CORNELL

GREATER FREEDOM ON THE OLD LINES 15E CESAR FRANCK.28_Allegretto ben moderato.Violin Sonata.ftJ i * »*A more equal treatment of the scale notes allows both amajor and a minor common chord on every note withoutnecessitating modulation or upsetting the feeling of tonality.I'rom this point it is but a short step to common chords onthe chromatic notes of the scale, and an infinite widening ofthe modulation scheme. Apart from the rule of key-balancein the older sonata and fugue forms, a modulation to theSupertonic major key for transitional purposes seems as goodto the ear as any other.*In addition to aU this, any discord which first suggestsitselE as belonging to any other key can be brought within thetonal range of the central Tonic by suitable progression ofWider ^^® parts, and may thus acquire a new and vitalTonal character. The finest applications of this "poly-Relations. cjij-omatic "method are to be found in the works ofWagner, and at times in Strauss. Any chromatic discordmay be taken on any note of the scale, provided(a) it is so followed as to effect no radical disturbance ofthe tonal centre ; or,(6) that it effects the desired modulation with a naturalprogression, of the parts.This principle will be seen more widely developed in ChapterIV. on the duodecuple (or twelve-note) scale.In view of these newer chords, it seems idle to call sucha chord as the one in the Pitt example, for instance, aSimplifica-"dominant thirteenth, with B flat as root"; it istion of simply a chord of the seventh on the SubdominantTheory. ^-^^-^ g, chromaticaUy altered third. The Elgarexample shows a major common chord with a seventh on thethe Jensen, a minor seventh chord with majorLeading-note ;third on the Subdominant, whilst the Strauss extract gives amajor chord on the raised Subdominant. It would be easy to* See Reger, " Supplement to the Theory of Modulation."