CHORDS IN THE LIGHT OF THEIR ORIGIN 265 



ceding group of examples. One by one in their given 

 order let the reader compare the corresponding aster- 

 isk-chords in both groups of examples. He will ob- 

 serve that each of the corresponding chords in both 

 groups is a combination of the savie tones, a complex 

 of the same triads, a compound of the sayne harmonies. 

 But nevertheless each chord in the group of examples 

 below is an entirely different, new and distinct struc- 

 ture and idea. The structure is as follows. Each of 

 the asterisked chords below is formed by subadding a 

 second to a triad and is named a subsecond-chord. 

 The symbols + 2 mark the subsecond-chord. 



In 

 Majoi 



a) 



b) 



- g> £ / ^ 



VI 



vi+a 



a) 



In 



Minor 



-i 2 



-aag 



IV 



J2. 



^^ 



kh^ 



t 



c) 



25^- 



is: 



3 



^z^ 



I I 



-i&f2 



I 



111+3 T 



II 



II+3 

 * 



V. 



i 



0) 



li=i 



VI F7+a '"" "^ f- 



^_^;^=g_^ 



I 



JJ9 IJO+2 Vrj 



The concrete idea of each of the above subsecond- 

 chords is explained in the terms of harmonic analysis 

 as follows: In a) the chord vi + 2 (major) is a 

 complex of the two triads vi — I, vi predominating, 

 and a compound of the harmonies I — IV: against this 

 F/ + 2 (minor) is a complex of the triads VI — /, VI 

 predominating, and a compound of the harmonies 

 / — IV. In b) III + 2 is a complex of the triads 

 III — V, III predominating, and a compound of the 



