120 THE NATURE OF MUSIC 



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Noteworthy among these reports are the series of 

 major thirds 3 — 3 — 3 (third last measure) and the 

 series of pure fifths 5 — 5 — 5 (second last measure). 

 These reports have a bearing on certain important 

 harmonic questions to be considered later on. We 

 have now presented the diatonic bytones of each of 

 the harmonies I, V and IV. 



15. Certain changes in the rhythmic distribution 

 of regnant tones and bytones mark concomitant 

 changes from an earlier to a later stage of melohar- 

 monic development, therefore of psychological devel- 

 opment. Most of the examples thus far given illus- 

 trate the earlier of the two stages when regnant 

 tones and bytones occupied the rhythmic periods in 

 which they first arose, the former appearing on the 

 heavy (efficient) periods of rhythm-repose, the latter 

 on the light and unstable periods of rhythm-cadence. 

 Rhythmic movements being characterized by regular 

 alternations of light and heavy periods and accents, 

 that is, by regular alternations of rhythm-cadence 

 and rhythm-repose in obedience to the universal 

 shaping principle of equilibrium, we may define this 

 basic and universal relation of rhythmic cadence and 

 repose as that of a rhythmic Dominant to a rhythmic 

 Tonic, since the intoning of this relation caused the 

 genesis of dissonance (V9) in rhythm-cadence and 

 consonance (I) in rhythm-repose, therefore of the real 



