the triad is based, the size of the numeral
(with other signs) indicating the kind of triad found on each tone of
the scale. Thus _e.g._, the large I shows that the triad on the first
tone (in major) is a _major triad_, the small II shows that the triad
on the second tone is minor, etc. The following figure will make this
clear.

[Illustration: Fig. 65.]

The triads in the minor scale are as follows:

[Illustration]

199. A triad is said to be _in fundamental position_ when its root is
the lowest tone. It is said to be in the _first inversion_ when the
_third_ is the lowest tone, and in the _second inversion_ when the fifth
is the lowest tone. Thus _e.g._, in Fig. 66 the same chord (C--E--G) is
arranged in three different positions, at (a) in fundamental position,
at (b) in the first inversion, and at (c) in the second inversion.

[Illustration: Fig. 66.]

200. When the root is not the bass note, figures are sometimes used to
show what chord is to be played or written. Thus, _e.g._, the figure 6
over a bass note means that the note given is the _third_ of a chord,
the root being found by going up a sixth from the bass note: _i.e._, the
chord is to be sounded in its first inversion. In the same way the
figures 6/4 indicate that the note given is the _fifth_ of the chord,
the root and fifth being found by going up a sixth and a fourth from the
note given; _i.e._, the chord is to be sounded in its second inversion.

The use of these and other similar figures and signs is called _figured
bass_ (or _thorough bass_) _notation_. An example of a _figured bass_ is
given in Fig. 67.

[Illustration: Fig. 67.]

_Thorough bass notation_ was formerly used extensively in
writing accompaniments to vocal works, the accompanist having
to interpret the notes and signs given, and then to make up an
interesting accompaniment as he went along. Much of Handel's
music was written in this way, but in modern editions of these
works the chords have been printed in full and the signs
omitted.

201. A _seventh chord_ consists of a fundamental tone with its third,
fifth, and seventh. The fifth is sometimes omitted. A _ninth chord_
consists of a fundamental with its third, fifth, seventh, and ninth.

202. A _cadence_ is the close of a musical phrase: in melody it refers
to the last two tones; in harmony to the last two chords.

The word _cadence_ is derived from _cadere_, a Latin word
mean