DISSONANCE AND CONSONANCE 55 



press exact pitch has been acquired the first or sliding 

 part of the process is carried out silently. Though 

 when trained we place tones automatically, neverthe- 

 less the voice has to be adjusted to each tone, infinitesi- 

 mally short though this moment of adjustment may be. 

 The process of resolution just analyzed explains 

 why when we pitch an isolated tone we invariably 

 make for the eflScient accent and generate in feeling 

 the repose-thread of the original major consonance, 

 our Major Tonic-harmony, music's first regnant har- 

 mony, as follows: — 



o) b) e) 



1351 1351 1351 



i 



i ^i ' . >> - [*^i^^ 



w 



The origin of this genus consonance is now ex- 

 plained. How and why this gr^ni^^-harmony came 

 first is now explained. Its genesis is due to the reso- 

 lution of the latent Reeling of dissonance (relative har- 

 mony) into the major consonance (perfect harmony). 

 The operative cause is the efficient accent which on 

 the line of least resistance makes for complete equi- 

 librium. Briefly, the efficient accent is the cause of 

 resolution. Man first felt and expressed the relation of 

 cadence and repose rhythmically, but when he joined 

 sound to this rhythmic relation he eventually evolved 

 the feeling and expression of tone-cadence and tone- 

 repose. Tone-cadence is dissonance, it first arose in 

 one voice. Tone-repose is consonance, it first arose 

 in one voice. How music's original dissonance arose 

 in relation to music's original consonance will be 

 considered presently. Meanwhile, it may be observed 



