To set the ear and the mind at ease, to get a feeling that
the music has settled down on a secure resting-place, the first chord
had to be repeated. And in these chords
[Illustration]
lies the germ of the whole of the later music. Only two more steps were
needed. By adding an F, or writing an F instead of the upper G in the
middle chord, the chord of the dominant seventh was obtained:
[Illustration]
And anyone can try for himself on a piano, and find out that this chord
makes the longing for the tonic chord--the chord of C--more imperious
and the feeling of rest satisfying in proportion when the last chord is
reached. That was one step: the next was to convert the dominant, G, of
the key of C into a tonic for the time being, to get a sense of having
reached the key of G. That was done by regarding G as a tonic, and on
_its_ dominant, D, writing a chord, either a dominant seventh or a
simple major common chord, leading to a chord of G--thus:
[Illustration]
But if after this a seventh on the dominant is played, followed by the
original key-chord
[Illustration]
then we are home once more in the original key.
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