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58 MODERN HARMONYEx. 118.Allegro burlesco.KARG-ELERT,Sonatina Exotique',' for Pft.I'l jjgPU; m ^Si iEx. 119.Adagio.ELGAR,"Gerontius."(Voice) "I go before my Judge"The best possible use for these new " tonal " chords is byabsorption into the older practice. Like all other chords on. an exactly equal division of the octaAê, theirJPower of''T°"«'"chameleon-like character and their absolute indifferenceto notation makes their value for purposesof effecting modulations inestimable. By approachingthese tonal chords in one light, and quitting them in
THE « WHOLE-TONE'' OR " TONAL'' SCALE 59another, we see their possible derivation from altered oradded notes imposed on the older chords (see Chapter VIII.).The old rule of roots a fourth apart upwards or jfifth downwardsmeets the case very well. Or they go equally well bychromatic resolution.Ex.120.^S^^mwtasz?rifÊx. 121.m^ fe-^^^H-ifH^ ^^ SE^feÊx. 122.det(Scheme.)£Si J^ÎPP'-(2- -19-The Impressionist use of a " tonal " chord will be seen inthe following:Ex.123.DEBUSSY, Prelude.
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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
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 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 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
Page 110 and 111: CHAPTER VIIINEW METHODS OP CHORD-ST
Page 112 and 113: 92 MODERN HARMONYWhichever view of
Page 114 and 115: 94 MODERN HARMONYEx.194.Largamente.
Page 116 and 117: 96 MODERN HARMONYEx.198,(a) (b) (c)
Page 118 and 119: 98 MODERN HARMONY(c)Mixed Structure
Page 120 and 121: 100 MODERN HARMONYOther chords are
Page 122 and 123: 102 MODERN HARMONYEx.220. MACKENZIE
Page 124 and 125: 104MODERN HARMONYEx.j827.STRAUSS,"
Page 126 and 127: 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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