CORNELL

(d)CHAPTER VIsome other scalesIn the revival of the modal scales and the invention of the" tonal series " we see an endeavour to escape the thraldomDesire ^^ *^^ major and minor scales by the adoption oftomodify widely diverse systems. As we have seen, even theNotes.Qj^er composers show evidences from time to timeof this feeling of scale efPeteness, especially with the majorm.ode. Both Bach and Beethoven, as well as Schubert, showa great liking for the minor sixth in the major scale. Suchpassages as the following cannot be accounted for merely aschromatic chords, since no attempt is made to remove theimpression of the modified note. A dalliance between themajor and minor modes is characteristic of many of Bach'scadences, and he frequently approaches his minor cadencesthrough the major sixth, as in Example 132.Ex.131..'targo..J,S. BACH.St. Matthew Passion, N? 70.Ex.132.S. BACH.J."Das Wohltemperierte Klavier!'