CHORDS IN THE LIGHT OF THEIR ORIGIN 255 



1. Major: 



2. Minor: 



5 7-1 9-3 5 1 



re — fa — la — do 

 D F A C 



= Ilr. 



= IV 



While in certain relations there are variations in 

 the reports of these secondary seventh-chords they 

 nevertheless always report themselves as compound. 

 These compound triads and seventh chords call forth 

 many observations which however belong to Part II 

 on chords. My purpose here is fulfilled by introduc- 

 ing the subject of compound chords, by showing that 

 they really exist and what they are. Interested read- 

 ers will observe the differences in major and minor of 

 the self-reports of certain chords which are identical 

 in both modes. 



Fourth Measure. The asterisk-biad is a compound 

 of I and V differing from the compounds thus far con- 

 sidered. The regnant harmony is that of the domi- 

 nant and is represented by its seventh in the lower 

 tone and therefore the upper tone is a bytone. In 

 short, this is a compound of regnant tone and bytone, 

 examples of which are very common. All this is true 

 of the corresponding biad in minor. 



Fifth Measure. The parallel asterisk-biads present 

 similar compounds of regnant tone and bytone. 



Sixth Measure. These compound biads represent 

 the major and minor tonic-seventh-chords which we 

 analyzed a moment ago. 



Seventh Measure. These parallel biads represent 



