ACCENT AND REGNANT HARMONY 111 



harmony, yet man's discovery or perception of harmony 

 and its introduction in the form of chord date back 

 but a few centuries. However, this great slowness is 

 offset by what followed, for this discovery of harmony 

 was magical in its effects, initiating as it did an era 

 of development in music which for rapidity of pro- 

 gress and wealth of productivity has no parallel in 

 psychology and history. 



9. When we were dealing with but one regnant har- ^^ 

 mony and its bytones (Major Tonic and its cadences) 

 the term repose applied exclusively to the original re- 

 pose-harmony or major consonance and to the stable 

 period of rhythm-repose in which this stable harmony 

 arose. Then, too, the term cadence applied exclusively 

 to the original cadence-harmony or dissonance and to 

 the unstable and relative period of rhythm-cadence in 

 which this unstable and relative harmony arose. But 

 now that we have introduced three regnant harmonies 

 all this is changed. Now and henceforth the terms 

 cadence and repose become general and apply to rhyth- 

 mic and harmonic forms and relations in general while 

 the terms hytone and byharmony, regnant tone and 

 regnant harmony become the specific and unmodifi- 

 able terms of analysis. Thus, for example, what we 

 hitherto called the Major Tonic and its cadences we 

 now specify as reg. I and its bytones. Presently we are 

 to analyze reg. V and its bytones, reg. IV and its by- 

 tones. Here let us note the fact that every regnant 

 harmony has its relative byharmonies. 



In taking up the analysis of the broad relation of 

 regnant harmony to regnant harmony let us bear in 

 mind the following general truths: 1. Every tone 



