n, Chopin, Wagner, Debussy and
Franck will amply testify.[148] The same analogy holds equally in all
realms of life, human and physical. The truest development of
character depends on the warring elements of good and evil. Honest
discontent is the first step to progress. Dissonance is the yeast of
music and should be welcomed for its invigorating influence.

[Footnote 147: A frequent confusion of thought is shown in the use of
the words "discord" and "dissonance." A discord is an unrelated noise,
as when one bangs with both fists on the key-board. A dissonance is a
logical introduction of intervals or chords made up of jarring factors
for their stimulating effect upon the imagination.]

[Footnote 148: Two of the greatest innovators in this direction,
Scryabin and Stravinsky, have been working in our own day, and there
is no doubt that by their daring experiments they have enlarged the
expressive powers of music. While it is obvious that the dramatic
effect of to-day stimulates the experimentation of tomorrow,
contrariwise, the immediate contribution of each innovator is to
render more clear the work of his predecessor, up to that moment the
confessed iconoclast.]

The third movement, Minuetto, may be taken as a reply to Haydn's
well-known wish "Oh! that some one would write us a new Minuet." Well,
here it is--with all the grace and charm of the 18th century type and
yet with more import, especially in the Coda with its haunting
retrospect. The rhythmic formation of the opening sentence would be
clearer if two measures had been thrown into _one_, for the swing is
clearly that of a 6/4 measure. The Trio, with its Scarlatti-like
crossing of the hands, is a playful bit of badinage, affording a
delightful contrast to the Minuetto. Such genuine variety in mood
makes the Three-part Form of lasting worth.

The Finale, Allegro, with its capricious fortissimo outbursts and
unexpected sforzandos is a characteristic example of Beethoven's
freedom of utterance. Any cast-iron conception of form was entirely
foreign to his nature; instead, he made form the servant of the freest
flights of fancy. The movement begins as if it were to be worked out
in the so-called Rondo Sonata-form--a hybrid, tripartite structure
related to the Sonata-form in that it has _two_ themes in the first
and last portions, and to the Rondo in that the middle portion is a
free Episode instead of the customary development of former material.
The salient feat