Harmony, its theory and practice . fore in reality a derivative (as we shall see pres-ently,) of the dominant eleventh below an inverted pedal. Thefourth and fifth inversions are also very seldom met with. 405. The derivative of the first inversion is as rare as the in-version itself, and for the same reason—the harshness of its dis-sonance. We quote a passage in which this very harshness isintroduced for a special dramatic efiect. Wagner. Parsifal. Ex. 328. vii9(Vii*) Here the ninth (the eleventh from the generator,) instead ofrising, as in Ex. 325, falls a semitone, and we have a doubledlead
Harmony, its theory and practice . fore in reality a derivative (as we shall see pres-ently,) of the dominant eleventh below an inverted pedal. Thefourth and fifth inversions are also very seldom met with. 405. The derivative of the first inversion is as rare as the in-version itself, and for the same reason—the harshness of its dis-sonance. We quote a passage in which this very harshness isintroduced for a special dramatic efiect. Wagner. Parsifal. Ex. 328. vii9(Vii*) Here the ninth (the eleventh from the generator,) instead ofrising, as in Ex. 325, falls a semitone, and we have a doubledleading note. Such violations of rule are sometimes to befound in the works of the great masters, employed, as here, fora special purpose; but the student is not advised to imitatethem. The E !> and D at the beginning of the last bar arechromatic passing notes. 406. The derivative of the second inversion of the chordof the eleventh is much more important, and more frequentlyused. It gives a chord of the seventh on the Ex. 329. $ rS= ^^ ii7(VI I.) ii°7(VI I.) This chord has a perfect fifth in a major, and a diminished fifth 176 Harmony. [Chap, xin in a minor key. It must be remembered that, though the domi-nant is still the generator, the supertonic has now become theroot (§ 252). The chord is simply figured 7, like a chord ofthe dominant seventh, or the leading seventh (§ 384). In amajor key, the only dissonant note is the seventh; the fifth,being perfect, is free in its progression; but in a minor key bothfifth and seventh are dissonant. 407. This chord can be resolved upon either a dominantor a tonic chord. In the former case, the seventh (the originaleleventh,) falls one degree to the leading note, and the root ofthe chord either remains stationary, or leaps a fourth or fifth tothe dominant. Ex. 330, («) {i) {<:) (J) ^^ =*= b^ —s— —2Z li^^ -^^=- =^ :^^ T=r ^ C: ii7 Y^c 117 V c: ii°7 vii°7i5 ii°7 V7 (VII.) (VI i^ (VI I.) (V9*) (VII.) At (ffl) (3)
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