CHORDS IN THE LIGHT OF THEIR ORIGIN 239 



This summary presents three types, each marked 

 N.B. Each of these types is the original; the chord- 

 root of the first is the major dominant, that of the 

 second is the major upleader, that of the third is the 

 minor upleader. Every type of chord should have a 

 name in terms descriptive of its structure like the three 

 triad-types just considered. Since any chord-type 

 may appear on any tone in any key it would simplify 

 analysis were we able to refer to each specific type by 

 its structural name before proceeding to report on its 

 specific relation in any special concrete case. The 

 first of the above types of seventh-chords is known as 

 the dominant-seventh-chord, the second as the major 

 subtonic seventh-chord, the third as the minor sub- 

 tonic seventh-chord and also as the diminished seventh- 

 chord. All these names except the last are relation- 

 names. The first type is also known as the primary 

 and also as the main (Haupt) seventh-chord, and these 

 names also describe relation instead of structure. Be- 

 fore proceeding to give each of the above seventh- 

 chords its structural name we will first explain how 

 the form of such a chord is described. A seventh- 

 chord is a combination of a triad and a superadded 

 seventh. Its description requires two terms, the first 

 defining the triad, the second defining the seventh. 

 The two terms joined by a hyphen will give the exact 

 structural name of the specific type. The first of the 

 three types (N.B. in our example) comprises a major 

 triad and a small seventh ; the structural name of this 

 type is therefore the major-small seventh-chord; the 

 first of the hyphened words describes the triad, the 

 second describes the seventh. Accordingly the sec- 



