. Harmony : a course of study . The chord with major third, diminished fifth, and minor seventh, 6+ whose second inversion is a chord of the 4+, resolves in all positions and inversions to a tonic or dominant chord. The positions in which the third lies below the fifth are veryharsh, but may be improved by transposing the third into a tenth(see Table II, 6, all positions, also a, i, 5, c, 3, 4, 5). All theother positions are entirely practicable and in common use by allmodern composers. TABLE II. 1. 2. ^Ei§i=^ 4. 5. 6. -•—0- sr ■0—•- i5* Efc &—w—wn-0—9—i ft^——-—+ftg-» .#_#_ IT im —&—■—0—g * 0-
. Harmony : a course of study . The chord with major third, diminished fifth, and minor seventh, 6+ whose second inversion is a chord of the 4+, resolves in all positions and inversions to a tonic or dominant chord. The positions in which the third lies below the fifth are veryharsh, but may be improved by transposing the third into a tenth(see Table II, 6, all positions, also a, i, 5, c, 3, 4, 5). All theother positions are entirely practicable and in common use by allmodern composers. TABLE II. 1. 2. ^Ei§i=^ 4. 5. 6. -•—0- sr ■0—•- i5* Efc &—w—wn-0—9—i ft^——-—+ftg-» .#_#_ IT im —&—■—0—g * 0- IlTI. 2. I 6. § St -r?—•—w -&—9~ m *if 2? #: «_«_gg g^^^^^^^^^^^g^^^^^^^^^g n6531 HARMONY. *53 2. ¥-. 6. *zze C ,J2_ % ^~»fe SeH In the harmonizing of melodies involving the tones of the melodicminor scale, the raised sixth degree in ascending and lowered seventhdegree in descending are to be considered as melodic alterations. The enharmonic form of the chord in Table I, page 151, formedwith a minor third, doubly diminished fifth, and diminished seventh,is also useful in modulating, as its resolution is invariably to the tonictriad of a major key. As before, the diminished third resolves to theperfect unison. The positions and inversions are as follows: TABLE III,
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