Nikolai Rimsky-Korsakov · section 66 of 96

Supplement

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§ 63. — 1) The dominant and the tonic can also occur as a pedal in the upper parts.

2) In that case they most often present notes common to several chords, and rarely tolerate strongly dissonant harmonies:

Example: a held dominant G3 (bars 1–4) and then a held tonic C4 (bars 5–7) in the tenor, C major; N.B. marks the leading-tone seventh chords over the held note — Fig. 257 · See it in the reader

3) We mark with N.B. the leading-tone seventh chords over the sustained note in the inner part, which are sometimes regarded as an inversion of the ninth chord without its fifth:

Diagram: the dominant ninth chord without its fifth (G–B–F–A, figured 9), its 1st inversion (figured 7, 5, 6) and its 3rd inversion (figured 3, 4, 2), each reso — Fig. 258 · See it in the reader

4) We must also point out the special pedal in the lower parts on the tonic and the dominant at the same time:

Example: a double pedal on the tonic and dominant together (C3 and G3, tied through all eight bars) under two moving upper parts, C major. — Fig. 259 · See it in the reader

(*) In minor the last chord is often major.