46 THE NATURE OF MUSIC 



repose-tones. Over and under these repose-tones and 

 in relation to them have arisen four other tones which 

 tend, some up, some down, into the three. These 

 four are components of the original cadence-harmony, 

 and I name them cadence-tones. Repose-tones had 

 their genesis on heavy rhythmic accents, cadence- 

 tones on light rhythmic accents. If it is true that 

 cadence-harmony and repose-harmony could not have 

 arisen except in inseparable relation one to the other, 

 how are we to explain the undeniable fact that the 

 repose-harmony not only came first and was first 

 voiced in melody, but came alone and unattended by 

 any other harmony! Granting the inseparability of 

 the relation of cadence and repose and the interde- 

 pendence of their respective harmonies, how is it pos- 

 sible to explain the origin of the repose-harmony 

 except it be the direct result of the resolution of a pre- 

 viously existing cadence-harmony. This is a subtle 

 point, and it strikes at the root of the problem to be 

 solved. Subsequent analysis will show that the gen- 

 esis of this unique major consonance or repose-har- 

 mony was due to the resolution of a latent feeling of 

 dissonance or cadence-harmony. The three original 

 repose-tones and four original cadence-tones, which 

 together represent the seven diatonics of the Major 

 mode, are the subjects of our next example: — 



a) h) c) 



13 5 3 5,9 



i 



9 



-Z7- 



-zr 



G>- 



Repose Group Cadence Group Resolution 



