CORNELL

IMPRESSIONISTIC METHODS 129Ex.287.Andante. (J =54.) J.BONNET, Moment Musical, Op.lO, N04.Ex.288.Sehr ruhig.STRAUSS,"Don Quixote"The construction in the following is also a case in point,belonging rather to the ultra-modern system of polytony,treated in Chapter XI., than to Impressionistic succession.*Ex, 289_5LALBENIZ,"Fete-Dieu a Seville'.'r\--* The reader will have seen an important difference in the twoclasses of reproduction, the diatonic and the real. It is interestingto notice that, speaking broadly, we may associate Impressionisticdevelopment on the real lines with the French school, whilstmodern German and Russian schools have shown a preference forthe diatonic lines. It is significant that the "real" method isused chiefly by those composers, like Debussy, who follow thenatural fundamental series of harmonics for the formation oftheir chords ; whilst the less exact method is adopted morefrequently by composers who build their harmony empirically