180 THE NATURE OF MUSIC 



sonance are minor harmonic 'percepts which I indicate 

 by smaller numbers. Both consonances and their 

 symbols are given below for comparison and correla- 

 tion. 



1 3 5 



1. Major Tonic-harmony : do — mi — sol 



18 6 



2. Minor Tonic-harmony : la — do — mi 



Upon the priority of major we base our thesis that 

 minor has been derived from elements previously 

 existing in major. Thus major supplied the original 

 tones named diatonics which in minor reappear in 

 new and transmuted relations. Note do and la in 

 the above example. Do, the major Tonic and the 

 original root (1), of the genus consonance, reappears 

 in minor as small third (3) of the minor consonance. 

 La, the original ninth (9) of the genus dissonance, in 

 which it is the highest tone, reappears in minor as 

 the original minor Tonic and root (1) of the original 

 minor consonance. Thus again, major supplied the 

 original forms of consonance and dissonance, each of 

 which assumes a new and transmuted form in minor. 

 Our example presents the original and transmuted 

 forms of consonance. Thus again, major supplied the 

 basic relations of rising cadence, falling cadence and 

 repose which characterize and underlie tone-relation 

 in general and mode-relation in particular and which 

 in minor are directly imitated. Minor is therefore 

 not only derived but is purely imitative; it is derived 

 from material provided by the prototype major, and 

 it imitates the relations of cadence and repose ori- 



