. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . d the four-six chord by a 4 over or under the Bass-note [b, c. 84. Fundamental—Bass-Tone. — The Bass-note (as was seen in83) is not always the fundamental of a chord. A succession of funda-mental chords gives the harmony a sense of solidity (see 76—N. B). If the Bass frequently employs the six or the four-six chord this solidity of foun-dation will be weakened, but the movement of the Bass will be more melodious. Com-pare the following Bass with examples in Ex. XIX—55. 66 6 (i i 6 4
. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . d the four-six chord by a 4 over or under the Bass-note [b, c. 84. Fundamental—Bass-Tone. — The Bass-note (as was seen in83) is not always the fundamental of a chord. A succession of funda-mental chords gives the harmony a sense of solidity (see 76—N. B). If the Bass frequently employs the six or the four-six chord this solidity of foun-dation will be weakened, but the movement of the Bass will be more melodious. Com-pare the following Bass with examples in Ex. XIX—55. 66 6 (i i 6 4 C: L ~~iv7~^ v i. — u. i. iv. i~v. L~ 85. Application of Inverted Chords.—The rules regarding theconnection of chords are strictly observed in the application of the invertedchords. The fundamental is generally doubled in the six chord and the fifth(Bass-tone) in the four-six chord ( Maxim, 83). However, this is not anabsolute rule. N. B.—Any tone of a triad maybe doubled—the leading-tone excepted (see 56—A)—if the melodic progression of the voices require it, but not otherwise; thus:. v. i. — ii. I. iv. I. v. I. In the foregoing working-out of the given Bass in H4,the fundamental is doubledin the fundamental and six chords, with the exception of the six chord at a, wherethe fifth is doubled in order not to double the third, which is in the Bass. See 91—Ex. XXXII. EXERCISE XXX.—Form a fundamental, a six. and a four-six chord upon each of the fol-iowing tones ( D i i G, a B, as triads of the scale ofC major, and mark them as they appearupon the degrees i the scal< ol C major see 88—Maxim), thus:
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