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40 MODERN HARMONYseem to be some polar m.ystery about this possible secondarycentre. If we walk away from the unison F sharp in twoparts by contrary motion, we shall discover some curiousIf we progress far enough by xninor seconds or minorthings.thirds, or augmented fourths or major sixths, we shalleventually reach the octave C to C ; this is the principle of theduodecuple system. If we progress similarly, but by majorseconds, major thirds, perfect fourths, or augmented fifths,we shall eventually reach the octave of F sharp. A glance atExample 75 (d) shows that it is possible to regard the " wholetone" system as included within the duodecuple.Consequent on the abandonment of the old Dominant withits wonderful binding powers, composers naturally lookedSome about for substitutes which would supply theSubsHtuies necessary cohesion of scale material. This theyDominant found in various ways. At first the music wasInfluence, held together by a distinctive note such as the pedaldi-um roll in the following " Parsifal " extract (Example 76),or by a semitonal scale in some prominent part, as in theWagner's " Sleep " motiv (Example 37) ; or the scale may be a" whole-tone " one, as in the Piern^ extract (Example 77). Herethe " mirror " idea, and the retrograde return to the Tonic,
THE DUODECUPLE {OR TWELVE-NOTE) SCALE 41leaves no doubt as to the tonal centre. In the " Heldenleben "motiv the tonahty is held firmly by the pedal-chord on thebrass instruments.Ex. 76.Langsam.Tlmp. in Eb. ^ ^W^GNER/'Parsifal!'Ex.77. LentO;^fee(Orch.)/5»:|=EPIERNE.La Croisade des Enfants.fiiik-fe.g—t^ g ^lli55i: jn:fea•e-Ex. 78.Etwas langsamer.,STRAUSS,. "Ein Heldenleben."
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CORNELLUNIVERSITYLIBRARYBOUGHT WITH
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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 50 and 51: 30 MODERN HARMONYEx.60.Moderato.ELG
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 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, "^Imagesl
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
Page 100 and 101: 80MODERN HARMONYAltered Notes in Ch
Page 102 and 103: 82 MODERN HARMONYThe principle of a
Page 104 and 105: 84 MODERN HARMONYMany passages in S
Page 106 and 107: 86 MODERN HARMONYdiatonic structure
Page 108 and 109: 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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