DISSONANCE AND CONSONANCE 89 



because their exact and synthetic reports are indis- 

 solubly associated with rhythm, and therefore embody 

 the complete intelligence of a tone's relation. This 

 harmonic report of a tone's relation is therefore the 

 essential and fundamental thing to observe, name and 

 know. 



33. The Five Components of Harmony 



There are hut Jive components of harmony, namely, 

 root, third, fifth, seventh, ninth. The truth of this 

 generalization is in no way impaired by the fact that 

 there are numerous modified forms of these five. 

 Some harmonies have three, some four, some five com- 

 ponents, but none exceed the number oi Jive. The 

 ninth is the genetic limit oj harmony. Common har- 

 monic feeling and perception report and admit no 

 harmonic components beyond the ninth. Root, third, 

 fifth, seventh and ninth, being the only harmonic per- 

 cepts, they are the only harmonic components. Chord- 

 theories have admitted elevenths and thirteenths as 

 components of chords and therefore as components of 

 harmony. Such elevenths and thirteenths are purely 

 theoretical concepts, which are as false as they are 

 arbitrary since they have no foundation in and are 

 confuted by common feeling and perception. On 

 page 90 will be found two examples which present 

 these elevenths and thirteenths in their true light as 

 arbitrary computations of intervals from a given root 

 which at a) is the Tonic and at h) is the Dominant. 



The lower row of numbers in both examples indi- 

 cates the arbitrary chord-intervals from 1 to 13. The 

 upper row of numbers in both examples is the true 



