Nikolai Rimsky-Korsakov · section 90 of 96

Supplement

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Borrowing from the minor key explains the use of the augmented six-five chord in major, as well as the use of the diminished seventh chord on the 4th degree modified by an ascending alteration, with the tonic six-four chord as its resolution.

"Instead of:" two chords on the 2nd degree (II) in C major, each resolving to the tonic 6/4 chord: A♭–C–D♯–F♯ (figured ♯6/♯4/3) going to G–C–E–G (6/4); after a — Fig. 372 · See it in the reader

"One writes:" the same chords spelled on the 4th degree (IV): A♭–C–E♭–F♯ (augmented six-five chord, figured ♯6/5) going to G–C–E♮–G (6/4); after a double bar, F — Fig. 373 · See it in the reader

The spelling of the example above is found when these chords are accompanied by harmonic or melodic ornaments.

§ 89. b) In minor.

1) The dominant triad is followed by the diminished seventh chord on the 4th degree modified by an ascending alteration:

C minor, one treble staff: the dominant triad G–D–G–B♮ (V) followed by the diminished seventh chord F♯–E♭–A♮–C (labelled V), whole notes. — Fig. 374 · See it in the reader

2) This succession is used almost always in the melodic positions shown in the following example, and requires the concluding six-four chord as its resolution:

C minor, grand staff: dominant G–D–G–B♮ (V); diminished seventh F♯–E♭–A♮–C (IV, figured 7/5/♮3); tonic 6/4 chord G–E♭–G–C (6/4); dominant G–D–B with the alto G– — Fig. 375 · See it in the reader

Use borrowed cadences in the conclusion of modulating exercises.