CORNELL

60 MODERN HARMONYIt is the Impressionist exploitation of the system whichhas wrongly associated the origin of " tonal " ideas with theIts Use by Eaodern French school. It was other than imprestheImpres- sionistic devices which first evolved the " tonalsionists.scales. " Tonal " chords appear in Mozart, and moremodern things may be found in Bach. The modem Russianswere far ahead of the French in the fields of harmonicenterprise and initiative. The "tonal" idea can be used toany extent harmonically without the basis of the so-calledscale. These "tonal" chords seem to have sprung quitenaturally from experimental variations of the Donunantsevenths and ninths, and from so-called falsely written minorthirteenths.Ex.124.STRAUSS,"Ein Heldenleben."Langsam.EX.12S.FARJEON,"Three ComeredKingdom." Op. 30.The mental attitude doubtless counts for much in thismatter, but the fanciful "generator" and "false notation"theory totters over when confronted by such a passage asthe following