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124MODERN HARMONYEx.274.^Molto adagio.W^.J.B.M?EWEN, Elegy5 Pf iH .i-\MlM ttr^We have a mixed process in the Dupont pianoforte piece,where the " seventh " chords appear in their second inversion.We also see the use of these seventh chords for realisticpurposes in Strauss's " Don Quixote," where the reproductionvaries in the quality of the intervals.Ex.275,G. DUPONT,"La maison dans les dunes"sourdineEx.276.STRAUSS,"Don Quixote'.'
IMPRESSIONISTIC METHODS 125With the " 'ninth chords, the variety is still larger (seeExample 277). Examples 278 and 279 furnish us with a veryfineuse of the form at a. It should be noted thatNinth" whilst Franck founded his passage upwards fromthe bass, Ravel nearly always adopts the downwardmethod. This is a characteristic of the latter composer. Theforms at a and h have undoubtedly the greatest claim aspurely fomfere-creating devices.Ex.277.^(a)(b)(c)rf(d) (e) (f)^^g(g)^P=etc.Ex.278.-iIp-rC-rpFRANCK, Symphony.«J-J î.J. i> (Scheme)I iiTpi ^ ^^mT-nr ^ '«r ^ r^» Êx.279.Larghetto.1^^^^P'>-»ijj- JiJi uRAVEL;'Pavane'.'(Scheme)«^-^The use of the inversions of the " ninth " chord is seen inthe foUoAving example by York-Bowen, where the progression
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CORNELLUNIVERSITYLIBRARYBOUGHT WITH
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The original of this book isinthe C
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Augener's Edition No. 10118MODERN H
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PEEFATOEY NOTEThe present work is i
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CONTENTSCHAPTER IINTRODUCTORYFirst
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CONTENTSxiCHAPTER VIIALTERED NOTES
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CONTENTSxiiiCHAPTER XVMODERN FORMTh
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2 MODERN HARMONYschools, or whateve
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4 MODERN HARMONYfourths favoured by
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6 MODERN HARMONYmusic. The percepti
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CHAPTER IIGREATER FREEDOM ON THE OL
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10 MODERN HARMONYEx.11.Meno mossei.
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12Ex.17.Tempo giustowMODERN HARMONY
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14Ex.24.VivacissimOjMODERN HARMONYP
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1 «16 MODERN HARMONYmultiply examp
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18MODERN HARMONYEx.37.LentoWAGNER,"
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20 MODERN HARMONYEx.42.A. HALM,"Har
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MODERN HARMONYEx.47.Allegro espress
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CHAPTER IIISCALES— (a)MODAX, INFL
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26 MODERN HARMONYEx.61.AUTHENTIC /c
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28Ex.58,Allegretto.MODERN HARMONYJ.
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30 MODERN HARMONYEx.60.Moderato.ELG
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32 MODERN HARMONYMany of the effect
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34 MODERN HARMONYthose are derived.
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S6MODERN HARMONYI.—A Tonal Centre
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i88 MODERN HARMONYEx.71.Andante.Voi
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40 MODERN HARMONYseem to be some po
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42 MODERN HARMONY^^^=^^^\h^K\%f^ft^
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uMODERN HARMONYEx. 84.\^vace (quasi
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46 MODERN HARMONYEx. 90.Adagio, mis
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MODERN HARMONYEx.95.Harmonic outlin
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50 MODERN HARMONY(a) a deliberate s
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62 MODERN HARMONYand such endings a
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54 MODERN HARMONYof a major third w
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i56MODERN HARMONYDEBUSSY, "Îmagesl
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58 MODERN HARMONYEx. 118.Allegro bu
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60 MODERN HARMONYIt is the Impressi
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62 MODERN HARMONYEx.130.DEBUSSY,''C
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(d)CHAPTER VIsome other scalesIn th
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Jjjj|J].jijj^66 MODERN HARMONYEx.13
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'MODERN HARMONYGEORGES hue;"Surl'ea
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70MODERN HARMONYEx. 147.^Method of
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72 MODERN HARMONYEx. 152.C to C.Ex.
Page 94 and 95: 74 MODERN HARMONYHow the composer d
Page 96 and 97: 76Ex.162.Allegro.MODERN HARMONYSCRI
Page 98 and 99: CHAPTER VIIALTERED NOTES AND ADDED
Page 100 and 101: 80MODERN HARMONYAltered Notes in Ch
Page 102 and 103: 82 MODERN HARMONYThe principle of a
Page 104 and 105: 84 MODERN HARMONYMany passages in S
Page 106 and 107: 86 MODERN HARMONYdiatonic structure
Page 108 and 109: 88 MODERN HARMONYEx.183.Ex.t84.The
Page 110 and 111: CHAPTER VIIINEW METHODS OP CHORD-ST
Page 112 and 113: 92 MODERN HARMONYWhichever view of
Page 114 and 115: 94 MODERN HARMONYEx.194.Largamente.
Page 116 and 117: 96 MODERN HARMONYEx.198,(a) (b) (c)
Page 118 and 119: 98 MODERN HARMONY(c)Mixed Structure
Page 120 and 121: 100 MODERN HARMONYOther chords are
Page 122 and 123: 102 MODERN HARMONYEx.220. MACKENZIE
Page 124 and 125: 104MODERN HARMONYEx.j827.STRAUSS,"
Page 126 and 127: 106 MODERN HARMONYto the tonic harm
Page 128 and 129: 108 MODERN HARMONY^^•^'- Presto s
Page 130 and 131: 110MODERN HARMONYEx.240.Allegro mod
Page 132 and 133: 112Ex.245.MODERN HARMONYrail, molto
Page 134 and 135: CHAPTER XIMPKESSIONISTIC METHODSBef
Page 136 and 137: 116 MODERN HARMONYBantock has shown
Page 138 and 139: 118EX.2B7.MODERN HARMONY4llegroMntr
Page 140 and 141: 120 MODERN HARMONYmuch better when
Page 142 and 143: 122 MODERN HARMONYEx.268. . . , /J.
Page 146 and 147: 126 MODERN HARMONYis also real, the
Page 148 and 149: 128 MODERN HARMONYThe example by St
Page 150 and 151: 130 MODERN HARMONYThe foregoing rem
Page 152 and 153: 132 MODERN HARMONYEx. 291.(Orch.)ii
Page 154 and 155: 134 MODERN HARMONYmEx.295.(Chor.)(A
Page 156 and 157: 136 MODERN HARMONYEx. 299.Andante m
Page 158 and 159: lasMODERN HARMONYVns.Vas,Fls. Obs,C
Page 160 and 161: I140 MODERN HARMONYLet us pass on t
Page 162 and 163: 142 MODERN HARMONYExample 313 forms
Page 164 and 165: 144 MODERN HARMONYonly of the devic
Page 166 and 167: 146 MODERN HARMONYEx. 322.Allegro.B
Page 168 and 169: 148 MODERN HARMONYEx. 327.Allegro v
Page 170 and 171: 150 MODERN HARMONYEx. 338a.
Page 172 and 173: ^(Scheme.)etc.152 MODERN HARMONYg^
Page 174 and 175: CHAPTER XIIliATBB HARMONIC TENDENCI
Page 176 and 177: 156 MODERN HARMONYreach a point whe
Page 178 and 179: 158 MODERN HARMONYWe now turn to a
Page 180 and 181: 160 MODERN HARMONYIn Example 351 we
Page 182 and 183: 162MODERN HARMONYEx. 355.• J: 68.
Page 184 and 185: 164 MODERN HARMONYseem prone to int
Page 186 and 187: 166 MODERN HARMONYAsiatics vocalize
Page 188 and 189: 168 MODERN HARMONYThere is a sort o
Page 190 and 191: CHAPTER XIVMODERN RHYTHMThe term "r
Page 192 and 193: Ithe172 MODERN HARMONYNowadays, not
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174 MODERN HARMONYone of the beats.
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I176 MODERN HARMONYA recent innovat
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178 MODERN HARMONY"i ^ h 9 jk^ -'
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180 MODERN HARMONYand, indeed, all
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182 MODERN HARMONYcramping of the p
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184Ex.391.(a)Andante. ,MODERN HARMO
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186 MODERN HARMONYBridge.Subject. (
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188MODERN HARMONYEx.397,(a)^^Lento.
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190 MODERN HARMONYt^ jil\^- h^\iip
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192 MODERN HARMONYstyles of utteran
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194 MODERN HARMONYThe propeB apprec
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'196 MODERN HARMONYEx.402.Vivacecol
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198 MODERN HARMONYbut the most disa
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APPENDIX IEXERCISESAnything of the
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MODERN HARMONY11. Harmonise the fol
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204 MODERN HARMONY19. Harmonise for
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206 MODERN HARMONY26. Add 6 bars to
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208 MODERN HARMONY33. Write a short
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210 MODERN HARMONYIVMUSICAL FORM42.
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APPENDIX IIGLOSSARY OF TECHNICAL TE
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MODERN HARMONYConsecutive seconds,
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216 MODERN HARMONYLaissez vibrer, l
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218 MODERN HARMONYRegulated pulsati
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INDEX TO MUSICAL ILLUSTRATIONS{The
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22aBlgab (continued)Farjeon, H.Plot
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'224 MODERN HARMONYReger, MaxBlMSKY
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MODERN HARMONYMISCELLANEOUS.Chords,
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228 MODERN HARMONYBeethoven, Pastor
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230 MODERN HARMONYFive senses of mu
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232 MODERN HARMONYObscuring the Ton
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234 MODERN HARMONYStrauss, modernit
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"V '^5^^^^"V
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