220 THE NATURE OF MUSIC 



Here we note that regnant IV enters after / and is 

 succeeded twice by V and twice by iv. A bytone to 

 regnant IV, namely, si (gjjf), appears in the triplets and 

 is marked by an asterisk. Our present tone-material 

 contains other bytones to this major form of the sub- 

 dominant, and even though all these bytones are dia- 

 tonics they all have a modulatory tendency, that is, 

 they shift the key-centre and change the mode from 

 minor to major. We have demonstrated that even 

 though a melody be composed entirely of diatonics it 

 may contain and report chromatic harmonies, and we 

 are presently to show how diatonics among themselves 

 may effect and definitely report modulations. Mean- 

 while, let us observe that the fact that a melody con- 

 tains only diatonics by no means proves a melody to 

 be diatonic. To the eye such melodies on paper ap- 

 pear to be diatonic and have been thus erroneously 

 judged and classified. Thanks to common harmonic 

 reports in one voice such errors are no longer possible. 

 The statement that music is heard, not seen, ought to 

 be supererogatory. An Indian chief after having in- 

 vited a group of men to squat with him in his wigwam 

 proceeded to ask what was the vocation of each guest. 

 Fixing his eyes upon one who was pointed out as a 

 musician the chief placed a finger on his ear and 

 winked. That much he knew. 



We have now presented the regnant harmonies of 

 the minor tonic, dominant and subdominant, and have 

 studied the bytones and cadences of each. The rela- 

 tions and combinations of regnant harmonies among 

 themselves, their progressions and resolutions (ca- 

 dences), were analyzed in the preceding chapter where 



