CORNELL

96 MODERN HARMONYEx.198,(a) (b) (c) (d) (e)I]II li l^ll l.g ,''^tfetc.Herein, however, lies their chief charm and power. Thiscoincidence and consequent indifference to notation givesTransthema most wonderful scope as a means of modumutationlation. Any one of these chords will easily leadProperties, j^^^^ ^^^ q£ ^^^q other eleven keys. They absorbcolour by reflection both from the preceding and the followingchords, and the chief charm of a modulation should be thegetting there, and not the arrival itself. Their possibilitiesin this direction seem inexhaustible. The chord at (a) in thefollowing example may lead to A major or minor, the one at(6) to D, (c) to G, and so on.^Ex.199.J=^(a) (b) (c) (d) (e)f=T^^Mti-4^^ ^^pm^^EThe following table shows the scheme of the newerstructures by fourths and fifths, the application of which isexemplified in the extracts from Beethoven, Wagner, Ravel,and Schonberg. In the R^bikoff piece we see an extremeImpressionistic use of a sky-scraper of fourths.Ex.200.Mlfl.Srds. MaJ.Srds. Perf.iths. Perf.eths. Aug.Sths. MaJ.Snds.