6 The dominant seventh is frequently resolved on tlte 4 on the same bass, that is, the second derivative of the tonic chord; and the two chords are not unfrequently made to al ternate on a continued bass several times, as in No.13. It is scarcely necessary to observe, that this resolution is never the final close; the final resolution into the fundamental har mony of the key genetally succeeds as in this example; or some other cadence, as we shall see afterwards.
122. As the dotninant seventh consists of four real parts, it has three inversions: and we shall treat these with their resolutions, both in the major and minor modes, after the manner we have followed with the fundamental chord.
The first derivative, when the third of the fundamental chord is put in the bass, consists of a minor third, an imper fect fifth, and minor sixth ; No. . This is called the chord of the false fifth, or the chord of the itnperfect fifth and sixth.
It is figured 6, to which the minor third is understood, and in 5 a more abridged manner by a # with a stroke through it, both third and sixth being understood.
The bass being the sensible note, must rise a semitone to the key-note, and the 5th being the discord, must descend diatonically on the third major or minor; and neither of these notes ought to be doubled, and they ought to be the last omitted. The third and sixtlt hale no determined move ment; and they may he doubled or omitted as most conve nient.
All the positions of this discord phrase well, and it is easy to have all the patts of the succeeding tonic chord both in close and dispersed harmony. When the #, which is the discord, is highest, it resolves on the tierce position of the tonic, No. 2. At a and b we have all the parts in both chords; at c the 3d is doubled, and the 6th omitted; at d the 6th is doubled and the 3d omitted.
When the third is highest, it may either resolve on the octave position of the tonic, as No. 3. a, or on the tierce position, as at b : the former is better and more conclusive, but the other will often be induced by the melody. At c the same in dispersed harmony; at d the third is doubled; the one rising to the third, in order to avoid octaves ; or the parts may cross as at c, and this resolution of the chord may even be allowed in accompaniments on keyed instru ments.
If the 6th be highest it will naturally keep its place, which puts the succeeding chord in the position of fifth, No. 4. a, b; or it may descend to the key-note as c; but it would have a bad effect to make it descend to the third, as at d, because this would feel like octaves between the 6th and tth.
M. Choron gives the irregular resolution of the No.5,
which he says "is good, (by means of the notes of passage, which conduct the 4th U. e. the 4th of the key, or discord] to the key-note,) in order to avoid the octave. This succes sion takes place, when the bass, or the highest part, has necessarily one of the motions, which we see in this ex ample, as happens in a given subject." If the #, which is the discord, be omitted, the chord is 6th on the sensible note, as shown Nos. 3 and 4. Art. 116.
The resolution of the taking place on the proper part of the measure and rhythm, forms an inverted cadence, which Dr. Callcott calls the cadence of the leading note.
123. The second derivative of the dominant seventh, in which the 5th of the fundamental chord becomes bass, con sists of minor third, perfect fourth, and major sixth. It is 4 figared 3, the major sixth being understood ; No. 1, a, b. Dr.
Callcott observes, that the older masters, as Handel, Corelli, &c. have uniformly omitted the 4th, (which is the funda mental sound,) and then the chord is the first inversion of the dissonant 5th, and is figured by 6, as in Art.116, 5, 6, 7, 8, 9. When an accidental is required to make the 6th major, it is signified by a dash through the figure thus 0, or by a sharp before it thus *6.
In this inversion the 3d is the discord, and the Gth is the sensible note ; therefore neither of these ought to be doubled, and they ought to be the last omitted. The third descends dia tonically to the resolution, and the sixth rises semitone. Thc bass and 4th are not restrained to any particular motion.
When the 3d, which is the discord, is highest, it resolves on the fundamental tonic chord in the tierce position, as No. 2., a, b. If instead of this the bass rise to the third of the key with chord of 6th, .NI. Choron forbids the resolution of the discord on the octave, and directs that it should fall to the 6th, as at c, which is a license similar to that in Art. 121, No. 14, c: or he says the dissonance may ascend in thirds with the bass. Compare the example from Mozart, Art. 121, note. The prohibition, however, to resolve the discord on the octave, must be restricted to this case, in which these are the extreme parts; for otherwise it is very good, and will be found frequently exemplified in the best writers. At d the 4th is doubled, and the Gth, or sensible note, omitted, one 4th rising to the octave, and the other remaining as fifth in the second chord. At e the octave to the bass is taken, and the 4th omitted, when the cbord becomes the 6th on the second of the key, but still treated as a dominant resolving on the key.