CORNELL

HORIZONTAL METHODS 145We see a wider application of the method in the Parisiancomposer's "Children's Cantata," written in 1904, and thesame idea is evidenced in the daring passage for brass inTscherepnine's psychological drama " Narcisse."Ex. 320.Lento.(TheSeaJjBT^PIERNE, "The Children's Crusade."TSCHEREPNINE,Ex. 321.^^^p^eAllegro risoluto.i"Narcisse."The case with "pedal-chords" is somewhat different.Once the ear has accepted a certain thing, the effect retiresinto the background of the aural " retina," and only counts ina secondary w^ay until some change or contrast has beeneffected. It is a partial application of the familiar adagerelating to familiarity and contempt. From it,Chords, spring all the "pedal" devices; and sorae of therarer instances are provocative of much thought.Take, for instance, the daring horn passage in Beethoven'sSymphony in JE flat, vrhich is thrown on to a background ofA flat and B flat—a major second—on the strings. This is asufficient presage of the part which that new element, tonecolour,was shortly to play in harmony. The idea reaches itslimit in such pedal-chords as that at the opening of the operaof Wolf-Ferrari's " Jewels of the Madonna," and in the pedalchord,D, A, C sharp, held on for over a hundred bars, by threebassoons, and later by the muted trombones, in Schonberg's" Vorgefiihle," Op. 16.