CORNELL

CONTENTS(b)CHAPTER IVthe duodecuple (or twelve-note) scaleThe divisions of the octave—Temperamental timings—Thecombined use of the two systems—Comparison with thechromatic view—Inadequacies of the old notation—Somediagrams—The two distinct applications of the duodecupleA TONAL CENTBE—Equality—Comparison with the diatonicj/enus-Major thirds and sixths in succession—The enlarged possibilities of harmonic colour—The abandonmentof the old Dominant—Some substitutions—^ ewchords—The "tonal" scale included in the duodecuple.No TONAL CENTRE — Temporary suspension of TonicAbolishment of key-signatures—Eric Satie and Sehonberg—Absolutepitch 33(C)CHAPTER VTHE "WHOLE-TONE" OR "TONAJL" SCALEIts chordal origin—Limited melodic value of system—No newthing—Equally divided chords—Only two tonal seriesLimitations in reproduction of chords—Great varieties ofcombination—Progression of parts—Combination of thetwo tonal series—Its modulatory powers—Passing notesNot entirely of French origin—Its melodic applicationIts limitations—Its real value—The "added note" andappoggiatura views ... - 53(D)CHAPTER VISOME OTHER SCALESThe desire for modification—The call of the East in music-Modal likenesses—The feeling of effeteness of the olddiatonic major and minor—Scriabine's experiments—Thegenesis of his scale—His method of using it—Comparisonwith "tonal" system—The inversions of his chord-Temperamental arguments again—Reversion to Dominantsupremacy—Other selections from the harmonic seriesHis Seventh Sonata—Possible absorption of his choi-ds intothe general practice - - - 64