DISSONANCE AND CONSONANCE 61 



tion so completely conceals the unity and simplicity 

 of harmonic tonality, for these and other reasons un- 

 necessary to mention, nothing could bring us closer to 

 these innate relations, or prove a greater desideratum 

 and simplification than a set of symbols which dis- 

 regards any fixed pitch and which is uniformly the 

 same in every key. The syllables do, re, mi, etc., sup- 

 ported by the harmonic numbers adduced from ori- 

 ginal harmony in one voice fully meet the case. 

 Music's first harmony and germs consonance, our 

 Major Tonic-harmony, is now presented thus : — 



13 5 



do mi sol 



We may say with certitude that do was the first 

 Tonic and root, that mi was the first major third and 

 that sol was the first pure fifth. These are the only 

 three tones and harmonic percepts in our first group 

 of bird-songs. In the second group of songs note the 

 first cadence-tones, re and la, the former as fifth intro- 

 ducing the Dominant-harmony, the latter as third 

 introducing the Subdominant-harmony. But we are 

 advancing too fast and will next consider the origin of 

 the genus dissonance. 



29. Genesis of Cadence-Harmony or Original 

 Dissonance in One Voice 



We say that a leading-tone tends up, a seventh tends 

 down. Tend is cadence; its objector end is repose. 

 No chord is required to generate and illustrate this re- 



