ORIGIN AND NATURE OF MINOR 187 



ponents of the Tonic-harmony, by one component of 

 its Dominant, by one component of its Subdominant. 

 Observe the parallel regnant harmonies, / in minor, 

 the counterpart of I in major. Tone upon tone com- 

 pare the corresponding tones and harmonic percepts of 

 the two modes as follows : mi s in minor is the counter- 

 part of sol 5 in major, do a of mi 3, ti 5 of re 5, la i of 

 do 1, and so on. The essentially imitative character 

 and nature of the minor mode is plainly manifest not 

 only in the whole meloharmonic phrase, but in each 

 tone and interval, each progression and cadence, each 

 harmonic percept. Observe the parallel falling ca- 

 dences : ti 5 to la 1 in minor corresponds with re 5 to 

 do 1 in major, /a s to mis in minor with la 3 to sol 5 in 

 major. Observe that the cadence-tone ti 5 in minor 

 reports its concomitant third to be a large third and a 

 chromatic, namely, si (gjlj! in our example), and that 

 this chromatic is the minor upleader which corre- 

 sponds with the major upleader ti 3. Observe in the 

 falling cadence/a to mi (f to e) in minor how unnatural 

 it would be to substitute fjjl for f. These observations 

 will have an important bearing on the sequel. 



The major Dominant (V) was first announced and 

 represented in melody by its fifth re and first appeared 

 in cadence, that is, as a byharmony. The same is 

 true (see above example) of the corresponding minor 

 Dominant (V) which was first announced and repre- 

 sented by its fifth ti (counterpart in minor of the major 

 re) and likewise first appeared in cadence as a by- 

 harmony. Again, the major Subdominant (IV) was 

 first reported by its third la, the parallel minor Sub- 

 dominant (as in example) by its third /a. Thus the 



