Common chords, whether major or minor,* require no figures, though formerly they were marked with one or both of the figures 3. The order in which the sounds are built upon the bass note is at the taste of the performer, i. e., whether the 3d shall come next to the tonic, lie in the middle, or be uppermost, thus:— 0'00 Whenever the bass note steps out of its place into that of the 3d of the key, this change is called the first derivative of the chord, is marked with the figure 6, and is termed the chord of the 6th, as it takes the harmony of the sixth note above it. When the bass in another move steps into the place of the 5th, or dominant, it is called the * A key is minor when the 3d is at the distance of four semitones from the tonic, and major when at five. †The dominant of the key is always the fifth note above the key note. second derivative of the chord, and takes the figures , or simply 4. 00 6 An example of a succession of the chord of the 6 6 6 6 6 6 6 6 6 6 6 6 6 6 Example of the chord &. The figures denote the intervals above the bass note. Simply a sharp or flat placed under a note, signifies that the 3d is to be sharp or flat. The dash through the 6 thus 6, and the 4 thus 4, operates as a #. Another set of combinations called discords, are procured from the chord of the dominant 7th, termed the chord of the 7th. When the bass steps into the place of the 3d as before mentioned, it is termed the first derivative of the 7th, and takes the figures §, being the chord of sixth and fifth. When the bass steps to the 5th or dominant, it is termed the second derivative of the 7th, and takes the figures 3, being the chord of the fourth and third. When the bass steps still a degree farther into the place of the 7th, it is termed the third derivative of the 7th, and takes the figures and is called the chord of the fourth and second, or simply the second. 4 Thus far the figures shew what harmony is built upon the bass; and when the bass ascends from its foundation place into those of the derivatives, the harmony is then said to be inverted, as the key-note, which ought to be at the bottom, is then above the bass. In considering the numerous chords still to be explained, as the figures become so very complex, it is doubtful whether they tend to simplify our notions further than pointing out the root or foundation note of the chord. The discord of the diminished 7th is produced by raising the bass note of the dominant 7th a semitone, which forms a compound of three minor 3ds, |