. Harmony : a course of study . *5* 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
. Harmony : a course of study . *5* 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. ¥-
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