CORNELL

54 MODERN HARMONYof a major third without affecting the nature of the chord in.any way.Ex.104./. ,\I^The curious "mirroring" or "reflection" by the reversedownward structure is the natural result of the "equal"system, and accounts both for its characteristic success invery definite harmonic colouring and also for its limitations.Ex. 105.'^%W-)\The scale seems to have gradually evolved from this andsimilar "tonal" chords, probably in the attempt to securepassing notes. It cannot give more than two series of differentsounds [(a) and (6)], although they may be variously " noted."The series at (c) coincides with the one at (a), and so on.Hence its limited possibilities for melodic purposes.Ex. 106.a)iliJJi Ju^i -^irlUJJ^-'rV lUJiiJt^pLimitationsof Reproauction.The same limitations apply to any given combination in^^^^ scale. In reality only two triads and theirinversions can be used in either of these two scales,Qj. ^g j^g^y, go^gijjej. the possible triads as six withoutinversions.Ex.107.a)14 hiiiy-4#§-i iyi I1st Inv.of(»)1st inv.of(b)'-^^2nd Inv.of (a)l^^^ i2nd inv.of(b)For theoretical purposes it is therefore convenient tothink of two series of " tonal " sounds only—one starting fromC natural, the other from C sharp.