192 THE NATURE OF MUSIC 



The addition of a terminal Tonic to each of the 

 above groups of four cadence-tones and three repose- 

 tones completes the scales known as diatonic major 

 and relative minor. They are presented below both 

 ascending and descending for the purpose of exhibiting 

 their parallel progressions and resolutions or cadences, 

 the latter marked by slurs. 



Major 



Minor 



I 



9=fS 



m-^ 



-^L 



do 





^- ^^ " ' ^ TTl^ 



la 



In all the preceding illustrations of parallel cadences 

 we note how each cadence in minor has arisen by 

 imitating its major prototype. Thus the upleader 

 si 3 in minor corresponds with the upleader ti 3 in 

 major, the downleader re ? in minor with the down- 

 leader fa 7 in major, the double cadence of ti 5 with 

 that of its prototype re 5, the cadence of /a q with that 

 of its prototype la 9. In short, each tone and relation 

 in major is offset by a corresponding tone and rela- 

 tion in minor. Hence the close relationship of major 

 and minor. Each mode has its own specific form of 

 consonance and specific form of dissonance at its 

 foundation, and let us remember that in one voice, 

 melody generated all these forms in obedience to the 

 inherent and uniform laws of causation which we 

 have already defined. 



The above minor group of tones is as noteworthy 

 for the absence of sol, the only diatonic which does 



