. Harmony for ear, eye, and keyboard (first year). ti la, la becoming the new tonic. V3 is the only position ofV7 resolving one degree downward to a root position of the tonic this is a modulation down a minor third by V*. Any ofthese modulations may be reasoned out in a similar way. 162 HARMONY FOR EAR, EYE, AND KEYBOARD ASSIGNMENT Keyboard Work: Transpose Ex. 68(d) and 69 to other ma-jor keys. Written Work: Harmonize and figure as usual:— fa W w M 6- ffff « ^ ^N^ g j r r b 9 4 7 9 7 7 Q— p jg ^ The Ninth as a Suspension (nof a chord of the ninth.) Sfe 9 8 4 3 IE 9 8 LESSON 56
. Harmony for ear, eye, and keyboard (first year). ti la, la becoming the new tonic. V3 is the only position ofV7 resolving one degree downward to a root position of the tonic this is a modulation down a minor third by V*. Any ofthese modulations may be reasoned out in a similar way. 162 HARMONY FOR EAR, EYE, AND KEYBOARD ASSIGNMENT Keyboard Work: Transpose Ex. 68(d) and 69 to other ma-jor keys. Written Work: Harmonize and figure as usual:— fa W w M 6- ffff « ^ ^N^ g j r r b 9 4 7 9 7 7 Q— p jg ^ The Ninth as a Suspension (nof a chord of the ninth.) Sfe 9 8 4 3 IE 9 8 LESSON 56 The RemainingChords of theSeventh We should now make a brief survey of theremaining chords of the seventh. Thereare two whose origin is the dominant ninthwith the root omitted. Their resolution isprecisely what it is when the original root (the dominant) ispresent. Because of their origin they are primary seventhsand do not require preparation. For simplicity, they arefigured as seventh chords:— Leading toneseventh Diminishedseventh chord. Origin: C V? c V? The remaining secondary sevenths are as follows:- ^^pE^EeE^fc^n^^ C I7 III, IV7 VI7 m7 iv vl The seventh of all these secondary seventh chords mustbe prepared, and resolved down a degree. (Major seventhsthat function like a leading tone and go up will not appear inour exercises.) In minor these sevenths are practicallyuseless for us, but, in major, progressions like the followinghave a value, as we shall see, in certain kinds of compositionwhere frequent resolution to chords of repose is purposelyavoided. [See Ex. 71(a), (b).] 163 164 HARMONY FOR EAR, EYE, AND KEYBOARD(a) m ££ 9 9 w^. •J (J ^ I ii2 vl i2 iv^vn02 mi vi2 ii| v (b) J=A » A J 9^^ ¥ >U f^ L± T- ^ 7 7 7 7 t 3X Note that these are all cadencing resolutions, that ininversions every chord is complete, but that in root posi-tions every other seventh chord omits its fifth. Also ob-serve that the leading tone, instead of taking its normalresoluti
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