note, or Tonic, and this tone, together with the tones which make up its chord (whether major or minor), invariably predominates overwhelmingly; (2) Whenever by-tones are employed, they invariably belong to the chords which stand in the nearest relation to the Tonic.
I do not care at present to go into any speculations as to why this is so. No matter now what may be the influence of sonant rhythm; what may be the relations of the psychical, physiological, and physical elements; how sound is related to music; how men come to the conception of a minor Tonic when only the major chord is given in the physical constitution of tone. All these questions I wish to waive at this time and only to insist on this one fact, viz.: That, so far as these Navaho songs are concerned, the line of least resistance is always a harmonic line. If we find the same true of all other folk-melodies, I can see no possible escape from the conclusion that harmonic perception is the formative principle in folk-melody. This perception may be sub-conscious, if you please; the savage never heard a chord sung or played as a simultaneous combination of tones in his life; he has no notion whatever of the harmonic relations of tones. But it is not an accident that he sings, or shouts, or howls, straight along the line of a chord, and never departs from it except now and then to touch on some of the nearest related chord-tones, using them mainly as passing-tones to fill up the gap between the tones of his Tonic chord. Such things do not happen by accident, but by law.
That these Navahoes do precisely this thing, no listener can doubt who knows a chord when he hears it. But the same thing is true of all the folk-music I have ever studied. Hundreds of Omaha, Kwakiutl, Otoe, Pawnee, Sioux, Winnebago, Iroquois, Mexican Indian, Zuñi, Australian, African, Malay, Chinese, Japanese, Hindoo, Arab, Turkish, and European folk-songs which I have carefully studied, taking down many of them from the lips of the native singers, all tell the same story. They are all built on simple harmonic lines, all imply harmony, are all equally intelligible to peoples the most diverse in race, and consequently owe their origin and shaping to the same underlying formative principles.
Mr. Wallascheck has called attention to the fact that the rhythmic impulse precedes the musical tones, and also to the part played by sonant rhythm in setting tone-production going. The rhythmic impulse is doubtless the fundamental one in the origination of music. But when the tone-production, is once started by the rhythmic impulse, it takes a direction in accordance with the laws of harmonic perception. I was long ago forced to this conclusion in my study of, the Omaha music; and these Navaho songs furnish the most striking corroboration of it. How else can we possibly account for the fact that so many of these songs contain absolutely nothing but chord tones? How can we escape the conclusion that the line of least resistance is a harmonic line? Is it not plain that, in the light of this principle, every phenomenon of folk-music becomes clear and intelligible? Is there any other hypothesis which will account for the most striking characteristics of folk-music? Every student must answer these questions for himself. But I, for, my part, am wholly unable to resist the conviction that the harmonic sense is the shaping, formative principle in folk-melody.
[In the numbers of The Land of Sunshine (Los Angeles, Cal.), for October and November, 1896, under the title of "Songs of the Navajos," the poetry and music of this tribe have already been discussed by Professor Fillmore and the author. All the music which follows (see pp. 258, 279-290), except that of the "Dove Song," was written by Professor Fillmore.]
