ORIGIN AND NATURE OF MINOR 



221 



we treated the regnant harmonies in major. Those 

 in minor being very similar in their relations and suc- 

 cessions, we need not pause here to consider them in- 

 dividually since their relations and connections are 

 exemplified in our illustrations of minor melodies. To 

 summarize. The tone-material which has thus far 

 appeared in our minor melodies aggregates nine tones, 

 namely, the seven diatonics and the two chromatics 

 si and fi (^ and fjj! in A minor). Our next example 

 introduces all of these tones. 



^ 



7 



Ui 



^- 



^ 



3 9 



=9i§: 



^=W 



V 



^' 



4- I 



t=t 



*i 



*f-fyi' 



I 



:P=1= 



-•— s>- 



Next we summarize the forms of harmonies thus 

 far reported by our melodies in minor. 



1. Minor consonances: /, iv, v. i is the original, 

 IV and V are duplicates. 



2. Major consonances: F, IV. Both are dupli- 

 cates of the original I or major tonic. 



3. Four-tone dissonances: F^, which is a dupli- 

 cate of the major prototype V^. 



4. Five-tone dissonances: F^, F9. The latter is a 

 duplicate of the original major V9. 



All the above forms resolve themselves into two 

 which had their origin in the minor mode and which 

 are distinctively minor, namely, the minor form of 



