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Tchaikovsky, Guide to the Practical Study of Harmony

Pyotr Ilyich Tchaikovsky · section 15 of 36

Chapter XIII. Chords of the minor and diminished Seventh

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Theory of HarmonyArnold Schoenberg · the leading-note seventh chord and the diminished seventh chordPractical Manual of HarmonyNikolai Rimsky-Korsakov · the leading-note seventh chord and the diminished seventh chordTreatise on HarmonyJean-Philippe Rameau · the leading-note seventh chord and the diminished seventh chord
Original notation · printed page 41
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§ 37. Next in importance to the Dominant chord is the chord of the seventh on the 7-th degree of the scale. In major it is called: the chord of the

Example 97
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As regards their resolution, these chords are treated as chords of the ninth without fundamental tone. Consequently their fundamental tone (the third of the chord of the ninth) is led one degree upward—their third (fifth of the chord of the ninth) one degree upward or downward—their fitth (formerly seventh) and seventh (formerly ninth) one degree downward. Should the third lie below the seventh, it cannot progress downwards, or parallel Fifths would be formed.

Example 98
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§ 38. The inversions of these two chords of the seventh bear the same names as those of the Dominant chord.

Chord of the

Sixth and Fourth Fourth & Third Second

Example 99
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The fifth, (formerly seventh) if it lies in one of the middle-voices, may exceptionally be resolved upwards, provided no faulty progressions result.

Example 100
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Such a deviation is decidedly advantageous in the resolution of the chord of the second, as the voices of the resulting six-four chord derive thereby a normal position.

§ 39. The chord of the diminished seventh gains greatly by being prepared, though this is not absolutely necessary, as in the case of the minor seventh-chord.

Example 101
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The tonic triad may be used as preparation for this seventh-chord, if it appears in the same position in preparation and resolution. In the same way also the Dominant triad, as it has two tones in common with this seventh chord.

Example 102
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Example 103
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Original notation · printed page 43
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Note The horizontal lines in the figured bass notation indicate that the intervals next to which they are placed, have to remain stationary, while in the Bass sound the next following intervals of the chord in notation. For instance, in the first bar of the first exercise, the lines next the figures 8 indicate, that the intervals of the triad on G—which correspond to these figures—have to sound on during the following three notes of the Bass, thus giving rise to a chord of the sixth and a chord of the §.

Example 104
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The short line below the note f sharp in the last bar of the third exercise indicate that the third of the triad (leading tone) must remain stationary, while the octave progresses downward into the seventh.

Example 105
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A short oblique or vertical line to a figure denotes the repetition of that figure.