. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . ined all the tones of the major scale. The tonality of the key is consequently definitelyestablished through the connection of those two chords (see 97). This chord is, after the dorainan-sept-chord 97 , the mildest discord of the major scale ^see 108—C). 113. Application of Sept-Chords. — In the application of the sept-chords the point most to be considered is the treatment of the funda-mental and seventh (108—N. B.). A.—In the collateral sept-chords the seventh must always be prepa
. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . ined all the tones of the major scale. The tonality of the key is consequently definitelyestablished through the connection of those two chords (see 97). This chord is, after the dorainan-sept-chord 97 , the mildest discord of the major scale ^see 108—C). 113. Application of Sept-Chords. — In the application of the sept-chords the point most to be considered is the treatment of the funda-mental and seventh (108—N. B.). A.—In the collateral sept-chords the seventh must always be prepared (109—A),as in the measures 2, 3, 4, 5 of example. B.—The seventh in all sept-chords must descend one diatonic degree (110), asin the measures 3, 4, 5, 6, 7. C. The fundamental remains stationary in the middle or upper voices (as inmeasures 3, 4, 6, 7, and moves a fourth up or a fifth down in the Bass (110 ), as in meas-ures 3, 4, 6, 7. D.—The fifth ascends or descends (measure 5), or may be omitted, and the fun-damental doubled instead (111—Maxim), as in measures 3, 4, 6, 7. 1-2345 6 78. v7. 1. 1. I. V. I. vi7. 11. ni7. vi. Rule VII.— The seventh in the collateral sept-chords must be prepared (109),and resolve | 110) one diatonic degree downward, The seventh in the dominant sept-chord does not require a preparation (measure 7). See 118—A. REMARK.—The resolution of the sept-chords in the foregoing example results into the triad afourth degn above or a fifth below, which is the cadence progression (111—N. B. This is the mostsatisfactory connection if the sept-chord be formed on a concord and the following triad (upon thefourth degree above or fifth below br a concord likczuisc. See examples in Ill. EXERCISE XL.—Work out the given Bass and mark the degrees, as in example above. 6 6 1 7 7 6 :. r. 7 2 :; 7 6^2 f> 7 3 :i 7
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