Harmony, its theory and practice . these derivatives, the ninth (nowbecome a seventh,) must fall one degree. It cannot now rise adegree, as in the root position, because the leading note, towhich it would rise, is present in the chord (§ 375). Theomission of the generator frees the fifth of the diord (the orig- Chap. XII.] Chord of the Dominant Ninth. 167 inal seventh,) in the inversions, just as is the case in the first in-version of the diminished triad (§ 261) ; and the rules givenfor y\\°b apply also to vii°7^. But in the second inversion ofthis chord (vii°7^,) it is not uncommon for the b
Harmony, its theory and practice . these derivatives, the ninth (nowbecome a seventh,) must fall one degree. It cannot now rise adegree, as in the root position, because the leading note, towhich it would rise, is present in the chord (§ 375). Theomission of the generator frees the fifth of the diord (the orig- Chap. XII.] Chord of the Dominant Ninth. 167 inal seventh,) in the inversions, just as is the case in the first in-version of the diminished triad (§ 261) ; and the rules givenfor y\\°b apply also to vii°7^. But in the second inversion ofthis chord (vii°7^,) it is not uncommon for the bass, instead ofmoving by step, to leap a fourth downwards to the tonic, as inthe following:— Schumann. Kreisleriana, Op. 16. No. 5. £z. 311. vii°7f 386. We now give some examples of vii°7, both in majorand minor keys, and in various positions. To save space, weshall no longer mark the roots under the examples; the studentshould be quite able to do this for himself. We first show thechord in root position. Graun. Te Ex, 312, .^nuii.
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