IVIten the 6th is highest, the resolution is into the octave position of the common chord, No. 3, a, b, or into the chord of the 6th, as at c. In the example at d the 4th is omitted, and the octave to the bass taken, when we have the chord of major 6th on the second of the key; the middle parts may unite on the third, or may cross; and this way of taking the chord may be allowed on keyed instruments.
; When the 4th is highest, it will keep its place, and the re solution will be into the common chord in position of 5fit, as No. 4. a, b ; or the bass may rise to the third of the key with chord of 6th; or the 4th being doubled, the highest may fall to the key-note, the bass rising to the third of the key with chord of 6th, as at c.
In No. 5, the octave to the bass is placed highest. At a the 6th is omitted, and the chord resolved on the chord of 6th. At b the 4th is omitted, and the 6th on the second of the key resolved on the common chord. At c and d the dis cord is omitted, when the chord appears as 64, yet treated like the dominant chord. Compare what is said, Art. 117; Nos. 15, 16.
124. The third inversion of the dominant seventh is that in which the discord is put in the bass. It consists of major second, greater fourth, and greater sixth. It is called the 4+ chord of the sharp fourth, or tritone : it is figured e, the sixth being understood.
The dash after the 4 signifies that.it is major, not perfect. This dash is not necessary in the major mode of the original key, but is essential to indicate an accidental tix:, as in the minor mode, or in any change of key by this chord; No. 1. a, b.
The bass being the discord, is not to be doubled, nor the 4+ which is the sensible note. These two intervals are re
solved, as in all the preceding examples. The regular re solution is into the chord of sixth on the thirtl of the key; but licences are sometimes used with this as with the funda mental and with the other inversions. When the 6th is highest, the resolution may be into the position in which the key note, or sixth to the bass, is highest, as No. 2. a, or the octave to the bass, as at b ; this, however, M. Choron for bids ; or the 6th may leap a 4th as at c. At d, the resolution is the same as at a, only- in more dispersed harmony. At e the 4th is omitted, and the 6th doubled.
When the greater fourth is highest, it necessarily puts the succeeding harmony in the position at No. 3. a, b.
When the second is uppermost, it will keep the same de gree, as No. 4. a, b ; or it may descend on the key-note, as at c; but it ought not to descend on the octave to the bass, as at d, for the reasons formerly given.
At No. 5. a, b, the bass by license descends, to the key note, while another part takes the note on which tbe bass ought regularly to resolve. At c is a license much more unusual, which AI. Choron says, although alvrether irregu lar, is employed by the necessity of answering to some sub ject in fugues. If the dissonance ascend in the bass, it ought to be properly resolved in another pail.
There are other forms in which the dominant chord ap pears both in the major and minor modes, the exhibition of which we shall at present delay. In the mean time we shall proceed, in the next chapter, to the consideration of other chords of the seventh.