ORIGIN AND NATURE OF MINOR 225 



and thereafter was reproduced on other tones points 

 to the interesting inference that each tone has a har- 

 monic pedigree. By this I mean that melody first in- 

 troduced a tone in a specific relation, and next pro- 

 ceeded to introduce that tone in another relation and 

 then in another, and so on. Such a sequence of rela- 

 tions would trace the tone's harmonic evolution or 

 line of descent. Aside from its immediate interest 

 and value to psychology, the harmonic pedigree if as- 

 certained would enable the archseologist to determine 

 approximately the chronological order and relative 

 ages of primitive melodies. To be explicit. What is 

 a specific tone's line of descent or harmonic pedigree ? 

 It is that tone's evolutionary sequence of harmonic 

 relations. Where is this evolutionary sequence to 

 be traced? In melody, where it was produced. 

 All harmonic percepts being potential in all tones, 

 melody has carried each tone through a sequence 

 of percepts. To illustrate all this we will here pre- 

 sent the harmonic pedigrees of the seven original 

 tones (diatonics) so far as ascertained at this junc- 

 ture of our study. 



1. Do first arose as 1 of I in major, then appeared 

 as 5 of IV in major, then as s of / in minor. So far as 

 already ascertained the pedigree of do is briefly 1, 5, 3. 



2. Sol first arose as 5 of I in major, next appeared 

 as 1 of V in major, then as a of r in minor. This 

 pedigree of sol is briefly 5, 1, s. 



3. Mi first arose as 3 of I in major, next appeared 

 as 5 of /, 1 of F and i of F in minor. This pedigree is 

 briefly 3, s, 1, i. 



4. Re began as 5 of V in major, next appeared as i 



