198 THE NATURE OF MUSIC 



Bach had a profound and vivid sense of these inherent 

 principles and expected as much from his inter- 

 preters may be inferred from the fact that he left 

 us his monumental piano work "The Well-tempered 

 Clavichord" without a single mark of expression. 



We have explained the origin in one voice of the 

 minor form of dissonance, have defined its five com- 

 ponents and their correlations. We have accounted 

 for seven tones of the minor group and have encoun- 

 tered these seven tones in the following nine minor 

 relations : Za as i of /, do as 3 of /, mi as 6 of / and 1 of 

 V, si as 3 of F, ti as 5 of F, re as 7 of F, fa as » of F 

 and 8 of IV, All these tones and relations appear in 

 the subjoined fugue-theme of Bach. 



i3i6 siSiSsiSiStIo It* 



I JV I TTT 7 



46. Three Regnant Minor Harmonies and Their 

 Bytones and Cadences 



Having explained the subject of regnant harmony 

 in the preceding chapter we may proceed without 

 needless repetitions to study the bytones and cadences 

 of the minor tonic, dominant and subdominant har- 

 monies. In a given melody the leading question is: 

 What is the regnant harmony or series of regnant har- 

 monies ? Every tone in a melody relates to a regnant 

 harmony, and if a component, is classed a regnant tone, 

 if not, a bytone. Such are the essential points to be 

 borne in mind. 



