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• "Therefore we well observe that the title of perfect cadence is attached only to a dominant that progresses to the main tone, because this dominant, which is naturally contained within the harmony of the main tone, seems, when it progresses to it, to return as if to its source."
  • Jean-Philippe Rameau (1726). Nouveau système de musique théorique, p.59. Paris.

• "In f-major, c* [a C major chord] is a sonority contained within the overtones of the tonic f* [a F major chord]."
  • ibid, p.14.