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158 MODERN HARMONYWe now turn to a modern development of an altogetherdifferent kind. The plan of thickening the melodic outhne inoctaves, whether in the bass or the treble, is notOutiin'elfconfined to any one master or period. The doubUngin the extreme parts seems to be the first breakingaway from the older paths. In the example from the" Falstaff " of that grand old master, Verdi, we see a devicemuch affected by the younger Italian school.Ex.346.VERDl/'Falstaff.3'-"^^J^J^rYrJJC^sar Franck has a beautiful application of it in his" Beatitudes."These considerations bring forward the important questionsof the musical chiaroscuro which is obtained from the pitch of^ Passage, and also that equallyChiaroscuroimportant factorin harmony, the spacing of the parts. WhereasWagner, MacDowell, and the sunny Albeniz may be mentionedas thorough masters of the higher lights, Brahms and Tschaikowsky,perhaps, have handled the lower tones with thegreatest success.From the facile enrichment of a part by doubling inoctaves, we step on to thickening a given part by sixths andîn°Sixthf.chords of the " six-three."This belongs to the olderpractice, but modern examples of it will be seenin the following extract from Elgar's great classicand in Example 265.
LATER HARMONIC TENDENCIES 159Ex.347. Allegretto.ClSj^ —1^^î?5*ÊLGAR,"Enigma" Variations.Fls. added ^ •• ^^^CelliThe Dvorak Valse theme, given in Example 6, is one of theearliest examples of doubling a part in fifths. Grieg came verynear to the same idea in several of his pieces. The threefollowing extracts reveal some very different uses of thedouble outlining of a part by fourths :Ex. 348.Andante.REBIKOFF,"Moment lyrique" for Pft.Ex.349.Allegro.ELGAR,"Gerontius7(Demoniacal ChorusJEx. 350.Tres lent.RAVEL,"La Valle'e des Cloches'E.H.L.H.
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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)
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98 MODERN HARMONY(c)Mixed Structure
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100 MODERN HARMONYOther chords are
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102 MODERN HARMONYEx.220. MACKENZIE
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104MODERN HARMONYEx.j827.STRAUSS,"
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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 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 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
Page 218 and 219: 198 MODERN HARMONYbut the most disa
Page 220 and 221: APPENDIX IEXERCISESAnything of the
Page 222 and 223: MODERN HARMONY11. Harmonise the fol
Page 224 and 225: 204 MODERN HARMONY19. Harmonise for
Page 226 and 227: 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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