POST-WAGNERIAN HARMONY The line of evolution traced thus far has, evidently, no a priori limits, though it has principles. Any new system is destined either to starve for lack of nourishment from the main sources of music or become absorbed in them. Systems derived from equal tern perament are crude fallacies. The whole-tone scale which readily arises on the pianoforte, e.g., C,D,E,F # • (=Gb, Ab, Bb, C), amused Debussy during a few dozen songs and short pieces, and played a much less predominant part in his Pelleas et Melisande than is generally supposed. It is really no more a whole-tone scale than the diminished 7th is a major 6th bounding a series of minor 3rds. Sir Walford Davies points out that this scale is a six-note chord projected into a single octave and capable, like the dimin ished 7th, of an enharmonic turn to each of its notes. Here is one of several possible ways of showing the six resolutions of this scale: in just intonation. To find the composer of the Gurrelieder fathering such theories is as disconcerting as to discover Einstein telling fortunes in Bond street.