is not too much to draw from this incident the conclusion that a chord which can get a man out of bed in the morning to resolve it must pretty potently suggest resolution. Dissonant chords, in fact, are anything but inert elements in the chemistry of harmonic composition. They have strong affinities and combine powerfully. Yet César Franck is inclined either to ignore these tendencies or to shift them into unexpected and circuitous channels. The dissonant chords, though they occur often in his work, seldom take their normal course. They are led into new dissonances, diverted to alien keys, subjected to ingenious modifications, and in all ways wrested from the realm of the obvious. Towards the end of the Introduction to the first movement of the String Quartet, for instance, the student will find dominant sevenths most interestingly unfaithful to their family tradition, and effecting modulation through distant keys. Similar treatment will be found on almost any page in this Quartet, in the Quintet, the Symphony, and the piano works. Thus, Franck not only goes counter to the less determinate harmonic types in which both chords are consonant, but he loves to disappoint our expectations when they are strongly established by dissonances. Nothing is more characteristic of him than the formal indefiniteness of his harmony. Full as it is of delicious and unwonted beauties, it lacks accurate organization, clarity and solidity of chord sequence. It is a web of shifting tones, without obvious interrelationship and inevitable progression.