CHORDS IN THE LIGHT OF THEIR ORIGIN 263 



Minor 



f 







While the added tone in each above supersixth- 

 chord does not disturb the identity and regnaney of 

 the nucleus-triad it does affect the two lower tones of 

 the nucleus-triad in that it transmutes them from 

 simple to compound harmonics. In fact, the added 

 tone and these two lower tones of the nucleus-triad 

 combine in and represent another, a second triad in 

 each such chord. Hence this definition: A super- 

 sixth-chord is a complex of two triads one of which pre- 

 dominates and is the nucleus. How do we know which 

 of the two triads is the nucleus ? This is reported by 

 the regnant harmony. We will analyze the first of 

 these chords marked I 4-6 in a). This chord is a 

 complex of I (C-major triad) and vi (A-minor triad). 

 Of these two triads the former is at once nucleus, 

 tonic, primary and simple, while the latter is at once 

 submediant, secondary and compound, a compound as 

 already shown of the harmonies I and IV. Thus 

 I + 6 is a complex of the triads I — vi and a compound 

 of the harmonies I — IV. A compound chord how- 

 ever complex is a distinct idea and unit; it differs 

 from every other chord of the same and other species 

 though its structure may be similar; it is felt, heard 

 and thought as a single idea, which is the direct pro- 

 duct of its specific combination. This will appear as 

 we proceed to analyze the other supersixth-chords of 

 our example. In a) the chord / + 6 is a complex of 



