of the most fascinating of studies; for it shows us how the simplest song is organic like a crystal, a flower, or an animal. It is neither possible nor desirable to lay down here any rigid rules as to the metrical or harmonic relationships between the phrases. Generally, the metrical balance is fairly simple; a two-measure phrase is usually answered by another of the same length; two such phrases are often answered by a single four-measure phrase. But sometimes four measures are answered by two; and not infrequently three-or five-measure phrases appear unexpectedly but with quite satisfactory effect. The sense of balance must be given--that is all we can say: just how it shall be given will depend, as Mr. Weller would say, “on the taste and fancy of the composer.” As for the harmonic relationships, endless variety is possible. Yet we may here point out certain general principles. Every phrase, as we have seen, ends with some sort of a cadence, strong or weak according to the harshness of the dissonance it contains and the nearness of its final chord to the tonal centre, or key-note, of the piece. Now, as the salient tones of any key are its tonic and its dominant, the most obvious and natural course for the composer is to embody these in the successive phrases; and as the tonic conveys the impression of finality it is natural to use that last. A glance at Figure XII will show that Bach makes his antecedent phrase, in the first instance, end with a tonic chord, but a weak one; in the second instance, with a dominant. In both cases the consequent phrase ends with a strong tonic. Thus the harmonic as well as the metrical relations produce the effect of expectation and fulfilment, of antithesis between a transitive and a final impression. This is the general principle of all harmonic structure. The final impression is given by a strong tonic chord; the mediate impression, arousing the sense of anticipation, is given by some weaker and contrasting harmony, in the vast majority of cases the dominant chord. A full sense of the inexhaustible capabilities of this sort of harmonic structure can be gained only by a careful analysis of many pieces such as the movements of Bach’s suites. To this the reader is recommended.