CORNELL

A^EW METHODS OF CHORD-STRUCTURE 93This dual view of harmony seems to be ever present incomposers' minds, and the resources of the art are wonderfullyenriched in consequence.(a)Chord Structure by Equal Intervals of UnevenQuality.With both temperaments, however, it is necessary tonotice the important role played hitherto by the uneqtialquality of the thirds of the superstructure, a regular alternationof major and minor being preferred in the main. Thisadds great character and charm to the combinations, andthe vast preponderance of this principle causes the structureby equal intervals of the same quality to be of little accountin comparison.The empirical method admits of six forms of the chord ofthe seventh, and ten forms of the ninth.Ex.192.(a)m(b) (c) (d) (e)f| § i*g i^i(f)Ex.193,(a)(b)b^(c)(d)Of course not all are equally good, and many are exceedinglydifficult to work in the inversions. It is noteworthy, how-IInversions ' " _^- ever, that the acceptableness of the root in the• j.i j- •of the inversions is entirely dependent on the 3udiciousNinth.distribution of parts. The series may be extendedto the eleventh and thirteenth, and aU the alterations mayapply with equal force. Example 194 shows the appearanceof the root, together with the ninth, in the third inversion ofa thirteenth on the Dominant.