Nikolai Rimsky-Korsakov · seção 46 de 96

Sequências harmônicas com acordes de sétima

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§ 45. 1) Repetindo uma segunda abaixo o modelo formado pela resolução do acorde de sétima da dominante no acorde da tônica, resultam as seguintes sequências harmônicas:

A) In the major mode: sixteen chords descending by fifths in C major, seventh chords (figured 7) alternating with triads, the common notes tied — Fig. 159 · Ver no leitor

or: the same sequence beginning with an incomplete V7 (no fifth) resolving to a complete tonic triad — Fig. 160 · Ver no leitor

B) In the minor mode: the same sequence in A minor, harmonic V with G♯ at the start and end, natural (G♮) forms of VII, III, V and I in between — Fig. 161 · Ver no leitor

or: the minor sequence beginning with an incomplete V7 (no fifth) resolving to a complete tonic triad — Fig. 162 · Ver no leitor

Essas sequências mostram-nos a resolução mais natural dos acordes de sétima de segunda ordem: cada um resolve na tríade uma quarta acima ou uma quinta abaixo. Acordes de sétima completos resolvem em tríades incompletas, e vice-versa.

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