Nikolai Rimsky-Korsakov · section 89 of 96

On Borrowed Cadences

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§ 88.— a) In major.

1) The dominant triad or the dominant seventh chord resolves to the triad of the 6th degree, borrowed from the minor key of the same name, with the third doubled:

Example — Fig. 370 · See it in the reader

(*) Since the seventh of this chord belongs to both harmonic modes of the same name, it is evident that resolutions 1, 3 and 5 belong to the minor mode, 2 and 4 to the major mode, and 6 to both modes. (Translator's note.)

2) It is used in the same cases as the deceptive cadence, and it may be followed by the minor subdominant chord, by the sixth chord of the 2nd degree of the harmonic major mode, or by the sixth chord of the same degree modified by a descending alteration.

Example in C major (grand staff): the dominant chord G–D–G–B (the tenor moving G–F, making the seventh) goes to the borrowed VI chord A♭–E♭–C–C with doubled thi — Fig. 371 · See it in the reader