333 
MUSIC. 
lower part of the chord. 2. By a fourth, when the bafs 
rites a third or mils a fixth, as at D. 3. By a fifth, when 
the bafs riles a fecond or falls a feventh, as at E. 4. By a 
iixth, when the bafs relts on the fame degree, as at F. 
5. Into a feventh, when the bafs falls a fecond, as at G. 
6. By an eighth, when the bafs falls a third or rifes a lixth, 
as at H. 
The major feventh on the prime of the major mode, 
defcends not only by refolution, but alfo frequently af- 
cends a femitone to the eighth. See Ex. 5. A. But the 
accidental major feventh in the minor mode conftantly 
retolves by afcending to the eighth, as at B, except when 
the bafs rifes a minor femitone, in which cafe it defcends 
to an extreme-flat feventh, as at C ; which is alfo to be 
underfrood with refpefl to the major feventh in the major 
mode, as at D. 
The feventh is either prepared or unprepared, but in 
either cafe it mull refolve. When it is prepared, it mull 
remain on the fame degree with the note whereby it was 
prepared in the preceding chord. In Ex. 6. it is prepared 
either by a third, the bafs riling a fourth or falling a fifth, 
as at A; by a fifth, the bafs falling a third or rifing a 
iixth, as at B ; by a lixth, the bafs falling a fecond, as 
at C ; or by an eighth, the bafs rifing a lecond or fall¬ 
ing a feventh, as at D. But fevenths on the fifth and 
feventh of the key, in either mode, may be taken unpre¬ 
pared ; as at E. 
Chords arifmg' from the Seventh by Inverjion. 
By inverting the chord of the feventh, fo that any other 
part of the fame harmony may be fubllituted for a bafs, 
inflead of its fundamental note, three different chords are 
produced, as that of 5, and \ ; Where it may be ob- 
ferved, that the fame note, which is difcord to the fun¬ 
damental, remains as fuch in thole inverted. 
1. By fubflituting the third out of the chord of the fe¬ 
venth for the bafs-note inflead of its fundamental to the 
fame harmony, it will be changed to that of the fynco- 
pated fifth, accompanied by a third and fixth ; figured in 
thoroiigh-bafs thus, 5. 2. By fubflituting its fifth for the 
bafs, the chord will be that of the fyncopated chord, ac¬ 
companied by a fixth and fourth ; figured thus, 3. Laft- 
ly, by fubflituting its feventh for the bafs, the chord will 
be that of the fyncopated fecond, accompanied by a fixth 
and fourth; figured thus 2, £, or Thefe chords are 
filled up, both for the major and minor modes, at Ex. 7. 
Sides and Remarks concerning the A ccompaniment of Sevenths. 
1. The feventh may be accompanied either by § or or 
by a third doubled, according as the regularity of the pro- 
greflion between the different parts may require. 
2. Two or more bafs-notes figured by fevenths, are ac¬ 
companied alternately by ^ and See Ex. 8. 
3. Sevenths refolving by fixes, are moft commonly ac¬ 
companied by a third and an eighth, or by a double third, 
as in Ex. 9. 
4. .The extreme-flat feventh, with its derivatives, are 
diftinguifhed by the denomination of chromatics. In the 
regular flyle every chromatic chord mull be qualified by 
due proportion ; but tire free or elegant flyle is not con¬ 
fined to this rule. See Ex. 10. 
5. It is chiefly by means of tlrofe chords and the chang¬ 
ing of the genus; as, for infiance, when Ah is changed 
to G^, or Ifb to D*; that all thofe fudden changes of 
harmony or digreffions to the mofl diflant keys, generally 
made ule of in the recitative flyle, and that of voluntary¬ 
playing, are effelled. See Ex. 11. 
Of the Chord of the Fifth and Sixth, figured thus, jj. 
The fifth in the prefen t chord, being the fame note with 
its original, the feventh, from which it proceeds by in- 
verfion, muff refolve like all other dilcords. Its different 
fpecies are fliown at the back of Plate V. at Ex. 12. fig. 
1, 2, 3) &c. 
1. The firft fpecies confiffs of an imperfect fifth, a minor 
fixth, and a minor third, and is chiefly applied on the af¬ 
cending feventh of either mode. See Ex. 13. A; and 
fometimes on the afcending fixth of minor, as at B. The 
fifth is either prepared, as at C ; or unprepared, as at D. 
2. The fecond confiffs of a perfed fifth, and a major 
fixth and third ; and is applied on the afcending fourth 
of the major mode. The fifth is always prepared. 
3. The third confiffs of a perfed fifth, and a minor fixth 
and third; and is introduced on the third and fixth of 
the major, and on the key-note and fifth of the minor, 
mode. 
4. The fourth confiffs of a perfed fifth, a minor fixth, 
and an accidentai-fharp third 5 and is applied only on the 
fifth of the minor mode. 
5. The fifth confiffs of a perfect fifth, a major fixth, arid 
a minor third ; and is introduced on the afcending fourth 
of the minor mode. 
6 . The fixth confiffs of an impeded fifth, an accidentai- 
fharp fixth, and minor third ; and is applied only on the 
lecond of the minor mode. 
7. The feventh confiffs of a perfed fifth, an extreme- 
ftiarp fixth, and a major third ; and is ufed only on the 
defeending fixth of the minor mode. The two lall are 
chromatic chords. The chord of f in general is ufed on 
bafs-notes, riling either a whole or half tone. 
Of the Chord of the Third, Fourth, and Sixth; figured 3, or 4 
The chord arifes from the fecond inverfion of that of 
the feventh. Its different fpecies, as ufed in harmony, are 
as fliown at Ex. 14. fig. 1, 2, 3, &c. 
1. The firlt confiffs of a major fixth, perfect fourth, and 
minor third, and is applied on the fecond of either mode, 
as exemplified in Ex. 15. 
2. The fecond confiffs of a minor fixth, perfed fourth, 
and minor third, and is applied on the third, fixth, and 
feventh, of the major mode, and on the prime of the 
minor. 
3. The third confiffs of a major fixth, perfedl fourth, 
and major third ; and is commonly introduced on the 
prime and fifth of the major mode, and on the third and 
defeending feventh of the minor. 
4. The fourth confiffs of a major fixth, an extreine- 
fliarp fourth, and a major third; and is applied on the de¬ 
feending fourth of the major, but chiefly on the defeend¬ 
ing fixth of the minor, mode. 
5. The fifth confiffs of a major fixth, an extreme-lharp 
fourth, and a minor third; and is applied only on the 
fourth of the minor mode. 
6. The fixth confiffs of an extreme-lharp fixth, fourth, 
and major third; and is introduced on the defeending 
fixth of the minor mode. 
Of the Chord of the Second, accompanied by 6 and 4; marked 
tU*- 
In this chord, the bafs-note is the difcord, it being the 
fame note as that which was a feventh to the fundamental 
note of the chord it proceeds from, being the third inver¬ 
fion ; for which reafon, the bafs muff regularly refolve by 
defeending one degree. The fecond is ufed in two dif¬ 
ferent ways ; by tranfition and fyncopation. The bafs- 
note figured with a fecond, defcends to the next note be¬ 
low it. The different fpecies of feconds are fliown at 
Ex. 16. fig. 1, 2, 3, &c. 
1. The firft fpecies confiffs of a major fecond, an ex¬ 
treme-lharp fourth, and a major fixth ; and is applied 
only on the defeending fourth of either mode. This ' 
chord, exclufive of the bafs, is a perfed common chord, 
taken at the diftance of a major fecond from the bafs. 
This will be made clear by infpeding Ex. 17. 
2. The fecond confiffs of a major fecond, a perfed 
fourth, and a major fixth ; and is a minor common chord, 
at the diltance of a major fecond from the bafs. 
3. The third confiffs of a minor lecond, a minor fixth, 
and a perfect fourth j and is a perfed common chord, 
taken 
