ORIGIN AND NATURE OF MINOR 205 



We have met all these forms as byharmonies to reg- 

 nant / and are presently to see how they arise as reg- 

 nants. All these harmonies are nearest related to the 

 minor tonic, and arose at an early period of melody's 

 exploitation of the minor mode in one voice ; and since 

 they assume both the major and minor forms and 

 appear both as diatonic and chromatic harmonies, 

 they plainly reveal the mixed or hybrid composition of 

 the minor mode, and add further conclusive testimony 

 to the derived and imitative nature of minor. Our 

 examples and analyses clearly point out that there is 

 but one source of light and truth on homophonic prob- 

 lems, that there is but one true and responsible reporter 

 on those fundamental homophonic harmonies in 

 which all harmonies are rooted, the one and only re- 

 porter into whose testimony the personal equation 

 cannot enter. This one source, this one reporter is 

 melody, the composite of rhythm and harmony, the 

 free, untrammeled and universal rhythmo-harmonic 

 voice of music. The growth of the scale of tones from 

 its incomplete to its complete diatonic form, thence to 

 its chromatic form and thence to its present enhar- 

 monic form, means the gradual growth of the tone- 

 system from its first beginnings up to the present time. 

 However, the efficient cause of all this growth is 

 rhythmo-harmonic melody. Under the guidance and 

 government of its inherent laws of development 

 melody discovered and exploited tone upon tone, re- 

 lation upon relation, harmony upon harmony, thus 

 gradually expanding the scale and system of tones and 

 keys. Beginning by intoning the relation of cadence 

 and repose and generating consonance and dissonance, 



