200 



THE NATURE OF MUSIC 



are addressed not to abstract theory, but to concrete 

 melody and its governing principles. Melody could 

 and did, can and does introduce sol in this relation 

 as shown below. Sol arises on the line of least resist- 

 ance in the descending tetrachord which starts on the 

 octave and terminates on the fifth of the regnant 

 minor tonic. See last two measures [but one]. Com- 

 parison with the parallel example in major again 

 recalls our attention to the imitative nature of minor 

 and shows that each harmonic percept and step in 

 minor are the direct counterparts of their respective 

 major prototypes. 



135 3535 335 3 



Major 



m 



p^ 



^ J. Ai^T-.^ 



* » 



51335 351 335,35 1 



i 



mm 



3==p: 



1 



* 



* * 



* ^ 



* 



Minor 



8 5 



^^ 



^ 



8 3 6 



±=Mz 



* -3^ 



^^ 



S 1 8 8 



g 



^ 



8 8 5 7 8 



^^ 



W§ 



I 



tr-#- 



^—^ 



■X- ^ 



^ * 



In the minor example sol appears in the last three 

 measures [but one], and reports itself as small third of 

 the dominant, thus demonstrating that the minor domi- 



