ORIGIN AND NATURE OF MINOR 235 



nal tones and the original harmonic percepts ; in poly- 

 phony and chorded music these tones and percepts 

 have been combined in well-nigh every conceivable 

 way. 



In parallel examples I next present the major and 

 minor subtonic-seventh-chords. Each of these chords 

 is composed of the four cadence-tones of the mode in 

 which it arose. At a) the chords present double 

 cadences, that is, simultaneously rising and falling 

 cadences. At b) and c) the cadence-tones are sep- 

 arated and the cadences become single, that is, at b) 

 they rise, at c) they fall. 



Major 



Minor 



T=^^ — ■ ^ :? ■ y 



i^ 



At b) the bond-tones sol in major and mi in minor 

 combine with the two rising cadence-tones thus form- 

 ing the major and minor dominant-triads. At c) the 

 bond-tones do in major and la in minor combine with 

 the two falling cadence-tones thus forming the major 

 and minor subdominant-triads. The resolutions at 

 b) present the authentic ending, at c) the plagal 

 ending. The next example illustrates these single 

 cadences and two endings in pure diatonic minor, 

 all the triads being minor and composed of dia- 

 tonics. 



