DISSONANCE AND CONSONANCE 91 



subjects to be treated later on. Meanwhile the 

 above examples clearly point out the necessity for 

 making careful distinctions between harmonic com- 

 ponents which never exceed the number of five and 

 chord-components which are not limited; between har- 

 monic intervals and chord-intervals; between har- 

 monic concepts, supported and verified by common 

 feeling and perception, and chord-concepts, which the 

 common reports prove to be false, and which therefore 

 are arbitrary, misleading and untenable. 



34. The Five Original Cadences. Mode Defined 



The relation of cadence and repose is the basis 

 of mode. The relation of tone-cadence and tone- 

 repose originated in the relation of one harmony (dis- 

 sonance) to another harmony (consonance). This 

 inter-harmonic relation is mode-relation. The pre- 

 ceding account of the origin and nature of original 

 dissonance and consonance in one voice is equivalent 

 to an account of the origin and nature of the Major 

 mode. The original mode is Major because the ori- 

 ginal consonance is major. The aggregate relations 

 of the two harmonic genera may be called briefly the 

 major consonance and its cadences. 



Melody has brought forth two modes : first, the Major 

 mode based on the major consonance and its cadences ; 

 second, the Minor mode based on the minor conso- 

 nance and its cadences. The origin of the former has 

 been explained; the origin of the latter is the subject 

 of a later chapter. In mode-parlance what has just 

 been called the major consonance and its cadences 

 is the Major Tonic (-harmony) and its cadences. 



