INTRODUCING FIRST PRINCIPLES 23 



and space-relation, in one word, is a rhythmo-har- 

 monic relation. Every tone in music is heard, felt, 

 thought, expressed and recorded in such a com- 

 posite relation, every tone-moment is a rhythmo- 

 harmonic moment. It is true that in analysis we 

 seem to separate this composite, now observing the 

 rhythmic form and relation and now the harmonic 

 form and relation, yet we do not and cannot fully 

 comprehend the one apart from its relation to the 

 other. The word harmony in its specific musical 

 sense means harmony of sound, which is tone. In 

 this sense one tone, every tone is a harmony, as will 

 be explained in the next paragraph. 



15. Melody y a Composite, not an Element 



Nothing could be more untrue than the time- 

 honored teaching and belief that melody, harmony 

 and rhythm are the three elements of music. Music 

 has two, not three elements. Rhythm is an element. 

 Harmony (tone) is an element. Melody is not an 

 element. Melody is a composite of music's two 

 elements, rhythm and harmony (tone). It is impos- 

 sible to conceive of melody either without rhythm 

 or without harmony (tone). Hence the obvious truth 

 that melody is a composite and not an element. 

 Everything from a motive in two tones onward, 

 whether it issues from the throat of a bird or was 

 penned by a classic composer, is a melody, a com- 

 posite of rhythm and harmony (tone). Melody is 

 the essence of a music-idea or thought. Melody is 

 the original and essential vehicle of music. Melody 

 is the original, universal and sovereign voice and 



