ABSTRACT
WE have considered the technique which sufficed for the masterpieces of the polyphonic period. Though simple in foundation, from the harmonic point of view, many new chords1 were foreshadowed by the use of passing-notes and other ornaments. Practically all of these chords, except those caused by suspensions, were on the weak portions of the music-not on the accents. As these unaccented combinations became familiar, they were transferred to the accented portions of mUSIC.
