64 THE NATURE OF MUSIC 



latent feeling of dissonance and consonance, and the 

 genesis of consonance through the resolution of this 

 latently felt dissonance, these important points were 

 explained in the foregoing section. One by one these 

 latent cadence-tones of dissonance were perceived, 

 differentiated and expressed. First of these to appear 

 in melody were the whole steps re in relation to do and 

 rriiy la in relation to soL Much later came the half 

 steps ti in relation to do, Ja in relation to mi. In our 

 example of cadences re tends down to do and up to mz, 

 la tends down to sol, fa tends down to mi, ti tends up to 

 do. For practical and theoretical reasons too obvious 

 to require mention I name ti the upleader,fa the down- 

 leader. 



The evolutionary sequence of cadence-tones in this 

 order, namely, re, la, fa, ti, is supported by history in its 

 records of primitive scales and melodies. As evidence 

 witness the so-called great scale, small scale and the 

 pentatonic scale in which the great and small scales 

 are united. In these scales there are no half steps, 

 since fa and ti do not appear. All are given and 

 analyzed below: — 



1. Great. 2. Small. 3, Pentatonic. 



153 5315 3 5 3^-)<> 



do re mi sol la do re mi sol la 



i 



i 



r r c I — I r f r I — 



The harmonic numbers indicate the common re- 

 ports of original harmony verified by common percep- 

 tion. The Major Tonic-harmony is regnant, the 



