> as lemmas

1730 Short Treat. Harmony i. 7 By making use of the Fundamental and of the supposed Basses as Occasion requires, We are enabled to make the Parts move the more by Degrees.

1776 J. Hawkins Gen. Hist. Music (1853) I. i. iv. 20/1 With great ingenuity..did Euclid invent the famous division the Sectio Canonis, by means whereof not only the positions of the several sounds on a supposed chord are precisely ascertained, but [etc.].

1797 Encycl. Brit. XVIII. 83/2 Concords by supposition are those where the continued bass adds or supposes a new sound below the fundamental bass... Of these..there are three sorts,..the first, when the added sound is a third below... The second..when the supposed sound is a fifth below. [Etc.]

1812 Monthly Mag. Feb. 13/2 Put x, for the number of vibrations made in a given time by the lowest or fundamental note of a supposed chord of the thirteenth, the whole chord will then stand [etc.].

1845 Encycl. Metrop. V. 734 Every bass note which has a sixth upon it is a supposed bass.

1845 Encycl. Metrop. V. 735 The supposed harmony of the third of the key is..borrowed from the fundamental harmony of the key note.

1845 Encycl. Metrop. V. 755 The supposed discord is on the second accented part of the bar.

1984 Jrnl. Music Theory 82 82 Such dominant harmonies..are perfectly acceptable with an added seventh above this supposed bass note.

1993 T. S. Christensen Rameau & Musical Thought in Enlightenment (2004) iii. 54 We can see that with but a few licenses related to chromatic alterations, omitted notes, and ‘supposed’ basses, there are just four basic chord types involved and hence just four fundamental basses.

2002 J. Lester in T. S. Christensen Cambr. Hist. Western Mus. Theory iii. d xxiv. 764 Supposed chords became a highly contentious point in controversies involving Rameauian theory later in the eighteenth century.