26 THE NATURE OF MUSIC 



17. Principle of Potential Harmony 



The next evolutionary principle to be introduced 

 is that of potential harmony, which I define as fol- 

 lows: Every harmonic relation in experience is poten- 

 tial in every tone in experience. Thus all harmonic 

 relations are potential in all tones. In other words, 

 any harmonic relation may be duplicated on any 

 tone. Let us explain. 



There are original tones, original harmonic forms, 

 original harmonic relations. The seven tones of the 

 major scale constitute the first group of original 

 tones. Certain of these tones first arose in the 

 harmonic form of consonance, certain others in that 

 of dissonance. This specific consonance and this 

 specific dissonance are therefore the original har- 

 monic forms. Again, each of these seven originals 

 first arose in a certain definite harmonic relation as 

 a root or third or fifth or seventh or ninth. The 

 original relation of a tone is therefore the relation in 

 which a tone first arose. Everything is and has 

 been derived from relation; harmonic form and 

 harmonic relation are connate; the former is due to 

 the latter, the former changes when the latter changes. 

 Since each original tone entered into being in a cer- 

 tain original relation, the fundamental importance 

 of relation is manifest. 



In the psychological process of development each 

 tone and relation entered into experience first as a 

 mere feeling, it remained latent in feeling until it was 

 seized upon by consciousness when it became a per- 

 cept, and last of all it became a concept. The 



