264 THE NATURE OF MUSIC 



the triads I — VI and a compound of the harmonies 

 7 — IV, In h) V + 6 (major) is a complex of the 

 triads V — iii and a compound of the harmonies V — I, 

 while F + 6 (minor) is a complex of the triads V — TH 

 and a compound of the harmonies V — I. In c) 

 IV 4- 6 (major) is a complex of the triads IV — ii and 

 a compound of the harmonies IV — V against which 

 IF + 6 (minor) is a complex of the triads iv — n^ and 

 a compound of the harmonies iv — V. Our analysis 

 suffices to show the exact structure of these chords and 

 suggests their natural relations to other chords which 

 we shall consider in Part II. 



Rameau first conceived and presented the super- 

 sixth-chord which he found on the major subdomi- 

 nant-triad (as above in c)) and of which he explained 

 that the added tone did not change the triad. But all 

 the other supersixth-chords in our example are formed 

 in the same way, are for the most part in the same 

 common use, are equally distinct ideas, the harmonic 

 report of each being equally distinct and definite; in 

 short, they are actualities not to be overlooked and 

 commanding general recognition. 



The fact that each of the above chords is a complex 

 of two triads in which one of the two triads is nucleus 

 and predominates, naturally suggests this question: 

 Does the other triad in each of these complexes ever 

 assert itself as nucleus and ^predominant ? Yes, it does. 

 By what test is this to be verified and known .^ By 

 the immutable report of regnant harmony. All this 

 is conclusively demonstrated in the next group of 

 parallel examples in which the asterisked chords fol- 

 low each other in the same order as those in the pre- 



