Nikolai Rimsky-Korsakov · section 39 of 96

Minor and Diminished

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§ 38.—1) As dominant harmony, the leading-note seventh chords (minor in the natural major mode, and diminished in the harmonic major and minor modes) tend to resolve to the tonic chord.

2) The leading note (the root) moves upward to the tonic; the seventh moves downward to the fifth of the tonic; the third and the fifth move in contrary motion, forming a doubled third in the triad of the first degree:

Leading-note seventh chord (A♭ or A) in root position and its three inversions, each resolving to the tonic triad with doubled third — Fig. 137 · See it in the reader

(*) Bad because of the hidden octaves between the outer voices.

REMARK. — The third inversion (ex. d) is not used, because it resolves onto the six-four chord.

3) We advise the student to use the leading-note seventh chord exclusively in root position; moreover, the use of the diminished leading-note seventh chord of the major mode and of the harmonic minor mode is preferable to the minor leading-note seventh chord of the natural major mode.

4) Leading-note seventh chords are placed after the triad of the fourth degree, connected to it harmonically through two common notes; preparing them with the triad of the first degree would be less effective:

Leading-note seventh chord in C major: IV–VII7–I (prepared by IV, two common notes) and I–VII7–I (prepared by I) — Fig. 138 · See it in the reader