DISSONANCE AND CONSONANCE 75 



presents one or more phrases or sentences in the form 

 of one voice, he employs this form of thought for purely 

 artistic and aesthetic reasons, the selection of the 

 specific form of thought whether in one or more 

 voices always being personal. Not so with the har- 

 mony. While the composer's selection of one voice 

 is always personal, the inherent harmony of this one 

 voice is never personal; it is always original, univer- 

 sal, immutable harmony. This distinction between 

 one-voice and multi-voice harmony will appear in 

 other connections in subsequent sections. 



31. The Seven Original Tones, Analysis 



The seven original tones are the components of the 

 two harmonic genera^ consonance and dissonance. 

 Three of the seven are derived from the former, four 

 from the latter. These seven tones are the seven dia- 

 tonics of the Major mode. Their minute analysis 

 being our immediate concern, they are again pre- 

 sented. 



13 5.^-^135, 9 



sol — ti — re — fa — la 



do — mi — sol 



Tonic or Do Dominant or Sol 



A harmony is named by its root, hence the harmony 

 of the Tonic or Do, the harmony of the Dominant or 

 Sol. The harmonic numbers indicate either root or 

 relation to root. These numbers are large for major 

 and small for minor intervals. This rule for marking 

 major and minor intervals will henceforth be strictly 

 adhered to. Our example contains but one minor 

 interval, namely, /a, which is the minor seventh of 



