272 



THE NATURE OF MUSIC 



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The compound tetrad having been introduced and 

 explained, the subject is here dropped. Of several 

 other distinct species of compound chords I will point 

 out but one more with which the present provisional 

 exposition of this wide and fertile jfield of inquiry may 

 be brought to a conclusion. The harmonic analysis 

 of the peculiar and distinct chord-structures now con- 

 fronting us and marked by asterisks in the next group 

 of examples is omitted save in one important particu- 

 lar, namely: the harmonic root of each such chord is 

 indicated by a capital letter. Thus the harmonic 

 root of the asterisked chords in a) is G, in 6) is C, 

 and so on. The key being C major the harmonic 

 root G in a) is the dominant, C in 6) is the tonic, and 

 so on. These harmonic roots are reported by the 

 regnant harmony in each instance. 



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