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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1873 edition. Excerpt: ...form the intervals of a fifth and sixth with the lowest sound; hence this inversion is called the chord of the fifth and sixth, or briefly the six-five chord. Chord of the Third and Fourth.--In the second inversion the root and seventh, with the lowest sound, form intervals of a third and fourth, this inversion is accordingly designated the chord of the third and fourth, or briefly the threefour chord. Chord of the Second.--In the third inversion the seventh is the lowest sound, and because the root forms with it an interval of a second, the chord is called a chord of the second. Inversions of the chords of the ninth are so rarely used, that it has not been deemed necessary to supply them with similar independent designations. Any interval of a chord may be occasionally raised or lowered a semitone. In this way, combined with inversion, certain most pleasing combinations have been produced, some of which have become so important ns to merit special names. The chief of these are certain chords of the sixth, which we must not omit to describe. The Italian Sixth.--If we take the minor chord on the fonrth degree of the minor scale--viz., d-f-a in A minor, and raise the root a Bemitone, e. g., d %-f-a, we get a chord with diminished third as well as a diminished fifth, and which is therefore called a doubly diminished chord. The first inversion of this chord is called the chord of the Italian sixth. This chord is of frequent occurrence in music in the minor mode. Its derivation is shown by the fact that it is invariably followed by the dominant chord of the scale from which it is said to be derived. Thus--The German Sixth.--If the chord of the seventh on the second degree of the minor mode be taken, Fig. a. and its third be chromatically...
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