6 A resolution of the still more agreeable, and more 5' practised, is into the third inversion of the dominant; the bass continuing in the same degree, until the resolution of 4+ the dominant on the chord of sixth, No. 4, a, b.
1.30. 'file second inversion of the subdominant seventh on the second of the scale is hardly in use. Following the analogy of the chords we have been treating of, it might be prepared and resolved as in No. 1. The effect, however, is not very attractive. By omitting the 4th, (which is the fundamental sound of the subdominant seventh,) the chord becomes the first inversion of the subdominant common chord on the fourth of the scale; and this chord of sixth pro ceeds very well to the dominant seventh, as in No. 2, a, b ; or to its first derivative, as at c, d. To the last some would object, because of the motion in the bass, by redun dant second from F to G>3i<.* 131. The third inversion of the subdominant seventh On 6 the second of the scale, viz. the 4 on the key note is pretty 9 frequently to be met with. The discord, which is the bass, is prepared in the common chord of the key, and it resolves on the dominant 5' No. 1, a, b.
We have now got acquainted with three species of chords of the seventh—the dominant on the fifth of the scale, much the most important of all; in which the minor 7th is added to the major common chord—the chord of seventh on the second cof the scale major mode, being the minor 7th added to the minor common chord, and the chord of seventh on the second of the scale, minor mode, being the minor 7th added to the imperfect common chord. These two last we have ventured to call subdominant sevenths; though of less im portance than the dominant and its derivatives, they are of much value, and sometimes produce admirable effects. Of both, the first derivative is more frequently to be met with than the finidamental chord of ith.
The dominant seventh is to be found only on one part of the diatonic scale, viz. the fifth, and the subdominant seventh of the minor mode is to be found only on one note, the second ; but we may find chords of the seventh exactly re sembling that on the second of the major mode, on two other notes of the scale, viz. the third and sixth of the major mode; or the key-note and fifth of the minor mode, No. 2, a, b. These chords are used chiefly in a sequence of sevenths.
132. There is yet another species of chord of the 7th to be found in the diatonic scale, viz. the major seventh added to the major common chord; which chord has its place on the key-note, and fourth of the major mode; or on the third and sixth of the minor; No. 1, a. b. The seventh in this chord is always prepared, and it is resolved by the diatonic descent of the rth on the third of the succeeding chord; thc bass falling fifth, or rising fourth.
This chord of major seventh has also its inversions. By putting the third in the bass, we have a chord consisting of minor third, perfect fifth, and minor sixth, No. 1, c. This chord is sometimes to be met with.
By putting the fifth on the bass, we have a chord consist ing of major third, perfect fourth, and major sixth ; a chord scarcely used, except perhaps as a passing chord on the un accented part of the bar; No. 1, d.
By putting the seventh in the bass, we have a chord con sisting of minor second, perfect fourth, and minor sixth. This last chord is of better effect, and much more frequently nsed than the others. No. 1, e.
These chords of the major seventh make part of the dia tonic sequence of sevenths; which we shall now exhibit both in the major and minor scales, with a few remarks.
No. 2, a, is a sequence of sevenths, in which every note in the major scale bears the chord of seventh belonging to it. 'File dominant seventh is struck freely, but all the others are prepared in the third of the preceding chord; and for this purpose the third of the domina-nt remains in its place, in stead of rising semitone to the resolution, as in a final close. At b, a similar sequence in the minor mbde. At c, is -the same progression in five parts; and here is an instance in which the sensible note, or third of the dominant, may be legitimately doubled; it is resolved regularly in one part, and in the other prepares the major seventh of the succeed ing chord. The octave proceeding to the third of the next chord, while the seventh resolves on the same third, is allow able in harmony so full. By the position of the chord of major seventh to C, in the example a, the octave struck along with the seventlt, makes an interval of semitone, which is rather a harsh combination, though musicians make no scru ple of frequently introducing it in their compositions. The position of the same chord to F, is much less harsh. In the example c, both the chords of major seventh are in such a position, that the interval of minor second is avoided. The student will observe that the first chord of major seventh proceeds to a second of the same kind; and this latter, by tnovement of the bass, lesser 5th, proceeds to the imperfect chord of seventh on the sensible note. The progression of this imperfect chord to the minor seventh with minor third, is not so agreeable, as, in the minor mode, the progression of the same imperfect chord (on the secbnd of the scale) to the dominant chord, as at b. We have three minor chords of the minor seventh in succession, the last resolving on the dominant of the major scale. Lastly, the reader may ob serve how much superior and how much more conclusive is the resolution of the dominant chord than that of any other of these sevenths. To convince himself of this, the reader has only to resolve the third of any one of them upwards in the octave to the bass, as if to make a conclusion, (instead of continuing the third as seventh to the succeeding chord,) and he will feel how comparatively unsatisfactory such con clusion is. If Ile make the trial with the chord of major seventh, let him then substitute a minor seventh, and com pare -the effect, as at d, e; or if he make the trial with the minor chord of seventh, let him then substitute a major third, as at f, g.