Harmony, its theory and practice . efore, a ^ chord is followed by a ^ on the same bass note, the 4. thould fall to 3, and the 6 to ^. It will be seen that this is the progression of the parts in Exs. 112,113, and 116. It impossible also for the 4 to rise to 5, in whichcase 6 falls to 3: ii S^ Ex. 117. but this is in general less good. The student is advised for thepresent to adhere strictly to the rule just given. 183. The second inversion of the dominant chord (Vr,) isnot uncommon, as in the following passage : Bach. Komm, Gott, Schopfcr. Ex. 118. ^s the bass note of this second* mvefsion is
Harmony, its theory and practice . efore, a ^ chord is followed by a ^ on the same bass note, the 4. thould fall to 3, and the 6 to ^. It will be seen that this is the progression of the parts in Exs. 112,113, and 116. It impossible also for the 4 to rise to 5, in whichcase 6 falls to 3: ii S^ Ex. 117. but this is in general less good. The student is advised for thepresent to adhere strictly to the rule just given. 183. The second inversion of the dominant chord (Vr,) isnot uncommon, as in the following passage : Bach. Komm, Gott, Schopfcr. Ex. 118. ^s the bass note of this second* mvefsion is the supertonic, V^can never be used cadentially; for V-ii does not form a therefore the bass should always move by step, as in thisexample. The only second inversions which can be followed byanother chord on the same bass not^ are \c and INc. 184. The second inversions of. secondary triads are very rare,and, like Nc, and for a similar reason, they cannot be usedcadentially. We give a few examples of their Ex. 119. Schumann. and the Peri.
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