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30 MODERN HARMONYEx.60.Moderato.ELGAR,"Gerontius!'(Semi-Chor.)Noe from the waters in a sa-vinghomeEx.61.Andante cantabile.TSCHAIKOWSKY,5th Symphony, Op.64.(Vas.Ce B.)if f.T T r r ^f-VERDI,"Otello.'^M. RAVEL," Pavane pour une Infante defunte'.Ex.63.Assez douce, mais dune sonorite large,J: 54 _^m fem^§Wmmimm(pf.)'/'hu JT^ E '*fpri ^
SCALES— {A) MODAL INFLUENCES 31Other composers show the influence chiefly in their finalModal cadences. The close of " Saul's Dream " in Parry'sCadences. « King Saul," and the ending of Grieg's PianoforteConcerto, afford instances of this.E.GRIEG,.Ex.64.^Âllegretto semplice.-^ Sigurd Jorsalfar, Suite. Op.56.r(Orch.)^ espress.ô^r^^poco rit.77Ex 65Allegro vivace,PARRY, "King Saul."^'Ex.66.Andante maestosoGRIEG, Concerto in A minor, Op.16.^(Pf.)Jf^Pl^¥Pii±m(Orch.) yymarcatissimo
Page 2 and 3: CORNELLUNIVERSITYLIBRARYBOUGHT WITH
Page 4: The original of this book isinthe C
Page 9 and 10: Augener's Edition No. 10118MODERN H
Page 11: PEEFATOEY NOTEThe present work is i
Page 15 and 16: CONTENTSCHAPTER IINTRODUCTORYFirst
Page 17 and 18: CONTENTSxiCHAPTER VIIALTERED NOTES
Page 19: CONTENTSxiiiCHAPTER XVMODERN FORMTh
Page 22 and 23: 2 MODERN HARMONYschools, or whateve
Page 24 and 25: 4 MODERN HARMONYfourths favoured by
Page 26 and 27: 6 MODERN HARMONYmusic. The percepti
Page 28 and 29: CHAPTER IIGREATER FREEDOM ON THE OL
Page 30 and 31: 10 MODERN HARMONYEx.11.Meno mossei.
Page 32 and 33: 12Ex.17.Tempo giustowMODERN HARMONY
Page 34 and 35: 14Ex.24.VivacissimOjMODERN HARMONYP
Page 36 and 37: 1 «16 MODERN HARMONYmultiply examp
Page 38 and 39: 18MODERN HARMONYEx.37.LentoWAGNER,"
Page 40 and 41: 20 MODERN HARMONYEx.42.A. HALM,"Har
Page 42 and 43: MODERN HARMONYEx.47.Allegro espress
Page 44 and 45: CHAPTER IIISCALES— (a)MODAX, INFL
Page 46 and 47: 26 MODERN HARMONYEx.61.AUTHENTIC /c
Page 48 and 49: 28Ex.58,Allegretto.MODERN HARMONYJ.
Page 52 and 53: 32 MODERN HARMONYMany of the effect
Page 54 and 55: 34 MODERN HARMONYthose are derived.
Page 56 and 57: S6MODERN HARMONYI.—A Tonal Centre
Page 58 and 59: i88 MODERN HARMONYEx.71.Andante.Voi
Page 60 and 61: 40 MODERN HARMONYseem to be some po
Page 62 and 63: 42 MODERN HARMONY^^^=^^^\h^K\%f^ft^
Page 64 and 65: uMODERN HARMONYEx. 84.\^vace (quasi
Page 66 and 67: 46 MODERN HARMONYEx. 90.Adagio, mis
Page 68 and 69: MODERN HARMONYEx.95.Harmonic outlin
Page 70 and 71: 50 MODERN HARMONY(a) a deliberate s
Page 72 and 73: 62 MODERN HARMONYand such endings a
Page 74 and 75: 54 MODERN HARMONYof a major third w
Page 76 and 77: i56MODERN HARMONYDEBUSSY, "Îmagesl
Page 78 and 79: 58 MODERN HARMONYEx. 118.Allegro bu
Page 80 and 81: 60 MODERN HARMONYIt is the Impressi
Page 82 and 83: 62 MODERN HARMONYEx.130.DEBUSSY,''C
Page 84 and 85: (d)CHAPTER VIsome other scalesIn th
Page 86 and 87: Jjjj|J].jijj^66 MODERN HARMONYEx.13
Page 88 and 89: 'MODERN HARMONYGEORGES hue;"Surl'ea
Page 90 and 91: 70MODERN HARMONYEx. 147.^Method of
Page 92 and 93: 72 MODERN HARMONYEx. 152.C to C.Ex.
Page 94 and 95: 74 MODERN HARMONYHow the composer d
Page 96 and 97: 76Ex.162.Allegro.MODERN HARMONYSCRI
Page 98 and 99: 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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184Ex.391.(a)Andante. ,MODERN HARMO
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186 MODERN HARMONYBridge.Subject. (
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188MODERN HARMONYEx.397,(a)^^Lento.
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190 MODERN HARMONYt^ jil\^- h^\iip
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192 MODERN HARMONYstyles of utteran
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194 MODERN HARMONYThe propeB apprec
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'196 MODERN HARMONYEx.402.Vivacecol
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198 MODERN HARMONYbut the most disa
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APPENDIX IEXERCISESAnything of the
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MODERN HARMONY11. Harmonise the fol
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204 MODERN HARMONY19. Harmonise for
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206 MODERN HARMONY26. Add 6 bars to
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208 MODERN HARMONY33. Write a short
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210 MODERN HARMONYIVMUSICAL FORM42.
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APPENDIX IIGLOSSARY OF TECHNICAL TE
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MODERN HARMONYConsecutive seconds,
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216 MODERN HARMONYLaissez vibrer, l
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218 MODERN HARMONYRegulated pulsati
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INDEX TO MUSICAL ILLUSTRATIONS{The
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22aBlgab (continued)Farjeon, H.Plot
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'224 MODERN HARMONYReger, MaxBlMSKY
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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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