CHORDS IN THE LIGHT OF THEIR ORIGIN 271 



In 



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In the chords marked by asterisks the next collec- 

 tion of parallel examples presents supersixth-chords 

 in each of which the added tone is either a chromatic 

 or an enharmonic. Most of these chords are familiar 

 and are known in current text-books by other names. 

 In structure and idea they present and report them- 

 selves as tetrads of the supersixth-group, of which 

 there are as many varieties as there are distinct struc- 

 tures. The possible connections of these chords being 

 wellnigh boundless only a few examples are given, and 

 owing to the fact that we have not yet explained the 

 genesis of these chromatic and enharmonic harmonies 

 which these chords represent, their further analysis is 

 deferred. 



In 



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