98 THE NATURE OF MUSIC 



to a repose-tone, is a progression, because the cadence 

 of /a falls to mi and does not rise to soL All such 

 evasions of the inherent cadence of a tone are classed 

 as progressions. 



The moment a series of tones is thought rhythmi- 

 cally it at once becomes melody and asserts its inherent 

 regnant harmony, which in both of the above examples 

 is the Tonic. 



In a former writing [" The Septonate "] I misnamed 

 progression by calling it a principle. Progression is 

 neither a cause nor a principle. The same is equally 

 true of resolution. Both progression and resolution 

 are effects of causes inherent in the rhythmo-harmonic 

 relation of the two tones forming a specific step. 



From rhythm we have derived the basic relation of 

 cadence and repose. In their application to tone the 

 terms cadence and repose have thus far been used in 

 exclusive connection with the four original cadence- 

 tones {ti, re, fa, la) and the three repose- tones (do, mi, 

 sol), in short, with the Major Tonic-harmony and its 

 cadences. From this their original and restricted 

 sense we are presently to use these terms in a wide and 

 general sense as applying to tone-relation in general. 

 Since every tone may appear in cadence or repose it 

 follows that this basic relation derived from rhythm 

 and then connected with specific tones will henceforth 

 apply to tones and tone-relations in general. 



36. A First Music-Lesson 



The material to be presented is as follows : — 

 1. Rhythm : simple dual and triple. 2. Harmony: 

 the Major Tonic and its five diatonic cadences. 



