DISSONANCE AND CONSONANCE 



59 



of development here suggested will engage our atten- 

 tion later on. Also for future reference I here add 

 three more bird-songs, the first two of which report 

 the Minor consonance and mode, while the last intro- 

 duces a chromatic marked by a star. 

 1. 2. 



i^^ 



m 



s 



^ — i^ — ^ 



± 



m s-^ i f t I 'f n 



I * V 



In their first efforts to discriminate the concomitant 

 harmonics of an isolated tone, students most frequently 

 feel and express the octave first, next the fifth, last of 

 all the third, as follows : — 



1115 13orll5 31 



I 



I 



k± 



The psychological law here operative is this. The 

 closer the proximity of tones the more difficult is it to 

 perceive, differentiate and express them. By impli- 

 cation the larger intervals were expressed first, the 

 smallest last. Thus octaves, fifths and fourths, thirds 

 and sixths came before the whole step, and last of all 

 came the half step. All the first-named intervals are 

 present in the Major Tonic-thread of harmony and 

 appear in the first group of the above bird-songs. The 

 cadence-tones in the second and third groups of these 



