. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . *3) Two bass notes. — *4) A different bass tone ateach repeated note. 7* THE THEORY AND PRACTICE OF TONE-RELATIONS. Par. 173. CHAPTER XXVI. CHORD OF THE MINOR. 173. The ninth of the dominant chord, being the 6th step of the scale,undergoes modification in the minor mode (par. 87). Therefore, the is the first dominant chord which differs in major and minor. 90; par. 151 c. Thus: H-- % C; V in major 174. The transformation of the 9th fro
. The theory and practice of tone-relations; an elementary course of harmony with emphasis upon the element of melody . *3) Two bass notes. — *4) A different bass tone ateach repeated note. 7* THE THEORY AND PRACTICE OF TONE-RELATIONS. Par. 173. CHAPTER XXVI. CHORD OF THE MINOR. 173. The ninth of the dominant chord, being the 6th step of the scale,undergoes modification in the minor mode (par. 87). Therefore, the is the first dominant chord which differs in major and minor. 90; par. 151 c. Thus: H-- % C; V in major 174. The transformation of the 9th from a major to a minor intervaldoes not alter, but rather confirms, its obligations, and facilitates its treat-ment in many respects. The rules given in par. 170 (which carefully review) are also valid for theminor , with one exception, namely: The ninth of the minor chord may lie in either inner part, quite as well asin the soprano. But the 9th is not possible in bass. And, as usual, it lies never less thannine tones from the root (in the Complete form). For illustration:9 Complete V. (Compare Ex. 125.). *i) The third inversion of the Complete (, 7th in bass). Extraordinaryas this chord looks (and sounds), it is nevertheless perfectly correct. — *2) The 6rst inver-sion of the Compl. V9. These unusual forms are somewhat more easily obtained in minorthan in major. — *3) Stationary dissonances. Here, a 6-4 chord is exceptionally introducedwith a leap in bass. It resembles Ex. 102. Par. 175. THE CHORD OF THE DIMINISHED SEVENTH 79 THE CHORD OF THE DIMINISHED SEVENTH. 175. The difference between the major and minor chords of the is most marked, and most significant, in the Incomplete form, which,here again, is by far the most common. 176. The Incomplete , or the chord of the seventh on theleading-tone, in the minor mode, is a chord of the diminished seventh. It bears this name because it is the only legitimate chord which containsthe
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