CORNELL

<strong>CORNELL</strong>UNIVERSITYLIBRARYBOUGHT WITH THE INCOMEOF THE SAGE ENDOWMENTFUND GIVEN IN 1891 BYHENRY WILLIAMS SAGEMUSIC

Cornell University LibraryMT 50.H91Modern harmony.ltsexpla"3'(,9,'l,,?,"'3,,,?J?,P,'|!3 1924 022 370 666

The original of this book isinthe Cornell University Library.There are no known copyright restrictions inthe United States on the use of the text.http://www.archive.org/details/cu31924022370666

MODERN HARMONY

Augener's Edition No. 10118MODERN HARMONYITSEXPLANATION AND APPLICATIONBYA. EAGLEFIELD HULLMus.Doc. (OxoN.)~AUGENERLTD.LONDONBOSTON MUSIC CO., BOSTONt.v-

The relation of quantities is the principle of all things.Plato.Pbimtbd m ENaLMn>

PEEFATOEY NOTEThe present work is intended, not to supplant, but to supplementthe existing harmony books.Whilst Ouseley, Stainer,Prout, Jadassohn and Riemann theorized right up to the artof their day, the harmony books written since then haveavowedly been founded largely on their predecessors. Duringthe last fifteen years immense developments in the tonal arthave taken place, and a formidable hiatus between musicaltheory and modern practice has been created. It is the aimof the present book to fill in this gulf as far as possible.In order to make the book interesting to the general reader,as wêll as useful to the student, a Glossary of Technical Termshas been supplied for the convenience of the former, whilstthe practical student may like to try his hand (and Muse) inthe working out of some of the Exercises in Appendix I.The musical examples have been drawn from as wide a fieldas possible, always from the view of the appropriateness ofthe illustration, and therefore they are not necessarily typicalof any particular composer. In all cases where possible, thereader should play over these passages (or better still, havethem played to him), and not be satisfied with hearing themmentally.

ACKNOWLEDGMENTSThe author's beat thanks are due to the following publishersfor their kind permission to produce extracts from theircopyright works: Messrs. Jos. Aibl and Co. ("UniversalEdition"), Augener Ltd., Breitkopf and Hartel, Bote andBock, Blkin and Co., Ltd., Durand et Cie, R. Forberg,E. Fromont, J. Hamelle, A. Hammond and Co., Harmonie(Berlin), P. Jurgenson, Fr. Kistner, Lauterbach and Kuhn,Laudy and Co., A. Leduc, A. Lengnick and Co., F. E. C. Leuckartand Co., NoveUo and Co., Ltd., C. F. Peters, J. Rieter-Biedermann, Schott and Co., Carl Simon, Stainer and Bell,and the Vincent Music Company, Ltd. (G. Schirmer, Ltd.).

CONTENTSCHAPTER IINTRODUCTORYFirst glance at modern music—Method in modernity—Noseparation, but legitimate growth—Numberless predictionsin the older works—Some faults in present harmonicsystems—The inadequacies of notation—The four widestdivergencies of the later tendencies—The thought andits expression—Greater elasticity—General advice to thestudentPAQBCHAPTER IIGREATER FREEDOM ON THE OLD LINESConsecutive fifths— "Exposed" or "hidden" fifths—SecondInversions—Freer progressions—On "doubling" notesWider claims for the chromatic notes—Freer tonal relations—Theroot in the inversions of the chord of theninth—Collisions in part-writing—A greater laxity innotation—The temperamental question . - -CHAPTER IIISCALES—(a) modal INFLUENCESThreefold basis of music—Evidences of a feeling of straitnessin the major and minor scales—No one permanent scaleRediscovery of the modes—Three uses—The pure useQuotation—Melodic use—A mere modal feeling—Modal- -cadences - 24

CONTENTS(b)CHAPTER IVthe duodecuple (or twelve-note) scaleThe divisions of the octave—Temperamental timings—Thecombined use of the two systems—Comparison with thechromatic view—Inadequacies of the old notation—Somediagrams—The two distinct applications of the duodecupleA TONAL CENTBE—Equality—Comparison with the diatonicj/enus-Major thirds and sixths in succession—The enlarged possibilities of harmonic colour—The abandonmentof the old Dominant—Some substitutions—^ ewchords—The "tonal" scale included in the duodecuple.No TONAL CENTRE — Temporary suspension of TonicAbolishment of key-signatures—Eric Satie and Sehonberg—Absolutepitch 33(C)CHAPTER VTHE "WHOLE-TONE" OR "TONAJL" SCALEIts chordal origin—Limited melodic value of system—No newthing—Equally divided chords—Only two tonal seriesLimitations in reproduction of chords—Great varieties ofcombination—Progression of parts—Combination of thetwo tonal series—Its modulatory powers—Passing notesNot entirely of French origin—Its melodic applicationIts limitations—Its real value—The "added note" andappoggiatura views ... - 53(D)CHAPTER VISOME OTHER SCALESThe desire for modification—The call of the East in music-Modal likenesses—The feeling of effeteness of the olddiatonic major and minor—Scriabine's experiments—Thegenesis of his scale—His method of using it—Comparisonwith "tonal" system—The inversions of his chord-Temperamental arguments again—Reversion to Dominantsupremacy—Other selections from the harmonic seriesHis Seventh Sonata—Possible absorption of his choi-ds intothe general practice - - - 64

CONTENTSxiCHAPTER VIIALTERED NOTES AND ADDED NOTESThe chromatic scale is not a mode—Chromatic alterations ofchords—The four applications—Passing chords—Alterednotes in common chords—In chords of seventh, ninth, etc.—Altered chords freely attacked—Altered notes freelyresolved— "Escaped" chords neither prepared nor resolved—Alteredpassing notes — "Added note" chordsThe augmented sixth chords—Chromatically altered chordstructures by thirds — Enharmony — Schonberg's harmony—Thepurposes of alterations and additions - - 78PAGECHAPTER VIIINEW METHODS OP CHORD-STRUCTUREThe two great principles—The Natural Law and the Empiricpractice—The origin of the minor triad—Unequal divisionsof the octave—Inversions of the chord of ninth—Thecharacteristics and limitations of the equal structures—Their transmutation properties— Mixed structuresSpecial chords from horizontal methods—Ân unsophisticatedchord—One in two planes—Beethoven's comprehensivechord- - - 90CHAPTER IXRESOLUTIONS, ELISIONS,AND CADENCESResolution in general—The liberation of certain notes—Theprocedure of the other note—Transference of the discord—Return to the " approach " chord—A favourite deviceThe influence of the phrasing—Necessity for harmonicelisions—A Beethoven elision—Relieving the cadencesOn feminine endings—Elisions in melodic outline—Supposition—Resolutionby evaporation—On final cadencesSome examples of finely woven tone-colour - - - 105CHAPTER XIMPRESSIONISTICMETHODSDefinition of Impressionism—Technique—The chief harmonicdevice—On consecutive fifths—The emotional powers ofthe open fifth—Its infinitude-Its diablerie—Its scintillancein the higher registers—Common chords in similar

CONTENTSmotion — Equal and unequal chords —" Six-threes"Second inversions—Chords of the seventh—Analysis ofdiminished sevenths—Chord progression—Chords of theninth in succession—Its inversions—Other chords—Someexceptions—Absorption of Impressionistic methods intomodern technique—The art of Maurice Ravel H*CHAPTER XIHORIZONTAL METHODSOn definitely expressed design—Independent melodic lines—The aui-al process—Lines and streams—Two or more harmonicstreams—Combined tonalities—New chords derivedhorizontally—The "mirroring" device—Relative auralfocussing—Pedal chords-Pedal figures- 131CHAPTER XIILATER HARMONIC TENDENCIESWidely differing views—Realism—Further cult of the sensuous—Economyof notes—Simplicity—Discord in theabstract—The minor second in harmony—Doubling theoutlines Chiaroscuro—Doubling in sixths—In fifths— Bycommon — chords—In sevenths and ninths "Escaped"chords 154CHAPTER XIIIMODERN MELODYDifficulty of melodic analysis—The characteristics of intervals—Melodicpredictions of modern harmony—Modernmelodic characteristics—Greater breadth and range—ÂC6sar Pranck example—Musical rhetoric— "Duodecuple"melody—Some melodic " pointillism "— " Whole-tone"melody - - - - 16SCHAPTER XIVMODERN RHYTHMThe vagueness of the term "rhythm"—Musical analysisNotational inadequacies — Combined movement — Lessregular divisions of pulse—The quintuplet — Quintupletimes—Less usual signatures—Combined time-movements—Earless music—Combined complex rhythms—Elasticityof phrasing—Influence of rhythm on harmonic thought 170

CONTENTSxiiiCHAPTER XVMODERN FORMThe unnecessary limitation of many terms in music—Formshould be synonymous with coherence—Undue prominenceof "sonata" form—Programme music—Liszt'sSymphonisehe-Dichtungen — The leit-motiv — Metamorphosisof themes— Modern multiplicity of themesWhat the listener must bring to the music—^The balancebetween the literary and musical value of themes—Absolutemusic—C6sar Franck's forms—His String Quartet—Schonberg's Kammer-Symphonie—Seriabine's "Prometheus" —Monothematic forms—Form with the Impressionists—Debussy's" L'Apr6s-midi d'un Faune"—ThePhantasy-Trio— "The Harmonic Study—Miniatures andPastels- 181CHAPTER XVICONCLUSIONComposition cannot be taught—Technique can and must belearnt—All styles should be practised—The purpose ofthe Exercises—The perception of style—The fallacy ofRealism—A consideration of Impressionism—Theenormousinfluence of tone-colour on harmony—Pianoforte versusorchestra—The right choice and use of medium—On scaleand magnitude—Economy of means—On "Mass ''—Workson smaller scales—Peroration - - - - 191PAGi':Appendix I. Practical Exercises - -(I.) Basses - -(II.) Melodies . - - -(III.) Figures and Chords - -(IV.) Musical Form - -(v.) Orchestration ... -- - 200- 200- 205- 207- 210211Appendix II. Glossary of Technical Terms - - 212Index to Musical Illustrations- - - 220General Index ... - 227

MODERN HARMONY:ITS EXPLANATION AND APPLICATIONCHAPTER IINTRODUCTORYThe swift current of modern musical art during the last tenor fifteen years seems at first glance to have ruthlessly sweptaway the whole of the theories of the past. The earneststudent may well be excused if he is bewildered completelyon rising up fresh from his theoretical treatises to plungeinto the music of actual life—of the twentieth-century operahousesjconcert-halls, and music-rooms. The sincere mind canhardly be satisfied by the offhand opinions of hide-boundtime-servers, who curtly dismiss these modern composers witha deprecatory wave of the handThe whole of musical history—the initial rejection andlater triumph of Monteverde and Gluck, of Bach and Beethoven,Wagner and Strauss—warns one against the too easyacceptance of the neatly turned epithets of persons who aretoo indolent to understand, or too indifferent to appreciate,a new kind of music which claims at once wide sympathiesand considerable powers of concentration. Music which causespeople to " hiss " and " boo " must contain at any rate somevitality, and is preferable consequently to that which speedilyreduces the audience to a somnolent passivity.Even on short acquaintance these modern musicians havetoo much method in their so-called "modernity" to be dismissedthus cursorily. Ex nihilo nihil, and the more deeplyour interest is roused, the more we feel convinced that themethods of the leaders of these many modern styles—or

2 MODERN HARMONYschools, or whatever we please to call them—are well foundedon the rock-bed principles from which all the many secondarylaws of art are drawn.It isthe greatest possible mistake to view these modemschools as things separate from the art of the past. Indeed^most of the new traits are legitimate growths out of the arttechnique of the acknowledged great masters.* Moreover, itdoes seem as if there were nothing new under the sun. Justas the principles of the twentieth-century "Cubism inpainting were well known some 400 years ago, so the modemmethods of part-writing and chord-building aU find theirprototypes time after time in the pages of the great mastersof the past.Debussy's sequences of sevenths are but a reverberation ofthe practice of Guillaume de Machault in the fourteenthcentury. ^ , ,. ^ . .wr„ ,from a Sacred Madngal^"^^,by MACHAULtEx.2,^ n ii }i* ÛJ (' i I*»%%»%^ r ri'(Chorus) tho' quiver _ ing with cold chat.ter____Striking examples of tonal chords may be found in Purcell(1658-1695), and twelve-note-scale vsTestKngs in the Elizabethanpieces for the " virginals " by John Bull.PURCELL, "King Arthur"Irrp p r r r p InrI have carefully refrained throughout this book from usingthe term "classical," as commonly applied to Palestrina, Bach,Beethoven, and all the other great ones, as, with the lateMr. Coleridge-Taylor, I deem it unfair to the composers of thepresent age. In a comparatively new art like music, futuregenerations may well call Parry, Stanford, Mackenzie, Elgar,Debussy, SchOnberg and others, "classical."

Ex.8.INTRODUCTORY 3^ U MI'^'lti''**^ tiill' ^T5 ffm^ feEJOHN BULL (1563-1628).sr^M- bJIttt-5^=^Bach, Mozart, and Beethoven seem all to have felt thebanal and platitudinizing tendencies of the major scale, andwere continually glancing towards a minor submediant.Under the same influence Parry frequently prefers his seventhminor, and Elgar, in the minor keys of his first period,invariably chooses the falling melodic form for his risingcadences.Ex. 4.ELGAR, Coronation Ode.J rttmoltoÂ.„TT .u.Jrr-I^mppMo.thet Mo.tner of oi kings kinj tof-TT^The first suggestions of the "twelve-note" scale may befound in the violin concertos of Vivaldi and the clavier fantasiasand fugues of J. S. Bach, w^hilst its use as a vaguetonality in the introduction to a more diatonic theme byMozart in his well-known C major Quartet, finds its echo inthe recent Kammer Symphony of Schonberg (see ChapterXV.).All music is impressionistic in aim, but amongst the first piecesof Impressionist technique are surely the shake in Beethoven'sE minor Sonata (final movement) given on p. 4, and theending of the first movement of " Les Adieux " Sonata givenon p. 131.Frequent additions to the chordal vocabulary have alwaysbeen the rule, and whereas we find Bach developing unendingresonances out of the "diminished seventh" (without eversuspecting a Dominant " root "), Beethoven's favourite " minorninth " chord finds its parallel in the structure of two equal2"be!TV

4 MODERN HARMONYfourths favoured by Debussy, Schonberg and Ravel, in Seriabine'schord of two unequal fourths, and in Strauss's " tonalcombinations.E:s-6- (J=8o)BEETHOVEN, Pf. Sonata 27. Op.90.jjiyyjjfcr:^ U-^ *f^—jmj j jj iAlthough considerable weight must be laid on the closeconnection of the present art with that of the past, yet we^^^^ approach theAn Onewer harmonic tendenciesenMind!" with an absolutely open mind. So rapid andnumerous have been the recent developments thatbarriers have been broken down in all directions, whilston the other hand an almost completely new musical languagehas been invented. We must avoid the predicament ofthe people described by Mr. H. G. Wells as so much engagedm gazing towards the past that they walk into the futurebackwards. Art must ever be in a fluid state if it is to live,and whilst profiting by the experience of the past, we mustever be watchful of its course in the future.So much harmony teaching is founded on mere bookformalities that there is little, if any appeal to the e^^denceot the aural mteUigence-the real arbiter in aU matters ofmusical taste. It is the empirical method which makes thetheory of the music of the later composers so difficult, and wecannot suppose that allof the explanations set down hereinwere present m the composers' minds at the time of conception,or that they may even be acceptable always to thecomposers themselves. The system of teaching harmony byattaching names to the chords often produces an altogetherfalse way of regarding music. No chord in itself conveysZ Xr^ ?^T?T- ? '^° ^^^« ^ ^^^« impressionêe Chapter X.) but thought in music can only be transmittedby chordal succession and forward movement, and the

INTRODUCTORY 5chord, however wonderfully arranged, has value only in thisUght.Impatience with set rules has always been a strong traitwith composers, from the time of Mozart's travesty of afugue in his " Ein Musikalischer Spass " to Wagner's caricatureof Beckmesser ; from Mendelssohn's rejection of a rootto the first chord of the "Wedding March" to the cleversatire in Strauss's tone poem, " Also sprach Zarathrustra," andhis opera, " Ariadne in Naxos." Bach wrote his consecutivefifths in the D minor organ Toccata because he liked them,and theory must consequently adapt itself to explain them.Schubert, Beethoven, and Dvorak loved to dally between theclose relations of the major key and its tonic minor, and yetpeople are worrying still about a minor key related only byInad - ^^® merest accident of key-signature. The manyquacies of inadequacies of our system of notation are respon-Notation. gjijig fgr much miscomprehension, and composersmust not be blamed for using our rather clumsy notationalmethod in unconventional ways. The " twelve-note " and the"tonal" scales strain the system almost to breaking-point,and it is curious to find people asserting that therefore thenotation is all right and the music all wrong. How much ofcomposers' messages has been lost in such a cumbersomeand unscientific transmission will never be known.The four widest divergencies from the old practices foundin modem music are :(a) Other systems of chord-building than that foundedon the superposition of unequal thirds (see ChapterVIII.).(6) The " twelve-note " scale as the basis of harmony andmelody. This must be distinguished from the" chromatic " scale (see Chapter IV.).(c) The " tonal " scale with its equal steps (see Chapter V.).{d) The greater musical intelligence constantly demandedfrom the hearer by altered and added notes inchords (Chapter VII.), and by the growing practiceof the elision of all unnecessary steps and chords(see Chapter IX.).To a large extent the literal definition of "language" asa means of making oneself understood may be accepted in

6 MODERN HARMONYmusic. The perception of sincerity and obvious purpose anddesign will readily atone for much in the way of less regularsequences, persistence in uncustomary procedures, wavingaside of preparations, etc. " The spirit rather than the letter,"and "Broad principles before the secondary laws foundedon them," seem to be the watchwords of the musical Progressivists.Style and finish are but as the sheath whichcovers the sword, and there are times when the weapon hasto be carried unsheathed.No one would demur at the special effects of the fifths inthe following :Ex.6.^ ^ ttM>, .'t S^Tempo ipo giusto nusto.3f^ r rdim.1 Lpp\'ni'i.hii»^hh^ff)r r ^^^Mi^^ ^ ^DVORAK, Waltz in Dt,?^?^ 3^m ^ ir r r^ ^^The greater elasticity of'technique ii^^this and other directionsis the natural outlet for the composer" from the trite, obvious,and conxtnonplace to a wider and more forcefulElasticUy.expression. The listener must indeed be dull whocannot distinguish between such masterly freedomsand the uncouth clumsinesses of the '"prentice hand." Thewise wonder at the usual, whilst the unwise wonder at theunusual. It is only natural that artists should drop theidioms of the great masters as soon as they have becomevulgarized by much repetition and base imitation, and inconsequence use newer methods of chord-building, progression,and resolution in seeking self-expression.Let not the student misunderstand the purpose of thisbook.A composer must always be sincere, and must use the

INTRODUCTORYTspeech natural to him, and which can be understood by thepeople to whom he addresses himself. The Exer-Student.cises at the end of this book are not intended toindicate that he should write in this or that style,but in order that he shall be able to adopt a newer techniqueif he wishes to do so, and, more important still, that by a closerknowledge of the newer technique, much of the mystery ofthe language shall be dispelled, by which means alone thereal value of the musical thought may appear.The modem practice will be seen to have its roots embeddedin the older systems, just as the EngUsh language has itsfoundations in the Latin tongue. An Early Victorian rule ofetiquette forbade the quoting of Latin without " apologizingand translating to the ladies." Will the playing of diatonicmusic come to need a similar apologia ?

CHAPTER IIGREATER FREEDOM ON THE OLD LINESIn this age, when everything is thrown into the crucible andtested, it is only natural that composers should show anincreasing desire to break through many of the rules hithertoalmost universally respected. One cannot doubt that there issome deeply lying principle under the many exceptions of therule forbidding parallel fifths and octaves. The fact that theidea of part-writing ceases to exist when two or^°"1""'"* more parts run in consecutive fifths hardly seemsto hold good, as this depends entirely on the distributionof parts and on the spacing—very largely also onquestions of accent, and considerably on the style of the restof the harmony. The punctuation and phrasing accounts forthe consecutive fifths in the following example by Schumann,whilst the cadential effect destroys the feeling of consecutivesbetween (a) and (c), and the similar motion to the fifth from(6) to (c) in the Somervell song :Ex.7.SCHUMANN,"Faschingsschwank,"'Finale,Op.26.P'l''Uil}4 g^

GREATER FREEDOM ON THE OLD LINESEx.8.ffn oi^m_,A.SOMERVELL,Andante. 'Shepherd's Cradle Son^'na) *) c)Moreover, certain fifths seam to have very special quahties,and the following passages are worthy of study in thisdirection. The Chopin fifths (Example 11) are both in majorchords. One of the MacDowell fifths is in a minor chord,whilst the Grieg consecutives occur in discords. The use ofconsecutive fifths in the Chopin Mazurka in C (see p. 118) toois very instructive.Ex.9.^PAndante espressivo.^ ^m>P^^^GRIEG, Ballade in G minor.g-^f'efc.^^'^^-Semplice,MAC-DOWELL,At an old Trysting Place, Op.51.

10 MODERN HARMONYEx.11.Meno mossei.CHOPIN, Polonaise.5"* *The alteration of major and minor thirds in passages likethe Karg-Elert extract produces an altogether differenteffect from the consecutive minor common chords in theSibehus song, and also from the open octaves and fifths inExample 14.£x.l2.KARG-ELERT, "Naher mein Gott?ISw. SallclonalÊx.13.Largamente.P lip «p rSIBELIUS," Black Roses.a m^^Sor. row brings the night-black ro . ses^(pf.) jT'^ i%tt

IEx.14.mGREATER FREEDOM ON THE OLD LINES 11^mfcresc.i iGROVLEZ,"Petites Litanies"from"L'Almanach aux Images'.'una corda,_^Pf ,^f^pp subitoî*—«*-1^ f ^PCertain so-called " horn-fifths " have always been regardedas free from the " similar motion ''prohibition.*Ex.15.I mi,i^Le . be wohl"BEETHOVEN,'Les Adieux' Sonata.The use or avoidance of "hidden fifths" in the extremeparts is largely a matter of whether accent is desirable orotherwise. The following simple piece of string-FWthl writing by Haydn ignores no less than seven ofthe textbook rules, and the Bach passages areequally interesting. In Example 17, ordinary rules of partwritingare ignored at all the points, a, b, c,d, e, and /, whilstthe chord in the first bar of Example 18 looks very like a petcombination of Schdnberg.Ex.16.HAYDN, Emperor's Hymn,from String Quartet.* Fifths by similar motion, called by some theorists " exposedfifths," are forbidden in the older practice.

12Ex.17.Tempo giustowMODERN HARMONYBACH, Choral:"Ich hab'mein Sach'Gott heimgestellt?m fj . j L '^ L»-ii(Voices)f^^j;/ ^ [--IE^l*^'^[- If tfpa)W c) d)f"e)BACH, Choral-Prelude:Allegro moderato. "Christ ist erstanden"/j^•*'-4AdaglaMen . te cor . disBACH, Magnificat(Voices)^J HîSecond inversions may be found on every degree of thescale in the works of the old masters, and Bach himselfSecond^®®°^^ ^° delight in consecutive "six-fours," and toInverôns. ^î^J ^^^ fourths with the bass. Example 20 isfrom an early Prelude, whilst the Chorale inExample 21 was his very last musical breath, as it were, forit was written on his death-bed.Ex.20.J.TTji rrnnS. BACH, Prelude in G.

GREATER FREEDOM ON THE OLD LINES 13Ex.21.J. S. BACH, Choral Prelude"Wenn wir in hochsten Noten sein."Side by side with the freer treatment of the notes of thediatonic scale comes a freer and often transferred resolutionof discords. In Example 22 the B in the treble resolves onthe A in the tenor. In the Beethoven Sonata, the seventh inthe bass skips to tonic ; in the Parry example, the bass noteof the augmented sixth flies similarly to the Tonic, whilst inthe beautiful Bridge anthem, the seventh in the bass doeslikewise. But this latter may be a case of Elision, a subjecttreated fully in Chapter IX.Ex.22.Andantino.COLERIDGE-TAYLOR,"a Tale of old Japan'.'Why she wept said Fen . koEX.2&Allegro con brio.BEETHOVEN,''Waldsteln" Soaata,Op.53.(Scheme)

14Ex.24.VivacissimOjMODERN HARMONYPARRY, Symphony in B minor.(OrohJEx.25.Lento.J. F. BRIDGE, ^"Crossing the Bar.(Voices)T"TT9— '=:rThe doubled sevenths in Beethoven's Twelfth String Quartet(alvpâys one passing away before the other resolves), theFreerdoubled Leading-note in MacDowell's Second Piano-Progres- forte Etude and in Stravinsky's C minor Etude, theuons.freer passing-notes in Schumann's Pianoforte Concerto,the melodic augmented fourths in Reger's ChoralVorspiel and in a weU-known chant by Goss, all fulfil theirpurpose and indicate a wider application of artistic principles.REGER,Ex. 26."Gott des Himmels und der Erden"11 ULeise hpwegt,^,"—7' sempreru. ...^.^.^^/T\Ex.27,JOHN GOSS.Y'' 8azfe|jt

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."

1 «16 MODERN HARMONYmultiply examples. It is interesting to find Dr. VaughauWilliams and Dr. Walford Davies using the same chord withsuch a very different effect.Ex.29.-nIAndante.FFComePERCY PITT,^, „Come Solemn Night.^=^:^t:so . lemn night^^'=^^rail»•Ex. 30.Andante.ELGAR, Apostles'.^^mEx.81.JENSEN," Rest comes at eve" Op.28,N96.dream . ing kiss'd by the night,Dream . ing kiss'd by the night— ^ kiss'dE;z.8a.MSssig langsam.STRAUSS. Ein Heldenleben.5

GREATER FREEDOM ON THE OLD LINES 17Ex.33.uWLento espressivo.'»J ' ..J' -i(Orch.) pp^mWALFORD-DAVIES,"Everyman?^-JsEx.84.VAUGHAN-WILLIAMS,"A Sea Symphony:'EX.3&.WScheT2oso. (J : im)feSCRIABINE, Prelude, Op.35,N93.^f^^#^trsît-^t:^•»•*=:Ex.39.Largo.DVORAK"New World" Symphony.(Orch.) />'^^ b'^>L i^J^ b^^1=^^ji^^ ?5 =1^ -rr«

18MODERN HARMONYEx.37.LentoWAGNER," Die Walkure'.'^^\>Pm(Outline)\>r>R=^min.Srdsf]? i^ ^'w=^^min.Srds\{Ex.38.Le„to_ELGAR,"Apostles."^(Scheme)m ^ dzztMajor triad on every noteThe unnecessarily forbidden appearance of the root in theinversions of the chord of the ninth tends to cramp part-The Root in''^^^^"'S' ^^^ ^^^ prohibition robs diatonic music ofInversions Some of its most powerful effects. The root which°i6rely requires judicious placing and arrangementNinthmay appear above the minor or major ninth withgreat effect. A wide selection of resolutions should be allowed.For instance :(a)Both the major and minor ninth may fall a tone orsemitone.

GREATER FREEDOM ON THE OLD LINES 19(6) The ninth may remain.(c) The ninth may rise a chromatic semitone.The case of (6) will be clearer still when the ninth is prepared,thus appearing as a pedal note. In all cases, so longas the ninth is satisfactorily resolved, the other notes arecomparatively free.Ez.39.MAC-DOWELL.Thy beam-ing eyes are Par . a . diseEx.40.VERDI, Requiem.'>\hi? ^ ^mGe . re. cu ram mel . i . f i . nis, GeEx.41.Allegro con brio.H. HARTY,Mystic Trump eter.

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

GREATER FREEDOM ON THE OLD LINES 21The same principle is seen in Example 45, although theB flat is explained more simply as an appoggiatura.Ex. 45.Lento.RUBINSTEIN,^"Pres les Ruisseaux"rsAlmost side by side with this increased freedom has comea sort of impatience with, and a growing disregard for theconventionalities of notation.Ex.46.Andante.E. M. SMYTH, Chrysilla.(Voice)f^,I J_^J llJJ> pJ^^Z^Îiilsobs, and calm ly mine earI§ n >^m ^Pf.)^^-^vi-d^'^cresc.S y

MODERN HARMONYEx.47.Allegro espressivo.REGER. String Quartet,0p.l21.mffe^m"if^^êtc.iJ UÎÛ""Êx.48.Nicht zu rasch.SCHONBERG, String Quartet, Op.7.This signifies at any rate a complete acceptance of the equaltemperamental tuning, a position most composers now recognizefully. Some theorists heavily punctuate the rule, " Studythe pure scale and write in it," If this were applied to thewhole of composition, modulation by enharmonic changewould be a barbarous thing. M. Anselme Vinê, in his''System of Harmony," devotes much attention to the changingpitch of a given note according to the accompanyingnotes, but he also gives a large section of his work to the

GREATER FREEDOM ON THE OLD LINES 23beauties of " enharmony." How is one to reconcile the twoviews ? Further, " We have come to the day," Says a prominentessayist, " when the orchestra, and not the harpsichordor pianoforte, will be the basis of music ; when a conglomerationof instruments, mostly of unfixed tone, will take theplace in the mind of those of very fixed tone. The largeproportion of instruments of unfixed tone in the orchestraenables all kinds of harmony effects to be brought ofP whichsound harsh and disagreeable on the piano." Would RichardStrauss, with his wonderful enharmonic treatments, endorsethis? Scriabine might in theory, but in practice he usesF sharp and G flat promiscuously.Is music, then, condemned to be suspended ever betweenthe "duodecuple"the two opposing temperaments, or willscale decide once for all in favour of the equal division of theoctave in theory as well as in practice ?

CHAPTER IIISCALES— (a)MODAX, INFLUENCESIt is doubtful if there ever has been a reaUy fixed, stable, anddefinite scale. That the art has been, and stiU is worked outThe Three-°^®'' ^^ oscillating threefold basis, of which thefold Basis constituents are almost as diverse as the coloursof Music.j.gjj^ blue, and yellow, only adds to its ever-increasingcharm and vitality. This threefold basis is(a) The modal system.(6) The pure temperament.(c) The equal temperament.We have already referred to the tendency of the greatcomposers at times to modify the diatonic scales in thedirection of some of the modes. The modal influ-6^ce is as vital to-day as ever, but in a less pureStraltn ^s°and subtler way. The chromatic scale, in its turn,has constantly oscillated between a system of harmonyfounded on the pure temperament and one based on theequal tuning. With many modem composers the capitulationof the former to the latter is now entire, leaving a twelvenotesystem founded on a central Tonic.It is important to remember that any scale is a pureconvention, a thing which exists only in the imagination.No onepermanent" ^^^ system of scales, modes, and harmonic tissuesdoes not rest solely upon unalterable natural laws,but is at least partly the result of aesthetic principleswhich have already changed, and will still furtherchange with the progressive development of humanity"(Helmholtz, "The Sensation of Tone," chap. xii.). The influenceof the modes re-entered music as imperceptibly asthe modes have been temporarily obliterated formerly bythe more modern diatonic scales. The arbitrary use of the" Tierce de Picardie " chords, and such chords as that in the24

SCALES—{A) MODAL INFLUENCES 25Mackenzie example, which Max Reger calls the "DorianSixth," were perhaps the first steps in this direction.Ex.49.P 1MACKENZIE ;'The Bride"ir'>'i\^ i^^=^=^r ? f= Âmongst the many reasons which predisposed the modernFrench composers towards modal ideas was the view of the" relative " minor taken by their theorists, who hold that thefollowing is a much more closely related minor to C majorthan A minor is :Êx. 50.I';•r r rTaking Tartini's downward origin of the minor commonchord,* they have reason on their side, but a glance at theExample 51 will show that this scale is the old Phrygianmode.The so-called " Tonics " and " Dominants " appertaining tothe ancient Church use are here shown for the sake of completeness,although the modern composer is entirely unaffectedby them. This indifference leaves the ôlian identical withthe Hypo-Dorian, the Hypo-Mixolydian with the Dorian, theHypo-ôlian with the Phrygian, whilst the Hypo-Lydiancoincides with our major scale.It will be readily understood how composers became moreand more drawn to the mediaeval modes, for here, instead oftwo scales in which to write, they have six, all differentlyconstructed. Moreover, the whole field of transposition is* Vincent D'Indy, "Cours de Composition Musicale," != livre.^

26 MODERN HARMONYEx.61.AUTHENTIC /c MODESDorian.l9 *-PLAGAL MODES.Hypo-Dorian.I.). ,',—' ' ' *^S^;--'- ''^"fPhrygian.Lydian.Mixolydian.^Hypo-Phrygian.Hypo-Lydian.Hypo-Mixolydian." ' /T * ^:.HHypo-/EoliaajÊoIian.equally applicable to them.appear, starting from CWe give the new scales as theyEx.52. Dorian, Hjrpo-Dorian.^l: -IT. . ^» ^^^') . ;v*Phrygian.Hypo-PhrygiaaTb * l^«Lydian.^ I SMixolydian.There are three ways in which modal influence comes intomodern music :(a) The pure and exclusive use of the notes of the mode.(6) Purely modal melody, with modern harmonic texture,(c) The conveyance of a remote modal feeling in any waywhatsoever.Few composers, however, use them entirely in the pure

SCALES— {A) MODAL INFLUENCES 27manner by drawing their harmonic exclusively from the notesof the scale. Beethoven employs the Lydian thusModal ijse.^ *^® ^1°^ movement of the String Quartet inA minor (Op. 132), whilst amongst modem composerswho have achieved this successfully may be mentionedCount Alexis R^bikoff, Joseph Bonnet, Maurice Ravel, andOtto Olsson. The latter has written an important set ofnineteen variations on the Dorian plain-song, "Ave StellaMaris," which is played entirely on the white keys throughout.Ex.53.Molto Adagio.^p cresc.ff=T=TEx.54 Andante sostenuto.f^rBEETHOVEN,String Quartet. Op.lSJ,T r^¥iPirREBIKOFF,''Idylle heUenique?JEx.65;Andantino.Basso ostinatoELGAR," Dream of GerontiusVdim. _ pqco allarg:_^

28Ex.58,Allegretto.MODERN HARMONYJ.BONNET," Matin Provenfal!'Many of the Irish airs arranged by Stanford, and theRussian folk-songs collected by Rimsky-KorsakofP, affordsplendid examples of what pure modal treatment should be.Ravel has also followed on the same lines with his Greek airsfor voice and pianoforte.Ex.57.Allegretto.RIMSKY-KORSAKOFF, RussiannxuSongs, N9 53.(Voice)a^(pt) PPrn m^ ^TT) Hr r ri,rother instances of the pure modal use occur in the deviceof "quotation," as in Harwood's Organ Sonata in C sharpQuotationiîiior, where the ancient song "Beata nobis guadia"and is given with the pure modal harmony ; in hisAllusion.« Requiem," where the " Requiem Êternam " isquoted; whilst the "Dies Irse" is used with sardonic andironical purpose by Berlioz in his " Faust " and in the" Symphonie Fantastique,' and for a pyschological reason byStrauss in " Also sprach Zarathustra."The instances in which a modal melody is treated with aUthe resources of the modern harmonic technique are multitudinous.With Bach's wonderful treatment ofchorales the melody itself frequently comes fromUse.'*'a period akin to the mode, whilst in such cases asthe " Song of the King of Thule " in Gounod's " Faust," we

. |^-^ .SCALES—(A) MODAL INFLUENCES 29have a new and original melody founded on an old modalscale. The Piern^ theme (Example 77) is interesting in thisdirection. It might be heard as the upper tetrachord of theHypo-Phrygian mode, harmonized impressionistically.The third method is more subtle—a matter of the spiritrather than of the letter. Sometimes the mere use of asuccession of common chords in the root positionFêUng.^^^ evoke this remote mediaeval atmosphere ; atother times it is merely a succession of a fewexactly equal chords borrowed from the " duodecuplesystem (see Chapter IV.). With the Tschaikowsky extractit is merely the complete avoidance of the " A "which enduesthe passage with a certain awesome vagueness. Often it issomething subtler still—the splendidly equipped moderntemperament, with sympathetic gaze directed towards thingsmediaeval, as in Walford Davies' setting of the old moralityplay "Everyman." The prominence given to the D sharpminor harmony in the Verdi extract gives it an unfamiliarfeeling. The Ravel "Pavane," although nominally in G, ispermeated nevertheless by some subtle modal colouring.Mr. Felix Swinstead has caught the spirit very happily inthe first of his Seven Preludes for the Pianoforte.Ex.58. Andante sostenuto,ienutq.^ .^mlanteCHOPIN, Nocturne in G minor, Op.37.-et&rRUTLAND BOUGHTON,Ex.59."The skeleton in armour!'Burstingthese prLsonbaJs, Up toils iia-tivestars,My soulP^^^^^îftr(Chorus) mÛA Amiijj i^jjj''.'^y^ti ^ r r'r-''" T ^^^îT-r '

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

32 MODERN HARMONYMany of the effects of the modal use are common to the" duodecuple " system, which is treated in the next chapter.For there, as in the modes, we shall constantly meet unexpectedmajor and minor triads w^henever we find ourselvestemporarily lapsing into the diatonic major and minor waysof listening.

CHAPTER IV(e)the duodecuple (or twelve-note) scaleBy far the most revolutionary .of all the modern traits inmusic is the complete acceptance of the equal temperamentalDivision^^^ling with all that it entails.Hitherto, notwithofthe standing the fact that the semitone is a practicalctave.Qj^^ jjQJ- g^ theoretical one, the whole system ofharmony and melody has been built largely upon the basis ofthe pure unequal tuning.Even with the equal tuning such a course is really neitherimscientific nor unnatural. Does not the mathematicianhave to be content with his unending decimal, and the trigonometristwith his unsquared circle? The acoustical discrepanciesof the " equal temperament ''are so very slightthat even Nature herself makes no bother about them. Oneonly of a hundred various experiments wiU prove this. Takethe most troublesome note of the "equal tuning" on thepianoforte. Press the middle F-sharp down silently, thenstrike a low D rather sharply, and the F-sharp will at onceautomatically respond in sympathetic vibration.The outcome of all this is the ability to hear, think, andwrite freely in either of these opposing systems, and it is a.J curiotis fact that composers who avowedly bindJ-,Use of the themselves to using one temperament entirely, areTwo constantly found thinking and writing in the other.ys ems.j^ ^^^ always been, and probably always will beso with composers and listeners alike, and the musical art isimmensely enriched thereby.To return to the scales, the reader miust carefully dis-„ . tinguish between the older " chromatic " scale and"witirthe" the " new semitonal " one. Both, of course, divideChromatic ^q octave into twelve steps, but the older view'^"'assumes that the chromatic notes are only ofsecondary importance to the diatonic ones, from which, indeed,33

34 MODERN HARMONYthose are derived. In the words of Professor Niecks, "theso-called chromatic scale is not a mode, the chromatic notesbeing only modifications of diatonic notes." The " new semitonal,"or "duodecuple" scale, thrusts this idea aside altogether.The followers of the older system exercise considerablecare with their notation, whereas a duodecuple scalecomposer might prefer to write the following Example, asat h :Ex.67.Aj^SCHONBERG, 4 Songs,Op.2,N9LJ^#A^(a.)^ ^r-'>r errP ^l j^^ \

THE mjODECUPLE {OR TWELVE-NOTE) SCALE 35more clearly to minds which are so firmly wedded todiatonic scale.4ABCDEt^HI JKLAbCBiJEJGJjJitiBthe(or)ACDFHIKA Co »o ' T-e-!-rr-e^ 3x:The lack of such a characteristic notation leads to anindifference in using the stave nomenclature, and the promiscuoususe of sharp or flat in the works of the Romanticcomposers points to an ever-increasing tendency to adopt theequal temperament as a new basis for harmony.There are two ways of using the new duodecupleprinciple(a) The autocracy of a chosen Tonic.(6) The abolition of any tonal centre,—a veritable notecommunism.The first admits the predominance of the Tonic—in otherwôrds, a fixed tonality. The second throws even the tonicoverboard. The first appeals to the intelligence for theretention in the mind of a tonal centre ; the second, to thesenses only, being a question of the perception of absolute_ _ pitch, or else the vaguest kind of impressionsApplications possible. The first is capable of endless expansionof the New and development, the second is merely a cul de sac,^* *'and useful only in very limited ways. The abolitionof key-signature is optional with the first style, butcompulsory with the second.4

S6MODERN HARMONYI.—A Tonal Centre.Many of the composers working on the older system,which continually paid respect to the varjdng degrees of thescale, notes, and chords, frequently used the newer "semitonal"scale melodically. The vital principle of the oldersystem is the interesting individuaUty arising from the veryinequality of the intervals and chords. This is the very lifebloodof the diatonic principle. When these composerswished to slightly loosen the bonds of tonality for thepurposesPerfectof the expression of their thoughts, theyEquality of had recourse to two devices : (a) the laying ofInterva .g^j.ggg qjj ^\yQ chromatic notes, as Mozart has donein the Introduction to the String Quartet in C ; and (6) theuse of a long succession of equal intervals. The first led tothe "Post-Impressionism" of Eric Satie, who, by the way,thinks it politic for some subtle reason to print his music inred ink; the second to the pure Impressionism of Debussyand the " tonal scale " writers.If we take a succession of sixths or thirds in either of thediatonic modes, we shall have a certain alternation in thequality of these intervals. They are all sixths or thirds, butsome are major and some minor. The older composers, however,were not slow to see the special uses of a succession ofexactly equal intervals. A suspension of diatonic tonalitywas secured, and the first principles of pure Impressionismwere laid in the melismce of Chopin and the cadenzas of Liszt.In these we see a working out of little finger-patterns on thekeyboard in an entirely communistic spirit, as if there weretwelve white notes to the octave, and, indeed, these passageswould come much more naturally to the fingers if the keyboardreally were so constructed. This is well exemplified inthe followingEx. 69.Allegro vivace,SGAMBATI,Toccata. Op.18.

THE DUODECUPLE (OR TWELVE-NOTE) SCALE 37fM^

i88 MODERN HARMONYEx.71.Andante.Voices.jÊLGAR, "King Olafi'Ex.72.^^^maj^C. FRANCK,^^"Piece Heroi'que."Ex.73.BANTOCK, "Atalanta in Calydon."TUTTI.GodJf^^yea,. vrith thine hate9^î.n.v.^ ^y ?I.n.v.T^:^ yea.with thine hate.

THE DUODECUPLE {OR TWELVE-NOTE) SCALE 39Ex.74Allegro.Successions of minor thirds and minor sixths were possibleThe collapse came when a string ofmajor thirds or major sixths was attempted, and°^. '^^'"j the effort made by some of the theorists to explainon the older principles.SuccessionsMajor a succession of diminished seventh chords as in-Sixths.eluding some falsely written major sixths wouldnot be devoid of humour had it not been productive of suchdeplorable results to students of harmony.But the power of giving successions of equal intervals andchords by no means exhausts the possibilities of the " semij., . tonal " scale. Apart from the special Impression-'Ênlarged . . . ^ .^Possibilities istic technique discussed m Chapter X., theof Harmonic boundaries of harmonic colour have been infinitelywidened. The passages in this chapter can onlybe explained satisfactorily on the basis of the duodecuple scalesystem, and it is noteworthy that whilst many composerssecure more coherence by a semitonic melody, quite mild byitself, others repudiate any such assistance to the comprehensionof their harmony or melody.The central point of this system is the complete abandonmentof the Dominant as such, a course which at once bringsThe with it a keenly felt want of some efficient sub-Abandoned stitute for securing cohesion. Consequently, inDominant, ^âcing the gradual extension of the scale possibilities,we find this note is the last to give up its weUestablishedspecial claims. With the duodecuple system,however, if there is any secondary centre in addition to thechief Tonic hold, it is the diminished fifth or the augmentedfourth ; or, in other words, the seventh semitonal degree.Now, the number twelve is not cryptic like three ornine, nor has it the mystic significance of seven, yet there does

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."

42 MODERN HARMONY^^^=^^^\h^K\%f^ft^S ^\}» \»^W V m pÔb-l^sL^m^ ii_jÂgain, we may go outside the diatonic range for one of thenewer chords only, or for two at the most, immediatelyreturning either to the same chord, or to some other wellknownharmony. This is seen in the following examplesEx.79.Largo sostenuto.9^^^?îVAUGHAN-W1LLIAMS,"A Sea Symphony?(Scheme)rt i(Orch.)/;/?:ppp pp- ppp3^ i *i^bi 3- 5 ^ ^: l,^^STRAUSS,"Elektra."•^=11!:«rf. r «rjSTRAUSS,"Elektra?

THE DUODECUPLE {OR TWELVE-NOTE) SCALE 43Ex. 82,DELIUS/'DasVeilcljenl'AllegroSIBELIUS, 4th Symphony.Ob. I. II.Str. pkz.The next method is the progression by exactly equal steps /in the bass ; at first by minor thirds, as in the Wagner motiv I(Example 37) ; then by major thirds, as in the Bantoek and 1Karg-Elert passages (Examples 83 and 84).Ex. 83.Lento sostenuto cantabile.BANTOCK, "Gethsemane."All major commonchords.

uMODERN HARMONYEx. 84.\^vace (quasi Toccatina.)Sw.(l6, 8, 4,2^,2.)KARG-ELERT,Pastel.Op.92, N9.3.Then by perfect fourths and augmented fourths, and by majorseconds ; Max Reger is very partial to this latter progressionof roots.Ex. 85.f^^M ^m^^mf^mmcresc.îi^^RAVEL,"Valses Nobles'.'m\\.0. (Scheme.),V. iJi3 uT ^ gg^ Ifetc.Ex. 86.RAVEU-Valses nobles'.'\¥=fi

THE DUODECUPLE {OR TWELVE-NOTE) SCALE 45L JI. part omitted, as It doubles R.H. suT) SX? throughout.There are other beautiful passages which are not so amenableto classification, but these will usually be found tocontain some sequential progression of the bass, or somebinding melodic lines, and always a distinct hold of the Tonic.In both Corder and Elgar examples, 88 and 90, there is sequencingin the bass, and in these, as in the " Wotan" motiv, thereis no sense of losing hold of the Tonic chord from which theyset out, and to which they are returning in no doubtful way.It is this system which explains numberless passages in theworks of Wagner and Strauss, of Reger and Ravel, where thesheer harmonic beauty often makes tears start involuntarilyto the eyes.^ Allegro molto energico.|JMljW »{j T»"m^(Pf.) fffp esantes^ '^-Ipocol,^P. CORDER,"Transmutations'," N? 5.rititPWT: ^^ 'a-ti^Êx.89.Massiga)i"^Hns. Tubas.^^ m"FWAGNER,"Siegfried!'feRT^^From the same.

46 MODERN HARMONYEx. 90.Adagio, mistico.ELGAR, "Apostlesilj- ^îA'J ^The semitonal progression in Example 92, as with the tooexact sequencing of Example 91, tends to loosen the ties of theTonic. This treatment possesses emotional effects all its own.What a range of feeling, too, hes between his Falstaff " whoshouts delightedly at the prospect of battle " and the composer'sportrayal of the Agony in the Garden in "TheApostles "^Êx.91./s.•:f^M^f\fÊLGAR,"Falstaff."I®-5 E•e^Sr

THE DUODECUPLE (OR TWELVE-NOTE) SCALE 47Ex.92.Molto tranquillo e sostenuto.ELGAR, "Apostles!'It was only natural that new chords should spring intobeing with the new system. Chords of the aug-Chords. naented triads, of the major seventh, and many newforms built up mainly of seconds, often wronglyregarded as " whole-tone " chords, spring indigenous from it.Ex.94.Furioso.Ex.93.m^^SCHONBERG,^mSextett"Verklarte Nacht'.'i-i ih jWAGNER,"Parsifar,'Act II.r" «p r

MODERN HARMONYEx.95.Harmonic outline.WAGNER, "Siegfried:'"Jif'r^? r^y i^'l''i/.,j^-fj'îi!f#Êx.96.WAGNER, "Siegfried."Prelude, Act III.Ji"rtr"ii'îÔrch. JffIn some ways, the " tonal " scale is included in the " semitonal,"and its explanation as an arpeggio in the normal scaleTonal Scale°^ twelve Semitones is probably one of the richestincluded in seams yet remaining to be worked. Where is theDuodecuple. composer who will do for it all the tremendousthings done with the diminished seventh chord by J. S. Bach ?Of course, false relations cannot exist in this system, and thefollowing example, which is a good illustration of the realsequencing previously alluded to, must be accepted withoutreserve in this respect :

THE DUODECUPLE {OR TWELVE-NOTE) SCALE 49Ex.97.Allegro assai.31^m £

50 MODERN HARMONY(a) a deliberate suspension, or at any rate an intentionalobscuring of the tonality for a time(&) tbe discarding of almost all appeal save the purelyphysical and sensuous one ; or(c) the conveyance of ideas of a very hazy and nebuloustype.The first method is found frequently in Introductions.Illustrations of this might range from Mozart's famous StringQuartet in C up to the recent Kammer-Symphonie of Schonberg.*The same aim is evidenced in bridge-passages wherethe composer deliberately loiters over an obscure combinationof notes. What a creaking of scale-systems isheard in the following passage from Chopin's Impromptuin F sharp^mEx.98.M^CHOPIN,"Impromptu in F sharp"^^± I'f-fenar1;^^The same principle will apply to many of the brilliantcadenzas in Liszt's pianoforte works, and also to the gossamer-spunmelismce in Chopin, where the long chains ofequal intervals temporarily obHterate the feeling of a fixedkey.In the second field, Post-Impressionists solve the problemAbolishment ôldly by abolishing all key-signatures. Some^^^^P^^®^'^' ^"

THE DUODECUPLE (OR TWELVE-NOTE) SCALE 61Ex.99CYRIL SCOTT. Poem3, N? 2.'pY" '^';(Harmonic outlines.)S te icL^ l|fe& (Bass.)^1 S ^ ^=1Ex. 100.CYRIL SCOTT,'•Jungle Book Impressions."If the possession of the sense of absolute pitch is a sinequd non for the proper reception of such music, then theAbsolute circle of appreciation at present is narrowed downPitch, almost to vanishing-point. Thinking in a twelvenotescale on such lines leads to things like this :Ex. 101.m(Pf.)Moderate.Y m1 i ^ J hi- 1'^'SCHONBERG,3 Klavierstiicke. Op.ll, N?l.n\y\. i^^y~^r

62 MODERN HARMONYand such endings as this :Ex.102.,S--1SCHONBERG, Op.U, N9 8.

CHAPTER V(C)THE "WHOLE-TONE" OR "TONAL" SCALEpossibilities of the augmented triad.Ex.103,PURCELL, "Dido and /Eneas"gP #In Chapter XIII., on Modern Melody, we shall see thatmany of the newer chords, and also the new methods ofchord-structure, were first predicted melodically.'^^Ôrigin.*"tonal" harmony is an exception to this, asthe progression of three tones from the fourth tothe seventh degree of the major and minor scales wasregarded as a thing to be avoided rather than cultivated inmelody. " Tonal " chords appeared long before the use of a," tonal " scale became general. Indeed, the chief purpose ofIts limited^^® scale is a theoretical one, rather than a valu-Melodic able artistic asset melodically. Harraonically theValue.scale has been productive of enormous resultsmelodically it seems to have produced very little, save incertain dramatic directions in the portrayal of the bizarre,the fantastic, the outr4, the diabolic, and the humorous.PurceU, Handel, Mozart, and Greene all exploited the^^^^hW-^V\ . i>. i »-m— w^m% I*, -Overture.etc. later. etc.P* * *Â careful analysis of this chord shows it to be constructedon the " equal interval " system (discussed on p. 95)by the superposition of two major thirds. This divides theoctave into three equal parts, and the notation of any oneof these intervals may appear as a diminished fourth instead53

54 MODERN HARMONYof a major third without affecting the nature of the chord in.any way.Ex.104./. ,\I^The curious "mirroring" or "reflection" by the reversedownward structure is the natural result of the "equal"system, and accounts both for its characteristic success invery definite harmonic colouring and also for its limitations.Ex. 105.'^%W-)\The scale seems to have gradually evolved from this andsimilar "tonal" chords, probably in the attempt to securepassing notes. It cannot give more than two series of differentsounds [(a) and (6)], although they may be variously " noted."The series at (c) coincides with the one at (a), and so on.Hence its limited possibilities for melodic purposes.Ex. 106.a)iliJJi Juî -îrlUJJ^-'rV lUJiiJt^pLimitationsof Reproauction.The same limitations apply to any given combination in^^^^ scale. In reality only two triads and theirinversions can be used in either of these two scales,Qj. ^g j^g^y, go^gijjej. the possible triads as six withoutinversions.Ex.107.a)14 hiiiy-4#§-i iyi I1st Inv.of(»)1st inv.of(b)'-^^2nd Inv.of (a)l^^^ i2nd inv.of(b)For theoretical purposes it is therefore convenient tothink of two series of " tonal " sounds only—one starting fromC natural, the other from C sharp.

THE ''WHOLE-TONE'-' OR ''TONAL SCALE 55Ex.108.I.(a)(b)a_ n.(a) (b)S ^ ^gg ;dbÎn the equal system of chord-structure, chords maybe builtup also by seconds or thirds, or by seconds and thirds mixed.Its great^^^ even by fourths. The chords may contain fromVariety of three to six different notes depending for their"' * acceptableness and effect entirely on their arrangementand tone-colour.Ex.109.familiar ones.(less so.)^ it^11%ill |tiluJI%LlL|| lljlS|> \\^§.etc.Some curious results of the "reflection" idea may be seenin the following scales afldiiUords and in the Debussy extract,where the composer Kmirror^ " the sharps in the right handby the flats in the left! DF«)urse this effect is optical, andnot aural.Ex.110.Êx. IM.^y.'' t'8 l-».t tfgli HI jitn\\ ^^^(^r^ ^^'%'^'iî\4'm>^\^m^w)^^}J^-

i56MODERN HARMONYDEBUSSY, "Îmagesl'N? 1.Used in a method which follows out the system strictly,one must not think of these chords as requiringProgression j-esolution. The composers who adopt this system,generally prefer scale motion for harmomc progression,with a common note as link, if possible.DEBUSSY, "Pelleas"3(b)h^H } »fjiil to"r'ppp'r^[J

THE " WHOLE-TONE" OR " TONAL'' SCALE 57Ex.115.Adagio.REBIKOFF, "Les reves."Ex.116. •yjvo.(J= 138.^REBIKOFF,"Une Fete','N96.But composers very rarely confine themselves to either ofthe two possible scale systems, and draw freely from both inMixing theTwo TonalSeries.order to obtain a less monotonous and more fluentprogression. In Example 117, at (a) we have thepure tonal progression; at (6) a resolution intoTwo series are also used in thethe neighbouring tonal series.Karg-Elert example. Further than this, the composers seldomseem satisfied without some sort of resolution into the oldersystem, which really places aU such examples under the" duodecuple " system.Ex.117.1)

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.

60 MODERN HARMONYIt is the Impressionist exploitation of the system whichhas wrongly associated the origin of " tonal " ideas with theIts Use by Eaodern French school. It was other than imprestheImpres- sionistic devices which first evolved the " tonalsionists.scales. " Tonal " chords appear in Mozart, and moremodern things may be found in Bach. The modem Russianswere far ahead of the French in the fields of harmonicenterprise and initiative. The "tonal" idea can be used toany extent harmonically without the basis of the so-calledscale. These "tonal" chords seem to have sprung quitenaturally from experimental variations of the Donunantsevenths and ninths, and from so-called falsely written minorthirteenths.Ex.124.STRAUSS,"Ein Heldenleben."Langsam.EX.12S.FARJEON,"Three ComeredKingdom." Op. 30.The mental attitude doubtless counts for much in thismatter, but the fanciful "generator" and "false notation"theory totters over when confronted by such a passage asthe following

THE '"WHOLE-TONE"" OR '"TONAL"" SCALE 61Ex.l26.\Massig iangsain.\^STRAUSS,"Ein Heldenleben.",(Orchl. Brass.)^Ît is only when applied melodically that we think scale-Whole-tone ^^6, and here its application seems to be extremelyPassing circumscribed. It is when a series of passing notesNotes,jg attempted that the clumsiness of the presentnotational system becomes tryingly apparent.J^^^^Ê-4.Ex.127."iU-.F?Tli tl'E! ^te iFrÊx. 128,^^ Êx. 129.DEBUSSY, "Children's Corner."5 ^^

62 MODERN HARMONYEx.130.DEBUSSY,''Chanson de Bilitis"'Hiiiij.iTilt1°Whatever view we take of the tonal system, it is unnecessaryto regard it suspiciously as a rival to oust the olderscales; let such people rather turn their eyes towards theadvances of duodecuple practice. Used purely by itself, the" tonal " system is very circumscribed. This scale is toomathematical and precise a product, and consequently toomonotonous in effect, to be capable of much development onits own lines. Its powers of modulation and transpositionare small indeed compared with the other systems. Its pureuse is limited generally to the shortest of characteristicsketches.Even when adopted for longer works, as Debussy's " Pelleaset M^lisande"—where the rather strained milieu or "auralvision," necessitated by the tonal scale, undoubtedlyfl-ssists the mystic atmosphere of the work—the'^tio!'""composer continually falls back to the relief ofsemitones. This is done by resolving the chords founded onthe C "tonal" scale into harmony formed on the C sharpseries, and vice versa. Frequently, too, he seems compelled toseek resolution into the diatonic system, as in Example 1146,and in the Elgar motiv (Example 119). It is to be noticedalso that the " tonal passage from the pianoforte prelude in'Example 123 commences with a diatonic concord. For bridgepassages and characteristic phrases, where a suspension oftonality is desirable, its use is admirable, and the beauty andpoweif' of the " tonal " chords as a means of modulation haslong been fully established.Its Real The real value, then, of the two " tonal " systemsValue, the C series or the C sharp scale, or a combinationof both—is twofold

THE « WHOLE-TONE'' OR " TONAL " SCALE 63(a)(b)Pure systems for relief and for characteristic effectsand atmospheres.Their absorption into the older system.s for the furtherenrichment of the ever-increasing power of harmonicpossibility.This latter is effected often by treating the " tonal " chord onthe lines of the "added note" theory, or by regarding theextreme note of the tonal chord as an ajypoggiatura requiringresolution.

(d)CHAPTER VIsome other scalesIn the revival of the modal scales and the invention of the" tonal series " we see an endeavour to escape the thraldomDesire ^^ *^^ major and minor scales by the adoption oftomodify widely diverse systems. As we have seen, even theNotes.Qjêr composers show evidences from time to timeof this feeling of scale efPeteness, especially with the majorm.ode. Both Bach and Beethoven, as well as Schubert, showa great liking for the minor sixth in the major scale. Suchpassages as the following cannot be accounted for merely aschromatic chords, since no attempt is made to remove theimpression of the modified note. A dalliance between themajor and minor modes is characteristic of many of Bach'scadences, and he frequently approaches his minor cadencesthrough the major sixth, as in Example 132.Ex.131..'targo..J,S. BACH.St. Matthew Passion, N? 70.Ex.132.S. BACH.J."Das Wohltemperierte Klavier!'

SOME OTHER SCALES 65Numberless modifications of the major and minor scaleswill be found in the works of both the older as well as themodern composers, and they may be used as fundamentalalterations of the scale, and adopted throughout, or onlymomentarily, for lighting up or shading certain chords orpassages.Ex. 133.Scheme for Coda otE. SCHtJTT'S Valsette in A.u.j J i J J l|JÊx. 134.Allegro moderateWOLF- FERRARI,Madonnal'"Jewels of theEx. 135.Allegretto.^^P^^PUCCINI, "Madam Butterfly."^^ ^trl » : (tl)m I

Jjjj|J].jijj^66 MODERN HARMONYEx.136.Allegro con brio.BEETHOVEN, 7th Symphony.The rise of nationalism in music, involving the artistic useof folk-song and dance with Liszt, Chopin, Dvorak, Grieg,Tschaikowsky, Stanford, and Sihelius, brought inNationalmany new scale influences, and these in their turnhave fertilized the general art. Many motive ofboth Wagner and Debussy show a kinship with the Celticpentatonic scale.Ex. 137.Poco marcato.f]îi^;JjniEx. 138.Moderate01.iDEBUSSY, "Pagodas'.'iiBUTTEtiWORTH,"Shropshire Lad" Rhapsody.Clar.(Muted Str.)Then the opening out of the Eastern world turned men'seyes and minds towards Oriental philosophy and art, andthe work of Alma-Tadema, Goodman, and Tyndalthe East" ^^ painting, of Matthew Arnold and Fitzgerald,Goethe, Flaubert and Verlaine in literature, findtheir correlative in the compositions of Saint-Saens, Bantock,Coleridge-Taylor, Moussorgsky, and hosts of others.Melodically there are two ways of securing Eastern colourin music : (a) to use the identical native scale, or at any rate.the nearest Western approximation possible ; orScales. (^) to secure this atmosphere by the use of characteristicintervals and rhythms, strangely barbaricor monotonously mesmeric, as the case may be. Usually theexact methods of the anthropologist do not appeal to theartistic temperament, but the French composer Saint-Saens

SOME OTHER SCALES 67is a noteworthy exception. A two years' sojourn in theSahara produced many compositions based on native scales,and indirectly was responsible for much of the Easterncolour in such operas as " Samson et Dalila " and " Phryne."Saint-Sasns Felicien David in the " Desert," and Rubinstein inand "The Asra," had already used the real Eastern^"'""^ •scales, but the " cult of the East " is shown mostlyin more subtle and less definite ways. In some instancesthese native scales are identical with the old modes. Thetheme from the second movement of Saint-Saens's " AlgerianSuite " might have been written on the scale system of eitherthe ôlian or the Hypo-Dorian modes. On the other hand.Example 142 by Georges Hiie suggests a scale containingboth C natural and C flat; thus the passage approachesvery closely to what we have called the " duodecuple " scale.The influence as revealed in later composers is probably afree adaptation of the European system to the expression ofOriental and barbaric feeUng and colour.Ex.139.Allegro moderate.SAINT-SAENS, Suite Algerienne.'.p. s:'-w-'-m-'* * *-»-C^ • •»•»- •»•»- »-•»-Ex. 140.SAINT-SAENS, "De'sir de I'Orient."(from "La Princesse Jaune.")g^Xa . bas dans un ciel de^^tur.quoi . seEx. 141.GEORGES HUE,Assez lente et tres calme."Croquis d'Orient',' N? 1.M-tfI ^ ffDou.ce,douce ajio . re . e, Dors: ^ Cesoir j'aitroppleu.re!6

'MODERN HARMONYGEORGES hue;"Surl'eau"N95.U.nerose se berce au cou.rant du _flot_Ex.143.Larghetto..1 rr^fi If[ICOLERIDGE-TAYLOR, "A Negro Love-song,"from the'African Suite',' Op. 35.1-p rfp^ûÊx. 144.Dolorosoȧd lib.BANTOCK. Songs of Persia,"In the Harem."Ah! the life, the light, the jew. el, Nour. ma .haMany of these Oriental expressions in melody are modalin themselves, although the harmony frequently modifiesModal this feeling. The solo No. 4 in Bantock's cantataLikenesses. "Christ in the Wilderness" is Hypo-ôlian inrange, although based on the harmony of B flat minor.Êx.145.BANTOCK,Allegretto cantabile."Christ in the Wilderness'.'I."!,'-!,i i^The wild . er.ness and the^F].S1 (Harp.) .mrf^f pfpF^p Harp..•m. JT P! ^W=§=f» f f^D.B.pizz.

iiOME OTHER SCALESm''V p p pP r Pp im iF==nF- pr ^'^'i^''i' J iso. li.ta.ry place shall be glad e glad for them^=fc zSzz^ r=rf :i=3 1 li^ ^g» #i •a- tiITHere is a suggestion of the " whole-tone " scale in a melodywrittenover a commonplace tonic harmony.Ex. 146.^.^'' 1^ iiAllegretto con dolcezza.lô^sbirdBANTOCK, "The Nightingale's Song"from "Songs of Arabia."D. iî) hJi^^^J i't.rj]jthat sing, est to the for . lorn^?A writer has pointed out that Blgar's scale in his earlierperiod contained a flat supertonic and an augmented fourth.This may be so. The present position is that acomposer is free to adopt any arrangement of thePoStfonseven divisions of the octave which will serve bestfor the purposes of his expression. This being so, the studentmay welcome a method of discovering the full possibilitiesof the septuple system in this direction. Take the scales onthe " sharp" side in succession, and apply to each the signaturesof the flat keys in succession, thus

70MODERN HARMONYEx. 147.^Method of constructing new scales-:^J - > ^ ^^^b''MJ iJ bJbF=*Û*5fey^MJ1-^ ^^r ^r 't ^rip l^r 'r ^s J J ^ri'i ^ ^^ ^?and so on.The close of the so-called " Revolutionary " Etude of Chopinis interesting, whilst Example 150 gives the scale used largelyby Sibelius in the first movement of his Fourth Symphony.The ending of another movement of this is shown inExample 151.Es.148.- Allegro con fuoco^CHOPIN,Etude in C minor. Op.lO.rr-f r8 88 8

SOME OTHER SCALES 71CYRIL SCOTT, "Dawn,"fjQ^ ^Yle "Jungle Book Impressions."Andante semplice.Ex. 149.Ex. 150.SIBELIUS.Ex.151.Molto moderato.SIBELIUS, 4th Symphony.Examples 152 and 153 giv^ a new scale as yet untried, anda transposition of it from C to G. It is partly diatonic, butlargely " tonal,"

72 MODERN HARMONYEx. 152.C to C.Ex. 153.Andantino.Same transposed to G.Amongst the many modern experiments with new scales,none are more interesting and individual in results than thoseScriabine's used by Scriabine in his later works. Scriabine'sScales,favourite chord is a Dominant thirteenth with aflattened fifth and a major ninth.Ex. 134.a) Chord, b) Scale. c) Derivation.^ îi33*r^^^te=^But it is more than a favourite chord ; it is in a way his onlychord, from which he derives his scale and the whole of thematerial for his great tone-poem " Prometheus." He selectsthis chord from the natural harmonic series, and so evolvesa scale which is only redeemed from coincidence with the" tonal ' one by the leap of a minor third instead of a tone.'^^^^^Comparison leap, however, makes all the difference, forwith "Tonal" whereas the "tonal" scale never changes itsystem." colour-sensation " in its inversions, and onlyallows of one transposition (a semitone up or down), Scriabine's

SOME OTHER SCALES 73scale is ever scintillating with new lights quite kaleidoscopicin colour, and it allows the full range of twelve transpositions.His chord, too, is surprisingly productive, containing in itselftwo different common chords—a minor and a major—besidestwo Dominant sevenths and thirteenths.Ex.155.The inversions are so numerous, and the selection andarrangement of the chord so wide, that a very severe test isThe Inversionsofhis Chord.^^^^ upon the ear. The composer's habit, too, ofusing an augmented fourth to serve the samepurpose as the diminished fifth renders the truenature of the chord difficult of comprehension to the eye.The objection to the system most frequently urged is thatwhereas Scriabine founds his chord on the pure temperament,_ his music is played and heard through the equalmental tuning. We have, however, already pointed outArguments ^jâ^ Nature herself accepts most of the compromisesof the equal temperament, at any rate so far asthe law of sympathetic vibration goes. The problem, however,is increased by Scriabine's extension of Debussy'salready exalted selection of overtones and the free placing ofthe various constituents necessitated by the inversions.^^^tv U>o-mEx.156.a) b) c) d)"TT--qQf!^=g:=^Whereas all the modern tendencies have been away fromthe Tonic and Dominant harmonic supremacy of music,.p Scriabine's method is a reversion to it with atDominant vengeance. Indeed, the drawback to his systemSupremacy, jg ^^ye difficulty of providing points of rest andobtaining relief from the continual Dominant impression.etc.

74 MODERN HARMONYHow the composer does this may be seen by glancing atthe opening and closing bars of "Prometheus," given inChapter XV. As with the purely " tonal " writers, Scriabine'smusic at present seems to be marred by its unrestfulness,and despite the transpositions of the original chord whichthe composer freely allows himself, it is rare indeed that weescape the all-pervading Dominant feehng. The gratuitousaddition of the low E natural in the following passage is animmense relief in the suggestion of a definite key :—Ex.157,SCRIABINE,"Proinetheus."Ex.158.ScaleThis selection of notes from the natural hannonic series,however, is not the only one which Scriabine has usedfor his compositions. The Sixth Sonata is founded on thefollowing chord :Ex.159.iScaleij^ Y^f (J p

SOME OTHER SCALES 76and the opening phrase is very typical of the way theQ composer commences to unfold his subjects, which.Selections are all contained in the one little harmonic kernel.from the rpj^gg flg^^ jg ^ged first as an appoggiatura and thenSeries, as a passing note.Ex.160.^ ^ ,Modere, mysterieux, concentreSCRIABINE, 6th Sonata.Scriabine's Seventh Sonata is thoroughly imbued with theprimeval element, being founded chiefly on the followingchord and its transposition a major third lower :Ex.161.S^HW^Scalei iJ J If-^The chord also appears momentarily with the eleventh.The following bars show its use according to a device wellknown to the Impressionists i.e., equal sevenths byHis Seventhsimilar motion.Sonata.In this sonata the composer showssigns of simplifying his technique, and brief passagesof refreshing " Dominant ninth " harmony afford almostthe relief of common chords, whilst he shows a strongerleaning towards the triad formations.

76Ex.162.Allegro.MODERN HARMONYSCRIABINE, 7th Sonata.Ex.163.( From the same.)/ etc.-Wi;

SOME OTHER SCALES 77Vina well played and expounded feel what barbarians weare ; and this fact may point to a much further developmentof aural discrimination amongst ourselves. Here is a briefexposition of Busoni's new systemProposed Division of Octave.t* PTT'ClCjtlDMDlDJtlEMElEilFb FlFttlGblGlGftlAMAlAJlci.C IC|lDMDlDttlEMElE|lF|7|FlF|lGUG iGftlAblA lAjtlCl.~Cjr i^Â Possible Notation:-

CHAPTER VIIALTERED NOTES AND ADDED NOTESIn the older method the chromatic scale is not a mode, but analteration of the m.ajor or minor scale, as the case may be.Thus_.j^the minor second is an inflected Supertonic,Chromatic the augmented fourth a raised Subdominant, and^'*m'^"°* ^^ ^^—that is, so far as chromatic notes and chordsgo. In this fact lies the explanation of all thechromatic harmony on the older lines. As a most convenientmethod for analysis and explanation, there is much to recommendit, for the simplest explanations are always preferable.Nothing has called forth so much well-deserved wrath fromcomposers as the attempt of theorists to foist some subtleexplanation on to their chords.If the theory of " altered notes " be allowed to run on one ofFour Appli- four paths, there is little which cannot be explainedcations, j^y i^_ ^ chord may have one or more chromaticallyaltered notes, and the four applications produce(a) Passing chords resolved simply.(6) Passing chords resolved freely.(c) These chords attacked freely.(d) "Escaped " notes or chords.Those at (a) result from single passing notes, or from a combinationof two or more passing notes, and depend chiefly onthe tempo and relative accentuation as to whether they areheard as chords or passing notes. In all probability nearlyall the new chords were discovered in this way. Certainlythis was the case with the early discord of the seventh.The chords in the second class are approached as passingnotes or passing chords, and are quitted as chords on theirown responsibility.The third classattacks these chords freely, and resolvesthem according to an agreeable or significant leading of theparts.78

ALTERED NOTES AND ADDED NOTES 79A fourth class neither prepares nor resolves them, andunder this category perhaps come the "escaped chords,"those cleverly arranged strange "resultants" heard in themore highly coloured harmonic web of Ravel and FlorentSchmidt, of Strauss and Stravinsky.The first class—passing chords—need little explanationbeyond saying that in this and in all classes, any one, or all ofthe notes,. may be chromatically altered upwards orCh"rdf. downwards. As passing chords the upward inflectionswill resolve by rising, the lowered by falling—that is, they will continue to move in their naturalcourse.The fifth or the third (or both) of a common chord maybe thus treated. The same modifications may be meted outto the chords of the seventh, of the ninth, eleventh, andthirteenth.Ex.164.Table ofAltered Notes in Common Chords.S^ÎVw:pip:sIV9 II lb

80MODERN HARMONYAltered Notes in Chords of 7tl»,etc.Ex,165.M ^ri mwk^^ UAWi\p\>o ^ ^mPM M 8lZetc.The second class attacks these altered chords withoutpreparations, but siill resolves them in the most natural wayaccording to the original diatonic formation. It is noteworthythat many of the characteristic chords of the augmentedtriad, the diminished seventh and Neapohtan sixth,the Dorian sixth chord, the so-called " minor thirteenth," etc.,may be explained most simply thus :Ex.166All this leads iip to the modern practice of taking a chromaticallyaltered chord, with or without preparation, andresolving it freely. Once established, the altered chordimmediately " becomes of age," and acts " on its own rights."As these rights are analyzed in detail in Chapter IX. onResolutions, a few examples will suffice here.

I 1^ÂLTERED NOTES AND ADDED NOTES 81^^-^-TTTmay be suspended over a long chain ofOr the resolutionapparently alien chords, the last of which resolves satisfactorily.Ex.167. XAndante.'-P tf^g-"""""h" F-g-"h\Ti^s^^h^y m 7''||^ y i ^% ''^The " escaped " chords, which appear mostly in the chromaticforms, are dealt with in Chapter XII. They are neither"prepared" nor "resolved" in the conventionalsense of the term, but are allowêd to " evaporate."ChorcfsThey are not chords in themselves, but onlyadditions to the normal harmony.Ex.168.RAVEL, "Les grands vents, venus d'outre-mer."

82 MODERN HARMONYThe principle of adding notes to the simple chords is oneof the most ancient usages. The third inversion of the socalledAdded"chord of the eleventh" is thus accountedPassing for, as its now more common designation, the " addedNotes,sixth," implies. These chords doubtless owe theirorigin to sounding the principal note together with thepassing note, but they have now reached a stage of develop-The Beethovenment far distant from this simple beginning.extract shows how these "added note" chords may havebeen suggested through the pursuance of imitation, whilstthe two Wagner passages show clearly how some of thenewer chord-formations came into being.Exil69.Allegretto. (J=»8.)A^^-^ BEETHOVEN, 7th Symphoiy.Ex.170.Rhine-Maidens-%•WAGNER,"Rheingold:'

ALTERED NOTES AND ADDED NOTESEx.171.SchnellAlberichV-AJippi Jip P iMwWAGNER/'Rheingold."^^(Min.F.S.p.95.)

84 MODERN HARMONYMany passages in Strauss and Reger seem to prove that aDominant or a Tonic may be added to any combination in thekey, and the device of adding to the piquancy, or increasingthe colour of chords by altering or adding notes, is novsrvery common. In this connection the transformation ofWagner's " Rheingold " themes are particularly interesting.Ex.174.STRAUSS,"Till Eulenspiegel."|Mit»vfP'(QTCb.)Jf''^'\>^_h^'^ym8Ex.175Allegro leggiero,J.HOLBROOKE,"Acrobats'.'Op.2,N9lEx.176.Modere,tres franc. J=i76.RAVEL," Valse Nobles'.' N9 1.(Scheme)

ALTERED NOTES AND ADDED NOTES 85Ex.177.Andante.LANDON RONALD,Pensee Musicale.^. *^. ">^«-Ex.178.îViitg|rlWAGNER, Gotterdammerung,'^feh^M n,\f^\ \! i(gi| |^»>i5g|r pîfFurther, these "added note" chords may be subject tocliroDi^tic alterations, partial or total ;and this isTh Ch dof the frequently a more effective way of dealing with^"l^th '*"* the five forms of the "augmented sixth " chords thanthe " tonal " explanation, as the combinations at (d)and (/) cannot be called " tonal " chords.EX.17S.-a) b) c) d) -e) f)^'hin[^>?.IIl^fe-tiJ (Scheme)o-BSEi.?>^^îfif:ga 'TiIIFi- 1 i,g.II?.. i=î^=tChromatic alterations may be applied also to the newerchords formed by fourths and fifths, equal or unequal, andalso to the " mixed " structures ; and the device of appoggiaturasis applied to these chords quite as freely as to thesimple and diatonic forms. More fundamentally still, thispractice of chromatic alteration may be applied to thosei

86 MODERN HARMONYdiatonic structures of thirds for chord and scale-formationwhich are used by the ultra-raodern composers in the" harmonic studies " mentioned in Chapter XI.results, but the use of the discoveries on the " reflectionOwing to the enharmonic nature of the equal temperamentaltuning, the alteration is frequently something moresubtle^^than all this, and consists in the alterationEnharmonic of the vicw taken of it by the addition and sub-^'®^- stitution of extra notes, which put the chord intoa different context. We cannot ignore the enharmonic view,as otherwise the theory and practice of all chords constructedon a system of perfectly equal intervals works round in avicious circle. The equal system produces many interestinglines in reality entails the annihilation of all the processesof chord inversion. The enharmonic method alone suppliesthe outlet. It is applicable to all equal chords—diminishedsevenths, augmented triads, perfect fourth chords, perfectfifths, and the " tonal " formations.A hitherto unsuspected advantage has been taken of thechameleon-like nature of these equally divided chords. Whateverthe notation of the chord of the diminished seventh maybe, composers of the Strauss, Schonberg, and Stravinskyorder claim the right of changing any of the four supposed" generators " at wiU. They apparently waive aside aU temperamentalquestions, evidently accepting the equal tuningas being sufficiently near to the natural series. The deviceproduces some startling treatments of the "minor ninth"formation :Ex.180.(Enharmony.)thus3E>c\\>o

ALTERED NOTES AND ADDED NOTES 87Does the mind view the sustained chord kaleidoscopically,or accept the equal tuning once and for all? The recentreturn by Strauss and others to the Dominant generatortheory for this chord, supplying possible generators in succession,tests this theoryalmost to breaking-point.In the " prepared " manner the sounding of the various rootsin the bass is somewhat analogous to the method used withthe sounding of,simple " escaped " notes in the upperHarmony.* register. But they are taken unprepared and in aconnected manner in Arnold Schonberg's compositions.The sequential progression of the bass in minorthirds (or augmented seconds) is of common occurrence inWagner, Strauss, and Bantock, and belongs to the duodecupleor " twelve-note " scale technique, but the following treatmentis somewhat novel :Ex.181,Poco lentoPPThe arpeggio treatment is almost revolutionary, and thepassing-note system may be constructed on four distinctscales, thus :

88 MODERN HARMONYEx.183.Ex.t84.The older practice admitted the chromatic alteration of achain of passing notes either singly or doubly in the followingmanner :Ex.185Alteration(Scheme)^mf»f#

ALTERED NOTES AND ADDED NOTES 89The modern composers "touch up" their passages bychromatic alterations in any way which suits their fancy (seeExamples 134, 135, and 136).In applying all the alterations and additions, with theexception of the " enharmony " practices, the original chordformation or the foundation diatonic scheme should alwaysbe borne in mind, the main objects of all these devices beingthe securing either of increased variety and power in modulation,or of ever richer harmonic colouring.

CHAPTER VIIINEW METHODS OP CHORD-STRUCTUREThe modem methods of chord-building differ from the olderpractices in five respects :1. The wider adoption of empirical methods in chordstructureby thirds.2. The inclusion of the root in the inversions of the ninth,of the third in the eleventh, and of the fifth in thethirteenth.3. The admission of formations by entire series of intervalsequal in quality.4. The admission of structures of unequal fourths, fifths,etc.5. The admission of structures composed of mixed intervals,seconds, thirds, and fourths.One of two chief principles must form the basis of boththe new and the older practices of chord-building. Theymust be founded on either(a) the natural harmonic series, or(6) the empirical method.The first relates every note to the lowest one, which is calledThe Two *^® generator or prime, and follows the naturalGreat series of " harmonics " given off by a string or anPrinciples,open pipe.Ex.ise.4) * "^l^^" ^* ^"^ - -T" 2 8 4 5 6 7 8 10 U la 13 1* 16 1690

NEW METHODS OF CHORD-STRUCTURE 91The second merely piles up a superstructure of thirds, or offourths or fifths, or even seconds, without any reference toa scientific or natural basis.Ex.187.m(a) (b) (c) (d/&: ^ ^Whether we take the simple common chord or an extendeddiscord, the two views are still compatible. Thus, whilst onetheorist will derive the major triad from the harmonic series,the other will caU it simply a method of chord-building bythe superposition of the two thirds and a fourth, just as (6)and (c) may be explained as a variation of the position of thefourth.Ex.188.^ft-^r't-^The explanation of the genesis of the minor chord by thefirst school, although rather far-fetched, is worthy of mentionOrigin ofo^ account of its ingenuity. The system is calledMinor "inferior resonance," and is worked downwardsfrom a note produced by the sixth part of anygiven string. Thus, if the sixth part gives e", double thislength will give e', triple the length, A quadrupling,;E quintupling,C ; and sextupling,;AA.Ex.189,(a) ^ (b) ^s ^'^' Major Minor W)t) 1 1~3 t 6 6 iJ6 6 6 6 6 6

92 MODERN HARMONYWhichever view of the origin of the triad the studenttakes (and it is immaterial to the practice of composition),No a grateful acceptance of both views seems advisableExclusive when we come to the question of discords. Theof*Oiie" " natural " explanation of a Dominant root mightSystem, serve for the first chord in such passages as thefollowing, but what are we to say of the chords at (6) and (c) ?Ex.190.uJ^f^^^V^^"Waldstein'Sonata.^#si1(c)>mw t?^^* Âpparently no composer adopts one view exclusively, noris it purely a question of medium, vocal or instrumental, forBeethoven writes for orchestra and pianoforte similarly inthis respect, and that strongly contrapuntal composer, SamuelSebastian Wesley, owes one of his most beautiful chords tothe natural series.Ex.191.mSlow.1^(Solo Voices) jpWESLEY,The Wilderness.rB.T.I.8.A.„s;gîng"

AÊW METHODS OF CHORD-STRUCTURE 93This dual view of harmony seems to be ever present incomposers' minds, and the resources of the art are wonderfullyenriched in consequence.(a)Chord Structure by Equal Intervals of UnevenQuality.With both temperaments, however, it is necessary tonotice the important role played hitherto by the uneqtialquality of the thirds of the superstructure, a regular alternationof major and minor being preferred in the main. Thisadds great character and charm to the combinations, andthe vast preponderance of this principle causes the structureby equal intervals of the same quality to be of little accountin comparison.The empirical method admits of six forms of the chord ofthe seventh, and ten forms of the ninth.Ex.192.(a)m(b) (c) (d) (e)f| § i*g iî(f)Ex.193,(a)(b)b^(c)(d)Of course not all are equally good, and many are exceedinglydifficult to work in the inversions. It is noteworthy, how-IInversions ' " _^- ever, that the acceptableness of the root in the• j.i j- •of the inversions is entirely dependent on the 3udiciousNinth.distribution of parts. The series may be extendedto the eleventh and thirteenth, and aU the alterations mayapply with equal force. Example 194 shows the appearanceof the root, together with the ninth, in the third inversion ofa thirteenth on the Dominant.

94 MODERN HARMONYEx.194.Largamente.^(Orch.)BUTTERWORTH,"Shropshire Lad" RhapsodyW±: £,.X--i_J=-T=^We have already shown in Chapter II. the greater freedomused in applying the harmonic series to any note of the scale.The " empirical " method is just as widely applicable.If we regard the triads—the " five-three's," the " six-three's,"and the " six-four's " —as so many ways of dividing an octaveinto three parts, we may consider these more extensive seriesof thirds as methods of dividing the double octave. TheDebussy and Ravel examples exemplify the application ofthe diatonic type shown in Example 195 (a).Ex.186,Ex.196.RAVEL,"Valses nooles.'(later)^ ^ ^

NEW METHODS OF CHORD-STRUCTURE 95Ex.197.DEBUSSY,"Pelle'as."Anime.m^^'IflOO/— Â moment's thought will show us that such a structurenot only supplies the whole of the diatonic scale, but containsin itself every chord of the whole of the diatonic system onwhich the chord is founded, and in using this method wê maydraw melody, intervals, and chords of three, four, five, six, orseven notes from such a series. Every possible diatonicconcord or discord may be found therein, and their use isjustified by a rational cohesion with the next combination,or the achievement of the desired effect.(6) Chord Structures by Equal Intervals op theSame Quality.Three such structures belong to the older practice—thediminished and augmented triads, and the chord of thediminished seventh. The first consists of two minor thirds,one above the other ; the second, of two major thirds ; whilstthe third chord is a structure of three minor thirds, notwithstandingthe fact that one is often written as an augmentedsecond.Inasmtich as such equal structures as the diminishedseventh divide the octave into exactly equal divisions, theirapplication is limited. Thus we can obtain only threedifferent diminished sevenths, four chords of the augmentedfifth, and only two complete " tonal " series ; for the adoptionof the equal temperamental tuning causes the other variously"noted" forms to be identical in reality with theseprimary forms. Thus in Example 198 [d) is identical with (a)(e) with (6); and so on.

96 MODERN HARMONYEx.198,(a) (b) (c) (d) (e)I]II li l^ll l.g ,''^tfetc.Herein, however, lies their chief charm and power. Thiscoincidence and consequent indifference to notation givesTransthema most wonderful scope as a means of modumutationlation. Any one of these chords will easily leadProperties, j^^^^ ^^^ q£ ^^^q other eleven keys. They absorbcolour by reflection both from the preceding and the followingchords, and the chief charm of a modulation should be thegetting there, and not the arrival itself. Their possibilitiesin this direction seem inexhaustible. The chord at (a) in thefollowing example may lead to A major or minor, the one at(6) to D, (c) to G, and so on.Êx.199.J=^(a) (b) (c) (d) (e)f=T^^Mti-4^^ ^^pm^ÊThe following table shows the scheme of the newerstructures by fourths and fifths, the application of which isexemplified in the extracts from Beethoven, Wagner, Ravel,and Schonberg. In the R^bikoff piece we see an extremeImpressionistic use of a sky-scraper of fourths.Ex.200.Mlfl.Srds. MaJ.Srds. Perf.iths. Perf.eths. Aug.Sths. MaJ.Snds.

NEW METHODS OF CHORD-STRUCTUREmEx.201.Andantino.mM^Horn.er.(Str>Symphony."Vns-Ij.V.II. L J^(Soheme)Im^BEETHOVJEN,"PastQral^hgMwlwimÊx.202.Molto vivace.|t''i-j.Horns_ap]clr[£f"r " "^WAGNER," Tristan^'Act U,,y (Scheme)^

98 MODERN HARMONY(c)Mixed Structures.This is by far the largest class amongst the newer chords,and it is noteworthy that the "major second" figures veryprominently in them. Often it is used with the soleobject of gaining a greater sonority, a quality as eagerlysought in the softer sound-textures as in the loud passages,as shown in Examples 209 and 212. The modem " cult of thesemitone " is accounted for frequently in the same way.Ex.206.Danse de I'acier.F.SCHMITT,'LaTragedie de Salome."Ex.207.Largamente.^5(Chorus) f cresc. o ffn\\\- ffBANTOCK," Christ in the Wilderness."± =«^ iiM'M=DollAnd shall be sa tis fied.Ex.208.^DEBUSSY,GoUywog-s"^*^'!*'^^'^'^ Corner."CakeWalkyt.m^êtc.

NEW METHODS OF CHORD-STRUCTURE 99Ex.209.Sans hate et noblement.RAVEL," Histojres natuielles."YORK BOWEN,Allegretto. . 2nd Suite.iS^s Êx.210.Ex.211.STRAVINSKY.^^L'oiseaudefeu.Presto.;J£^ Tpts.Ob.Fl.3 Tbns & TubaEx.212.Vif. J.=iooRAVEL, Valses nobles.N96,

100 MODERN HARMONYOther chords are not so self-possessed in character.Horizontal methods account for the followingHorizontal examples ; and although Schonberg in his " FiinfMethods,orchesterstiicke," Op. 16, appears to found hisunusual chords on the lowest note, many people will longpersist in hearing them in various planes.Ex.213.Allegro moltoMOZART,G minor Symphony.(Scheme)Ex.214.Massig.C.A.WAGNER,"Siegfried."Ex.215,Andantino maestoso.j' "ii^Vr I'f9=Org.jj^'W.G.ALCOCK,The Duchess of Fife's March.no maestoso. _ B^Bi fjig^?i r ^^^ '' i^^^ i1^1Î ftffftifgzfe#

NEW METHODS OF CHORD-STRUCTURE101Ex.216.STRAUSS," EulenspiegeL"Ex.217.Pas trop lentM.RAVEL, MiroirsN9l'N)]>^r \f0 f^ ^pi ^^^fji(pf.)p- etc.1^fm w I SiM, Anselme Vinê in his treatise gives this tableEx.218.4tfJ3 w^^Âppoggiatura elaboration wiU explain the Wagner, Mackenzieand Saint-Saens extracts, whilst a double appoggiaturatreatment will account for Mrs. Beach's chords inExample 222,E-X.219.WAGNER,"Tristan."^- (Scheme)

102 MODERN HARMONYEx.220. MACKENZIE, Four Songs. Op. 79a.„ „.,^ SAINT-SAENS,Ex.221"Dejanire."i\ ''"*PF-/jr^^^'^ Êx.222.Adagio.I*fl.H.A. BEACH,"The Seaâiries?0p.59.(Pf.)Sît,^__*^

NEW METHODS OF CHORD-STRUCTUREloaThe Karg-Blert and the Corder chords may be but versionsof the dominant seventh, whilst the chord in Example 225is reported by Gevaert to be a popular " vamping " form withthe unsophisticated Spanish guitarists.Ex.223.^ m(pf.)^gsiEx.224.P. CORDER," Transmutations"N94.Lento.pesanieEx.225.

104MODERN HARMONYEx.j827.STRAUSS," Elektra."But for sheer modernity and daring, the chord in Beethoven,which contains every note in the scale of D minor, stillreigns supreme.Ex.228^Presto.^^j.^JJ2g-&-I'^\>iiBEETHOVEN,Finale 9th Symphony.(Scheme)1^

CHAPTER IXON RESOLUTIONS, ELISIONS, AND CADENCESThe resolution of a discord is a means of satisfying themusical intelligence. The most usual way is by the mostnatural horizontal leading of the parts which causein General. ^^^ dissonance.This elementary rule, however, hasbrought about certain stereotyped forms and banalplatitudes, the desire to avoid which led to the discovery oftwo distinct lines of escape — (a) a less rigorous leading of theparts, and (fe) the adoption of other methods of resolution._. As we have printed on the flyleaf of this volume.Liberation the relation of quantities is the principle of all°* J-®'*""* things, and, with the higher discords, sonie of thelowêr dissonances may well be regarded as free incomparison with their more assertive upper partials. Further,_ if the two notes, or even only one of these, whichProcedure form the keenest dissonance in any combination befollowed in a satisfying manner, the others, whether"n^"*^'dissonant or consonant, may be regarded as free.The resolution of the chosen note may be(a) by fall of a second,(6) by remaining pedal-wise, or(c) by rising chromatically.The dissonant note may be transferred to another part,or frequently the choice of part, or pitch, for its appearance isTrans- immaterial, so long as the resolution chord containsference of the note it demands. In Example 229 the B flat, aDiscord,pa^j,^ (jf ^jje augmented sixth chord, leaps in anunrestricted manner to the F in the second bar. In theWagnerian motives, only some of the dissonant notes resolve,whilst others proceed freely. The Tschaikowsky and Regermethod is endorsed by the Parry extract (Example 24). Therule might :— run " Any discord is allowed to jump summarily105

106 MODERN HARMONYto the tonic harmony." This procedure is endorsed by the" elision " principles mentioned later.Ex.229.^gModerateCellil. cantabilef^(orch)y.n.i^S#=CeUi n.MOSZKOWSKl,"Prelude et Fugue" for Strings.W^î= ^M SîEx.230.WAGNER,"Gotterdammening"Act IILEx.231.Allegretto vivoTSCHAIKOWSKY, Third Quartet.temefc.^^'^^r

RESOLUTIONS, ELISIONS, AND CADENCES107Ex.232.REGER,Op.80,No.6.In tHe MacDowell extract, the highest note of the discordin bar two virtually resolves on the E in bar three, " whilstthe resolution of the D flat in the Strauss viola part is givento the 'cellos and double basses. In modern suspensions theharmony frequently changes on the resolution note, a coursesubversive to the principle of the older suspensions. InExample 235 we see a very poetic case of suspended resolutionfrom T. F. Dunhill's fine Phantasy-Trio for pianoforte, violin,and 'cello. Another device is the alteration of one of thenotes in changing to another position of the same chord(see Example 236).Ex.233.aempiice^MAC-DOWELL,Wald-Idyl len.Op.51,N91.Ex.234.Langsam,STRAUSS,"Ein Heldenleben."

108 MODERN HARMONY^^•^'- Presto scherzando.T. F. DUNHILL. Phantasy Trio, Op.36.Ex.236.Gemachlich.STRAUSS,"TU1 Eulenspiegel."Any discord may resolve by returning to the " approach "chord. This is a very frequent formula with the modernharmonists from Wagner onwards.If the discord be a chromaticallyaltered chord, the process is even clearer. Anyclearly expressed design or sequence, or any obvious intentionwhich serves the composer's expression, is sufficiently convincingto dispense with any need of resolution on the partof a discord. We have said that any discord may return tothe chord which preceded it, and when the second chordrecurs, as at the " Magic Helm " motiv, the chord at (a) mayIf the phrase clearly ends on a discord,be almost anything.the mere repetition of it, as in Elgar's "Angel" theme in"Gerontius" dismisses any resolving propensities. In theScriabine example, the repetition is not quite so exact, but thesame principle is perceived.Ex.237. WAGNER,"The Ring'.' DEBUSSY,"Pelleas','p.l43.ia) Ziemlichjangsam.^ ^""^ ModereJ,î^MutedHorns /*'Hl\>lfÎ Iaeu m1^rM"^fMa)(OrchJ7-i\y\,i'^^^^

RESOLUTIONS, ELISIONS, AND CADENCES 109Ex.238.Andantino,®ELGAR,"Gerontius,"Ex.239.Lugubre.SCRIABINE,Prelude.Op.51,N9.2.With the ever-increasing spread of musical appreciation,certain chordal passages tend to become too trite andNecessitycommonplace. It is as though someone breaks infor upon a well-sustained conversational rally by somesions.ijajia^j remark about the weather. Consequentlythe composer counts on taking many of these chordal stepsfor granted, and effects an elision. One of the commonestapplications of this occurs in the familiar " Pathetic Cadence,"where the natural chord after the "Neapolitan sixth" isfrequently omitted without any "false relation" being felt.Many less usual resolutions may be derived and regarded inthis way. The Bridge example 2416 and the extracts Nos. 231and 232 may be explained in the same way as the BeethovenExample (242), where, in approaching the return of his firstA Beethoven subject, the composer was so carried along by theExample, impetuosity of the movement that he missed hisDominant chord entirely, and took it for granted.

110MODERN HARMONYEx.240.Allegro moderato.ELGAR,"Gerontius."Ex.241.,(a) "iperhaps^^ ^^ ^=^ :^(b)^^^ -^-jocperhapsw W -Êx.242,^Prestissimo.^F^=r/>/»S33=ftW |>eiliaps«:3C3C^©-TJ-BEETHOVEN, E minor Pf. Sonatx-i»)(b)^''^ -^ f^ V ^ V mINaturally these elisions cluster most round the setRelieving cadences. As regards middle cadences, and oftenthe final ones, the matter of accent plays an importantpart. Composers seem to have made a dead setagainst the so-called " masculine " cadences, and are nowfavouring largely the " feminine " endings, which allow thefinal_ _Tonic chord to fall on any of weaker beats.'^^Êndings? trait may be studied in Brahms, Reger, andRavel, and is exemplified in the Tschaikowsky andReger extracts. Examples 231 and 232.^^s;:

RESOLUTIONS, ELISIONS, AND CADENCES 111But the raost modern way is to leave discords to evaporate.Evapora- This may apply to all pauses and breaks in thetion.music, but is cultivated specially in the final chordof a piece.word,The modem composer takes Shakespeare at his"The music at the close is sweetest last,Writ in remembrance more than things long past ..."and bestows endless pains on the obtaining of a beautifultimbre for his final chord, which may float away deliciouslyon the undamped chords of a drawing-room piano.Cadences. °^ ring out from the orchestra and chorus instartling fortissimo, awakening the full echoesof some vast auditorium, or die away vaguely with aquestion on its lips, as in the delicious Schumann song," Im wunderschonen Monat Mai."Ex.243. AndantemorendoSCHUMANN,"ln May"Ex.244.Moderato,CHOPIN, Prelude in F. 0p.e8,NO23.1»-pj^———

112Ex.245.MODERN HARMONYrail, moltoBANTOCK/'Sappho."fT\Ex.248I,PPP -RAVEL."Asieppppt^rIn the following Beethoven extract we have apparently afree treatment of the passing note D flat in the first violinpart. The G sharp in Example 2476, too, is treated in a similarfashion.^Êx.247.BEETHOVEN,Ite i(a) Adagio^ String Quartet,N97.(^)FLOTOW,Overture to" Martha."vivaceThe "harmonic studies" and pieces writtenon "enharmony" principles come under a similar category. They arewritten round a certain combination, and their endings arederived from the foundation chord of the piece.

RESOLUTIONS, ELISIONS, AND CADENCES 113Ex.248._ SCRIABINE,Op.57^î te $Ex.249,Op.63.^^Ôp.56,N94.O

CHAPTER XIMPKESSIONISTIC METHODSBefore analyzing the harmonic technique of the Impressioniststyle, it would be well to attempt some definition ofDefinition ^^® term,—a very difficult one to define. Theof Impres- word Impressionism is applied generally to musicsionism.^ which " mood " and " atmosphere " predominate,frequently compelling form, harmony, and tonality to occupya secondary place. It is a record of the effect of certaincircumstances, facts, or scenes upon the feelings of the composer,whose aim is to transfer this effect to. the listenerexpressed in the terms of the subtlest and most phable ofnatural sounds made articulate. Others would define it asthe result of the recognition of the true value of naturalsounds in relation to all the circumstances surrounding musicand its hearers, and a further recognition of the necessity ofutilizing those circumstances.The chief argument is the view taken of chords, as towhether the chord remains a combination of so many notes,or whether it has become a separate entity through suchcombination. In support of the latter view, the Impressionistwill certainly have the poet Browning behind him:" But here is the finger of God, a flash of the will that can,Existent behind all laws, that made them, and lo 1 they are.And I know not if, save in this, such gift be allowed to man.That out of three sounds he frame not a fourth soimd, buta star."But, as we shall see later, the Impressionists do not followthis view in its entirety, although with many of them theapplication of it is perhaps their chief harmonic^j^^Technique device. As Professor Niecks has weU said, theof the Im- thing itself is older than the name. Many passagespressionis s..^ Purcell and in Mozart—the introduction to theC major Quartet, for instance—are distinctly Impressionistic114

IMPRESSIONISTIC METHODS 115in aim, whilst scores of passages in Beethoven—the opening tothe Ninth Symphony and the overlappings in " Les AdieuxSonata, for instance—reveal the foundation of these modernschools. It is difficult—indeed, it seems almost impossible—todraw a line between Impressionistic things and the moreformally constructed music.Still, there is a vast difference between donning the mantlefor special occasions and making it one's regular garment.The reflection of life is the mission of art, and it was butnatural that the modern trend of things should discoverhitherto unsuspected qualities and new possibilities in thevrorld of sound, as also in the realm of colour. Alike inDebussy, Ravel, and their adherents, as in Manet, Cezanneand their allied schools, we find a wonderful development ofone quality, sometimes almost to the exclusion of all theothers.An impression is less definite than a thought. A single«hord makes an impression, but it requires a succession ofdiverse harmonies or notes to convey a distinct idea. " Verywêll !" says the Impressionist, " if any one combination ofnotes conveys something of the sensation which I want, ifI reproduce that chord on various degrees of the scale Istrengthen the impression by such repetition." Thus we gethis chief harmonic device, which consists in similar motionby fifths, by common chords, by discords of the seventh, ninth,eleventh, thirteenth, and so on.A single perfect fifth exercises a remarkable emotionalpowêr over some people. Beethoven recognized this vphenie penned the opening of the Ninth Symphony, and Wagnertells us in his autobiography what a curiously searching andalmost mesmeric effect the mere tuning of a violin exercisedover him.BEETHOVEN, 9th Symphony.Ex.251.Allegro ma non troppo.^pp sotto voce1 ^^ iStc (Hns-sustalned)^mmppCE6 segue

116 MODERN HARMONYBantock has shown us its power of development in hissplendid musical picture of the desert in " Omar KhayyamThe (see 168-184, Part I.), where the fifths are used inEmofional various ways for emotional effects of imraensityof "theÔpen ^^^ infinitude of distance, the atmosphere of theFifth. piece being intensified further by a realistic portrayalof the endless tintinabulation of numberless camelbells of all sizes and degrees of tone. Bossi has similarlyavailed himself of the open fifth for the commencement ofhis oratorio "Paradise Lost," and numberless other casesspring to naind.If a single fifth possesses such powers of expressingelemental immensity, what of a passage of fifths ? The veryfirst attempts at Mediaeval harmony were on Impressionisticlines.Ex.252. GUI DO dAREZZO (circa 1022>§iTT""îc^ti i\-rr-The range of emotions under the sway of the fifth is bynomeans limited, however, to one order of mood. Whatdiablerie there is in such " quint " studies as those of Rebikoff's" Une Fete " (Op. 38), or Gabriel Grovlez's " Les Marionettes "in his "L'Almanach aux Images"! Or take the deliciouslittle fragment from his " Petites Litanies " (see Example 14).Again, contrast the scintillating quint passages in Bantock's"Fifine" with the gruesome rushes of fifths in Strauss's" Elektra " and " Salome," and, not forgetting scores° FWths."^ of passages in Beethoven, Schumann, Brahms, andGrieg, turn to the pages of Debussy, Ravel, CyrilScott, Vaughan-Williams, Duparc, and Chausson, and thendecide whether fifths are always barbarous, crude, andungrammatical.Ex.253. Vivace.BANTOCK,"Fifine at the Fair."Fls.Vns.Cl. Ob.

IMPRESSIONISTIC METHODS 117Ex.254.ModeratoKORNGOLD, 2nd. Sonata, Op.a.Hitherto the passages have been mostly scalar. The leapsin Korngold's Sonata are very telling in their effect of crudepower. The fifths, however, are seldom open, and we shalldiscuss their further treatment when filled in with the third,or enriched by the seventh and ninth. In Example 255 theleaping fifths are the characteristic feature, as the thirds arealternately major and minor ; but the opposite view must betaken when the fifths are in the two lowest parts, when theysimply act as a fe'm6?-e-producing factor (see Example 256).The same may be said of Example 257, where the fifths areconsiderably higher in pitch.Ex.255:^llfc Vivo.^^ f=^{Pt.)p e spiritosoGROVLEZ, L Almanach aux Images.^^m ^^F^t I IT^=^ E^^ f«Ex.256. DEBUSSY,,, „Lento con calma. La Damoiselle Elue.». *^pp molto sostenutoetc.-*-»• 5t-

118EX.2B7.MODERN HARMONY4llegroMntroppo. CHOPIN, Mazurka in C.MoJi(Pfl /»p so/lfo ooceJs imJ' ? 3e m''^^tiniF' ^ Êxamples 258 and 259 apparently belong to a differentcategory.Here all the notes produce but one chord, as shownin the scheme, and many people would sustain the whole ofthe passage by the use of the pedal.Ex.258.Con fuoca4^'''^'»jjjjjjCHOPIN, Nocturne in F, Op.I5._ (Scheme)jj^

IMPRESSIONISTIC METHODS 119This device, like the others, is no special patent of the Frenchschool, although they are responsible for its extreme develop-„ ment. Example 261 is a passage by Verdi whichwas Written miles away from the influence of theChords inSimilar Parisian schools. It is wonderful in its portrayalof lago's insidious suggestion. The passage fromCyril Scott shows the use of all major chords, whilst inExample 260, the passage from the Ravel Sonatina consistschiefly of minor common^mchords.Ex.260.RAVEL7 Sonatina.Modere.fffl^(pf.)j^^Jafl*Ex.261.VERDI,"Otello!'M:»,/Pi''r'r''rif r¥r iBe^. ware, my no.ble lord of jea . lou . sy!i UîW 2==i ^ ^PPPmîi'F« **TTi iEx.262.Allegro.C. SCOTT, "Jungle Book Impressions"(Scheme.)

120 MODERN HARMONYmuch better when they are not self-Such passages aresupporting, but are accompanied by other points of interest.In other words, the most artistic use of the device is for" outHning " certain parts, as in the following :Ex. 26a.Slow and dreamy.(Chorus)R. BOUGHTON,"Midjiight:'Successions of first inversions belong to the older technique,but the Poldini extract exemplifies the use of the fifth, scaleg._, wise. Such passages may proceed either diatonically,as in Example 265, or chromatically, as ingiven to theExample 266, where a curious reaUstic crick ispassage by a perverse note in each of the phrases.Ex.264.POLDINI,"Zigeuner Novelle,' Op.88,N98.

IIMPRESSIONISTIC METHODS 121Ex.265.Adagio non troppo(Cello)DOHNANYI, 'CelloSonata.Ex.266.Sehr lebhaft.STRAUSS/'Till Eulenspiegel'.'The use of successive " six-fours " in EachmaninofP's song,^^^pl6 267, where it is accompanied by a pedalSix-Foursabove and a pedal below, is diatonic, as is also thecase in the Albanesi Sonata.Ex.267.PLento. (Voice)„IT^, L,KRACHMANINOFF,"To the Children" Op.26,N9 7.It . il^^ffi »'^î.WHow oft.en at midnight in days long since fled.°1 rf'f-_J!'j_2 i. î-

122 MODERN HARMONYEx.268. . . , /J.Andante. (J: 68.;8~C. ALBANESI, 5th Sonata.In the Debussy "Images," we have a suecession of "sixfours"very varied in quality, whilst on the other hand,in the " duodecuple scale " writing of C^sar Franck,ûJton^c" ^^ have the reproduction carried out exactly, inthe accompanying figure, and it should be noticedhow well the tonality is held together by the sustained Fsharp in the bass (Examples 269 and 270).Ex.269.hi^^ pp4lfiR'' ^DEBUSSYjimages"ffÎ:»!ff^JM^fTJr|J mt „r?

IMPRESSIONISTIC METHODS 123Ex.270. Allegro maestoso^ FRANCK "Piec e Heroique"This method of exact reproduction has led to what theolder theorists would call a succession of " dominant sevenths,"but, as a matter of fact, any of the forms of theSeventh chords inSeventh.Example 271 may be used in thismanner. In Examples 272, 273, and 274 we see theexact method of reproduction.Ex.271.(b) (c) (d) (e) (fjEx.272.Tempo di mazurka.CHOPIN, 21st Mazurka.Ex.273.*CHOPIN, Prelude in Ctt minor.u iJÛ \JluTsftj^y /»p

124MODERN HARMONYEx.274.^Molto adagio.W^.J.B.M?EWEN, Elegy5 Pf iH .i-\MlM ttr^We have a mixed process in the Dupont pianoforte piece,where the " seventh " chords appear in their second inversion.We also see the use of these seventh chords for realisticpurposes in Strauss's " Don Quixote," where the reproductionvaries in the quality of the intervals.Ex.275,G. DUPONT,"La maison dans les dunes"sourdineEx.276.STRAUSS,"Don Quixote'.'

IMPRESSIONISTIC METHODS 125With the " 'ninth chords, the variety is still larger (seeExample 277). Examples 278 and 279 furnish us with a veryfineuse of the form at a. It should be noted thatNinth" whilst Franck founded his passage upwards fromthe bass, Ravel nearly always adopts the downwardmethod. This is a characteristic of the latter composer. Theforms at a and h have undoubtedly the greatest claim aspurely fomfere-creating devices.Ex.277.^(a)(b)(c)rf(d) (e) (f)^^g(g)^P=etc.Ex.278.-iIp-rC-rpFRANCK, Symphony.«J-J î.J. i> (Scheme)I iiTpi ^ ^^mT-nr ^ '«r ^ r^» Êx.279.Larghetto.1^^^^P'>-»ijj- JiJi uRAVEL;'Pavane'.'(Scheme)«^-^The use of the inversions of the " ninth " chord is seen inthe foUoAving example by York-Bowen, where the progression

126 MODERN HARMONYis also real, the chords apparently being formed upwardsfrom the bass, the opposite process to that of Ravel in Ex. 279.Ex.280, AllegrettaA.YORK-BOWEN, 2nd. Suite.(Scheme)In Example 281, in Rebikoff's psychological drama" Abgrund," which is a full exposition of the Impressionisticuse of the so-called fundamental discords, we findOther|.j^g following uses of chords of the eleventh andthirteenth on a chromatic bass, whilst the Wagnerextract shows a purely Impressionistic use of the " augmentedtriad."Ex.281.lai Largo.^ miOrch )/?^mi*tlths.lb)SgJ"ifi§iREBIKOPF, "Abgrund*-i^fe i¥ ÎSths.feEx.282.Massig bewegt.WAGNER/'Siegfried."

IMPRESSIONISTIC METHODS 127More modern chordal construction may be seen in Examples283, 284, and 285. In the Cyril Scott extract we havethe outlining of the melody in fourths (workedb^FbSrths downward from the upper note) against an arpeggioand by of E major (with the added sixth) in the bass. InFift s.j{,aYel we have a gruesome treatment, almosthumorously reaUstic in construction, by fifths in the bass,whilst the Albeniz passage is frankly and purely Impressionistic.Further developments may be seen in Schonberg'sOpus 16, where chords built up by two unequal fourths (oneaugmented, thus producing major sevenths) are repeated inthis manner.Ex.28o.Andante amabile.aC. SCOTT, Poems. N? 2.Ex.284. Treslent.^:^ ^^RAVEL, Gaspard de la Nuit."Le Gibetfun pea marqueEx.285.Allegretto.ALBENIZ,"Yvonne envisiteVies2 Ped.et tres doux

128 MODERN HARMONYThe example by Stravinsky is exceedingly interesting, asit presents Impressionistic treatment of three distinct chordsin the form of appoggiatura rushes. At (a) we have 'thediminished triad, at (6) augmented triad, and at (c) the chordof the fifth with the sixth. The string work, which formsonly a portion of the score, is mere accompaniment to themore important outhning of the " wood-wind."Ex.286.Con fuoco,STRAVINSKY, "Feuerwerk."Numerous examples of such application may be foundthroughout this work, but there are certain cases of consecutivesevenths, ninths, etc., which seem to riseExceptions.°^*' ^^ ^^^ part-Writing, and need to be regardeddifferently from the passages which are avowedlyImpressionistic in technique. This is the case with bar fourof the following extract, where the ninths seem to come quitenaturally from the leading of the parts, as also do the seventhsin the duodecuple writing in that exquisitely beautifulcadence at the end of Strauss's tone-poem, "Don Quixote."A similar passage occurs at the opening of the slow movementin Debussy's String Quartet in G minor.

IMPRESSIONISTIC METHODS 129Ex.287.Andante. (J =54.) J.BONNET, Moment Musical, Op.lO, N04.Ex.288.Sehr ruhig.STRAUSS,"Don Quixote"The construction in the following is also a case in point,belonging rather to the ultra-modern system of polytony,treated in Chapter XI., than to Impressionistic succession.*Ex, 289_5LALBENIZ,"Fete-Dieu a Seville'.'r\--* The reader will have seen an important difference in the twoclasses of reproduction, the diatonic and the real. It is interestingto notice that, speaking broadly, we may associate Impressionisticdevelopment on the real lines with the French school, whilstmodern German and Russian schools have shown a preference forthe diatonic lines. It is significant that the "real" method isused chiefly by those composers, like Debussy, who follow thenatural fundamental series of harmonics for the formation oftheir chords ; whilst the less exact method is adopted morefrequently by composers who build their harmony empirically

130 MODERN HARMONYThe foregoing remarks exhaust one of the chief characteristicdevices of the technique of the Impressionistschool. It was not invented by them, but they took thedevice up so eagerly, and developed it with so much zeal,that, as an end in itself, it has now reached the point ofexhaustion. A passage harmonized simply in consecutivechords of the seventh is too stale and trite now for theseriously minded, and when the device is reanimated merelyby the use of the rarer chords, it easily becomes extravagant(see Example 205).But the principle may wêll be absorbed into the generaltechnique in multitudinous ways, and with the happiest. results. Used as a stream of harmonic colourinto against one or more free parts, or against anotherGeneral harmonically coloured stream, or even presentonly in some subtle spiritual way, the apparentcul de sac opens out into vistas of wondrous beauty. It isthis which makes Debussy's songs so much more interestingthan many of his pianoforte pieces ; but the master who hasclearly pointed the way forward in this respect is MauriceRavel. Examples 217 and 269 give but the merest glimpsesof the widening of harmonic beauty and potentiahty forwhich this highly developed and complex personality hasbeen responsible. This particular line of development isdiscussed further (Chapter XII.) under the head of Outlining.like Schonberg. . . . Whilst Avriting this chapter, the authorhad the opportimity of making the following experiment before a'' musical appreciation " class of some forty boys. Two songs, whichthe boys knew well, were taken on the pianoforte, accompaniedpurely by Impressionist harmony. The songs chosen were not, ofcourse, well suited to this method, but were taken as extreme tests.With Schubert's "Wanderer's Night Song," whilst the originaldiatonic harmonies were preferred, a majority of boys voted forthe real reproduction of common chords, whilst with the moreenergetic ' ' Muth, " by Schiunann, most of them preferred the GermanImpressionistic device. As to the quitting of the last chord ofsiich a series, they all preferred it to resolve in some way into theolder system. The inferences seem to be that the real reproductiveImpressionistic terms suit slow and soft progressions, whilst themore diatonic reproductions soimd better with the louder andmore vigorous melodies.

CHAPTER XIHORIZONTAL METHODSJust as some kind of equal temperament—tonal, semitonaltertiatonal, or it matters not what—will always exist sideby side with the true natural tuning, as a medium throughwhich we comprehend music, so the balance has alwaysoscillated likewise between the "horizontal" and "perpendicular"methods of composing and listening—in other words,between the harmonic and contrapuntal styles. But composerswho are avowedly harmonic rather than contrapuntal—in the old sense of the term—are frequently writing musicw^hich must be regarded as moving mentally along a givenplane, whilst putting as little weight as possible on a perpendicularlistening. When we listen to such passages as thefollowingEx.290.Âllegro.:§=(Pf.)ffis^TTBEETHOVEN,^^"Les Adieux" Sonata. Op. 81a.Mft ]rff\o U^flifff')-yl. "mw ^131 10

132 MODERN HARMONYEx. 291.(Orch.)iiVns.PPDVORAK,"Serenade."^Êx.292.Andante moderato,MARY LOUISA WHITE,Fantasie"The GuestHng"we are using our ears in quite a different ivay from theaural-mental listening in the slow movement of Beethoven'sSonata, Op. 10, No. 3, for instance, or even of a Bach fugue.With such apparently cacophonous passages as these, someatoning factor, such as the easy perception of a definiteintention, or the carrying out of a fixed design, must besufficiently evident to induce a mental regard other than thepurely perpendicular listening. With the Dvorak example,the intention of combining the diminution of the figure withthe original form is obvious, and the matter is made stillclearer by the wide distancing of the parts.It is the same with the opening of the third Act in"Tristan," where diminished and augmented fourths alternate.How beautifully Wagner enforces this hori-Unes? zontal listening in the two attenuated lines of hisviolins, gently carrying the ear as well as the eyeto the far distance, where the appearance of a sail is expectedIn the Stravinsky example, the aural-mind at once accepts

HORIZONTAL METHODS 133the pedal-chord on the strings, and applies itself to followingthe outlines of the woodwind. Where these clash, the mentalpower asserts itself over the physical, by admitting theimitation as a sufficient atonement and recompense.Ex.293.Lento moderate.Vns.mGNER."Tristan',' Prelude, Act ELEx. 294.STRAVINSKY,"L'oiseau de feu."Pice,(sounding 8X«^F1.I.II.Str.In Example 295, also, the mind is listening horizontally,and the momentary clashes are not noticed at all. Thecompletely similar motion in Example 296 is as interestingas it is unusual. We have a pair of fifths at the outset, whichare ambi-consonant, being taken by leap of the third, andare therefore always acceptable. After this, the intervalsvary continually, the spacing getting wider and wider, andthe whole passage carries us on to the final Tonic, in adelicious downward sweep as natural as the alighting ofa bird.

134 MODERN HARMONYmEx.295.(Chor.)(Angelic Chorus)Poco lento.pp^Praise.^^ÊLGAR,"Gerontius'.'to . be His Vice . roy in the world of£fefeSa^tothe|'^''NJV;,j,mat.ter and «fsense,Up^^mHo . li . estonthe fronjtier towards theEx. 296.Con moto sonnolento.MAC-DOWELL,"To a Water Lily!'In these and all similar cases, the aural intelligence is soengaged in following the interesting melodic lines, that it hasa diminished power left to attend to the exact harmonicinter-relation of the parts. Even if the ear had time to dothis, the mind would account at once for any comparativecacophony, by the onward sweep of the individual parts;just as in playing scales in contrary motion on the keyboard,we make no demur at the occasional ninths and sevenths.In Example 297, the firm and determined progress of themelody in itself would atone for the free progress of the^^®^'A ^^^ ^^® passage isMelodicalso sequential; or the bassLine and a may be accounted for, as an appearance of the"sh-eam!*" "l^*'^ together with the root— a frequent practicewith modern composers. In Example 298, we havean Impressionistic succession of augmented triads in the

HORIZONTAL METHODS 135treble against a contrary moving bass. Here again thelistening is horizontal.Ex. 297.Schnell,STRAUSS,"Alsosprach Zarathustra" Op. 30.Ex. 298.te^SWpPADEREWSKI,Sonata in Et minor, Op. 21.i^¥lîS^H^^ -6 • al }-el^^te^. ^ Ît is but a step onwards, from one melodic line againsta harmonic stream, to consecutive streams of harmony, as in^^^ Examples 299 and 300. In Example 299 there isHarmonic Contrary motion of the horns against a free bass.Streams.^^^^ ^ diminution of the subject on the woodwind.The horizontal listening, together with the spacing of theparts and the assistance of the contrasted tone-colours, wouldatone adequately for any momentary clashing of the shorternotes. Tone-colour' again would play an important part insuch a passage as that in Example 300, where diminutionof outline in the treble is present at the same time asaugmentation in the bass, together with the direct form inthe inner strings.

136 MODERN HARMONYEx. 299.Andante maesto so,C1.F1.FlvPicc.'"^m.'tz.Ex. 300.A.E.H.'i i!iiTTm^^ E I %etc(Str.)^.^ IC.B.VPW'f-In the ending of Strauss's " Death and Judgment " we seethe Beethoven idea, given at the beginning of this chapter,8till further devel oped. The intention is so obvious, that therubbing of the various planes is easily forgiven. In " Islamey,"Balakireff has two streams of sound running in the samedirecMon, with one moving more slowly than the other. Thisconstitutes one of the most picturesque effects in the wholeof pianoforte literature.

HORIZONTAL METHODS 187Ex. 301.Moderato tranquillo.STRAUSS, "TodundVerklarung."Ex. 302.SiAllegro agitato.s-'s[ji/:^ tf'"1BALAKIREFF, "Islamey."molioe£ EEAt one of the most powerful climaxes in Strauss's " Heldenleben,"we have three distinct streams, the brass holding onrich but ordinary cadence-chords against the down-Sh-eamsWard scale of eight horns in unison, whilst theviolins take an upward progression in notes of halfvalue. Clashes occur at a, 6, and c, but are hardly noticedby the intelligent listener.

lasMODERN HARMONYVns.Vas,Fls. Obs,Cls.il Tpt.Ex. 303.Sehr lebhaft.STRAUSS, "A Hero's Life."fi- —S Rdrns.Tbns,Tubas, &lowerStrings.The next advance is the combination of two or morestreams in different keys. This feature leads us rather nearto the study of Bnharmony, which is explained^Ti'^r"^ later; but the device originated entirely on the*^*'lines of "horizontal thinking" with the Northerncomposers. Sibelius has a passage in his Fourth Symphonywhere the woodwind instruments are moving in the key ofA major, against a remarkable pedal-figure in E flat on thestrings. It should be stated that the string pedal figure is wellgrounded on the ear before the A major colour is introducedon the woodwind. Our example is taken from the developmentof this passage. After these three bars the two orchestraswork on together in contrasted keys for some time before thestrings finally join the woodwind in the key of A major.Ek.804.SIBJfiUUS,rmAllegro^ 4th Symphony, Op. 63.jString Pedal flgura previously estatUshed

HORIZONTAL METHODS 139At one point in Wolf-Ferrari's " Jewels of the Madonna,"the composer has contrasted the key of E minor on theorchestra against the key of E flat in the brass on the stagein a novel way, but the passage is somewhat crude. Scarcelymore acceptable are the gruesome rushes of fifths in Strauss's"Elektra," even if we had time to listen to them as twostreams ; for the two planes of fifths are brought too closetogether for the principles of Polytony* to be admitted.Ex. 305.Allegro molto.^?",^tage.yj"-^\ })^})i J)v'K,J-Jvi)7 j^yP_^p^P ^prH-^^WOLF-FERRARI,"I G^m della Madonna'.'" f - - i #k4^^^(Orch.)(E minor.)t>--tf r,-^Êx. 306.STRAUSS, "Elektra'.'The composer who has carried this technique of simultaneousharmonic streams furthest is Schonberg. In his" Fiinf Orchesterstiicke " we have several combined streamsof harmony, all founded on unusual chord-formations, and allproceeding more or less independently. His pedal-chords, andpedal-figures too, consist of unusual formations. In fact,Schonberg has done for the empirical system of chordbuildingaU that Debussy has done for the technique of thenatural harmonic series.* See p. 151.

I140 MODERN HARMONYLet us pass on to a more interesting question, springingfrom the "horizontal listening." This view of harmony is, responsible for many of the newer and mostderived beautiful chords in the modern technique, for mostHori- of these found their way first into the vocabularyby means of "passing chords." In Hegar's partsong,we find the diminished octave thus introduced, whilstin the Grieg Funeral March, we have one of the rarer formsof the " augmented sixth " chord.Ex. 307. Vivace. HEGAR, Op.t2, N96.Ex.308.GRIEG, "Ases Tod"Andante doloroso.^^x^^(Orch.)^[,A horizontal listening will also explain the followingexamples, although the second chord in Elgar may beregarded as a use of the minor ninth together with the root,thus constituting a minor continuation of the idea seen inExample 297 (p. 135).STRAUSS,l\ ,^, , "TiUEulenspiegefelustigeStreiche."Sehr lebhaft.y dim. -»tff:\\Y

HORIZONTAL METHODS 141Ex.S"10.ELGARS'The Apostles."Similar methods are responsible for the five-part chordof Schonberg; the three inner parts move in major "sixfours"in contrary motion with the treble. This resultantchord has come to be accepted widely, with much freertreatment. In the Poldini example, we see the minor-secondused in a similar way, the phrase being copied sequentiallyin bars three and four.Ex. 311.SCHONBERG,"Lieder,"Op.2,N?l.^ t;,i)Voice.|l^piij)p^pÂus dem meer -griLnenTei . diepI IEx. 312.-\Presto.\ 1 1 mfit#ggPOLDINI,"Zigeuner Novelle','Op.38, N? 8.^^ ^êtc.W^ ^ ^

142 MODERN HARMONYExample 313 forms an interesting problem in musicalreasoning. It is difficult to classify the chord on the secondbeat, but the intention is quite obvious.Ex. 313Vno.S^REBIKOFF, "Danse caracteristique."^m^ pIn Strauss's beautiful song " Allerseelen," a lyric piece ofsheer harmonic and melodic beauty, we have an exquisitechord at * accomplished by a step in contrary motion in theoutside parts.Ex. 314.ttTranquillo. STRAUSS, "Allerseelen."" ^ JOt(Voice) Well dream of May.This brings us to the device of " reflection," which, so faras the writer knows, has never yet been treated with the.j.,^împortance which it deserves. The following fewMirroring examples give but a small idea of the large partDevice,^j^jg device plays in modern music. This " mirroring"of the music may be purely melodic or completelyharmonic. In either case the music of the upper pitch isreflected by the lower sounds. It shoidd be noticed that

HORIZONTAL METHODS 143whilst the major common chord is reflected by a minor one,and vice versa, the " tonal " scale admits exact reflection withinits own system.EX.S15.\^t ,!^m M #p=#>f ufr^ te- 2E fpêtc.We " reflect " the major scale vaguely when we play it incontrary motion, but the real " mirroring " is shown inExample 315 (c), as there both tones and semitones are trulyreflected. The ancient writers used to show it as at {d).Ex. 315.c)O'''I6 ri ?It ]t,T yi'^^d)^^J ti ''Both these reveal the real methods of reflection as opposedto the diatonic treatment in contrary motion. The spirit

144 MODERN HARMONYonly of the device is seen in such passages as the followingextract from Mozart's C major Symphony:Ex. 316.Allegro di molto.'^.•&= 5m'8I^^ ^,MMOZART, "Jupiterj' Finale.larn^gr=8='\i3BEI8The older method often resulted in the production of newchords, but the modern practice applies the principle muchmore daringly.Êx. 317.ELGAR, 2nd Symphony.Larghetto.m *JiUi^^^(Muted Strings.)Ex. 318.Majestico.c/e.îtft ±±^^m*sX.BANTOCK, "Sappho'.''yjiwmn^*=t^PELGAR,Ex. 319.Moderate. "Orchard theme in "Falstaff."Muted Violas k Cellos.

HORIZONTAL METHODS 145We see a wider application of the method in the Parisiancomposer's "Children's Cantata," written in 1904, and thesame idea is evidenced in the daring passage for brass inTscherepnine's psychological drama " Narcisse."Ex. 320.Lento.(TheSeaJjBT^PIERNE, "The Children's Crusade."TSCHEREPNINE,Ex. 321.^^^pêAllegro risoluto.i"Narcisse."The case with "pedal-chords" is somewhat different.Once the ear has accepted a certain thing, the effect retiresinto the background of the aural " retina," and only counts ina secondary wây until some change or contrast has beeneffected. It is a partial application of the familiar adagerelating to familiarity and contempt. From it,Chords, spring all the "pedal" devices; and sorae of therarer instances are provocative of much thought.Take, for instance, the daring horn passage in Beethoven'sSymphony in JE flat, vrhich is thrown on to a background ofA flat and B flat—a major second—on the strings. This is asufficient presage of the part which that new element, tonecolour,was shortly to play in harmony. The idea reaches itslimit in such pedal-chords as that at the opening of the operaof Wolf-Ferrari's " Jewels of the Madonna," and in the pedalchord,D, A, C sharp, held on for over a hundred bars, by threebassoons, and later by the muted trombones, in Schonberg's" Vorgefiihle," Op. 16.

146 MODERN HARMONYEx. 322.Allegro.BeUs.WOLF-FERRARI,"jewels of the Madonnal' {1st five bars.):Ex.323.BEETHOVEN, Symphony Eroica.Allegro con brio.(viu).)d! « itA much pleasanter way of developing the idea is to accepta concord as the background, and to experiment with chordsin some elevated plane of hearing. The assistance of thetone-colour and spacing will be all-important.Ex. 324.»^8 Fls. k g-:-"-y----~- :Cl.Fagr.

HORIZONTAL METHODS 147Such a pedal-chord is by no means a new thing, andfrequently forms the basis of harmonies of a quaint pastoralnature or of a rustic simplicity. The marked notes in thefollowing simple ditty can only be explained on the assumptionof a Tonic pedal-chord in the first two bars.Ex. 325.Tempo di ValseJOAN TREVALSA,"Cowslips and Tulips."It is but a short step from "pedal-chords" to "pedalfigures."If the ear can accept a combination of notes as abackground on which to work more interestingFiguras. figures, it can equally well place similarly a characteristicfigure. Witness the violin trill in Stanford'sbeautiful First Irish Rhapsody and the little treblefigure in York-Bowen's Suite.Ex. 326.Allegro moltoC. V. STANFORD,1st Irish RhapsodyTimp.a^Pl-&^f r f 'fretf!•*»'yfrfrmm11

148 MODERN HARMONYEx. 327.Allegro vivace.YQ^K BOWEN, 2nd Suite.The string and oboe figures in the " Danse Macabre " comeunder the same classification, as also does the treble figure inExample 329. The bell-like figure in Cyril Scott's third" Poem" makes an even greater demand. The same principleis very prominent in those harmonic studies of bell-toneswhich so fascinate many of the French composers (seeExamples 330 and 339).mEx. 328.Mouvement modere de VaJse.Ob.Fag.iiJ^ *niiHorn^g.Tpt.^Tbna.ia^^^4^^m •K-^. «sSAINT-SAENS,"Danse macabre."'g^^^Î êtc.etc.©êtc.(strings)®Ex. 829. Allegro con brioWOLF-FERRARI,"Jewels of the Madonna.'(Vocal parts omitted.)

HORIZONTAL METHODS 149BLANCHE SELVA,'Ex. 330.IModerate. (J Cloches au=104.)soleil.(En Italic.)sin 'nn^nil^siiinîn^r^n-^ gsEx. 331.Moderato.CYRIL SCOTT, "Bells" ("Poems" N9 3.)The Jarnefelt figure in tlie popular orchestral Pralude iscontinued almost throughout the piece, and the variations byBorodin, Rimsky-Korsakoff, LiadofP, and Cui on a httle folksongtune treat the miniature theme in this manner. Thetheme (Example 333a) is associated with a popular children'sgame in vogue throughout the Russian Empire. But forsheer modernity, the pedal-figure in the first of Schonberg'sfive orchestral pieces stands unrivalled. The resolution (?) oftt is seen at 3386.EX..332.Allegro quasi Allegretto,Oboel.ARMAS JARNEFELT,"Prjeludium."CB(PuUStr.phi.)

150 MODERN HARMONYEx. 338a.

HORIZONTAL METHODS 151The effect is frequently that of three distinct, yet simultaneoustonalities, working harmonically; but the principleis quite different. Examples 335 and 336 are constructed onseveral "quintal planes," whilst the commencement of theharmonic stream by M. Louis Villemin gives the feeling offour simultaneous planes.Ex.3.'J5.Au movement ..RAVEL, Miroirs,N9 2.Ex.336.Lent et receulliG. DUPONT, Les Caresses.(Scheme)Ex. 3.37.Moderate.Pf^^WWf^PPL. VILLEMIN,^"Etude en polytonie generale?1^feSf^^>U f^ -^ fcT

^(Scheme.)etc.152 MODERN HARMONYg^ j) J-^-J- t^fc^sr"1*-When these " quintal planes " are constructed upwards bythree super-imposed minor comnion-ehords, the "reflection"is much more cohesive, and the descending series will accountfor many of the " escaped chords," explained in Chapter XII.feÊx. 338.^^m wIn the opening of Miss Blanche Selva's piece, as also in thecadence of M. Seriey:x's harmonic study, we have simultaneousthinking and hearing on two difPerent planes, not unrelatedto one another.BLANCHE SELVA,Ex.339.',, ,,\ "Cloches dans la brume!' (Ardeche.)^^Tres^P^mcalme et estompe. (d:60.)'"j~-iScheme.mpppLes 2 Pedals (sans lever les)M A^T T

HORIZONTAL METHODS 153Ex. 340.(Final Cadencei ^Modere.^SERIEYX, ^Xes petits Creoles."eyIt is not yet realized sufficiently what an important part isplayed in harmony by the element of pitch. Many beautiful"escaped chords" are possible by merely choosing a pitchposition in which they will easily evaporate. Such applicationmay be both absolute or relative, and the acceptabilityof many passages in modern composers will be frequentlyaccounted for, merely on the score of distance of pitch, contrastof colour, or consequent proportion of sound volume.This feature, however, wiU be dealt with more fully in thenext chapter (see p. 161).

CHAPTER XIIliATBB HARMONIC TENDENCIESWhen we begin to apply suspensions, appoggiaturas—singleand double—elisions, and allthe other devices, to the pre-Widely ceding harmonic methods, we perceive what anDiffering exceedingly complicated thing the mere harmonicViews,possibility of music has become, quite apart fromexpression, volume, tone-colour, and rhythm. Numberlessstyles have sprung into being from a hazy method of expectingthe mind to leap intelligently with almost intuitive swiftness,from one pitch to another far removed, in order to secureconnection. This method seems to be related slightly to" pointillism " in painting, where any connection betweenthe paint spots is impossible if too near and separate a visionis attempted. On the other hand, the blatant and full-bloodedrealism of Strauss, Stravinsky, Charpentier and Puccini, andthe strenuous search after the bizarre, the mystic, and theoutri, has led to harnessing together huge combinations ofnotes which defy all analysis, aesthetic, rational, and scientificalike. The raffinement of the percussive noises in Stravinsky'sballets, the use of such accompaniment figures as thefollowing from " Prometheus " :Ex.341.Allegro moderato.Celli div. e^manff^ff^'^ffff^PPC.Bassl.dlv.SCRIABINE.Prometheus'.'P^ EEffP'ESF154

LATER HARMONIC TENDENCIES 155and such things as Strauss's depiction of Tills death-rattle, thedying shudder in " Don Juan," the windmill and the sheep, theRealism^''^ji'^S of Sancho Panza's ass in "Don Quixote,"the swishing of whips in "Elektra," and thescreaming of " the baby in the bath " of the " Sinfonia Domestica,"aU surely point to a not far distant return into moreaesthetic channels.The cultivation of sensuous tone for its own sake, of theexcessive and Spohr-like flattening of intervals to their utmostsaccharine qualities, the love of sheer sonority andof^rlSesf ^ huge number of notes in the later styles of scoring,all seem destined to have their return swing to astyle in which economy of notes is the one thing to strive forin the expressing of ideas. Bantock, Elgar, Wolf-Ferrari,Cowen, Butterworth, Morse-Rummel, Bristow-Farrar, andmany others may be mentioned as all having their economicperiods, but the great apostles of " simplicity in expression "were undoubtedly Moussorgsky and Verdi.Ex.342.MOUSSORGSKY,"Boris."It is an excellent practice for the young composer to revisehis compositions by cutting out all unnecessary notes andbars. A wonderful insight into the real expressive' power of sounds will thus be gained. The modernlionpractice and theory of " elisions," which is now sowidely developed, has the same end in view—a saving of notes,of time, and labour for the composer, executant, and listeneralike, by omitting all that may readily be taken for granted.So far, in the history of the art, we have had to deal withchords of which one consonant interval, at least, formed somepart; but now, with "the cult of the second," we seem to

156 MODERN HARMONYreach a point when discord isr,.ciiltivated apparently for its. own sake. It is important to notice that manyin"the composers use the "second" in chord-formation onAbstract. ^Yie softer side of the centre of tone-volume, evidentlywishing to replace a very definite effect by a ceitaiu undulatingincrease in sonority. This use of the interval calls tomind a practice of the older school of organists (now regardedaskance, but distinctly effective in acoustic places) of addinga major second in the lower part of the keyboard to the finalTonic chord. In Example 173 we see an elevation of this ideaby a modern composer.An important exercise of one of the leading masters ofpianoforte technique consists of the playing of diatonic scalesvery lightly and rapidly in seconds, whilst in one of Stravinsky'sballets, " Le Sacre du Printemps," a principal themeis hurled out by the trumpets in seconds, fortissimo ! Takinga retrospective glance at the onward march of aural perceptionand accommodation, one wonders if the "second" willshare the favour now bestowed on the dominant seventh,acceptance as a concord.Whilst considering the problem of discord in the abstract,it is interesting to notice a few uses by the great mastersTi. »«• of the more dissonant minor form of the " second."'Ine JVlinori -r> i miSecond in In Example 43 we saw a case by Beethoven. IheHarmony, striking verisimilitude in Bantock's beautiful cantatafor a double chorus is obtained by a striking use of thisinterval.Ex. 343.Mstico.1=4: 3: "•BANTOCK,"Christ in the Wilderness."Choirl.Yet it pleasedtheLord to bruise HimChoir n.*»î= AYet it11 : i mit pleased the Lord to bmiseHim

'^^-Choir I.ChoirHMLATER HARMONIC TENDENCIES 157te^^He hathfnp^m-mrrpleasedthe Lord to bruise^mi lEZI 2 »•*mte^HimHe hath-ji^ ^^ |>l|e^=_-,^^"'i'*.^3it pleased the Lord to bruise HimBut the master who has favoured it perhaps more thanany other is Maurice Ravel. Notice the very different resultanteffects of the clash of the C sharp and D in Example 344,and of the G sharp and A in Example 345, and the astonishingresonance of Example 209.Ex. 344.1=4Assezdoux. ^:^# tf*•5mfRAVEL, J avanel'*^|f^ wLJLi fetc.Ex 845'RAVEL, "Sheherazade?Poco Allegretto.

158 MODERN HARMONYWe now turn to a modern development of an altogetherdifferent kind. The plan of thickening the melodic outhne inoctaves, whether in the bass or the treble, is notOutiin'elfconfined to any one master or period. The doubUngin the extreme parts seems to be the first breakingaway from the older paths. In the example from the" Falstaff " of that grand old master, Verdi, we see a devicemuch affected by the younger Italian school.Ex.346.VERDl/'Falstaff.3'-"^^J^J^rYrJJC^sar Franck has a beautiful application of it in his" Beatitudes."These considerations bring forward the important questionsof the musical chiaroscuro which is obtained from the pitch of^ Passage, and also that equallyChiaroscuroimportant factorin harmony, the spacing of the parts. WhereasWagner, MacDowell, and the sunny Albeniz may be mentionedas thorough masters of the higher lights, Brahms and Tschaikowsky,perhaps, have handled the lower tones with thegreatest success.From the facile enrichment of a part by doubling inoctaves, we step on to thickening a given part by sixths andîn°Sixthf.chords of the " six-three."This belongs to the olderpractice, but modern examples of it will be seenin the following extract from Elgar's great classicand in Example 265.

LATER HARMONIC TENDENCIES 159Ex.347. Allegretto.ClSj^ —1^^î?5*ÊLGAR,"Enigma" Variations.Fls. added ^ •• ^^^CelliThe Dvorak Valse theme, given in Example 6, is one of theearliest examples of doubling a part in fifths. Grieg came verynear to the same idea in several of his pieces. The threefollowing extracts reveal some very different uses of thedouble outlining of a part by fourths :Ex. 348.Andante.REBIKOFF,"Moment lyrique" for Pft.Ex.349.Allegro.ELGAR,"Gerontius7(Demoniacal ChorusJEx. 350.Tres lent.RAVEL,"La Valle'e des Cloches'E.H.L.H.

160 MODERN HARMONYIn Example 351 we see a beautiful application of a three-A Threefold fold Outline in the melody, against a background ofOutline,double fourths in the inner harmony. The piecerequires to be thickly enveloped by both pedals.Ex. 351From the same.m. d.m.g.The common -chord outlining in the Saint -Saens PianoforteConcerto is exceedingly interesting, and reminds one ofmany of the novel tone-colour effects in his Third ViolinConcerto. It also constitutes an early instance of the Impressionisticuse of common chords in real sequence. The listeninghere is assumed to be at least partially horizontal.Ex.352,SAINT- SAENS, 5th Concerto.

LATER HARMONIC TENDENCIES 161The doubling of the outline in sevenths and in ninths, inOutlining ^^® following examples will be regarded by mostin Sevenths people as distinctly experimental, although thean Ninths, q^^^ passage may be highly commended for itsverisimilitude.Ex.353.Allegretto. (J:80JSCRIABINE, Etudes, Op.65,N? 2.Ex.3.54.VAllegro fantastico.(J-zi44-ieo)SCRIABINE, Etude, Op.65,N91.If questions of pitch count for so much in the practice ofoutlining, still more does the spacing of the various musicalconstituents bear on the acceptableness of theChoHs "escaped" chords. These are generally highlyplacedchords, apparently totally strange to the restof the harmony, yet revealing, on a closer acquaintance, somesubtle tie with the more substantial chord below it. Straussplaces them very close together, but the qualification of truetone-colour always counts with him.

162MODERN HARMONYEx. 355.• J: 68.iff.>I(|^ - ig^^j)pi i;il rSTRAUSS, "Elektra?A pianoforte application of "escaped" notes may be seenin Example 168. Some theorists explain these as unresolvedpassing-notes, or appoggiaturas ; but that there is somemore fundamental cormection is undeniable, and this mayperhaps be discovered on the lines of Polytony. When theprincipal chord is sustained, any of the chords built up onone of the other " planes of fifths " derived either from thesharp or the flat side, may be struck above it and left toevaporate. The acceptableness of it will depend largely onthe spacing, thusiA KÊx.356, s"fm\>\>AItiivyiyW•— g ^ m') \yOf course, such passages are explainable as " pedal-chords,"but even in such cases as Example 324, a and b, these chordsdo not seem to be altogether unrelated, although at presentthey defy all analysis.

CHAPTER XIIIMODERN MELODYThe widest and most powerful appeal in music—that ofmelody—in many ways baffles the theorist in all but the most^î^tant approaches. We may faintly detect someDifficultyof Melodic sort of fundamental plan in the rise and fall of theAnalysis,climaxes of pitch-intensity, and discover openingsin the way of phrasing and breathing. We may have ascale plan of the tonality, but the methods of inspiration andthe technique of melodic expression still lie amongst themysteries of psychology and aesthetics.A few scraps of technical information are found here andthere. We know the confidence and power of the leap of theperfect fifth and the perfect fourth in melody, which causesit to be chosen as the vehicle of all powerful fugal enunciation,and of such confident expressions of faith as the openingto Handel's "1 know that my Redeemer liveth." We allshudder at the ominous tapping of the drums at the diminishedfifth in Beethoven's "Leonora"; but let us harmonize thesame note as an augmented fourth, and we get an assertionof impudent assurance greatly favoured by the makers ofmusic-hall ditties. Of course, the value of the interval wouldbe altered again by the adoption of the " duodecuple " or ofthe " tonal " standard.The historical study of melody is, however, of great interestbecause, apart from the question of folk-music, we find mostof the later harmonic innovations predicted melodically.The augmented second and the diminished third bothappeared in melodic form long before the " minor ninth " and"augmented sixth" chords came into harmony,Prediction and the chords built by fourths and fifths wereof Modern heralded by such prophecies as the subject inarmony. rpgg}jg^j]j^Q-^g]j^y'g gixth Symphony and the openingof Schonberg's Karomer-Symphonie. The ultra-modern writers163 12

164 MODERN HARMONYseem prone to introduce their more recherche chords ste/pwise,thus appealing to the ear first along a melodic line.Modern melody differs from the older in four ways : (a) inits much greater breadth (length of outline) and its largelyincreased range, (b) in its rejection of a vocalMelodic standard for instrumental music, (c) in its lessCharacter-isiics.formal divisions and more subtle outlining, and^^^.^ being written often over entirely differentscale systems.Whereas the early music was confined within the compas*of an octave or a tenth, and written very circumspectly even.Q so, the modern vocal music ranges freely overBreadth large tonal tracts, whilst the instrumental melodyand Range, yoams at will over the complete aural range ofsound. Whilst the older melody panted along in short breathsof two or four bars, and generally rhymed at the cadences,modern melody sings on for v7hole periods with almostimperceptible breaks. The Haydn-and-Mozartiau type ofmelody seems a mere jingle of rhyming falls in comparisonwith the Bach, Brahms, and Franck melodies, which areaesthetic and psychological entities. A greater freedom ofchromatic colour pervades the melodies of these composers,but the supremacy of the diatonic scale is felt throughout.Ex.357.Andante espressivo.CESAR FRANCK,Prelude, Chorale at Fugue pour Piano.As an example of the increased range, the passage by thatgreat vocal writer, Verdi, is significant ; whilst the Elgar andChopin phrases show the use of some of the less usualintervals :

Ex.35S.MODERN MELODY 16&Adagio maestoso.Chor. jy^-' _ *VERDI, Requiem.*ts e—Rex tre.men.dae ma . je . sta ... tis!Ex.359.Moderato e solemie.ELGAR,"Gerontius'.'gra.ciousEx.360.Lento. *_ ^CHOPIN, Etude in E.Ex.361.m"J 'BEETHOVEN,String Quartet, Op.131.tJ ^ 'j"Undoubtedly the treatment of melody freed from theconventionalities of form, sometimes even reaching to dispensingwith the barring, makes at tiraes for effects ofcataclysmal power. The impassioned outpouring of the doublebasses in Beethoven's Ninth Symphony tells tremendouslyby the sheer force of its musical rhetoric.With melody written over the " tonal " or the " duodecuple "systems, we have vastly different problems to face ; and theseMelody incomposers Write in the same idiom for the voicethe Newer as for instruments, although one would think thatScales,^jjg standard would have been modified shghtlywith the former. It is not so, however, and the fact that the

166 MODERN HARMONYAsiatics vocalize smaller intervals than the semitone, mustbe borne in mind by those inclined to doubt the possibilitiesof laryngeal development. The "duodecuple ' system doescan benot present the same difficulties as the " tonal," as itcarried up to a certain point on the diatonic basis.Ex.362.(Sehr lebhaft.)STRAUSS, " Ein Heldenleben."Ex.864.(Massig)IangsamSTR^SSl'Ein Heldenleben."a.^.AWrr»r iiir7!^NThe following example, however, makes greater demands.The Polish master's treatment of the scale is very daring,whilst the modern Russian's melodic writing demands thelearning of a fresh scale-system founded on the chord givenin Example 159.

iij--irMODERN MELODY167Ex.365.Allegro molto.CHOPIN,Prelude in C minor, Op.28.Ex.366.SCRIABINE, Prometheus'.'3^J'ma dolceSome modern writing for the voice is seen in the followingexamplesdrawn from widely different sources, and aU leaningtowards the duodecuple scaleEx.367.Allegro moderate.iîp \f»j f m \ELGAR"Gerontius"n>Sancius for.tis Sanctus De.us, De profund.is, o. ro te.Ex.368. (R^hig.)With^DELIUS, 5 Songs, Autumn'.'r^r"r te ^p pf i^ Â^Trout. stretch'd necks and sing-ing they hast .en a way^^ i/Harmonic\ b6V outline. /6-'•iJLIJ6 |6S3Ex.369.Keck und verwegen.HUGO WOLF,"Der Schreckenberger")i'ij J>cfPr r,jjj J'J^pi"rdadrauss.en oh.ne Rei ter, da geht dieWelt so dumm5

168 MODERN HARMONYThere is a sort of "Pointillism" which scatters the melodicMelodic^^^®' ^y *^® large spacing of major sevenths. This"Pointil- is permissible on the twelve-note system; but itlism."j^g^y. ^,g regarded also as a frolicsome dalliancewith the chromatic scale on the diatonic basis. A full exemplificationof this method will be found in the second ofSchonberg's " Drei Klavier-stiicke," Op. 11.Ex.870.(Scheme)***The " whole-tone " system, however, is less compromising.It fairly bristles with augmented fourths, fifths, and sixths,and must be sung and listened to purely through the " tonalmedium.Ex.371.Allegro molto vivaceSIBELIUS,4th Symphony, 2nd movementIt is this strained " aural-vision " which causes most composersto regard the so-called "tonal" scale in the light of.

MODERN MELODY 169Ex.372.(a) Vivo.REBIKOFF','Les Reves"0p.l5.Many mourn the apparent exile of true melody fromTnodem music as an irremediable loss. It was only naturalthat composers' eyes and ears should have been all turnedtowards the wonderful new fields of harmonic developmentand orchestral colour for the time being ; but we have passedlong since the position of Berlioz, whose gaze at melodicouthne was nearly always deflected by the glorious sheenof tone-colour which hung around it. The old style ofmelody is banished probably for ever, but a new harmonicart is already emerging, through which the melodic outlinepromises to shine more gloriously than ever.

CHAPTER XIVMODERN RHYTHMThe term "rhythm" is perhaps more promiscuously usedthan any other term in music. Having regard for the greatof^Term'elemental nature of its general application inOrdinary parlance, it should stand in music for theregular pulsing of the beats, in the sense in whichBerlioz described it as " the very life-blood of music." But itis almost as widely accepted in the sense of the division ofmusic into sentences, phrases, and sections. Thus Beethoven'smark " A tre hattute " in the Scherzo of the Ninth Symphonyis generally interpreted as indicating " in three-bar rhythm."In the narrowing down of the universal sense of rhythm,the term frequently indicates the plan on which the timedivisions of the bar are arranged. In this sense, this art ofduration in musical sounds, dealing as it does with themanner of the movement in musical time, may be said to bethe metre of the tonal art. There is also a subtler use ofthe term in the direction of variety in rendering, by the" bowing," by staccato, legato, equale, marcato, etc.In the wider application of the term in music, it denotesthe arrangement of the bars into figures, phrases, andsentences, as raarked off by the various cadences.^^ often concerns itself with the musical rhymingAiuj"*Uof the phrases and sentences, especially in the moreformal music of Haydn and Mozart, and it is always connectedwith the graded increase and decrease of the tensionin musical pitch.In all these directions, modern music has advanced considerably,and the rhythmic developments have reacted onthe harmony. "We shall deal with modern rhythm in thefollowing order(1) The subdivisions of the beats themselves.(2) The divisions of the bar.(3) The grouping of the bars.no

MODERN RHYTHM 171The time seems at hand when the further requirements ofthe composer in the subdivisions of the separate beats mayNotational ^^^^ ê deemed to require an improvement of theInade- notation, or an altogether new system of signs, toquacies.indicate the various durations of sound. A distinctsign is certainly needed for the third part of a beat, sincethe use of compound time is often cumbersome, whilst thetriplet* is but a poor makeshift.Half-beats against thirds, and quarters against sixths, aresufficiently commonplace now to possess a less ambiguousnotation than that at present in use. The com-Mo^menfs V^^^^^' practice of marking irregular numbers overthe beat, hovers so indefinitely between the higherand lower powers, that examiners are supplied with a neverfailingsource of confusing the candidate. The latter is askedto decide a question which the composers themselves havenever solved—namely, whether a quadruplet in compoundtime follows the rule of the quintuplet in simple time by beingdrawn from notes of higher power, as at (a), or lower power,as at (6), and how such practice is reconciled with the writingof the duplet, as at (c), and the Chopin values at {d).The early music, despite its origin in the folk-dance, wasnot marked by a great variety of rhythm. This qualitywas not developed until much later, when the so-called riseof nationalism in music brought it to a high development.With the Slav music, rhythm wâs very prominent ; but stillthe older art-music, was based entirely on thethis, and allduplex system of note-duration, with the one exception ofthe "triplet."* The present marking of the " triplet " is ambiguous either withthe fingering or the phrasing, or with both. Professor SterndaleBennett invented a sign (>— i) which, however, had only a smallvogue.

Ithe172 MODERN HARMONYNowadays, notwithstanding the present inelastic notationalsystem, modern composers claim the proper timingLess Regu-°^ every fraction of a beat as a rightful demand,lar Divisions The chief pioneers in this respect were Liszt andof Pulse.Chopin. In the works of the latter we find groupsof seven, nine, ten, eleven, thirteen notes, and so on to eachbeat. Such groups are evidently not intended to be subdivided,and frequently run right through the bar-line, as inwell-known waltz in A flat, Op. 34. A slight modificationof view must be taken in the case of the melismce, whichChopin writes in small notes, and which are always executedwith the lightest of finger touches. On the other hand, suchforcible passages as those at the end of the Ballade inG minor form excellent examples of modem vie'ws on thedivision of the beat.Of such groups, at present, the quintuplet of crotchets orquavers is decidedly the most favoured for anything likecontinuous movement, although occasional pieces are foundwritten in septolet movement. In the Toccatina for PianoforteDuet we see the reverse process. Here the last beat islengthened slightly, so as to allow the five semiquavers toagree in duration with the rest of the bar. What is requiredhere in the bass is a crotchet tied to a note indicating a fifthpart of a beat.Allegro moderato.ma briUante.^^,»1*** Chorale for Pf.Duet.•auDITLm'Ih^^ za4-

MODERN RHYTHM 173To pass on rapidly to the dividing of the bar, it is interestingto observe that the now commonly accepted quintupletime is no new thing. Handel used it at the endof the second^Thês.'°Act of " Orlando," so did also theEnghsh composer, William Shield (1748-1829), inhis String Trio. In the movement marked Alia Sclavoniatempo straniere, Shield's quintuple time has quite a modernlook, more especially as no subdivision of the bar is shown.Puristssay that the popular Allegro eon grazio in Tschaikowsky'sPathetic Symphony is inaccurate in placing theduple subdivision of the bar first, but many composers useeither arrangement promiscuously. Other theorists regardthe indication of a subdivision by a dotted line as retrogressive.The conciliatory plan of deriving it by compounding thesimpler times would certainly be better when written thus :Ex.375.i n r r rnrr rAnother manner, also somewhat apologetic in tone, is toderive the quintuple from quadruple by simple repetition of

174 MODERN HARMONYone of the beats.example :It is certainly very happy in the followingEx.376.Largo e semplice.jM jirj/ij JWILLIAM WALLACE. Fran9oys Villon's Prayernînnr r r retc.to Nostre-Dame (from "ViUonV)'I'lrrrrrrfr :^tJtjrTM. Charles Bordes seems to have had the opposite idea—that of elision or diminution— in his second "FantasieRythmique " (see Examples 377 and 378).The proper view of the quintuple time is undoubtedly onestrongly accented beat followed by the four weaker ones.However written, this quintuple time is much more firmlyestablished than one at first imagines, and the various viewsof it may be studied in the following examples :Chopin : Larghetto from the Pianoforte Sonata.Reicha : No. 20 of the " Thirty-Six Fugues."Wagner :Passages in " Tristan."Saint-Saens : Study, Op. 52.McEwBN :Reeve, W.: "The Gipsies' Glee."Swan Hennessy :Quasi Minuetto from the " Four Sketches."Allegretto of the String Quartet.Kabg-Elert: Quasi Sarabande in the "Sonatina Exotique."Scriabine : No. 4 of " Four Preludes."Bossi :Oratorio, " Paradise Lost."Developments have by no means ceased with the quintupletime, and amongst the chief pioneers in the more complexdivision of the bar are M. Charles Bordes, Sigfrid Karg-Elert,and Florent Schmitt. In the second Aphorism, Karg-Elerthas a new kind of six-four time compounded thus : four-fourand two-four. M. Bordes, in his "Quatre Fantasies Rythmiques,"has a study in fifteen-eight time, with a trio in seveneight,and another piece with an eight-eight time-signaturecompounded of three-eight, two-eight, and three-eight, thus :

MODERN RHYTHM 175Ex.877./Ulegretto.C. BORDES, 4 Fantaisies rythmiques'.'Ex.878.Vif.From the same.Schiitt has a fine study for chords in seven-eight time.Karg-Elert divides a seven-four time of the first of hisLess Regu- Aphorismem into four plus three ; but has also alar Time delicious " Pastel " for the organ which runs quiteSignatures, gravely in eleven-eight (see Example 379), Saint-Saens has a "Priere" in eleven-four, which is less venturesome,and the idea of combined time-signatures is a mereconvenience of notation.Ex.379.Assai quieto-KARG-ELERT, Pastel, 0p.92,N0l.=="«/'riten.Ex.880sComodo.m^îteiHSAINT- SAENS,"Priere;'0p.7, NP 3.'^ri'rrr^Jjj

I176 MODERN HARMONYA recent innovation has been effected by the adoption ofa single-beat bar. This is used for marcato and bizarreBarspieces, and the idea of accented and unaccentedofSingle bars must be put firmly aside. In a footnote to theBeats."Ritornel" of Karg-Elert's "Sonatina Exotique,"which bears the time-signature "one-four," we read: "Therhythmic character of each bar is to be equally strong, andis not to be felt as in two-four or four-four time."Ex.381.m(a)^not(b)Anor(c)A1Similarly in the fifteenth of his " Aphorismem," in one-twotime, the accents are all quite equal. Amilcare Zanella, inhis " Une Drole de Chanson," writes in unary time, adoptingthe crotchet as his unit beat.The next step in rhythm was made in the directionof combined time-movements. The employment of threeorchestrasplaying simultaneously, one in three-eight, twofour,and the other in three-four time in Mozart's "DonGiovanni," brings to mind Chopin's Valse in A flat as perhapsthe best-known example of six-eight time against three-fourtime. An interesting example of the mixture of duple andtriple divisions occurs in Ravel's "Miroirs." The device isused again by Ravel in the following exam^ple :^*-^,*,^-Un peu anime._ _^^^. . RAVEL.Valses nobles.uu pcu ctlilUlC. 1^.————m# ^^ms^51=wjf^^(HarmonicJ(Scheme.)^9-r.

MODERN RHYTHM 177Tschaikowsky's mind often worked in the opposite direction,and a parallel to the Pianoforte Valse will be found inthe third movement of his Fifth Symphony, where the violinsare repeatedly phrased in twos, against the triple pulse ofthe accompaniment. That Schumann was very fond of thedevice may be seen in the " Kreisleriana," in the secondmovement of the A minor Concerto, and elsewhere. FlorentSchmitt, in his " Neige," Op. 56 (a), desiring a certain alterationof the duplex and triplex divisions of bar, secures it bythe use of the somewhat cryptic time-signature— " six-eight,three-four."Ex.383. Tempo di ValseTSCHAIKOWSKY, Valse,Op.40,N99.Ex.384. ^ , ,1 FLORENT SCHMITT,"Crepuscules"N92.„ Calme.W.=5W»• m 'jg.fcii E m ¥'^f-f^pQCO fitSwan Hennessy has a Pianoforte E tude vdth five-eight time„ . . in the left hand against two-four in the right.The Elgar and Ravel examples also present veryTimeMovemento. happy Combinations of varied times.E&.385.* Allegro moito.SWAN HENNESSY, Etude.Op.25.^(pf.)jj""t^tf" —PP leggiero

178 MODERN HARMONY"i ^ h 9 jk^ -'•Ex.386.Allegro. J.=zio4ELGAR.lst Symphony,y »»jjjjPÊx.387.D'un rythme souple.RAVEL,"Miroirs;'N? 3.Apart from this, a widespread desire has long beenevidenced on the part of composers for the interpolationof occasional bars of an irregular number of beats, wherebythe thought gains a greater freedom than that allowed bythe fixed time-signature.Such free use of the bar was almost bound to lead inextreme cases to the abolition of the bar-line altogether,a course followed by Zanella in his Op. 44, TwoStudies for the Pianoforte.In these pieces he aimsRlusic*at giving more elasticity to the general constructionof the period, so that greater variety may be imparted tothe rhythm, without the art-form thereby losing its equi-

MODERN RHYTHM 179librium in the slightest degree as a whole. In a footnotehe advises the player to distinguish most carefully betweenthe value of the single quaver and those of the triplets.On the other hand, in his Second Study he states that thequaver must always have the same value both in groups oftwo, three, four, five, or seven quavers. The accents arecarefully marked where required, and sf. is used for a slightexaggeration of the emphasis. The accidental applies alwaysonly to the note which immediately follows.For cases of still more combined complex rhythms, thestudent cannot do better than refer to the chamber-musicCombined °^ Brahms, whUst, as an example of elaborateComplex orchestral texture, the following brief extract veillRhythms,g^fgce to indicate the lines followed by thosemodern orchestrators who acknowledge Wagner as theirleader : Moderate. BANTOCK,''Christ in the Wilderness'.'Ex.388.The old formal regularity in phrases has now disappeared.Even the exhilarating Con moto continuo pieces now soundrather naive. The rhyming of cadences is much rarer andmore subtle, whilst increased harmonic appreciation hasrendered many of the older set cadential forms not onlyunnecessary but tiresome.To what an eloquent variety, modern phrasing andpunctuation has now attained, may well be seen in themusic of Brahms, Franck, and Reger. Amongsty.in Phrase the modern composers, who have distinctly followedLengths.Qjj these lines of complete elasticity of phrasing,are Debussy, Ravel, Stanford, Mackenzie, Scott, MacDoweU,13

180 MODERN HARMONYand, indeed, all the composers who may be considered progressivein the best sense.In their music we find phrases of eight, seven, six, five,four, three, two, and one bar, and even fractions of a bar,contrasted, responded, paired off, rhymed, extended, andcurtailed. As an instance of perhaps the extreme point towhich the elasticity of the bar can be carried at present, thefollowing will serve :Ez.389.SCRIABINE, Impromptu,Op.7,N92.This increased refinement of rhythm in musical thoughthas acted and reacted on harmony in many ways, and musicis now eloquent with a gloriously imaged and highlyimpassioned prose, which easily out-distances either of thesister arts of pen or brush in its powers of aspiration.

CHAPTER XVMODERN FORMNo art is more cramped by the unnecessary limitation of itsterms than music. The word " harmony " has now thrown ofpits conventional shackles to a great extent, but still with alarge number of people " melody " signifies an exclusive useof diatonic platitudes and effete banalities. The restrictionswhich have crusted over all ideas of " musical form," almostto petrification, have naturally resulted in the completeexhaustion of those few forms, the use of which is stillregarded exclusively as " good form " by many musicians.As MacDowell has said ": If by the word form ' ' our theoristsmeant the most poignant expressions of poetic thought inmusic, if they meant the art of arranging musicalCoherence,sounds into the most telling presentation of amusical idea, we should have nothing to say ; forif this were admitted, instead of the recognized forms ofmodern theorists for the proper utterance, we should possessa study of musical sounds which might truly justify the titleof musical intellectuality. Form should be a synonym forcoherence. No idea, whether great or small, can find utterancewithout form, but that form -will be inherent to theideas." This coherence, which is "form "per se, maybe securedin many ways.The full problem first presented itself when instrumentalmusic separated from vocal, soon after the " Apt for voices orviols " period ; and the early composers, seeing how necessaryit was to lay down some intelligent lines in the new region,decided that music should be built like architecture in certaindefinite and balanced designs. Architectural design—Ruskin's"frozen music"—soon became a mere fetish, and consequentlya serious hindrance to expression.This unnecessary narrowing down of the term "form"led to a lamentably limited range of vision, and a consequent181

182 MODERN HARMONYcramping of the possibilities of the art, completely stultifying,„ its progress. The testimony of history is aU forProminence the broadest possible expression. Bach's "FortyofSonata Eight Preludes and Fugues " are as perfect and as«•"" » classical " in their forms as any of the Beethovenand Brahms Symphonies, Sonatas, and Quartets. Indeed, theelasticity and virility of the old Cantor's forms contrastrather strikingly with some of the mere "padding out" ofform in the works of both the later composers. Moreover,Beethoven himself shows his feeling of dissatisfaction withthe so-called "Sonata" forms, and breaks away completelyfrom the older traditions in his later Synaphonies, Sonatas,and Quartets. In aiming at a greater coherence and morefreedom in seK expression, the last vestiges of the early "dancesuite " disappear entirely, and his slow movement frequentlyappears as a link between the others. Already in his C minorSymphony, we feel he is striving for something behind anddeeper than the mere music, and in consequence he opens upagain the " programmatic " lines, formerly feebly attemptedby Johann Kuhnau in his "Bible Sonatas." Indeed, ProgrammeMusic is no new thing, and may be defined as amodern branch of thought grafted on to the musical mentalattitude of preceding generations.Beethoven's achievements in this direction thus openedout the way for the " symphonic poem " of Liszt, Berlioz, andStrauss. This form may have for its basis— (a) a^^*'^'^*^'musIc.""definite plot or drama, as is the case withLiszt's "Dante" Symphony and his "Mazeppa";Berlioz's "Symphonie Fantastique," his "Waverley" Overture,and " Les Franc Juges Dvorak's " Wild Dove," " The';Water-Fay," and "The Witch"; Saint-Saens's"Danse Macabre"and "Le Rouet d'Omphale"; Strauss's "Don Quixote," "TillEulenspiegel," and " Ein Heldenleben"; Tschaikowsky's" Romeo et Juliette " and " Francesca di Rimini "; and Elgar's"Cockaigne" and "Falstaff." Or (6) a more subtle psychologicalbasis, as with Liszt's " Les Preludes " and his " Orpheus";Strauss's "Tod und Verklarung," and "Also sprach Zarathustra"; and Scriabine's " Le Divin Po^me," or his " Prometheus" (Poem of Fire), which latter, the composer ascribes toa theosophic basis.In either case, how closely the plot is drawn together

MODERN FORM 183depends entirely on the mentality and the concentratingpower of the composer, for the form is capable of endlessapplication and expansion, and all the varieties come underthe head of Programme Music, as compared with AbsoluteMusic.When the Programmatist laid aside the older forms, somethingmore than balance of tonality and parts was thoughtnecessary, and the want was supplied by Wagner'smotif! î-fnotif and by Berlioz's ' id4e fix4, or representativetheme. This representative theme id4e fixe,leit-motif, or whatever we choose to call it—^must have atwofold character. It must not only possess a literary ordramatic interest of its own, but must also satisfy our musicalsense in addition. The balance is difficult. Wagner thoughtBeethoven was too musical and Berlioz too literary, and hisown musical drama just right.These devices have been adopted wholly, or partially, byevery composer of Programme Music since that time—fromDemands Iîchard Strauss, Smetana, Saint-Saens, Dvorak, upon the to Elgar, Bantock, and Delius. The writers ofListener,annotated programmes seem almost to owe theirvery existence to this device, since this type of music alwaysneeds some initial explanation, or at any rate some musicoliterarysignposts.Beethoven had used musical mottoes in his Opus 81, andSchumann mystic letters in his cycles of pieces.BEETHOVEN,String Quartet,Op.l35.Muss es sein? Es muss sein!Esmuss sein!But Berlioz associated themes with definite ideas in the storyor scene which he wished to illustrate. LisztM .morpbosb achieved a closer unity by founding almost all hisof Themes, themes and movements on his one chief subject, oron ingenious metamorphoses of it. The following exampleswiU make his method clear :

184Ex.391.(a)Andante. ,MODERN HARMONYLISZT, "Les Preludes.'Liszt had a fii-m grip on the great principles of form ascoherence, and gathered up his themes at the close with considerablepower. Witness the final section of " Tasso," wherehe combines, and at the same time changes, the character ofhis two chief motive. Wagner carries the idea further inhis magnificent peroration to the " Mastersingers " Overture,where he brings together the three chief themes.Ex.392.Molto moderate.Vns,Celli,lstHorn.^©iWAGNER,"Meistersinger" Overture.HBs.VM.OhFI. „• 1^s iFag.Bassi.Tuba.if aber aehr markirtAt present, the almost alarming multiplication of themesseems to point to the abandonment of the leit-m,otif idea,. since many of them are not used again. Theof"xheme»r increasing aural -mental power of the pubhcrenders them less necessary, and allows the composerto fill up all parts of his musical picture with more or

MODERN FORM 185less significant material. Elgar's "Falstaff" is a case inpoint, whilst Bantock, in " Fifine at the Fair," has swung overto a series of more definite episodes held together by theliterary character of the subject.The literary element in music presupposes some fitnessand ability of perception on the part of the hearer, for whena composer writes a " tone-poem," he assumes thatListener.*^® auditor possesses some knowledge of the chiefsubjects of Shakespeare, Goethe, Schiller, Shelley,Hugo, and the other great ones in literature, even thoughthis knowledge may be gathered freshly from a printedannotation or a friend's hasty r^sumi. For instance, thehearer at the outset must know what the violin solo in " EinHeldenleben" stands for, and so on. Much progress is stillbeing made by the Absolutists, who hold that the clue mustbe in the music itself.In the symphonies of the later composers,we find the old "sonata" lines much modified,Music. *^ chiefly by a multiplication of subjects, and lessregularity in the arrangement and in the tonalityof the peroration. The number of movements varies fromone to six, and they tend to be all connected without a break.This may be seen in the Symphonies of Saint-Saens, Lalo,Elgar, Parry, Scriabine, and many others. But the masterwhose works reveal the most interesting developments onthe lines of absolute music is Cesar Franck. All his music isof great moment from this point of view, apart from itswealth of thought and beauty of expression. We must contentourselves here with a short outline of his beautifulstring quartet in D, which he wrote in his fifty-sixth year.DTndy explains it as a Ternary form with a modified sonataas the middle part. Here are the themesEx.393. FRANCK, String Quartet in D.Lento. Theme X.E ? :Âllegro. 1st Subject, (a)

186 MODERN HARMONYBridge.Subject. (b)and here is D'Indy's analysis :II.III.I. Lento—Theme X, D major.(a) J. Mefifro—Exposition : (a) First subject, D minor.Bridge subject (ft), leading to II. ; Second subject(c), F major proper.Development of iento—Theme X, F minor, G minor, etc.(b) Development of Themes (a) and (c) with modulations.(c) Recapitulation: First subject (a), D minor.Bridge subject (6), F sharp, G major. Secondsubject (c), B major, D major.Zenfo—Theme X, ending in D major.We give the outline of Schonberg's interesting Kammer-Symphonie in E for several reasons. Chiefly because, withall its modernity, it follows the older " sonata " form. Aftera short introduction of purposely vague tonality, we havethe first subject given out, and the rest is a model of orthodoxyin form. The extracts also supply us with some interestingduodecuple scale-writing, whilst the accompanying arpeggioto the eerie second subject shows what trouble the modemcomposer will take to secure coherence of tone-colour.Ex.394.l?chief Subject.Allegro.TOTSSCHONBERG,Kammer-Symphonie in E.Op.O.

MODERN FORM 187Ex.805.2nd Subject. ^^^^^CUnD.Ex.396.Peroration.There is a strong grip of tonality felt throughout thisforceful composition, just as there is, only in another way, inScriabine's tone-poem "Prometheus." It wiU be seen thatthe latter composer's adopted " tonality chord " is responsibleno less for the opening (Example 397a) than for the finalchords of this remarkable work (Example 3976).

188MODERN HARMONYEx.397,(a)^^Lento.^ iStT.& 27W.W. %.4 Hornssord.^^^SCRIABINE/'Prometheus."^^1^ -fe ^z M -fe^: 111. ^1 H:w:m^^~^.^:With the Impressionists, "form" must be accepted as coher-Mono- G^ce and justification, and in this direction Debussy'sthematic " L'Apr^s-midi d'un Fauue" is as satisfying andFormi.convincing as that other beautiful idyll, the " Lohengrin" Prelude.

MODERN FORM 189In England, the adoption of that single art-form, the" Phantasie," for instrumental trio or quartet, owes much ofits cultivation to that generous art-patron, Mr. W. W. Cobbett.New ground has also been broken by Dr. Walford Davies inhis Six Pastorals for a string quartet, a vocal solo-quartetand pianoforte, and also in the " Peter Pan " Suite for stringquartet.The recent wonderful discoveries in harmonic researchhave led to the rise of a distinct form, which may be called aThe harmonic "study." A certain mode or scale isHarmonic taken, or more often a characteristic chord, fromStudywhichone or more scales can be evolved. Thiscombination is exploited exclusively, in a piece which, heldtogether by the new and strange tonality of the chord andsome rhythmic design, owes its chief charm to the exploitationof some new "harmonic rays." A similar proceduretakes place when a composer wishes to revel in the enharmonyof " beU-tones," an almost inexhaustible inquiry. The " harmonicstudy" serves amply for the demonstration of newharmonic beauties, and much ot the work done finds its wayinto the broader walks of the art.Schumann was the originator of the short poetic piece, thereal "tone-poem," compared with which the big canvassesof Liszt and Strauss deserve the title of "tone-dramas"and'p^'tefs*.This reveals how ambiguous the termsof musical form are, since all music should havethis quality of " poetry in sound " as one of its constituents.The Miniature forms serve either for tone-pictures, as withMacDowell ; for little " Harmonic Studies," as with R^bikoffor for tiny Pastels of absolute music, as with Scriabine's"Preludes." The following piece is a splendid example ofwhat can be achieved in this form on the absolute lines :EX.39S. .Lento. J3S4.SCRIABINE,Op.31,N94.

190 MODERN HARMONYt^ jil\^- h^\iip dim.^z\ 3 W- r-W^^nif-ppppppr\B; permission of Messrs Bieltkopf &Hartel.The influence of modem Musical Form on Harmony hasbeen more subtle, and consequently is less definable than isthe case with the later development of Melody, Rhythm, andTone-colour. Nevertheless, it is undeniable that the tighteningup of the longer forms, and the condensation of the thoughtin the smaller moulds, have exercised a considerable power onmodern harmonic development.

CHAPTER XVICONCLUSIONIt is true that composition cannot be taught by rule, but thetechnique of it can, and this must be acquired in one wayor another, before real composition becomes possible. Thecomposer may learn this technique slowly and painfully byhis own keen experiences of failure and success ; or he maysecure its mastery by a diligent and enthusiastic analysisof the works of the great masters, first in the study andthen in the music-room, the concert hall, and at the operahouse.Either of these methods may be supplemented materiallyby advice and lessons from a good master, or from the carefulstudy of a modern theoretical work. A theory of musicalharmony is a systematized collection of musical facts, andlogical and clear thinking is greatly assisted by such aclassification of harmonic possibilities. However acquired,a knowledge of technique must precede the expression ofmusical thought.Moreover, it is not sufficient for the present-day musicianto be master of one kind of musical expression, but he mustj^^ be fuUy primed in the technique of all the styles.Composer's There is the great contrapuntal school of theEquipment, seventeenth and eighteenth centuries, the fineexpressional school of the nineteenth, the Romantic Movement,the Programmatic, the Impressionistic, the Post-Impressionistic styles, and so on. And standing at this endof a period of amazing artistic activity, and a phenomenallyrapid development on all sides, in an art little more thanthree hundred years old, the composer's technical equipmentevidently is no matter to be lightly taken in hand.The Exercises at the end of this volume are given toenable the student to gain some insight into the methodsand some practical experience in the technique of the various191

192 MODERN HARMONYstyles of utterance. Let him beware, however, of assumingany particular style merely as a pose. Many inter-Purpose esting discoveries and demonstrations may be madeof the by composing with a new scale or chord-forma-Exercise*. ^.^^ written out in front of his writing-desk, butthe result cannot be expression in any high degree. The" Tonal " scale must become part of one's nature before onecan think freely and naturally through this medium, and thenthere is the listener's view to be considered. Sincerity muststand before everything else in music, and the style must besuited to the particular subject, that kind of musical speechbeing adopted which affords the composer the best meansof expressing his thoughts.In addition to these and many similar studies, let thestudent be constantly turning back to a renewed appreciationThe°^ ^^® great masters of the past, for only by thatPerception means can he hope to keep his hold on fundaoiStyle,mentals. The compositions of Beethoven's firstperiod sound like Haydn and Mozart, and Richard Strauss'searly works are permeated with the same feeling. Wagner'searly operas are at the best but a mixture of mild Weberand Meyerbeer, whilst Schonberg's and Scriabine's early piecesare "harmless as doves." However, in his appreciativestudies, let the student beware of a blind, unthinking heroworship,which would raise certain recognized masters aboveall criticism. For there are many "Homeric noddings" inthe counterpoint of Bach, just as there are mere "paddings"in Beethoven and even in Brahms. Moreover, with somecomposers the very gift of exuberant fluency of expressioncauses them frequently to write without the divine fire.Let the student avoid putting himself into the position ofmany an enthusiastic Handelian, who sits and enjoys everynote of the long movements by Erba and Kerl, which Handellifted bodily into the " Messiah."With ultra-modern music it may be true that " the incomprehensibleutterances of to-day will be mere childish babbleXl,g to the next generation," but still the student mustFallacy of remember that all is not music which is modem.ReaUsm.jj^ should know the whole technique of theRealists, whilst at the same time he will not fail to perceivethe far-fetched and too self-conscious diablerie of such things

CONCLUSION 193as the "March to the Scaffold" and the "Witches' Sabbath"in Berlioz's " Symphonie Fantastique," and the extravaganceof such appliances as a theatre wind-machine in " DonQuixote," and the swishing of whips in " Elektra." Kealism,especially cacophony, freezes the emotions ; whilst Idealism,the expression of beautiful thoughts in beautiful language,can never fail to arouse a warm feeling of appreciation.In approaching a new tendency—such as Impressionism,for instance—the student must beware of passing judgmenton the first hearing, and must come to it with anImpresopenmind, free from all bias. The Impressionistsionisnia,accepts the position that much of his thought mustdoubtless be lost in the transference into sounds, and so witha consummate mastery over the technique of this new art,the composer deliberately throws a veil of elusiveness overthe whole of his musical expression. Such music is not thehasty jotting of careless hands, but the product of musicaland mental organizations more highly developed than anyhitherto known. The music of Debussy and Ravel, of Schmittand Scott, of Dukas and Vaughan-Williams, is very muchmore than a mere " bath of sound, which creates a decidedatmosphere of its own, often beautiful and highly sensuous,"as one prominent theorist puts it. Undoubtedly there is inthis music far more than the appeal to mere physical sensations.With the Impressionists, another step has indeedbeen taken towards the conquest of a refractory medium.Such a recording of the sensitive impressions of exceedinglycomplex temperaments constitutes in itself a triumphover matter, in the expression of ideas hitherto unapproachableby pen or bi'ush, and only as yet partially apprehensibleby music.But all is not "tonal" that is French, nor all French thatis "tonal." As the student's acquaintance with the modernFrench schools grows, he will cease to confuse the style ofDebussy, Chabrier, Koechlin, Lenormand, and Moret withthat of C^sar Franck, D'Indy, Dukas, Rousseau, Piem^,Tournemire, and Ropartz, nor yet with that of Ravel,Florent Schmitt, and Chausson. Still less will he think thatImpressionism arose in France, and was developed therealone.

194 MODERN HARMONYThe propeB appreciation of the real values of orchestraltone-colour is understood but imperfectly at present. Yetits influence on harmony has been both powerfulTone-Cofour and widely spread. With such a full range ofon Har- widely contrasted tones as the modem orchestra°"^'supplies, the possibilities of harmony are inexhaustible.Chords which are impossible on the monochromekeyboard, glow with indescribable beauty on the orchestralcanvas. Again, new possibilities are evoked by the fullappreciation of the true nature of the various methods oftone-production. The bubble-like emission and beautifulsustaining power of the wind instruments, the suave deliveryof the strings, the transparent nature of the harp tones, allcontrast strongly with the hammer-Hke "thud" of pianofortetone-production. The clash at the seventh chord inthe following, when played on the pianoforte, is simply nonexistentin the orchestra.Ex.399.Etwas langsam.Fi.i.nWAGNER,"DieWalkiire.'Actm.

CONCLUSION 195Short score :Such passages as Examples 400 and 401 are unthinkable ona keyboard instrument or with voices.Ex.400.Bewegte Achtel.yis.SCHONBERG,5 0rchesterstucke.0p.l6.Ex.401.Muted StrF.SCHREKER,"D^rferneKJang."5_The following Bantock example is only possible on theseparate groups of the orchestra, the limit of voices in thisrespect being shown in Example 343 for double chorus :14

'196 MODERN HARMONYEx.402.Vivacecol 8-;]rZ""""fBANTOCK,"Fifine."Such thinking as that evidenced in the following examplecould otily have originated on a sound basis of tone-colourappreciation :Ex.403.Clar. ,SoloVn. , h,Ob. ,bSoloVi *-SCH6NBERG,"Erwartung."Coatra Fa^:.|

CONCLUSION 197Only the widest experience will enable the composer tochoose always the right medium, for his thoughts. HowThe Right frequently one hears obvious pianoforte languageUse of painfully struggling to coherent articulation onMe mm. ^^^ strings ; a " string " passage torn to shreds bythe "brass"; the evanescent tremulous harmonies of undampedpianoforte chords being blasted out from the strident,unyielding tones of high-pressure organ pipes. One need notcontinue, for these mistakes are glaringly thrust upon ourears so frequently.How many more blunders are made in the sense of scale.At our musical festivals we still hear works with no pretenceto the "grand manner" given by a body of^''ô'^^lists andMagnitudeinstrumentalists some five hundredstrong, and one frequently hears a couple ofhundred adtdt voices staccatoing out some dainty joyousmeasures, evidently thought-out consciously or unconsciouslyon the scale of a small school choir.Economy of means is a safe motto for the young student.He does not need a Nasmyth hammer to crack a nut. Yards5'Meanfof drum surface, and many cubic feet of brass,^^^ necessary for the musical presentment of suchtitanic figures as " Proraetheus," but are absurdwhen employed for the self-conscious outpouring of ruffledfeelings in a rather juvenile love afPair. Beethoven's PastoralSymphony is a delicious idyll of the most delicate kaleidoscopiccolouring, needing but a small orchestra even to suggestthe storm, whilst the C minor epic never seems to satisfyone's craving for more and more violins to declaim thatdefiant phrase at the opening ; and still more horns to hurlout that cataclysmal utterance at the commencement of thesecond subject.^ Êx.404.^mHornsffHerr Max Eeinhard should have taught us in the " Miracle "and "CEdipus Rex" the values and the dangers of "mass,"

198 MODERN HARMONYbut the most disastrous mistakes of the modem conceii^room are still made in this direction. Small wonder,then, if the refined musician should retire so frequentlyinto the seclusion of his study and music-room forthe cultivation and enjoyment of the smaller but far moreartistic forms of solo and chamber music.The cultivation of these smaller - scaled works, whichappear in an endless variety of forms, is one of the mostnoticeable features of the present day. This is^"w* ^"^^ easily understood, for when the composer feelsmore confident of his interpreters, he naturallyunbosoms himself more freely, and gives expression to hisdeepest and most intimate thoughts.As to the future of musical harmony, it is unwise toprophesy ; but with regard to the present, few will agree withthose who cry out that the arts are now both retrogressive anddecadent. To such alarmists we wôuld say that if the studyof the musical classics inspires them with a distaste formodern music, there is something seriously wrong with themethod of their own musical training.No school is more attacked by such critics than that ofthe French Impressionists, against whom they level theThe Appeal charge of sensuousness. Are we to say that thereto the is no real musical thought behind all their elabor-Senses.ately beautiful harmonic webs? Rather let usadmit that the Impressionists at any rate are at one withthe so-called "classicists" in having for their chief aim theexpression of the eternal verities.If at times many of themrun to complexity and extravagance, they may easily beforgiven, for truth is greater than any of the terms in whichwe can express it. And as time goes on, truth is perceivedto be wider and wider, and consequently presents an evergreaterchallenge, and an ever-increasing incentive to theartist to grasp more and more of it.Even if there were no musical thought behind this newmusic—an inconceivable hypothesis—there is still much tobe said for a school which pursues Ideal Beauty itself as itssole aim. In the development of mankind the emotions haveTruths, which the mind is power-always preceded the mind.

CONCLUSION 199less to express, are "sensed" indubitably by the sestheticfaculties. What wonder, then, if the musical Pragmatiststhe Empiricists—again and again assail the citadel with analtogether new and more complex organization. This verycult of the sensuous in art, this attempt to capture IdealBeauty itself, has already contributed, and doubtless in thefuture will contribute still more, to the further opening outof the powers of musical expression. Both with realisticcacophony as with extravagant complexity, the developmentof opposing schools will help finally to a wider appreciationof the truth, and a greater power of expressing it.Naturally this book has only concerned itself with thetechnique and the canons of the art, the applications of whichbroaden daily. It could not attempt to probe further into thesources of inspiration, or grasp the origins of the real musicalthought, of which the sounds and their technique are but themere vehicle of expression. Any further analysis lies beyondthe veil which even metaphysics and psychology have notyet been able to approach, much less draw aside.It seems not inappropriate to leave this, the more importantpart of music, with a quotation from Maeterlinck'sinexhaustibly beautiful "Essay on Silence": "It is idle tothink," he observes, " that by means of words any real communicationcan ever pass from one man to another. Were Ito speak to you at this moment of the gravest things of allof love, death, or destiny—it is not love, death, or destinythat I should touch; and, my efforts notwithstanding, therewould remain between us always a truth which has not beenspoken." Music can contribute more to the filling up of thisgreat silence than any other art; and of the five senses ofMusic—Melody, Harmony, Form, Rhythm, and Tone-colourit is Harmony, more than any other, which takes usNEAREST TO THE EDGE OF THE INFINITE.

APPENDIX IEXERCISESAnything of the nature of a graduated course of.Exercises covering thewhole ground of the text would be outside the scope of the present work.The following exercises are designed to suggest some of the lines whichthe student may follow in essaying a more practical acquaintance withthe present-day harmonic technique. Many of the exercises are modelrled on well-known works.IBASSES^^1. Harmonise for Pf. Org. or Orch, and add 11 more bars.Alia nmrcia^2. Harmonise for String Quartet.Maestoso -^^rVCcf'J'^J'j^ 4* ^3. Harmonise the following for Pianoforte.ModeratoI l>A^ff£* b;t^1ii^b5etc.-o-Add 10 bars.s 1t-^rt^f:'fe3Ll/r^riLJlJ'^4. Write a Fugato for String Quartet on the following Subject:-e=?Sp;:200^

EXERCISES 2015. Write a short Fugato of 30 bars for Pt or String Quartet on the followingSubject. Take E as the centre.^feW^mp6. 4- part Study.*^êtSr^îmii ~Tt:s7. S-part Study.4^rI'^r ri^^ ir J| iJ. ij.i-MiS8. 6-part Study.zzz:ÊZZ9. Harmonic Study.=5S:^ ffe1.7 L 1.7 eic..J W^ 1^-¥ ^10. Treat the following as a Bass for a Soprano SongCwithout words)to Pf. accpt.Lentot^%tff-M ^J'I5 .'•Iib7 6 1)Jm,^;/¥i} J. i VT5K6

MODERN HARMONY11. Harmonise the following foT Pf. io the "whole-tone" system.C toC,.(except for the last 2 bars).''•{!J -' 11--f- ;''~\iÎ^ ~(^12. Bannooise for String Qaarteis1 ' ? '«5 ^tIl5i5l)5_ «

EXERCISES^ ^^16. Harmonise for Pf. (Chords) :-S9 Il77 l»37 7 75 1>5 b5I)I #l>7^|9î^^^57 »»3 t^^17"J

204 MODERN HARMONY19. Harmonise for Organ.Poco allegroPedal.^y^ B-OT»rTnr i^^-r"^gr i^^;c^20. Harmonise the following for Full Orchestra.Allegro con brio, ma non troppo^^ ^Ôtch. Str. & Braas BasBes^J>^21. Harmonise the following for String Quartet.'N'\\\ iij\y £^'.'i.''4U.r£pr ir'?lrp>j,ipfi

ffEXERCISES 20522. Harmonise for String Quartet.AndanteIIMELODIES41^^m w^ ffl l[:imihiî\f J]3j,grrptCrK,,]3»^taâtW23. Harmonise for Full Orchestra, for Pf. duet or for Organ,Allegro con brio1(Vns)?2i:.»^.|j. i ijj|.ri rrr^^#^ ip^rTrTi' i' i' if^ ^m24. Harmonise and extend the following, with 'impressionistic outlining!Andantino con motojtit.^ft~**k .^T^^ I^ '^y _ "~^^-^ .* i^tePf.25. Harmonise the following melody for strings, without disturbingthe feeling of a C tonic.Andantino soave^ )\^VbJ Jj?^ Mi^$ [g;^JjJ rrl'^4 j /^^^P ffl B^ralL^'-'U-^'1

206 MODERN HARMONY26. Add 6 bars to the following melody and then harmonise in the" whole-tone" system.Andantina

EXERCISES 207IIIFIGURES AND CHORDS29. Develop the following "Bridge-passage" for about 20 bairs lead,ing to a return of E flat minor.Molto agitato30. Add Bass and.continue in the following style for Pf.Poco lento alia Valsefr.^^^.m ^êy31. Write a short Prelude in 10-8 time, commencing thus :-^^32. Write a "Lied ohne Worte" for Pf. in 7-8 time with the followingaccompaniment figure:-t^

208 MODERN HARMONY33. Write a short Melody for Piano with the following accompanimentfigure :-Andante con duoloi":i jT] \]J\^pp34. Add an extended harmonic theme below the following pedalfigure.Writefor Orchestra or Pf.duet.^fz « ^±. \fi ^ft. ^35. Write several passages of "impressionist" chordal successionson the following rhythm for "Primo" part, Piano duet, afterwards addinga free part for"Secondo" player.§ r rI^^r^P r pp mir7=1 73 rrmr \pr7rr^ n" Ir c-TT-

'EXERCISES 20936. Write pieces for Violin and Pf. on the following rhythms :-f\ (a)ji fr r iAnd on this:-^(b)^rr^/[/icTrr[_ir^^#*ft-r P LLTetc.37. Write a short Piece for Pf. solo, including the following Chords:-(b)(a)(c)îi*s^t^38. Compose short Studies of 8 or 16 bars in Bi-planal Harmonyonthe following combinations. Transpose as required.M ^Wfe=?=e=t^ -f39. Composek^^Bi-planal or Tri-planal Polytony on each of the followingseries-(a;^40. Compose several Miniature piec.es for Pf. as Harmonic Studiesof the Chords of the "2nd and 4th',' and of the "3rd and 4th','as used inDebussy's"Chanst3ns de Bilitis"and"The Childrens Corner'.'41. Compose several themes securing "modal feeling" by the use ofsuccessions of minor chords.

210 MODERN HARMONYIVMUSICAL FORM42. Compose-several Miniatures of 16 bars, modelled on the shortPrelude of Scriabine, Ex. 398.43. Analyse the following pieces :-(a) Scriabine's Seventh Pf. Sonata. (Belaieff).(b) Debussy'8"L'Apres-midi dun faune!' (Fromont).(c) Schonberg's Five Pieces for Orchestra, Op. 16. (Petersh(d) Ravels "Gaspard de la nuit" (Durand).(e) Strauss " Ein Heldenleben!' (Leuckart).(f) Delius' "Appalachia" Variations. (Sarmonie).(g) Cyril Scott's Impressions from the Jungle Book. (SckoW.(h) Florent Schmitt " Crepuscules" (Avgener).44. Compose 6 representative themes for tone-poems on each,of the following subjects :-(a)(b)ic)Shakespeare's "Cymbeline"Shelley's "Atalanta'.'Euripides'" Hippolytus''(d) Eurip'ide^ "Iphigenia in Tauris'.'(e) Tennyson's "In Memoriam!'(f)(g)The Song of Solomon.Omar Khayyam.(h) Longfellow's "Hiawatha? e

EXERCISES 211VORCHESTRATION45. Invent some eleven-part chords in orchestral tone-colour, similarto that in Schonberg's"Erwartung',' given in Example N9403.46. Analyse the following passage from Delius"'Appalachia','thenorches.trate it. „ . . , ,Mysterioso lento16

APPENDIX IIGLOSSARY OF TECHNICAL TERMSAbsolute musiCj music without programme; non-descriptive.Absolute pitcli, the definition ofpitch by a fixed number of vibrations—for instance. Middle C256 per second.Absolute pitch, gift of, the abilityto name notes merely by hearingthem.Absolute rate, a fixed number ofbeats to the minute ; thus * = 1 20.Absolutists, the followers of absolutemusic as opposed to programmemusic (q.v.).Acoustic, relating to the influenceof a building on the conduct ofsound.Adagio, very slowly.Added sixth, a major commonchord phis the sixth.Ad libitum (Italian), at the performer'spleasure..Solian mode, a modal scale, fromC to C on the pianoforte.Allegretto, rather quick.Allegretto ben moderate, not tooquick ; well in hand.Allegretto cantabile, rather quicklyand in a singing manner.Allegretto con dolezza, lively, butwith some sadness.Allegretto semplice, rather quick,and simple in feeling.Allegro assai, very fast.Allegro con brio, quickly, with life.Allegro con moto, with some motion.212Allegro espressivo, quick, but withexpression.Allegro glocoso, quickly and gaily.Allegro ma non troppo, not tooquickly.Allegro moderate, moderately quick.Allegro molto energico, very quickand energetic.Allegro non troppo, not too quick.Allegro vivace, swiftly." Also spracb Zarathustra," a tonepoemby Strauss, based oil ideasfrom Nietsche's philosophy withthis title.Analysis of music, the explanationof form with regard to movementsand of the origin of chords.Andante, gently moving.Andante amabUe, rather slow andsweet.Andante cantabile, slow and witha singing style.Andante espressivo, slow and soothingly.Andante maestoso, slow and majestic.Andante sostenuto, slow and sustained.Andantino, rather slow ; a shadefaster than andante.Annotated programmes, programmeswith items explainedin short paragraphs.Appoggiatura, an accented passingnote.Approach chord, the chord precedinga more important one.

GLOSSARY OF TECHNICAL TERMS 213Arpeggio, the notes of a chordplayed separately.Assez doux, mais d'une sonority, verysweetly, but with a broad tone.Atmospheric, with a very decidedfeeling of the particular mood.A tre battute, in three-bar rhythm.Auditorium, the space provided forthe seating of the audience.Augmented fourths, the intervalsa semitone larger than the perfectfourth ; for example, fromC to F sharp.Augmented triad, a triad with anaugmented fifth.Au movement, with motion [conmoto).Aural-mental, a sort of sixth senseperhaps a subtle combination ofpsychological and physiologicalpowers.BBarring, the measuring of musicinto regular groups of beats orpulses.Beat, a pulse in music.Brass, the brass section of theorchestra—viz., trumpets, trombones,and horns.Bridge passages, parts of a compositionconnecting the themes,to which they are subsidiary.C, the note in the second space ofthe bass staff.CC, the note on the second linebelow the bass staff.OCC, the note an octave below CC.Cacophonous, objectionably discordant.Cacophony, unsesthetic discord.Cadences, certain chord combinationswhich divide the phrasesin music and give the effect asof commas, full stops, etc.Cadential effect, the effect producedby varying the ordinary forms ofcadences.Cadenza, a brilliant passage introducedduring the performance ofa piece as a display of technicalskill.Cataclysmal power, hugely sonorous.Chamber music, music for a smallconcert or private salon—alwaysone instrument to a part.Characteristic intervals, notes speciallycharacteristic of any onescale.Characteristic notation, specialways of writing chords.Chord structure, the building ofchords upwards from a note ofa scale.Chordal vocabulary, knowledge ofvarious chords.Chromatic, an altered diatonic note.Chromatic chords, chords foreign toa key, which may, however, beused without modulation.Chromatic resolution, the resolutionof a discord in some wayforeign to that from which it isreally derived. •Classical, a term often used eithervery loosely or narrowly, butapplied by people of broadmindedviews to the masterpiecesof any age.Cohesion of scale material, a cleardefinition of the scale used in acomposition.Colour sensation, the special appealof the timbre.Combination, combining of chords,notes, instruments, etc.Common chord, an addition ofmajor or minor third and perfectfifth to any given notdComplicated technique, the applicationof many elements—harmony,counterpoint, instrumentation,etc.Conjunct, by step from one note tothe next above or below.Con moto perpetuo, with continuousmovement.

MODERN HARMONYConsecutive seconds, the intervalof the second sounded in twosuccessive chords by the sametwo parts.Consecutive "six-fours," two commonchords in the second inversionsused in succession.Consonant, agreeable to the ear, asdistinguished from dissonant.Contrapuntal, the combination oftwo or more melodies.Contrary movement, moving inopposite directions.Dance suite, a series of dance tunes,all with the same keynote.Derivation, origin.Diaphony, a crude method of earlyharmony by fourths and fifths.Diatonic, a scale system of two" tetrachords " {q.v.).Diatonically, keeping to the notesof the diatonic scale, major orminor.Diatonic concord, a concord formedby notes belonging to the scaleon which the piece is written.Diatonic genus, founded on a scalesystem of two"tetrachords" (q.v.).Diatonic imitation, imitation of anyparticular part without employingnotes outside the limits ofthe scale.Diminished fifth, the interval asemitone less than a minor fifth.Diminution, the same melodysounded in notes of shortervalue.Disjunct, movement by skip, ascontrasted with conjunct motion.Disjunct tritone, the fourth, fifth,sixth and seventh degrees of themajor or minor scale.Dissonances, discords.Divisi, divide, each instrument, orgroup of instruments, taking aseparate part.Dolce, sweetly.Doloro, with grief.Dominant, the fifth degree of amajor or minor scale.Dominant generator, the dominantas the origin of a natural chordalseries.Dorian sixth, the major sixth fromthe Tonic of a minor key.Doubled seventh, the seventh ofa chord sounded by two parts atthe same time.Driving notes, notes brought forwardin time, just as Suspensionsare notes held back.Duodecuple, twelve equal divisionsto the octave.Duple, in twos.Effects of immensity, very large orgrand chords of broad effect.Ein Musikalischer Spass, a musicaljoke.Elasticity of technique, perfectmastery of sounds.Elision, the omission of any part.Emotional effects, musical effect ofsadness, gaiety, anger, grief.Empirical methods, methods discoveredby tentative experimentin logic, the Pragmatic method.Energico, with energy.Enharmony, harmony in which thenotation is changed while thepitch remains the same.Equal chords, chords whose notesare exactly equidistant.Equal steps, steps of equal distance.Equal temperament, all keys tunedequally well. See Unequal temperamentEquale, equal ; exactly alike.Etwas langsam, rather slowly.Evaporating discords, discords leftunresolved, which vanish insilence.Expressional school, the composerswho put expression before everythingelse.Extended discord, a discord carriedhigh into the upper partials.

GLOSSARY OF TECHNICAL TERMS 215False notation, the use of accidentalsemploying the same pitchas C sharp for D flat.False relations, two chromatic notesappearing in successive chordssung by different parts.Feminine endingj ending on a weakbeat.Final cadence, the chords used atthe end of a piece.Fixed key, often Dominant andTonic.Flat supertonic, the second note ofa major scale lowered a semitone.Folk music, traditional music, oftenunwritten down and handed onorally.Fonn, the mu icalshape in whichthings appear.Forte, loud.Fortissimo, very loud.Fovmdation note, the root of achord ; the note on which achord is founded.French school, having reference tothe music of French composers.Fundamental chords, chords formedafter the natural law on thetones of harmonics, or upperpartial tones.Furioso, with fury.HHarmonically, with reference tonotes sounded together in combination.Harmonic colour, the rich effectsproduced by varied harmonies.Harmonic perception, the trainedfollowing of harmony.Harmonic rays, the harmonic colourbrought about by particular combinations.Harmonic series, the natural notesproduced by a horn or trumpet.Harmonic "study," a piece formedupon a particular chord.Harmonic tissue, a harmonic combinationstrong in "forward movement" tendencies."Heldenleben," a tone-poem byStrauss depicting incidents in hisown career. Literally " A Hero'sLife."Hidden fifths, the interval of a sixthfollowed by that of a fifth, bothparts moving up or down onedegree.High-pressure pipes, pipes of anorgan requiring a heavy pressureor wind.Horizontal thinking, the regardingof music as a combination ofmelodies from left to right."Horn-fifths," the interval of aperfect fifth sounded by theharmonic laws on natural horns.Idiom, a certain stereotyped harmonicor melodic progression.Impressionistic. (See Chapter X.)Inferior resonance, reckoning downthe series of harmonics insteadof upwards.Instrumental, appertaining to instruments.Introduction, a prelude to anymusical performance.Inversions, the varying position ofchords when the bottom note isremoved and placed at the top.Irato, with angry, stormy tones.KKaleidoscopic colouring, continuedchange of tone-colour from beatto beat.Kammer-Symphonie, a piece for alarge number of orchestral instrumentswith only one player to apart. (See Chamber music.)Key-balance, the use of certainspecial keys in order to avoidvagueness of tonality in a piece.Key-signature, the sharps or flatsplaced directly after the clef sign.Klar., short for klarinet (clarinet).

216 MODERN HARMONYLaissez vibrer, leave sustainingpedal on.Largamento, very slowly and withbroad tone.Larghetto, not so slow as largo.Largo e mesto, slow and sad.Largo sostenuto cantaMe, slow, sustained,and in a singing manner.Legato, smoothly.LeggierOj lightly.Leit-motiv, theme.Lento, slow.Lento con calma, slow and calm.Lento mOlto tran(iuillo, slow andvery tranquilly.Lento sostenuto cantabile, slow,sustained, and in a singing style."Le Eouet d'Omphale," the Spinning-wheelof Omphale, a Queenof Lydia, whom Hercules served."Le Sacre du Printemps," the Riteof Springtime.Lowest parts, parts sounded bythe instruments or voices placedlowest in pitch.Lusingando, dying away ; losingitself.MMajor sixth, the interval of the samedistance as that from the firstnote of a major scale to the sixth.Major triad, a combination of asimilar formation to the combinationof the first, third, andfifth notes of the major scale.Marcatissimo, well marked.Marcato, marked.Masculine ending, ending on astrong beat.Massig, moderate.Massig bewegt, with moderatemovement.Massig langsam, moderately slow.Mediaeval harmony, the harmonyof mediseval times i.e., modal.Melisms, a decorative group ofnotes of no fixed time, generallyplayed lightly and quickly.Melodic lengths, a sentence ofmelodic notes.Melodic lines, the arrangement ofrise and fall in melody.Melodically, the forward movementin time, of a single part.Metamorphosis, the reappearance ofa melody in a different shape orform.Middle cadences, cadences, in themiddle of a piece, which avoida full close or finish.Minor chords, chords with a minoror lesser third.Minor seconds, the intervals a semitoneless than major second, asC to D flat.Minor sixth, an interval a semitoneless than a major sixth."Mirror" idea, harmony workedfrom the middle, outwards inboth directions.Mistico, mysteriously.Modal melody, a melody formedby the notes of a modal scale.Modal system, according to the oldmodes or scales.Mode, the quality or kind of scale.Moderate, in moderate time.Modern (French), in moderate time.Modem techniciue, the scientificand acquired parts of the composer'straining.Modernity, appertaining to modemmethods.Molto adagio, very slowly.Molto moderate, very moderate inspeed.Molto tranquillo, e sostenuto, verytranquil and sustained.Molto vivace, very quickly.Mood, a state of feeling.Muted horns, horns played with adevice arranged to soften thetone. The mutes at the sametime produce a strange weirdtone-colour.Muted strings, stringed instrumentswith the mute attached, to veilthe tone.

GLOSSARY OF TECHNICAL TERMS 217NNative scales, scales other thanEuropean.Woctume, a piece with a quiet,contemplative, reposeful feeling.Notational system, system of writingnotes of different pitch.Note-communism, all notes equalin importance.Noted, written down in musicalnotation.Obscuring of tonality, the temporaryobliteration of the feelingof the key in which a piece iswritten.Octave, the eighth note in a diatonicscale above a given one ; it hasthe same alphabetical name.Omar Khayyam, a Persian poet.Opus number, the order in which acomposer's works are published.Orchestra, a certain balanced collectionof string, wood-wind, brass,and percussion instruments.Orch. Bassi, orchestral doublebasses (string family).Outlining, to strengthen a certainpart by adding in octaves, fourths,fifths, or common chords, etc.PParallel fifths, the interval of a fifthsound by the same two parts intwo successive chords.Part, a single line of sound, withforward movement in the timedimension.Passing-notes, notes which do notform any part of the chords.Pas trop lent. Not too slow.Pathetic cadence, a perfect cadencepreceded by a chord containinga flattened supertonic.Pedal, in harmony, a holding noteon the organ, a keyboard playedby the feet.Pedal-chord, a long holding chord,over which other parts aremoving.Pedal drum-roll, a " roll " on a longholding note.Pentatonic scale, a scale formedof five notes.Pesante, heavily.Phrases, the various divisions oftwo or more bars, into whichmusic is divided.Phrygian mode, an ancient scalerepresented on the piano by thewhite notes E to E.Pitch, the height or depth of sound.Pitch position, the high or lowplacing of a note.Plagal, modes.Poco lento, rather slowly.Polytony, a new system of harmony.Post-Impressionism, an altogetherfree and very personal style ofcomposition. The opposite ofRealism.Prelude, a piece preceding anylonger movement.Preparation, the sounding of a notebelonging to a chord before sustainingit as a discord in thefollowing chord.Prestissimo, as quickly as possible.Programme music, music depictingcertain definite thoughts, actions,or scenes.Pure temperament, tuning notesby the perfectly natural law.QQuality of intervals, the varyingwidth of intervals according tothe number of semitones.BKail, molto, a broad, graduatedslackening in time.Bealist, a composer who aims firstand foremost at verity and exactreproduction.Recherche chords, rare and delicatelyarranged combinations.Reflection, the working of harmonyfrom the middle, outwards inboth directions. (See Mirroring.)

218 MODERN HARMONYRegulated pulsation, forward movementin time-duration.Bendering, performance ; mode ofinterpretation of music.Besolution, the precedure of adiscord to the concord whichsatisfactorily follows it.Besolution chord, the chord onwhich a discord resolves.Bhythm, the regular recurrence ofaccents and the arrangement ofsentences.Bhythmical influence, the influenceof accents and phrases and thearrangement of sentences.Bozuantic movement, the fertilizationof the musical impulse byliterature, which began withSchumann.Bomanticist, a composer of theRomantic school.SSans hate et noblement, withouthaste, and with great dignity.Scalar, scalewise ; by melodic step.Scale efieteness, a scale worn threadbare.Scale material, the individual notesof a scale.Scale motion, melodic motion bystep.Scalewise, by melodic step.Scherzando, playfully.Schnell, fast.Segue simili, to be played or sungin a similar manner.Sehr lebhaft, very fast.Sehr rasch, very impetuously.Semichorus, half, or a part only ofthe singers.Semitone, a twelfth part of theoctave.Semplice, simply.Sempre ritard, always slow.Sempre rubato, always with artistictime-placing.Sentences, melodic lengths or divisionsin a piece of music.Sequences, the same progressionsor intervals used again on other•'degrees of the scale.Sequencing, or sequential progression,progression by sequence,more or less exact.Sextuple, a beat divided into sixequal parts.Similar motion, parts moving inthe same direction.Sonata-form, the form in which thefirst movement of a sonata isgenerally written.Song cycles, a set of songs with amore or less definite connection.Spirituoso, spiritedly.Staccato, short and crisp.Staccatoing, playing or singing ina short, distinct manner.Strings, violins, violas, 'celli, etc.Subdominant, fourth degree of adiatonic scale.Subito, quickly; suddenly.Subjects, the themes around whicha movement is built.Superposition of thirds, thirdsplaced one above another.Suspensions, the holding of a noteinto another chord to which itdoes not belong.Sympathetic vibration, the vibrationof a second note in unisonor in some harmonic relation, setin motion automatically by thevibration of the first.Symphony, a series of three or fourmovements for orchestra accordingto some definite scheme.Technique, technical equipmentin harmony—mastery of musicalsound.Temperament, a system of tuning.Tempo de mazurka, in the time ofa mazurka.Tetrachord, a group of four scalenotes, two tones and a semitone.

GLOSSARY OF TECHNICAL TERMS 219Theorist, one who works on theoreticalhnes.Tierce de Picardie, the major thirdwith which a composition in theminor key often ends.Timbre, the quality of a sound.Timbre - creating, affecting thequality of a composite sound.Tinting, adding extra notes, not offirst importance in the chord.Toccata, a piece displaying " touch "on a keyed instrument.Tonal centre, the Tonic or keynoteof any passage.Tonal chords, chords formed on the"tonal scale." (See Chapter V.)Tonal colour, the varying effectsproduced by different combinationsof tone.Tonal combinations, chords formedfrom the tonal scale.Tonal harmony. See Tonal chords.Tonal principle, the abolition ofsemitones.Tonal progression, movement on ascale of whole tones.Tonal scale, all tones, no semitones.Tone, a sixth part of the octave.Tone-poem, a piece written withregard to effects of tone-colour.Transposition, the placing of amelody high or lower in thescale.Tr6s lent, very slow.Triad formation, formation of commonchords by adding third andfifth to any given note.Triads, common chords.Triple, in threes.Tritone, three whole tones inmelodic succession.Tutti, full ; all the instruments or thevoices.Twelve-note scale, a scale of twelvesemitones, but not formed byalteration of the diatonic scale.See Duodecuple.UUna corda, on one string insteadof three ; soft pedal of piano.Undamped chords, chords allowedto vibrate freely.Undamped strings,strings allowedto vibrate freely.Unequal fourths, fourths of differentwidth or quality.Unequal temperament, a system oftuning by which certain commonkeys were nearly perfect, whilstthe rarer keys were very false.VVague tonality, doubtful as to key.Viols, stringed instruments.Virginals, the old type of keyboardinstrumentused in Elizabethantimes.Vivace, lively.Vivacissimo, quicker than vivace.Vivo, vivaciously.Vocal, appertaining to the voice.Volume, quantity in relation tosound.WWagnerian, in the style of Wagner.Rich, masterly harmony, with theadoption of the Zei^mo/iy principleas the chief element of form.Weak beat, an unaccented beat orpulse.Whole-tone scale, a scale consistingentirely of tones, frequentlycalled the "tonal" scale.Wood-wind, wind instruments madeof wood, as flute, clarionet, oboe,fagotto.Wotan motiv, the theme given toWotan, the chief of the gods, inWagner's opera "The Ring."Ziemlich langsam, somewhat slow.

INDEX TO MUSICAL ILLUSTRATIONS{The numbers refer to the illustrations, not to the pages.)Albanesi, C.Albeniz, I.Alcock, W. G.Bach, J. S.BalakirefpBantockBeach, H. H. A.BeethovenFifth Sonata, 269.F^te-Dieu k Seville, 289.Yvonne en visite, 285.The Duchess of Fife's March, 215.Choral Prelude : Christ ist erstanden, 18.Choral : Ich hab' mein Sach' Grott heimgestellt,17.Choral Prelude : Wenn wir in hochstenNothen sein, 21.Das Wohltemperierte Klavier, 132.Magnificat, 19.Prelude in G, 20.St. Matthew Passion, 131.Islamey, 302.Atalanta in Calydon, 73.Christ in the Wilderness, 115, 207, 343, 388.Fifine at the Fair, 253, 402.Gethsemane, 83.Sappho, 245, 318.Songs of Persia (In the Harem), 144.The Nightingale's Song, 146.The Sea Fairies, 222.C minor Symphony, 404.Eroica Symphony, 323.Les Adieux Sonata, 15, 290.Ninth Symphony, 228, 251.Pastoral Symphony, 201.Seventh Symphony, 136.Sonata in D, 43.Sonata in E minor, 5, 242.String Quartet in P, 247.String Quartet in C sharp minor, 361.String Quartet in A, 53.String Quartet in F (last), 390.Waldstein Sonata, 23, 190.220

Bonnet-INDEX TO MUSICAL ILLUSTRATIONS 221

22aBlgab (continued)Farjeon, H.Plotow -PRANCK, CfiSARGoss, JohnGriegGrovlezGuiDO d'ArezzoHalm, A.Harty, H.HaydnHegarHennessy, SwanHolbrooke, J. -Hub, G. -Hull, A. E.JarnefeltJensenKarg-Elbbt -korngoldLiszt -MODERN HARMONY- Dream of Gerontius, 55, 60, 119, 176, 238, 240,295, 349, 367.Enigma Variations, 347.Palstaff, 91, 319.First Symphony, 386.King Olaf, 71.Second Symphony, 317.Three-Cornered Kingdom, 125.Overture : Martha, 247.Choral and Fugue, 357.Pi6ce Heroique, 72, 270.String Quartet in D, 393.Symphony, 278.Violin Sonata, 28.Chant, 27.Ises Tod, 308.Ballade in G minor, 9.Pianoforte Concerto, 66.Sigurd Jorsalfar, 64.L'Almanaeh aux Images, 14, 255.Organum, 252.Harmonielehrebuch, 42.Mystic Trumpeter, 41.Emperor's Hymn String Quartet 16The Spring, 307.Etude, 385.Acrobats, 175.Croquis d 'Orient, No. 1, 141.Sur I'eau, No. 5, 142.A Passage, 324, 359.Chorale for Pianoforte Duet, 374.Variations Po6tiques, 299.Praludium, 332.- Rest comes at eve, 31.Naher mein Gott, 12.Pastel, 44, 84, 173, 379.Sonatina Bxotique, 118.Second Sonata, 254.Les Preludes, 391.

'MacDowellINDEX TO MUSICAL ILLUSTRATIONS 229At an old trysting-plaee, 10.Thy beaming eyes, 39.To a Water-Lily, 172, 296.Wald Idyllen, 233./ MachaultMackenzieSacred Madrigal, 1.Pour Songs, 220.The Bride, 49.McEwEN -moszkowskimoussorgskyMozartElegy, 274.Prelude and Fugue for Strings, 229.Boris Godounov, 342.G minor Symphony, 213.Jupiter : Finale, 316.PaderewskiSonata in B flat minor, 298.ParryKing Saul, 65.Symphony in B minor, 24.", PiBRNfiLaOroisade desEnfants (Children's Crusade),77, 320./ Pitt, PercyCome, solemn Night, 29.POLDINIZigeuner Novelle, 264, 312.PucciniMadame Butterfly, 135.PURCELL -King Arthur, 2.Overture : Dido and >Eneas, 103.;Rachmaninoff To the Children, 267.7 'RavelAisie, 246.Gaspard de la nuit (Le Gibet), 284.Histoires Naturelles, 209.La vallee des cloches, 350, 351.Les grands vents venus d'Outre-Mer, 168.Miroirs, 217, 335, 336, 387.Pavane pour une Infante defunte, 63, 279,334.Scheherazade, 344, 845.Sonatina, 260.Valses Nobles, 81, 85, 86, 196, 212, 382.Danse caracteristique, 313,Der Abgrund, 281.Peuille d'Album, 205.Idylle hell6nique, 54.Les R^ves, 115, 372.Moment lyrique, 348.Une FSte, 116.

'224 MODERN HARMONYReger, MaxBlMSKY-KOBSAKOPPRonald, Landon-RubinsteinSaint-SaensSC3MITT, FLORBNTSCHONBERGSchrekerSchumannSCHUTT, E.Scott, CyrilScriabineSelva, B. -Sbbibyx -Sgambati -Sibelius -Gott des Himmels und der Erden, 26.Kyrie, 87.Intermezzo in G minor, 232.String Quartet, 47.Russian Songs, 57.Pensê Musicale, 177.Pr6s les Ruisseaux, 45.Danse macabre, 328.D6janire, 221.D6sir de I'Orient (La Princesse Jaune), 140.Fifth Pianoforte Concerto, 352.Pri6re, 880.Suite Alg^rienne, 139.Cr6puscules, 384.La TragMie de Salome, 206.Drei Klavierstticke, 101, 102.Erwartung, 311, 403.First String Quartet, 363.Four Songs, 67.Ftinf Orchesterstticke, 3336, 400.Kammer-Symphonie, 394, 395, 396.Pell6as and M^lisande, 203.Second String Quartet, 48.Sextet : Verklarte Nacht, 93.Tonal Chords, 356." Der feme Klang," 401.Faschingsschwank aus Wien, 7.In May, 243.Valsette in A (Scale), 133.Jungle Book Impressions, 100, 149, 262.Poems, 99, 283, 331.Etude, 354.Impromptu, 889.Pianoforte Pieces, 248, 249, 250.Po6me Satanique, 353.Preludes, 5, 35, 239, 398.Prometheus, 157, 341, 366, 397.Seventh Sonata, 162, 163.Sixth Sonata, 160.Cloches au soleil, 330.Cloches dans le brume, 339.Les Petites Creoles, 340.Toccata, 69.Black Roses, 13.Fourth Symphony, 74, 151, 304, 371.Scale, 150.

INDEX TO MUSICAL ILLUSTRATIONS 225Smyth, B. M.Somervell, A.Stanford -StraussStravinskyTrevalsa, J.tschaikowskytschebepnineVaugha n-WilliamsVerdiVilleminWagnerWalford-DaviesWallace, W.Wesley -White, M. L.Wolf, HugoWolp-FerrariYork-Bowbn-Chrysilla, 46.Shepherd's Cradle Song, 8.First Irish Rhapsody, 326.AUerseelen, 814.Also sprach Zarathustra, 297.Don Quixote, 276, 288.Ein Heldenleben, 32, 78, 124,362, 364.Blektra, 68, 80, 227, 306, 355.Till Eulenspiegel, 174, 216, 226,Tod und Verklarung, 301.Feuerwerk, 286.L'Oiseau de Feu, 211, 294.Cowslips and Tulips, 325.Fifth Symphony, 61.Third Quartet, 231.Valse, 383.Nareisse, 97, 321.A Sea Symphony, 34, 79.Falstaff, 346.Otello, 62, 261.Requiem, 40, 358.fitude in Polytony, 337.Die Walkure, 37, 399.Gotterdammerung, 178, 230.Mastersingers, 392.Parsifal, 76, 94.Rheingold, 170, 171.Siegfried, 89, 95, 96, 214, 282,The Ring, 237.Tristan, 202, 219, 293,Everyman, 33.Villon's Prayer, 376.The Wilderness, 191.Fantasia : The Guestling, 292,Der Sehreekenberger, 369.The Jewels of the Madonna, 184,Second Suite, 210, 280, 327.126, 234, 303,236, 266, 309.' 'I f 305, 322, 329,

MODERN HARMONYMISCELLANEOUS.Chords, 192, 193, 195, 198, 200, 204.Chord-Scliemes, 182-189.Diagrams : No. 1, Chap. IV., p. 35 ; No. 2, Chap. VI., p. 77.Modes, 51, 52.Passages, 181, 199, 223, 241, 300.Scales, 50, 106, 147, 152, 158.Tables of Chords, etc., 75, 104, 105, 107, 108, 109, 110, 111, 112, 117,120, 121, 122, 127, 128, 130, 153, 154, 155, 1.56, 159, 161, 164, 165,166, 167, 179, 180, 218, 236, 271, 277, 315a, b, c, d, 334, 338, 356, 370,378, 375, 381.Traditional, 225.

GENEEAL INDEX{The numbers apply to the pages.)Abandoned Dominant, 39Abolishment of key-signature, 50Absolute music, 183, 185pitch, 35, 50Absohxtists, 185Absorption of Seriabine's chordsinto general practice, 73, 180Accents, 179Accidentals, 34, 179Added Dominant, 84note, 85passing-notes, 82sixth, 82Tonic, 84Advice to the student, 7ôlian mode, 25Esthetics, 163Alien chords, 81Allusion in music, 28Alma-Tadema, 66Alterated notes, 78Alterations of scale, 65Analysis of haz-mony, 78of Franek's String Quartet,185of melody, 163 et seq.of Schonberg's Kammer-Symphonie, 186Anthropology, 66Appeal to the senses, 198Applications of duodecnple scalesystem,49Appoggiatura chordal " drags,"128 (Ex. 286)chords, 103, 128explanation of "escaped"notes, 162view of "Tonal" chords, 63Wagner's, 101with new chords, 85, 154with Scriabine, 75|227Approach-chord, 108" Ariadne in Naxos," 5Arnold, Matthew, 66Arpeggio treatment ofenharmony,87Atmosphere in music, 114Augmented second, 163sixths, 85, 140triad, 126, 134Authentic modes, 26Bach, altered scale, 64as modernist, 1, 60consecutive fifths, 5diminished seventh, 3, 48form, 182free part-writing, 11melody, 164second inversions, 12Bach's cadences, 64Bantock, cult of the Bast, 66,67equal steps in bass, 87fifths, 115, 116Programme Music, 183, 185Earless music, 179Bars of a single beat, 176Basis of music, 24Basses, 44, 51, 200in equal steps, 43, 44, 45, 87Beauty, abstract, 109Beckmesser, 5Beethoven, Dominant as generator,92elision, 109fifths, 115free writing, 14horn passage in "Eroica,"145, 146modernity, 1, 4Ninth Symphony, 2016

228 MODERN HARMONYBeethoven, Pastoral Symphony,197Bell-tones, 148Bennett, Sterndale, 171Berlioz, 28, 169, 181, 182, 183Berlioz's idê fixe, 183Bible Sonatas, 182Bi-planal harmony, 193, 209Bizarre effects, 154, 17f3Bonnet, 27Bordes, 174Brahms, 110, 164, 179, 182, 192Bridge passage, 209Browning, 114Bull, Dr. John, 2Busoni, 76Busoni's new system, 77Butterworth, 154Cadences, 31, 32, 105, 110, 111,113Cadential relief, 110Cadenzas of Liszt, 36Canon in Sehnbert's ' ' Erlaf See,20Cezanne, 115Classical, use of term, 2 (footnote),182Chabrier, 193Chamber mvisie, 198Charpentier, 152Chausson, 116, 193Chiarosonro, 158Chopin, altered scale, 70combined movements, 172fifths, 118major thirds, 49melismce, 36, 50, 172nationalism, 66quadruplet, 171quintuple time, 174vagvie tonality, 50Chordal origin of "whole-tone"scale, 53Chord-formation, 83by fourths, 97, 160Chords derived horizontally, 140of ninth, 125of seventh, 123Chord-structure, 90by equal intervals of samequality, 95by equal intervals of unevenquality, 93Chromatic alterations, 85, 88discord, 33notes, 15scale, 5not a mode, 78resolution, 59view, 33Classical, 2Cobbett, W. W., 189Coleridge-Taylor, 66Colour sensation, 72Combined harmonic streams,135, 136, 137keys, 138, 139themes, 184time - movements. 171. 174,177Common chords in similar motion,119, 160on chromatic notes, 13Comparison of Scriabine's scaleswith "Tonal" systems, 72Composer's equipment, 19Concord as pedal, 146Dominant seventh acceptedas, 156Con moto contiauo, 179Consecutive fifths, 8, 116 et seq.Contrapuntal styles, 131Crick, harmonic, 120Cubism, 2Cui, 149Cult of the East, 66of the second, 155of semitone, 98Davitl. Ferdinand, 67Davies, Walford, 16, 29. 49Debussy forestalled, 2. 20harmonic studies, 209harmonics, 73Impressionism, 36, 59, 115,129, 193" L'Apr^s-iuidi d'un Fanne,"188mirroring, 56new chords, 108" Pelleas et Melisande," 62scale of "Pagodas," 66songs, 130String Quartet, 128"tonal" harmony, 56, 58,61, 62Definition of Impressionism, 114

GENERAL INDEX 229Delius, 183extract from " Appalachia "for orchestration, 211Demands on the listener, 183Desire to modify notes, 64Diablerie, 116, 192Diagram of duodecuple system,30of tertia-tonal system, 77Diatonic basis of music, 166fovindation for the old chromaticnotes, 34music, 7Diminished seventh, transmutationproperties, 90third, 163triad, 128Diminutions in newer time-signatures,174D'Indy, Vincent, 25, 186, 193Discord in the aljstract, 156Discords used Impressionistically,126 et seq.Divergencies from the old practices,5Division of the octave, 33, 76,77, 95Dominant, 25, 40, 84abandoned, 39added to any chord, 84as root, 92feeling, 74impression, 40, 72, 73influence, 40, 73ninth chord, 75Doubled leading note, 14Doubling outlines, 1 58Dorian mode, 25plainsong, 27sixth, 25, 80Dukas, Paul, 193Dunhill, T. P., Phantasy-Trio.107Duodecuple scale, 87, 167system, 23, 32, 33Dupare, Henri, 116Duplet, 171DvoMk, 5, 66, 182Eastern colour, 66Economy of means, 197"Bin Mvisikalischer, Spass," 5Elasticity of phrasing, 179of technique, 179Eleventh, chord of, 82Elgar, basses, 18economy of notes, 27, 155"Palstaff,"185mediant pedal, 20polychromatic method, 46programme music, 182scale, 69symphonies, 185Elisions, 5, 13, 105, 106, 109, 152,153, 174Elusive tonality, 37, 46, 50, 62,198Emotional properties of theopen fifth, 116Empirical method of chordconstruction,4, 9, 93, 180, 199Empiricist, 199Enharmonic vicvv, 86Enharmony, 23, 86. 89, 112, 129,138, 139Enterprise, 60Equal chords, 86interval passages, 37, 38, 39steps in the bass, 43, 44, 45temperament, 24temperamental tuning, 33,95Equality of intervals, 36Erba, 192"Escaped" chords, 81, 152, 161"Escaped" notes or chords, 78,162Evaporation of sound, 83, 111Evasive tonality, 37, 46, 50, 62,193Exact "reflection," 143Exceptions to Impressionisticchordal successions, 128, 129Exercises, object and use of.191"Exposed fifths," 11Fallacy, 192False notation, 60relation, 109Peeling of straitness, 24Feminine endings, 110Fifths, 5, 116, 119, 120, 123, 159chords formed by, 97, 127Figure as pedal, 147 et seq.Figures and chords, 207Pinal cadence. 111Fitzgerald, 66

230 MODERN HARMONYFive senses of music, 199Flaubert, 66Form, 181, 188coherence is, 181harmonic influence of, 190Formula, 108Fourths (chords formed by), 97,127, 159, 160with the iDass, 12Franek, Cesar, analysis of stringquartet, 185doubling melody in bass,158melody, 164ninths used Impressionistically,125phrasing, 179progressions of majorthirds, 49style, 193Freer progressions, 14French composers, special qualitiesof, 49, 148Impressionism, 129Fugato, 207Generator, harmonic, 66, 86German Impressionism, 129"Gerontius,"108Gevaert, 103Gluck, 1Goethe, 66, 185Goodman, 66"Grand manner," the, 197Great breadth and range, 164Greater elasticitv in part-writing,6Greene, 53Grieg, 31, 66Ground-bass, 202Grouping of bars, 179, 180Grovlez, 116Guilmant, 20Guitarists, custom of Spanish,103Handel, 53, 162, 173, 192Harmonic colour, 39, 89planes, 100, 103, 105 et seq.studies, 112, 152, 189Harmonics, 66, 86, 90, 91Harp, tone of, 194Harwood, 28Haydn, 171type of melody, 164" Heldenleben," 185Helmholtz, 24Homeric noddings, 192Horizontal hai'mony, 140listening, 140methods, 100Horizontally derived chords, 140" Horn-fifths," 11Hypo-ôlian mode, 25Hypo-Dorian mode, 25Hypo-Lydian mode, 25Hypo-Phrygian mode, 29Idealism, 193Idiefixi, 183Inadequacies of notation, 5, 34,60, 61, 77, 96, 171Influence of modern musicalform on harmony, 190Influences of tone-coloiir onharmony, 193Impression, 115Impressionism defined, 114, 193Impressionist exploitation, 60Impressionistic methods, 191use, 96Impressionists, 188, 208Instruments of unfixed tone, 23Inversion of the chord of 9th,125of Scriabine's chord, 73Inversions of the chord of ninth,18,93of chords used Impressionistically,120 ct seq.Irregvdar numbers, 171"Jupiter" Symphony, 144Karg-Elert, 20, 174Kerl, 192Keyboard, 34Keys, combination of, 138, 139Key-signature, 36, 50Koechlin, 193Kreisleriana, 177Kuhnau, 182Lalo, 185Language, 5

GENERAL INDEX 9.2,1Laryngeal development, 166Leit-motif, 183, 184Lenormand, 193Less regular divisions of pulse,172Liadoff, 149Lied ohne Worte, 207Limitations, 62of "whole-tone" reproduc:tion, 54Lines and streams, 134Liszt, 66, 172, 182Lohengrin, 188MaeDowell, 14, 179, 181, 189on form, 181McEwen, 174Machault, 2Mackenzie, 25, 101, 179Maeterlinck, 199"Magic Helm," 108Magnitude, 197Major common chord with7th on leading note, 16second, 98thirds and major sixths, 39Manet, 115Marcato, 176Masculine cadences, 110" Mastersinger " Overture, 184Mediseval harmony, 29, 116Mediant as pedal, 20Medium, 92MelismcB, 36, 50, 172Melodic analysis, 163lines, 131, 133, 164 et seq.outlines, 169prediction of modern harmony,163use of church modes, 28value, 53Melodies, 205Mendelssohn, 5Mental attitude, 60Metamorphosis of themes, 183Metre, 170Meyerbeer, 192Miniature pieces, 209Miniatures, 189, 210Minor ninth, 96second in harmony, 156triad, origin, 91" Mirror idea," 41Mirroring device, 140Mirrors, 55 /Modal cadences, 31 /'feeling, 29, 37, 68,. 209influence, 26music, 24, 27Modernity, 1Modern melody, 164Modification of scale notes, 64,65, 66, 70Modulation, 15, 58, 96Modulatory power of "Tonal"chords, 58Monothematic forms, 188Monteverde, 1Moret, 193Motive, 184Mottoes, musical, 183Mixed cliordal structures, 98Mixing the two "Tonal" series,57Moussorgsky, 20, 66, 155Mozart, augmented triad, 53combined movements, 176horizontal harmony, 100, 144modernism, 3, 36, 114phrasing, 170" Tonal" chords, 60Mozartian type of melody,164Multiplicity of themes, 184Music, five senses of, 199Musical analysis, 170appreciation, class, 130rhetoric, 165Musicrhall ditties, 162Nasmyth hammer, 197Nationalism in music, 66Native scales, 66Neapolitan sixth, 80, 109Necessity for elisions, 109New chords, 47, 55, 81, 84, 85,86, 90 et seq., 108, 140 et seq.Newer scales, 71Niecks, Professor, 34, 114Ninth, chord of, 161Ninths, 125, 161Notation, 5, 34, 35, 60, 96of tertiatonal system, 77Notational inadequacies, 171system, 61No tonal centre, 49

232 MODERN HARMONYObscuring the Tonic, 49" (Edipus Rex," 197Olsson, Otto, 27"Omar KhayyAm," 116Open mind, the, 193Orchestration, modern, 27, 41,46, 49, 60, 68, 71, 97, 100, 104,107, 108, 116, 121, 126, 128, 133,136, 137, 138, 139, 145, 146, 148,149, 150, 154, 155, 160, 162, 179,184, 186, 187, 188, 194, 195, 196,211Oriental philosopliy, 66Origin of minor triad, 91Outlining certain parts, 120, 160in sevenths and ninths, 161of the wood-wind, 128Outre, 154Paddings, 192Parisian schools, 119Parry, 31, 105, 185Parsifal extract, 41Part-writing, modern, 128, 129Passing-chords, 78, 79Passing-notes added to chords,82"whole-tone," 61Pastels, 189Pastorals, 189Pathetic cadence, 109Pedal as tonality, 41devices, 145mediant as, 20Pedal-chords, 139, 145, 147Pedal-figures, 147, 208Pedal-notes, 20Peutatonic scale, 66Perception, 6Percussive harmony, 154Permanent scale, no, 24Perpendicular harmony, 131, 15Persistence, 66"Peter Pan "suite, 189Phantasie, 189Phrygian mode, 25"Phryne,"67Pianoforte-duet writing, 208tone-production, 193Piern6, 193Pitch, 153Planes, harmonic, 100, 103, 138,142, 150, 162Plagal modes, 26Pointillism, 49, 154, 168Poldini, 20Polychromatic method, 15Polytony, 109, 129, 139, 151, 162,209Post-Impressionism, 36, 49, 50Post-Impressionistic styles, 191Pragmatists, 199Programme-music, 182, 183, 191Progression of ninth, 18, 19of parts, 56" Prometheus," 72, 74, 197Psychology, 163Puccini, 155Purcell, 2, 53, 114Pure modal use, 27scale, 22Pvirpose of the Exercises, 192Quadruplet, 171"Quintal" planes, 152Quintuple times, 173Quintuplet of quavers, 171of crotchets, 172Quotations and allusions, 28Ravel, basses, 44chords, 84feminine endings, 110modal use, 27, 28, 29phrases, 179semitone in harmony, 157Realism, 155Real vermis Diatonic reproduction,122Reeves, 174RebikofF, 26, 49, 116Refinement of rhythm. 180Reflection, 142. 154table, 103Reger, added-uote chords, 84Dorian-sixth chord, 25melody, 14resolutions, 105, 107"Theory of Modulation," 15variety of cadence, 110of phrase, 179Reicha, 174Reinhard, 197Relative minor, 25Resolutions, 59, 81, 105, 149

GENERAL INDEX 233Resonance, 157Reversion to Dominant supremacy,73Revolutionary, 70Rhetoric in music, 105Rhyming of cadences, 179Rhythm, 171Rimsky-Korsakow, 28, 149Romantic, 191Root in inversions of tlie 9th, 18Ropartz, 193Rubinstein, 67Rule of roots, 59Rummel, W. Morse, 155Ruskin's "frozen music," 181Russian Impressionism, 60, 129schools, 129Saint-Saens, 66, 67, 174, 182, 185Samson et Dalila, 67Satie, 36, 50Scale, 197effeteness, 64Scales altered, 64, 65, 70duodecuple, 83modal, 24native, 66new, 70, 164Seriabine's, 72 et seg.Sibelius, 71tertiatonal, 77"whole-tone" or tonal, 53Schiller, 185Schmitt, 87, 174, 193Schonberg, 3, 11, 86, 87, 100, 127,141, 145, 163, 192bass, 97chords, 11, 86, 87, 100, 127,141early pieces, 192"Erwartung," 211Kammer - Symphony analyzed,188referred to, 3, 162orchestration, 150pedal-chords, 145planes, 100, 150Schubert, " Erlaf See," 20scale, 5Schumann, combination of dupleand triple times, 177consecutive fifths, 8, 116final cadences. 111Schumann, "Muth," 130 (footnote)mystic letters, 183pianoforte concerto, 14Scott, Cyril, 179, 193Scriabine, absorption of hischords into general practice,76combined rhythms, 180favourite chords, 4form, 185orchestration, 154"Preludes," 189quintiiple time, 174scales, 72String Quartet, 22system of harmony, 72 et seq.temperamental tuning, 23tonality, 187, 188tone-poem " Prometheus,"189Second in chord-formation, 108,156cult of, 155, 156inversions, 12Semitone, 33Senses, the five musical, 199Sequencing, 48Sequential progression of thebass, 45, 134Seiies of thirds, 94of " tonal" sounds, 54Sevenths, 123 et seq., 161Shakespeare, 111, 185Shield, 173Sibelius, 66, 70, 168Similar motion, common chords,etc., 119 et seq.Simplification of teehniqxie, 155of theory, 15Sincerity in music, 192Slav music, 171Small scale works, 198Smetana, 20, 183Somervell, 8Sonata lines, 185Spacing, 158Spohr's style, 155Stanford, 28, 66, 179Strauss, added-note chords, 88allusion and quotation, 24contrasted styles, 49forestalled, 4melody, 166

234 MODERN HARMONYStrauss, modernity, 1ninths in part-writing, 128,129overlapping harmonicstreams, 137pedal-chords, 42planes, 109polychromatic method, 15,16, 23, 43polytony, 104Programme Music, 182realism, 154, 155sequential bass progressions,87"tonal" chords, 60, 61Stravinsky, 14, 49, 86, 154Streams and lines, 134of sound, 136, 137String quartet writing, 22, 106,107, 112, 183, 185Strings, 193Structures of fourths and fifths,96Subdominant, major chord onraised, 15Superposition of vinequal thirds,5Suspension of diatonic tonality,36Swan Hennessy, 174Swinstead, 29Symphonic poem, 182Symphonie in P], 186System of teaching harmony, 4Table of altered chords, 79Technique of the Impressionists,114Temperament (tuning), 24, 33, 95Temperamental argumentsagain, 73Temperaments, 23Tertiatonal system, 77Thought in music, 4Threefold basis of music, 24outlines, 160Three harmonic streams, 137Tierce de Pieardie chords, 29Timbre -creating combination,83devices, 125Time signatures, new, 172, 174Tonal centre, 35, 36necessity of, 49"Tonal" chords, 47, 53, 54, 58'206in modulation, 58melody, 168music not always French,193scale, 5, 36, 48, 53, 69, 143,192included in duodeeuple,48system, 40, 53compared, 72Tonality-chord of Scriabine, 187Tone-colour effects, 160, 193Tone-dramas, 189Tone-production, varieties of,194Tonic, 35, 84added to any chord, 84Transference of discord, 105Transferred resolution, 13, 105Transmu.tation properties ofdiminished seventh chord, 96Transposed modes, 126Tri-planal polytony, 209Triplet, 171Truth, 198, 199Tschaikowsky, combined times,177melody, 163nationalism, 66Programme Music, 182quintuple time, 173resolutions, 105Twelve-note system, 5Two harmonic streams, 135Tyndall, 66Undue prominence of sonataform,182Unfixed tone, instruments of, 23Unrestfulness, 74Value of " wliole-tone system,'"62"Vamping" form of Spanishguitarists, 103Variety of phrase-lengths, 179Vaughan-Williams, 16, 193Vehicle of expression, 199Verdi, 158, 164Verlaine, 66Villemin's pols'phony, 151

GENERAL INDEX 235Vina, 77Vin6e, 22, 101Vivaldi, 3Wagner, early styles, 192major third progressions,48,49modernity, 1polychromatic method, 15,45quintuple time, 174resolutions, 85scales, 47, 66sequential progression inbass, 18, 48, 87use of appoggiatura, 101vague tonality, 47Wedding March, 5Wells, G. H., 4Wesley chord, 92Whips in "Elektra," 154White keys throughout, 27" Whole-tone " chords, 47, 53, 54,58, 85, 206melody, 168passing-notes, 61scale, 5, 48, 53, 69, 148chordal origin, 53system, 40Wider tonal relations, 15Wind instruments, 193machine, 193" Witches' Sabbath," 193Wolf-Ferrari, 20, 154Zanella, 178THE ENDBILLING AND SONS, LTD., PRIWTKR3, GUILDJTOBD.

"V '^5^^^^"V

CORNELL

Create successful ePaper yourself

Delete template?

Save as template?