Harmony, its theory and practice . good example of adescending sequence. 227. As in marking our roots, we consider only the natureof the intervals above them, it is clear that the three chordsshown in our last example will be indicated thus:— at (a) thechord will be \\\b; at {b) it will be yjWb; at (c) be vb(not Vi5). The bVII shows that the usual seventh of the scale(the leading-note) has been lowered a semitone, and, as is seen,now takes a major common chord above it. As the pedal note,B, does not form a note of all, but only of some, of the chordsplaced above it, it is not reckoned
Harmony, its theory and practice . good example of adescending sequence. 227. As in marking our roots, we consider only the natureof the intervals above them, it is clear that the three chordsshown in our last example will be indicated thus:— at (a) thechord will be \\\b; at {b) it will be yjWb; at (c) be vb(not Vi5). The bVII shows that the usual seventh of the scale(the leading-note) has been lowered a semitone, and, as is seen,now takes a major common chord above it. As the pedal note,B, does not form a note of all, but only of some, of the chordsplaced above it, it is not reckoned as a note of tTie chords inmarking the roots. 228. All the triads of the minor key can be used in theirsecond inversion; but, as in the major, those of the tonic, sub-dominant and dominant chords are by far the most is needless to give a complete set of examples, as we did withthe major key ; but a few of the rarer second inversions will beinteresting. Ex, 152. Bach. Das Wohltemperirte Clavier, Book 2, Prelude 20. * *. This example will require a little explanation. It must be pointedout that when two or more notes of a chord are taken in arpeggio. 9° Harmony. [Chap. VII. as is so often the case in pianoforte music, the harmony theyproduce is the same as if they had been sounded together. Inthis passage the GJf and B form the chord above D, and theF and A that above C % just as if the upper notes were playedtogether as quavers. The chords marked * are therefore thesecond inversions of the triad on the leading note, and of thecommon chord on the submediant. It will be seen that the bassof each second inversion moves by step, in conformity to thefirst rule given in § 189. The D ji and C|| in the bass are bothchromatic notes in the key, and their use will be explainedlater. 229. In old music it is comparatively rare to find a minorchord at the end of a movement, even when that movement iswritten in a minor key. The effect of such a close was consideredunsatisfactory,
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