CORNELL

20 MODERN HARMONYEx.42.A. HALM,"Harmoiiielehrebuch.\>fi._^The banned progression of a second proceeding into aunison may be found in Schubert's canon in " Erlaf See," andthe pedal chords in the cadences of Beethoven and Brahmsare as revolutionary in effect as anything in Debussy.Ex.43.Largo e raesto... h55=fe^ ippBEETHOVEN.itSee also the double chord from Beethoven's Ninth Symphony,given on p. 104.Of all the wider applications of the " pedal " principle, thesustained " Mediant " is now almost as frequent as the Tonicand Dominant—perhaps more so. Numberless inj^"^''stances spring to mind—the finale to Elgars FirstSymphony, Moussorgsky's "Song of Mephistopheles,"Smetana's "Aus meinen Leben" String Quartet, Guilmant'sSeventh Organ Sonata (second movement), Karg-ElerfsPassacaglia in B flat minor (finale), Debussy's charming pianovalse "La plus que lente," and so on. Dvorak and Poldiniare very partial to it ; Wolf-Ferrari also. The following hasthe effect of a double inverted pedal, the Tonic and MediantEx.44. Andantino soave. KARG-ELERT, Pastel. Op.»2,N?3.Svppct.p