ORIGIN AND NATURE OF MINOR 



209 



stepping from the large ninth to the upleader {la to ti 

 in major, /z to si in minor as at b) in the minor example 

 below), but is not perceptible in stepping from the small 

 ninth /a to the upleader si as at a) in the minor ex- 

 ample. 



Major 



i 



5 3 1 



IS^^ 



5 V 9 3 1 



— 



? 



^- 



I 



6)5 



9 3 



^^ 



Minor 



s 



tm 



■z?- 



V 



^U 



At a) in the above minor example, fa and the other 

 components of regnant V are the counterparts in 

 minor of the corresponding components of regnant V 

 in the major example. But at 6) in the minor 

 example the melody during the regnancy of V exactly 

 imitates and duplicates the steps of the major melody 

 in the corresponding measure thus introducing the 

 chromatic fi (/jlf), which reports itself as large ninth 

 and a component of the regnant harmony, thereby 

 causing the regnant minor dominant to assume the 

 original major form of dissonance. This inherent 

 tendency of both the large and small ninths to resolve 

 each into the harmony of which it is a component has 

 led some music-theorists to class the ninth as a bytone 

 to the chord of the dominant. But here we are not 

 dealing with chords, we are dealing with the antece- 

 dents of chords, with harmony in one voice the com- 

 mon self-reports of which for the first time enable 



