214 THE NATURE OF MUSIC 



The above harmonic numbers indicate the self- 

 report of each tone and speak for themselves. This 

 theme presents certain regnant harmonies which 

 hitherto have not appeared in our examples, and 

 comment upon which at this juncture of our exposi- 

 tion would be premature and is therefore deferred. 

 In connection with the above example we call atten- 

 tion to this law. Relation of tones and harmonies is 

 always forward. Rhythm-relation being forward all 

 relation is forward. Observe the triplet in each of 

 the two motives with which the theme opens. This 

 premeasural triplet relates forward and therefore 

 relates to and plays upon the regnant tonic-harmony. 

 Observe fa (a^) at the end of the third and fourth 

 measures: it likewise relates forward and therefore 

 reports itself 9 of F. 



One more remark remains to be made regarding 

 sol 8 as a cadencing regnant tone. It is an original 

 product of the minor mode and is distinctively a 

 minor harmonic percept. We have seen how melody 

 evolved the minor mode out of tone-material and 

 relations previously extant in major, thus generating 

 the new and individual minor forms of consonance 

 and dissonance by imitating the cadence and repose 

 relations of the prototype major mode. Through 

 the same process of imitation, melody has reversed 

 the process by reproducing and imitating in major 

 many of the melodic steps and harmonic forms which 

 first arose in minor. Just as melody adopted the 

 major tetrachord in minor (below at a)) just so 

 melody adopted two minor tetrachords in major, as 

 at b) and c). 



