BEFORE CONSIDERING the problem of expanded pitch resources in contemporary composition of music, I shall contrast two different traditions for the realization of precise pitch relations in performance. The first tradition may be represented by the practice of Gregorian chant.1 In plainchant the melody is unaccompanied, or monophonic. Thus the relations of melodic tones to each other are the only intervals used. The perfect fifth and perfect fourth and the interval of difference between them, the major second, are the basis of pitch choice. The particular distribution of the seconds within the melodic distances of fifths and fourths, and the choice of cadence points, determine the "mode" of the music. All major seconds are always the same size,2 as are all minor seconds, since these are the remainder intervals when the largest possible whole number of major seconds subdivides either a perfect fifth or a perfect fourth. All other intervals are likewise fixed in size, but are much more difficult to sing in tune. A contrasting type of pitch usage is illustrated in East Indian monophonic musical practice.A This monophony "opposes" a line of fluctuating pitch against a fixed pitch, or drone. A specific emotional expression is achieved by means of a particular set of intervals measured against the drone. The "harmonic" relation of melodic pitches to the drone is primary to this expression, whereas the intervallic relations between melodic tones are less important. Possible relations to the drone are classified as consonant,4 dissonant, and out-of-tune; i.e.