CORNELL

228 MODERN HARMONYBeethoven, Pastoral Symphony,197Bell-tones, 148Bennett, Sterndale, 171Berlioz, 28, 169, 181, 182, 183Berlioz's id^e fixe, 183Bible Sonatas, 182Bi-planal harmony, 193, 209Bizarre effects, 154, 17f3Bonnet, 27Bordes, 174Brahms, 110, 164, 179, 182, 192Bridge passage, 209Browning, 114Bull, Dr. John, 2Busoni, 76Busoni's new system, 77Butterworth, 154Cadences, 31, 32, 105, 110, 111,113Cadential relief, 110Cadenzas of Liszt, 36Canon in Sehnbert's ' ' Erlaf See,20Cezanne, 115Classical, use of term, 2 (footnote),182Chabrier, 193Chamber mvisie, 198Charpentier, 152Chausson, 116, 193Chiarosonro, 158Chopin, altered scale, 70combined movements, 172fifths, 118major thirds, 49melismce, 36, 50, 172nationalism, 66quadruplet, 171quintuple time, 174vagvie tonality, 50Chordal origin of "whole-tone"scale, 53Chord-formation, 83by fourths, 97, 160Chords derived horizontally, 140of ninth, 125of seventh, 123Chord-structure, 90by equal intervals of samequality, 95by equal intervals of unevenquality, 93Chromatic alterations, 85, 88discord, 33notes, 15scale, 5not a mode, 78resolution, 59view, 33Classical, 2Cobbett, W. W., 189Coleridge-Taylor, 66Colour sensation, 72Combined harmonic streams,135, 136, 137keys, 138, 139themes, 184time - movements. 171. 174,177Common chords in similar motion,119, 160on chromatic notes, 13Comparison of Scriabine's scaleswith "Tonal" systems, 72Composer's equipment, 19Concord as pedal, 146Dominant seventh acceptedas, 156Con moto contiauo, 179Consecutive fifths, 8, 116 et seq.Contrapuntal styles, 131Crick, harmonic, 120Cubism, 2Cui, 149Cult of the East, 66of the second, 155of semitone, 98Davitl. Ferdinand, 67Davies, Walford, 16, 29. 49Debussy forestalled, 2. 20harmonic studies, 209harmonics, 73Impressionism, 36, 59, 115,129, 193" L'Apr^s-iuidi d'un Fanne,"188mirroring, 56new chords, 108" Pelleas et Melisande," 62scale of "Pagodas," 66songs, 130String Quartet, 128"tonal" harmony, 56, 58,61, 62Definition of Impressionism, 114