RHYTHM AND TONE 41 



their common root became the harmonic basis of 

 tonality. We shall see that newly differentiated tones 

 in their turn generate new harmonic complexes con- 

 taining new elementary harmonics which in their turn 

 are differentiated and generate new harmonies with 

 new elementary harmonics, and so on. This psycho- 

 logical change from latent feeling to perception and 

 expression roughly describes this evolutionary process. 

 The tonality of the major consonance of an isolated 

 tone has already been identified as the Tonic of the 

 Major mode. Alike we all feel its purity, stability, 

 repose, perfect balance and unity; to all it is a centre 

 of gravity, restful and satisfying. We have explained 

 all this as due to its perfect harmonic form, this unique 

 form as due to the union of elements, this union as due 

 to the inherent shaping principle, equilibrium. How- 

 ever, the mere fact that an isolated tone is always a 

 major consonance and always the Major Tonic, though 

 so obvious, does not suflfice. It requires explanation. 

 Why does an isolated tone always report this conso- 

 nance ? To say that the shaping principle is the vera 

 causa is but a statement and does not answer this 

 question. It therefore remains to explain how this prin- 

 ciple operates, how it shapes these harmonies in feel- 

 ing. The above melodies present roots, thirds, fifths, 

 sevenths and ninths. Each tone arises in a thread 

 of harmony. On certain tones the harmony changes : 

 one tone now reports itself a root and now a fifth; 

 another tone reports itself now a third and now a 

 ninth; another tone reports itself now a seventh and 

 now a root. Analysis will show that all these harmonic 

 complexes, percepts and relations are due to the in- 



