178 THE NATURE OF MUSIC 



due to relation. Later we demonstrated that certain 

 changes in relation generate new forms of harmony. 

 Hence our thesis : new forms of harmony spring from 

 previously existing tones in new or transmuted rela- 

 tions. This thesis points out the solution of the 

 centuries-old puzzle as to the origin and nature of the 

 minor consonance and mode. It required at least 

 two tones and a specific relation potential in those two 

 tones to generate the minor consonance in feeling and 

 perception. The two tones in which that specific 

 relation was potential previously existed in major. 

 What are the two tones, what the specific relation.? 

 The tones are do and la, the relation is a small third. 

 The downward step do to la with the efficient accent 

 on la generates the harmonic thread of the minor 

 consonance as follows: — 



i 



^^^3 



I 



¥ 



^^ 



do la do la / 



This I claim to be the origin of the minor conso- 

 nance and mode in one voice. Our example illustrates 

 the self-assertion of the minor consonance and demon- 

 strates that this specific form of harmony springs 

 from the repose or stable equilibrium inherent in the 

 specific relation of the small third formed by do and 

 la. Apart from two tones in the above relation of 

 a small third the minor consonance cannot be felt, 

 heard, thought or expressed, and therefore could not 

 have been generated and asserted by melody. On 

 the other hand, apart from this consonance which we 



