Major 



ORIGIN AND NATURE OF MINOR 189 



5 3135^53135, 9^5 31 



:^=¥ 



H — i — m — I — H 



T' I i-f m 



re 



V V^ V9 



5 3136,53135, », 531 



Minor 



^ 



^% ^f^^ttf-^=^t^ 



r V, n 



The two forms are again presented in syllables and 

 harmonic numbers for further observations. 



13 5 7 9 



1. Major V9 : sol — ti — re — fa — la 



1 O O 7 o 



2. Minor VqI mi — si — ti — re — fa 



Compare corresponding tones and harmonic per- 

 cepts as follows: sol is root of major Dominant, mi 

 is root of minor Dominant, and so on. Observe that 

 the two dissonances differ only in their ninths, all the 

 other intervals being the same; the ninth in major is 

 large and was first reported by /a, the ninth in minor 

 is small and was first reported by /a. The distinctive 

 individuality of each of the two types of consonances 

 is due to its characteristic third, 3 in major, s in minor, 

 while that of each of the two original types of disso- 

 nances is due to its characteristic ninth, 9 in major, 

 9 in minor. Both types of dissonances confirm the 

 truth of our thesis that the ninth is the highest har- 

 monic component of a harmonic root and therefore the 

 genetic limit of harmony. 



