ACCENT AND REGNANT HARMONY 



107 



ible fertility and initiated a new chapter in music- 

 evolution, the end of which has not yet been reached. 

 Let us be explicit on this point. Melody started with 

 one regnant harmony as a nucleus, in relation to 

 which it produced other regnant harmonies, in relation 

 to which it produced still others, and so on ad infini- 

 tum, thus evolving an ever increasing psychological 

 web of correlated threads of harmony. How then did 

 melody recombine the seven original tones in new 

 relations which generated one regnant harmony after 

 another ? 



4. In every conceivable combination of the tones 

 do, mi, sol, melody reports the regnancy of the Major 

 Tonic (I). In other words, a second regnant har- 

 mony is not latent or potential in this type of melody. 



5 1 3 5 3 1 5 



5. Melody first introduced bytones on its light 

 rhythmic accents. In this their original relation the 

 cadence-tones re, la, fa and ti do not disturb the 

 regnancy of the Major Tonic and could not have 

 generated a second regnant harmony. The exam- 

 ple below presents re and la, which are the first two 

 bytones to appear in melody, re in cadence to do and 

 mediating between do and mi, la in cadence to sol, 

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