ACCENT AND REGNANT HARMONY 135 



Like the harmonic report of a single tone so also 

 that of a chord is determined by the relation in which 

 it appears and varies as the relation varies. All the 

 above chords in their diatonic-Major relations claim 

 sol as their common harmonic root. Hence the above 

 distinctions and discrepancies between chord-roots 

 and original harmonic roots. Any tone may be taken 

 as a chord-root. Thus a chord-root may be an 

 original harmonic root as in V9, V^ and V, or it may 

 be a harmonic third as vii^y and vii° or a harmonic 

 fifth as II. The important fact to be observed here 

 is that certain chord-forms of harmony are detached 

 from their original harmonic roots. To regard the 

 roots of the chords vii^^, vii° and ii as harmonic 

 roots and to symbolize them as i is to create the 

 greatest possible confusion in the mind owing to the 

 irreconcilable conflict and utter discord between a 

 thing and its symbol, between what we really hear 

 and feel and know to be true and what we are con- 

 strained arbitrarily to think and what we know to be 

 false. Hence this truth: No given chord in a given 

 relation is perfectly comprehended unless we subject 

 it to the common reports of common harmonic feel- 

 ing and perception. Hence the necessary distinction 

 between harmonic analysis with true reports and 

 chord-analysis with false reports. We shall meet all 

 the above chords in transmuted relations when we 

 take up the Minor mode. Here attention is called 

 to the important chord vii^^, which is composed of the 

 four original cadence-tones and which I name the 

 Major-cadence-seventh-chord. In resolution its two 

 lower tones rise, its two upper tones fall as below 



