ACCENT AND REGNANT HARMONY 137 



wherefore no chord can be understood except through 

 harmonic analysis. Above at a) the chord-intervals 

 of vii°7 are root, minor third, diminished fifth, minor 

 seventh, while the harmonic intervals of the same 

 tones are respectively major third, pure fifth, minor 

 seventh, major ninth. These chord-intervals generate 

 discord between feeling and thought while the har- 

 monic numbers unite feeling and thought in complete 

 concord : the former are arbitrary and false, the latter 

 are self-asserted, unalterable and true. At h) and 

 c) the chord-intervals and harmonic intervals agree, 

 but this agreement becomes less and less frequent 

 the further we penetrate into the domain of chords, 

 and therefore the call for exact harmonic analysis will 

 grow correspondingly more and more frequent. 



Intervals are further to be distinguished under two 

 heads: 1. Intervals of concurrence. 2. Intervals of 

 succession. To the first belong the intervals formed 

 by the concurring components of a tone's harmonic 

 thread and of a chord. To the second belong all 

 steps from one tone's harmonic thread to another 

 and from one chord to another; in short, all steps in 

 one voice and in combined voices. Here is an exam- 

 ple in one voice : — 



351535513 ^31 



i 



IV I v^ 



In moving from one of these tones to another the 

 steps are major second, major second, pure fourth, 

 major second, minor third, and so on. Thus we 



