84 



THE NATURE OF MUSIC 



and cannot possibly generate any other harmony. 

 The answer in the next chapter to the question How 

 did a second regnant harmony arise? becomes in- 

 creasingly important. Sol, originally fifth of Tonic, 

 could not appear as a root until the regnant Domi- 

 nant-harmony had been generated. In passing let us 

 observe that the Tonic-harmony, whether represented 

 by do or mi or sol, is always a three-tone thread. A 

 review of the foregoing analysis will show on the other 

 hand that the Dominant-harmony is a three-tone 

 thread on ti and re, sl four-tone thread on fa, a five- 

 tone thread on la. From these threads of three, four 

 and five tones are derived the chords composed of 

 corresponding numbers of tones and known as the 

 Tonic -triad, the Dominant - triad, the Dominant- 

 seventh chord and the chord of the major ninth, in all 

 their forms and positions. 



While the regnant Dominant appears in the above 

 folksong the tone sol does not appear in it as a root. 

 The following melody is selected because it presents 

 sol as root. In fact, it presents the five original per- 

 cepts, and the seven original tones in their eight rela- 

 tions to the Tonic and Dominant. 



3 ^351391 



1^3511 6 



i 



y r^ r f » 



^ 



a 



I 



^3 



^ 



mi fa mi re do ti la sol fa sd fa mire do do sd 

 Tonic Dominant. Tonic. 



This analysis suffices to establish the following 

 theses as scientific truths. 



