Foote and Spalding, Modern Harmony (1905) (2) note 1

In the previous post on Foote and Spalding's repertory examples of dominant ninth chords, I included this figure from their page 195:

This excerpt is certainly interesting, especially for its ascending move from the ninth, but Schubert's subsequent treatment of it in this variation movement from the A-minor sonata, D. 845 suggests that he was not thinking of it as a dominant ninth chord—or else we might say that he could have been in sympathy with those theorists who lumped the dominant ninth chord in with the dominant seventh and leading-tone seventh chords, and maybe even the ii chord (that is, any and all tertian entities that can be extracted from the dominant ninth chord).

Here is the context, the opening phrase of the theme's B-section, in which the ninth is part of a short "standing on the dominant" figure (the term is Caplin's; such figures to begin the B-section of a small binary or ternary form were stereotypical).

Already in the first variation, the bass changes the harmony to ii and thus A4 to the consonant fifth.

Variation 2: As in variation 1, but now the dissonance is gone!

Variation 3: G-F against Ab is brought very much into the foreground. The G is so obviously heard as an accented dissonant neighbor that the underlying chord in the first bar must be heard as vii°7.

Variation 4: Here the expressive idea of ascent takes over, but without the simple ^6-^7 figure of the theme. We can certainly hear the first bar as Ab: V9, with indirect resolution of the ninth in both fifth and sixth octaves in bar 2. Schubert continues to make the expressive point with the long scale that closes the phrase and leads to Eb7.

Variation 5: A predecessor to Schoenberg's fourth inversion of the ninth chord in Erklärte Nacht? No, a 2-3 bass suspension, A2-G2 against B3. And of course ^6 goes down, not up as in the theme.

Variation 5, end: As it would seem only Schubert can do, the end of the final variation leading into the coda turns unexpectedly magical. Not at (a), where he changes the mode to minor—but he does introduce a rising-scale figure that reaches Ab5 (note that the accented gesture is G and Ab). There is a source in the theme: the harmony is D minor with A4 at the top at the equivalent point that he reaches Db in this variation, but Schubert makes much more of it here than in the theme or earlier variations. At (b) we reach G5-Ab5 again, but now also get the reverse over dominant harmony. Then suddenly it is off into the sixth octave, A-natural, and a transcendent IV (no need for the triad's fifth; what we hear is without any doubt). Finally, at (d) even higher, but then with firm and continuing, if quiet,  descent into the final tonic.

Coda: Schubert isn't done yet. At (e), the old-fashioned turn to the subdominant in the prolongation of the structural tonic brings ^5-^6-^5 in F and so a little coloration of V9 in that key. At (f), Schubert reminds us of that transcendent IV from (c), again at (g), and even into the final seconds at (h).

Foote and Spalding, Modern Harmony (1905) (2)

Foote and Spalding's chapter on the ninth chords is distinctive for its generous number of examples from the repertoire, examples that show clearly the range and character of their own stylistic sources and assumptions.* One can see this already in their first page (p. 158). In Lohengrin below, G5 is strongly emphasized by position and duration, achieving the same kind of "climax coloration" that we found in American songs of the same period (see my essay Dominant Ninth Harmonies in American Songs around 1900: link). As with Wagner, Schubert moves the ninth (but ascending) over a stable dominant bass. The two brief excerpts from Beethoven are common instances from the era of the minor dominant ninth.

The next three examples are also concerned with the minor dominant ninth chord.

Amy (Mrs. H. H. A.) Beach's "Fireflies," no. 4 from Four Sketches, op. 15 (1892), has many dominant ninths, both major and minor. This short passage comes less than twenty bars from the end. Something of the flavor of the whole can be gotten by a slightly larger excerpt (see below). "Walküre" is a striking resolution of the minor dominant ninth, with ninth in the alto and fifth moving upward chromatically. "Parsifal" is a passing major ninth within a wedge shape: F-F#-G in the top voice, F-E-Eb in the bass.

Further comment on Amy (Mrs. H. H. A.) Beach, op. 15n4. Below is a slightly larger excerpt (bars -18 to -10). The passage quoted by Foote and Spalding is boxed; instances of the dominant ninth are circled: all but the last are understood as major dominant ninth chords, but see my final comments and the figure below the score. For the moment, notice the strongly marked direct resolution of the ninth in bars -11 to-10. The tonic reached in bar -10 is the final chord, prolonged by figuration to the end.

Here is a reduced view of the harmony and voice leading:

Obviously, this reduction isn't as good as it could be, since the move major-dominant-ninth to minor-triad is problematic. The composer "sneaks in" a minor ninth just before the chord change, and thus it would have been better to notate the entire example as follows:

Beach's "Fireflies" is one of those rare compositions before 1900 in which the dominant ninth is strongly motivic. Here is the opening, the ninth chords marked (minor in bars 1-2, 8; major in 5-6).

And here is a reduction of the harmony and voice leading:

More of Foote and Spalding's repertoire examples will appear in a subsequent post.

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* Such generosity was not typical earlier in the 19th century, but I should point out that by the end of the century multiple examples from the repertoire were commonly used, either for practical compositional or analytical purposes, as with Foote and Spalding, or as examples of historical practices.

Reference:
Arthur Foote and Walter Spalding, Modern Harmony in its Theory and Practice (1905). Source: Internet Archive; digital facsimile of a copy in the UCLA library.

Foote and Spalding, Modern Harmony (1905) (1)

With this post, I leap ahead nearly to the end of the long 19th century. The point is to make a quick comparison with the various books up to 1850 discussed so far, before going back to survey the period from 1850-1900.

So far, the dominant ninth chord has been in a strange limbo, "invented" on the one hand as a result of Rameau's sub-posing a third below the fundamental of a seventh chord—as at (a) below—but, on the other hand, in form of the figure "9" at least, well established in thorough-bass (and therefore in the everyday activity of continuo playing)—"9", however, normally meant as at (b) below. The sub-posed third was already abandoned by Sorge in favor of the super-posed third that gave rise to the category of extended chords still found in textbooks today—as at (c), but a peculiar tension remained, given that the V9 chord was not a regular part of compositional practice (before popular genres like dances and dance-songs beginning in the first quarter of the 19th century), so that the viiø7 was recommended as the V9 without its root!—see at (d). The figures at (e1) and (e2) appear regularly in treatises when the dominant ninth chord is introduced, as we have seen, but though well recognized, and usually given its own chapter, the dominant ninth chord is then almost entirely ignored in exercises and assignments. In the few cases where it does show up, it is in form of the internal resolution of (e2), very rarely the fully independent harmony of (e1).

Arthur Foote and Walter Spalding published Modern Harmony in its Theory and Practice in 1905. Both were trained at Harvard. Foote spent his career as an organist in Boston, Spalding spent his as a member of the Harvard faculty.

Foote and Spalding follow the Weber/Richter tradition of Roman numeral labels but, like Richter, use figured bass for exercises. (Indeed, their volume overall shows a considerable debt to Richter's Harmonielehre.) Their employment of Roman numeral labels is exceedingly sparing, however, even in the chapters on modulation and even in analyses. On the dominant ninth chord, we note first of all that they give it considerable attention: a chapter of fifteen pages. (Eleventh and thirteenth chords are given their own chapter of five pages.) The dominant ninth chord is generated by adding a third to the seventh chord. Ninth chords can be built on other scale degrees, but Foote and Spalding dismiss those, saying they are really created by melodic figures such as suspensions (p. 153). "The dominant chord of the ninth is the one chiefly employed, and properly used is productive of admirable results" (p. 154).

Here are their first examples (p. 154). Note that under (1) & (2) they include the borrowed chord viiº7 in the major key (they refer to it as chromatic alteration, not borrowing or modal mixture). Under (3) & (4), they show ascending resolutions of the ninth without comment.

About Example 8, they say only that this resolution happens "not infrequently."

Like those of many other authors, their resolutions are a mixture of internal and external, as for instance in Example 8 above and in nos. 5-7 that precede it:

Foote and Spalding even allow downward leaps away from the ninth, thus showing their familiarity not only with earlier salon music but also with concert waltzes (such as those of the Strausses, Waldteufel, and others), comic opera, and operetta.

Although I have not made much of it in previous posts, all textbook authors give some space to chord voicings, in relation to the positioning of the ninth and usually in the context of discussing inversions. Foote and Spalding's comments are not unusual in this regard—for example, they reject the fourth inversion for the same reasons as earlier authors: the sound is harsh and/or the root of the chord must always be below the ninth. As a footnote, they praise one treatment by Wagner (p. 158):

The entire passage, which the authors call "splendid," is as follows (p. 137). It is meant to illustrate voicing in a sequence of seventh chords. As the boxed bars show, the ninth is internal to chord movements over a sustained cadential dominant.

I will reproduce and comment on additional examples in the next post.

Reference:
Arthur Foote and Walter Spalding, Modern Harmony in its Theory and Practice (1905). Source: Internet Archive; digital facsimile of a copy in the UCLA library.

Kalkbrenner

In 1849, Friedrich Kalkbrenner published a practical instructional manual for pianists that combines the typical sequence in chord presentation with advice and examples for preluding, a nearly ubiquitous practice of improvising in the key of the composition before one performed in salon, recital, or even domestic music-making. It was only after the first World War that the practice largely died out.

Of the dominant ninth, he writes

This chord should be placed among the suspension chords, along with the eleventh and thirteenth, because it cannot be properly inverted, but because of its importance among the dissonant harmonies and the ingenious manner in which it is used, being presented in various contexts, we give it a separate chapter here. The ninth chord is nothing other than a dominant seventh chord to which a third has been added. (p. 26; my translation)

Oddly, however, Kalkbrenner's first example highlights a sequence of 9-8 suspensions, only reaching V9 at the end (boxed). Then he switches to the other extreme, with a sequence of dominant ninth chords that is very similar to one we saw in Dehn's Harmonielehre (1840).

And when he provides examples of preludes incorporating the ninth, the model (and of course the variants that follow) lack the V9 altogether:

Here are the first two variations:

The dominant ninth chord also plays no role in the nineteen exercises for preluding or the nine written-out preludes later in the volume.

Reference:

Friedrich Kalkbrenner, Traité d'harmonie du pianiste, Principes rationnels de la modulation pour apprendre à préluder et à improviser, Op. 189 (1849).  German edition: Harmonielehre zunächst für Pianofortespieler als Anleitung zum Präludieren und Improvisiren, Op. 190 (1849). Source: IMSLP; digital facsimile of a copy in the Staatsbibliothek zu Berlin.

Henry Lemoine, Traité (1833)

Henry Lemoine's Traité d'harmonie pratique et théorique (1833) is a perfect foil to E. F. Richter's "modern" Harmony in that Lemoine holds closely to the thorough-bass instructional system of the partimento tradition that dominated 18th century musical training and was only beginning to fade away by the mid-19th century. The emphasis is certainly on "pratique" and not "théorique": Lemoine is not concerned with the generation of chords; he restricts himself to off-hand comments about the opinions of Catel and Reicha, authors of the two harmony textbooks used in the Conservatoire through the first half of the century. He presents the chordal vocabulary in the same order as other textbooks but follows—and in some case even precedes—each with keyboard-based exercises.

The dominant ninth chord is presented in the familiar way (see below) Inversions are ignored.

 Lemoine's table of usable chords is as follows and is of interest because it includes the MM7 and the chromatic augmented sixth chords (in other words, the complete set he had introduced in the preceding chapters; in most other textbooks of the era, the augmented sixths are presented along with or just after the ninth chords but not included in the chord table).

Following the table is a preliminary "omnibus" lesson presented first with written-out chords (see below), then in several keys in the familiar figured-bass style of the partimento (I show only the first of these, in G major). The appearances of chords figured with "9" are boxed; these are all dominant ninth chords, prepared and then resolved internally.

Much of the last quarter of the book is taken up by a series of partimenti, in two sections, the first presumably by Lemoine, the second by earlier masters Cotumacci and Fenaroli. The first half of no. 17 in the first series is shown below. Despite the earlier presentation and despite Lemoine's indication that the exercises are "progressive," the dominant ninth is almost entirely absent. What we do find instead are 9-8 suspension figures. Of the seven figures with "9" below (boxed), six are of this type. The one with the arrow is a dominant ninth but can't really be said to function as one in context (note that is has no seventh). Below the example I have written out the first five bars of the third system for reference.

Reference:
Henry Lemoine, Traité d'harmonie pratique et théorique (1833). Source: IMSLP; digital facsimile of a copy in the Bibliothèque nationale de France.

Richter, Lehrbuch der Harmonie

Ernst Friedrich Richter was a composer who taught music theory in the Leipzig Conservatory, where his Lehrbuch der Harmonie was used for instruction. His views on the extended chords were conservative, even though his attitude toward practical harmonic theory was progressive, even radical, for the early 1850s, in that he not only adopted Weber's Roman numeral labels but specifically rejected figured bass symbols as chord labels, using them only as adjuncts to the Roman numerals (in other words, in the manner still widely used today). In the Preface (I am citing from the third edition [1860], Richter says that the study of music theory by means of thorough bass "has long since been replaced by a more rational method" (ix-x), but that he still finds them useful for instruction in voice leading.

Richter strongly emphasizes practical harmony, which works to the disadvantage of the extended tertian chords. He does not acknowledge the Ramellian heritage of these chords but instead associates them with thorough bass: "The ninth chord . . . is a vestige of the old so-called general-bass, which taught every vertical formation of tones, no matter how accidental they were, as individual chords, without bringing all these accidental formations into an orderly system, and thereby made instruction in harmony much harder and quite complex" (1860, p. 77; my translation).

He divides chords into two groups: in Part 1, basic harmonies (Grundharmonien) , in Part 2, accidental chords (Zufällige Akkordbildungen), to which are added notes foreign to the harmony (that is, passing tones and the various accented and unaccented neighbor notes). The basic harmonies are the usual triads and seventh chords of the key, and he does include a short chapter on the 9th, 11th, and 13th chords in Part 1, but like many other authors, he does so only by way of explaining that they don't really belong there. He allows the dominant ninth chord only (no ninth chords on other scale degrees) and only with preparation (see below, his Figure 157). Otherwise he places it, along with the eleventh and thirteenth chords, among suspensions and the category of "accidental chords" (these are largely the same as Kirnberger's non-essential chords—Richter even includes passing chords (Durchgehende Akkorde) in Part 2).

The views which may be entertained of the above chords are various, but they all tend to one practical result. It may be taken for granted that these are either real chords, such as the chord of seventh, in which case they must be considered and treated as such, or that they belong to the list of suspensions, [that is] occur accidentally when one or more parts remain stationary. In the first case their explanation, and especially that of their inversions, would be extremely prolix, and moreover the chords themselves would often be difficult to recognize, inasmuch as in four-part harmony one or more of their intervals must always be omitted. If, however, considered as suspensions or accidental chords, their explanation becomes very simple. In order to obtain a clear insight into their nature, we will now proceed to examine their construction, &e. 

In pure harmonic progression it is necessary that either the ninth or the root should be prepared the following example, therefore, in which both root and ninth enter freely, is objectionable on account of its [stiffness (Steifheit)] and want of connection [Verbindungslosigkeit].  (1864, p. 62) 

Finally, from Part 2, here are three suspensions involving the ninth. The first and third of these form the dominant ninth chord (1860, p. 99, from Fig. 198):

Reference:
Ernst Friedrich Richter, Lehrbuch der Harmonie (1853). The third edition (1860) was available to me. Source: IMSLP; digital facsimile of a copy in the Sibley Library, Eastman School of Music.
Ernst Friedrich Richter, Treatise on Harmony, trans. Franklin Taylor (1864). Source: Internet Archive; digital facsimile of a copy in the National Library of Scotland.

Gottfried Weber

Gottfried Weber's influence on German music theory and its pedagogy is substantial, if for no other reason than he introduced the system of Roman numeral harmonic notation still widely in use even today. The book is in the typical two parts: (1) "general musical instruction,"* including tones, notation, intervals, and rhythm/meter (this last being unusually long); (2) "theory," which has chapters on "single series of tones considered as such," harmony, keys, and modulation.

* Throughout I am quoting from the English translation (see "reference" below).

Although he introduces the system of Roman numeral labels under "keys" (Chapter 3, section Vb, §151, p. 288), Weber only begins using those labels in earnest under "modulation," one of the earliest examples being the following, one of several to demonstrate key "inertia," so that it is unlikely one would hear the fourth chord below as V7/Bb (from Chapter 4, section IIIb, §193, p. 338).

This example is of course of interest because it includes a dominant ninth chord, but note that Weber designates it as V7. He follows the model according to which basic harmonies are triads and seventh chords, that is, the third-based chords found within an octave compass. He does not object to dominant ninth sonorities, but, as this figure shows, he reads the ninth as an added note, a note "foreign to the harmony" and therefore not included in an analysis. His discussion of such notes is in Chapter 2, whose headings are:

Section 1, "Of harmonic combination in general"
Section 2 "Fundamental harmonies"
Section 3, "Transformation"
Section 4, "View of the equivocalnesses arising from the transformations of the fundamental harmonies"
Section 5, "Consonances and dissonances"
Section 6, "Preparation"

Under Section 3, "Transformation":

A. Transformation of position
     1. Transposition in general
     2. Inversion
B. Doubling
C. Omission
D. Tones foreign to the harmony
     1. Independent ninth
     2. Elevation and depression of an interval
     3. Transitions
     4. Other tones foreign to the harmony

Ninth chords are independent when the ninth is not prepared (as it must be in suspension figures) and may possibly not be left by step, either. Here is Weber's first example of the two types of ninth chord (p. 195):

After this, he offers several examples from the contemporary repertoire (pp. 196-97):

Immediately thereafter, Weber writes that "If now, as is undeniably the fact, these examples in part have a very perceptible harshness of sound, it is, on the other hand, quite remarkable, how soon this harshness disappears, the moment the fundamental tone is omitted" (p.197; emphasis in original), as here:

This mitigation of harshness is all the explanation we ever get. Instead, Weber goes on for several pages on various ways to distinguish the ninth without its root from the seventh chord that looks just like it. (In keeping with a central tenet of his theory, ambiguity—or "equivocalness," as in one of the headings above—he says at one point that sometimes you can't tell them apart.)

Reference:
Gottfried Weber, Versuch einer geordneten Theorie der Tonsetzkunst (1817-21). English translation of the 3d edition by James F. Warner as An Attempt at a Systematically Arranged Theory of Musical Composition (2d ed, 1842). Source: IMSLP; digital facsimile of a copy in the Yale University Library.

Albrechtsberger

Johann Georg Albrechtsberger is well-known as one of the principal teachers of Beethoven, but he had many other pupils, among them Hummel, Moscheles, and Mozart's son Franz Xaver. He published a treatise in 1790: "Gründliche Anweisung zur Composition mit deutlichen und ausführlichen Exempeln, zum Selbstunterrichte, erläutert"; this, despite its title, is mostly on counterpoint and fugue. It became parts 2-3 of a posthumous compilation (1826), in which part 1 is on harmony. That part is, however, a thorough-bass treatise; it makes little if any use of reduced categories of chords or Roman numeral labels. In the examples below, "chord of . . ." refers to the figure. Such labels approach the character of categories only when they have only one possible representative, as in chord of the eleventh and chord of the thirteenth below.

The progressions presented below are quite common in music about 1800. See Albrechtsberger's curiously convoluted explanation involving imagined tones. Also note that all the ninths in these examples would generally be considered "prepared" in modern textbooks, because there is a prepratory note in the preceding chord, a note that is reiterated (not held) in the ninth chord itself.

Another example of unprepared dissonances, this time involving the V9 in minor and major, and truly unprepared even in a modern sense:

Reference:
Johann Georg Albrechtsberger, Gründliche Anweisung zur Composition mit deutlichen und ausführlichen Exempeln, zum Selbstunterrichte, erläutert (1790).
Johann Georg Albrechtsberger, ed. Ignaz von Seyfried, Sämmtliche Schriften (1826). English translation as Collected Writings on Thorough-Bass, Harmony and Composition for self-instruction (1855).

Postscript to Dehn: Ludwig Bussler

Ludwig Bussler was a student of Siegfried Dehn, whose Harmonielehre was discussed in the previous post. Bussler was born in Berlin and spent most of his life there. He published a number of textbooks, including a Praktische Harmonielehre in Aufgaben in 1865. A posthumous fifth "revised edition" edited by Hugo Leichtentritt (1903) was available to me, along with an English translation of the second edition published in 1891.

It's hard to see any particular evidence of Dehn's influence in Bussler's dominant-ninth chapter, which is indeed practical and whose explanations and strictures are in line with most textbooks in the latter half of the 19th century.

Bussler generates the ninth chord by adding the ninth above the dominant seventh. He never mentions other extended chords. The dominant ninth is among the dissonant principal chords (Hauptakkorde), along with the dominant seventh, the diminished triad, both diminished seventh chords, and the tonic 6/4. He shows the standard resolutions, with the third (D5 in the first chord below, D4 in the second) rising to avoid parallel fifths:

He admits three inversions (the examples are from the English edition, p. 41):

but rejects the fourth "for the principle of chord-formation by successive thirds would thereby be abandoned, and the chord of the ninth be stricken out of the list of chords in a limited sense" (English trans., p. 40). He adds that the interval of the ninth must never be inverted to a seventh: "It is only necessary to strike such an inverted chord to make plain the need of this rule."

Of the following example, Bussler remarks "By the aid of this chord the descending scale can now be well harmonized between the seventh and sixth degrees" (p. 41).

Finally, he says that the ninth is best when "prepared" by appearing in the immediately preceding chord. He rejects the following (even though they were quite common in music, especially music for the stage, even at the time of his book's first edition, a point which he does not mention).

Reference:
Ludwig Bussler, Praktische Harmonielehre in Aufgaben (1865).
Ludwig Bussler, Elementary Harmony (1891), translated from the second German edition. Source: Internet Archive; digital facsimile of a copy from the University of California at Berkeley.
Ludwig Bussler, Praktische Harmonielehre in Aufgaben, Part 1 of Praktische musikalische Compositionslehre, edited by Hugo Leichtentritt (1903). Source: Internet Archive; digital facsimile of a copy from the University of Toronto. The 2-volume edition (with counterpoint as the second volume) was first published in 1878-79.

Fétis; Siegfried Dehn

By 1840, the dominant seventh chord was universally regarded as a basic harmony, but views about the ninth chord still varied. The most rigid models rejected as harmonies all dissonances other than the dominant seventh. For example,

François-Joseph Fetis “rejected the leading-tone seventh chord, all types of ninth chords, and the supertonic seventh chords. . . as true chords. Instead these verticalities, as are all other dissonant formations save for the dominant seventh, are explained using the concepts of substitution and/or retardation. Substitution is the replacement of the fifth scale degree in a dominant chord by the sixth scale degree, which produces both the dominant ninth chord and leading-tone seventh chords” (Blättler 2013, 56). 

See two examples extracted from Blättler’s Figure 1.32 below. Fétis handles inversion by expanding the common argument against the fourth inversion of the ninth chord against all inversions of the chords listed in the quote above (56-57).

Fétis was based in Brussels. During the same period, Siegfried Dehn worked in Berlin as a well-respected teacher, archivist, and editor. Dehn sought a way to include elevenths and thirteenths among the principal harmonies of a key (Hauptaccorde), a broader category than source chords (Stammaccorde), which are triads. (The dominant seventh is among the Hauptaccorde.) Dehn divides his harmony treatise in the conventional way into two parts (Capitel in the original): theoretical and practical, the first part dealing with the generation and derivation of harmonies, the second with their application to composition. The 21st of 25 chapters (§§ in the original) in Part 1 is on the ninth chord (the 22d and 23d are on the eleventh and thirteenth chords, respectively). The corresponding chapters in Part 2 are 24-26 (of 32).

As Blättler describes Dehn's method of derivation,

Ninth chords are generated . . . by placing a third both above and below the diminished triad of a key . . . ; eleventh and thirteenth chords are generated by placing the tonic note beneath the dominant seventh and ninth chords respectively. . . . These chords cannot appear in inversion nor can they sustain omissions of their roots, uppermost tones, or leading tones—restrictions [justified] on practical grounds. The extended triads cannot be inverted because their identity is dependent on a specific voicing [that is, stacks of thirds]. (p. 33)

Thus, although Dehn succeeds in placing these among the Hauptaccorde, their practical application [pace his own claims] is quite limited (Blättler, 34-35). In Part 2, chapter 24 "On the treatment of ninth chords," Dehn shows only the major and minor dominant ninths, but he does include secondary dominants. The chapter is primarily concerned with voice-leading. Here is his table of proper (regelmässige) resolutions (Dehn 1860, 215):

The important aspect of this figure is that Dehn sees no problem with a direct resolution of the major dominant ninth chord to the tonic, with its voice-leading of ^6 to ^5. This is certainly more in tune with compositional practice by 1840 than the restriction of harmonies to triads and seventh chords. He even provides a sequence with secondary dominant ninths (boxed):

Alas, when he offers a comprehensive example for all three extended chords, Dehn reverts to a chorale where those chords appear exclusively over dominant basses (boxed), effectively nullifying the ninth chord's status as an independent harmony (Dehn 1860, 219). This ambiguity and uncertainty, I note again, is typical of theoretical treatments through the century.*

* A contributing factor to the confusion is Dehn's unusual sidelining of suspensions—discussion is confined to the final chapter of Part 2, along with other non-harmonic note figures.

Reference:
Damian Blättler, "A Voicing-Centered Approach to Additive Harmony Music in France, 1889-1940," PhD dissertation, Yale University, 2013.
Siegfried Dehn, Theoretisch-praktische Harmonielehre (1840; second edition 1860). The latter was the one available to me. Its source: Digital facsimile from the Bayerische Staatsbibliothek through the Digitale Bibliothek, Münchener DigitalisierungsZentrum.
François-Joseph Fétis, Traité complet de la théorie et de la pratique de l’harmonie (1844).