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116 MODERN HARMONYBantock has shown us its power of development in hissplendid musical picture of the desert in " Omar KhayyamThe (see 168-184, Part I.), where the fifths are used inEmofional various ways for emotional effects of imraensityof "the^Open ^^^ infinitude of distance, the atmosphere of theFifth. piece being intensified further by a realistic portrayalof the endless tintinabulation of numberless camelbells of all sizes and degrees of tone. Bossi has similarlyavailed himself of the open fifth for the commencement ofhis oratorio "Paradise Lost," and numberless other casesspring to naind.If a single fifth possesses such powers of expressingelemental immensity, what of a passage of fifths ? The veryfirst attempts at Mediaeval harmony were on Impressionisticlines.Ex.252. GUI DO dAREZZO (circa 1022>§iTT""^ic^ti i\-rr-The range of emotions under the sway of the fifth is bynomeans limited, however, to one order of mood. Whatdiablerie there is in such " quint " studies as those of Rebikoff's" Une Fete " (Op. 38), or Gabriel Grovlez's " Les Marionettes "in his "L'Almanach aux Images"! Or take the deliciouslittle fragment from his " Petites Litanies " (see Example 14).Again, contrast the scintillating quint passages in Bantock's"Fifine" with the gruesome rushes of fifths in Strauss's" Elektra " and " Salome," and, not forgetting scores° FWths."^ of passages in Beethoven, Schumann, Brahms, andGrieg, turn to the pages of Debussy, Ravel, CyrilScott, Vaughan-Williams, Duparc, and Chausson, and thendecide whether fifths are always barbarous, crude, andungrammatical.Ex.253. Vivace.BANTOCK,"Fifine at the Fair."Fls.Vns.Cl. Ob.