Harmony, its theory and practice . atives, the ultimate deriva-tion of the chord from its generator should be added in bracketsbelow the root. We have just seen that vii° = Nib without thegenerator ; similarly, the much oftener used vii°^ is, as we shall Chap.VIII.] Chord of the Dominant Seventh. 103 see presently, N]c without the generator. We therefore markthe roots thus: Ex, 174. ?&: vii° yii°i(V7i) (V7.) Evidently in the first of these two chords, the only note to double,except in a repetition of a sequence, will be D, because of thefixed progression of the other notes. In vii°3 as we have

This image is a public domain image, which means either that copyright has expired in the image or the copyright holder has waived their copyright. Alamy charges you a fee for access to the high resolution copy of the image.

This image could have imperfections as it’s either historical or reportage.

Harmony, its theory and practice . atives, the ultimate deriva-tion of the chord from its generator should be added in bracketsbelow the root. We have just seen that vii° = Nib without thegenerator ; similarly, the much oftener used vii°^ is, as we shall Chap.VIII.] Chord of the Dominant Seventh. 103 see presently, N]c without the generator. We therefore markthe roots thus: Ex, 174. ?&: vii° yii°i(V7i) (V7.) Evidently in the first of these two chords, the only note to double, except in a repetition of a sequence, will be D, because of thefixed progression of the other notes. In vii°3 as we havealready seen in § 168, it is possible to double either D or F—the third or the fifth of the chord. 254. We now give a few examples from the great masters ofthe use of the first inversion of the dominant seventh, both withand without the generator. Graun. Te Deum. Ex. 176. D: I _ IVc — V7i — I — V*Here we see the most usual progression of V7(5, to the root positionOur next example is similar, but in a minor key.. of I. Ex. 176. ?fe4 1 1 ! 1 1 —J *_ Haydn. Qua rtet. Op. 2o, No. 5. ; 1 r^ F l-gl. g K1 —1- <— F=^ ——^ f: 1—L, . 1 i i r ? F —r— r r r i =r-f— In tliis passage the E jj in the first bar and the D in the secondareauxiliary notes (Chapter X), and do not affect the harmony.255. We next give two examples of the derivative (vii°, )of this chord. Bach. Cantata : Gelobet seist du, Jesu Christ. Ex. 177. P^^