. Harmony : a course of study . j»d + _| I U , .-^^-^—l—J—i_J—I—l- -+or—I 25) # m—\~z)—0—m 1 1—3- -A * m 1 f-l p—p- II* V V7 I m ^w=w t=t ±u m—#J 120 HARMONY. i V.) ^N s-# 00 0. wf\ ■e) 0 - 4 or: ?3=* -M>rJn -& ■^ Il4 #. The fifth of the dominant seventh chord is omitted; or itmight be connected in the bass, forming a V* Perhaps the strongest of the three inversions. The resolution to V| is much the better. TABLE II. RESOLUTION TO THE TONIC. (a.). *-*-»- -<s»- -0-0-0- -&- 0+rn- r?; i n «! -—^ }=£ E^EI f=t (*.) -«>- L-i U-L-4 tt*-^—•—«— jp—i—^—«—0—-\—4^-a—g p-*-y- -f2—S-*-»—I
. Harmony : a course of study . j»d + _| I U , .-^^-^—l—J—i_J—I—l- -+or—I 25) # m—\~z)—0—m 1 1—3- -A * m 1 f-l p—p- II* V V7 I m ^w=w t=t ±u m—#J 120 HARMONY. i V.) ^N s-# 00 0. wf\ ■e) 0 - 4 or: ?3=* -M>rJn -& ■^ Il4 #. The fifth of the dominant seventh chord is omitted; or itmight be connected in the bass, forming a V* Perhaps the strongest of the three inversions. The resolution to V| is much the better. TABLE II. RESOLUTION TO THE TONIC. (a.). *-*-»- -<s»- -0-0-0- -&- 0+rn- r?; i n «! -—^ }=£ E^EI f=t (*.) -«>- L-i U-L-4 tt*-^—•—«— jp—i—^—«—0—-\—4^-a—g p-*-y- -f2—S-*-»—I 5 • p rt #—fi>- i- -- -0+0- ?=H^B U65 16 16 4 (O 1—h-t *—•- :^=^=tc 2fc=* ^3 £ ^ J f r ^rf <?- -0- -0- i *C~ I I :z2z I fi Il4 16 II3 4 HARMONY. 121 w £ ga 55 9* 3=S=rg pinipp n2 i r~ r #, <$. The resolution to the I6 with the third doubled is not to berecommended. c. Here the resolution to the I6 is still -weaker on account of theskip in the bass. d. The use of this position may well be deferred to a later positions and resolutions are the same in the minor mode. EXERCISES TO LESSON b. 175. m %=& -- E3£E* -£2- zc3Exgza:az2z P^iEEJ z^g^-^z iv ii r «. Seventh prepared from IV. £. Seventh enters as a passing tone. £. Seventh enters from another interval of the same chord, m&
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