. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . is at the same time the sev-enth leading-tone ) of the scale. As seventh of a sept-chord it mutt descend one degree 56 —B . 111. Resolution of Sept-Chords — Cadence Progression. — Thesept-chords formed upon concords (major and minor triads—108) naturally RESOLVE INTO THE TRIAD A FOURTH DEGREE ABOVE OR A FIFTH BELOW. N. B.—The regular resolution of a sept-chord into the triad (concord) a fourth de-gree above or a fifth below forms the cadence progression (see 90—N. The sept-chord
. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . is at the same time the sev-enth leading-tone ) of the scale. As seventh of a sept-chord it mutt descend one degree 56 —B . 111. Resolution of Sept-Chords — Cadence Progression. — Thesept-chords formed upon concords (major and minor triads—108) naturally RESOLVE INTO THE TRIAD A FOURTH DEGREE ABOVE OR A FIFTH BELOW. N. B.—The regular resolution of a sept-chord into the triad (concord) a fourth de-gree above or a fifth below forms the cadence progression (see 90—N. The sept-chord upon the Lf. resolves into the triad (concord) upon the TV. (a) ; thechord upon the ll7. into the triad (concord) upon the V. (b); the chord upon the in7. intothe triad (concord) upon the VI. > c) ; the chord upon the IV^. into the diminished triadupon the vn°.—which, being a discord, is an unsatisfactory connection (d) ; the chordupon the vi7. into the triad ( concord) upon the II. (Ci. The resolution of the dimin-ished triad with minor seventh is explained in 112. * * b , * c ,_ i , #. I\>. VII°. See Remark. ,; MAXIM.—In the sept-chords the fifth may be omitted and the fundamentaldoubled (as at *), thereby enabling us to retain the latter as common-tone, which be-comes fifth of the following triad (OH—Maxim ). REMARK. -The step of an augmented fourth tritone at d is faulty: the step of a diminishedfifth is preferable. See Maxim—59. (46) 112. Resolution of the Dim. Triad with Minor Seventh.—Inthe sept-chord upon the seventh degree (leading-tone) are contained Twodissonant intervals: a minor seventh and a diminished fifth (108—C);both of these require a definite resolution. A.—The fundamental (leading-tone) moves a diatonic degree up to the tonic (a). B.—The diminished fifth descends one diatonic degree {b)\ see 54—B. C.—The minor seventh moves (like all sevenths) one diatonic degree down {a, e,).abode
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