RHYTHM AND TONE 



47 



The Major Tonic is the root of the original repose- 

 harmony. The Major Dominant is the root of the 

 original cadence-harmony. This Tonic-thread com- 

 prises root, third and fifth. The Dominant-thread 

 comprises root, third, fifth, seventh and ninth. 

 Though the root of the Dominant-thread is omitted 

 at b) and c) the four cadence-tones report this to 

 be their common root and harmony as the numbers 

 imply. The two subjoined melodies include both 

 groups of tones, and the accompanying numbers indi- 

 cate the common reports of original harmony in one 

 voice : — 



a) 



18 5 3,5 31 



i 



1 



E 



r r r r 'r r r T r r r V 7 



h) 



r 



^359531 53513 1 



i 



I 



^M=^ 



r 



EZjT 



These melodies, like those already presented, are but 

 provisional illustrations of harmony in one voice and 

 its common reports. We shall presently enter into 

 the minutest analysis of these self-reporting relations 

 in order to study and explain their inherent principles 

 and laws. Meanwhile we will note these salient 

 points: the formative influence of rhythm upon tone 

 and the indissolubleness of the two; the insepara- 

 bility of the relation of cadence and repose, the 

 universality of this relation, its appearance first in 



