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148 MODERN HARMONYEx. 327.Allegro vivace.YQ^K BOWEN, 2nd Suite.The string and oboe figures in the " Danse Macabre " comeunder the same classification, as also does the treble figure inExample 329. The bell-like figure in Cyril Scott's third" Poem" makes an even greater demand. The same principleis very prominent in those harmonic studies of bell-toneswhich so fascinate many of the French composers (seeExamples 330 and 339).mEx. 328.Mouvement modere de VaJse.Ob.Fag.iiJ^ *niiHorn^g.Tpt.^Tbna.ia^^^4^^m •K-^. «sSAINT-SAENS,"Danse macabre."'g^^^Î êtc.etc.©êtc.(strings)®Ex. 829. Allegro con brioWOLF-FERRARI,"Jewels of the Madonna.'(Vocal parts omitted.)
HORIZONTAL METHODS 149BLANCHE SELVA,'Ex. 330.IModerate. (J Cloches au=104.)soleil.(En Italic.)sin 'nn^nil^siiinîn^r^n-^ gsEx. 331.Moderato.CYRIL SCOTT, "Bells" ("Poems" N9 3.)The Jarnefelt figure in tlie popular orchestral Pralude iscontinued almost throughout the piece, and the variations byBorodin, Rimsky-Korsakoff, LiadofP, and Cui on a httle folksongtune treat the miniature theme in this manner. Thetheme (Example 333a) is associated with a popular children'sgame in vogue throughout the Russian Empire. But forsheer modernity, the pedal-figure in the first of Schonberg'sfive orchestral pieces stands unrivalled. The resolution (?) oftt is seen at 3386.EX..332.Allegro quasi Allegretto,Oboel.ARMAS JARNEFELT,"Prjeludium."CB(PuUStr.phi.)
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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.
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74 MODERN HARMONYHow the composer d
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76Ex.162.Allegro.MODERN HARMONYSCRI
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CHAPTER VIIALTERED NOTES AND ADDED
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80MODERN HARMONYAltered Notes in Ch
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82 MODERN HARMONYThe principle of a
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84 MODERN HARMONYMany passages in S
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86 MODERN HARMONYdiatonic structure
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88 MODERN HARMONYEx.183.Ex.t84.The
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CHAPTER VIIINEW METHODS OP CHORD-ST
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92 MODERN HARMONYWhichever view of
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94 MODERN HARMONYEx.194.Largamente.
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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 144 and 145: 124MODERN HARMONYEx.274.^Molto adag
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 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
Page 194 and 195: 174 MODERN HARMONYone of the beats.
Page 196 and 197: I176 MODERN HARMONYA recent innovat
Page 198 and 199: 178 MODERN HARMONY"i ^ h 9 jk^ -'
Page 200 and 201: 180 MODERN HARMONYand, indeed, all
Page 202 and 203: 182 MODERN HARMONYcramping of the p
Page 204 and 205: 184Ex.391.(a)Andante. ,MODERN HARMO
Page 206 and 207: 186 MODERN HARMONYBridge.Subject. (
Page 208 and 209: 188MODERN HARMONYEx.397,(a)^^Lento.
Page 210 and 211: 190 MODERN HARMONYt^ jil\^- h^\iip
Page 212 and 213: 192 MODERN HARMONYstyles of utteran
Page 214 and 215: 194 MODERN HARMONYThe propeB apprec
Page 216 and 217: '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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