Harmony, its theory and practice . 7 7 6 6 3 J C: V13 c: V13 It is important to remember that the thirteenth should always heabove the seventh, because of the harsh dissonance of a secondwhich it will make if below that note. It is also very seldomgood to place the third above the thirteenth.; it may indeed belaid down as a general principle that, unless it be in the last in-version, when the thirteenth is in the bass, that note should, Chap, Chord of the Dominant Thirteenth. 189 with extremely rare exceptions, be at the top of the chord. 435. If this chord be resolved on dominant harmon
Harmony, its theory and practice . 7 7 6 6 3 J C: V13 c: V13 It is important to remember that the thirteenth should always heabove the seventh, because of the harsh dissonance of a secondwhich it will make if below that note. It is also very seldomgood to place the third above the thirteenth.; it may indeed belaid down as a general principle that, unless it be in the last in-version, when the thirteenth is in the bass, that note should, Chap, Chord of the Dominant Thirteenth. 189 with extremely rare exceptions, be at the top of the chord. 435. If this chord be resolved on dominant harmony, thethirteenth falls to the fifth, while the other notes remain. Wegive a few examples in various positions. Schubert. Sonata, Op. 122. ~&1, Our next illustration shows the first inversion of the same chord,and in a major key. Beethoven. Sonata, Op. 10, No. i. Ex. 367. 6-5-4 :Ab: I Vi3iV7^I It is clear that there can be no second inversion of this form ofthe chord, because it contains no fifth; the third inversion isnot uncommon. Sfohr. Sonata, Op. 125. f^ \^l,^ II
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