Abstract
The Central Dialect of Heian Japanese exhibits three tonal melodies and one fall in pitch accent, if any. The fall mark accent should not be treated as part of a tonal melody. They are both specified in the underlying lexical items, but are mutually independent. It is argued that a downstep existed in this dialect from an autosegmental perspective. Some revisions are made in treating the tone of the imperfective participle ending ru and the ku-nominalization. The imperative yo and the vocative yo are shown to be tonally distinct and to be two different morphemes. The tone of the perfective ari and the copula nari, and the behavior of the third tonal melody are also dealt with.
