ORIGIN AND NATURE OF MINOR 179 



all recognize and therefore relate as the minor Tonic- 

 harmony it is impossible to feel, perceive or conceive 

 the minor mode. 



In one voice, specific relations of specific tones give 

 rise to and report specific forms of stable and unstable 

 harmonies, that is, of consonances and dissonances. 

 Just what these specific relations, tones and forms of 

 harmony are we learn from our common feeling and 

 perception of the self-reports of melody. In observ- 

 ing and verifying the common reports in one voice we 

 stand on common intellectual ground, for when that 

 which we think, fully and faithfully interprets the 

 common feeling and percept then only shall we agree 

 as to the facts or common reports. I repeat: our 

 concepts in one voice are false when they conflict, 

 and true when they completely accord with our 

 common feeling and percept, that is, with the common 

 report of melody. Now the small third is the only 

 relation that gives rise to and reports the minor 

 consonance. I next present three theses based upon 

 common reports. 



1. Any isolated combination of two tones in the 

 relation of a small third generates and reports the 

 minor consonance which we all involuntarily recog- 

 nize and relate as the minor Tonic-harmony. 



2. An isolated major consonance invariably reports 

 its root to be do, its third to be mi, its fifth to be soL 



3. An isolated minor consonance invariably reports 

 its root to be la, its third to be do, its fifth to be mi. 



The three components of the major consonance are 

 major harmonic percepts which I mark with larger 

 numbers. The three components of the minor con- 



