Harmony, its theory and practice . Ex. 196. -J- -^ ^ =^ Haydn. Quartet, Op. 30, No. 2. i mi* HiiJ— pp J Jif J. 2 5 JZ , Beethoven. Sonata, Op. 30, No. This change in the position must not be confounded with theornamental resolution of the seventh described in §§ the seventh disappears before the harmony changes; hereit is simply transferred from its original position to another voice. Harmony. [Chap. VIII. 267. In a full cadence the root-position of the dominantseventh is very nearly, if not quite, as often employed as thedominant triad (V), to precede the final tonic c
Harmony, its theory and practice . Ex. 196. -J- -^ ^ =^ Haydn. Quartet, Op. 30, No. 2. i mi* HiiJ— pp J Jif J. 2 5 JZ , Beethoven. Sonata, Op. 30, No. This change in the position must not be confounded with theornamental resolution of the seventh described in §§ the seventh disappears before the harmony changes; hereit is simply transferred from its original position to another voice. Harmony. [Chap. VIII. 267. In a full cadence the root-position of the dominantseventh is very nearly, if not quite, as often employed as thedominant triad (V), to precede the final tonic chord. If it beitself preceded by \c—one of the commonest forms of cadence—^beginners are apt to write the progression clumsily. It was said in § 182 that when ^ is followed by ^j the 6 should go to 5, and the four to 3. If instead of \ we have 7, the same rule should be observed, and the octave of the bass in the ^should go to 7. Ex. 198. chord
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