upon partial identity is what we should expect from our previous study of harmony in general. [Footnote: See page 87.] The second of the tonal relations upon which melody depends is contrast. First, there is the contrast between the high and the low; even when notes are harmonically related, as a note and its fifth, they are in contrast, in so far as the one is measurably higher and more distant than the other. Of equal importance is the rivalry between the fundamental tones in the leading harmonic chords; for example, the rivalry between the tonic and the dominant. For each of these claims to be the center of the melodic progression, and draws to itself all the tones which belong to its chord. Dissonance is a cause of rivalry; for a dissonant tone is one that will not fit into a given harmony; yet since it is still a part of the melody, must have its home somewhere, and belongs therefore in another harmony, which, through this tone, is set up in rivalry with the prevailing one. A tone that did not belong to any harmony would not be a dissonance, but a discord,--a tone without meaning musically. Dissonances, like other contrasts, enrich the melody by establishing rival harmonies; discords destroy melodies. Just as the drama has little significance without conflict, so melodies are uninteresting without dissonances. Were it not for the third of the tonal relations, melodies would lack unity and system and go to pieces under the stress of rival forces. This third relation may be call finality; [Footnote: The explanation of this is obscure; there is no unanimity among the specialists in musical theory.] it belongs among relations we have called evolutionary. By it is meant the fact that certain tones demand and naturally lead into other tones, in which they seem to find their completion or fulfillment. For example, the tones of a chord demand the fundamental tone of the chord; dissonances must be "resolved,"--must be followed by other tones of their own harmony; the diatonic tones over and above the tonic--the "upleader" and "downleader"--naturally lead into the tonic; and all the tones demand, either immediately or through the mediation of other tones, the tonic of the scale to which they belong. This principle of finality, which, in the classic music, is the basis of what is called "tonality," by establishing the tonic as the center of reference and point of completion of all tones, gives to melody its dramatic unity. Through it, by creating the tonic chord as fundamental, the rivalry between the tonic, dominant, and subdominant is overcome, and all dissonances finally resolved into unity. Definite scales and tonal laws and schemes of composition are of the utmost importance for musical composition; there are, of course, many of these besides the classical, and they are all partly conventional; but that does not matter so long as, by being well known, they enable the melody to move