CHORDS IN THE LIGHT OF THEIR ORIGIN 259 



the principal tone in each chord ; second, because it is 

 the harmonic root of the chord into which each of 

 these compound chords resolves. The chords in g) 

 and h) are compounds of two stable tones plus three 

 and four unstable tones respectively. Both of these 

 stable tones do (C) and sol (G) are harmonic roots, but 

 for the reasons just given do (C) is the chord-root of 

 these compounds. The harmonic root /a (F) which 

 appears in these chords is in every case an unstable 

 tone. The chord-root of these compounds may 

 appear below, between or above the other chord- 

 components, but the ground-form or fundamental posi- 

 tion of these and like chords is that form or position 

 in which the chord-root is lowest tone or bass. In all 

 cases the structure of these chords is described in 

 accordance with the ground-form and in the inter- 

 val-terminology of thorough bass. On the other 

 hand, the harmonic reports of these chords are deter- 

 mined by the concrete relations in which they appear. 

 While this species of compound chord may arise on 

 any tone their occurrence is most frequent on the 

 major and minor tonics and dominants. There are 

 so many types of this species of chord that we now 

 present only a few others and defer their harmonic 

 analysis owing to the fact that they introduce har- 

 monic percepts not yet accounted for. 



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