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More as 2 millennium ago the notion of harmony was introduced in music together with many other important notions by Aristoxenos. By it he is author of most important observation that singing, that is reproduction of melody, differs from speech by that by singing its pitch alters not continuously but steppedly with temporal stops. Further he wrote that these pitches are retained by memory. Obviously this memorization fulfills very important function, which may be understand on basis of contemporary knowledges. As we know music tone includes root partial and harmonics which ratios to root frequency correspond natural row of numbers. Therefore the brain memorize not only pitch but row of pitches. If there are some perceptible coincidences of corresponding frequencies or small frequency differences between 2 tones with different pitches then switching melody from one pitch to another one is felt as smooth. But in practice, especially by primitive technologies the overlapping of melody tones and hence arising of unpleasant dissonances is possible. From the other hand if we build vertical structure with these 2 notes or more notes then such dissonances are all the more possible. Therefore there is situation when sets of valid intervals in chords and melody ( its single notes without accompaniment) are similar. . Obviously chords as totality of simultaneous tones must include melody tones too and if we consider music segments which correspond chords of chord progressions (ChP) then turn out that they may be considered as sets of melody notes and ChP as sets' progressions ( SP ). If these sets would be chosen from music scale so that may form most euphonious chords then emerge jut major and minor triads in close positions. Each such set forms melody framework which may be still supplied with passing notes. The chords as simultaneous tones is auxiliary means and can influence on important music sensations such as smoothness , dissonances and fundamental frequency. This point of view is natural as namely melody is inherent and main component of music. On the contrary chords and accordingly CP is simply good for certain history period method which in principle ( not always and often at big price by harmonization work) . Unnaturalness of chords' priority over melody in established music theory led to appearance in it far fetched things as consideration of successive single notes as chords. The result is that, for example cadences are considered via primitive chord diagrams which don't reflect music practice enough. Besides means to provide tension and relaxation are ascribed to harmony, that is chords. I like to think that good melody itself must create conditions for control over majority of their changes. By analysis of course melody notes in different types of cadences and in different devices for control over tensions one can see that melody in this cases have corresponding peculiarities, as repetitions, pauses, changes of temp, leaps, leading notes, syncopation. From the other hand, some means which work thank to dissonances and therefore generally ascribed to harmony as appoggiatura, anticipation, retardation, suspension demand in the same time definite courses of melody notes. I suppose that would be answers with objections and then I try to defend my point of view by more detailed consideration. Greetings Yuri Vilenkin