Grove's dictionary of music and musicians

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tonic
138 ROOT ROOT
eleventh and major and minor thirteenths of
that note.
The discords contained in the above series
are frequently styled fundamental from this
supposed representation of the group of harmonics
generated by their fundamental or root
note ;
they are characterised among discords by
the peculiar freedom of the notes of which they
are composed, on both sides. It will be observed
that they are all members of the Diatonic series
of the key of C, major or minor ; and as G,
their root note, is the Dominant of that key,
they represent the scope of what is called the
Dominant harmony of C, which of course has
its counterpart in every other key. No other
note than the Dominant serves to this extent
as the root of chords of this class which are
Diatonic. The Tonic, for instance, can only
supply the third and fifth, and even the minor
seventh is a chromatic note. Nevertheless this
chromatic chord and the ninths which are built
upon it are commonly used as if they belonged
to the key of ; and the same remark applies
to the similar discords founded on the Superroot
(as D in the key of C) ; and these
are most readily intelligible through their close
connection as Dominant harmony to the Dominant
of C.
The roots of the various combinations which
are arrived at by modifying the intervals of
such distinct and essential harmonies as the
above, are of course the same as those of the
unmodified harmonies. Thus the roots of
suspensions are the same as those of the harmonies
upon which they are said to resolve,
because they are modifications of that which
follows in its complete state, and not of that
which precedes ; and the same applies to the
combinations produced by adventitious notes,
such as appoggiaturas and the like.
The combinations which arise from the simultaneous
occurrence of ordinary passing notes
must find their root in the chord which precedes,
as that has possession of the field till new
harmony presents itself.
From these considerations it will be obvious
that a very considerable variety of apparently
different combinations are referable to a single
root. In fact a great portion of music is built
upon very few roots ; many examples of good
popular music especially do not exceed the
limits of Tonic and Dominant harmony with
an occasional move as far as the Subdorainant,
and next to no modulation. Even in worts
which belong to the domain sometimes distinguished
as high art, a great deal is often done
within very narrow limits. For instance, the
wholeof the first sectionof a violin and pianoforte
sonata of Mozart's in A is based on six successive
alternations of Tonic and Dominant harmony,
and modulation to the new key for the second
section is effected merely by the Dominant and
Tonic harmony of that key.
Notwithstanding the importance which attaches
to a clear understanding of the classification
of chords according to their roots, there
are some combinations upon whose derivation
doctors disagree ; and it must be confessed that
the theory of music is yet far from that complete
and settled stage which would admit any hope
of a decisive verdict in the matter at present.
In such circumstances variety of opinion is not
only inevitable but desirable ; and though the
multitude of counsellors is a little bewildering
there are consolations ; for it happens fortunately
that these differences of opinion are not
vital. Such chords, for instance, as augmented
sixths have so marked and immediate a connection
with the most prominent harmonies in
the key, that the ascertainment of their roots
becomes of secondary importance ; and even
°1
with the chord which stands as ^in V
J- the key
fJ
of C for instance (/), it is not so indispensable
to decide whether G or F or D is the root, or
whether indeed it is even a double-rooted chord,
because, among other reasons, the very attention
which has been called to it and the very characteristics
which have made it difiScnlt to classify
have given it a prominence and a unique individuality
which relieves it of the need of being
assigned to any category ; and even when it is
an important factor in the harmonic structure,
the process of analysis need not be rendered
doubtful, because its actual position in the key
is so thoroughly realised.
Other disputed points
there are having reference to roots, which are
even of less importance. For instance, whether
what is called an augmented fifth is really an
augmented fifth or a minor thirteenth ; or
whether the augmented octave which Mozart
uses with such marked emphasis in the third
bar of the Allegro in the overture to 'Don
Giovanni ' is properly a minor ninth, as some
maintain— since happily the roots would be
the same in both cases. c. H. H. p.
ROOT, Gboegk Feedbriok, an American
popular composer, bom at Sheffield, Mass.,
U.S.A., August 30, 1820. He studied under
Webb of Boston, and afterwards in Paris in
1850. He was a music-publisher in Chicago
in 1859-71. He was associated with Lowell
Mason in popularising music in American
schools, etc., and had a musical doctor's
degree
conferred on him at the Chicago University.
He died at Barley's Island, August 6, 1895.
He
wrote various cantatas, such as 'The Flower
Queen,' 'Daniel,' and others, but is best known
as composer of certain songs much sung during
the American Civil War, as, 'The Battle-Cry
of Freedom,' 'Just before the Battle, Mother,'
but his composition of the spirited 'Tramp,
tramp, tramp, the boys are marching.'nowalmost
better known as 'God save Ireland,' should