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234 MODERN HARMONYStrauss, modernity, 1ninths in part-writing, 128,129overlapping harmonicstreams, 137pedal-chords, 42planes, 109polychromatic method, 15,16, 23, 43polytony, 104Programme Music, 182realism, 154, 155sequential bass progressions,87"tonal" chords, 60, 61Stravinsky, 14, 49, 86, 154Streams and lines, 134of sound, 136, 137String quartet writing, 22, 106,107, 112, 183, 185Strings, 193Structures of fourths and fifths,96Subdominant, major chord onraised, 15Superposition of vinequal thirds,5Suspension of diatonic tonality,36Swan Hennessy, 174Swinstead, 29Symphonic poem, 182Symphonie in P], 186System of teaching harmony, 4Table of altered chords, 79Technique of the Impressionists,114Temperament (tuning), 24, 33, 95Temperamental argumentsagain, 73Temperaments, 23Tertiatonal system, 77Thought in music, 4Threefold basis of music, 24outlines, 160Three harmonic streams, 137Tierce de Pieardie chords, 29Timbre -creating combination,83devices, 125Time signatures, new, 172, 174Tonal centre, 35, 36necessity of, 49"Tonal" chords, 47, 53, 54, 58'206in modulation, 58melody, 168music not always French,193scale, 5, 36, 48, 53, 69, 143,192included in duodeeuple,48system, 40, 53compared, 72Tonality-chord of Scriabine, 187Tone-colour effects, 160, 193Tone-dramas, 189Tone-production, varieties of,194Tonic, 35, 84added to any chord, 84Transference of discord, 105Transferred resolution, 13, 105Transmu.tation properties ofdiminished seventh chord, 96Transposed modes, 126Tri-planal polytony, 209Triplet, 171Truth, 198, 199Tschaikowsky, combined times,177melody, 163nationalism, 66Programme Music, 182quintuple time, 173resolutions, 105Twelve-note system, 5Two harmonic streams, 135Tyndall, 66Undue prominence of sonataform,182Unfixed tone, instruments of, 23Unrestfulness, 74Value of " wliole-tone system,'"62"Vamping" form of Spanishguitarists, 103Variety of phrase-lengths, 179Vaughan-Williams, 16, 193Vehicle of expression, 199Verdi, 158, 164Verlaine, 66Villemin's pols'phony, 151
GENERAL INDEX 235Vina, 77Vin6e, 22, 101Vivaldi, 3Wagner, early styles, 192major third progressions,48,49modernity, 1polychromatic method, 15,45quintuple time, 174resolutions, 85scales, 47, 66sequential progression inbass, 18, 48, 87use of appoggiatura, 101vague tonality, 47Wedding March, 5Wells, G. H., 4Wesley chord, 92Whips in "Elektra," 154White keys throughout, 27" Whole-tone " chords, 47, 53, 54,58, 85, 206melody, 168passing-notes, 61scale, 5, 48, 53, 69, 148chordal origin, 53system, 40Wider tonal relations, 15Wind instruments, 193machine, 193" Witches' Sabbath," 193Wolf-Ferrari, 20, 154Zanella, 178THE ENDBILLING AND SONS, LTD., PRIWTKR3, GUILDJTOBD.
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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
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128 MODERN HARMONYThe example by St
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130 MODERN HARMONYThe foregoing rem
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132 MODERN HARMONYEx. 291.(Orch.)ii
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134 MODERN HARMONYmEx.295.(Chor.)(A
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136 MODERN HARMONYEx. 299.Andante m
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lasMODERN HARMONYVns.Vas,Fls. Obs,C
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I140 MODERN HARMONYLet us pass on t
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142 MODERN HARMONYExample 313 forms
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144 MODERN HARMONYonly of the devic
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146 MODERN HARMONYEx. 322.Allegro.B
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148 MODERN HARMONYEx. 327.Allegro v
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150 MODERN HARMONYEx. 338a.
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^(Scheme.)etc.152 MODERN HARMONYg^
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CHAPTER XIIliATBB HARMONIC TENDENCI
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156 MODERN HARMONYreach a point whe
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158 MODERN HARMONYWe now turn to a
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160 MODERN HARMONYIn Example 351 we
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162MODERN HARMONYEx. 355.• J: 68.
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164 MODERN HARMONYseem prone to int
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166 MODERN HARMONYAsiatics vocalize
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168 MODERN HARMONYThere is a sort o
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CHAPTER XIVMODERN RHYTHMThe term "r
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Ithe172 MODERN HARMONYNowadays, not
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174 MODERN HARMONYone of the beats.
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I176 MODERN HARMONYA recent innovat
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178 MODERN HARMONY"i ^ h 9 jk^ -'
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180 MODERN HARMONYand, indeed, all
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182 MODERN HARMONYcramping of the p
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Page 212 and 213: 192 MODERN HARMONYstyles of utteran
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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,
Page 248 and 249: 228 MODERN HARMONYBeethoven, Pastor
Page 250 and 251: 230 MODERN HARMONYFive senses of mu
Page 252 and 253: 232 MODERN HARMONYObscuring the Ton
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