242 



THE NATURE OF MUSIC 



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The open positions after the close position of each 

 of the above forms are easily multiplied by conceiving 

 other combinations of the five chord-components. 

 When viewed as abstract material, the close posi- 

 tions of the above forms from the second onward 

 strike both ear and eye as amorphous and repulsive. 

 But in the concrete when each component reports a 

 clear and definite harmonic percept these chords at 

 once gain a definite shape and suggest many conjunc- 

 tions with other chords, some preceding, others suc- 

 ceeding them. For the time being we are summariz- 

 ing and describing the structure of chords the origin 

 of which we have explained in previous chapters. On 

 the other hand, the treatment of chords in concrete 

 music is the special subject of another part of this 

 work. But a word in the latter connection may be 

 said here. As harmonies we have seen that the large 

 and small ninth-chords appear sometimes with the 

 root, at other times without the root. With the har- 

 monic root the two above types are classed as ninth- 

 chords ; without the harmonic root the resultant chords 

 are classed as seventh-chords. By omitting the har- 

 monic root in the above example all the chords would 

 become seventh-chords. 



