CORNELL

IMPRESSIONISTIC METHODS 117Ex.254.ModeratoKORNGOLD, 2nd. Sonata, Op.a.Hitherto the passages have been mostly scalar. The leapsin Korngold's Sonata are very telling in their effect of crudepower. The fifths, however, are seldom open, and we shalldiscuss their further treatment when filled in with the third,or enriched by the seventh and ninth. In Example 255 theleaping fifths are the characteristic feature, as the thirds arealternately major and minor ; but the opposite view must betaken when the fifths are in the two lowest parts, when theysimply act as a fe'm6?-e-producing factor (see Example 256).The same may be said of Example 257, where the fifths areconsiderably higher in pitch.Ex.255:^llfc Vivo.^^ f=^{Pt.)p e spiritosoGROVLEZ, L Almanach aux Images.^^m ^^F^t I IT^=^ E^^ f«Ex.256. DEBUSSY,,, „Lento con calma. La Damoiselle Elue.». *^pp molto sostenutoetc.-*-»• 5t-