Professional Documents
Culture Documents
THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA
LOS ANGELES
GIFT OF
The Estate of
Fannie Charles Dillon
MODERN HARMONY
MODERN HARMONY
ITS
BY
A.
EAGLEFIELD HULL
Mus.Doc. (OxoN.)
FOURTH IMPRESSION
c rmer Music St
ores,
?In WURUTZER
u
814
S0
inc.
BROADWAY
LOS ANGELES
The relation of
qitantities is
tfie
PLATO
Printed in England
by
AUGENER
LTD.,
W.
4.
PREFATORY NOTE
THE
Riemann theorized
up to the art
of their day, the harmony books written since then have
avowedly been founded largely on their predecessors. During
right
have taken
place,
In order to
book to
make
fill
It is
the aim
Terms
may like
to try his
in
I.
In
all
eases
where
possible, the
reader should play over these passages (or better still, have
them played to him), and not be satisfied with hearing them
mentally.
ACKNOWLEDGMENTS
THE
from
their
Hammond and
JR.
Forberg,
Harmonie
(Berlin), P. Jurgenson, Fr. Kistner, Lauterbach and Kuhn,
Laudy and Co., A. Leduc, A. Lengnick and Co., F. E. C. Leuckart
E. Fromont, J. Hamelle, A.
and
Co.,
Co.,
Co.,
Vll
CONTENTS
CHAPTER
INTRODUCTORY
First glance at modern music Method in modernity No
separation, but legitimate growth Numberless predictions in the older works Some faults in present harmonic
systems The inadequacies of notation The four widest
divergencies of the later tendencies The thought and
its expression
Greater elasticity General advice to the
student
...
...
CHAPTER
II
CHAPTER
SCALES
(A)
III
MODAL INFLUENCES
------.-24
CONTENTS
CHAPTER IV
(B)
The
TONAL CENTRE
Equality Comparison with the diagenus Major thirds and sixths in succession
The enlarged possibilities of harmonic colour The abandonment of the old Dominant Some substitutions New
chords The " tonal" scale included in the dodecuple.
No TONAL CENTRE Temporary suspension of Tonic
Abolishment of key-signatures Eric Satie and Schonberg Absolute pitch
tonic
33
CHAPTER V
(c)
(n)
The
53
64
CONTENTS
CHAPTER
xi
VII
CHAPTER
78
VIII
Empiric
Beethoven's compre-
-90
CHAPTER IX
RESOLUTIONS, ELISIONS,
AND CADENCES
CHAPTER X
IMPRESSIONISTIC METHODS
Definition of Impressionism Technique The chief harmonic
device On consecutive fifths The emotional powers of
the open fifth Its infinitude Its diablerie Its scintillance in the higher registers Common chords in similar
105
CONTENTS
xii
PAG
"
Six-threes
motion Equal and unequal chords
Second inversions Chords of the seventh Analysis of
diminished sevenths Chord progression Chords of the
ninth in succession Its inversions Other chords Some
exceptions Absorption of Impressionistic methods into
modern technique The art of Maurice Ravel
'
'
114
CHAPTER XI
HORIZONTAL METHODS
On
Independent melodic
lines
The aural process Lines and streams Two or more harmonic streams Combined tonalities New chords derived
horizontally The "mirroring" device Relative aural
focussing Pedal chords Pedal figures
Polytony
CHAPTER
131
XII
differing views
Realism
uous
outlines
common chords
chords
CHAPTER
154
XIII
MODERN MELODY
Difficulty of melodic analysis
The
characteristics of inter-
melody
163
CHAPTER XIV
MODERN RHYTHM
The vagueness
170
CONTENTS
xiii
CHAPTER XV
MODERN FORM
PAQK
Pastels
181
CHAPTER XVI
CONCLUSION
Composition cannot be taught Technique can and must be
learnt All styles should be practised The purpose of
the Exercises The perception of style The fallacy of
Realism A consideration of Impressionism The enormous
influence of tone-colour on harmony Pianoforte versus
orchestra The right choice and vise of medium On scale
"
Works
and magnitude Economy of means On " Mass
on smaller scales Peroration
-----
PRACTICAL EXERCISES
BASSES
MELODIES
FIGURES AND CHORDS MUSICAL FORM
ORCHESTRATION
APPENDIX
(i.)
(II.)
(in.)
(iv.)
(v.)
APPENDIX
I.
II.
200
200
205
207
210
211
-
.......
GENERAL INDEX
191
212
220
227
MODERN HARMONY:
ITS
INTRODUCTORY
THE
MODERN HARMONY
whatever we please to call them are well founded
on the rock-bed principles from which all the many secondary
laws of art are drawn.
It is the greatest possible mistake to view these modern
schools as things separate from the art of the past. Indeed,
most of the new traits are legitimate growths out of the art
technique of the acknowledged great masters.* Moreover, it
does seem as if there were nothing new under the sun. Just
schools, or
century.
p,
byMACHAULX
J
.J
bethan
may
be found in Purcell
and
twelve-iiote-scale wrestlings in
"
"
pieces for the virginals by John Bull.
(1658-1695),
the Eliza-
quiver . ing
with
cold
* I have
carefully refrained throughout this book from using
the term "classical," as commonly applied to Palestriua, Bach.
Beethoven, and all the other great ones, as, with the late
Mr. Coleridge-Taylor, I deem it unfair to the composers of the
In a comparatively new art like music, future
present age.
generations may well call Parry, Stanford, Mackenzie, Elgar,
Debussy, Schonberg and others, "classical."
INTRODUCTORY
JOHN BULL (1583- 162SX
EJL8.
pp Mo.ther
of kings to
be!
"
" twelve-note
scale may be
suggestions of the
found in the violin concertos of Vivaldi and the clavier fantasias and fugues of J. S. Bach, whilst its use as a vague
tonality in the introduction to a more diatonic theme by
Mozart in his well-known C major Quartet, finds its echo in
the recent Kammer-Sinfonie of Schonberg (see Chapter XV.).
All music is impressionistic in aim, but amongst the first pieces
of Impressionist technique are surely the shake in Beethoven's
E minor Sonata (final movement) given on p. 4, and the
"
"
ending of the first movement of Les Adieux Sonata given
The
on
first
p. 131.
MODERN HARMONY
fourths favoured by Debussy, Schonberg and Ravel, in Scriachord of two unequal fourths, and in Strauss's " tonal "
combinations.
bine's
Ex.6.
BEETHOVEN,
Pf.
Sonata
27. Op.9(X
INTRODUCTORY
chord,
in this
light.
(a)
(6)
The
(d)
"
(c)
"
chromatic" scale
(see
Chapter
IV.).
The " tonal " scale with its equal steps (see Chapter V.).
The greater musical intelligence constantly demanded
from the hearer by altered and added notes in
chords (Chapter VII.), and by the growing practice
of the elision of all unnecessary steps and chords
(SPG
Chapter
IX.).
MODERN HARMONY
The perception of sincerity and obvious purpose and
will
readily atone for much in the way of less regular
design
sequences, persistence in uncustomary procedures, waving
music.
"
The spirit rather than the letter,"
aside of preparations, etc.
and "Broad principles before the secondary laws founded
on them," seem to be the watchwords of the musical Progressivists. Style and finish are but as the sheath which
covers the sword, and there are times when the weapon has
to be carried unsheathed.
No one would demur at the special effects of the fifths in
the following
Ex.6.
Tempo
DVORAK, Waltz
giusto.
in Db,
nyf Kr
r
Hi
dim,
pp\
^ ^
P
1
|j
{,
j
]
i*
INTRODUCTORY
to
CHAPTER
II
when everything
is
crucible
and
SCHUMANN "Faschingsschwank."
Ex.7.
Finale,Op.26.
A.SOMERVELL,
Shepherd's Cradle Song!*
Andante.
.(Voice)
a)
Moreover, certain
fifths scorn to
b)
c)
qualities,
very instructive.
Ex.9
GRIEG,
Ballade in
minor.
Andante esprassivo.
\
MAC-DOWELL,
Ex
10
A.t
'
Semplice.
;j
f
(Pf.)
PP
MODERN HARMONY
10
CHOPIN,
Meno mosso^
Ex.11.
Polonaise.
Example
14.
KARG-ELERT,"Naher mein
Ex.12.
Gott"
J.
Sw. Stlicicnal
Ex.ia.
Largamente.
yx
4t
ro
ses
11
GROVLEZ,"Petites Litanies"
Almanach aux Images!'
f rom" L'
Ex.14.
cor da
"
BEETHOVEN,
Les Adieux' Sonata.
MODERN HARMONY
Ex.17.
BACH, Choral:
Tempo
giusto.
a
(Voicet)
r r
rr
xi J
a)
*;
c)
rf)
BACH,
Allegro moderate.
e)
f)
Choral-Prelude:
"Christ
ist
erstanden!
i
r
BACH,
Adagio.
Men
te
cor
Magnificat
dis
Second inversions
scale in the
Ex. 20.
S.
BACH.
Prelude in G.
IS
Ex.21.
COLERIDGE -TAYLOR,
Ex.22.
"A Tale
Andantino.
Why
Allegro con brio.
she
wept
of old Japan'.'
r^
said
Fen
ko
BEETHOVEN," Waldstein"
(Scheme)
Sonata, Op. 51
MODERN HARMONY
Ex.24.
Vjvacissiraa
PARRY, Symphony
(OrchJ
Ex.25.
^
Lnto.
jt"4't
J. F.
BRIDGE,
^
in
minor.
15
CESAR FRANC K,
Ex. *.
A 1WTeUo K-.
moderato.
ben moderate.
Allegretto
Violin Sonata.
Tonal
(a) it is
(6)
This principle will be seen more widely developed in Chapter IV. on the duodecuple (or twelve-note) scale.
In view of these newer chords, it seems idle to call such
a chord as the one in the Pitt example, for instance, a
"dominant thirteenth, with B flat as root"; it is
Sirnplification of
simply a chord of the seventh on the Subdominant
Theory.
wifch a cnroma t Vally altered third. The Elgar
example shows a major common chord with a seventh t on the
Leading-note the Jensen, a minor seventh chord with major
third on the Subdominant, whilst the Strauss extract gives a
major chord on the raised Subdominant. It would be easy to
T
* See
Reger,
i
"Supplement
Second Inversion.
to the
Theory of Modulation,"
MODERN HARMONY
16
Andante.
PERCY
PITT,
Come Solemn
PP
Night'.'
r\
i
Come
so
8-
lemn
night
3E
ra//.
Ex.30.
ELGAR/'Apostles'*
Andante.
te
t>P
lap
^ hh
JENSEN," Rest comes
Ex.31.
dream
ing
Dream
ing
at
kiss'd
by
the
night,
kiss'd
by
the
night.
Ex.32.
Massig langsam.
STRAUSS, Bin
(Orch.)
eve','
Op.28,N96.
kiss'd
Heldenleben.
WALFORD-DAVIES,
"
Lento espressivo.
(Orch.)
vli
Ev eryman'.'
pp
''
'
r
VAUGHAN-WILLIAMS,"A Sea
Ex.34.
Ex.35.
Scherzoso. (J
17
129)
Ex.3.
Largo.
(Orch.)
SCRIABIN,
Symphony!'
Prelude, Op.38,N9 3
MODERN HARMONY
18
Ex.37.
Lento.
,SjL
..^
The case of (6) will be clearer still when the ninth is prepared, thus appearing as a pedal note. In all cases, so long
as the ninth is satisfactorily resolved, the other notes are
comparatively free.
MAC-DOWELL.
With sentiment
p3
"Thy beaming
eyes?
MODERN HARMONY
w
A. HALM,"Harmonvelehrebuch
Ex.42,
bs.
hft-
BEETHOVEN.
Largo e mesto.
'
fc
B flat is
principle
is
Lento.
/.
|L
SI
RUBINSTEIN,
"Pres
les
Ruisseaux"
MODERN HARMONY
Ex. 47.
Allegro espressivo.
REGER, String
Quartet.Op.121.
Ex.48.
Nicht zu rasch.
SCHONBERG,
23
GREATER FREEDOM ON THE OLD LINES
"
beauties of enharmony." How is one to reconcile the two
views ? Further, " We have come to the day," says a prominent essayist, " when the orchestra, and not the harpsichord
or pianoforte, will be the basis of music when a conglomeration of instruments, mostly of unfixed tone, will take the
place in the mind of those of very fixed tone. The large
proportion of instruments of unfixed tone in the orchestra
enables all kinds of harmony effects to be brought off which
sound harsh and disagreeable on the piano." Would Richard
Strauss, with his wonderful enharmonic treatments, endorse
this? Scriabine might in theory, but in pt^actice he uses
F sharp and G flat promiscuously.
Is music, then, condemned to be suspended ever between
the two opposing temperaments, or will the "duodecuple"
scale decide once for all in favour of the equal division of the
octave in theory as well as in practice ?
;
CHAPTER
SCALES
IT
is
(A)
III
MODAL INFLUENCES
doubtful
if
definite scale.
The Three-
folo Basi*
Music.
charm
(a)
(b)
(c)
We
SCALES
(A)
MODAL INFLUENCES
9.5
MACKENZIE,"The
Bride !
Ex.50.
(\}L
^3=1
MODERN HARMONY
36
Ex.61.
PLAGAL MODES.
AUTHENTIC MODES.
Dorian.
Hypo-Dorian.
y- o
Hypo-Phrygian.
.-
ifeE
Hypo-Lydian.
Mixolydian.
r
^
"
,.
..
Hypo-Mixolydian.
(2.
i
Hypo-/Eolian.
/Eolian.
n- ^^. *
<)**
equally applicable to them.
appear, starting from C
We
give the
new
x-u
^
|
scales as they
Dorian.
Hypo-Dorian.
Phrygian.
Hypo-Phrygian.
Lydian.
Mixolydiaa
Ex.62.
whatsoever.
Few
SCALES
(A)
MODAL INFLUENCES
Modal Use.
Ex.53.
Molto Ac
MODERN HARMONY
J
Allegretto.
BONNET/'Matin
Provencal!'
Many
RIMSKY-KORSAKOF,
(Voice)
>
in his
given with the pure modal harmony
"
"
AHucion.
is
jfEternam
Requiem
Requiem," where the
"
"
and
sardonic
is
with
Irse
used
Dies
quoted whilst the
"
and hi the
ironical purpose by Berlioz in his " Faust
"
and
for
a
Symphonic Fantastique,"
psychological reason by
Strauss in " Also sprach Zarathustra."
The instances in which a modal melody is treated with all
the resources of the modern harmonic technique are multiWith Bach's wonderful treatment of
tudinous.
IC
the
chorales
melody itself frequently comes from
U^
a period akin to the mode, whilst in such cases as
"
the " Song of the King of Thule in Gounod's Faust," we
nd
is
''
SCALES
(A)
MODAL INFLUENCES
29
common
CHOPIN, Nocturne
Ex.58.
in
G minor, Op.S7.
Andante sostenuto.
mmr
^r-L
TT^
|
RUTLAND BOUGHTON,
"The
Ex.69.
Burstingthese prLsonlars
(Chorus)
cre
mf
J
\
^\
II
J-
Up
toils
skeleton in armour!'
**
J-
*J *J
MODERN HARMONY
30
Ex.60.
ELGAR/'GerontiusT
Moderate.
(Semi-Cher.)
in
a sa_vinghome
TCHAIKOVSKY,
6th Symphony, Op. 64.
J.
X
1
ft
J.*
yj g
'
J
g^
VERDl"Otcllo.'
SCALES
(A)
MODAL INFLUENCES
31
final
cadences.
Modal
Cadences.
Ex
E.
64.
Allegretto semplice.
* 3
1
(Orch.)j
Ex
66
espress.
GRIEG,
PT
/oco
Allegro vivace.
r*/.
PARRY, "King
&
**
Saul!'
l^&.
ff largamente
Ex.66.
*S
Andante maestoso
GRIEG, Concerto
in
A minor, Op.16.
MODERN HARMONY
o-....
"
Many
duodecuple
"
system, which
there, as in the modes, we shall constantly meet unexpected major and minor triads whenever we find ourselves
temporarily lapsing into the diatonic major and minor ways
For
of listening.
CHAPTER IV
(B)
BY
music
is
'
nir>
MODERN HARMONY
34
at 6:
SCHONBERG,
Ex.67.
4 Songs,Op.2,N?V
'
i
Ex.68.
STRAUSS,
Elektra's
Triumph motive.
(b) (Scheme)
As a matter
quacies of
the Old
secured
(a)
The abolition
(b)
(c)
of accidentals in notation.
the notes of the keyboard.
The avoidance of any suggestion, even of a secondary
relationship of the black notes to the white ones in
other words, the complete obliteration of any supposed diatonic foundation for the old 'chromatic
notes.
THE DODECUPLE
more
(OR
TWELVE-NOTE) SCALE
T-*
A B
B
wedded
35
to the
MODERN HARMONY
1.
TONAL CENTRE.
Ex.
SGAMBATI,
69.
Allegro vivace.
Toccata. Op.18.
THE DODECUPLE
(OR
TWELVE-NOTE} SCALE
37
etc.
etc.
Ex. 70.
Andante.
cantabile
(pf.)
R CORDER, Elegy
ma piano
*
una corda
jft.
n*.
in
MODERN HARMONY
88
^
Ex.71.
Andante.
ELGAR, "King
Olaf."
Voices.
Ex.72.
C.
FRANCK,
"Piece Heroi'que."
BANTOCK,
Ex.73.
"Atalanta in Calydon."
God_
TUTTI.
Irate.
>
Jf
3'ea,
with thine
m.rv.
hate.
i.n.v.
hate
THE DODECUPLE
Ex.74.
Allegro.
(OR
TWELVE-NOTE) SCALE
39
SIBELIUS,
4th Symphony.
Major
in-
MODERN HARMONY
40
to be
centre.
If
Lx.75.
<:
THE DODECUPLE
(OR TWELVE-NOTE)
SCALE
"
brass instruments.
Ex.76.
WAGNER/'Parsifal
Langs am.
TImp. in
"
nr
.'
Et>.
T^ntn.
41
PIERNE,La
MODERN HARMONY
we may go
Again,
newer chords
Ex.79.
VAUGHAN-W1LLIAMS "A
Largo sostenuto.
(Scheme)
A
(Orch.)/y
Sea Symphony?
PPP
PPP
^^q^'
fe-
5^
I
IP
STRAUSS/'Elektra
THE DODECUPLE
(OR
TWELVE-NOTE) SCALE
Ex. 82.
DELIUS,<'E>as VeUchen!'
As yon
sweet
flow.
SIBELIUS,
Allegro.
Ob.
43
4th
Symphony.
I. II.
I
Str. pfzz.
?:
!E
is the progression by
exactly equal steps
at first by minor thirds, as in the Wagner motiv
(Example 37) then by major thirds, as in the Bantock and
Karg-Elert passages (Examples 83 and 84).
in the bass
Ex.83.
Lento sostenuto
cantabile.
BANTOCK,
"Gethsemane."
All
major common
chords.
MODERN HARMONY
Ex.84.
Vivace (quasi Toccatina.)
Sw.(i, 8, 4,3^.3.)
KARG-ELERX
Pastel.
Op. 92, N9 3.
Max Reger is
of roots.
RAVEL,"Valses
Nobles'.
Ex. 85.
f.
(Scheme.)
etc.
cresc.
P
Ex. 86.
RAVEL'.'Valses
nobles'.'
THE DODECUPLE
Ex.87.
J> =46
(OR
TWELVE-NOTE) .SCALE
45
it
There are other beautiful passages which are not so amenable to classification, but these will usually be found to
contain some sequential progression of the bass, or some
binding melodic lines, and always a distinct hold of the Tonic.
In both Corder and Blgar examples, 88 and 90, there is sequenc"
"
ing in the bass, and in these, as in the Wotao motiv, there
is no sense of losing hold of the Tonic chord from which they
set out, and to which they are returning in no doubtful way.
It is this system which explains numberless passages in the
works of Wagner and Strauss, of Reger and Ravel, where the
sheer harmonic beauty often makes tears start involuntarily
to the eyes.
P.
Fv
CORDER,
''Transmutations',' N9 5.
Allegro moltoenergico.
MODERN HARMONY
Ex. 90.
Adagio, mistico.
ELGAR, "Apostles'
What a range
ELGAR," Falstaff."
Ex.91.
THE DODECUPLE
(OR
TWELVE-NOTE) SCALE
47
Ex. 92.
ELGAR,
"Apostles!*
regarded as
whole-tone
it*
SCHONBERG,
SexteCVerklarte Nacht?
Ex.3.
f
Ex.94.
lOrch.)
WAGNER,"Parsifal','Act
TOJ1
1
bi.
II.
MODERN HARMONY
Ex.95.
Harmonic
outline.
WAGNER,
"Siegfried;'
WAGNER, "Siegfried."
Prelude, Act
Ex.96.
III.
In some ways, the "tonal" scale is included in the " semitonal," and its explanation as an arpeggio in the normal scale
^ twelve semitones is probably one of the richest
Tonal Scale
included in seams yet remaining to be worked.
Where is the
odecup e. com O ser who will
it
all
the
tremendous
do
for
p
done
with
the
chord
diminished
seventh
things
by J. S. Bach ?
Of course, false relations cannot exist in this system, and the
following example, which is a good illustration of the real
sequencing previously alluded to, must be accepted without
reserve in this respect
THE DODECUPLE
ExL 9
-
N.
?-
Alkgro
(OR
assai.
TCHEREPNIN,
"
49
Narcisse."
and Strauss's
"
II.
No TOXAL CENTRE.
this
of
in applying
MODERN HARMONY
50
(a)
(6)
(c)
type.
The
method
first
is
sharp
CHOPIN,
Ex.98.
"Impromptu
in
sharp"
The same
key.
In the second
An
is
given on
p. 186.
THE DODECUPLE
(OR
TWELVE-NOTE) SCALE
51
CYRIL SCOTT.
2.
Poems, N?
Ex.99.
(Harmonic
outlines.)
*&.
WS
(Bass.)
CYRIL SCOTT,
Ex. 100.
''Jungle
Book
Impressions!'
Ex. 101.
SCHONBERG,
3 Klavierstiicke.Op.il, N9l.
Moderate.
e
T
m
\>3
MODERN HARMONY
this
S~]
fe
pp
R^
SCHONBERG,
Op. 11, N?
8.
1 1
(See also Bela Bart6k's Four Funeral Dirges and Schonberjr'a
Six Short Pieces for Pianoforte.)
CHAPTER V
(C)
THE
"
WHOLE-TONE
"
OK "TONAL" SCA LK
Ex.103.
PURCELL,
Overture.
.*
MODERN HARMONY
54
any way.
Ex. 104.
The same
Ex.107.
a)
1st inv.
of
(a)
1st lev.
of(b)
2nd
in
of
(a)
2nd
Inv.
of(b)
THE
"
WHOLE-TONE" OR
"
TONAL SCALE
55
Ex. 108.
ment and
Ex.109.
familiar ones.
tless so.)
etc
"
Some
by the
flats in
the
left.
Of course
not aural.
Ex.110.
Ex. Ml.
S:
and
MODERN HARMONY
56
b)
DEBUSSY,
Ex.113.
Images;' N9
1.
/,'/
Used
in a
generally prefer scale motion for harmonic progression, with a common note as link, if possible.
DEBUSSY,
"Pelleas'.'
THE
"
WHOLE-TONE" OR
"
TONAL"" SCALE
57
Ex. 115.
Adagio.
Ex.116.
Vivo.(J=iMO
REBIKOF, "Les
REBIKOF^Une
reves."
Fete','
N? 6.
"
"
duodecuple
system.
Ex.117.
a)
MODERN HARMONY
58
jSL*
Ex.
(Scheme.)
KARG-ELERT,
118.
Allegro burlesco.
"Sonatina
ELGAR,"Gerontius."
Ex.119.
(Voice) "I
Adagio.
go before
my
Judge"
"
"
possible use for these new tonal chords is by
absorption into the older practice. Like all other chords 011
an exactly equal division of the octave, their
,.,,
Modulatory
Power of chameleon-like character and their absolute mdiif erence to notation makes their value for purposes
of effecting modulations inestimable. By approach ing these tonal chords in one light, and quitting them in
The best
*,,,
THE
WHOLE-TONE" OR
"
TONAL" SCALE
69
chromatic resolution.
Ex.120.
*^s
Ex.
121.
Ex. 122.
^iJ
(Scheme.)
MODERN HARMONY
60
modern French
school.* It
"
tonal
system which
ideas with the
sionistic devices
ionisu.
"
"
thirteenths.
STRAUSS,
Ex.124.
"Bin Heldenleben."
Langsam.
FARJEON,
Ex. 125.
The mental
the following
*
THE
to
Ex.126.
Massig langsam.
61
"Ein Heldenleben.",
only
when
w* 86 an(l here
'
scale -system.
Ex.127.
act
Ex.128
Ex.
129.
DEBUSSY,
"Children's Corner'
MODERN HARMONY
DEBUSSY,
Ex.130.
'Chanson de
Bilitis.'
Tres lent.
"
tonal
"
'
Its
of both
is
of the
C sharp
scale,
or a combination
THE
(a)
(6)
"
WHOLE-TONE" OR
"
63
CHAPTER VI
(D)
SOME OTHER
SCAI-BS
J.
St.
Largo.,
S.
BACH.
Matthew Passion, N9
70.
/r\
J.
Ex.132.
"Da?
S.
BACH.
"vVohltemperierte Klavier.
65
passages.
Scheme
Ex.133.
E.
Coda of
for
SCHUTT'S
Valsctte in A.
WOLF -FERRARI,
Ex. 184.
Allegro moderato
Ex. 135.
PUCCINI,
<;
Allegretto.
^^
Madam
Butterfly."
MODERN HARMONY
Ex.136.
Allegro con brio.
BEETHOVEN,
7th Symphony.
peiitatonic scale.
EX
'
137 '
Pocomarcato.
DEBUSSY. "Pagoda,:'
WTTERWORTH,
Ex.138.
Moderato.
ci.
(Muted
Str.)
music
67
a noteworthy
sojourn in the
Sahara produced many compositions based on native scales,
and indirectly was responsible for much of the Eastern
"
colour in such operas as " Samson et Dalila and " Phryne."
"
Desert," and Rubinstein in
Saint-Saen* F^licien David in the
and
"The Asra," had already used the real Eastern
"
B*ntock
"
scales, but the cult of the East is shown mostly
in more subtle and less definite ways. In some instances
these native scales are identical with the old modes. The
is
SAINT-SAENS,
Suite Algerienne.
Ex. 140.
La
dans un
has
ciel
de tur.quoi
se
GEORGES HUE,
Ex.141.
Assez
Dou.ce,douce a.do
"Croquis
re
e,
Dors:
d'Orient','
N9
1.
MODERN HARMONY
GEORGES HUE,
"Sur 1'eau" N5.
U.ne
ro.
se se berce au cou.rant
du
flot_
COLERIDGE-TAYLOR, "A
Ex.143.
Larghetto.
Ex. 144.
BANTOCK.
Doloroso.
ad
*"*
Ah!
Songs of Persia,
lib.
the
life,
the
light,
the jew.
el,
Nour.ma
ha
harmony
of
B flat minor.
BANTOCK,
Ex. 145.
Allegretto cantabile.
3=H
The
wild
er.ness
(Harp.)
D.B. pizz.
and the
be glad
be glad forthem
"
a suggestion of the " whole-tone scale in a melody
written over a commonplace tonic harmony
Here
is
Ex
146
MODERN HARMONY
70
4%MJ J ^
^WiHJ
H
p
(ft
l'i>
'T
*r
iJ-trj-y ^r 'T
!'
and so
on.
"
CHOPIN,
Ex.148.
Allegro con fuoco.
with HVK>
E tude
in
minor
Op
10
71
Bode Impressions."
Andante semplice.
Ex. 150.
SIBELIUS.
Ex.151.
Molto moderato.
"
tonal."
it
1513
SIBELIUS,
give a
from C
new
to G.
4th
Symphony.
and
It is partly diatonic,
but
MODERN HARMONY
Ex. 152.
Ex.
to C.
Same transposed
158.
Andantino
to G.
Jp
b) Scale.
J
I
e)
Derivation.
78
Hi chord,
besides
Ex.155.
-'
Uhtl
156.
a)
MODERN HARMONY
74
at
the composer does this may be seen by glancing
of
"Prometheus,"
bars
given in
the opening and closing
"tonal"
the
with
writers,
purely
Chapter XV. page 188. As
Scriabin's music at present seems to be marred by its unrestfulchord which
ness, and despite the transpositions of the original
that we
rare
indeed
is
it
the composer freely allows himself,
The
Dominant
gratuitous
feeling.
escape the all-pervading
addition of the low E natural in the following passage is an
immense relief in the suggestion of a definite key
How
SCR1ABIN ."Prometheus."
Ex.167.
Ex.158.
Scale
&
This selection of notes from the natural harmonic series,
is not the only one which Scriabin has used
for his compositions. The Sixth Sonata is founded on the
however,
following chord
Ex.159.
Scale
75
are
all
j^ e
as
jj fla^
a passing
note.
Ex.160.
Modere, mysterieux, concentre.
SCRIABIN,
6th Sonata.
Ex.161
rfl
MODERN HARMONY
76
Ex.162,
SCRIABIN,
7th Sonata.
Allegro.
PP,
*
'
-V
/ ' /!
-
Ex.163.
&*/
,v
P
It is interesting to notice that quite apart from the
natural foundation, which Scriabin himself states as his
theory, much, if not all, of his harmony may be
Possible
Absorption explained by the theory of added and altered
Chords'hito
tes,
expounded
in
it is
new
77
**
IK
DlDfe
D
ji
Possible Notation:-
instead of-
CHAPTER
VII
^^
Chromatic
(d)
Those at (a) result from single passing notes, or from a combination of two or more passing notes, and depend chiefly on
the tempo and relative accentuation as to whether they are
heard as chords or passing notes. In all probability nearly
all the new chords were discovered in this way.
Certainly
this was the case with the early discord of the seventh.
The chords in the second class are approached as passing
notes or passing chords, and are quitted as chords on their
own
responsibility.
79
under
course.
TABLE OF
ALTERED NOTES IN COMMON CHORDS.
Ex.164.
o^
*>:
IV
jf
-p
VI
IV
19
VI
MODERN HARMONY
80
Ex.165.
7th,etc.
f
**
^/
^ ^~
Q~~
ft
Ex.166.
81
ife^
Or the
factorily.
Ex.167.
Andante.
"-~TE
The "escaped" chords, which appear mostly in the chromatic forms, are dealt with in Chapter XII., page 161. They
are neither "prepared" nor "resolved" in the
s :ap e<
?, /
conventional sense of the term, but are allowed to
"
evaporate." They are not chords in themselves,
but only additions to the normal harmony.
,
RAVEL, "Les
Ex.168.
grands vents
venus d'outre-mer."
Lent.
yj*L
PPP
PPPP
MODERN HARMONY
8*
The
of the
"
how
BEETHOVEN,
Ex.170.
Rhine-Maidens-
7th Symphony.
WAGNER'Rheingold."
WAGNER"Rheingold."
Alberich.
(Min.F.S.p.95.)
v
me
lash
mighty,
mad-ness.
to
W.W.&Hne.
They are not always prepared for in this way, and may
resolve with the natural or the freer progressions or they
part of a purely timbre-creating combination, and
may form
"
"
merely evaporate," as is the case with the escaped chords.'
;
MAC-DOWELL,
Ex.172.
Coo molto
"To a waterlily."
sonnolente.
(Scheme)
(Pf.)
L=4
3|ES
f
Ex.173.
KARG-ELERT,
Pastel. Op.92,N93.
Grave.
^^J
5*1
lunga
rt
MODERN HARMONY
84
piquancy,
increasing
the colour of chords
by altering or adding notes, is now
very common. In this connection the transformation of
"
Wagner's Rheingold" themes are particularly
interesting.
See also Exs. 250 (page 113) and 313
(pa^e 142).
Ex.174.
STRAUSS,
"Till Eulenspiegel."
J.HOLBROOKE,
Ex.176.
"Acrobats?Ojx2,N9l
Allegro leggiero
RAVEL," Valse
Ex.178.
Modere,
(Scheme)
Nobles'.'
N9l.
Ex.177.
Pensec Musicale.
Andante.
WAGNER,
Ex.178.
"
"
chords
abided note
Further, these
The Chord
of the
and
(/)
cnroma tic
may
GSttcrdammening.
be subject to
^e ^ve ^orms
^ ^ ne
"
(d)
190.
a)
d)
b)
^E8
Chromatic alterations may be applied also to the newer
chords formed by fourths and fifths, equal or unequal, and
also to the "mixed" structures; and the device of appoggtaturas is applied to these chords quite as freely as to the
simple and diatonic forms. More fundamentally still, this
practice of chromatic alteration may be applied to those
MODERN HARMONY
86
and scale-formation
which are used by the ultra-modern composers in the
" harmonic studies " mentioned in Chapter XI.
Owing to the enharmonic nature of the equal temperamental tuning, the alteration is frequently something more
subtle than all this, and consists in the alteration
T
Enharmonic of the view taken of it by the addition and subView,
stitution of extra notes, which put the chord into
a different context. We cannot ignore the enharmonic view,
as otherwise the theory and practice of all chords constructed
on a system of perfectly equal intervals works round in a
vicious circle. The equal system produces many interesting
"
"
reflection
results, but the use of the discoveries on the
,
of chord inversion.
supplies
the outlet.
'
fifths,
and the
tonal
formations.
A hitherto unsuspected
EX.180.
(Enharmony.)
thus
87
In the
"
B&.1S1.
Poco lento
Ex.182.
may
MODERN HARMONY
88
Ex.183.
Ex.184.
manner
Ex.185.
Alteration
(Scheme,/
89
134, 135,
and
136).
CHAPTER
NEW METHODS
THE modern methods
VIII
OF CHORD-STRUCTURE
of chord-building differ
from the
older
1.
2.
thirteenth.
3.
series of intervals
equal in quality.
The admission of structures of unequal fourths,
4.
fifths,
etc.
The admission
5.
of structures
One
the
of
mixed
inter-
and fourths.
two
of
new and
must
(a)
(6)
The
composed
first relates
The Two
Great
Principle..
Ex.186.
90
10
11
12
13
14
15
16
91
(d;
(c)
(b)
The explanation
C and
;
e',
sextupling,
66666
2
l>
AA.
quadrupling,
quin-
MODERN HARMONY
92
() ,^
\&
-4
/f
NEW METHODS
OF CHORD-STRUCTURE
96
(a)
(i>)
(c)
(d)
Ex.193,
(a)
(b)
Of course not
Ninth
'
all
distribution of parts.
to the eleventh and thirteenth,
MODERN HARMONY
BUTTERWORTH,
Ex.194.
Largamente.
J
*
J;*^
P
(Orch.)
shown
in
Example
195
(a).
(d)
(c)
etc
Ex.196.
RAVEL" Valses
(later)
nodes.
NEW METHODS
OF CHORD-STRUCTURE
95
DEBUSSY,
"Pelle'as."
MODERN HARMONY
96
Ex.198
(d)
(c)
(b)
(a)
(e)
ii
min
|.
j.
&
"
ijP
ft
'
(a)
M
23
ri
J
^
(b)
(c)
U
tlw
1
H
(d)
1
J
^t
(e)
k
17W
TT~
lx-
NEW METHODS
OF CHORD-STRUCTURE
BEETHOVEN/Pastoral
Ex.201.
Andantino.
97
Symphony.'
(Str.)
Ex.202.
Molto vivace
WAGNER,"TristanrAct IL
(Scheme)
Ex.208.
SCHONBERG,
"Pelleas und Melisandc."
Kx.204.
^
REBIKOF
Ex.205.
"Feuilled'Album."
MODERN HARMONY
98
(c)
This
and
is
it is
MIXED STRUCTURES.
shown
semitone
in
"
is
212.
F.SCHMITT,
Ex.206.
<;
Danse de
I'Effroi.
Ex.207.
"
Le Tragedie de Salome."
BANTOCK,
Christ in the Wilderness."
Largamente.
ff
cresc.
(Chorus)
Tl/%3
"
^P
And
shall be
Ex.208.
Gonywo^s
Cake Walk
id
sa
tis
DEBUSSY,
fied.
NEW METHODS
OF CHORD-STRUCTURE
RAVEL,"Histoiresaaimdles."
YORK BOWEN,
Ex.210.
Allegretto.
2nd Suite.
STRAVINSKY,
211
'Presto.
S;
"L'oiseaudefeu."
Tpts.Ob.Fl.
I
Str.W.W.Harps
3 Tbna
Ex.212.
Vif.
& Tuba
RAVEL,Valsesnobles.N96.
.=ioo.
99
MODERN HARMONY
100
persist in hearing
them
in various planes.
MOZART,
G minor Symphony.
Ex.218.
Allegro molto.
(Scheme)
(W.W7)
(Str.)
a)
(W.W.)
.*
*
flr
rrrfr
b)
a)
Ex.214.
WAGNER.^Siegfried."
Massig
C.A.
Ex.215.
Andairtino maestoso.
V/.G.ALCOCK,
The Duchess
of Fife's March.
101
STRAUSS,
ill
Eulenspiegel,"
M.RAVEL,
MiroirsN9l
Ex.218.
Rf
r
Appoggiatura elaboration will explain the Wagner, Mackenzie and Saint-Saens extracts, whilst a double appoggiatura treatment will account for Mrs. Beach's chords in
Example
222.
Bx.219.
WAGNER,"Tristan."
-
(Scheme)
IV.
MODERN HARMONY
10*
MACKENZIE,
Ex. 220.
Andante -semplice.
Ex.221
Ex.222.
Adagio.
(Pf.)
SAINT-SAENS,
"Dejanire."
H.H.A. BEACH,
"The Sea-.fairies','0p.69.
103
of the
is
Ex.223.
i
(pf.>
Lento.
pesante
m
Ex.226.
P.CORDER,
Transrautations"N9 4 .
segue simtli
Traditional
"
In the " reflection table, Example 226, any of the chords in
the upper stave may be added to the corresponding ones in
lower staves, provided the pitch is very widely spaced.
Ex.226.
in the Strauss
MODERN HARMONY
104
STRAUSS" Elektra."
reigns supreme.
BEETHOVEN.
Finale 9th Symphony.
(Scheme-)
Presto.
fl^gff
(Orh.)
i
9Tihr-r
CHAPTER IX
ON RESOLUTIONS,
ELISIONS,
AND CADENCES
THE
(a)
(6)
(c)
by fall of a second,
by remaining pedal-wise, or
by rising chromatically.
105
MODERN HARMONY
106
Ex.229.
endorsed by the
MOSZKOWSKI,
Moderate
*
is
Celli
1.
Prelude
et
cantabilc
(Orch )V-n.
V*
Celli IL
Ex. 230.
WAGNER,
a)
(4Tbni.,H
m\
Ex.231
TCHAIKOVSKY,
Allegretto vivo.
Third Quartet
RESOLUTIONS, ELISIONS,
AND CADENCES
107
REGER,Op.80,NaB.
Ex.232.
top
VP
*
In the MaeDowell extract, the highest note of the discord
two virtually resolves on the E in bar three, whilst
the resolution of the D flat in the Strauss viola part is given
to the 'cellos and double basses. In modern suspensions the
harmony frequently change* on the resolution note, a course
subversive to the principle of the older suspensions. In
in bar
C sharp
~
in the third.
..
... c
Ex.233.
Semphce.
MAC-DOWELL,
Wald-Idyllen. Op.51,N9l.
MODERN HARMONY
108
Preato scherxando.
_Ya.
Ex.286.
Gemachlich.
STRAUSS,"Till
resolve
by returning
Eulenspiegel."
"
to the " approach
same
principle
perceived.
u
Ex.237
(a)
is
WAGNER, The
Ziemlichjangsam.
DEBUSSY,
Ring!'
&
Muted
Horns
Pfelleas;'p.l4a
(b)
I
r
(OschJ
Ex.239.
Lugubre
Wfth the
SCRIABIN
Prelude.Op.5^N92.
MODERN HARMONY
no
Ex.240.
ELGAR/'Gerontius."
Allegro moderate^
Ex.242,
BEETHOVEN, E minor
Prestissimo.
Pf.
Sonata,
(b)
Naturally these
Relieving
elisions
cadences.
'
"
favouring largely the feminine endings, which allow the
final Tonic chord to fall on any of weaker beats.
'^^ s trait may be studied in Brahms, Roger, and
Endings?
Ravel, and is exemplified in the Tschaikowsky and
"
Reger
extracts,
Examples
231
and
232.
RESOLUTIONS, ELISIONS,
But the most modern way
AND CADENCES
111
This
may
apply to
is
all
word,
"The music
Writ
in
at the close
is
sweetest
last,
Ex.248.
SCHUMANN,"ln
May'.'
Andante
Er.244.
Moderate
CHOPIN.
Prelude in
F.
Op.e8.N9 23.
#-
MODERN HARMONY
112
Ex.246.
BANTOOCSappho."
roll,
molto
/7s
Ex.246
.
RAVEL/'Asie
Ex
BEETHOVEN,
247.
AJ
(a)
Adagio_
"
String
Oiiartpt N07
rmgyuartet,NV7.
"
Overture to"Martha."
Vivace.
harmonic studies and pieces written on " enharmony" principles come under a similar category. They are
written round a certain combination, and their endings are
derived from the foundation chord of the piece.
The
RESOLUTIONS, ELISIONS,
Ex.248.
AND CADENCES
Ex.249.
SCRIABIN,Op.57.
3S^
Kx.250.
Op.56,N94.
>
b*
:K
/-
5=*=
"fc
Si
118
Qp,C3.
CHAPTER X
IMPRESSIONISTIC METHODS
BEFORE analyzing the harmonic technique of the Impreswould be well to attempt some definition of
a very difficult one to define. The
^
ne
term,
Definition
of Imprec- word
Impressionism is applied generally to music
"
"
""'
in which " mood and " atmosphere predominate,
sionist style, it
'
But here is the finger of God, a flash of the will that can,
Existent behind all laws, that made them, and lo they are.
And I know not if, save in this, such gift be allowed to man,
That out of three sounds he frame not a fourth sound, but
!
tttci):"
we
do not follow
although with many of them the
application of it is perhaps their chief harmonic
As Professor Niecks has well said, the
Technique device.
of the Imthing itself is older than the name. Many passages
in Purcell and in Mozart the introduction to the
But, as
this
view in
C major
its entirety,
METHODS
IMPRESSIONISTIC
115
others.
Ex.251.
Allegro
ma non
troppo.
pp sotto
,.
ice
MODERN HARMONY
116
Ex.252
-fcj;
IMPRESSIONISTIC
Ex.254.
METHODS
117
GROVLEZ, L Almanac h
Ex.255.
Ex.266.
DEBUSSY,
aux Images.
MODERN HARMONY
118
Ex.257.
Allegro jiontroppo.
CHOPIN, Mazurka
in C.
Ex.258.
Ex.2n9.
CHOPIN, Nocturne
Con fuoco
in F, Op.15.
(Scheme)
DELIUS, Funf
Lieder, N92.
(Scheme)
IMPRESSIONISTIC METHODS
119
_
Chords in
Similar
RAVEL7
Modere.
Sonatina.
VERDCOtello"
Ex.261.
N^=
Be
ware,
my
no_ble lord of
C.
Ex.262.
jea
lou
Allegro.
(S
(Pf.)
b9
b*3
bill
e)
sy!
Impressions';'
MODERN HARMONY
120
Such passages are much better when they are not selfsupporting, but are accompanied by other points of interest.
In other words, the most artistic use of the device is for
"
"
outlining
Ex. 263.
R.
BOUGHTON "Midnight:
(Chorus)
in
its
tower in
heavn
ically,
Example
266,
Ex.264.
IMPRESSIONISTIC
Ex. 266.
METHODS
DOHNANYI,
1*1
'Cello Sonata.
(Cello)
Ex.266.
Sehr lebhaft
STRADSS,
Till Eulenapiegel!'
Ex.267.
_p
RACHMANINOF
MODERN HARMONY
122
Ex.268.
Andante. U-=
ee.
C.
ALBANESI,
6th Sonata.
#
aft
in
Delius'
In the Debussy "Images," we have a succession of "sixfours" very varied in quality, whilst on the other hand,
"
in the " duodecuple scale writing of Cesar Franck,
Real versus
carried out exactly, in
we jiave
reproduction
r
JJiatomc.
i J
x'j
the accompanying figure, and it should be noticed
how well the tonality is held together by the sustained F
sharp in the bass (Examples 269 and 270). The works of
Saint-Saens abound in fine examples of this Franckian device-i
Ex.269.
-i
DEBUSSY, "Images"
IMPRESSIONISTIC
METHODS
123
FRANCK,
Piece Heroique?
Ex270.
Allegro maestoso
Ex.272.
Tempo
(O
(b)
(a)
di
(d)
(e>
CHOPIN,
mazurka.
21st
4h
ha
Ex.273.
CHOPIN,
Prelude in C8 minor.
Mazurka.
MODERN HARMONY
Ex.274
}.
B.
M? EWEN,
Elegy
Molto adagio
G.
U- 1*TW4
JUdi^UH UCU13
dans les
1C3 ULU1CC
Vll 1) J_jd maison
dunes?
DUPONT,"La
_.
rlbrer.)
(Lalaeez Tlbier.)
(Laiaaez
^^
T^l
(Pfj
sourdine
Ex.276.
STRAUSS," Don
Quixote'.'
IMPRESSIONISTIC
METHODS
125
"
purely
Ex.277.
(a)
(b)
(c)
(d)
(f)
(e)
etc.
Ex.278.
FRANCK, Symphony.
(Scheme)
Ex.279.
Larghetto
RAVEL',' Pavane'.'
(Scheme)
MODERN HARMONY
126
is
from the
YORK-BOWEN, 2nd
Ex.28a Allegretto
Suite.
(Scheme)
In
"
Example 281,
Abgrund," which is a
in
Rebikof's
psychological
drama
_9 thej
full
ai
REBIKQF, "Abgrund*
Largo.
Orch
w r
.
ib)
^4^8
>p
Lff J.T1
Pj
fci:
llths.
Ex.282.
Massig bewegt
IL
fl
ISths.
WAGNER,"Siegfried."
IMPRESSIONISTIC
METHODS
127
More modern chordal construction may be seen in Examples 283, 284, and 285. In the Cyril Scott extract we have
the outlining of the melody in fourths (worked
downward from the upper note) against an arpeggio
and by
o f E major (with the added sixth) in the bass. In
Ravel we have a gruesome treatment, almost
humorously realistic in construction, by fifths in the bass,
whilst the Albeniz passage is frankly and purely ImpresFurther developments may be seen in Schonberg's
sionistic.
chords built up by two unequal fourths (one
where
16,
Opus
thus
producing major sevenths) are repeated in
augmented,
this manner.
Ex.283.
Andante amabile.
&*
(Pf.)
Ex.284.
IE
<Efl
Tres
lent.
un feu marque
ALBENIZ," Yvonne
Ex.285.
Allegretto.
les
Fed. et ires
donx
envisiteV
Gibet?
MODERN HARMONY
128
is
exceedingly interesting, ae
distinct chords
it presents Impressionistic treatment of three
we have the
At
rushes.
of
form
(a)
the
in
appoggiatura
diminished triad, at (6) augmented triad, and at (c) the chord
of the fifth with the sixth. The string work, which forms
mere accompaniment to the
only a portion of the score, is "
more important outlining of the wood-wind."
STRAVINSKY, "Pemerwwk."
hi
Numerous examples
throughout
Q
this
etc.,
which seem to
rise
IMPRESSIONISTIC
METHODS
129
Ex.287.
Andante.(J = M.)
J-
BONNET, Moment
STRAUSS ,*Don
Ex.288.
Sehr ruhig.
Quixote !
tJ
PP
HE fc
*fl
4
4 9
/TS
XL, than
to Impressionistic succession.*
,.LBENIZ,"Fete-Dieu a
Seville'.'
"
The reader will have seen an important difference iii the two
classes of reproduction, the diatonic and the real. It is interesting
to notice that, speaking broadly, we may associate Impressionistic
development on the real lines with the French school, whilst
MODERN HARMONY
The foregoing remarks exhaust one
of
devices
Example 205).
But the principle may well be absorbed into the general
technique in multitudinous ways, and with the happiest
results.
Used as a stream of harmonic colour
(see
against one or
General
like Schonberg.
Whilst writing this chapter, the author
had the opportunity of making the following experiment before a
"
musical appreciation class of some forty boys. Two songs, which
the boys knew well, were taken on the pianoforte, accompanied
purely by Impressionist harmony. The songs chosen were not, of
course, well suited to this method, but were taken as extreme tests.
With Schubert's "Wanderer's Night Soiig," whilst the original
diatonic harmonies were preferred, a majority of boys voted for
the real reproduction of common chords, whilst with the moiv
energetic "Muth," by Schumann, most of them preferred the German
Impressionistic device. As to the quitting of the last chord of
such a series, they all preferred it to resolve in some way into the
older system. The inferences seem to be that the real reproductive
Impressionistic terms suit slow and soft progressions, whilst the
more diatonic reproductions sound better with the louder and
more vigorous melodies.
.
'
CHAPTER XI
HORIZONTAL METHODS
JUST as some kind of equal temperament
tonal, semitonal
tertiatonal, or it matters not what will always exist side
by side with the true natural tuning, as a medium through
When we
following
BEETHOVEN,
Ex.290.
Allegro.
81a.
MODERN HARMONY
132
Ex.
DVORAK,
291.
Vns.
"Serenade."
PP
(Orch.)
Celli.
Ex.292.
Andante moderate.
HORIZONTAL METHODS
133
Lento moderate.
Vns.
Ex. 294.
STRAVINSKY,
"L'oiseau de feu."
Pice.
(sounding 8X$
Fl.
I. II.
Str.
downward sweep
MODERN HARMONY
134
Ex.295.
ELGAR
(Angelic Chorus)
Poco
'Gerontius'.
lento.
(Chor.)
to
>
be
Vice
His
^^
tnat.ter
roy
the
to
and of
sense, Up
in
Ho
on the
the world
li
of
est.
Ex. 296.
Con moto
sonnolento.
MAC-DOWELL, To a Water
Lily.
In these and
the
on the keyboard,
and sevenths.
the firm and determined progress of the
In
Example
297,
triads in the
HORIZONTAL METHODS
treble
listening
is
135
horizontal.
Ex.
STRAUSS,
297.
"Alsosprach
Zarathustra','
Op. 30.
Schnell.
PADEREWSKI,
Ex. 298.
Sonata
in El> minor,
Op.
21.
MODERN HARMONY
136
A.E.H.
Ex. 299.
FKPicc._
Fl.
Andante maestoso.
Ex.300.
Andantino
A.E.H.
"
HORIZONTAL METHODS
Ex. 301.
Moderate
137
&
Ex.302.
Allegro agitato.
BALAKIREF,
"Islamey."
At one of the most powerful climaxes in Strauss's " Heldenleben," we have three distinct streams, the brass holding on
rich but ordinary cadence-chords against the downStreams
value.
by the
intelligent listener.
MODERN HARMONY
138
Ex. 303.
Sehr lebhaft
STRAUSS, "A
Hero's Life."
Vns.Vas,
Pis. Oba.
ClB.4lTpt
8 Hbrnt.
Tbns.
Tubas, &
lower
Strings.
4th
FlsJJ
HORIZONTAL METHODS
139
"
WOLF-FERRARI,
Ex. 805.
"IJriQcelli
della Madonna!'
IjjfflJ*
MODERN HARMONY
140
Hori-
by means
HEGAR,
Op.12, N96.
Ex. 308.
GRIEG,
"Ases Tod."
Andante doloroso.
E^
Example
Ex 309
-
(p. 135).
STRAUSS,
'
Sehr lebhaft.
HORIZONTAL METHODS
Ex.310.
ELGARrihe Apostles."
SCHONBERG,
Ex. 311.
"Lieder,"Op.2,N?L
Voice.
griLnen Tei
die
POLDINI,
Ex. 3T2.
"Zigeuner Novelle','0p.38,
Presto.
T~
:~tt
N9
3.
MODERN HARMONY
Example
reasoning.
313 forms
It
is difficult
REBIXOFF
>
"Danse
caracteristique."
ni
In Strauss's beautiful song " Allerseelen," a lyric piece of
sheer harmonic and melodic beauty, we have an exquisite
chord at * accomplished by a step in contrary motion in the
outside parts.
Ex. 314.
STRAUSS,
Tranquillo.
(Voice)
Well
dream
of
"Allerseelen."
May.
Mirroring
HORIZONTAL METHODS
143
own
system.
Ex.815,
a)
$&
P
etc.
We
we play it in
major scale vaguely when
"
"
real
but
is
the
shown in
mirroring
contrary motion,
and
as
there
both
tones
315
semitones
are truly
(c),
Example
reflected. The ancient writers used to show it as at (d).
"reflect" the
Ex. 315.
r)
MODERN HARMONY
144
Ex.
316.
Allegro di molto.
\$L
"i
MOZART,
"Jupiter" Finale.
HORIZONTAL METHODS
145
We see a wider
Techerepnine's psychological
drama
"
Narcisse."
Ex. 320.
PIERNE, "The
Ex.321.
ChUdren's Crusade."
TCHEREPNIN
Allegro risoluto.
"Narcisse."
relating to familiarity
adage
and contempt. From it,
devices and some of the
sP ri ng
all
"
MODERN HARMONY
146
Ex. 822.
A1Ier
WOLF-FERRARI,
-
Ex.823.
BEETHOVEN,"Symphony
EroicaV
/r
HORIZONTAL METHODS
147
325
Tempo
It
is
figures."
JOAN TREVALSA,
di Valse.
but a short step from "pedal-chords" to "pedalIf the ear can accept a combination of notes as a
figure in
York-Bowen's
little
treble
Suite.
Ex. 326.
C. V.
Allegro molto.
Timp.
STANFORD,
1st Irish
Rhapsody
MODERN HARMONY
148
Ex.327.
Allegro
YORK BOWEN,
2nd
Suite.
B
T
(Pt)
etc.
&
"
The string and oboe figures in the " Danse Macabre come
under the same classification, as also does the treble figure in
Example 329. The bell-like figure in Cyril Scott's third
" Poem." makes an even
greater demand. The same principle
is very prominent in those harmonic studies of bell-tones
which so fascinate many of the French composers (see
Examples 330 and 339).
Ex. 328.
Mouveraent modere de Valse.
SAINT-SAENS,
"Danse macabre."
(Strings)
WOLF-FERRARI,
''Jewels of the
T*^
(Vocal parts omitted.)
t Sr
Madonna."
HORIZONTAL METHODS
149
BLANCHE SELVA,
'Ex. 330.
Cloches au soleiUEn
ModeTato.(J=io4.)
Ex. 331.
Moderate.
CYRIL SCOTT,
"Bells
Italic.)
n ("Poems" N?
8.)
ARMAS JARNEFELT,
Ex.. 332.
C.B.
(Full Str. pizz.)
Tneludium."
MODERN HARMONY
160
Ex.SSSa.
SCHONBERG,
Ex. 333b.
Opil, N9
1.
Basal In
actual
unison.
4 Tbn.
Tubas.
it
Bass 4
Contra
BassClar.A
Contra-Fagotto
up by
Ex. 334.
fifths.
HORIZONTAL METHODS
151
The effect is frequently that of three distinct, yet simultaneous tonalities, working harmonically; but the principle
is quite different.
Examples 335 and 336 are constructed on
several "quintal planes," whilst the commencement of the
harmonic stream by M. Louis Villemin gives the feeling of
four simultaneous planes.
Ex.335.
RAVEL,
Au mouvement.
Ex.336.
Lent
S3
G.
et receulli.
Miroirs,
DUPONT,"Les
N9
Caresses'.'
(Scheme)
S.
MODERN HARMONY
15S
Ex
BLANCHE
339
,
les lever)
"Cloches dans
~
la
SELVA,
brume." (Ardeche.)
Scheme.
HORIZONTAL METHODS
Ex. 340.
"
(Final Cadence),
ModereV
SERIEYX^S petits
153
Creoles."
played in
position in which they will easily evaporate. Such application may be both absolute or relative, and the acceptability
of many passages in modern composers will be frequently
accounted for, merely on the score of distance of pitch, contrast of colour, or consequent proportion of sound vohunc.
This feature, however, will be dealt with more fully in the
next chapter
(see p. 161).
CHAPTER
XII
WHEN we
and double
"
following from Prometheus"
Ex.341.
SCRIABINE,"Prometheus
Allegro moderate.
Celli div.
ff
C. Bassi.div.
ff
ff
155
"
dying shudder in Don Juan," the windmill and the sheep, the
bray in g of Sancho Panza's ass in " Don
Quixote,"
Realism.
the swishing of whips in "Elektra," and the
"
"
screaming of the baby in the bath of the " Sinfonia Domesall
tica,"
surely point to a not far distant return into more
aesthetic channels.
<,.
many
MUSSORGSKY/'Bons."
pp^:
Non
m.
gli
bas.ti
Bo
ris
nonvuoJeil
tro.no
his compositions
bars.
"
}'
"
MODERN HARMONY
156
reach
a,
point
when
discord
own
sake.
It is
Discord
in the
Abstract.
by a modern composer.
An
BANTOCK,
"Christ in the Wilderness."
fChoir
I.
Choir n.
Yet
it
it
to
bruise
Him
157
He hath
Choir I.
Choir tt
it
pleased
the Lord to
bruise
Him
Assezdoux.
Ex
RAVEL,
"Pavane."
'RAVEL, "Sheherazade?
345
Poco
Allegretto.
MODERN HARMONY
158
We now turn to
different kind.
>
bli
OutJin'elf
away from
"
VERDI," Falstaff."
Ex.346.
and
in
Example
2(>5.
159
ELGAR"EnigmaT Variations.
Allegretto.
Cls
CelH
REBIKOF
Ex. 348.
Andante.
"Moment
etc.
Ex.849.
Allegro.
RAVEL,
Ex. 350.
Tres
RH.
t..H.
ELGAR,"Gerontius?
CDemoniacal Chorus.)
lent.
MODERN HARMONY
160
we
In Example 351
From
the same.
The common-chord outlining in the Saint- Saens Pianoforte Concerto is exceedingly interesting, and reminds one of
many of the novel tone-colour effects in his Third Violin
Concerto. It also constitutes an early instance of the Impressionistic use of co7iimon chords in real sequence. The listening
here
is
assumed
Ex 352
161
The doubling
Outlining
in Sevenths
and Ninths.
ti rs t
passage proves trying to the ear, the music of
the secoTid example may be made to sound quite
acceptable at
the marked tempo and tone-volume.
Ex.353.
Allegretto. (J=80.)
Ex.354.
If questions of pitch
outlining,
still
PJL p. JL
ft
*..*.. M. JLJL
much
in the practice of
of the various musical
the acceptableness of the
count for so
constituents bear on
"
"
These are generally highlychords.
escaped
Chords*
chords,
totally strange to the rest
apparently
placed
of the harmony, yet revealing, on a closer acquaintance, some
subtle tie with the more substantial chord below it. Strauss
places them very close together, but the qualification of true
tone-colour always counts with him.
MODERN HARMONY
169
STRAUSS,
pianoforte application of
"Elektra?
"
''
it
will
depend largely on
'
all analysis.
MODERN MELODY
THE
We
distant approaches.
may faintly detect some
sort of fundamental plan in the rise and fall of the
climaxes of pitch-intensity, and discover openings
in the way of phrasing and breathing.
may have a
scale plan of the tonality, but the methods of inspiration and
the technique of melodic expression still lie amongst the
mysteries of psychology and a3sthetics.
few scraps of technical information are found here and
know the confidence and power of the leap of the
there.
perfect fifth and the perfect fourth in melody, whit-It causes
it to be chosen as the vehicle of all powerful fugal enunciation, and of such confident expressions of faith as the opening
"
1 know that my Redeemer liveth."
all
to Handel's
shudder at the ominous tapping of the drums at the diminished
fifth in Beethoven's "Leonora"; but let us harmonize the
same note as an augmented fourth, and we get an assertion
of impudent assurance greatly favoured by the makers of
music-hall ditties. Of course, the value of the interval would
be altered again by the adoption of the "duodecuple" or of
"
the " tonal standard.
The historical study of melody is, however, of great interest
because, apart from the question of folk-music, we find most
of the later harmonic innovations predicted melodic-ally.
The augmented second and the diminished third both
"
"
appeared in melodic form long" before the minor ninth and
"
augmented sixth chords came into harmony,
and
the chords built by fourths and fifths were
Prediction
of Modem heralded
by such prophecies as the subject in
Tschaikowsky's Sixth Symphony and the opening
of Schonberg's Kammer-Symphonie. The ultra-rnodern writers
Diffi
kv
of Melodic
Analysis,
We
We
We
163
MODERN HARMONY
164
scale systems.
of
fc
Andante espressivo.
CESAR FRANCK,
p re l u de,
Chorale
As an example
et
intervals
MODERN MELODY
Ex.358.
Adagio maestoso.
Chor.J0fL....
a
Rex
Ex.359.
Ex.360.
VERDI, Requiem.
1 f
ma
tre-raen . dae
Moderate e solenne.
Lento
Ex.361.
165
i
.
je .
sta
...
tis!
ELGAR,"GerontiusV
CHOPIN, Etude
in E.
BEETHOVEN,
String Quartet, Op.131.
MODERN HA RMON
STRAUSS," Bin
Heldcnleben."
_. .,Ex363.
Viel langsaraer.
&
Ex.364.
(Massig ) langsam.
SCHONBERG,
STRAUSS;'Ein Heldenleben."
MODERN MELODY
Ex.365.
Allegro
167
CHOPIN,
C minor, Op.28.
Prelude in
molto.
"J'll/.
X. itUUt
SCRIABIN "Prometheus?
3L
fmadolce
is
Ex.367.
ELGAR"Gerontius."
Allegro moderate.
^rnnrurnrVg
V
SatipJns De.us,
De.ns.
Sancios
5>nnptiij for.tis
fnr_ t is
Sancjtus
E "- s68
-(Ruhig.)
With
te.
Autumn.
*
5 Songs,
hast
en a
Ex.369.
o.ro
way
J
outline.
profund.is,
DELIUS,
MP
/Harmonic\
V
De
b4
HUGO WOLF,"Der
Schreckenbergerr
3
da drauss.en oh . ne
K
K
71 [1
Rei
ter,
da geht dicWelt so
-Z
*-*-
dumm
MODERN HARMONY
168
"
There
is
Ex.87(X
***
(Scheme)
The
"
"
medium.
SIBELIUS,
Ex.371.
"
which causes most composers to regard the so-called "tonal" scale in the light of
the " dodecuple," and inclines them to treat it as
"p
an ar P e gi
f a chord derived from the latter.
Melody
This view is emphasized by the fact that the
boldest of the innovators seem somewhat ashamed of the
"whole tone" appearance scalewise, confining its melodic
fragments to treatments of the bizarre, mitre, and demoniacal.
The lyric utterances are seldom more than mere fragments,
the connected use of the scale being
apparently doomed to
the lower regions of pitch.
The following melody from
Rebikoff seems much more acceptable when regarded as a
series of mirror-liko reflections in sets of three notes
it
1 tf
MODERN MELODY
169
Ex.372,
REBIKOF"Les R
Many mourn
modern music
as
CHAPTER XIV
MODERN RHYTHM
THH term
"
"
rhythm
mark
'
(1)
(2)
(3)
MODERN RHYTHM
171
was
"
triplet,"
"
"
of the
triplet
MODERN HARMONY
172
Nowadays, notwithstanding the present inelastic notamodern composers claim the proper timing
^
everv
fraction of a beat as a rightful demand,
Less Re ular Divisions The chief pioneers in this respect were Liszt and
of Pulse.
Chopin. In the works of the latter we find group*
of seven, nine, ten, eleven, thirteen notes, and so on to each
beat. Such groups are evidently not intended to be subdivided, and frequently run right through the bar-line, as in
the well-known waltz in A flat, Op. 34. A slight modification
of view must be taken in the case of the melisma?, which
Chopin writes in small notes, and which are always executed
with the lightest of finger touches. On the other hand, such
forcible passages as those at the end of the Ballade in
G minor form excellent examples of modern views on the
tional system,
^1*7 4.
* * * Chorale forPf.Duet.
MODERN RHYTHM
17S
To pass on rapidly to the dividing of the bar, it is interesting to observe that the now commonly accepted quintuple
time is no new thing. Handel used it at the end
of the second Act of " Orlando," so did also the
English composer, William Shield (1748-1829), in
his String Trio. In the movement marked Alia Sclavonia
tempo straniere, Shield's quintuple time has quite a modern
more especially as no subdivision of the bar is shown.
Purists say that the popular Allegro con grazio in Tchailook,
The
by compounding the
Ex.375.
MODERN HARMONY
174
It is certainly
Ex.876.
to
Largo
e semphce.
Prayer
KEICHA No.
:
WAGNER
liO
"
Four Sketches."
SWAN HKNNESSY:
SCRIABIN
Bossi
"
Four Preludes."
"
Oratorio, "Paradise Lost
:
No. 4 of
ARENSKY: Rasso
Ostinato.
MODERN RHYTHM
Ex.377.
.
C.
A llegretto.
HORDES ,"4
175
Fantaisies rythrniques.'
Ex.378.
From
Vif.
-yr
*tf Tr>
the same,
Time
Saens has a "Priere" in eleven-four, which is less venturesome, and the idea of combined time-signatures is a mere
convenience of notation.
Ex.379.
Ex.380
Comodo.
SAINT-SAENS,"PriererOp.7, N9
!.
MODERN HARMONY
176
Ex.381.
j?7
177
Tchaikovsky's mind often worked in the opposite direction, and a parallel to the Pianoforte Valse will be found in
the third movement of his Fifth Symphony, where the violins
are repeatedly phrased in twos, against the triple pulse of
the accompaniment. That Schumann was very fond of the
device may be seen in the " Kreisleriana," in the second
movement of the A minor Concerto, and elsewhere. Florent
"
Schmitt, in his Neige," Op. 56 (a), desiring a certain alteration of the duplex and triplex divisions of bar, secures it by
the use of the somewhat cryptic time-signature " six-eight,
three-four."
Ex.383.
7em p
di Valse.
TCHAIKOVSKY,
FLORENT
Ex.384.
VaIse,Op.40,N99.
SCHMITT,"Cre'puscuIes"N?2.
in the left
Tim"
Movements,
Ex.385.
SWAN HENNESSY,
Etude.Op.25.
Allegro moito.
marc.
=g
(pf.)
m
PP
at?
MODERN HARMONY
178
Ex.388.
ELGAR, 1st
Symphony.
Allegro. J.ssio*.
V
Ex.3S7.
RAVEL,"MiroirsrN93.
MODERN RHYTHM
179
Moderate.
BANTOCK/'Christ
in the Wilderness'.'
Ex.388.
rendered
many
180
MODERN HARMONY
and, indeed, all the composers who may be considered progressive in the best sense,
In their music we find phrases of eight, seven, six, five,
four, three, two, and one bar, and even fractions of a bar,
contrasted, responded, paired off, rhymed, extended, and
curtailed. As an instance of perhaps the extreme point to
which the elasticity of the bar can be carried at present, the
following will serve
:
SCRIABW
Impromptu,Op.7, N9 a.
Ex.389.
I
ll
U^T
'
LJ
mf
If
II
A"i" ^ I~
CHAPTER XV
No
"
large number of people
melody signifies an exclusive use
of diatonic platitudes and effete banalities. The restrictions
which have crusted over all ideas of " musical form," almost
to petrification, have naturally resulted in the complete
exhaustion of those few forms, the use of which is still
"
"
regarded exclusively as good form by many musicians.
"
As MacDowell has said
If by the word form our theorists meant the most poignant expressions of poetic thought in
music, if they meant the art of arranging musical
Coherence sounds into the most telling presentation of a
musical idea, we should have nothing to say for
if this were admitted, instead of the recognized forms of
modern theorists for the proper utterance, we should possess
a study of musical sounds which might truly justify the title
of musical intellectuality. Form should be a synonym for
coherence. No idea, whether great or small, can find utterance without form, but that form will be inherent to the
ideas." This coherence, which is "form" per se, may be secured
'
'
in
many ways.
was
'
181
MODERN HARMONY
182
art,
completely stultifying
The testimony
progress.
"
a theosophic basis.
In either case,
how
is
drawn together
MODERN FORM
183
When
the Programmatist laid aside the older forms, someof tonality and parts was thought
necessary, and the want was supplied by Wagner's
*"
kMwnotif and by Berlioz's ide fix6, or representamotif
tive theme. This representative theme id6e fi&6,
leit-motif, or whatever we choose to call it must have a
twofold character. It must not only possess a literary or
dramatic interest of its own, but must also satisfy our musical
sense in addition. The balance is difficult. Wagner thought
Beethoven was too musical and Berlioz too literary, and his
own musical drama just right.
These devices have been adopted wholly, or partially, by
every composer of Programme Music since that time from
Schumann mystic
Ex.390.
Grave.
Muss es sein?
his
Opus
81,
and
BEETHOVEN
Allegro.
String Quartet,Op.l35.
muss
Es
Es
sein!
muss
sein!
MODERN HARMONY
Ex.391.
Andante.
C.B.Fag.
Tbni.
Jjemarc.
fe)
Cantabile.
coherence,
"
Overture,
WAGNER/Meistersinger" Overture.
Vns.Celli.lstHorn.
MODERN FORM
less significant material.
Elgar's
185
"Falstaff"
is
a case in
"
point, whilst Bantock, in Fifine at the Fair," has swung over
to a series of more definite episodes held together by the
composer
tone-poem,"
auditor possesses some knowledge of the chief
subjects of Shakespeare, Goethe, Schiller, Shelley,
and
the other great ones in literature, even though
Hugo,
this knowledge may be gathered freshly from a printed
annotation or a friend's hasty resumS. For instance, the
hearer at the outset must know what the violin solo in " Ein
Heldenleben" stands for, and so on. Much progress is still
being made by the Absolutists, who hold that the clue must
be in the music itself. In the symphonies of the later composers, we find the old "sonata" lines much modified,
Listener.
^ ne
chiefly
We
Ex.393.
Lento.
FRANCK,
String Quartet in D.
Theme X.
etc.
MODERN HARMONY
Bridge. Subject, (b)
and here
is
D'Indy's analysis
Lento Theme X,
I.
(A)
major.
Exposition: (a) First subject, D minor.
Bridge subject (6), leading to II. Second sub-
Allegro
ject
II.
(c),
F major proper.
III.
Lento
We
give the outline of Schonberg's interesting KammerSinfonie in E for several reasons. Chiefly because, with
After
all its modernity, it follows the older "sonata" form.
of
we
have
introduction
a short
purposely vague tonality,
and
is
a
model
of
the
first
rest
the
subject given out,
orthodoxy
in form. The extracts also supply us with some interesting
duodecuple scale-writing, whilst the accompanying arpeggio
to the eerie second subject shows what trouble the modern
composer will take to secure coherence of tone-colour.
SCHONBERG,
Ex.394.
l^chief Subject.
Allegro.
Kammer-Sinfonie
.?
in
E.Op.9.
MODERN FORM
Ex.395.
2 n_d
Subject.
187
CLlnD
Ex.396.
Peroration.
MODERN HARMONY
188
Ex.397.
SCRIABIN
"Promethens."
sord.
Lento.
^
4 Horns
-F^Si^
|,| i,|
fc3EE^3SE
v
Str.4
-v
w.w.
!'
i*
ts
(b)
Chorus
*!
Orchl
Outliney**
WT
?
^>-r
i
"
grin
Prelude.
MODERN FORM
189
quartet.
Ex.398.
SCRIABIN,Op.81,N94.
MO DEUX HARMONY
By permission
CHAPTER XVI
CONCLUSION
true that composition cannot be taught by rule, but the
technique of it can, and this must be acquired in one way
or another, before real composition becomes possible. The
composer may learn this technique slowly and painfully by
his own keen experiences of failure and success or he may
secure its mastery by a diligent and enthusiastic analysis
of the works of the great masters, first in the study and
then in the music-room, the concert hall, and at the opera
house.
Either of these methods may be supplemented materially
by advice and lessons from a good master, or from the careful
study of a modern theoretical work. A theory of musical
harmony is a systematized collection of musical facts, and
logical and clear thinking is greatly assisted by such a
However acquired,
classification of harmonic possibilities.
a knowledge of technique must precede the expression of
musical thought.
Moreover, it is not sufficient for the present-day musician
to be master of one kind of musical expression, but he must
be fully primed in the technique of all the styles.
T
Composer's There is the great contrapuntal school of the
Equipment, seventeenth and
eighteenth centuries, the fine
of
the
school
nineteenth, the Romantic Moveexpressional
the
ment,
Programmatic, the Impressionistic, the PostImpressionistic styles, and so on. And standing at this end
of a period of amazing artistic activity, and a phenomenally
rapid development on all sides, in an art little more than
three hundred years old, the composer's technical equipment
evidently is no matter to be lightly taken in hand.
The Exercises at the end of this volume are given to
enable the student to gain some insight into the methods
and some practical experience in the technique of the various
IT
is
191
192
MODERN HARMONY
any particular
many an
CONCLUSION
as the
"March
to the Scaffold"
193
"
ciation.
for instance
by music.
But all
"
alone.
MODERN HARMONY
194
Tone-Colour
on Har-
tone-colour
is
Ex.399.
Etwas langsam.
WAGNER,
DieWlkiire."Act
III.
CONCLUSION
195
Short score :-
(Short Score)
gpyr
SCHONBERG,
Ex.400.
Bewegte Achtel.
Ex.401.
Muted Str
StoppdJins.
5 Orchesterstiicke.Op.16.
F.SCHREKER,
"DerferneKlang."
etc,
14
MODERN HARMONY
Ex.402.
Vivace.
BANTOCK/'Fifine."
Ex.403.
SCHONBERG,"Erwartung."
Clar.
SoloVn.
CONCLUSION
197
ears so frequently.
nomy
second subject.
Ex.404.
Horns
jp
(,'-,
r^^^^^h
MODERN HARMONY
198
but the most disastrous mistakes of the modern concertroom are still made in this direction. Small wonder,
then, if the refined musician should retire so frequently into the seclusion of his study and music-room for
the cultivation and enjoyment of the smaller but far more
artistic forms of solo and chamber music.
The cultivation of these smaller - scaled works, which
appear in an endless variety of forms, is one of the most
noticeable features of the present day. This is
eas ^y understood, for when the composer feels
more confident of his interpreters, he naturally
unbosoms himself more freely, and gives expression to his
deepest and most intimate thoughts.
method
No
of their
school is
own
musical training.
CONCLUSION
less to express,
faculties.
are
"
sensed
"
199
What
mere
APPENDIX
EXERCISES
Anything of the nature of a graduated course of.Exercises covering the
whole ground of the text would be outside the scope of the present work.
The following exercises are designed to suggest some of the lines which
the student may follow in essaying a more practical acquaintance with
Many of the exercises are model-
BASSES
1,
Harmonise
for
Alia marcia
f
2.
etc.
F
S
12
bt>
Maestoso
4.
Write a Fugato
for String
Cello
&k
rtal
200
EXERCISES
5.
lowing Subject.
Take
:JO
bars for
Pi or
201
fol-
as the centre.
p
6. 4- part Study.
7.
8-part Study.
f
J
-I
Id.
\yrii
I.
J*
8. 6-part Study.
'J MT
1
I
i
-1-1
U
MODERN HARMONY
202
11.
"
whole-tone" system.C to
>'
3:
^J~s
-^
EXERCISES
16. Harmonise for Pf. (Chords):-
*M
:>
203
MODERN HARMONY
204
Poco allegro
Pedal.
it
Brass Basses
Larghetto
EXERCISES
205
II
MELODIES
22. Harmonise
Andante
Pf. duet
or for Organ.
P~rf>
Pi
(Vns)
C tonic.
Andantino soave
ralL
MODERN HARMONY
206
26. Add 6 bars to the following melody and then harmonise in the
"whole-tone" system
t>
(Pfj
27 Harmonise
Vivace
28 Harmonise
and 2
Cellos).
EXERCISES
207
III
lead.
Molto agitato
Pf.
s
31. Write a short Prelude in 10-8 time,
commencing thus:-
pp
tic.
accompaniment figure:-
fA ^f
\
MODERN HARMONY
208
33. Write a short Melody for Piano with the following accompaniment figure :-
34. Add an extended harmonic theme below the following pedalfigure. Write for Orchestra or Pf. duet.
r r
iprpr
ir
nrrrr
rrrnr
r irrrr
EXERCISES
36. Write pieces for Violin and
Pf.
209
(a)
And on
37.
this:-
-flf
(a>
MODERN HARMONY
210
IV
MUSICAL FORM
Scriabins Seventh
Pf.
Sonata. (Belaicff).
(d)
(e)
Strauss
(c)
"
18. (Peters).
(f )
(g)
(h) Florent
Schmitt "Crepuscnles!'fw4^nf>.
(a)
Shakespeare's "Cymbeline!'
(b) Shelley's
"Atalanta"
(O Euripides' "Hippolytus."
"Iphigenia in TaHris'.'
Tennyson's "In Memoriam"
(d) Euripides'
(e)
(f)
(g)
Omar Khayyam.
(h)
Longfellow's" Hiawatha'.'
etc.
EXERCISES
211
V
ORCHESTRATION
45. Invent some eleven-part chords in orchestral tone-colour, similar to that in Schonbergs"Erwartung" given in Example N9403.
46. Analyse the following passage from
trate
it.
Mysterioso lento
15
APPENDIX
II
gramme
expression.
non-descriptive.
Absolute pitch, the definition of
pitch by a fixed number of vibrations
for instance, Middle C
256 per second.
;
Absolute pitch,
to
gift of,
quickly.
the ability
them.
Absolute rate, a fixed number of
beats to the minute thus *= 120.
Absolutists, the followers of absolute music as opposed to programme music (q.v.).
Acoustic, relating to the influence
of a building on the conduct of
this title.
sound.
Andante
Andante
in feeling.
sus-
tained.
Annotated
but sweetly.
Allegretto semplice, rather quick,
and simple
and sooth-
espressivo, slow
ingly.
a singing style.
a shade
programmes,
pro-
213
A tre battute,
skill.
ous.
for a small
concert or private salon always
one instrument to a part.
Characteristic intervals, notes specially characteristic of any one
in three-bar
rhythm.
Auditorium, the space provided for
the seating of the audience.
Augmented fourths, the intervals
a semitone larger than the perfect fourth; for example, from
to
scale.
Characteristic
sharp.
Augmented triad, a triad with an
augmented
Au
fifth.
mouvemcnt,
with
notation,
special
motion
a scale.
Icon moto).
and physiological
psychological
powers.
various chords.
B
Barring, the measuring of music
into regular groups of beats or
pulses.
C
C, the note in the second space of
the bass staff.
CC, the note on the second line
below the bass staff.
CCC, the note an octave below CC.
Cacophonous,
objectionably
di.s
cordant.
Cadential
cadences.
it is
really derived.
Classical, a term often used either
movement.
MODERN HARMONY
214
two
parts.
Consecutive "six-fours," two common chords in the second inversions used in succession.
Consonant, agreeable to the ear, as
distinguished from dissonant.
Contrapuntal, the combination of
Contrary
in
opposite directions.
series.
Dance
all
fifths.
the scale.
separate part.
of
technique,
perfect
mastery of sounds.
Elision, the omission of any part.
Emotional effects, musical effect of
sadness, gaiety, anger, grief.
perament
Equale, equal exactly alike.
Etwas langsam, rather slowly.
Evaporating discords, discords left
which vanish in
unresolved,
;
silence.
C sharp
for
D flat.
mu
Form, the
ical
shape in which
2T5
ment
"Heldenleben,"
tone-poem by
degree.
High-pressure pipes, pipes of an
organ requiring a heavy pressure
or wind.
Horizontal thinking, the regarding
of music as a combination of
melodies from left to right.
''Horn-fifths," the interval of a
perfect fifth sounded by the
harmonic laws on natural horns.
things appear.
Forte, loud.
Fortissimo, very loud.
Foundation note, the
root
of
on which a
chord
chord
the note
founded.
is
tones
of
harmonics,
or
upper
partial tones.
Harmonic
effects
Harmonic
Kammer
Sinfonie, a
piece
for
instru-
(See
Chamber
music.)
MODERN HARMONY
216
Laissez
leave
vibrer.
sustaining
pedal on.
very tranquilly.
parts sounded by
the instruments or voices placed
Lowest
parts,
lowest in pitch.
Lusingando, dying
away
losing
M
Major sixth, the interval of the same
distance as that from the first
note of a major scale to the sixth.
Major triad, a combination of a
similar formation to the combination of the first, third, and
fifth notes of the major scale.
Marcatissimo, well marked.
ending
full close
or finish.
to
Minor
less
flat.
an interval a semitone
than a major sixth.
sixth,
"Mirror"
idea,
harmony worked
itself.
Marcato, marked.
Masculine ending,
on a
Modern
technique,
the
scientific
strong beat.
Massig, moderate.
Muted
Melisma,
in
speed.
Molto tranquillo, e sostenuto, very
tranquil and sustained.
tone-colour.
Muted
scales,
scales
other than
European.
Nocturne, a piece with a quiet,
Pesante, heavily.
Phrases, the various divisions of
two or more bars, into which
music is divided.
Phrygian mode, an ancient scale
represented on the piano by the
white notes E to E.
Pitch, the height or depth of sound.
Pitch position, the high or low
placing of a note.
down
in
musical
notation.
Plagal, modes.
written.
151
fifth
in
Q
Quality of intervals, the varying
width of intervals according to
the number of semitones.
dimension.
Passing-notes, notes which do not
form any part of the chords.
Pas trop lent. Not too slow.
Pathetic cadence, a perfect cadence
preceded by a chord containing
a flattened supertonic.
Pedal, in harmony, a holding note
on the organ, a keyboard played
;
feet.
moving.
152).
longer movement.
Preparation, the sounding of a note
belonging to a chord before sustaining it as a discord in the
following chord.
P
Parallel fifths, the interval of a
and
Pest-Impressionism, an altogether
free and very personal style of
The opposite of
composition.
Realism.
Prelude, a piece preceding any
by the
217
"
R
molto, a broad, graduated
slackening in time.
Realist, a composer who aims first
and foremost at verity and exact
Rail,
reproduction.
Rechercb.6 chords,
rare
and
deli-
ment
in time-duration.
satisfactorily follows
it.
Rhythmical
which
literature,
began
with
Schumann.
a
Romanticist,
Romantic
composer of
the
school.
diatonic scale.
Subito, quickly ; suddenly.
Subjects, the themes around
Scherzando, playfully.
Schnell, fast.
simili, to be played or
in a similar manner.
Segue
sung
Semplice, simply.
Sempre ritard, always slow.
Sempre rubato, always with artistic
time-placing.
Sentences, melodic lengths or divisions in a piece of music.
movement
which
is built.
thirds
Superposition of thirds,
placed one above another.
Suspensions, the holding of a note
into another chord to which it
does not belong.
Sympathetic vibration, the vibration of a second note in unison
Technique,
in
technical
harmony
equipment
mastery of musical
sound.
who works on
Triads,
voices.
Twelve-note
scale, a scale of
theor-
etical lines.
twelve
but not formed by
alteration of the diatonic scale.
219
Una
of three
Undamped
Undamped
V
tonality, doubtful as to key.
Viols, stringed instruments.
Virginals, the old type of keyboardinstrument used in Elizabethan
Vague
times.
Vivace, lively.
Vivacissimo, quicker than vivace.
Vivo, vivaciously.
Vocal, appertaining to the voice.
Volume, quantity in relation to
sound.
W
Wagnerian,
in the style of
Wagner.
Whole-tone
Wotan
semitones,
See Dodecuple.
ALBANESI, C.
ALBENIZ,
ALCOCK,
BACH, J.
I.
W.
to the illustrations,
G.
S.
The Duchess
gestellt, 17.
Choral Prelude
Wenn
wir in hochsten
Prelude in G,
St.
BALAKIREF
BANTOCK
132.
19.
Matthew
20.
Passion, 131.
Islamey, 302.
Atalanta in Calydon,
73.
BEACH, H. H. A.
BEETHOVEN
Gethsemane, 83.
Sappho, 245, 318.
Songs of Persia (In the Harem),
The Nightingale's Song, 146.
The Sea Fairies. 222.
144.
Ninth Symphony,
Pastoral
228, 251.
201.
Symphony,
Seventh Symphony,
136.
Sonata in D, 43.
Sonata in E minor, 5, 242.
String Quartet in F, 247.
String Quartet in C sharp minor,
String Quartet in A, 53.
String Quartet in F (last), 390.
Waldstein Sonata, 23, 190.
220
361.
Matin Provencal,
Moment
56.
Musical, 287.
BOBDES, C.
BORODIN -
BOUGHTON, R.
Midnight, 263.
The Skeleton in Armour,
Crossing the Bar, 25.
BRIDGE,
J. F.
377, 378.
59.
BULL, JOHN
BUTTERWORTH
CHOPIN
3.
138, 194.
Polonaise, 11.
COLERIDGE-TAYLOR
CORDER,
Elegy in F, 70.
Transmutations,
DEBUSSY
P.
Chanson de
Suite), 143.
88, 224.
Bilitis, 130.
Images,
La Demoiselle
Pagodes,
Elue, 256.
137.
DELIUS
Autumn, 368.
Das Veilchen,
82.
DOHXiNYI,
DUNHILL,
DUPONT.
E.
J. F.
G.
Phantasy
Trio. 235.
La maison dans
Les Caresses,
DVORAK
2, 259.
les
dunes, 275.
336.
36.
Serenade, 291.
Walte
ELGAR
in
Apostles,
D flat,
6.
Coronation Ode,
4.
221
MODERN HARMONY
222
ELOAR
(continued)
Dream
295, 349,
Enigma
Variations, 347.
First
Symphony,
King
Olaf, 71.
FARJEON, H.
FlX)TOW
Overture
Martha,
Symphony,
278.
Violin Sonata,
JOHN
Chant,
GRIEG
28.
27.
GROVLEZ
GUIDO D'AREZZO
Organum,
HALM, A.
Harmonielehrebuch,
Mystic Trumpeter,
HAYDX
HEGAR
The Spring,
Hymn
Emperor's
HENNESSY, SWAN
Etude,
HOLBROOKE,
Acrobats,
J.
42.
41
String Quartet 16
307.
385.
175.
G.
A Passage,
HULL, A. E.
14, 255.
252.
HARTY, H.
HUE,
125.
247.
PRANCK, CEBAR
Goss,
38(5.
11,
1,
141.
JARNEFELT
JENSEN
KARG-ELERT
Praludium,
332.
Naher
mem
31.
12.
Gott,
Pastel, 44, 84, 173, 379.
Sonatina Exotique,
KORNGOLD
Second Sonata.
LISZT
Les Preludes,
254.
391.
118.
374.
MACHAULT
Sacred Madrigal,
MACKENZIE
Wald
McEwEN
MOSZKOWSKI
MUSSORGSKY
MOZART
229
Idyllen, 233.
1.
Elegy, 274.
-
G minor Symphony,
229.
Jupiter
213.
Finale, 316.
PADEREWSKI
Sonata in
PARRY
King
flat
minor, 298.
Saul, 65.
in B minor, 24.
Symphony
PIERNE
PITT,
PERCY
POLDINI
Zigeuner Novelle,
PUCCINI
PURCELL
Madame
29.
264, 312.
Butterfly, 135.
King Arthur, 2.
Overture Dido and ^Eneas,
:
RACHMANINOF
To the
RAVEL
Aisie, 246.
103.
Children, 267.
Gaspard de
334.
REBTKOF
Danse caracteristique,
Der Abound, 281.
Feuille d' Album, 205.
Idylle hellenique, 54.
Les Reves,
115, 372.
348.
Moment lyrique,
Une Fete, 116.
313.
MODERN HARMONY
RBGER,
MAX
RlMSKY-KORSAKOF
RONALD, LANDON
RUBINSTEIN
SAINT-SAK"NS
26.
Danse macabre,
328.
Dejanire, 221.
Desir de 1'Orient (La Princesse Jaune), 140.
Fifth Pianoforte Concerto, 352.
Priere, 380.
SCHMITT, PLORBNT
Crepuscules, 384.
La Tragedie de Salome,
SCHONBERG
Drei Klavierstiicke,
206.
101, 102.
311, 403.
Erwartung,
396.
Pelleas
48.
Verklarte Nacht,
Tonal Chords, 356.
Der ferae Klaiig, 401.
SCHREKER
SCHUMANN
93.
A (Scale),
SCHUTT, E.
Valsette in
SCOTT, CYRIL
SCRIABIV
Impromptu,
7.
133.
100, 149, 262.
389.
397.
SELVA, B.
SERIEYX
SGAMBATI
Toccata,
SlHKLIUS
Black Roses,
69.
13.
Fourth Symphony.
Scale. 150.
E. M.
225
Chrysilla, 46.
SOMERVELL, A.
STANFORD
STRAUSS
8.
Allerseelen, 314.
297.
Don Quixote.
276, 288.
Bin Heldeiileben, 32, 78, 124, 126, 234,
362, 361.
1303,
STRAVINSKY
Feuerwerk,
286.
L'Oiseau de Feu,
TREVALSA,
J.
TCHAIKOVSKY
211, 294.
325.
Valse, 383.
TCHEREPNIN
V AUGHA N-WlLLJAMS
VERDI
A Sea Symphony,
VlLLEMIN
WAGNER
Falstaff, 346.
Otello, 62, 261.
337.
230.
Mastersingers, 392.
Parsifal, 76, 94.
The Ring,
237.
WALPORD-DA v
WALLACE, W.
j
-
WESLEY
WHITE, M. L.
WOLF, HUGO WOLF-FERRARI
Y/ORK-BOWEN -
ES
Everyman,
33.
Second Suite,
MODERN HARMONY
226
MISCELLANEOUS.
Chords,
Chord-Schemes,
Diagrams
Modes,
No.
182-189.
1,
Chap. IV.,
p. 35
No.
2,
Chap. VI.,
p. 77.
51, 52.
Tables of Chords,
etc., 75, 104, 105, 107, 108, 109, 110, 111, 112, 117,
120, 121, 122, 127, 128, 130, 153, 154, 155, 156, 159, 161, 164, 165,
Traditional, 225.
c,
GENERAL INDEX
(The numbers apply
ABANDONED Dominant,
39
Abolishinentof key-signature, 50
Absolute music, 183, 185
pitch, 35, 50
Absolutists, 185
Absorption of Scriabin's chords
into general practice, 73, 130
Accents, 179
Accidentals, 31, 179
Added Dominant, 84
note, 85
passing-notes, 82
sixth, 82
Tonic, 84
Advice to the student, 7
JEo\ia,u mode, 25
^-Esthetics, 163
Alien chords, 81
Allusion in music, 28
Alma-Tad ema, 66
Alterated notes, 78
Alterations of scale, 65
Analysis of harmony, 78
of Franck's String Quartet,
185
Wagner's, 101
with new chords.
with Scriabin, 75
to the pages.)
108
Approach-chord,
" Ariadne in
Naxos," 5
Arnold, Matthew, 66
Arpeggio treatment of enhar-
mony, 87
Atmosphere
Augmented
in music, 114
second, 163
Authentic modes, 26
Bach, altered scale, 64
as modernist, 1, 60
consecutive fifths, 5
diminished seventh,
form, 182
67
45, 87
Beckmesser, 5
Beethoven, Dominant as generator, 92
elision, 109
fifths, 115
free writing, 14
"
in
Eroica.'
146
145,
horn passage
1,
Ninth Symphony, 20
227
48
modernity,
85, 154
3,
16
MODERN HARMONY
Beethoven, Pastoral Symphony,
Chromatic alterations,
86,
88
discord, 33
notes, 15
scale, 5
197
Bell-tones, 148
not a mode, 78
resolution, 59
view, 33
Classical, 2
Combined
harmonic
streams,
themes, 184
time - movements,
Busoni, 76
Busoni's new system, 77
Butter worth, 154
171,
174,
177
Common
111.
on chromatic notes, 15
Comparison of Scriabine's scales
with "Tonal" systems, 72
Liszt,
Canon in Schubert's " Erlaf See."
Composer's equipment, 19
Concord as pedal, 146
Dominant seventh accepted
Cadences,
81, 32,
105,
110.
113
Cadential
relief, 110
Cadenzas of
36
20
Cezanne, 115
Classical, use of term, 2 (foot-
et xeq.
Cui, 149
Chiaroscuro, 158
Chopin, altered scale, 70
combined movements,
contimio. 179
note), 182
Chabrier, 193
Chausson,
as, 156
Con moto
172
fifths, 118
thirds, 49
melismce, 36, 50, 172
nationalism, (56
quadruplet, 171
quintuple time, 174
50
vague tonality,
"
Chordal origin of whole-tone"
scale, 53
Chord-formation. 83
by fourths, 97. 160
Chords derived horizontally, 140
of ninth, 125
of seventh, 123
Chord-structure, 90
by equal intervals of same
quality, 95
by equal intervals of uneven
quality, 93
major
David, Ferdinand, 67
Davies, Walford,
16, 29,
49
Debussy forestalled, 2, 20
harmonic studies, 209
harmonics, 73
Impressionism,
36,
59.
115,
129, 193
" L'
Apres-midi d'un Faune."
188
mirroring, 56
new chords, 108
Pelleas et Melisande," 62
scale of "Pagodas," 66
songs, 130
String Quartet, 128
'
"tonal" harmony,
56,
58,
62
Definition of Impressionism. 114
61,
GENERAL INDEX
Delias, 183
"
76,
abandoned, 39
Dodecuple
Duplet, 171
Dvorak,
5, 66,
182
Eastern colour, 66
Economy of moans, 197
""Kin Musikalischer, Spass," 5
Elasticity of phrasing, 179
of technique, 179
229
Elusive tonality,
37,
193
I
Emotional properties
open fifth, 116
the
of
Enharmony,
Enterprise, 60
Equal chords, 86
interval passages, 37, 38, 39
steps in the bass, 43, 44, 45
temperament, 24
temperamental tuning, 33,
95
Equality of intervals, 36
Erba, 192
"Escaped" chords,
161
78,
162
and use
of,
191
"Exposed
fifths, "11
Fallacy, 192
False notation, 60
relation, 109
Feeling of straitness, 24
Feminine endings, 110
Fifths,
159
MODERN HARMONY
230
171
Haydn,
Flaubert, 66
Form,
181, 188
coherence
is,
181
melody, 164
ninths used Impressionistically, 125
phrasing, 179
progressions of
major
thirds, 49
style, 193
Freer progressions, 14
French composers, special qualities of, 49, 148
Impressionism, 129
Fugato, 207
Generator, harmonic, 66, 86
German Impressionism, 129
"Gerontius," 108
Gevaert, 103
Gluck, 1
Goethe, 66, 185
Goodman, 66
"Grand manner," the, 197
Great breadth and range, 164
Greater elasticity in part-writing, 6
Greene, 53
methods, 100
Horizontally derived chords, 140
"Horn-fifths, "11
Hypo-^Eolian mode, 25
Hypo-Dorian mode, 25
Hypo-Lydian mode, 25
Hypo-Phrygian mode, 29
Idealism, 193
183
Ide'efixe',
Inadequacies of notation,
5, 34,
of modern musical
form on harmony, 190
Influences of tone -colour on
harmony, 193
Influence
Impression, 115
Impressionism defined,
114, 193
Impressionist exploitation, 60
Impressionistic methods, 191
use, 96
Impressionists, 188, 208
Instruments of unfixed tone, 23
Inversion of the chord of 9th,
125
of Scriabin's chord, 73
Inversions of the chord of ninth,
18, 93
of chords used Impressionistically, 120 et seq.
Irregular numbers, 171
Grieg, 31, 66
Ground-bass, 202
Grouping of bars,
"
179, 180
Jupiter
"
Symphony,
144
Grovlez,.116
Guilmant, 20
Guitarists,
103
custom of Spanish,
Harwood, 28
20, 174
Kerl, 192
Keyboard, 34
Keys, combination
192
Harmonic colour. 39, 89
planes, 100, 103, 105 et seq.
studies, 112, 152, 189
Handel,
Karg-Elert,
Key-signature,
Koechlin, 193
Kreisleriana, 177
Kuhnau, 182
90, 91
Lalo. 185
Language, 5
GENERAL INDEX
Laryngeal development, 166
Leit-motif, 183, 184
Lenormand, 193
Less regular divisions of pulse,
172
Liadoff, 149
Lied ohne Worte, 207
Limitations, 62
of "whole-tone" reproduction, 54
McEwen,
174
Machault, 2
Mackenzie, 25,
101, 179
Maeterlinck, 199
"Magic Helm,"
common
Modal cadences,
31
feeling, 29, 87, 68, 209
influence, 26
music, 24, 27
Modernity, 1
Modern melody, 164
Modification of scale notes, 64,
65, 66, 70
Modulation, 15, 58, 96
Modulatory power of "Tonal"
chords, 58
Monothematic forms, 188
57
108
Magnitude, 197
Major
142
Monteverde, 1
Moret, 193
Motive, 184
Mottoes, musical, 183
Mixed chordal structures, 98
Mixing the two "Tonal" series,
181, 189
Mirroring device,
331
chord
with
phrasing, 170
"Tonal" chords, 60
Mozartian type of melody,
164
Multiplicity of themes, 184
Music, five senses of, 199
Musical analysis, 170
appreciation, class, 130
rhetoric, 165
outlines, 169
prediction of
mony,
modern har-
163
Mendelssohn, 5
Mental attitude, 60
Metamorphosis of themes, 183
Metre, 170
Meyerbeer, 192
Miniature pieces, 209
Miniatures, 189, 210
Minor ninth, 96
second in liarmony, 156
triad, origin, 91
Nasmyth hammer,
197
Nationalism in music, 66
Native scales, 66
Neapolitan sixth, 80, 109
Necessity for elisions. 109
New chords, 47, 55. 81, 84, 85,
86, 90 et seq., 108, 140 et seq.
Newer
scales, 71
MODERN HARMONY
232
the Tonic, 49
Obscuring
"
(Edipus Rex," 197
Plagal modes, 26
Pointillism, 49, 154, 168
Poldini, 20
Olsson, Otto, 27
Polychromatic method. 15
Polytony, 129, 139, 151,
Orchestration, modern,
27, 41,
46, 49, 60, 68, 71, 97, 100, 104,
107, 108, 116, 121, 126, 128, 133,
136, 137, 138, 139, 145, 146, 148,
149, 150, 154, 155, 160, 162, 179,
184, 186, 187, 188, 194, 195, 196,
211
Oriental philosophy, 66
Origin of minor triad, 91
Outlining certain parts, 120, 160
in sevenths and ninths, 161
of the wood- wind, 128
Outre, 154
Paddings, 192
Parisian schools, 119
Parry, 31, 105, 185
Parsifal extract, 41
Part-writing, modern, 128, 129
Passing-chords, 78, 79
Passing-notes added to chords,
82
"
whole-tone," 61
Pastels, 189
Pastorals, 189
mediant as, 20
Pedal-chords, 139, 145, 147
Pedal-figures, 147, 208
Pedal-notes, 20
Pentatonic scale, 66
Perception, 6
Percussive harmony, 154
scale, no, 24
131, 154
Persistence, 66
"Peter Pan"
Programme-music,
Progression of ninth,
of parts, 56
"Prometheus,"
19
18,
Psychology, 163
Puccini, 155
Purcell, 2, 53, 114
Pure modal use, 27
scale, 22
Purpose of the Exercises, 192
Quadruplet, 171
71
of crotchets, 172
modal
devices, 145
Perpendicular harmony,
Ravel, basses, 44
chords, 84
feminine endings, 110
Pedal as tonality, 41
Permanent
162,
209
suite, 189
Phantasie, 189
Phrygian mode, 25
"Phryne,"67
Pianoforte-chiet writing, 208
tone-production, 193
Pierne, 193
Pitch, 153, 158
Planes, harmonic, 100, 103, 138,
142, 150. L32
Realism, 155
Real versris Diatonic reproduction, 122
Reeves, 174
Rebikof, 26,
49, 116
GENERAL INDEX
Resonance, 157
Reversion to Dominant supre-
macy, 73
179
Rirnsky-Korsakof,
149
Root
191
Ropartz, 193
Rubinstein, 67
"Preludes, "189
quintuple tune, 174
Rule of roots, 59
Rummel, W. Morse,
letters, 183
pianoforte concerto, 14
Rhyming of cadences,
Rhythm, 171
28,
(foot-
note)
mystic
Revolutionary, 70
Rhetoric in music, 165
Romantic,
155
scales, 72
String Quartet, 22
schools, 129
Saint-Saens, 66,
Samson
et Dalila, 67
Satie, 36. 50
Scale, 197
effeteness, 64
Scales altered, 64, 65, 70
duodecuple, 33
modal, 24
native, 66
new, 70, 164
Scriabin's, 72 et seq.
Sibelius, 71
tertiatonal, 77
''whole- tone" or tonal, 53
Schiller, 185
Schmitt, 87, 174, 193
3, 11, 86, 87, 100, 127.
141, 145, 163, 192
Schonberg,
bass, 97
chords,
11,
86, 87,
100.
127,
141
"Erwartung," 211
Kammer-Siufonie analyzed,
186
referred to, 3, 162
orchestration, 150
pedal-chords, 145
planes, 100. 150
Schubert, "Erlaf See," 20
scale, 5
8,
116
tone-poem
'"Prometheus,"
189
Second in chord-formation, 108,
156
cult of, 155, 156
inversions, 12
Semitone, 33
Senses, the five musical, 199
Sequencing, 48
Sequential progression of the
bass. 45, 134
Series of thirds, 94
of " tonal" sounds, 54
Sevenths, 123 et seq., 161
Shakespeare, 111, 185
Shield, 173
Sibelius, 66, 70, 168
Similar motion, common chords,
etc., 119 et seq.
Simplification of technique, 155
of theory, 15
Sincerity in music, 192
Sonata
lines. 185
Spacing, 158
Spohr's style, 155
Stanford. 28. 66, 179
Strauss, added-note chords, 88
allusion arid quotation, 24
contrasted styles, 49
forestalled, 4
melody, 166
MODERN HARMONY
234
Strauss, modernity, 1
ninths in part-writing, 128,
129
overlapping
"Tonal" chords,
54, 58'
polychromatic method,
192
15,
43
ix>lytony, 104
Programme Music, 182
realism, 154, 155
sequential bass progressions,
87
included in duodecuple,
23,
22, 106,
and
48
system,
40, 53
compared, 72
Tonality-chord of Scri&bin,
Tone-colour effects, 160, 193
Tone-dramas, 189
varieties
Tone-production,
Streams and
Strings, 193
Structures of fourths
96
53,
in modulation, 58
melody, 168
music not always French,
60,193
harmonic
streams, 137
pedal-chords, 42
planes, 109
1(5,
47,
206
fifths,
187
of,
194
Tonic, 35, 84
added to
any chord, 84
Transference of discord, 105
Transferred resolution, 13, 105
Transmutation
properties
of
36
177
Swan Hennessy,
174
melody, 163
Swinstead, 29
nationalism, 66
Programme Music, 182
quintuple time, 173
4
resolutions, 105
Twelve-note system, 5
Two harmonic streams, 135
Tyndall, 66
114
Temperament
Temperamental arguments
again, 73
Temperaments, 23
Tertiatonal system, 77
Thought in music, 4
Threefold basis of music, 24
outlines, 160
Undue prominence
of sonataform, 182
Unfixed tone, instruments of, 23
Unrestfulness, 74
"
Value of " whole-tone system,
62
"Vamping" form
of
Spanish
guitarists, 103
Vaughau- Williams,
16. 193
GENERAL INDEX
Wells, G. H., 4
Wesley chord. 92
Whips in "Elektra," 154
White keys throughout, 27
"Whole-tone" chords, 47, 53,
Vina, 77
Vinee, 22, 101
Vivaldi, 3
Wagner, early
styles, 192
major third
206
melody, 168
passing-notes, 61
progressions,
48,49
modernity, 1
polychromatic method,
58, 85,
15,
45
system, 40
progression
Wider tonal
Wind
in
vague tonality, 47
Wedding March,
relations, 15
instruments, 193
machine, 193
"Witches' Sabbath," 193
Wolf-Ferrari, 20, 154
Zanella, 178
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