DISSONANCE AND CONSONANCE 81 



relate in the harmonic order of third and fifth in the case 

 of this first tone and as third, fifth, seventh and ninth 

 in the cases of other tones in this folksong. You will 

 discover that in dropping on the thread you passed 

 one root and followed the thread to the lower octave 

 of that root, that when you pass a root you repeat 

 the same series of tones in a lower octave. In fine, 

 you have analyzed the harmonic thread of the first 

 tone (mi) and recognize this tone to be a large or major 

 third because it lies two whole steps over its root. 



As a prelude to proceeding with this analysis the 

 last question and answer may be given in a briefer 

 form. How in one voice am I to know that a tone 

 is a root or third or fifth or seventh or ninth ? By 

 feeling its momentary relation and analyzing its har- 

 monic thread. 



Second tone fa, minor seventh. The harmonic 

 thread of this tone hsisfour components; its root is the 

 Dominant. This thread is given at a) followed by an 

 exercise at 6). 



a) b) 



, 5 3 1 ,531 



h-f/^ h' ujiJ^ 



fa re ti sol— root or Dominant fa sol 



Third tone sol, pure fifth. Its analysis follows. 

 h) 



5 3 1 5 3 1 



i 



m 



sol mi do =root or Tonic sol do 



