270 



THE NATURE OF MUSIC 



with harmony and thorough-bass and render the two 

 reciprocally explanatory, but it would enable us to 

 say truly that certain tetrads are seventh-chords, 

 certain other tetrads are supersixth-chords, and so 

 forth. This would deliver us from that unnecessary 

 and harassing evil of trying to force all chords to fit 

 into one of a few arbitrary and conventional thorough- 

 bass patterns. The truth is that music resembles 

 nature in that its species and varieties of distinct struc- 

 tures are countless and limitless. Everywhere in 

 nature there is music, everywhere in music there is 

 nature. 



In the next parallel examples the same four tones 

 combine in forming a subsecond-chord in a) and a 

 supersixth-chord in 6). The subsecond-chord in c) 

 and the supersixth-chord in d) are likewise combi- 

 nations of the same four tones. These chords are 

 marked by asterisks and their forms are explained by 

 the accompanying symbols. Minuter analysis is un- 

 necessary here since each chord is a complex of triads 

 and compound of harmonies similar to those previ- 

 ously presented and analyzed. 



a) 



Major 



i^ 



-i 



g — i— 1-^ — i-i 1 8 g I r^ - 



r-nr^^ 





VI 



r 



IV 



^pi¥ 



■i9- 



I 



ni 



iii+e Y 

 * 



c) 



l-d - O- i f4 



-^l9- 



g: 



-r$»- 



I 



^ 



F^^^ 



IV 



IV+2 ^"°7 



VI 



VI+6 J 

 * 



V 



