62 THE NATURE OF MUSIC 



lation, since it reports itself in one voice as exemplified 

 below : — 



3 1 5^ f^S .T^ 9^ 



ti— -do re— —do re -—" m i fa"**- mi la«i«^sol 



^ — — =^=^^ .^^-4J 



F 



r 



-r t-~r ^"^ f^ 



Cadence connotes cadence-harmony, dissonance, 

 incompleteness, hence the tend to repose in the above 

 cadence-tones i% re, /a, la. Repose connotes repose- 

 harmony, consonance, completeness, hence no tend 

 but an end as reported by the above repose-tones do, 

 mi, sol. Our example presents no chords, but it does 

 present harmonies, since each tone arises in the mind 

 together with concomitant harmonics and is therefore 

 a harmony. Thus a cadence-tone reports one har- 

 mony, a repose-tone reports another harmony, and 

 the resolution of one tone into another is the resolution 

 of one harmony into another. Were it not for the 

 inherent harmony of tone there would be neither the 

 feeling of cadence nor the feeling of repose, no form 

 and relation of tone in the musical sense. Because of 

 this harmonic form and relation inseparable in tone we 

 all share in the common feeling of the above cadences, 

 of harmony and harmonic relation, of dissonance and 

 consonance in one voice. 



Our example introduces four cadence-tones ti, re, 

 fa, la in addition to the three repose-tones do, mi, sol. 

 These four cadence-tones are components of the genus 

 dissonance; they lie directly over and under the three 

 repose-tones of the genus consonance in relation to 



