CHORDS IN THE LIGHT OF THEIR ORIGIN 253 



supertonic-triad is based on the fifth of the dominant 

 and therefore lies over it. Besides this, the fifth of 

 the supertonic-triad is the original ninth of the domi- 

 nant and its natural tendency is downward. Hence 

 these natural progressions. 



Second Measure, The supertonic-triads as simple 

 chords and as just described are represented by the 

 asterisk-biads in this measure which precede the domi- 

 nant. Their analysis in this relation is as follows: 

 II = 5, 7, 9; If = 5, 7, o. 



Third Measure, This biad is a compound of I 

 and V, and represents the secondary seventh-chord of 

 the major mediant 11I7. The corresponding biad in 

 minor, a compound of / and F, represents the corre- 

 sponding chord 7M7 in minor. Below are the full 

 harmonic reports on these chords. 



3 5-1 3 5 I 



1. Major : mi — sol — ti — re [ = Illy. 



E G B D ) 



3 6-13 5 ] 



2. Minor : do — mi — si — ti \ = IrJJl' 



C E Gif B I 



The remaining secondary seventh-chords (except- 

 ing those of the major and minor sub tonics which we 

 have already analyzed and found to be simple chords) 

 are compounds of primary harmonies. They are 

 those of the two tonics 1 7 and 1 7; those of the two sub- 

 dominants IV7 and iv^; those of the two submediants 

 VI7 and VI 7; those of the two supertonics 1I7 and 11%. 

 These chords are next analyzed in the order of their 

 mention. 1 7 is a compound of the primaries I and V; 

 / 7 is a compound of / and F, as follows : — 



