230 THE NATURE OF MUSIC 



In both cases the result as to harmonic reports is the 

 same and as follows : — 



Prelude Scale 



^'^^^^J^^^^gd-r^'Mj^l^ 



F/. 



Now that we have transmuted the scale from major 

 to minor thereby demonstrating that it may report 

 itself as minor in homophonic melody or one voice, 

 this question arises : Does this scale of minor harmonic 

 percepts in any way support the theory of pendant 

 minor? The above common harmonic self -reports 

 based on common harmonic feeling and perception 

 answer in the negative. These self -reports plainly 

 testify as follows : the scale, now minor, starts and ends 

 on mi (C), which is the fifth of the minor tonic-har- 

 mony based on la (F) ; its tonic or point of complete 

 repose is F and not C; its tonic-harmony is erect 

 F-minor and not pendant C-minor. Homophonic 

 harmony and its common self-reports being subjects 

 new to music-theory the same is necessarily true of 

 the facts here adduced as well as of the conclusions to 

 which they point. In conclusion it remains to be 

 said that besides being an acoustic theory of harmony 

 based on an acoustic hypothesis, the Zarlino-Riemann 

 theory is specifically a chord-theory. Having demon- 

 strated in preceding chapters of this book that chord- 

 harmony is selective harmony it is difficult to see how 

 the chord-theories of harmony could possibly have 

 escaped the bias of personal selection and therefore 

 of the personal equation. 



