CHORDS IN THE LIGHT OF THEIR ORIGIN 241 



seventh, one for the superadded ninth. Thus the 

 large ninth-chord is described as major-small-large, 

 the small ninth-chord as major-small-small. 



Owing to the fact that the chord of the ninth ex- 

 tends beyond one octave the customary inversion-idea 

 cannot be applied to this chord. In truth the idea 

 though universally practiced cannot logically apply to 

 any chord, since the inversion of a chord, like that of a 

 tone, is simply an impossibility. A triad has three 

 positions close and open, a seventh-chord has four 

 positions close and open, and each individual position 

 is an individual form distinguished from other posi- 

 tions and forms by its lowest tone or bass. Thus the 

 ninth-chord falls in line with the triad and seventh- 

 chord. Having five components the ninth-chord may 

 appear in five positions close and open. They are 

 presented in the next example. The first position 

 is the ground-form with chord-root as bass and is 

 marked ©; the second with chord-third as bass is the 

 terce-form and is marked 1; the third with chord- 

 fifth as bass is the quint-form, marked §; the fourth 

 with chord-seventh as bass is the sept-form, marked ?; 

 the fifth with chord-ninth as bass is the none-form, 

 marked 9. 



or 



jO- 



^ 



or 



V9. 



