ACCENT AND REGNANT HARMONY 



113 



from V to I and IV to I are resolutions ; see below at 

 b) and d). In these resolutions V and IV are in 

 cadence to I. Here note the wider application of the 

 term cadence in this connection with regnant harmony. 

 Though the regnant harmony of the moment is the 

 repose and equilibrium of the moment, we observe 

 at b) and d) that it may be in cadence, that is, in 

 unstable equilibrium. 

 a) 1 6 6)5 1 c) 5 3 d)S 5 



i 



^ 



3 



I 



IV IV 



In the progression I — ^V at a) re reports V as 

 consonance with sol as concomitant 1 and ti as con- 

 comitant 3. But in the resolution and cadence V — I 

 at b) re reports V as dissonance, and in this cadence- 

 relation all the original cadence- tones, namely, ti, rCy 

 fa and la, assert themselves as components of the 

 genus dissonance in that they each and all claim sol 

 as their common root. Not until melody had pro- 

 duced regnant V in this cadence-relation was it pos- 

 sible for la to assert itself as 9. This genesis of 

 regnant V in cadence belongs to melody's pentatonic 

 stage and was generated by the efficient accent on re. 

 During this stage sol which already existed as 5 of 

 I could next be related as 1 of V, and la, which already 

 existed as a bytone and as 3 of the byharmony IV, 

 could next be related as 9 of V. In short, during 

 this stage melody became enriched by many new 

 intervals resulting from the combinations of re, sol 

 and la during the regnancy of V in cadence. Illus- 

 trations of some of these intervals follow. 



