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178 MODERN HARMONY"i ^ h 9 jk^ -'•Ex.386.Allegro. J.=zio4ELGAR.lst Symphony,y »»jjjjP^Ex.387.D'un rythme souple.RAVEL,"Miroirs;'N? 3.Apart from this, a widespread desire has long beenevidenced on the part of composers for the interpolationof occasional bars of an irregular number of beats, wherebythe thought gains a greater freedom than that allowed bythe fixed time-signature.Such free use of the bar was almost bound to lead inextreme cases to the abolition of the bar-line altogether,a course followed by Zanella in his Op. 44, TwoStudies for the Pianoforte.In these pieces he aimsRlusic*at giving more elasticity to the general constructionof the period, so that greater variety may be imparted tothe rhythm, without the art-form thereby losing its equi-
MODERN RHYTHM 179librium in the slightest degree as a whole. In a footnotehe advises the player to distinguish most carefully betweenthe value of the single quaver and those of the triplets.On the other hand, in his Second Study he states that thequaver must always have the same value both in groups oftwo, three, four, five, or seven quavers. The accents arecarefully marked where required, and sf. is used for a slightexaggeration of the emphasis. The accidental applies alwaysonly to the note which immediately follows.For cases of still more combined complex rhythms, thestudent cannot do better than refer to the chamber-musicCombined °^ Brahms, whUst, as an example of elaborateComplex orchestral texture, the following brief extract veillRhythms,g^fgce to indicate the lines followed by thosemodern orchestrators who acknowledge Wagner as theirleader : Moderate. BANTOCK,''Christ in the Wilderness'.'Ex.388.The old formal regularity in phrases has now disappeared.Even the exhilarating Con moto continuo pieces now soundrather naive. The rhyming of cadences is much rarer andmore subtle, whilst increased harmonic appreciation hasrendered many of the older set cadential forms not onlyunnecessary but tiresome.To what an eloquent variety, modern phrasing andpunctuation has now attained, may well be seen in themusic of Brahms, Franck, and Reger. Amongsty.in Phrase the modern composers, who have distinctly followedLengths.Qjj these lines of complete elasticity of phrasing,are Debussy, Ravel, Stanford, Mackenzie, Scott, MacDoweU,13
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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, "^Imagesl
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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
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108 MODERN HARMONY^^•^'- Presto s
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110MODERN HARMONYEx.240.Allegro mod
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112Ex.245.MODERN HARMONYrail, molto
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CHAPTER XIMPKESSIONISTIC METHODSBef
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116 MODERN HARMONYBantock has shown
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118EX.2B7.MODERN HARMONY4llegroMntr
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120 MODERN HARMONYmuch better when
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122 MODERN HARMONYEx.268. . . , /J.
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124MODERN HARMONYEx.274.^Molto adag
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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 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 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
Page 228 and 229: 208 MODERN HARMONY33. Write a short
Page 230 and 231: 210 MODERN HARMONYIVMUSICAL FORM42.
Page 232 and 233: APPENDIX IIGLOSSARY OF TECHNICAL TE
Page 234 and 235: MODERN HARMONYConsecutive seconds,
Page 236 and 237: 216 MODERN HARMONYLaissez vibrer, l
Page 238 and 239: 218 MODERN HARMONYRegulated pulsati
Page 240 and 241: INDEX TO MUSICAL ILLUSTRATIONS{The
Page 242 and 243: 22aBlgab (continued)Farjeon, H.Plot
Page 244 and 245: '224 MODERN HARMONYReger, MaxBlMSKY
Page 246 and 247: 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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