108 THE NATURE OF MUSIC 



6. But at the moment when melody introduced 

 re and la on its heavy rhythmic accents (eflBcient 

 accents) the great transformation takes place. Sud- 

 denly re and la are transformed into regnant tones 

 reporting regnant harmonies. The efficient accent 

 on re generates the regnant Dominant-harmony (V): 

 the efficient accent on la generates the regnant Sub- 

 dominant-harmony (IV). These common harmonic 

 reports of melody are next exemplified. 



51 5 353 535 1 



±=4 



i 



P ipy, i J lF^J#^^=^^ 



IV 



Each of the above efficient accents reports a change 

 of regnant harmony; the mode relation of one regnant 

 harmony to another is at once established in this 

 pentatonic or five-tone stage of melody, and melody 

 is enriched by the addition of two new regnant har- 

 monies. The regnant Major Tonic, as we have seen, 

 arose independently on an isolated tone. Not so with 

 the regnant V and IV, which arose in relation to and 

 were dependent on the previously existing regnant I. 

 This dependence on and genesis in relation to ante- 

 cedent harmonies distinguishes all other harmonies 

 from the original regnant I, which has no antece- 

 dents. We observe further that while the regnant I 

 entered into being by way of do its root, the regnant 

 V was first represented and reported by re its ffth, 

 the regnant IV by la its third. Such are the common 

 reports of common feeling and perception, at once 

 the simplest and surest test of truth. The efficient 



