When four parts are used, both the seventh major as well as minor must have the accompaniment of the third and fifth. If the fifth does not come in, the preferable way is to double the note to which it is a seventh, and not to double the third. The seventh minor may also, in three or in four parts, be prepared in a fourth, and finish, for variety's sake, in the third, instead of closing in the eighth with the part that had the seventh, but the third part must end with the fifth. All these modes of using sevenths will answer for cadences. bass. Sevenths, whose preparation and resolution are in the bass or lower part, must not be practised in less than Prepared three parts, inasmuch as they must have the accompaniment of the second or its replicate, which, it has already and rebeen observed, is the note which makes them discords. These sevenths are reckoned from the upper sound down- solved in the wards to the lower, and are of two sorts, major, that is a semitone major, and minor, being a whole tone less than the octave, counting downwards from the lowest of the two adjoining notes in the upper parts. The minor seventh is prepared in the third minor, the fifth, and in either of the sixths, never in the eighth, in order that two consecutive octaves may be avoided, because it can only be resolved in the eighth. If it be prepared in the sixth minor, the bass must be in E or A. If in the sixth major, the bass must be D or G, if it is the intention to keep in the natural scale. The seventh major is prepared in the third major, in both the sixths, rarely in the fifth, never in the eighth. Its best resolution is in the eighth, which must be accompanied by a sixth. It may also have its resolution in a sixth, which must have the accompaniment of a third. When the seventh major is prepared in the sixth major, the bass, if we intend keeping in the natural scale, must be B or E. In four parts, it is necessary that either of the sevenths (prepared and resolved in the bass) should have the accompaniments of a seventh and a fourth. Diminished We have now said as much as we think necessary in a Treatise of this nature, relating to the seventh when preor extreme pared and resolved in the bass. It may, however, be well to add, that besides these sevenths there is still another flat seventh. which, in ancient Music, was confined in its use to instrumental Music chiefly. It is called the diminished or extreme flat seventh. It is created when the natural flat seventh, prepared and resolved in the treble, is made still flatter by sharpening accidentally the note in the bass. The interval is such as that between G and F or between C and B b, &c., G and C being sharpened in the bass. If we use the diminished seventh as a discord, its preparation and resolution must be in an upper part. It is best prepared in a sixth; into which concord it is again resolved by removing the accidental sharp in the bass on the resolution. The best resolution is into a major sixth, by the upper part descending only a semitene major but it may also be resolved into a sixth minor, if the treble descend a whole tone on the resolution. Music. Music. Music. It is to be observed that we may use the diminished flat seventh without syncopation; it must then, however, be preceded by a concord and followed by a fifth or by a third. The natural flat seventh, when syncopated, may sometimes be resolved into the extreme flat seventh, which must afterwards be followed by more. Our next duty, having explained the use of the natural discords, will be that of showing how the artificial dis- Artificial cords are treated, which we so call because of their being created discords of concords by the next note above discords. being sounded with them. Those most employed are the fourth and fifth made discords. If with the fourth the Fourth fifth is placed and used at the same time, it becomes a discord. The preparations and resolutions are as follows: it may be prepared in the eighth, sixth, fifth, and third, and resolved by the third, sixth, and eighth, if the treble keeps on, and the bass rises a fifth or falls a fourth, rises a third or falls a sixth, rises one degree or falls one degree. Or it may be similarly resolved if the treble falls one degree, and the bass keeps on or rises a fifth, or falls a fourth, or rises a third or falls a sixth. The resolution of it in an eighth is best when made on a divided bass. |