The blossoming of tonality and the establishment of well temperament in Bach's time both had a continuing influence up to the late romantic period, and the tendencies towards quartal harmony were somewhat suppressed. An increasingly refined cadence, and triadic harmony defined the musical work of this era. Counterpoint was simplified to favour an upper line with a clear accompanying harmony. Still, there are many examples of dense counterpoint utilizing fourths in this style, commonly as part of the background urging the harmonic expression in a passage along to a climax. Mozart in his so-called "Dissonance Quartet" KV 465 ([//upload.wikimedia.org/wikipedia/commons/a/ab/Mozart_KV_465_1_Quarten_for_wikipedia.mid Listen]) used chromatic and whole tone scales to outline fourths, and the subject of the fugue in the third movement of Beethoven's "Piano sonata op. 110" ([//upload.wikimedia.org/wikipedia/commons/8/84/Beethoven_110_4_Quarten_for_wikipedia.mid Listen]) opens with three ascending fourths. These are all melodic examples, however, and the underlying harmony is built on thirds.