Harmony, its theory and practice . mjt,. 1—*— r »\. ^ s~*—* ——h* ^J—^nl 1 rjy £^^=^=^^ ^ It *—-—*— 1 J 1 -1 J i 1 . 1 1 ^ 1 .i-Q-ll ^-. ?•- 7 Ptd. It is only needful to remind the student that with broken chords,as here, the harmony is the same as if all the notes were soundedtogether. Here, therefore, at ^ we have not a first inversion,but a root position of V13 j the E is the real bass throughoutthe bar. 438. III. Hoot, third, fifth, and thirteenth. This form ofthe chord is much rarer than the preceding. We have seen anexample of it, in the second inversion, in the last chord but oneof Ex. 3
Harmony, its theory and practice . mjt,. 1—*— r »\. ^ s~*—* ——h* ^J—^nl 1 rjy £^^=^=^^ ^ It *—-—*— 1 J 1 -1 J i 1 . 1 1 ^ 1 .i-Q-ll ^-. ?•- 7 Ptd. It is only needful to remind the student that with broken chords,as here, the harmony is the same as if all the notes were soundedtogether. Here, therefore, at ^ we have not a first inversion,but a root position of V13 j the E is the real bass throughoutthe bar. 438. III. Hoot, third, fifth, and thirteenth. This form ofthe chord is much rarer than the preceding. We have seen anexample of it, in the second inversion, in the last chord but oneof Ex. 354, where, owing to the step-moving bass, it has muchthe character of a passing chord. But it is mostly found with aminor thirteenth, and in the last inversion. In this case itresolves upon the first inversion of the tonic chord,—the thir-teenth remaining (as in the example just referred to,) as thethird of the chord- Chap. XIV.] Chord of the Dominant Thirteenth. 191 ScHUMAHH. Paradise and the Peri. -1 N-. £x, 361. Notice that here, again, it would be possible to explain the D %and F ^ as accented auxiliary notes to the E and G of the fol-lowing chord. 439. Various other forms of the chord of the thirteenth areoccasionally to be found; but they are not important enough torequire to be dwelt on in detail. We shall introduce a few inour exercises; the student will have no trouble with them, if hewill remember what has been said in § 423. 440. Numerous derivatives of the chord of the thirteenthare in more or less common use; but, as these are nearly allchromatic, we shall defer speaking of them till a later only important diatonic derivative is that in which thegenerator, third, and fifth of the chord are all wanting. Thereremains a chord of the seventh on the subdominant. Ex. 362. i £e C: IV7 (Visa-) c: IV7 The original seventh of the chord has now become the root;and the thirteenth is now the seventh above that root. Boththe third and fifth
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