[45] Cours, Book I, pp. 126 and 132; Book II, Part I, p. 245.
[46] Cours, Book II, Part I, pp. 454, 452.
[47] Cours, II, I, 165.
[48] Compare, also, the theme of the Piano Sonata, in E minor, beginning with the note B, with the same theme altered, "Mutatum," in E major, beginning with G sharp.
[49] See for instance the "Poème des Montagnes," opus 15, for piano, and the Symphony on a Mountain Theme, opus 25, for piano and orchestra.
[50] Note the progress from the dark key of C minor to the bright B major in "Dawn," reversed in "Evening," as another instance of the expressive use of modulation.
[51] The references are to the pocket edition of the score, published by Durand.
[52] Cours de composition musicale, Book II, Part I, pp. 241-242.
[53] "Le Bon Sens," Revue Musicale, S. I. M., November, 1912.
[54] Cours, Book I, Part II, pp. 406, 411, 419.