CHORDS IN THE LIGHT OF THEIR ORIGIN 247 



therefore of each biad's harmonic relation. Relation, 

 being the immediate cause of a tone's and chord's 

 specific self-report, is first of all a question of mode: 

 Is the mode major or is it minor? This becomes 

 plain when we compare the corresponding relations 

 and consequent self-reports in these parallel examples. 

 The two examples present a number of the same biads, 

 but the reader will observe that the same biad makes 

 one report in major and quite another report in minor. 

 In addition to the question of mode one of three other 

 questions enters into this self-report-determining rela- 

 tion of every tone or chord. The three questions are: 

 Whither.? Whence.? Whence and whither.? The 

 first pertains to an initial tone or chord, whose self- 

 reports are influenced by what follows. The second 

 pertains to a terminal tone or chord whose self- 

 reports are influenced by what precedes. The third 

 pertains to an intermediate tone or chord whose self- 

 reports are influenced both by what precedes and 

 follows. By concretely thinking and carefully com- 

 paring these two examples of biads the reader will 

 appreciate the influences of this whither, whence 

 and whence-whither of relation. One more remark. 

 All biads are incomplete forms either of triads or 

 seventh-chords or ninth-chords. In a series of para- 

 graphs, each devoted to a measure of the above 

 parallel examples, we will now take up the explana- 

 tion of the biads marked by asterisks, first explaining 

 the biad in major and then the corresponding biad 

 in minor. 



First Measure, This biad (with asterisk) simul- 

 taneously reports 3 of I and 3 of V, is therefore a 



