composed of an infinite variety of tone-forms, now sharply contrasted,
now gradually blending into one another, all logically connected, all
tending to form a perfect whole. The profusion of harmonic, melodic,
dynamic and rhythmic changes it brings forth invests it with a meaning
far beyond that of words, a musical meaning. Every masterpiece of music
clothes in tonal form some idea which originated in the composer's mind.
To the interpreter it is given to invest it with living sound.

Chords and chord combinations all have their individual characteristics.
Some cause satisfaction, for instance, others unrest. When a chord of
the dominant seventh is heard, the educated musician knows that a
solution is demanded. The unspoiled ear and taste instinctively feel
something unfinished, and are disturbed if it be not followed by a
return to the key chord. Where the faculties are dormant or petrified,
its significance will be unobserved.

The story is told of a young lady whose musical education had been
utterly hollow and false, but who, having been overwhelmed with flattery
for her voice and her singing, was deluded into a belief that she was
destined to shine as a star on the operatic stage. She consulted the
famous basso, Karl Formes, who good-naturedly had her sing for him. He
perceived at once that she possessed neither striking talent nor
adequate training.

As a supreme test he struck on the piano a chord of the dominant
seventh, and asked the young aspirant for dramatic glory what she
thought it meant. Presuming it to be incumbent upon a prospective prima
donna to have uppermost in her mind the grand passion, she replied, in a
sentimental tone, "Love!" Promptly Karl Formes sounded the solution to
the chord. "There is your answer," quoth he. "I ask a question, and it