. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . onic triad, above or below, it ceases to be a tonic-harmony andbecomes a Third-class discord.) — *2) The 3d and 4th discord-classes are extremely rare,and scarcely maintain any appreciable connection with their key. Par. 151. THE CHORD OF THE DOMINANT-SEVENTH 6l CHAPTER XIX. THE CHORD OF THE DOMINANT-SEVENTH. 151. The chord of the seventh upon the dominant is obtained by add-ing one higher third to the dominant triad. a) In keeping with par. 69, Rule III, its natural inclinat
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . onic triad, above or below, it ceases to be a tonic-harmony andbecomes a Third-class discord.) — *2) The 3d and 4th discord-classes are extremely rare,and scarcely maintain any appreciable connection with their key. Par. 151. THE CHORD OF THE DOMINANT-SEVENTH 6l CHAPTER XIX. THE CHORD OF THE DOMINANT-SEVENTH. 151. The chord of the seventh upon the dominant is obtained by add-ing one higher third to the dominant triad. a) In keeping with par. 69, Rule III, its natural inclination is towardthe tonic harmonies. Therefore it resolves into the I (or inversion), and intothe VI (triad-form only). b) The resolution of the dominant-seventh chord into the I is callednormal. The resolution into the VI is called deceptive (comp. Ex. 80, note *3)- c) The form and general treatment of the chord are identical in major and minor (comp. par. 90, 92). d) In the progression V7-I, when both are fundamental, the fifth of eitherof the two chords is usually omitted, and the root doubled. For illustration:. Deceptive resolution, V-VI : , J 1 =i \—4- and : %+ J ± *8) IJ I JL—u *o) VI 1 I I I I I VI I *i) Marked thus: V7: and called Five-seven. — *2) Here the chord-fifth (d) ap-pears in the V7, but is omitted in the following I (g). See par. 151^. — *3) The chord-fifthis omitted in the V7 and retained in the I. — *4) Both fifths may be obtained, if the lead-ing-tone has a right thus to descend to g (Ex. 48, note *i). The next measure is doubtful,though possible. — *5) The seventh may lie in any part. — *6) The V7 may resolve intothe tonic 6-4 chord, with stationary bass. — *y) The resolution into the Ii is, however, im-possible, because of the unequal octaves (par. 149, Rule II). — *8) In the deceptive resolu-tion, neither chord-fifth is omitted. — *g) All these examples are equally good in minor;the chord-seventh descends either a half-step {in major
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