Jean-Philippe Rameau · section 97 of 109

CHAPTER X. The chord of the second

On the chord of the second

When we said that the first of two notes on the same degree could bear a seventh chord, we meant only when that note does not fall on the last beat of the measure. For if a seventh is possible there, the chord of the second must immediately follow it on the same note, now falling on the first beat of the next measure. We are then governed not by the seventh chord but by the chord of the second. The seventh may thus happen to precede the second here, just as a perfect chord or any sixth chord may. But whenever the latter of two notes on the same degree falls on the first beat of the measure, it must bear the chord of the second. It should naturally be preceded by the great-sixth chord on the first note at that degree, which falls on the last beat of the measure before the chord of the second. This can be seen in the bass of seconds and is also explained in Book III, Chapters VIII and XXI.

Notes that remain on the same degree in two different measures in this way are called syncopated. See what we say about them in Book III, Chapter XXXV, Article VII. This syncopation occurs in the bass only in connection with chords of the second or augmented-fourth chords (4♯).

Remember that at the first syncopation the chord of the second may be preceded by a perfect chord, a seventh chord or any sixth chord. But once several such syncopations occur in succession, the chords of the second should naturally be preceded and followed by great-sixth chords. Remember also that the tritone chord, 4♯, may sometimes replace the chord of the second, especially at the last syncopation. After the final chord of the second, the chord that follows can be determined only by the one that is to come after that: we must always be guided by what follows rather than by what precedes.

Chords of the second may also be interspersed with small-sixth chords, but this is very rare.

To avoid mistakes here in a measure of four beats, always divide it into two measures of two beats.

For accompanists, practice in all these rules is even more necessary than knowing them. One cannot therefore practice the preceding examples too much, transposing them into different keys and becoming accustomed to playing them in the three different positions on the keyboard. This will help one accompany well both with figures and without them.