CORNELL

168 MODERN HARMONYThere is a sort of "Pointillism" which scatters the melodicMelodic^^^®' ^y *^® large spacing of major sevenths. This"Pointil- is permissible on the twelve-note system; but itlism."j^g^y. ^,g regarded also as a frolicsome dalliancewith the chromatic scale on the diatonic basis. A full exemplificationof this method will be found in the second ofSchonberg's " Drei Klavier-stiicke," Op. 11.Ex.870.(Scheme)***The " whole-tone " system, however, is less compromising.It fairly bristles with augmented fourths, fifths, and sixths,and must be sung and listened to purely through the " tonalmedium.Ex.371.Allegro molto vivaceSIBELIUS,4th Symphony, 2nd movementIt is this strained " aural-vision " which causes most composersto regard the so-called "tonal" scale in the light of.