord, G, is suspended by a note a tone, instead of asemitone, below it. If we
Harmony, its theory and practice . 7 6 5 6 The first of these examples is very rich in suspensions; the stu-dent has already met with all of them excepting the one marked #. IS4 Harmony [Chap. XI. This at first sight looks like the triad on the mediant; that itis not so is proved by the preceding chord ; for a second inver-sion of a dominant seventh never resolves on a mediant chord(see Chapter VIII). The C is therefore the suspension of thefollowing D. 359. Ex. 282 is rather different. Here the root of thedominant chord, G, is suspended by a note a tone, instead of asemitone, below it. If we had here a chord of the seventhwith an ornamental resolution, the F of the alto after rising toG would fall to E (§ 239). 360. The following examples show the other inversions of 7 8. Bach. • Wohltemperirte Clavier, Book 2, Prelude i. Ez. 283,. Bach. ** Wohltemperirte Clavier, Book 2, Prelude 11.
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