286 THE NATURE OF MUSIC 



principles of music are inherent in and assert them- 

 selves in a melody. This cannot be aflSrmed of a 

 given bass except when the melody is presented in the 

 bass. Thus guided through melody to a clear per- 

 ception of the operation of these rhythmo-harmonic 

 principles, the student is prepared to appreciate that 

 rules apply to specific cases and not to all cases. 



Teachers will find no difficulty in preparing work- 

 ing-material for students in the form of given melodies 

 in which the usual chord-material is progressively 

 introduced. Besides presenting melodies with and 

 without harmonic numbers it will be found useful to 

 require students to conceive a few melodies of their 

 own which shall embody the material of each lesson. 

 It is also suggested that the work should introduce 

 a greater variety of rhythmic forms than is usual. 

 Exercises in the earlier stages should include the two 

 forms of dual subrhythm or measure, light — heavy, 

 heavy — light and the three forms of triple subrhythm 

 or measure, light — light — heavy, light — heavy — light, 

 heavy — light — light. In later stages, compound and 

 even mixed subrhythms should be introduced. In 

 preceding chapters I explained the original and in- 

 separable correlations of rhythm (form and relation 

 in time) and harmony (form and relation in space) of 

 rhythmic accents and harmonic forms. These corre- 

 lations obtain in selective harmony as well as in self- 

 reported harmony, and it follows that the study of 

 rhythm is as essential as that of harmony. A series 

 of harmonies occupies a series of rhythm-periods ; the 

 former cannot be understood apart from the latter. 

 Its rhythm is the foundation of a music-concept or 



