. Harmony : a course of study . corresponding first inversion of the chord of thedominant seventh which is called the chord of the sixth and fifth orthe six-five chord. 49. y II A 11 f(\\ „ ~ ^ II vMJ % » ii xf J. * # J2L pv« 1 t k )• M •* 9 ^, II HARMONY. »3 The full figuring of this chord is 5, abbreviated to £. In this, as in other inversions of the chord of the dominant seventh, the originalroot is not doubled, nor the fifth omitted. The resolution is thesame as in the fundamental position, excepting that the root becomesa connecting tone with the fifth of the tonic triad, and the third(ba
. Harmony : a course of study . corresponding first inversion of the chord of thedominant seventh which is called the chord of the sixth and fifth orthe six-five chord. 49. y II A 11 f(\\ „ ~ ^ II vMJ % » ii xf J. * # J2L pv« 1 t k )• M •* 9 ^, II HARMONY. »3 The full figuring of this chord is 5, abbreviated to £. In this, as in other inversions of the chord of the dominant seventh, the originalroot is not doubled, nor the fifth omitted. The resolution is thesame as in the fundamental position, excepting that the root becomesa connecting tone with the fifth of the tonic triad, and the third(bass tone) always ascends to the root of the same. 50, \ =g^ tet J—4- s>g—g -B>- II The fifth descends to the root of the tonic triad, or ascends,doubling the third of the same. 51 I a 1 -& ■& £ 1 & * i m •• • -»• # -# •— 0m •— t**—• y2 **—s. LM m 1 —& «>•— or L9Z 0 _, II -*•-. • * _# _#_ _0 m ^*=H The seventh descends to the third of the tonic triad.
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Keywords: ., bookcentury1900, bookdecade1910, bookidharmonycours, bookyear1910
