256 THE NATURE OF MUSIC 



the major and minor supertonic-triads in relations in 

 which they are heard as compound chords. They 

 were analyzed in the paragraph on the first measure. 



Eighth Measure. Compare this second biad with 

 the last biad in the preceding measure and observe 

 how the self -report of a specific combination may vary 

 even in the same mode. Also compare the same 

 biads in minor. 



Ninth and Tenth Measures, Both measures pre- 

 sent the same biad in different positions. This biad 

 represents the submediant-triad in a relation in which 

 it reports itself a compound chord. The same applies 

 to the corresponding biads in minor. The analysis of 

 these submediant triads has already been given. 



Eleventh Measure. These parallel compound biads 

 represent respectively the major and minor subme- 

 diant-seventh-chords which were analyzed on a pre- 

 vious page. 



Last Measure. Both of these biads are based on 

 the regnant dominant, and are therefore compounds 

 of a regnant tone and a bytone. In the first biad the 

 bytone is below, in the second it is above. The same 

 is true of the corresponding biads in minor. This 

 concludes the analysis of the parallel examples on 

 pages 245-246. 



The only secondary triads and seventh-chords not 

 included in the above analyses are those of the major 

 and minor subtonics, which are simple chords, since 

 the components of each report a common root. It 

 may also be stated here that all secondary ninth- 

 chords are compounds either of two or of three pri- 

 mary harmonies. In another chapter we shall con- 



