274 



THE NATURE OF MUSIC 

 2. 3. 



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1^ 



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-(5>- 



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G 

 * 



f-r 



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G 



G 



Each of these chords is a regnant harmony, each 

 component of each chord is therefore a regnant tone 

 and reports a harmonic percept. For the present this 

 ends our harmonic analysis of these structures because 

 each reports certain harmonic percepts which will not 

 be explained and ascertained until we reach the chapter 

 on chromatic and enharmonic harmony. Our present 

 description of these chords will therefore be superficial 

 because confined to the abstract interval-terms of 

 thorough-bass but will nevertheless suffice for their 

 introduction. The peculiarity common to all these 

 compound chords and rendering them distinct from 

 all others is this: Each contains two distinct com- 

 ponents answering at once to the same letter-name and 

 to the same interval-denomination as chord-root, 

 chord-third and so forth. Observe the asterisked 

 chord in a) 1 and 2 : it contains a G and a G^: G is the 

 chord-root, Gjj! is the chord-root sharped: apparently 

 the chord has two roots: harmonically of course this 

 is not the case : regnant harmony reports that G is the 

 chord-root and that Gjt is an added tone. The aster- 

 isked chord in h) 1 and 2 contains Eb and Ejj!, that 

 in 3 contains E and E^: thus each of these chords 

 contains two distinct chord-thirds of the root C. The 



