378 Scientific Proceedvngs, Royal Dublin Society. 



u. 



symbol when the fifth is in the base ; thus, represents s d m, 



the second inversion of the chord D ; and L/l repre- 

 sents its first inversion, viz., m s d. 



But when the analysis is written on a separate paper, as in 

 Figure 5, the inversions are best indicated by inserting under 

 the symbol of each inverted chord the sol-fa letter for the note 

 on which it stands, in the way shown in that figure. It is 

 sometimes also desirable in such analyses to add the crownings of 

 the chords, i.e., the uppermost notes. 



It now remains to explain how dissonances are indicated. 

 These are very simply introduced by adding oblique or cross 

 lines, as follows : — 



On major chords . . . X 



On minor chords 



On loops, &c j^ 



The lowest appendage in each case signifying a dissonating 

 seventh, and the others in order the second, fourth, and sixth, the 

 sixth being the uppermost. When a sharp occurs on a dissonating 

 tone, a sharp angle may be used as the appendage instead of the 

 simple cross line. Similarly a loop may be used when the 



dissonating tone is flattened. Thus the sj^mbol J would 



signify the chord d m s re fe. 



And again, the chord d m s ta, i.e., D with a dissonating minor 

 seventh, v»^hich makes it the chord of the dominant seventh in 



