CHORDS IN THE LIGHT OF THEIR ORIGIN 287 



melody. A familiar melody is recognized when its 

 rhythm is tapped by the fingers. Melody is intoned 

 rhythm. Change its rhythm and you produce an- 

 other, a different melody out of the same series of 

 tones. It is unscientific and untrue to speak of such 

 a changed melody as the same melody in another 

 rhythm. In forming his concept of a melody let the 

 student begin at the bottom by exaggerating the em- 

 phasis of its rhythm. Then let him intone the rhythm. 

 The exaggerated emphasis will then plainly report the 

 concomitant harmonies in his mind and guide him to 

 a satisfactory result in his selective harmonization of 

 the melody. 



There are other advantages of exercises in given 

 melody which do not exist in those of the given bass. I 

 will stop here to point out only one. It is this. Given 

 melodies may be presented in every voice, not only in 

 the soprano, but in the bass, tenor and alto as well. 

 In all these voices the student will comprehend the 

 melody equally well, and such exercises in each of the 

 four voices may be presented from the start. It may 

 be objected that such exercises will infringe upon the 

 exclusive and erudite domain of simple counterpoint. 

 Yes, but why not.^ After all, is that domain either 

 so exclusive or so erudite as tradition would have it 

 appear ? In all forms of counterpoint does not each 

 tone in each voice report a root or third or fifth or 

 seventh or ninth, a consonance or a dissonance ? After 

 all is said of the basic importance of its rhythm, is not 

 all counterpoint a question of harmony, of regnant 

 harmony and byharmony, of regnant tone and by- 

 tone ? The study of counterpoint as an evolutionary 



