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MODERN HARMONY
Augener's Edition No. 10118
MODERN HARMONY
ITS EXPLANATION AND APPLICATION
BY
A. EAGLEFIELD HULL
Mus.Doc. (OxoN.)~
AUGENER LTD.
LONDON
BOSTON MUSIC CO., BOSTON
t.v-
The relation of quantities is the principle of all things.
Plato.
Pbimtbd m ENaLMn>
PEEFATOEY NOTE
The present work is intended, not to supplant, but to sup-
plement the existing harmony books. Whilst Ouseley, Stainer,
Prout, Jadassohn and Riemann theorized right up to the art
of their day, the harmony books written since then have
avowedly been founded largely on their predecessors. During
the last fifteen years immense developments in the tonal art
have taken place, and a formidable hiatus between musical
theory and modern practice has been created. It is the aim
of the present book to fill in this gulf as far as possible.
In order to make the book interesting to the general reader,
as w^ell as useful to the student, a Glossary of Technical Terms
has been supplied for the convenience of the former, whilst
the practical student may like to try his hand (and Muse) in
the working out of some of the Exercises in Appendix I.
The musical examples have been drawn from as wide a field
as possible, always from the view of the appropriateness of
the illustration, and therefore they are not necessarily typical
of any particular composer. In all cases where possible, the
reader should play over these passages (or better still, have
them played to him), and not be satisfied with hearing them
mentally.
ACKNOWLEDGMENTS
The author's beat thanks are due to the following publishers
for their kind permission to produce extracts from their
copyright works: Messrs. Jos. Aibl and Co. ("Universal
Edition"), Augener Ltd., Breitkopf and Hartel, Bote and
Bock, 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. Leuckart
and 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.).
PAQB
CONTENTS
CHAPTER I
INTRODUCTORY
First glance at modern music — Method in modernity — No
separation, but legitimate growth — Numberless predic-
tions in the older works — Some faults in present harmonic
systems — The inadequacies of notation — The four widest
divergencies of the later tendencies — The thought and
its expression — Greater elasticity — General advice to the
student
CHAPTER II
GREATER FREEDOM ON THE OLD LINES
Consecutive fifths — "Exposed" or "hidden" fifths — Second
Inversions — Freer progressions — On "doubling" notes —
Wider claims for the chromatic notes — Freer tonal rela-
tions — The root in the inversions of the chord of the
ninth — Collisions in part-writing — A greater laxity in
notation — The temperamental question . - -
CHAPTER III
SCALES— (a) modal INFLUENCES
Threefold basis of music — Evidences of a feeling of straitness
in the major and minor scales — No one permanent scale —
Rediscovery of the modes — Three uses — The pure use —
Quotation — Melodic use — A mere modal feeling — Modal
cadences - - - 24
CONTENTS
CHAPTER IV
(b) the duodecuple (or twelve-note) scale
The divisions of the octave— Temperamental timings—The
combined use of the two systems— Comparison with the
chromatic view— Inadequacies of the old notation— Some
diagrams— The two distinct applications of the duodecuple
A TONAL CENTBE—Equality— Comparison with the dia-
tonic j/enus- Major thirds and sixths in succession—
The enlarged possibilities of harmonic colour— The aban-
donment of the old Dominant— Some substitutions— ^ ew
chords— The "tonal" scale included in the duodecuple.
No TONAL CENTRE — Temporary suspension of Tonic
Abolishment of key-signatures— Eric Satie and Sehon-
berg — Absolute pitch
33
CHAPTER V
(C) THE "WHOLE-TONE" OR "TONAJL" SCALE
Its chordal origin — Limited melodic value of system— No new
thing — Equally divided chords — Only two tonal series —
Limitations in reproduction of chords — Great varieties of
combination — Progression of parts — Combination of the
two tonal series — Its modulatory powers — Passing notes —
Not entirely of French origin — Its melodic application —
Its limitations — Its real value — The "added note" and
appoggiatura views ... - 53
CHAPTER VI
(D) SOME OTHER SCALES
The desire for modification— The call of the East in music-
Modal likenesses— The feeling of effeteness of the old
diatonic major and minor — Scriabine's experiments — The
genesis of his scale — His method of using it — Comparison
with "tonal" system— The inversions of his chord-
Temperamental arguments again— Reversion to Dominant
supremacy — Other selections from the harmonic series
His Seventh Sonata— Possible absorption of his choi-ds into
the general practice - - - 64
CONTENTS xi
CHAPTER VII
ALTERED NOTES AND ADDED NOTES
PAGE
The chromatic scale is not a mode— Chromatic alterations of
chords — The four applications — Passing chords — Altered
notes in common chords — In chords of seventh, ninth, etc.
— Altered chords freely attacked — Altered notes freely
resolved — "Escaped" chords neither prepared nor re-
solved—Altered passing notes — "Added note" chords —
The augmented sixth chords — Chromatically altered chord
structures by thirds — Enharmony — Schonberg's har-
mony — The purposes of alterations and additions - - 78
CHAPTER VIII
NEW METHODS OP CHORD-STRUCTURE
The two great principles — The Natural Law and the Empiric
practice — The origin of the minor triad — Unequal divisions
of the octave — Inversions of the chord of ninth — The
characteristics and limitations of the equal structures
— Their transmutation properties — Mixed structures —
Special chords from horizontal methods— ^An unsophisti-
cated chord — One in two planes — Beethoven's compre-
hensive chord - - - 90
CHAPTER IX
RESOLUTIONS, ELISIONS, AND CADENCES
Resolution in general — The liberation of certain notes — The
procedure of the other note — Transference of the discord
— Return to the " approach " chord — A favourite device —
The influence of the phrasing— Necessity for harmonic
elisions — A Beethoven elision — Relieving the cadences —
On feminine endings — Elisions in melodic outline— Sup-
position — Resolution by evaporation — On final cadences —
Some examples of finely woven tone-colour - - - 105
CHAPTER X
IMPRESSIONISTIC METHODS
Definition of Impressionism— Technique— The chief harmonic
device — On consecutive fifths — The emotional powers of
the open fifth— Its infinitude- Its diablerie— Its scintil-
lance in the higher registers — Common chords in similar
CONTENTS
motion — Equal and unequal chords —" Six-threes " —
Second inversions— Chords of the seventh — Analysis of
diminished sevenths— Chord progression— Chords of the
ninth in succession— Its inversions— Other chords — Some
exceptions— Absorption of Impressionistic methods into
modern technique— The art of Maurice Ravel H*
CHAPTER XI
HORIZONTAL METHODS
On definitely expressed design— Independent melodic lines—
The aui-al process— Lines and streams— Two or more har-
monic streams— Combined tonalities— New chords derived
horizontally— The "mirroring" device— Relative aural
focussing— Pedal chords- Pedal figures - 131
CHAPTER XII
LATER HARMONIC TENDENCIES
Widely differing views— Realism— Further cult of the sens-
uous — Economy of notes — Simplicity — Discord in the
abstract — The minor second in harmony — Doubling the
outlines — Chiaroscuro — Doubling in sixths — In fifths — By
common chords — In sevenths and ninths — "Escaped"
chords 154
CHAPTER XIII
MODERN MELODY
Difficulty of melodic analysis — The characteristics of inter-
vals — Melodic predictions of modern harmony — Modern
melodic characteristics — Greater breadth and range — ^A
C6sar Pranck example — Musical rhetoric — "Duodecuple"
melody — Some melodic " pointillism " — " Whole-tone "
melody - - - - 16S
CHAPTER XIV
MODERN RHYTHM
The vagueness of the term "rhythm" — Musical analysis —
Notational inadequacies — Combined movement — Less
regular divisions of pulse — The quintuplet — Quintuple
times — Less usual signatures — Combined time-movements
— Earless music — Combined complex rhythms— Elasticity
of phrasing — Influence of rhythm on harmonic thought 170
CONTENTS xiii
CHAPTER XV
MODERN FORM
PAGi':
The unnecessary limitation of many terms in music — Form
should be synonymous with coherence — Undue promi-
nence of "sonata" form — Programme music — Liszt's
Symphonisehe-Dichtungen — The leit-motiv — Metamor-
phosis of themes — Modern multiplicity of themes —
What the listener must bring to the music — ^The balance
between the literary and musical value of themes — Abso-
lute music — C6sar Franck's forms — His String Quartet
— Schonberg's Kammer-Symphonie — Seriabine's "Pro-
metheus " — Monothematic forms — Form with the Impres-
sionists — Debussy's " L'Apr6s-midi d'un Faune" — The
Phantasy-Trio — "The Harmonic Study — Miniatures and
Pastels - 181
CHAPTER XVI
CONCLUSION
Composition cannot be taught — Technique can and must be
learnt — All styles should be practised — The purpose of
the Exercises — The perception of style — The fallacy of
Realism — A consideration of Impressionism — The enormous
influence of tone-colour on harmony — Pianoforte versus
orchestra — The right choice and use of medium — On scale
and magnitude — Economy of means — On "Mass '' — Works
on smaller scales — Peroration - - - - 191
Appendix I. Practical Exercises - - - - 200
(I.) Basses - - - 200
(II.) Melodies . - - - - 205
(III.) Figures and Chords - - - 207
(IV.) Musical Form - - - 210
(v.) Orchestration ... - 211
Appendix II. Glossary of Technical Terms - - 212
Index to Musical Illustrations - - - 220
General Index ... - 227
MODERN HARMONY:
ITS EXPLANATION AND APPLICATION
CHAPTER I
INTRODUCTORY
The swift current of modern musical art during the last ten
or fifteen years seems at first glance to have ruthlessly swept
away the whole of the theories of the past. The earnest
student may well be excused if he is bewildered completely
on rising up fresh from his theoretical treatises to plunge
into the music of actual life — of the twentieth-century opera-
housesj concert-halls, and music-rooms. The sincere mind can
hardly be satisfied by the offhand opinions of hide-bound
time-servers, who curtly dismiss these modern composers with
a deprecatory wave of the hand !
The whole of musical history — the initial rejection and
later triumph of Monteverde and Gluck, of Bach and Beet-
hoven, Wagner and Strauss — warns one against the too easy
acceptance of the neatly turned epithets of persons who are
too indolent to understand, or too indifferent to appreciate,
a new kind of music which claims at once wide sympathies
and considerable powers of concentration. Music which causes
people to " hiss " and " boo " must contain at any rate some
vitality, and is preferable consequently to that which speedily
reduces the audience to a somnolent passivity.
Even on short acquaintance these modern musicians have
too much method in their so-called "modernity" to be dis-
missed thus cursorily. Ex nihilo nihil, and the more deeply
our interest is roused, the more we feel convinced that the
methods of the leaders of these many modern styles — or
2 MODERN HARMONY
schools, or whatever we please to call them— are well founded
on the rock-bed principles from which all the many secondary
laws of art are drawn.
It is the greatest possible mistake to view these modem
schools as things separate from the art of the past. Indeed^
most of the new traits are legitimate growths out of the art
technique of the acknowledged great masters.* Moreover, it
does seem as if there were nothing new under the sun. Just
as the principles of the twentieth-century "Cubism in
painting were well known some 400 years ago, so the modem
methods of part-writing and chord-building aU find their
prototypes time after time in the pages of the great masters
of the past.
Debussy's sequences of sevenths are but a reverberation of
the practice of Guillaume de Machault in the fourteenth
century. ^ , ,. ^ . .
wr„ , from a Sacred Madngal
^"^■^ , by MACHAULt
Striking examples of tonal chords may be found in Purcell
(1658-1695), and twelve-note-scale vsTestKngs in the Eliza-
bethan pieces for the " virginals " by John Bull.
Ex.2,
^
n ii }i
PURCELL, "King Arthur"
^UJ (' I i i'
I
*
*»%%»%^ r r
(Chorus) tho'
cold
chat.ter
quiver _ ing with ____
r r p p r r r p I n r
♦ I have carefully refrained throughout this book from using
the term "classical," as commonly applied to Palestrina, Bach,
Beethoven, and all the other great ones, as, with the late
Mr. Coleridge-Taylor, I deem it unfair to the composers of the
present age. In a comparatively new art like music, future
generations may well call Parry, Stanford, Mackenzie, Elgar,
Debussy, SchOnberg and others, "classical."
Ex.8.
INTRODUCTORY 3
JOHN BULL (1563-1628).
^
U M I'^'l
s
ti''**^ tiill'
^
ff
r
T5
m
^
feE
^
M- bJ
Ittt-
5^=^
Bach, Mozart, and Beethoven seem all to have felt the
banal and platitudinizing tendencies of the major scale, and
were continually glancing towards a minor submediant.
Under the same influence Parry frequently prefers his seventh
minor, and Elgar, in the minor keys of his first period,
invariably chooses the falling melodic form for his rising
cadences.
Ex. 4. ELGAR, Coronation Ode.
^A.„TT . u J - "
I
J rttmolto .
rr
ppMo.thet of kings to be!
^m
Mo.tner oi kinj
f-TT^
TV
The first suggestions of the "twelve-note" scale may be
found in the violin concertos of Vivaldi and the clavier fan-
tasias and fugues of J. S. Bach, w^hilst its use as a vague
tonality in the introduction to a more diatonic theme by
Mozart in his well-known C major Quartet, finds its echo in
the recent Kammer Symphony of Schonberg (see Chapter XV.).
All music is impressionistic in aim, but amongst the first pieces
of Impressionist technique are surely the shake in Beethoven's
E minor Sonata (final movement) given on p. 4, and the
ending of the first movement of " Les Adieux " Sonata given
on p. 131.
Frequent additions to the chordal vocabulary have always
been the rule, and whereas we find Bach developing unending
resonances out of the "diminished seventh" (without ever
suspecting a Dominant " root "), Beethoven's favourite " minor
ninth " chord finds its parallel in the structure of two equal
2
4
MODERN HARMONY
fourths favoured by Debussy, Schonberg and Ravel, in Seria-
bine's chord of two unequal fourths, and in Strauss's " tonal "
combinations.
E:s-6- (J=8o)
BEETHOVEN, Pf. Sonata 27. Op.90.
jjiyyjj
j m j j jj i
fcr:^
U-^ *f^ — ^
Although considerable weight must be laid on the close
connection of the present art with that of the past, yet we
An O en ^^^^ approach the newer harmonic tendencies
Mind!" with an absolutely open mind. So rapid and
numerous have been the recent developments that
barriers have been broken down in all directions, whilst
on the other hand an almost completely new musical lan-
guage has been invented. We must avoid the predicament of
the people described by Mr. H. G. Wells as so much engaged
m gazing towards the past that they walk into the future
backwards. Art must ever be in a fluid state if it is to live,
and whilst profiting by the experience of the past, we must
ever be watchful of its course in the future.
So much harmony teaching is founded on mere book
formalities that there is little, if any appeal to the e^^dence
ot the aural mteUigence-the real arbiter in aU matters of
musical taste. It is the empirical method which makes the
theory of the music of the later composers so difficult, and we
cannot suppose that all of the explanations set down herein
were present m the composers' minds at the time of concep-
tion, or that they may even be acceptable always to the
composers themselves. The system of teaching harmony by
attaching names to the chords often produces an altogether
false way of regarding music. No chord in itself conveys
Z Xr^ ?^T?T- ? '^° ^^^« ^ ^^^« impression
^ee Chapter X.) but thought in music can only be trans-
mitted by chordal succession and forward movement, and the
INTRODUCTORY 5
chord, however wonderfully arranged, has value only in this
Ught.
Impatience with set rules has always been a strong trait
with composers, from the time of Mozart's travesty of a
fugue in his " Ein Musikalischer Spass " to Wagner's carica-
ture of Beckmesser ; from Mendelssohn's rejection of a root
to the first chord of the "Wedding March" to the clever
satire in Strauss's tone poem, " Also sprach Zarathrustra," and
his opera, " Ariadne in Naxos." Bach wrote his consecutive
fifths 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 the
close relations of the major key and its tonic minor, and yet
people are worrying still about a minor key related only by
Inad - ^^® merest accident of key-signature. The many
quacies of inadequacies of our system of notation are respon-
Notation. gjijig fgr much miscomprehension, and composers
must not be blamed for using our rather clumsy notational
method 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 the
notation is all right and the music all wrong. How much of
composers' messages has been lost in such a cumbersome
and unscientific transmission will never be known.
The four widest divergencies from the old practices found
in modem music are : —
(a) Other systems of chord-building than that founded
on the superposition of unequal thirds (see Chap-
ter VIII.).
(6) The " twelve-note " scale as the basis of harmony and
melody. 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 demanded
from the hearer by altered and added notes in
chords (Chapter VII.), and by the growing practice
of the elision of all unnecessary steps and chords
(see Chapter IX.).
To a large extent the literal definition of "language" as
a means of making oneself understood may be accepted in
6 MODERN HARMONY
music. The perception of sincerity and obvious purpose and
design will readily atone for much in the way of less regular
sequences, persistence in uncustomary procedures, waving
aside of preparations, etc. " The spirit rather than the letter,"
and "Broad principles before the secondary laws founded
on them," seem to be the watchwords of the musical Pro-
gressivists. Style and finish are but as the sheath which
covers the sword, and there are times when the weapon has
to be carried unsheathed.
No one would demur at the special effects of the fifths in
the following : —
Ex.6.
Tempo nusto.
ip o giusto
DVORAK, Waltz in Dt,
M>, .'t S^ 3
^
^
tt
f^
r
r
L
pp\ dim.
1
'ni'i.hii» r r
^^
?^?^
3^
hh^ff)
m
^
i
^
i
r
r
r
^
M ^ ^
^^
^
^^
The greater elasticity of 'technique ii^^this and other directions
is the natural outlet for the composer" from the trite, obvious,
and conxtnonplace to a wider and more forceful
ElasticUy. expression. The listener must indeed be dull who
cannot distinguish between such masterly freedoms
and the uncouth clumsinesses of the '"prentice hand." The
wise wonder at the usual, whilst the unwise wonder at the
unusual. It is only natural that artists should drop the
idioms of the great masters as soon as they have become
vulgarized by much repetition and base imitation, and in
consequence use newer methods of chord-building, progres-
sion, and resolution in seeking self-expression.
Let not the student misunderstand the purpose of this
book. A composer must always be sincere, and must use the
INTRODUCTORY T
speech natural to him, and which can be understood by the
people to whom he addresses himself. The Exer-
Student. cises at the end of this book are not intended to
indicate that he should write in this or that style,
but in order that he shall be able to adopt a newer technique
if he wishes to do so, and, more important still, that by a closer
knowledge of the newer technique, much of the mystery of
the language shall be dispelled, by which means alone the
real value of the musical thought may appear.
The modem practice will be seen to have its roots embedded
in the older systems, just as the EngUsh language has its
foundations in the Latin tongue. An Early Victorian rule of
etiquette forbade the quoting of Latin without " apologizing
and translating to the ladies." Will the playing of diatonic
music come to need a similar apologia ?
CHAPTER II
GREATER FREEDOM ON THE OLD LINES
In this age, when everything is thrown into the crucible and
tested, it is only natural that composers should show an
increasing desire to break through many of the rules hitherto
almost universally respected. One cannot doubt that there is
some deeply lying principle under the many exceptions of the
rule forbidding parallel fifths and octaves. The fact that the
idea of part-writing ceases to exist when two or
^°"1""'"* more parts run in consecutive fifths hardly seems
to hold good, as this depends entirely on the dis-
tribution of parts and on the spacing — very largely also on
questions of accent, and considerably on the style of the rest
of the harmony. The punctuation and phrasing accounts for
the consecutive fifths in the following example by Schumann,
whilst the cadential effect destroys the feeling of consecutives
between (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 LINES
Ex.8.
_, A.SOMERVELL,
Andante. ' Shepherd's Cradle Son^'
ffn o
i
^m
n
a) *) c)
Moreover, certain fifths seam to have very special quahties,
and the following passages are worthy of study in this
direction. The Chopin fifths (Example 11) are both in major
chords. One of the MacDowell fifths is in a minor chord,
whilst the Grieg consecutives occur in discords. The use of
consecutive fifths in the Chopin Mazurka in C (see p. 118) too
is very instructive.
Ex.9.
Andante espressivo.
GRIEG, Ballade in G minor.
^
P
^m
>P g-
^
^
f
^^^
'efc.
^^■'^^- Semplice,
MAC-DOWELL,
At an old Trysting Place, Op.51.
10 MODERN HARMONY
Ex.11. Meno mossei.
CHOPIN, Polonaise.
5"
* *
The alteration of major and minor thirds in passages like
the Karg-Elert extract produces an altogether different
effect from the consecutive minor common chords in the
Sibehus song, and also from the open octaves and fifths in
Example 14.
£x.l2.
KARG-ELERT, "Naher mein Gott?
I
Sw. Sallclonal
Ex.13.
Largamente.
^ P lip «p r
SIBELIUS," Black Roses.
a m
^
Sor. row brings the night-black ro . ses
^
^
i
(pf.) jT'
^
%
tt
GREATER FREEDOM ON THE OLD LINES
11
Ex.14.
m
GROVLEZ,"Petites Litanies"
from"L'Almanach aux Images'.'
una corda ,_
^i I P f ,^f^
1^
f
^
mfcresc.
*— «*-
^
i
i
pp subito
^
P
i,i
Certain so-called " horn-fifths " have always been regarded
as free from the " similar motion '' prohibition.*
Ex.15.
I
m
BEETHOVEN,
'Les Adieux' Sonata.
^
■ Le . be
wohl"
The use or avoidance of "hidden fifths" in the extreme
parts is largely a matter of whether accent is desirable or
otherwise. The following simple piece of string-
FWthl writing by Haydn ignores no less than seven of
the textbook rules, and the Bach passages are
equally interesting. In Example 17, ordinary rules of part-
writing are ignored at all the points, a, b, c,d, e, and /, whilst
the chord in the first bar of Example 18 looks very like a pet
combination of Schdnberg.
Ex.16.
HAYDN, Emperor's Hymn,
from String Quartet.
* Fifths by similar motion, called by some theorists " exposed
fifths," are forbidden in the older practice.
12
Ex.17.
Tempo giustow
MODERN HARMONY
BACH, Choral:
"Ich hab'mein Sach'Gott heimgestellt?
m
fj . j L '^ L»-i i f^^ j
(Voices)
;/ ^ [- - I [- f I f" ^'^ tfp-
a) W c) d) e)
E^l* BACH, Choral-Prelude:
Allegro moderato. "Christ ist erstanden"
/■j
^•*'- Adagla
Men . te cor . dis
4
BACH, Magnificat
(Voices)
^ J H^i
Second inversions may be found on every degree of the
scale in the works of the old masters, and Bach himself
Second ^®®°^^ ^° delight in consecutive "six-fours," and to
Inver^ons. ^^i^J ^^^ fourths with the bass. Example 20 is
from an early Prelude, whilst the Chorale in
Example 21 was his very last musical breath, as it were, for
it was written on his death-bed.
Ex.20.
J. S. BACH, Prelude in G.
TTji rrnn
GREATER FREEDOM ON THE OLD LINES 13
Ex.21.
J. S. BACH, Choral Prelude
"Wenn wir in hochsten Noten sein."
Side by side with the freer treatment of the notes of the
diatonic scale comes a freer and often transferred resolution
of discords. In Example 22 the B in the treble resolves on
the A in the tenor. In the Beethoven Sonata, the seventh in
the bass skips to tonic ; in the Parry example, the bass note
of the augmented sixth flies similarly to the Tonic, whilst in
the beautiful Bridge anthem, the seventh in the bass does
likewise. But this latter may be a case of Elision, a subject
treated fully in Chapter IX.
Ex.22.
Andantino.
COLERIDGE-TAYLOR,
"a Tale of old Japan'.'
EX.2&
Allegro con brio.
Why she wept said Fen . ko
BEETHOVEN,''Waldsteln" Soaata,Op.53.
(Scheme)
14
Ex.24.
VivacissimOj
MODERN HARMONY
PARRY, Symphony in B minor.
(OrohJ
Ex.25.
Lento.
J. F. BRIDGE, ^
"Crossing the Bar.
(Voices)
T"
TT
9 — — '=:r
The doubled sevenths in Beethoven's Twelfth String Quartet
(alvp^ays one passing away before the other resolves), the
Freer doubled Leading-note in MacDowell's Second Piano-
Progres- forte Etude and in Stravinsky's C minor Etude, the
uons. freer passing-notes in Schumann's Pianoforte Con-
certo, the melodic augmented fourths in Reger's Choral
Vorspiel and in a weU-known chant by Goss, all fulfil their
purpose and indicate a wider application of artistic principles.
REGER,
Ex. 26. "Gott des Himmels und der Erden"
Leise hpwegt ..^.^
11 U ,^,"—7' sempreru. . .^^/T\
Ex.27,
Y'' 8
a
zfe
|jt <
sx
i i
JOHN GOSS.
~n~
GREATER FREEDOM ON THE OLD LINES 15
E 28_ CESAR FRANCK.
Allegretto ben moderato. Violin Sonata.
ftJ i * »
* *
A more equal treatment of the scale notes allows both a
major and a minor common chord on every note without
necessitating modulation or upsetting the feeling of tonality.
I'rom this point it is but a short step to common chords on
the chromatic notes of the scale, and an infinite widening of
the modulation scheme. Apart from the rule of key-balance
in the older sonata and fugue forms, a modulation to the
Supertonic major key for transitional purposes seems as good
to the ear as any other.*
In addition to aU this, any discord which first suggests
itselE as belonging to any other key can be brought within the
tonal range of the central Tonic by suitable progression of
Wider ^^® parts, and may thus acquire a new and vital
Tonal character. The finest applications of this "poly-
Relations. cjij-omatic " method are to be found in the works of
Wagner, and at times in Strauss. Any chromatic discord
may be taken on any note of the scale, provided —
(a) it is so followed as to effect no radical disturbance of
the tonal centre ; or,
(6) that it effects the desired modulation with a natural
progression, of the parts.
This principle will be seen more widely developed in Chap-
ter IV. on the duodecuple (or twelve-note) scale.
In view of these newer chords, it seems idle to call such
a chord as the one in the Pitt example, for instance, a
Simplifica- "dominant thirteenth, with B flat as root"; it is
tion of simply a chord of the seventh on the Subdominant
Theory. ^-^^-^ g, chromaticaUy altered third. The Elgar
example shows a major common chord with a seventh on the
Leading-note ; the Jensen, a minor seventh chord with major
third on the Subdominant, whilst the Strauss extract gives a
major chord on the raised Subdominant. It would be easy to
* See Reger, " Supplement to the Theory of Modulation."
■■1 «
16
MODERN HARMONY
multiply examples. It is interesting to find Dr. Vaughau
Williams and Dr. Walford Davies using the same chord with
such a very different effect.
Ex.29.
Andante.
-n I FF
^, PERCY PITT, „
Come Solemn Night.
:^t:
Come
^=^
so . lemn night
^^
'=^^
rail
■»■•
Ex. 30.
Andante.
E LGAR, Apostles'.
^^m
Ex.81. JENSEN," Rest comes at eve" Op.28,N96.
dream . ing kiss'd by the night,
Dream . ing kiss'd by the night— ^ kiss'd
E;z.8a.
MSssig la ngsam. STRAUSS. Ein Heldenleben.
5
GREATER FREEDOM ON THE OLD LINES 17
Ex.33. WALFORD-DAVIES,
u Lento espressivo. "Everyman?
'» J ' ..J' -i
W
s
(Orch.) pp
^m
-J
^
Ex.84.
VAUGHAN-WILLIAMS,"A Sea Symphony:'
EX.3&.
ScheT2oso. (J : im)
SCRIABINE, Prelude, Op.35,N93.
W
fe
^
^f
^#
^tr
s
^it-^t:^
•»•*=:
Ex.39.
Largo.
DVORAK"New World" Symphony.
5
=1^
-rr
^1=^
(Orch.) />
'^^ b'^>L i^J^ b^
^
ji
«
^
^
?
18
Ex.37.
Lento
MODERN HARMONY
WAGNER," Die Walkure'.'
^^
\>P f]
?
i^ ^'
w=^
(Outline)
m
\>r> \{
^
R=^
min.Srds
Ex.38. Le„to_
min.Srds
ELGAR,"Apostles."
(Scheme)
^
m
^
dzzt
Major triad on every note
The unnecessarily forbidden appearance of the root in the
inversions of the chord of the ninth tends to cramp part-
The Root in ''^^^^"'S' ^^^ ^^^ prohibition robs diatonic music of
Inversions Some of its most powerful effects. The root which
Ninth °i6rely requires judicious placing and arrangement
may appear above the minor or major ninth with
great effect. A wide selection of resolutions should be allowed.
For instance : —
(a) Both the major and minor ninth may fall a tone or
semitone.
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 pre-
pared, thus appearing as a pedal note. In all cases, so long
as the ninth is satisfactorily resolved, the other notes are
comparatively free.
Ez.39.
MAC-DOWELL.
Thy beam-ing eyes are Par . a . dise
Ex.40.
VERDI, Requiem.
'>\hi? ^
^m
Ge . re. cu .
ram mel . i . f i . nis, Ge
Ex.41.
Allegro con brio.
H. HARTY,
Mysti c Trump eter.
20
MODERN HARMONY
Ex.42.
A. HALM,"Harmoiiielehrebuch.
\>fi. _^
The banned progression of a second proceeding into a
unison may be found in Schubert's canon in " Erlaf See," and
the pedal chords in the cadences of Beethoven and Brahms
are as revolutionary in effect as anything in Debussy.
Ex.43. BEETHOVEN.
Largo e raesto.
.. h
^
i
55=
fe
pp
i
t
See also the double chord from Beethoven's Ninth Symphony,
given on p. 104.
Of all the wider applications of the " pedal " principle, the
sustained " Mediant " is now almost as frequent as the Tonic
and Dominant— perhaps more so. Numberless in-
j^"^'' stances spring to mind — the finale to Elgars First
Symphony, Moussorgsky's "Song of Mephistopheles,"
Smetana's "Aus meinen Leben" String Quartet, Guilmant's
Seventh Organ Sonata (second movement), Karg-Elerfs
Passacaglia in B flat minor (finale), Debussy's charming piano
valse "La plus que lente," and so on. Dvorak and Poldini
are very partial to it ; Wolf -Ferrari also. The following has
the effect of a double inverted pedal, the Tonic and Mediant :
Ex.44. Andantino soave. KARG-ELERT, Pastel. Op.»2,N?3.
Svpp
ct.p
GREATER FREEDOM ON THE OLD LINES 21
The same principle is seen in Example 45, although the
B flat is explained more simply as an appoggiatura.
Ex. 45.
Lento.
^ RUBINSTEIN,
"Pres les Ruisseaux"
rs
Almost side by side with this increased freedom has come
a sort of impatience with, and a growing disregard for the
conventionalities of notation.
Ex.46.
Andante.
(Voice)
E. M. SMYTH, Chrysilla.
f^ I (Voice) , Z^^Ii
§ n > I J_^J l lJ J> p il J^ ^
sobs, and calm ly mine ear
^m
^ -^vi-d^'^
Pf.)
cresc.
^^
S
y
MODERN HARMONY
Ex.47.
Allegro espressivo. REGER. String Quartet,0p.l21.
fe
^
m
mf
"if
etc.
^^■■
iJ U^I^U""^
^
Ex.48.
Nicht zu rasch.
SCHONBERG, String Quartet, Op.7.
This signifies at any rate a complete acceptance of the equal
temperamental tuning, a position most composers now recog-
nize fully. Some theorists heavily punctuate the rule, " Study
the pure scale and write in it," If this were applied to the
whole of composition, modulation by enharmonic change
would be a barbarous thing. M. Anselme Vin^e, in his
'' System of Harmony," devotes much attention to the chang-
ing pitch of a given note according to the accompanying
notes, but he also gives a large section of his work to the
GREATER FREEDOM ON THE OLD LINES 23
beauties of " enharmony." How is one to reconcile the two
views ? Further, " We have come to the day," Says a promi-
nent essayist, " when the orchestra, and not the harpsichord
or pianoforte, will be the basis of music ; when a conglomera-
tion of instruments, mostly of unfixed tone, will take the
place in the mind of those of very fixed tone. The large
proportion of instruments of unfixed tone in the orchestra
enables all kinds of harmony effects to be brought ofP which
sound harsh and disagreeable on the piano." Would Richard
Strauss, with his wonderful enharmonic treatments, endorse
this? Scriabine might in theory, but in practice he uses
F sharp and G flat promiscuously.
Is music, then, condemned to be suspended ever between
the two opposing temperaments, or will the "duodecuple"
scale decide once for all in favour of the equal division of the
octave in theory as well as in practice ?
CHAPTER III
SCALES— (a) MODAX, INFLUENCES
It is doubtful if there ever has been a reaUy fixed, stable, and
definite scale. That the art has been, and stiU is worked out
The Three- °^®'' ^^ oscillating threefold basis, of which the
fold Basis constituents are almost as diverse as the colours
of Music. j.gjj^ blue, and yellow, only adds to its ever-increasing
charm 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 great
composers at times to modify the diatonic scales in the
direction of some of the modes. The modal influ-
Straltn ^s° 6^ce is as vital to-day as ever, but in a less pure
and subtler way. The chromatic scale, in its turn,
has constantly oscillated between a system of harmony
founded on the pure temperament and one based on the
equal tuning. With many modem composers the capitulation
of the former to the latter is now entire, leaving a twelve-
note system founded on a central Tonic.
It is important to remember that any scale is a pure
convention, a thing which exists only in the imagination.
No one " ^^^ system of scales, modes, and harmonic tissues
permanent does not rest solely upon unalterable natural laws,
but is at least partly the result of aesthetic prin-
ciples which have already changed, and will still further
change with the progressive development of humanity"
(Helmholtz, "The Sensation of Tone," chap. xii.). The in-
fluence of the modes re-entered music as imperceptibly as
the modes have been temporarily obliterated formerly by
the more modern diatonic scales. The arbitrary use of the
" Tierce de Picardie " chords, and such chords as that in the
24
SCALES— {A) MODAL INFLUENCES
25
Mackenzie example, which Max Reger calls the "Dorian
Sixth," were perhaps the first steps in this direction.
Ex.49.
P
1
'>'■ i\^ i r
MACKENZIE ;'The Bride"
r
^
^=^=^
?
f=
i
^
Amongst the many reasons which predisposed the modern
French composers towards modal ideas was the view of the
" relative " minor taken by their theorists, who hold that the
following is a much more closely related minor to C major
than A minor is : —
Ex. 50.
I
'■;•■ r r r
^
^
Taking Tartini's downward origin of the minor common
chord,* they have reason on their side, but a glance at the
Example 51 will show that this scale is the old Phrygian
mode.
The so-called " Tonics " and " Dominants " appertaining to
the ancient Church use are here shown for the sake of com-
pleteness, although the modern composer is entirely unaffected
by them. This indifference leaves the ^olian identical with
the Hypo-Dorian, the Hypo-Mixolydian with the Dorian, the
Hypo-^olian with the Phrygian, whilst the Hypo-Lydian
coincides with our major scale.
It will be readily understood how composers became more
and more drawn to the mediaeval modes, for here, instead of
two scales in which to write, they have six, all differently
constructed. Moreover, the whole field of transposition is
* Vincent D'Indy, "Cours de Composition Musicale," !■= livre.
26
MODERN HARMONY
Ex.61.
AUTHENTIC MODES
/c
Dorian.
PLAGAL MODES.
Hypo-Dorian.
l9 *-
Phrygian.
I.). ,',—' ' ' * ^
^
Hypo-Phrygian.
Lydian.
S
Hypo-Lydian.
Mixolydian.
^;--'- ' '^"f
j^EoIian.
^ 'jr •
Hypo-Mixolydian.
^:. ^"> " ' /T * H
Hypo-/Eoliaa
equally applicable to them. We give the new scales as they
appear, starting from C :
Ex.52.
Dorian,
Hjrpo-Dorian.
^l: -IT. . ^» ^ ^^
') . ;v*
Tb * l ^«
Phrygian.
Hypo-Phrygiaa
Lydian.
^
I S
Mixolydian.
There are three ways in which modal influence comes into
modern 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 way
whatsoever.
Few composers, however, use them entirely in the pure
SCALES— {A) MODAL INFLUENCES
27
manner by drawing their harmonic exclusively from the notes
of the scale. Beethoven employs the Lydian thus
Modal ijse. ™^ *^® ^1°^ movement of the String Quartet in
A minor (Op. 132), whilst amongst modem com-
posers who have achieved this successfully may be mentioned
Count Alexis R^bikoff, Joseph Bonnet, Maurice Ravel, and
Otto Olsson. The latter has written an important set of
nineteen variations on the Dorian plain-song, "Ave Stella
Maris," which is played entirely on the white keys throughout.
BEETHOVEN,
String Quartet. Op.lSJ,
P
Ex.53.
Molto Adagio.
^
p cresc.
f
f=T=T
^
f r
T
r^
i
r
¥i
Ex.54
Andante sostenuto.
REBIK OFF,''Idylle heUenique?
J
Basso ostinato
Ex.65;
Andantino.
ELGAR," Dream of GerontiusV
d im. _ pqco allarg: _ ^
28
Ex.58,
Allegretto.
MODERN HARMONY
J. BONNET," Matin Provenfal!'
Many of the Irish airs arranged by Stanford, and the
Russian folk-songs collected by Rimsky-KorsakofP, afford
splendid examples of what pure modal treatment should be.
Ravel has also followed on the same lines with his Greek airs
for voice and pianoforte.
Ex.57.
Allegretto.
(Voice)
n xu
RIMSKY- KORSAKOFF, Russian Songs, N9 53.
(pt) PP
rn
a^
m
^
^TT)
r r ri,r
H
other instances of the pure modal use occur in the device
of "quotation," as in Harwood's Organ Sonata in C sharp
Quotation i^iiior, where the ancient song "Beata nobis guadia"
and is given with the pure modal harmony ; in his
Allusion. « Requiem," where the " Requiem ^Eternam " is
quoted; whilst the "Dies Irse" is used with sardonic and
ironical purpose by Berlioz in his " Faust " and in the
" Symphonie Fantastique,' and for a pyschological reason by
Strauss in " Also sprach Zarathustra."
The instances in which a modal melody is treated with aU
the resources of the modern harmonic technique are multi-
tudinous. With Bach's wonderful treatment of
Use.'*' chorales the melody itself frequently comes from
a period akin to the mode, whilst in such cases as
the " Song of the King of Thule " in Gounod's " Faust," we
SCALES— (A) MODAL INFLUENCES
29
have a new and original melody founded on an old modal
scale. The Piern^ theme (Example 77) is interesting in this
direction. It might be heard as the upper tetrachord of the
Hypo-Phrygian mode, harmonized impressionistically.
The third method is more subtle— a matter of the spirit
rather than of the letter. Sometimes the mere use of a
succession of common chords in the root position
F^eUng. ^^^ evoke this remote mediaeval atmosphere ; at
other times it is merely a succession of a few
exactly equal chords borrowed from the " duodecuple "
system (see Chapter IV.). With the Tschaikowsky extract
it is merely the complete avoidance of the " A " which endues
the passage with a certain awesome vagueness. Often it is
something subtler still — the splendidly equipped modern
temperament, with sympathetic gaze directed towards things
mediaeval, as in Walford Davies' setting of the old morality
play "Everyman." The prominence given to the D sharp
minor harmony in the Verdi extract gives it an unfamiliar
feeling. The Ravel "Pavane," although nominally in G, is
permeated nevertheless by some subtle modal colouring.
Mr. Felix Swinstead has caught the spirit very happily in
the first of his Seven Preludes for the Pianoforte.
Ex.58. Andante sostenuto,
CHOPIN, Nocturne in G minor, Op.37.
^m
lante sos ienutq.^ . ■ . |^-^ .
-et&r
Ex.59.
RUTLAND BOUGHTON,
"The skeleton in armour!'
Burstingthese prLsonbaJs, Up toils iia-tivestars,My soul
P^^^^^^
i
ft
(Chorus) m^
r
UA
ijj i^jjj Ami
.'^y^ti ^ r r r-''" ' '' T T-r ' ^ ^^
i
^
30
MODERN HARMONY
Ex.60.
Moderato.
ELGAR,"Gerontius!'
(Semi-Chor.)Noe from the waters in a sa-vinghome
Ex.61. Andante cantabile.
TSCHAIKOWSKY,
5th Symphony, Op.64.
(Vas.Ce B.)i
f f. T T r r ^f-
VERDI,"Otello.'
Ex.63.
Assez douce, mais dune sonorite large,
J: 54 _^
fe
m
M. RAVEL," Pavane pour une Infante defunte'.
i
m^§
Wm
^
mm
m
(pf.)
m
'/'hu JT^
E
'*fpri
^
SCALES— {A) MODAL INFLUENCES 31
Other composers show the influence chiefly in their final
Modal cadences. The close of " Saul's Dream " in Parry's
Cadences. « King Saul," and the ending of Grieg's Pianoforte
Concerto, afford instances of this.
.Ex.64.
E.GRIEG,
Allegretto semplice.-^ Sigurd Jorsalfar, Suite. Op.56.
^^
r
(Orch.)^ espress.
^
r
^ o
^
^
poco rit.
77
Ex 65 Allegro vivace,
^'
PARRY, "King Saul."
Ex.66. Andante maestoso
GRIEG, Concerto in A minor, Op.16.
(Pf.) Jf
^
^
m
ii±
¥P
Pl^
(Orch.) yymarcatissimo
32
MODERN HARMONY
Many 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 un-
expected major and minor triads w^henever we find ourselves
temporarily lapsing into the diatonic major and minor ways
of listening.
CHAPTER IV
(e) the duodecuple (or twelve-note) scale
By far the most revolutionary .of all the modern traits in
music is the complete acceptance of the equal temperamental
Division ^^^ling with all that it entails. Hitherto, notwith-
of the standing the fact that the semitone is a practical
ctave. Qj^^ jjQJ- g^ theoretical one, the whole system of
harmony and melody has been built largely upon the basis of
the pure unequal tuning.
Even with the equal tuning such a course is really neither
imscientific nor unnatural. Does not the mathematician
have to be content with his unending decimal, and the trig-
onometrist with his unsquared circle? The acoustical dis-
crepancies of the " equal temperament '' are so very slight
that even Nature herself makes no bother about them. One
only of a hundred various experiments wiU prove this. Take
the most troublesome note of the "equal tuning" on the
pianoforte. Press the middle F-sharp down silently, then
strike a low D rather sharply, and the F-sharp will at once
automatically respond in sympathetic vibration.
The outcome of all this is the ability to hear, think, and
write freely in either of these opposing systems, and it is a
J-, . J curiotis fact that composers who avowedly bind
Use of the themselves to using one temperament entirely, are
Two constantly found thinking and writing in the other.
ys ems. j^ ^^^ always been, and probably always will be
so with composers and listeners alike, and the musical art is
immensely 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, divide
Chromatic ^q octave into twelve steps, but the older view
'^"' assumes that the chromatic notes are only of
secondary importance to the diatonic ones, from which, indeed,
33
34
MODERN HARMONY
those are derived. In the words of Professor Niecks, "the
so-called chromatic scale is not a mode, the chromatic notes
being only modifications of diatonic notes." The " new semi-
tonal," or "duodecuple" scale, thrusts this idea aside alto-
gether. The followers of the older system exercise consider-
able care with their notation, whereas a duodecuple scale
composer might prefer to write the following Example, as
at h :
Ex.67.
(a.)
Aj^
SCHONBERG, 4 Songs,Op.2,N9L
J^
#
A
^
^r-'>r err
^
P
bii j^^ 3 i^'^
^
\^ ^ l \<
Ex.68.
,(a)
STRAUSS, Elektra's Triumph motive.
(b) (Scheme)
As a matter of fact, the new music goes but clumsily on
the old lines of notation and keyboard nomen-
quacies'of clature. Its proper representation to the mind
the Old through the eye would seem to demand a new
Notation, gyg^gj^^ ^j^ which the following points should be
secured :
(a) The abolition of accidentals in notation.
(fc) A new system of naming the notes of the keyboard.
(c) The avoidance of any suggestion, even of a secondary
relationship of the black notes to the white ones — in
other words, the complete obliteration of any sup-
posed diatonic fovindation for the old 'chromatic
notes.
The following illustrations are merely tentative, and are
only tised to represent the main principles of the system
THE mjODECUPLE {OR TWELVE-NOTE) SCALE 35
more clearly to minds which are so firmly wedded to the
diatonic scale.
4
(or)
ABCDEt^HI JKLAbC
BiJEJGJjJitiB
ACDFHIKA C
o »o '
T-e-!
-rr-e^
3x:
The lack of such a characteristic notation leads to an
indifference in using the stave nomenclature, and the pro-
miscuous use of sharp or flat in the works of the Romantic
composers points to an ever-increasing tendency to adopt the
equal temperament as a new basis for harmony.
There are two ways of using the new duodecuple
principle :
(a) The autocracy of a chosen Tonic.
(6) The abolition of any tonal centre,— a veritable note-
communism.
The first admits the predominance of the Tonic — in other
w^ords, a fixed tonality. The second throws even the tonic
overboard. The first appeals to the intelligence for the
retention in the mind of a tonal centre ; the second, to the
senses only, being a question of the perception of absolute
_ _ pitch, or else the vaguest kind of impressions
Applications possible. The first is capable of endless expansion
of the New and development, the second is merely a cul de sac,
^* *™' and useful only in very limited ways. The aboli-
tion of key-signature is optional with the first style, but
compulsory with the second.
4
S6
MODERN HARMONY
I. — A Tonal Centre.
Many of the composers working on the older system,
which continually paid respect to the varjdng degrees of the
scale, notes, and chords, frequently used the newer "semi-
tonal" scale melodically. The vital principle of the older
system is the interesting individuaUty arising from the very
inequality of the intervals and chords. This is the very life-
blood of the diatonic principle. When these composers
wished to slightly loosen the bonds of tonality for the
Perfect purposes of the expression of their thoughts, they
Equality of had recourse to two devices : (a) the laying of
Interva . g^j.ggg qjj ^\yQ chromatic notes, as Mozart has done
in the Introduction to the String Quartet in C ; and (6) the
use of a long succession of equal intervals. The first led to
the "Post-Impressionism" of Eric Satie, who, by the way,
thinks it politic for some subtle reason to print his music in
red ink; the second to the pure Impressionism of Debussy
and the " tonal scale " writers.
If we take a succession of sixths or thirds in either of the
diatonic modes, we shall have a certain alternation in the
quality of these intervals. They are all sixths or thirds, but
some are major and some minor. The older composers, how-
ever, were not slow to see the special uses of a succession of
exactly equal intervals. A suspension of diatonic tonality
was secured, and the first principles of pure Impressionism
were laid in the melismce of Chopin and the cadenzas of Liszt.
In these we see a working out of little finger-patterns on the
keyboard in an entirely communistic spirit, as if there were
twelve white notes to the octave, and, indeed, these passages
would come much more naturally to the fingers if the key-
board really were so constructed. This is well exemplified in
the following ;
Ex. 69.
Allegro vivace,
SGAMBATI,
Toccata. Op.18.
THE DUODECUPLE (OR TWELVE-NOTE) SCALE 37
fM^
^''f^'l^t*:^^
.';p^febl.ll^ J^li.
%P-L>L
^ M 1
^ J 1
^■^^
l^u^
^^ ^ .
1 J ^^^ '^=
(Scheme.)
efc.
This view of the octave being composed of twelve equal
divisions admits long successions of intervals or chords
exactly equal in quality. This constitutes a new harmonic
principle capable of wide application, ranging from the
suggestion of a remote modal feeling to passages of purposely
evasive tonality, and to such beautiful expressions as the
following :
Ex. 70.
Andante.
P CORDER, Elegy in E
m^
^^
fTT
%
(pf.)
cantabile ma
m
^
piano
TT
10- _
una corda
* * * *
[equal major 3rds]
88
MODERN HARMONY
Ex.71.
Andante.
Voices. j^
ELGAR, "King Olafi'
Ex.72.
C. FRANCK,
"Piece Heroi'que."
^^
m
a
j^
^
^^
Ex.73.
TUTTI.
Jf yea,.
9^^
^^
BANTOCK, "Atalanta in Calydon."
God
i '
vrith thine hate
i.n.v.
^
^
y ?
T^:^
I.n.v.
yea.with thine hate.
THE DUODECUPLE {OR TWELVE-NOTE) SCALE 39
Ex.74
Allegro.
Successions of minor thirds and minor sixths were possible
on the older principles. The collapse came when a string of
Successions major thirds or major sixths was attempted, and
°^. '^^'"j the effort made by some of the theorists to explain
Major a succession of diminished seventh chords as in-
Sixths. eluding some falsely written major sixths would
not be devoid of humour had it not been productive of such
deplorable results to students of harmony.
But the power of giving successions of equal intervals and
chords by no means exhausts the possibilities of the " semi-
j. , . tonal " scale. Apart from the special Impression-
Enlarged . . . ^ . ^ '^
Possibilities istic technique discussed m Chapter X., the
of Harmonic boundaries of harmonic colour have been infinitely
widened. The passages in this chapter can only
be explained satisfactorily on the basis of the duodecuple scale
system, and it is noteworthy that whilst many composers
secure more coherence by a semitonic melody, quite mild by
itself, others repudiate any such assistance to the comprehen-
sion of their harmony or melody.
The central point of this system is the complete abandon-
ment of the Dominant as such, a course which at once brings
The with it a keenly felt want of some efficient sub-
Abandoned stitute for securing cohesion. Consequently, in
Dominant, ^^acing the gradual extension of the scale possi-
bilities, we find this note is the last to give up its weU-
established special claims. With the duodecuple system,
however, if there is any secondary centre in addition to the
chief Tonic hold, it is the diminished fifth or the augmented
fourth ; or, in other words, the seventh semitonal degree.
Now, the number twelve is not cryptic like three or
nine, nor has it the mystic significance of seven, yet there does
40
MODERN HARMONY
seem to be some polar m.ystery about this possible secondary
centre. If we walk away from the unison F sharp in two
parts by contrary motion, we shall discover some curious
things. If we progress far enough by xninor seconds or minor
thirds, or augmented fourths or major sixths, we shall
eventually reach the octave C to C ; this is the principle of the
duodecuple system. If we progress similarly, but by major
seconds, major thirds, perfect fourths, or augmented fifths,
we shall eventually reach the octave of F sharp. A glance at
Example 75 (d) shows that it is possible to regard the " whole-
tone " system as included within the duodecuple.
Consequent on the abandonment of the old Dominant with
its wonderful binding powers, composers naturally looked
Some about for substitutes which would supply the
SubsHtuies necessary cohesion of scale material. This they
Dominant found in various ways. At first the music was
Influence, held together by a distinctive note such as the pedal
di-um roll in the following " Parsifal " extract (Example 76),
or by a semitonal scale in some prominent part, as in the
Wagner's " Sleep " motiv (Example 37) ; or the scale may be a
" whole-tone " one, as in the Piern^ extract (Example 77). Here
the " mirror " idea, and the retrograde return to the Tonic,
THE DUODECUPLE {OR TWELVE-NOTE) SCALE 41
leaves no doubt as to the tonal centre. In the " Heldenleben "
motiv the tonahty is held firmly by the pedal-chord on the
brass instruments.
Ex. 76.
Langsam.
Tlmp. in Eb. ^ ^
W^GNER/'Parsifal!'
Ex.77.
LentO;^
:|=E
fiiik
g — t^
PIERNE.La Croisade des Enfants.
-fe.
g ll
^
fee
i
(Orch.)/5»
55i:
jn:
fe
■a
•e-
Ex. 78.
Etwas langsamer.
STRAUSS,
, . "Ein Heldenleben."
42
MODERN HARMONY
^^^=^^
^ ^\h^K\%f^ft^
S
^\} » \ » ^W V m p^
Ob-l^sL
^m
^
ii_j^
Again, we may go outside the diatonic range for one of the
newer chords only, or for two at the most, immediately
returning either to the same chord, or to some other well-
known harmony. This is seen in the following examples :
Ex.79.
Largo sostenuto.
9^
^
i
VAUGHAN-W1LLIAMS,"A Sea Symphony?
(Scheme)
rt
i
i
^?^
(Orch.)/;/?:
3^
ppp
pp-
ppp
i
*
^
^
bi
3- 5 ^
^:
l,^
STRAUSS,"Elektra."
•^=11!: «r ■ f. r «rj
STRAUSS,"Elektra?
THE DUODECUPLE {OR TWELVE-NOTE) SCALE 43
Ex. 82,
DELIUS/'DasVeilcljenl'
Allegro
Ob. I. II.
SIBELIUS, 4th Symphony.
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 1
Karg-Elert passages (Examples 83 and 84).
Ex. 83.
Lento sostenuto cantabile. BANTOCK, "Gethsemane."
All major common
chords.
u
MODERN HARMONY
Ex. 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 major
seconds ; Max Reger is very partial to this latter progression
of roots.
Ex. 85.
f^^M
^
i^
^
^
RAVEL,"Valses Nobles'.'
\\.0. (Scheme.) ,
V. iJi
3
u
^m
m
cresc.
T
^
mf
^i
^
I
gg
^
etc.
^mm
f
Ex. 86.
RAVEU-Valses nobles'.'
\¥=fi
#1r^
N
rf?
N^
tqi
. (pf.) p
=#4
-^
^^^
h=f=if
. #
1
Mr^
1^
p
' ■'^iiJ
b^!^
1 — 1-
^^
u
THE DUODECUPLE {OR TWELVE-NOTE) SCALE 45
L JI. part omitted, as It doubles R.H. suT) SX? throughout.
There are other beautiful passages which are not so amen-
able to classification, but these will usually be found to
contain some sequential progression of the bass, or some
binding melodic lines, and always a distinct hold of the Tonic.
In both Corder and Elgar examples, 88 and 90, there is sequenc-
ing in the bass, and in these, as in the " Wotan" motiv, there
is no sense of losing hold of the Tonic chord from which they
set out, and to which they are returning in no doubtful way.
It is this system which explains numberless passages in the
works of Wagner and Strauss, of Reger and Ravel, where the
sheer harmonic beauty often makes tears start involuntarily
to the eyes.
^ Allegro molto energico.
P. CORDER,
"Transmutations'," N? 5.
|JMljW »{j T»"
(Pf.) fffp esante
m
^
s
poco riti
I
^ '^- l,^
WT : ^^ ' a -
tP
ti^
^
Ex.89.
a) Massig
i
WAGNER,
"Siegfried!'
Hns. Tubas.
"^
^^
m
"F
fe
RT
^^
From the same.
46
MODERN HARMONY
Ex. 90.
Adagio, mistico.
ELGAR, "Apostles
ilj- ^^iA'J ^
The semitonal progression in Example 92, as with the too
exact sequencing of Example 91, tends to loosen the ties of the
Tonic. This treatment possesses emotional effects all its own.
What a range of feeling, too, hes between his Falstaff " who
shouts delightedly at the prospect of battle " and the com-
poser's portrayal of the Agony in the Garden in "The
Apostles " !
Ex.91.
/
ELGAR,"Falstaff."
^^
s
. • :f^M^f\ f^
I®
-5 E
•e^Sr
THE DUODECUPLE (OR TWELVE-NOTE) SCALE 47
Ex.92.
Molto tranquillo e sostenuto. ELGAR, "Apostles!'
It was only natural that new chords should spring into
being with the new system. Chords of the aug-
Chords. naented triads, of the major seventh, and many new
forms built up mainly of seconds, often wrongly
regarded as " whole-tone " chords, spring indigenous from it.
Ex.93.
SCHONBERG,
Sextett"Verklarte Nacht'.'
m
^^
^m
i
-i — ih j
Ex.94.
Furioso.
WAGNER,"Parsifar,'Act II.
r" «p r
MODERN HARMONY
Ex.95.
Harmonic outline.
WAGNER, "Siegfried:'
"Jif' r^? r^y i ^'
l''i/.,j^-fj ' ^ii!f#^
Ex.96.
WAGNER, "Siegfried."
Prelude, Act III.
Ji"rtr"ii'^i^
Orch. Jff
In some ways, the " tonal " scale is included in the " semi-
tonal," and its explanation as an arpeggio in the normal scale
Tonal Scale °^ twelve Semitones is probably one of the richest
included in seams yet remaining to be worked. Where is the
Duodecuple. composer who will do for it all the tremendous
things done with the diminished seventh chord by J. S. Bach ?
Of course, false relations cannot exist in this system, and the
following example, which is a good illustration of the real
sequencing previously alluded to, must be accepted without
reserve in this respect : —
THE DUODECUPLE {OR TWELVE-NOTE) SCALE 49
N. TSCHEREPNINE"Narcisse'.'
Ex.97.
Allegro assai.
31
^m
£
<aick.)ff
#»
S
^^
^
"■^^^TifWl
^^i
^N
=^
^
Iff
SI
i
^^
^
^
s
§
^^
w^5^^^pft*
s
m
W
^^^3
*"^
*
^
^
In general composition the " duodecuple " scale may be
used in three -ways — partially, occasionally, or completely.
Partially, in the desire to widen the harmonic
Son'"' colour of the diatonic genus ; this is the explanation
of the progressions of major thirds in Chopin, C^sar
Franck, and Wagner. Occasionally, for purposes of contrast,
as in Walford Davies' "Everyman," R6bikoff's "Christmas
Tree," and Strauss's " Eosenkavalier," where diatonic passages
are used for certain sections in contrast to the modern har-
mony of others. Or it may be adopted entirely as the
regular and only means of expression, the main requirement
from the hearer being that he should retain the feeling of
the Tonic in mind throughout. Of course this does not bar
modulation with its consequent change of Tonic as the music
progresses. There is still a fourth application — that of
purposely loosening and obscuring the Tonic temporarily.
This brings us to the second section of this chapter — dealing
with the complete abolition of any Tonic centre. This domain
is the special province of the Post-Impressionists, and also
leads to the musical PointiUism of the later Stravinsky.
II.— No Tonal Centbb.
The complete abolition of any tonal centre in applying
this system means either —
50
MODERN HARMONY
(a) a deliberate suspension, or at any rate an intentional
obscuring of the tonality for a time ;
(&) tbe discarding of almost all appeal save the purely
physical and sensuous one ; or
(c) the conveyance of ideas of a very hazy and nebulous
type.
The first method is found frequently in Introductions.
Illustrations of this might range from Mozart's famous String
Quartet in C up to the recent Kammer-Symphonie of Schon-
berg.* The same aim is evidenced in bridge-passages where
the composer deliberately loiters over an obscure com-
bination of notes. What a creaking of scale-systems is
heard in the following passage from Chopin's Impromptu
in F sharp !
Ex.98.
^m
CHOPIN,
"Impromptu in F sharp"
^
^± I'f-f 1;
^
enar
M^
^
The same principle will apply to many of the brilliant
cadenzas in Liszt's pianoforte works, and also to the gossa-
mer-spun melismce in Chopin, where the long chains of
equal intervals temporarily obHterate the feeling of a fixed
key.
In the second field, Post-Impressionists solve the problem
Abolishment ^oldly by abolishing all key-signatures. Some
Si'na'tufes ^^^^P^^®^'^' ^"<=^ ^^ ^yril Scott and R^bikolf, use
igna ures. ^^xe system for special subjects and on certain
occasions, whilst others, like Eric Satie and Schonberg, adopt
it as their sole means of expression.
* An analysis of this composition is given on p. 186.
THE DUODECUPLE (OR TWELVE-NOTE) SCALE 61
CYRIL SCOTT. Poem3, N? 2.
Ex.99
'p Y" '^';
(Harmonic outlines.)
S te icL^ l|fe& (Bass.)
^ 1
S
^
^ =
1
Ex. 100.
CYRIL SCOTT,
'•Jungle Book Impressions."
If the possession of the sense of absolute pitch is a sine
qud non for the proper reception of such music, then the
Absolute circle of appreciation at present is narrowed down
Pitch, almost to vanishing-point. Thinking in a twelve-
note scale on such lines leads to things like this : —
Ex. 101.
Moderate.
SCHONBERG,
3 Klavierstiicke. Op.ll, N?l.
1 i ^ J hi- 1'^'
(Pf.)
m
Y
m
n\y\. i
^
^y ~ ^r
62 MODERN HARMONY
and such endings as this : —
Ex.102. ,S--1 SCHONBERG, Op.U, N9 8.
CHAPTER V
(C) THE "WHOLE-TONE" OR "TONAL" SCALE
In Chapter XIII., on Modern Melody, we shall see that
many of the newer chords, and also the new methods of
chord-structure, were first predicted melodically.
Origin.* '^^^ "tonal" harmony is an exception to this, as
the progression of three tones from the fourth to
the seventh degree of the major and minor scales was
regarded as a thing to be avoided rather than cultivated in
melody. " Tonal " chords appeared long before the use of a,
" tonal " scale became general. Indeed, the chief purpose of
Its limited ^^® scale is a theoretical one, rather than a valu-
Melodic able artistic asset melodically. Harraonically the
Value. scale has been productive of enormous results ;
melodically it seems to have produced very little, save in
certain 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
possibilities of the augmented triad.
Ex.103,
^^^^hW-
PURCELL, "Dido and /Eneas" Overture.
gP
#
V \ . i>. i »
^
-m — w
^m
etc.
later.
etc.
% I*, -
P
^
* * *
A careful analysis of this chord shows it to be con-
structed on the " equal interval " system (discussed on p. 95)
by the superposition of two major thirds. This divides the
octave into three equal parts, and the notation of any one
of these intervals may appear as a diminished fourth instead
53
54
MODERN HARMONY
of a major third without affecting the nature of the chord in.
any way.
Ex.104. / . , \
I
^
The curious "mirroring" or "reflection" by the reverse
downward structure is the natural result of the "equal"
system, and accounts both for its characteristic success in
very definite harmonic colouring and also for its limitations.
Ex. 105.
'^%W - )\
The scale seems to have gradually evolved from this and
similar "tonal" chords, probably in the attempt to secure
passing notes. It cannot give more than two series of different
sounds [(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)
liJJi i Ju^i i -^ r l UJJ^-'rV lUJiiJt ^p
The same limitations apply to any given combination in
Limitations ^^^^ scale. In reality only two triads and their
of Repro- inversions can be used in either of these two scales,
auction. Qj. ^g j^g^y, go^gijjej. the possible triads as six with-
out inversions.
Ex.107.
a)
14 hiiiy-4#§-i y i i I '-^^ l ^^^ i
1st Inv.
of(»)
1st inv.
of(b)
2nd Inv.
of (a)
2nd inv.
of(b)
For theoretical purposes it is therefore convenient to
think of two series of " tonal " sounds only— one starting from
C natural, the other from C sharp.
THE ''WHOLE-TONE'-' OR ''TONAL SCALE 55
(b) a_ n.(a) (b)
Ex.108.
I.(a)
S
^
^gg
;db^
In the equal system of chord-structure, chords maybe built
up also by seconds or thirds, or by seconds and thirds mixed.
Its great ^^^ even by fourths. The chords may contain from
Variety of three to six different notes depending for their
"' *■ acceptableness and effect entirely on their arrange-
ment and tone-colour.
Ex.109.
familiar ones.
(less so.)
^ it^ 1 1 % i<f^ \H%> l l |tiluJI%LlL|| l ljlS|> \\^§.
etc.
Some curious results of the "reflection" idea may be seen
in the following scales afldiiUords and in the Debussy extract,
where the composer Kmirror^ " the sharps in the right hand
by the flats in the left! DF«)urse this effect is optical, and
not aural.
Ex.110.
^
Ex. IM.
'' t'8 l-» I j li H tf ^
W=^
^y. .t tfg itn<^-)^it8 m*)^
Ex. 112.
a)
^^^^§ \ >\\ ^^^(^r^ ^^ ' %
'^' i^i\4'm>^\^m^w)^^}J^ -
i56
MODERN HARMONY
DEBUSSY, "^
Imagesl'N? 1.
Used in a method which follows out the system strictly,
one must not think of these chords as requiring
Progression j-esolution. The composers who adopt this system,
generally prefer scale motion for harmomc pro-
gression, with a common note as link, if possible.
DEBUSSY, "Pelleas"
3
(b)
h^H } »f
jiil
to
"r'ppp'r [J ^
THE " WHOLE-TONE" OR " TONAL'' SCALE 57
Ex.115.
Adagio.
REBIKOFF, "Les reves."
Ex.116. •yjvo.(J= 138.^ REBIKOFF,"Une Fete','N96.
Mixing the
Two Tonal
Series.
But composers very rarely confine themselves to either of
the two possible scale systems, and draw freely from both in
order to obtain a less monotonous and more fluent
progression. In Example 117, at (a) we have the
pure tonal progression; at (6) a resolution into
the neighbouring tonal series. Two series are also used in the
Karg-Elert example. Further than this, the composers seldom
seem satisfied without some sort of resolution into the older
system, which really places aU such examples under the
" duodecuple " system.
Ex.117.
1)
58
MODERN HARMONY
Ex. 118.
Allegro burlesco.
KARG-ELERT,
Sonatina Exotique',' for Pft.
I'l jjgPU;
Si
i
m
^
Ex. 119.
Adagio.
ELGAR,"Gerontius."
(Voice) "I go before my Judge"
The best possible use for these new " tonal " chords is by
absorption into the older practice. Like all other chords on
J . an exactly equal division of the octaA^e, their
Power of chameleon-like character and their absolute indif-
''T°"«'" ference to notation makes their value for purposes
of effecting modulations inestimable. By approach-
ing these tonal chords in one light, and quitting them in
THE « WHOLE-TONE'' OR " TONAL'' SCALE 59
another, we see their possible derivation from altered or
added notes imposed on the older chords (see Chapter VIII.).
The old rule of roots a fourth apart upwards or jfifth down-
wards meets the case very well. Or they go equally well by
chromatic resolution.
Ex.120.
^S
?rif^
^^
m
w
tasz
Ex. 121.
m
^
^^
SE
^
fe-
^^^H-ifH
^fe^
Ex. 122.
(Scheme.)
£
i J
det
S
'-(2- -19-
^^IPP
The Impressionist use of a " tonal " chord will be seen in
the following: —
Ex.123.
DEBUSSY, Prelude.
60
MODERN HARMONY
It is the Impressionist exploitation of the system which
has wrongly associated the origin of " tonal " ideas with the
Its Use by Eaodern French school. It was other than impres-
the Impres- sionistic devices which first evolved the " tonal "
sionists. scales. " Tonal " chords appear in Mozart, and more
modern things may be found in Bach. The modem Russians
were far ahead of the French in the fields of harmonic
enterprise and initiative. The "tonal" idea can be used to
any extent harmonically without the basis of the so-called
scale. These "tonal" chords seem to have sprung quite
naturally from experimental variations of the Donunant
sevenths and ninths, and from so-called falsely written minor
thirteenths.
STRAUSS,
Ex.124. "Ein Heldenleben."
Langsam.
EX.12S.
FARJEON,
"Three ComeredKingdom." Op. 30.
The mental attitude doubtless counts for much in this
matter, but the fanciful "generator" and "false notation"
theory totters over when confronted by such a passage as
the following
THE '"WHOLE-TONE"" OR '"TONAL"" SCALE
61
Ex.l26.\
Massig iangsain.\^
STRAUSS,
"Ein Heldenleben.",
(Orchl. Brass.)^^
It is only when applied melodically that we think scale-
Whole-tone ^^6, and here its application seems to be extremely
Passing circumscribed. It is when a series of passing notes
Notes, jg attempted that the clumsiness of the present
notational system becomes tryingly apparent.
J -
Ex.127.
4.
^^^^^E
iU-. " li tl'E! ^te
i
^
^
F?T
Fr
Ex. 128,
^^
^
■Ex. 129.
DEBUSSY, "Children's Corner."
5 ^^
62
MODERN HARMONY
DEBUSSY,
Ex.130. ''Chanson de Bilitis"
'Hiiiij.iTilt 1°
Whatever view we take of the tonal system, it is un-
necessary to regard it suspiciously as a rival to oust the older
scales; let such people rather turn their eyes towards the
advances of duodecuple practice. Used purely by itself, the
" tonal " system is very circumscribed. This scale is too
mathematical and precise a product, and consequently too
monotonous in effect, to be capable of much development on
its own lines. Its powers of modulation and transposition
are small indeed compared with the other systems. Its pure
use is limited generally to the shortest of characteristic
sketches.
Even when adopted for longer works, as Debussy's " Pelleas
et M^lisande" — where the rather strained milieu or "aural
vision," necessitated by the tonal scale, undoubtedly
'^tio™!'"" fl-ssists the mystic atmosphere of the work — the
composer continually falls back to the relief of
semitones. This is done by resolving the chords founded on
the C "tonal" scale into harmony formed on the C sharp
series, and vice versa. Frequently, too, he seems compelled to
seek resolution into the diatonic system, as in Example 1146,
and in the Elgar motiv (Example 119). It is to be noticed
also that the " tonal ' passage from the pianoforte prelude in
Example 123 commences with a diatonic concord. For bridge
passages and characteristic phrases, where a suspension of
tonality is desirable, its use is admirable, and the beauty and
poweif' of the " tonal " chords as a means of modulation has
long been fully established.
Its Real The real value, then, of the two " tonal " systems —
Value, the C series or the C sharp scale, or a combination
of both — is twofold :
THE « WHOLE-TONE'' OR " TONAL " SCALE 63
(a) Pure systems for relief and for characteristic effects
and atmospheres.
(b) Their absorption into the older system.s for the further
enrichment of the ever-increasing power of harmonic
possibility.
This latter is effected often by treating the " tonal " chord on
the lines of the "added note" theory, or by regarding the
extreme note of the tonal chord as an ajypoggiatura requiring
resolution.
CHAPTER VI
(d) some other scales
In the revival of the modal scales and the invention of the
" tonal series " we see an endeavour to escape the thraldom
Desire to ^^ *^^ major and minor scales by the adoption of
modify widely diverse systems. As we have seen, even the
Notes. Qj^er composers show evidences from time to time
of this feeling of scale efPeteness, especially with the major
m.ode. Both Bach and Beethoven, as well as Schubert, show
a great liking for the minor sixth in the major scale. Such
passages as the following cannot be accounted for merely as
chromatic chords, since no attempt is made to remove the
impression of the modified note. A dalliance between the
major and minor modes is characteristic of many of Bach's
cadences, and he frequently approaches his minor cadences
through the major sixth, as in Example 132.
J, S. BACH.
Ex.131.
.'targo..
St. Matthew Passion, N? 70.
Ex.132.
J. S. BACH.
"Das Wo hltemperierte Klavier!'
SOME OTHER SCALES
65
Numberless modifications of the major and minor scales
will be found in the works of both the older as well as the
modern composers, and they may be used as fundamental
alterations of the scale, and adopted throughout, or only
momentarily, for lighting up or shading certain chords or
passages.
Ex. 133.
u.
Scheme for Coda ot
E. SCHtJTT'S Valsette in A.
j J i J J l|J ^
Ex. 134.
Allegro moderate
WOLF- FERRARI,
"Jewels of the Madonnal'
Ex. 135.
Allegretto.
PUCCINI, "Madam Butterfly."
^^P
^^
^^
m
^
trl : (tl) »
I
66
MODERN HARMONY
Ex.136.
Allegro con brio.
BEETHOVEN, 7th Symphony.
The rise of nationalism in music, involving the artistic use
of folk-song and dance with Liszt, Chopin, Dvorak, Grieg,
Tschaikowsky, Stanford, and Sihelius, brought in
National many new scale influences, and these in their turn
have fertilized the general art. Many motive of
both Wagner and Debussy show a kinship with the Celtic
pentatonic scale.
Ex. 137.
Poco marcato.
DEBUSSY, "Pagodas'.'
f]^ii^;Jjn i Jjjj|J]. i jijj^ ii
Ex. 138.
Moderate
01.
BUTTEtiWORTH,
"Shropshire Lad" Rhapsody.
Clar.
(Muted Str.)
Then the opening out of the Eastern world turned men's
eyes and minds towards Oriental philosophy and art, and
the work of Alma-Tadema, Goodman, and Tyndal
the East" ^^ painting, of Matthew Arnold and Fitzgerald,
Goethe, Flaubert and Verlaine in literature, find
their correlative in the compositions of Saint-Saens, Bantock,
Coleridge-Taylor, Moussorgsky, and hosts of others.
Melodically there are two ways of securing Eastern colour
in music : (a) to use the identical native scale, or at any rate
. the nearest Western approximation possible ; or
Scales. (^) to secure this atmosphere by the use of charac-
teristic intervals and rhythms, strangely barbaric
or monotonously mesmeric, as the case may be. Usually the
exact methods of the anthropologist do not appeal to the
artistic temperament, but the French composer Saint-Saens
SOME OTHER SCALES
67
is a noteworthy exception. A two years' sojourn in the
Sahara produced many compositions based on native scales,
and indirectly was responsible for much of the Eastern
colour in such operas as " Samson et Dalila " and " Phryne."
Saint-Sasns Felicien David in the " Desert," and Rubinstein in
and "The Asra," had already used the real Eastern
^"'""^ • scales, but the " cult of the East " is shown mostly
in more subtle and less definite ways. In some instances
these native scales are identical with the old modes. The
theme from the second movement of Saint-Saens's " Algerian
Suite " might have been written on the scale system of either
the ^olian or the Hypo-Dorian modes. On the other hand.
Example 142 by Georges Hiie suggests a scale containing
both C natural and C flat; thus the passage approaches
very closely to what we have called the " duodecuple " scale.
The influence as revealed in later composers is probably a
free adaptation of the European system to the expression of
Oriental and barbaric f eeUng 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.")
Xa . bas dans un ciel de tur.quoi . se
Ex. 141.
Assez lente et tres calme.
I
tf
M-
GEORGES HUE,
"Croquis d'Orient',' N? 1.
^
^
^
g
^
ff
Dou.ce,douce a jio . re . e, Dors: ^ Cesoir j'aitroppleu.re!
6
MODERN HARMONY
U.ne ro
GEORGES hue;
"Surl'eau"N95.
se se berce au cou.rant du _flot_
Ex.143.
Larghetto.
COLERIDGE-TAYLOR, "A Negro Love-song,"
from the'African Suite',' Op. 35.
.1 rr^fi If [I I ' 1- p rfp^^u^
Ex. 144.
Doloroso.
ad lib.
BANTOCK. Songs of Persia,
"In the Harem."
Ah! the life, the light, the jew. el, Nour. ma .ha
Many of these Oriental expressions in melody are modal
in themselves, although the harmony frequently modifies
Modal this feeling. The solo No. 4 in Bantock's cantata
Likenesses. "Christ in the Wilderness" is Hypo-^olian in
range, although based on the harmony of B flat minor.
Ex.145.
Allegretto cantabile.
BANTOCK,
"Christ in the Wilderness'.'
I." ! ,'-!, i i
^
^
^
F].S
The wild . er.ness and the
1 (Harp.) .
rf^f pfpF^
W=§=f
» f f^
m
p Harp..
•m. JT P! ^
D.B.pizz.
iiOME OTHER SCALES
m
''V p p pP r Pp i F - pr ^'^'i^''i' J i
so. li.ta.ry place shall be glad
e glad for them
m
iF==n
r=rf
1 li
^=fc
zSzz^
:i=3
^
^g
» #i
•a- t i
I
^
T
Here is a suggestion of the " whole-tone " scale in a melody-
written over a commonplace tonic harmony.
Ex. 146.
^.^'' 1 ^ ii l^
Allegretto con dolcezza.
BANTOCK, "The Nightingale's Song"
from "Songs of Arabia."
D. i^i) hJi^^
J i't.rj]j
o
^s
bird ■ that sing, est to the
for . lorn
^
^?
A writer has pointed out that Blgar's scale in his earlier
period contained a flat supertonic and an augmented fourth.
This may be so. The present position is that a
PoStfon composer is free to adopt any arrangement of the
seven divisions of the octave which will serve best
for the purposes of his expression. This being so, the student
may welcome a method of discovering the full possibilities
of the septuple system in this direction. Take the scales on
the " sharp" side in succession, and apply to each the signatures
of the flat keys in succession, thus —
70
Ex. 147.
^
MODERN HARMONY
Method of constructing new scales-
J - > ^ ^
:^
bF=*
^
b''MJ iJ bJ ^
*5fe
y^MJ 1 -^ ^^ r ^r 't ^r
^
U ip l^r 'r ^
s
J J ^r i'
i
^
^^
^
?
and so on.
The close of the so-called " Revolutionary " Etude of Chopin
is interesting, whilst Example 150 gives the scale used largely
by Sibelius in the first movement of his Fourth Symphony.
The ending of another movement of this is shown in
Example 151.
Es.148. CHOPIN,
- Allegro con fuoco^ Etude in C minor. Op.lO.
rr-f r
8 8
8 8
SOME OTHER SCALES
71
CYRIL SCOTT, "Dawn,"
Ex. 149. f jQ^ ^Yle "Jungle Book Impressions."
Andante semplice.
Ex. 150.
SIBELIUS.
Ex.151.
Molto moderato. SIBELIUS, 4th Symphony.
Examples 152 and 153 giv^ a new scale as yet untried, and
a transposition of it from C to G. It is partly diatonic, but
largely " tonal,"
72
MODERN HARMONY
Ex. 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 those
Scriabine's used by Scriabine in his later works. Scriabine's
Scales, favourite chord is a Dominant thirteenth with a
flattened fifth and a major ninth.
Ex. 134.
a) Chord, b) Scale.
c) Derivation.
i
te=^
^^
i33*
r^
^
^
But it is more than a favourite chord ; it is in a way his only
chord, from which he derives his scale and the whole of the
material for his great tone-poem " Prometheus." He selects
this chord from the natural harmonic series, and so evolves
a 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, for
with "Tonal" whereas the "tonal" scale never changes its
ystem. " colour-sensation " in its inversions, and only
allows of one transposition (a semitone up or down), Scriabine's
SOME OTHER SCALES
73
scale is ever scintillating with new lights quite kaleidoscopic
in colour, and it allows the full range of twelve transpositions.
His chord, too, is surprisingly productive, containing in itself
two different common chords — a minor and a major — besides
two Dominant sevenths and thirteenths.
Ex.155.
sions of
his Chord.
The inversions are so numerous, and the selection and
arrangement of the chord so wide, that a very severe test is
The Inver- ^^^^ upon the ear. The composer's habit, too, of
using an augmented fourth to serve the same
purpose as the diminished fifth renders the true
nature of the chord difficult of comprehension to the eye.
The objection to the system most frequently urged is that
whereas Scriabine founds his chord on the pure temperament,
_ his music is played and heard through the equal
mental tuning. We have, however, already pointed out
Arguments ^j^a^ Nature herself accepts most of the compromises
of the equal temperament, at any rate so far as
the law of sympathetic vibration goes. The problem, how-
ever, is increased by Scriabine's extension of Debussy's
already exalted selection of overtones and the free placing of
the various constituents necessitated by the inversions.
Ex.156.
a) b)
c)
d)
^^^
tv U>o-
"TT-
m
-qQ-
f
!^
=g:
=^
etc.
Whereas all the modern tendencies have been away from
the Tonic and Dominant harmonic supremacy of music,
p . t Scriabine's method is a reversion to it with a
Dominant vengeance. Indeed, the drawback to his system
Supremacy, jg ^^ye difficulty of providing points of rest and
obtaining relief from the continual Dominant impression.
74
MODERN HARMONY
How the composer does this may be seen by glancing at
the opening and closing bars of "Prometheus," given in
Chapter XV. As with the purely " tonal " writers, Scriabine's
music at present seems to be marred by its unrestfulness,
and despite the transpositions of the original chord which
the composer freely allows himself, it is rare indeed that we
escape the all-pervading Dominant feehng. The gratuitous
addition of the low E natural in the following passage is an
immense relief in the suggestion of a definite key :—
Ex.157,
SCRIABINE,"Proinetheus."
Ex.158.
Scale
This selection of notes from the natural hannonic series,
however, is not the only one which Scriabine has used
for his compositions. The Sixth Sonata is founded on the
following chord : —
Ex.159.
i
Scale
ij ^ Y^f
(J p
SOME OTHER SCALES
76
and the opening phrase is very typical of the way the
Q . composer commences to unfold his subjects, which
Selections are all contained in the one little harmonic kernel.
from the rpj^g g flg^^ jg ^ged first as an appoggiatura and then
Series, as a passing note.
Ex.160. ^ ^ ,
Modere, mysterieux, concentre .
SCRIABINE, 6th Sonata.
Scriabine's Seventh Sonata is thoroughly imbued with the
primeval element, being founded chiefly on the following
chord and its transposition a major third lower : —
Ex.161.
Scale
^
i iJ J If-
S
^HW^
The chord also appears momentarily with the eleventh.
The following bars show its use according to a device well
known to the Impressionists — i.e., equal sevenths by
similar motion. In this sonata the composer shows
signs of simplifying his technique, and brief pas-
sages of refreshing " Dominant ninth " harmony afford almost
the relief of common chords, whilst he shows a stronger
leaning towards the triad formations.
His Seventh
Sonata.
76
Ex.162.
Allegro.
MODERN HARMONY
SCRIABINE, 7th Sonata.
Ex.163.
( From the same.)
/ etc.
-Wi; <^~^; =li53' •-•3~5'
f
It is interesting to notice that quite apart from the
natural foundation, which Scriabine himself states as his
Possible theory, much, if not all, of his harmony may be
Absorption explained by the theory of added and altered
Chords'into notes, expounded in Chapter VII., and when it is
General thus simplified, the music appears fairly normal.
Practice, rpj^jg guggggts the possible absorption of his chords
into the general practice. This may easily be done by treating
the stronger notes as appoggiaturas, and resolving them
whilst the rest of the harmony remains.
To return from the natural fundamental system of deriving
new scales to empirical methods, it is interesting to find so
eminent an authority as M. Ferrucio Busoni prophesying the
establishment of a scale of eighteen notes, i.e., seventeen
divisions. Those Europeans who have heard the Indian
SOME OTHER SCALES
77
Vina well played and expounded feel what barbarians we
are ; and this fact may point to a much further development
of aural discrimination amongst ourselves. Here is a brief
exposition of Busoni's new system :
Proposed Division of Octave.
TT'
t*
P
ClCjtlDMDlDJtlEMElEilFb
FlFttlGblGlGftlAMAlAJlci.
C IC|lDMDlDttlEMElE|lF|7|FlF|lGUG iGftlAblA lAjtlCl.
i^^
~Cjr
A Possible Notation:-
"^
— IPI —
— n
o
instead of-
C D E F8 Gi Ai
CHAPTER VII
ALTERED NOTES AND ADDED NOTES
In the older method the chromatic scale is not a mode, but an
alteration of the m.ajor or minor scale, as the case may be.
_.j^ Thus the minor second is an inflected Supertonic,
Chromatic the augmented fourth a raised Subdominant, and
^'*m'^"°* ^^ ^^ — that is, so far as chromatic notes and chords
go. In this fact lies the explanation of all the
chromatic harmony on the older lines. As a most convenient
method for analysis and explanation, there is much to recom-
mend it, for the simplest explanations are always preferable.
Nothing has called forth so much well-deserved wrath from
composers as the attempt of theorists to foist some subtle
explanation on to their chords.
If the theory of " altered notes " be allowed to run on one of
Four Appli- four paths, there is little which cannot be explained
cations, j^y i^_ ^ chord may have one or more chromatically
altered 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 com-
bination of two or more passing notes, and depend chiefly on
the tempo and relative accentuation as to whether they are
heard as chords or passing notes. In all probability nearly
all the new chords were discovered in this way. Certainly
this was the case with the early discord of the seventh.
The chords in the second class are approached as passing
notes or passing chords, and are quitted as chords on their
own responsibility.
The third class attacks these chords freely, and resolves
them according to an agreeable or significant leading of the
parts.
78
ALTERED NOTES AND ADDED NOTES
79
A fourth class neither prepares nor resolves them, and
under this category perhaps come the "escaped chords,"
those cleverly arranged strange "resultants" heard in the
more highly coloured harmonic web of Ravel and Florent
Schmidt, of Strauss and Stravinsky.
The first class— passing chords— need little explanation
beyond saying that in this and in all classes, any one, or all of
. the notes, may be chromatically altered upwards or
Ch"rdf. downwards. As passing chords the upward inflec-
tions will resolve by rising, the lowered by falling
— that is, they will continue to move in their natural
course.
The fifth or the third (or both) of a common chord may
be thus treated. The same modifications may be meted out
to the chords of the seventh, of the ninth, eleventh, and
thirteenth.
Ex.164.
Table of
Altered Notes in Common Chords.
IV
S
w
^^
s
:pip:
IV9 II
lb
80
Ex,165.
MODERN HARMONY
Altered Notes in Chords of 7tl»,etc.
^ri
M
k
UA
W
m
^^ i\p\>o ^ ^
w
etc.
m
M
M
8l
P
Z
The second class attacks these altered chords without
preparations, but siill resolves them in the most natural way
according to the original diatonic formation. It is note-
worthy that many of the characteristic chords of the aug-
mented triad, the diminished seventh and Neapohtan sixth,
the Dorian sixth chord, the so-called " minor thirteenth," etc.,
may be explained most simply thus : —
Ex.166
All this leads iip to the modern practice of taking a chro-
matically altered chord, with or without preparation, and
resolving it freely. Once established, the altered chord
immediately " becomes of age," and acts " on its own rights."
As these rights are analyzed in detail in Chapter IX. on
Resolutions, a few examples will suffice here.
ALTERED NOTES AND ADDED NOTES
81
I
1^
^
^
-^-
TTT
^
Or the resolution may be suspended over a long chain of
apparently alien chords, the last of which resolves satis-
factorily.
Ex.167. X
Andante.
'-P tf ^g-""""" h" F-g-"
h\Ti^s^^h^
''| | ^ y i ^% ''^
y m 7
The " escaped " chords, which appear mostly in the chro-
matic forms, are dealt with in Chapter XII. They are neither
"prepared" nor "resolved" in the conventional
Chorcfs sense of the term, but are allow^ed to " evaporate."
They are not chords in themselves, but only
additions to the normal harmony.
Ex.168.
RAVEL, "Les grands vents
, venus d'outre-mer."
82
MODERN HARMONY
The principle of adding notes to the simple chords is one
of the most ancient usages. The third inversion of the so-
Added called "chord of the eleventh" is thus accounted
Passing for, as its now more common designation, the " added
Notes, sixth," implies. These chords doubtless owe their
origin to sounding the principal note together with the
passing note, but they have now reached a stage of develop-
ment far distant from this simple beginning. The Beethoven
extract shows how these "added note" chords may have
been suggested through the pursuance of imitation, whilst
the two Wagner passages show clearly how some of the
newer chord-formations came into being.
Exil69.
Allegretto. (J=»8.)
A
^^-^ BEETHOVEN, 7th Symphoiy.
Ex.170.
Rhine-Maidens-
%
•WAGNER,"Rheingold:'
ALTERED NOTES AND ADDED NOTES
Ex.171.
Schnell
Alberich
WAGNER/'Rheingold."
(Min.F.S.p.95.)
V-AJippi Jip P i Mw <l ^^
mighty, lash me to mad.ness.
W.W.&Hns.
P J' W ^
They are not always prepared for in this way, and may
resolve with the natural or the freer progressions ; or they
may form part of a purely fo'mbre-creating comhination, and
merely " evaporate," as is the case with the " escaped chords.'
Ex.172.
Con molto sonnolente.
fmm
MAC-DOWELL,
"To a waterlily."
'■ (Scheme)
(K.)
f
m
§
^A
m
pp % ^.
Ex.173.
ft
KARG-ELERT,
Pastel. Op.92,N93.
Grave. '^
a =3
Ff
Z?!
TriPedali
84 MODERN HARMONY
Many passages in Strauss and Reger seem to prove that a
Dominant or a Tonic may be added to any combination in the
key, and the device of adding to the piquancy, or increasing
the colour of chords by altering or adding notes, is novsr
very common. In this connection the transformation of
Wagner's " Rheingold " themes are particularly interesting.
Ex.174. STRAUSS,
"Till Eulenspiegel."
|Mit »vfP'
(QTCb.)Jf
''^'■\>^_h^'^y
m
8
Ex.175
Allegro leggiero,
J.HOLBROOKE,
"Acrobats'.'Op.2,N9l
Ex.176.
Modere,tres franc. J=i76.
RAVEL," Valse Nobles'.' N9 1.
(Scheme)
ALTERED NOTES AND ADDED NOTES
85
Ex.177.
Andante.
LANDON RONALD,
Pensee Musicale.
^. *^. ">^«-
Ex.178.
^fe h^M \ \ n,\f^
WAGNER, Gotterdammerung,'
^iViitg|r l ! i (gi| | ^»>i5g|r p ^ if
Further, these "added note" chords may be subject to
Th Ch d cliroDi^tic alterations, partial or total ; and this is
of the frequently a more effective way of dealing with
^"l^th '*"* the five forms of the "augmented sixth " chords than
the " tonal " explanation, as the combinations at (d)
and (/) cannot be called " tonal " chords.
EX.17S. -
a) b) c) d) -e) f)
l^ fe-ti ^'hin[^>?. II i.?>^ ^ ^ ifif:g i
J
(Scheme)
■o-
a 'Ti II Fi- 1 i,g. II ?.. i=^i^=t
BSE
Chromatic alterations may be applied also to the newer
chords formed by fourths and fifths, equal or unequal, and
also to the " mixed " structures ; and the device of appoggia-
turas is applied to these chords quite as freely as to the
simple and diatonic forms. More fundamentally still, this
practice of chromatic alteration may be applied to those
86
MODERN HARMONY
diatonic structures of thirds for chord and scale-formation
which are used by the ultra-raodern composers in the
" harmonic studies " mentioned in Chapter XI.
Owing to the enharmonic nature of the equal tempera-
mental tuning, the alteration is frequently something more
^^ subtle than all this, and consists in the alteration
Enharmonic of the vicw taken of it by the addition and sub-
^'®^- stitution of extra notes, which put the chord into
a different context. We cannot ignore the enharmonic view,
as otherwise the theory and practice of all chords constructed
on a system of perfectly equal intervals works round in a
vicious circle. The equal system produces many interesting
results, but the use of the discoveries on the " reflection "
lines in reality entails the annihilation of all the processes
of chord inversion. The enharmonic method alone supplies
the outlet. It is applicable to all equal chords — diminished
sevenths, augmented triads, perfect fourth chords, perfect
fifths, and the " tonal " formations.
A hitherto unsuspected advantage has been taken of the
chameleon-like nature of these equally divided chords. What-
ever the notation of the chord of the diminished seventh may
be, composers of the Strauss, Schonberg, and Stravinsky
order claim the right of changing any of the four supposed
" generators " at wiU. They apparently waive aside aU tem-
peramental questions, evidently accepting the equal tuning
as being sufficiently near to the natural series. The device
produces some startling treatments of the "minor ninth"
formation : —
Ex.180.
(Enharmony.)
thus
3E
■>c\
\>o
ALTERED NOTES AND ADDED NOTES
87
Does the mind view the sustained chord kaleidoscopically,
or accept the equal tuning once and for all? The recent
return by Strauss and others to the Dominant generator
theory for this chord, supplying possible generators in succes-
sion, tests this theoryalmost to breaking-point.
In the " prepared " manner the sounding of the various roots
in the bass is somewhat analogous to the method used with
, the sounding of simple " escaped " notes in the upper
Harmony.* register. But they are taken unprepared and in a
connected manner in Arnold Schonberg's com-
positions. The sequential progression of the bass in minor
thirds (or augmented seconds) is of common occurrence in
Wagner, Strauss, and Bantock, and belongs to the duodecuple
or " twelve-note " scale technique, but the following treatment
is somewhat novel : —
Ex.181,
Poco lento
PP
The arpeggio treatment is almost revolutionary, and the
passing-note system may be constructed on four distinct
scales, thus : —
88 MODERN HARMONY
Ex.183.
Ex.t84.
The older practice admitted the chromatic alteration of a
chain of passing notes either singly or doubly in the following
manner : —
Ex.185
Alteration
(Scheme)
f»f#
^m
ALTERED NOTES AND ADDED NOTES 89
The modern composers "touch up" their passages by
chromatic alterations in any way which suits their fancy (see
Examples 134, 135, and 136).
In applying all the alterations and additions, with the
exception of the " enharmony " practices, the original chord
formation or the foundation diatonic scheme should always
be borne in mind, the main objects of all these devices being
the securing either of increased variety and power in modula-
tion, or of ever richer harmonic colouring.
CHAPTER VIII
NEW METHODS OP CHORD-STRUCTURE
The modem methods of chord-building differ from the older
practices in five respects : —
1. The wider adoption of empirical methods in chord-
structure by thirds.
2. The inclusion of the root in the inversions of the ninth,
of the third in the eleventh, and of the fifth in the
thirteenth.
3. The admission of formations by entire series of intervals
equal in quality.
4. The admission of structures of unequal fourths, fifths,
etc.
5. The admission of structures composed of mixed inter-
vals, seconds, thirds, and fourths.
One of two chief principles must form the basis of both
the new and the older practices of chord-building. They
must 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 called
The Two *^® generator or prime, and follows the natural
Great series of " harmonics " given off by a string or an
Principles, open pipe.
Ex.ise.
4) * "^l^^" ^* ^"^ - -
T" 2 8 4 5 6 7 8 10 U la 13 1* 16 16
90
NEW METHODS OF CHORD-STRUCTURE 91
The second merely piles up a superstructure of thirds, or of
fourths or fifths, or even seconds, without any reference to
a scientific or natural basis.
Ex.187.
(a) (b)
(c)
(d/
m
&:
^
^
^
Whether we take the simple common chord or an extended
discord, the two views are still compatible. Thus, whilst one
theorist will derive the major triad from the harmonic series,
the other will caU it simply a method of chord-building by
the superposition of the two thirds and a fourth, just as (6)
and (c) may be explained as a variation of the position of the
fourth.
Ex.188.
^ft-^r't-^
The explanation of the genesis of the minor chord by the
first school, although rather far-fetched, is worthy of mention
Origin of o^ account of its ingenuity. The system is called
Minor "inferior resonance," and is worked downwards
from a note produced by the sixth part of any
given string. Thus, if the sixth part gives e", double this
length will give e', triple the length, A ; quadrupling, E ; quin-
tupling, C ; and sextupling, AA.
Ex.189,
(a)
(a) ^ (b) ^s ^'^' Major Minor W)
t) 1 1~3 t 6 6 iJ
6 6 6 6 6 6
92
MODERN HARMONY
Whichever view of the origin of the triad the student
takes (and it is immaterial to the practice of composition),
No a grateful acceptance of both views seems advisable
Exclusive when we come to the question of discords. The
of*Oiie" " natural " explanation of a Dominant root might
System, serve for the first chord in such passages as the
following, but what are we to say of the chords at (6) and (c) ?
Ex.190. uJ^f^^^V^^
"Waldstein'Sonata.
^#
(c)
w
m
t?
si
1 > ^
^
*
^
Apparently no composer adopts one view exclusively, nor
is it purely a question of medium, vocal or instrumental, for
Beethoven writes for orchestra and pianoforte similarly in
this respect, and that strongly contrapuntal composer, Samuel
Sebastian Wesley, owes one of his most beautiful chords to
the natural series.
Ex.191.
Slow.
m
WESLEY,
The Wilderness.
1^
(Solo Voices) jp
B.T.I.8.A. „s;g^
r
ing"
A^EW METHODS OF CHORD-STRUCTURE
93
This dual view of harmony seems to be ever present in
composers' minds, and the resources of the art are wonderfully
enriched in consequence.
(a) Chord Structure by Equal Intervals of Uneven
Quality.
With both temperaments, however, it is necessary to
notice the important role played hitherto by the uneqtial
quality of the thirds of the superstructure, a regular alterna-
tion of major and minor being preferred in the main. This
adds great character and charm to the combinations, and
the vast preponderance of this principle causes the structure
by equal intervals of the same quality to be of little account
in comparison.
The empirical method admits of six forms of the chord of
the seventh, and ten forms of the ninth.
Ex.192.
(a)
(a) (b) (c) (d)
f| § i*g i^i m
(e)
(f)
Ex.193,
(a) (b)
b^
(c) (d)
Of course not all are equally good, and many are exceedingly
difficult to work in the inversions. It is noteworthy, how-
I - ever, that the acceptableness of the root in the
Inversions ' " _^ j.i • j- •
of the inversions is entirely dependent on the 3udicious
Ninth. distribution of parts. The series may be extended
to the eleventh and thirteenth, and aU the alterations may
apply with equal force. Example 194 shows the appearance
of the root, together with the ninth, in the third inversion of
a thirteenth on the Dominant.
94
MODERN HARMONY
Ex.194.
Largamente.
BUTTERWORTH,
"Shropshire Lad" Rhapsody
W
±: £,.
X-
(Orch.)
^
-i_J=-
T=^
We have already shown in Chapter II. the greater freedom
used 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 octave
into three parts, we may consider these more extensive series
of thirds as methods of dividing the double octave. The
Debussy and Ravel examples exemplify the application of
the diatonic type shown in Example 195 (a).
Ex.186,
Ex.196.
RAVEL,"Valses nooles.'
(later) ^ ^ ^
NEW METHODS OF CHORD-STRUCTURE
95
Ex.197.
Anime.
DEBUSSY,
"Pelle'as."
'IflOO
/ — ^
m
^^
A moment's thought will show us that such a structure
not only supplies the whole of the diatonic scale, but contains
in itself every chord of the whole of the diatonic system on
which the chord is founded, and in using this method w^e may
draw melody, intervals, and chords of three, four, five, six, or
seven notes from such a series. Every possible diatonic
concord or discord may be found therein, and their use is
justified by a rational cohesion with the next combination,
or the achievement of the desired effect.
(6) Chord Structures by Equal Intervals op the
Same Quality.
Three such structures belong to the older practice— the
diminished and augmented triads, and the chord of the
diminished seventh. The first consists of two minor thirds,
one above the other ; the second, of two major thirds ; whilst
the third chord is a structure of three minor thirds, notwith-
standing the fact that one is often written as an augmented
second.
Inasmtich as such equal structures as the diminished
seventh divide the octave into exactly equal divisions, their
application is limited. Thus we can obtain only three
different diminished sevenths, four chords of the augmented
fifth, and only two complete " tonal " series ; for the adoption
of the equal temperamental tuning causes the other vari-
ously "noted" forms to be identical in reality with these
primary forms. Thus in Example 198 [d) is identical with (a) ;
(e) with (6) ; and so on.
96
MODERN HARMONY
Ex.198,
(a)
(b)
(c)
(d)
(e)
I ] , li l^ll l.g II ''^ tf
etc.
Herein, however, lies their chief charm and power. This
coincidence and consequent indifference to notation gives
Trans- them a most wonderful scope as a means of modu-
mutation lation. Any one of these chords will easily lead
Properties, j^^^^ ^^^ q£ ^^^q other eleven keys. They absorb
colour by reflection both from the preceding and the following
chords, and the chief charm of a modulation should be the
getting there, and not the arrival itself. Their possibilities
in this direction seem inexhaustible. The chord at (a) in the
following example may lead to A major or minor, the one at
(6) to D, (c) to G, and so on.
Ex.199.
J=^
(a) (b) (c) (d) (e)
f=T
^^Mti-4
^
^^
^
^
p
m^
^E
The following table shows the scheme of the newer
structures by fourths and fifths, the application of which is
exemplified in the extracts from Beethoven, Wagner, Ravel,
and Schonberg. In the R^bikoff piece we see an extreme
Impressionistic 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-STRUCTURE
m
Ex.201.
Andantino.
m
M
m
^
BEETHOVJEN,"PastQral Symphony."
Vns-Ij.
V.II. L I J^(Soheme)
^
Horn.
hgMwlwi
^
m^
■er.
(Str>
Ex.202.
Molto vivace.
|t''i-j. _ap]
WAGNER," Tristan^'Act U,
,y (Scheme)
^ <l -<
I
clr[£f"r " "^
Horns
Ex.203. SCHONBERG,
"Pelleas und Melisande."
1
P^
^>^ l\!±^^
^
-5.
i^
Ex.204.
m
1
#s
i§
^
Ex.205.
REBIKOFF,
"Feuilled'Album."
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 very
prominently in them. Often it is used with the sole
object of gaining a greater sonority, a quality as eagerly
sought in the softer sound-textures as in the loud passages,
as shown in Examples 209 and 212. The modem " cult of the
semitone " is accounted for frequently in the same way.
Ex.206.
Danse de I'acier.
F.SCHMITT,
'LaTragedie de Salome."
Ex.207.
Largamente.
BANTOCK,
" Christ in the Wilderness."
±
=«^
i
i
^5
(Chorus) f cresc. o
ff
n\\\- ff
M=
M ' Do ll
And shall be sa
tis
fied.
Ex.208. DEBUSSY,
GoUywog-s"^*^'!*'^^'^'^ Corner."
CakeWalkyt.
^
^^
etc.
m
NEW METHODS OF CHORD-STRUCTURE 99
Ex.209.
Sans hate et noblement.
RAVEL," Histojres natuielles."
Ex.210. YORK BOWEN,
Allegretto. . 2nd Suite.
i
S^
s
^
Ex.211. STRAVINSKY.^^
Presto. L'oiseaudefeu.
;J£^ Tpts.Ob.Fl.
3 Tbns & Tuba
Ex.212.
Vif. J.=ioo
RAVEL, Valses nobles.N96,
100
MODERN HARMONY
Other chords are not so self-possessed in character.
Horizontal methods account for the following
Horizontal examples ; and although Schonberg in his " Fiinf
Methods, orchesterstiicke," Op. 16, appears to found his
unusual chords on the lowest note, many people will long
persist in hearing them in various planes.
Ex.213.
Allegro molto
MOZART,
G minor Symphony.
(Scheme)
Ex.214.
Massig.
C.A.
WAGNER,"Siegfried."
Ex.215,
Andantino maestoso.
W.G.ALCOCK,
The Duchess of Fife's March.
no maestoso. _ B^B
j' "ii ^Vr I'f
i
fjig^
Org. jj^'
■?i r ^ ^ ^ ' '
i^^
^
i
9= 1^ 1^ I f tff f ti f
g
zfe
#
NEW METHODS OF CHORD-STRUCTURE
Ex.216.
101
STRAUSS,
" EulenspiegeL"
Ex.217.
Pas tr op lent
M.RAVEL, MiroirsN9l
'N)]>^r \ f0 f ^
^pi
^
(pf.) p-
etc.
^^
fji 1^ f
m
w
I
Si
M, Anselme Vin^e in his treatise gives this table :
Ex.218.
4 tf J 3 w^^ ^
Appoggiatura elaboration wiU explain the Wagner, Mac-
kenzie and Saint-Saens extracts, whilst a double appog-
giatura treatment will account for Mrs. Beach's chords in
Example 222,
WAGNER,"Tristan."
E-X.219.
^- (Scheme)
102
MODERN HARMONY
Ex.220. MACKENZIE, Four Songs. Op. 79a.
„ „.,^ SAINT-SAENS,
Ex.221 "Dejanire."
i\ ''"*P F
^
-/jr^^^'^
Ex.222.
I*
Adagio.
fl.H.A. BEACH,
"The Sea^airies?0p.59.
^
(Pf.)
S^
it,^__*^ <p ♦ * * it it s 9 *_^^^
NEW METHODS OF CHORD-STRUCTURE loa
The Karg-Blert and the Corder chords may be but versions
of the dominant seventh, whilst the chord in Example 225
is reported by Gevaert to be a popular " vamping " form with
the unsophisticated Spanish guitarists.
Ex.223.
^
m
(pf.)
^gs
i
Ex.224.
P. CORDER,
" Transmutations"N94.
Lento.
pesanie
Ex.225.
segue simili Traditional.
j^ (( iiH"
^
-^
-w
Sl
-^•^: j Lg
L ....
3E
T — H
3" » 1 8 J
=JI=
' -4
=4=
t 9
-
•
In the " reflection " table, Example 226, any of the chords in
the upper stave may be added to the corresponding ones in
lower staves, provided the pitch is very widely spaced.
Ex.226-
*
'y ^ }mi
It is not often such constituents are brought together as
in the Strauss Example (227), where they can hardly be
expected to mix, and the chord will probably be heard in
two separate auditory planes.
104
Ex.j827.
MODERN HARMONY
STRAUSS," Elektra."
But for sheer modernity and daring, the chord in Beethoven,
which contains every note in the scale of D minor, still
reigns supreme.
Ex.228
^ Presto. ^^j. JJ2
'^\>ii I
BEETHOVEN,
Finale 9th Symphony.
(Scheme)
1^
^
g
-&-
CHAPTER IX
ON RESOLUTIONS, ELISIONS, AND CADENCES
The resolution of a discord is a means of satisfying the
musical intelligence. The most usual way is by the most
natural horizontal leading of the parts which cause
in General. ^^^ dissonance. This elementary rule, however, has
brought about certain stereotyped forms and banal
platitudes, the desire to avoid which led to the discovery of
two distinct lines of escape — (a) a less rigorous leading of the
parts, 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 the
low^er dissonances may well be regarded as free in
comparison with their more assertive upper partials. Further,
_ if the two notes, or even only one of these, which
Procedure form the keenest dissonance in any combination be
"n^"*^' followed in a satisfying manner, the others, whether
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 is
Trans- immaterial, so long as the resolution chord contains
ference of the note it demands. In Example 229 the B flat, a
Discord, pa^j,^ (jf ^jje augmented sixth chord, leaps in an
unrestricted manner to the F in the second bar. In the
Wagnerian motives, only some of the dissonant notes resolve,
whilst others proceed freely. The Tschaikowsky and Reger
method is endorsed by the Parry extract (Example 24). The
rule might run : — " Any discord is allowed to jump summarily
105
106
MODERN HARMONY
to the tonic harmony." This procedure is endorsed by the
" elision " principles mentioned later.
Ex.229.
Moderate
Cellil. cantabile
MOSZKOWSKl,
"Prelude et Fugue" for Strings.
i
^g
f
W
(orch)y.n.
^
i^S#=
^^i=
^M
S^
CeUi n.
Ex.230.
WAGNER,
"Gotterdammening"Act IIL
Ex.231.
Allegretto vivo
te
TSCHAIKOWSKY, Third Quartet.
m
^^
'^^
r
efc.
RESOLUTIONS, ELISIONS, AND CADENCES
Ex.232. REGER,Op.80,No.6.
107
In tHe MacDowell extract, the highest note of the discord
in bar two virtually resolves on the E in bar three, " whilst
the resolution of the D flat in the Strauss viola part is given
to the 'cellos and double basses. In modern suspensions the
harmony frequently changes on the resolution note, a course
subversive to the principle of the older suspensions. In
Example 235 we see a very poetic case of suspended resolution
from T. F. Dunhill's fine Phantasy-Trio for pianoforte, violin,
and 'cello. Another device is the alteration of one of the
notes in changing to another position of the same chord
(see Example 236).
Ex.233. MAC-DOWELL,
aempiice^ W ald-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 modern
harmonists from Wagner onwards. If the discord be a chro-
matically altered chord, the process is even clearer. Any
clearly expressed design or sequence, or any obvious intention
which serves the composer's expression, is sufficiently con-
vincing to dispense with any need of resolution on the part
of a discord. We have said that any discord may return to
the chord which preceded it, and when the second chord
recurs, as at the " Magic Helm " motiv, the chord at (a) may
be almost anything. If the phrase clearly ends on a discord,
the mere repetition of it, as in Elgar's "Angel" theme in
"Gerontius" dismisses any resolving propensities. In the
Scriabine example, the repetition is not quite so exact, but the
same principle is perceived.
Ex.237. WAGNER,"The Ring'.' DEBUSSY,"Pelleas','p.l43.
ia) Ziemlichjangsam. ^ ^""^ ModereJ,
^
I
I
ae
u
i
a)
m
r
M
1^
Muted ^
Horns /*
(OrchJ
'Hl\>l
M
f^
"^f
7-i\y\,i'^^
^^
RESOLUTIONS, ELISIONS, AND CADENCES 109
Ex.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 and
Necessity commonplace. It is as though someone breaks in
for upon a well-sustained conversational rally by some
sions. ijajia^j remark about the weather. Consequently
the composer counts on taking many of these chordal steps
for granted, and effects an elision. One of the commonest
applications of this occurs in the familiar " Pathetic Cadence,"
where the natural chord after the "Neapolitan sixth" is
frequently omitted without any "false relation" being felt.
Many less usual resolutions may be derived and regarded in
this way. The Bridge example 2416 and the extracts Nos. 231
and 232 may be explained in the same way as the Beethoven
Example (242), where, in approaching the return of his first
A Beethoven subject, the composer was so carried along by the
Example, impetuosity of the movement that he missed his
Dominant chord entirely, and took it for granted.
110
Ex.240.
Allegro moderato.
MODERN HARMONY
ELGAR,"Gerontius."
Ex.241.
,(a) "i
perhaps
^^
^
^
^=^
:^
(b)
^
^^
-^
-joc
perhaps
w
W
-^
33=
ft W
|>eiliaps
^
■©-
«:
3C3C
TJ-
^s;:
^
Ex.242,
Prestissimo.
^
BEETHOVEN, E minor Pf. Sonatx
-i») (b)
^F^=r
S
/>/»
^''^ -^ f^
V ^ V
m
I
Naturally these elisions cluster most round the set
Relieving cadences. As regards middle cadences, and often
the final ones, the matter of accent plays an important
part. Composers seem to have made a dead set
against the so-called " masculine " cadences, and are now
favouring largely the " feminine " endings, which allow the
_ _ final Tonic chord to fall on any of weaker beats.
Endings? '^^^ trait may be studied in Brahms, Reger, and
Ravel, and is exemplified in the Tschaikowsky and
Reger extracts. Examples 231 and 232.
RESOLUTIONS, ELISIONS, AND CADENCES 111
But the raost modern way is to leave discords to evaporate.
Evapora- This may apply to all pauses and breaks in the
tion. music, but is cultivated specially in the final chord
of a piece. The modem composer takes Shakespeare at his
word,
"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 beautiful
timbre for his final chord, which may float away deliciously
on the undamped chords of a drawing-room piano.
Cadences. °^ ring out from the orchestra and chorus in
startling fortissimo, awakening the full echoes
of some vast auditorium, or die away vaguely with a
question on its lips, as in the delicious Schumann song,
" Im wunderschonen Monat Mai."
Ex.243.
Andante
SCHU MANN,"ln May"
morendo
Ex.244.
Moderato,
CHOPIN, Prelude in F. 0p.e8,NO23.
1»-pj^ — — —
112
Ex.245.
MODERN HARMONY
BANTOCK/'Sappho."
rail, molto fT\
Ex.248
I
,PPP
- RAVEL."Asie
t^r
pppp
In the following Beethoven extract we have apparently a
free treatment of the passing note D flat in the first violin
part. The G sharp in Example 2476, too, is treated in a similar
fashion.
Ex.247.
BEETHOVEN,
(a) Adagio^ String Quartet,N97. (^) vivace
FLOTOW,
Overture to" Martha."
^^
Ite
i
The "harmonic studies" and pieces written on "enhar-
mony " principles come under a similar category. They are
written round a certain combination, and their endings are
derived from the foundation chord of the piece.
RESOLUTIONS, ELISIONS, AND CADENCES 113
Ex.249, Op.63.
Ex.248. _ SCRIABINE,Op.57
^^i te $
^
^^
Op.56,N94.
O
CHAPTER X
IMPKESSIONISTIC METHODS
Before analyzing the harmonic technique of the Impres-
sionist style, it would be well to attempt some definition of
Definition ^^® term, — a very difficult one to define. The
of Impres- word Impressionism is applied generally to music
sionism. ^ which " mood " and " atmosphere " predominate,
frequently compelling form, harmony, and tonality to occupy
a secondary place. It is a record of the effect of certain
circumstances, facts, or scenes upon the feelings of the com-
poser, whose aim is to transfer this effect to. the listener
expressed in the terms of the subtlest and most phable of
natural sounds made articulate. Others would define it as
the result of the recognition of the true value of natural
sounds in relation to all the circumstances surrounding music
and its hearers, and a further recognition of the necessity of
utilizing those circumstances.
The chief argument is the view taken of chords, as to
whether the chord remains a combination of so many notes,
or whether it has become a separate entity through such
combination. In support of the latter view, the Impressionist
will 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, but
a star."
But, as we shall see later, the Impressionists do not follow
this view in its entirety, although with many of them the
^j^^ application of it is perhaps their chief harmonic
Technique device. As Professor Niecks has weU said, the
of the Im- thing itself is older than the name. Many passages
pressionis s. .^ Purcell and in Mozart — the introduction to the
C major Quartet, for instance— are distinctly Impressionistic
114
IMPRESSIONISTIC METHODS
115
in aim, whilst scores of passages in Beethoven — the opening to
the Ninth Symphony and the overlappings in " Les Adieux "
Sonata, for instance — reveal the foundation of these modern
schools. It is difficult — indeed, it seems almost impossible— to
draw a line between Impressionistic things and the more
formally constructed music.
Still, there is a vast difference between donning the mantle
for special occasions and making it one's regular garment.
The reflection of life is the mission of art, and it was but
natural that the modern trend of things should discover
hitherto unsuspected qualities and new possibilities in the
vrorld of sound, as also in the realm of colour. Alike in
Debussy, Ravel, and their adherents, as in Manet, Cezanne
and their allied schools, we find a wonderful development of
one quality, sometimes almost to the exclusion of all the
others.
An impression is less definite than a thought. A single
«hord makes an impression, but it requires a succession of
diverse harmonies or notes to convey a distinct idea. " Very
w^ell !" says the Impressionist, " if any one combination of
notes conveys something of the sensation which I want, if
I reproduce that chord on various degrees of the scale I
strengthen the impression by such repetition." Thus we get
his chief harmonic device, which consists in similar motion
by fifths, by common chords, by discords of the seventh, ninth,
■eleventh, thirteenth, and so on.
A single perfect fifth exercises a remarkable emotional
pow^er over some people. Beethoven recognized this vphen
ie penned the opening of the Ninth Symphony, and Wagner
tells us in his autobiography what a curiously searching and
almost mesmeric effect the mere tuning of a violin exercised
over him.
Ex.251. BEETHOVEN, 9th Symphony.
Allegro ma non troppo. pp sotto voce
1
^^
i
^
^m
Stc (Hns-sustalned)
m
pp
CE
6 segue
116
MODERN HARMONY
Bantock has shown us its power of development in his
splendid musical picture of the desert in " Omar Khayyam "
The (see 168-184, Part I.), where the fifths are used in
Emofional various ways for emotional effects of imraensity
of "the^Open ^^^ infinitude of distance, the atmosphere of the
Fifth. piece being intensified further by a realistic por-
trayal of the endless tintinabulation of numberless camel
bells of all sizes and degrees of tone. Bossi has similarly
availed himself of the open fifth for the commencement of
his oratorio "Paradise Lost," and numberless other cases
spring to naind.
If a single fifth possesses such powers of expressing
elemental immensity, what of a passage of fifths ? The very
first attempts at Mediaeval harmony were on Impressionistic
lines.
Ex.252.
GUI DO dAREZZO (circa 1022>
§i
-rr-
"^ic^
ti i\
TT"
The range of emotions under the sway of the fifth is by-
no means limited, however, to one order of mood. What
diablerie 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 delicious
little 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, and
Grieg, turn to the pages of Debussy, Ravel, Cyril
Scott, Vaughan- Williams, Duparc, and Chausson, and then
decide whether fifths are always barbarous, crude, and
ungrammatical.
Ex.253. Vivace. BANTOCK,"Fifine at the Fair."
Fls.
Vns.Cl. Ob.
Ex.254.
Moderato
IMPRESSIONISTIC METHODS 117
KORNGOLD, 2nd. Sonata, Op.a.
Hitherto the passages have been mostly scalar. The leaps
in Korngold's Sonata are very telling in their effect of crude
power. The fifths, however, are seldom open, and we shall
discuss their further treatment when filled in with the third,
or enriched by the seventh and ninth. In Example 255 the
leaping fifths are the characteristic feature, as the thirds are
alternately major and minor ; but the opposite view must be
taken when the fifths are in the two lowest parts, when they
simply act as a fe'm6?-e-producing factor (see Example 256).
The same may be said of Example 257, where the fifths are
considerably higher in pitch.
Ex.255:
llfc
Vivo.
^
GROVLEZ, L Almanach aux Images.
^
^
f=^
{Pt.)p e spiritoso
^^m
t
I
I
T
^=^
E^
f
^^F^
^
Ex.256. ,, DEBUSSY, „
Lento con calma. La Damoiselle Elue.
«
». * ■
pp molto sostenuto
^
-*-
»• 5t-
etc.
118
EX.2B7.
MODERN HARMONY
4llegroMntroppo. CHOPIN, Mazurka in C.
MoJ i J J'
m
?
3e
m
s
i
(Pfl /»p so/lfo ooce
■''^^tiniF'
^
^
Examples 258 and 259 apparently belong to a different
category. Here all the notes produce but one chord, as shown
in the scheme, and many people would sustain the whole of
the passage by the use of the pedal.
Ex.258. Con fuoca
CHOPIN, Nocturne in F, Op.I5.
_ (Scheme)
4^'''^'»jjjjjj jj^
Ex.2B9. Lento molto
tranquillo.
DELIUS, Funf Lieder, N92,
(
#^^-
fc^
^
^ ^
^
^
(scheme)
^59 " A '
(Pf.) pp
^
=d
^
^
_»
\
^ ^ o
M
p
^
5 3^r:i
9=1
-<^^
st= 1
^=j
The impression of a common chord may be strengthened
by repetition under similar conditions. Sometimes the chords
are all major, more rarely all minor, and most frequently
mixed.
IMPRESSIONISTIC METHODS
119
This device, like the others, is no special patent of the French
school, although they are responsible for its extreme develop-
„ ment. Example 261 is a passage by Verdi which
Chords in was Written miles away from the influence of the
Similar Parisian schools. It is wonderful in its portrayal
of lago's insidious suggestion. The passage from
Cyril Scott shows the use of all major chords, whilst in
Example 260, the passage from the Ravel Sonatina consists
chiefly of minor common chords.
Ex.260.
Modere.
RAVEL7 Sonatina.
^m
(pf.)
fffl^
j^^Jafl*
Ex.261.
VERDI,"Otello!'
M:»,/Pi''r'r''r if r¥r i i i
Be . ware, my no.ble lord of jea . lou . sy!
^
i U^i
W
2==i
^
^
PPP
m^
*
TT
ii'F
« *
Ex.262.
Allegro.
C. SCOTT, "Jungle Book Impressions"
(Scheme.)
120
MODERN HARMONY
Such passages are much better when they are not self-
supporting, 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, scale-
g. _, wise. Such passages may proceed either diaton-
ically, as in Example 265, or chromatically, as in
Example 266, where a curious reaUstic crick is given to the
passage by a perverse note in each of the phrases.
Ex.264.
POLDINI,"Zigeuner Novelle,' Op.88,N98.
IMPRESSIONISTIC METHODS
121
Ex.265.
Adagio non troppo
I (Cello)
DOHNANYI, 'Cello Sonata.
Ex.266.
Sehr lebhaft.
STRAUSS/'Till Eulenspiegel'.'
The use of successive " six-fours " in EachmaninofP's song,
Six-Fours ^^^™pl6 267, where it is accompanied by a pedal
above and a pedal below, is diatonic, as is also the
case in the Albanesi Sonata.
Ex.267.
Lento. „
(Voice) P
RACHMANINOFF,
"To the Children" Op.26,N9 7.
(Voice) IT ^ , L, K I t . i
l^^ffi »
How of t.en at midnight in days long since fled.
f' f-_J!'
'^^i.W °
j_2
i.
^i-
1 r
122
MODERN HARMONY
Ex.268. . . , /J .
Andante. (J: 68.;
8~
C. ALBANESI, 5th Sonata.
In the Debussy "Images," we have a suecession of "six-
fours" very varied in quality, whilst on the other hand,
in the " duodecuple scale " writing of C^sar Franck,
^uJton^c" ^^ have the reproduction carried out exactly, in
the accompanying figure, and it should be noticed
how well the tonality is held together by the sustained F
sharp in the bass (Examples 269 and 270).
Ex.269.
hi 4lfiR'' ^
DEBUSSYjimages"
ff^
^^
pp
:»!f t „r?
I
f^J M^
fTJr|J
m
IMPRESSIONISTIC METHODS
123
Ex.270.
Allegro ma estoso^
FRANCK "Piec e Heroiq ue"
This method of exact reproduction has led to what the
older theorists would call a succession of " dominant sevenths,"
but, as a matter of fact, any of the forms of the
Seventh. Seventh chords in Example 271 may be used in this
manner. In Examples 272, 273, and 274 we see the
exact method of reproduction.
Ex.271.
(b)
(c) (d) (e)
(fj
Ex.272.
Tempo di mazurka.
CHOPIN, 21st Mazurka.
Ex.273.
*
CHOPIN, Prelude in Ctt minor.
u iJ^U \J
luTsftj^y /»p
124
Ex.274.
Molto adagio.
MODERN HARMONY
J. B.M?EWEN, Elegy
^
W^.
5 P
f
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 realistic
purposes in Strauss's " Don Quixote," where the reproduction
varies in the quality of the intervals.
Ex.275,
G. DUPONT,"La maison dans les dunes"
sourdine
Ex.276.
STR AUSS,"Don Quixote'.'
IMPRESSIONISTIC METHODS
125
With the " ninth ' chords, the variety is still larger (see
Example 277). Examples 278 and 279 furnish us with a very-
fine use of the form at a. It should be noted that
Ninth" whilst Franck founded his passage upwards from
the bass, Ravel nearly always adopts the downward
method. This is a characteristic of the latter composer. The
forms at a and h have undoubtedly the greatest claim as
purely fomfere-creating devices.
Ex.277.
(a)
^
(b)
(c)
rf
(d)
(e)
(f)
^^g
(g)
^P=
etc.
Ex.278.
«J-J ^ i
FRANCK, Symphony.
.J. i> I (Scheme)
- Ip i -rC-rp ii Tpi
^^
^
m
»
^
T- nr ^ '«r ^ r ^
Ex.279.
Larghetto.
RAVEL;'Pavane'.'
(Scheme)
1
^^^^P
«^-^
'>-»ijj-
JiJi u
The use of the inversions of the " ninth " chord is seen in
the f oUoAving example by York-Bowen, where the progression
126
MODERN HARMONY
is also real, the chords apparently being formed upwards
from the bass, the opposite process to that of Ravel in Ex. 279.
Ex.280, Allegretta
A.
YORK-BOWEN, 2nd. Suite.
(Scheme)
In Example 281, in Rebikoff's psychological drama
" Abgrund," which is a full exposition of the Impressionistic
use of the so-called fundamental discords, we find
Other |.j^g following uses of chords of the eleventh and
thirteenth on a chromatic bass, whilst the Wagner
extract shows a purely Impressionistic use of the " augmented
triad."
Ex.281.
lai Largo.
^
m
i
lb)
SgJ
REBIKOPF, "Abgrund*-
i^fe
i
Orch )/?
*
^mi
"if
i§i
fe
¥
^
tlths.
ISths.
Ex.282.
Massig bewegt.
WAGNER/'Siegfried."
IMPRESSIONISTIC METHODS
127
More modern chordal construction may be seen in Ex-
amples 283, 284, and 285. In the Cyril Scott extract we have
the outlining of the melody in fourths (worked
b^FbSrths downward from the upper note) against an arpeggio
and by of E major (with the added sixth) in the bass. In
Fift s. j{,aYel we have a gruesome treatment, almost
humorously reaUstic in construction, by fifths in the bass,
whilst the Albeniz passage is frankly and purely Impres-
sionistic. Further developments may be seen in Schonberg's
Opus 16, where chords built up by two unequal fourths (one
augmented, thus producing major sevenths) are repeated in
this manner.
Ex.28o.
Andante amabile.
a
C. SCOTT, Poems. N? 2.
Ex.284. Treslent.^:^ ^^
RAVEL, Gaspard de la Nuit."Le Gibetf
un pea marque
Ex.285.
Allegretto.
ALBEN IZ,"Yvonne envisiteV
ies2 Ped.et tres doux
128
MODERN HARMONY
The example by Stravinsky is exceedingly interesting, as
it presents Impressionistic treatment of three distinct chords
in the form of appoggiatura rushes. At (a) we have 'the
diminished triad, at (6) augmented triad, and at (c) the chord
of the fifth with the sixth. The string work, which forms
only a portion of the score, is mere accompaniment to the
more important outhning of the " wood- wind."
Ex.286. Con fuoco,
STRAVINSKY, "Feuerwerk."
Numerous examples of such application may be found
throughout this work, but there are certain cases of con-
secutive sevenths, ninths, etc., which seem to rise
Exceptions. °^*' ^^ ^^^ part-Writing, and need to be regarded
differently from the passages which are avowedly
Impressionistic in technique. This is the case with bar four
of the following extract, where the ninths seem to come quite
naturally from the leading of the parts, as also do the sevenths
in the duodecuple writing in that exquisitely beautiful
cadence at the end of Strauss's tone-poem, "Don Quixote."
A similar passage occurs at the opening of the slow move-
ment in Debussy's String Quartet in G minor.
IMPRESSIONISTIC METHODS
129
Ex.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
ALBENIZ,"Fete-Dieu a Seville'.'
_5L r\--
* The reader will have seen an important difference in the two
classes of reproduction, the diatonic and the real. It is interesting
to notice that, speaking broadly, we may associate Impressionistic
development on the real lines with the French school, whilst
modern German and Russian schools have shown a preference for
the diatonic lines. It is significant that the "real" method is
used chiefly by those composers, like Debussy, who follow the
natural fundamental series of harmonics for the formation of
their chords ; whilst the less exact method is adopted more
frequently by composers who build their harmony empirically
130 MODERN HARMONY
The foregoing remarks exhaust one of the chief charac-
teristic devices of the technique of the Impressionist
school. It was not invented by them, but they took the
device up so eagerly, and developed it with so much zeal,
that, as an end in itself, it has now reached the point of
exhaustion. A passage harmonized simply in consecutive
chords of the seventh is too stale and trite now for the
seriously minded, and when the device is reanimated merely
by the use of the rarer chords, it easily becomes extravagant
(see Example 205).
But the principle may w^ell be absorbed into the general
technique in multitudinous ways, and with the happiest
. . results. Used as a stream of harmonic colour
into against one or more free parts, or against another
General harmonically coloured stream, or even present
only in some subtle spiritual way, the apparent
cul de sac opens out into vistas of wondrous beauty. It is
this which makes Debussy's songs so much more interesting
than many of his pianoforte pieces ; but the master who has
clearly pointed the way forward in this respect is Maurice
Ravel. Examples 217 and 269 give but the merest glimpses
of the widening of harmonic beauty and potentiahty for
which this highly developed and complex personality has
been responsible. This particular line of development is
discussed further (Chapter XII.) under the head of Outlining.
like Schonberg. . . . Whilst Avriting this chapter, the author
had the opportimity of making the following experiment before a
' ' musical appreciation " class of some forty boys. Two songs, which
the boys knew well, were taken on the pianoforte, accompanied
purely by Impressionist harmony. The songs chosen were not, of
course, well suited to this method, but were taken as extreme tests.
With Schubert's "Wanderer's Night Song," whilst the original
diatonic harmonies were preferred, a majority of boys voted for
the real reproduction of common chords, whilst with the more
energetic ' ' Muth, " by Schiunann, most of them preferred the German
Impressionistic device. As to the quitting of the last chord of
siich a series, they all preferred it to resolve in some way into the
older system. The inferences seem to be that the real reproductive
Impressionistic terms suit slow and soft progressions, whilst the
more diatonic reproductions soimd better with the louder and
more vigorous melodies.
CHAPTER XI
HORIZONTAL METHODS
Just as some kind of equal temperament — tonal, semitonal
tertiatonal, or it matters not what — will always exist side
by side with the true natural tuning, as a medium through
which we comprehend music, so the balance has always
oscillated likewise between the "horizontal" and "perpen-
dicular" methods of composing and listening — in other words,
between the harmonic and contrapuntal styles. But com-
posers who are avowedly harmonic rather than contrapuntal
— in the old sense of the term — are frequently writing music
w^hich must be regarded as moving mentally along a given
plane, whilst putting as little weight as possible on a perpen-
dicular listening. When we listen to such passages as the
following —
Ex.290.
Allegro.
BEETHOVEN,
"Les Adieux" Sonata. Op. 81a.
^
^^
:§=
(Pf.)
TT
s
ffi
M
^
ft ]rff\o
U^flifff
')-yl. "
m
w
^
131
10
132
MODERN HARMONY
Ex. 291.
ii
Vns.
DVORAK,
"Serenade."
^^
(Orch.) PP
Ex.292.
Andante moderato,
MARY LOUISA WHITE,
Fantasie"The GuestHng"
we are using our ears in quite a different ivay from the
aural-mental listening in the slow movement of Beethoven's
Sonata, Op. 10, No. 3, for instance, or even of a Bach fugue.
With such apparently cacophonous passages as these, some
atoning factor, such as the easy perception of a definite
intention, or the carrying out of a fixed design, must be
sufficiently evident to induce a mental regard other than the
purely perpendicular listening. With the Dvorak example,
the intention of combining the diminution of the figure with
the original form is obvious, and the matter is made still
clearer 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 alter-
nate. How beautifully Wagner enforces this hori-
Unes? zontal listening in the two attenuated lines of his
violins, gently carrying the ear as well as the eye
to the far distance, where the appearance of a sail is expected !
In the Stravinsky example, the aural-mind at once accepts
HORIZONTAL METHODS
133
the pedal-chord on the strings, and applies itself to following
the outlines of the woodwind. Where these clash, the mental
power asserts itself over the physical, by admitting the
imitation as a sufficient atonement and recompense.
Ex.293. Lento moderate.
Vns.
m GNER."Tristan',' Prelud e, Act EL
Ex. 294.
Pice,
(sounding 8X«^
F1.I.II.
Str.
STRAVINSKY,
"L'oiseau de feu."
In Example 295, also, the mind is listening horizontally,
and the momentary clashes are not noticed at all. The
completely similar motion in Example 296 is as interesting
as it is unusual. We have a pair of fifths at the outset, which
are ambi-consonant, being taken by leap of the third, and
are therefore always acceptable. After this, the intervals
vary continually, the spacing getting wider and wider, and
the whole passage carries us on to the final Tonic, in a
delicious downward sweep as natural as the alighting of
a bird.
134
MODERN HARMONY
Ex.295. (Angelic Chorus)
Poco lento. pp^
ELGAR,"Gerontius'.'
m
(Chor.)
Praise.
^^^
to . be His Vice . roy in the world of
£
fefeS
a
^
to the
|'^''NJV;,j,
Ho .
li . est-
^^m
mat.ter and «fsense,Up on the fronjtier towards the
Ex. 296.
Con moto sonnolento. MAC-DOWELL,"To a Water Lily!'
In these and all similar cases, the aural intelligence is so
engaged in following the interesting melodic lines, that it has
a diminished power left to attend to the exact harmonic
inter-relation of the parts. Even if the ear had time to do
this, the mind would account at once for any comparative
cacophony, 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 the
melody in itself would atone for the free progress of the
A Melodic ^^®^' ^^^ ^^® passage is also sequential; or the bass
Line and a may be accounted for, as an appearance of the
"sh-eam!*" "l^*'^ together with the root— a frequent practice
with modern composers. In Example 298, we have
an Impressionistic succession of augmented triads in the
HORIZONTAL METHODS
135
treble against a contrary moving bass. Here again the
listening is horizontal.
Ex. 297.
Schnell,
STRAUSS,
"Alsosprach Zarathustra" Op. 30.
Ex. 298.
te
PADEREWSKI,
Sonata in Et minor, Op. 21.
iS
^S
i
^¥l^
p
W
^H^^
-6 • al }-e-
^. ^ ^
l^^
te
It is but a step onwards, from one melodic line against
a harmonic stream, to consecutive streams of harmony, as in
^^^ Examples 299 and 300. In Example 299 there is
Harmonic 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 the
parts and the assistance of the contrasted tone-colours, would
atone adequately for any momentary clashing of the shorter
notes. Tone-colour' again would play an important part in
such a passage as that in Example 300, where diminution
of outline in the treble is present at the same time as
augmentation in the bass, together with the direct form in
the inner strings.
136
MODERN HARMONY
Ex. 299. FlvPicc.
Andante m aesto so, '"^m.'tz.
C1.F1.
Ex. 300.
i i ' !i iTT E I %
A.E.H.
^^
etc
(Str.)
^
.^
I
m
C.B.
VPW'
f-
In the ending of Strauss's " Death and Judgment " we see
the Beethoven idea, given at the beginning of this chapter,
8till further devel oped. The intention is so obvious, that the
rubbing of the various planes is easily forgiven. In " Islamey,"
Balakireff has two streams of sound running in the same
direcMon, with one moving more slowly than the other. This
constitutes one of the most picturesque effects in the whole
of pianoforte literature.
HORIZONTAL METHODS
187
Ex. 301.
Moderato tranquillo.
STRAUSS, "TodundVerklarung."
Ex. 302.
Si
Allegro agitato. BALAKIREFF, "Islamey."
s-'s
[ji/:^ tf '"1
molio
e£
E
E
At one of the most powerful climaxes in Strauss's " Helden-
leben," we have three distinct streams, the brass holding on
rich but ordinary cadence-chords against the down-
Sh-eams Ward scale of eight horns in unison, whilst the
violins take an upward progression in notes of half
value. Clashes occur at a, 6, and c, but are hardly noticed
by the intelligent listener.
las
MODERN HARMONY
Ex. 303.
Sehr lebhaft.
STRAUSS, "A Hero's Life."
fi- —
Vns.Vas,
Fls. Obs,
Cls.il Tpt.
S Rdrns.
Tbns,
Tubas, &
lower
Strings.
The next advance is the combination of two or more
streams in different keys. This feature leads us rather near
to the study of Bnharmony, which is explained
^Ti'^r"^ later; but the device originated entirely on the
*^*' lines of "horizontal thinking" with the Northern
composers. Sibelius has a passage in his Fourth Symphony
where the woodwind instruments are moving in the key of
A major, against a remarkable pedal-figure in E flat on the
strings. It should be stated that the string pedal figure is well
grounded on the ear before the A major colour is introduced
on the woodwind. Our example is taken from the develop-
ment of this passage. After these three bars the two orchestras
work on together in contrasted keys for some time before the
strings finally join the woodwind in the key of A major.
Ek.804. SIBJfiUUS,
Allegr o^ 4th Symphony, Op. 63.
■rm
jString Pedal flgura previously estatUshed
HORIZONTAL METHODS
139
At one point in Wolf -Ferrari's " Jewels of the Madonna,"
the composer has contrasted the key of E minor on the
orchestra against the key of E flat in the brass on the stage
in a novel way, but the passage is somewhat crude. Scarcely
more acceptable are the gruesome rushes of fifths in Strauss's
"Elektra," even if we had time to listen to them as two
streams ; for the two planes of fifths are brought too close
together for the principles of Poly tony* to be admitted.
WOLF-FERRARI,
Allegro molto. _ "I G^m della Madonna'.'
Ex. 305.
?",^tage.yj
\ "-^ })^})i J)v'K,J-Jvi)7 j^y
^
P ^p^P ^prH-^ ^
" f - -
i # k4^^
^(Orch.)
(E minor.)
t>--tf r, -
^^
Ex. 306.
STRAUSS, "Elektra'.'
The composer who has carried this technique of simul-
taneous harmonic streams furthest is Schonberg. In his
" Fiinf Orchesterstiicke " we have several combined streams
of harmony, all founded on unusual chord-formations, and all
proceeding more or less independently. His pedal-chords, and
pedal-figures too, consist of unusual formations. In fact,
Schonberg has done for the empirical system of chord-
building aU that Debussy has done for the technique of the
natural harmonic series.
* See p. 151.
140
MODERN HARMONY
Let us pass on to a more interesting question, springing
from the "horizontal listening." This view of harmony is
, responsible for many of the newer and most
derived beautiful chords in the modern technique, for most
Hori- of these found their way first into the vocabulary
by means of "passing chords." In Hegar's part-
song, we find the diminished octave thus introduced, whilst
in the Grieg Funeral March, we have one of the rarer forms
of the " augmented sixth " chord.
Ex. 307. Vivace.
HEGAR, Op.t2, N96.
Ex.308.
GRIEG, "Ases Tod"
Andante doloroso.
^^
x^^
I (Orch.) [,
^
A horizontal listening will also explain the following
examples, although the second chord in Elgar may be
regarded as a use of the minor ninth together with the root,
thus constituting a minor continuation of the idea seen in
Example 297 (p. 135).
STRAUSS,
l\ ,^, , "TiUEulenspiegefelustigeStreiche."
Sehr lebhaft.
y dim. -
»tff: \\Y
HORIZONTAL METHODS
141
Ex.S"10.
ELGARS'The Apostles."
Similar methods are responsible for the five-part chord
of Schonberg; the three inner parts move in major "six-
fours" in contrary motion with the treble. This resultant
chord has come to be accepted widely, with much freer
treatment. In the Poldini example, we see the minor-second
used in a similar way, the phrase being copied sequentially
in bars three and four.
Ex. 311.
SCHONBERG,
"Lieder,"Op.2,N?l.
^
t;, i) | l^p p^ ii j)p^ p I I
Voice. Aus dem meer -griLn enTei . die
Ex. 312.
Presto.
-\ \ 1 1 m f
it#gg
POLDINI,
"Zigeuner Novelle','Op.38, N? 8.
^^
^^
etc.
W^
^
^
142
MODERN HARMONY
Example 313 forms an interesting problem in musical
reasoning. It is difficult to classify the chord on the second
beat, but the intention is quite obvious.
Ex. 313
Vno.S
REBIKOFF, "Danse caracteristique."
^m
^
^
p
In Strauss's beautiful song " Allerseelen," a lyric piece of
sheer harmonic and melodic beauty, we have an exquisite
chord at * accomplished by a step in contrary motion in the
outside parts.
Ex. 314.
tt
Tranquillo.
STRAUSS, "Allerseelen."
" ^
JOt
(Voice) Well dream of May.
This brings us to the device of " reflection," which, so far
as the writer knows, has never yet been treated with the
.j.,^^ importance which it deserves. The following few
Mirroring examples give but a small idea of the large part
Device, ^j^jg device plays in modern music. This " mirror-
ing" of the music may be purely melodic or completely
harmonic. In either case the music of the upper pitch is
reflected by the lower sounds. It shoidd be noticed that
HORIZONTAL METHODS
143
whilst the major common chord is reflected by a minor one,
and vice versa, the " tonal " scale admits exact reflection within
its own system.
EX.S15.
\^t , !^
m
M
#p=#
>f ufr
^
te-
fp — ^
etc.
2E
We " reflect " the major scale vaguely when we play it in
contrary motion, but the real " mirroring " is shown in
Example 315 (c), as there both tones and semitones are truly
reflected. The ancient writers used to show it as at {d).
Ex. 315.
c)
6 ri ?
O '''I
It ]t,T yi'
^^
d)
^J ti ''
^
Both these reveal the real methods of reflection as opposed
to the diatonic treatment in contrary motion. The spirit
144
MODERN HARMONY
only of the device is seen in such passages as the following
extract from Mozart's C major Symphony: —
Ex. 316.
Allegro di molto. MOZART, "Jupiterj' Finale.
'^ . •&
= 5
m
'8 I M
^^
^ , n
lar
^gr
=8=
'\i I 8
3BE
c/e.
The older method often resulted in the production of new
chords, but the modern practice applies the principle much
more daringly.
Ex. 317.
Larghetto.
ELGAR, 2nd Symphony.
^
m
^
*JiUi
(Muted Strings.)
^^
^
itft
±±
Ex. 318.
Majestico.
BANTOCK, "Sappho'.'
^^m
*s
X.
'yjiwmn
^
*=t^
P
Ex. 319. ELGAR,
Moderate. "Orchard theme in "Falstaff."
Muted Violas k Cellos.
HORIZONTAL METHODS
145
We see a wider application of the method in the Parisian
composer's "Children's Cantata," written in 1904, and the
same idea is evidenced in the daring passage for brass in
Tscherepnine's psychological drama " Narcisse."
Ex. 320.
Lento.
(TheSeaJjBT^
PIERNE, "The Children's Crusade."
Ex. 321.
Allegro risoluto.
^^^p^e
TSCHEREPNINE,
"Narcisse."
i
The case with "pedal-chords" is somewhat different.
Once the ear has accepted a certain thing, the effect retires
into the background of the aural " retina," and only counts in
a secondary w^ay until some change or contrast has been
effected. It is a partial application of the familiar adage
relating to familiarity and contempt. From it,
Chords, spring all the "pedal" devices; and sorae of the
rarer instances are provocative of much thought.
Take, for instance, the daring horn passage in Beethoven's
Symphony in JE flat, vrhich is thrown on to a background of
A flat and B flat — a major second — on the strings. This is a
sufficient presage of the part which that new element, tone-
colour, was shortly to play in harmony. The idea reaches its
limit in such pedal-chords as that at the opening of the opera
of Wolf -Ferrari's " Jewels of the Madonna," and in the pedal-
chord, D, A, C sharp, held on for over a hundred bars, by three
bassoons, and later by the muted trombones, in Schonberg's
" Vorgefiihle," Op. 16.
146
MODERN HARMONY
Ex. 322.
Allegro.
BeUs.
WOLF-FERRARI,
"jewels of the Madonnal' {1st five bars.)
BEETHOVEN, Symphony Eroica.
:Ex.323. Allegro con brio.
(viu).)d! « it
A much pleasanter way of developing the idea is to accept
a concord as the background, and to experiment with chords
in some elevated plane of hearing. The assistance of the
tone-colour and spacing will be all-important.
Ex. 324.
»^
8 Fls. k g-:-"-y----~- :
Cl.Fagr.
HORIZONTAL METHODS
147
Such a pedal-chord is by no means a new thing, and
frequently forms the basis of harmonies of a quaint pastoral
nature or of a rustic simplicity. The marked notes in the
following simple ditty can only be explained on the assump-
tion of a Tonic pedal-chord in the first two bars.
Ex. 325.
Tempo di Valse
JOAN TREVALSA,
"Cowslips and Tulips."
It is but a short step from "pedal-chords" to "pedal-
figures." If the ear can accept a combination of notes as a
background on which to work more interesting
Figuras. figures, it can equally well place similarly a charac-
teristic figure. Witness the violin trill in Stan-
ford's beautiful First Irish Rhapsody and the little treble
figure in York-Bowen's Suite.
Ex. 326.
Allegr o molto
C. V. STANFORD,
1st Irish Rhapsody
Timp.
^Pl
*»'yfrfr
ret
mm
a
-&^
f r f ' f f ! •
11
148
MODERN HARMONY
Ex. 327.
Allegro vivace. YQ^K BOWEN, 2nd Suite.
The string and oboe figures in the " Danse Macabre " come
under the same classification, as also does the treble figure in
Example 329. The bell-like figure in Cyril Scott's third
" Poem" makes an even greater demand. The same principle
is very prominent in those harmonic studies of bell-tones
which so fascinate many of the French composers (see
Examples 330 and 339).
Ex. 328.
Mouvement modere de VaJse.
m
Ob.Fag.iiJ ^
SAINT-SAENS,
"Danse macabre."'
4^
^
*
^
nii i
Tpt.
Tbn a .
m
•K-^.
«s
etc.
I
^
g^^^^
Horn
^
g.
a^^^
etc.
(strings)
®
©■
^
etc.
Ex. 829. Allegro con brio
WOLF-FERRARI,
"Jewels of the Madonna.'
(Vocal parts omitted.)
HORIZONTAL METHODS
149
'Ex. 330. I
Moderate. (J =104.)
BLANCHE SELVA,
Cloches au soleil.(En Italic.)
sin 'nn nil siii
^
^
n^in^
r^n-
^
g
s
Ex. 331.
Moderato.
CYRIL SCOTT, "Bells" ("Poems" N9 3.)
The Jarnefelt figure in tlie popular orchestral Pralude is
continued almost throughout the piece, and the variations by
Borodin, Rimsky-Korsakoff, LiadofP, and Cui on a httle folk-
song tune treat the miniature theme in this manner. The
theme (Example 333a) is associated with a popular children's
game in vogue throughout the Russian Empire. But for
sheer modernity, the pedal-figure in the first of Schonberg's
five orchestral pieces stands unrivalled. The resolution (?) of
tt is seen at 3386.
EX..332.
Allegro quasi Allegretto,
Oboel.
ARMAS JARNEFELT,
"Prjeludium."
CB
(PuUStr.phi.)
150
MODERN HARMONY
Ex. 338a.
T
m
t
¥
n
ii
» r ■■
"'i
-m-
■
=N
CelUA
Basslin
actual
unison.
4 Tbns.
& Tubas.
Bass &
Contra
Bass Clar. A
Contra-Fagotto.'
Ex. 333b
SCHONBERG,
Five Orch. Pieces, Op. 16, N9 1.
One of the latest traits in harmony is a system of con-
structing it as viewed from several " planes " at once. If we
take the series of notes in Example 334, bar 4, we shall see that
it possesses in itself three distinct hghts — the diatonic element
of C major, as well as the sharp and the flat sides of tonality.
Portions of these three elements may be abstracted, and the
composer may choose to w^ork in simultaneous "planes"
partly independent, yet sufficiently cohesive on account of
their contiguity. These planes are usually built up by
fifths.
Ex. 334.
Ill U""^^
HORIZONTAL METHODS
151
The effect is frequently that of three distinct, yet simul-
taneous tonalities, working harmonically; but the principle
is quite different. Examples 335 and 336 are constructed on
several "quintal planes," whilst the commencement of the
harmonic stream by M. Louis Villemin gives the feeling of
four simultaneous planes.
Ex.3.'J5.
Au movement
..RAVEL, Miroirs,N9 2.
Ex.336.
Lent et receulli
G. DUPONT, Les Caresses.
(Scheme)
Ex. 3.37.
Moderate.
L. VILLEMIN,^
"Etude en polytonie generale?
P
f^
PP
^
WW
f^
1
^feS
f^
■^>U f^ -^ fcT
152
MODERN HARMONY
^
(Scheme.)
"1*-
etc.
g^
j) J-^-J-
t^fc
s
r
^
When these " quintal planes " are constructed upwards by
three super-imposed minor comnion-ehords, the "reflection"
is much more cohesive, and the descending series will account
for many of the " escaped chords," explained in Chapter XII.
Ex. 338.
fe
^
^^m
w
In the opening of Miss Blanche Selva's piece, as also in the
cadence of M. Seriey:x's harmonic study, we have simultaneous
thinking and hearing on two difPerent planes, not unrelated
to one another.
Ex.339. BLANCHE SELVA,
' , ' , ,\ , "Cloches dans la brume!' (Ardeche.)
Tres calme et estompe. (d:60.)
'"j~-i Scheme.
^^
^P
^
m
ppp
m
M
A^
T
T
Les 2 Pedals (sans lever les)
HORIZONTAL METHODS
153
Ex. 340.
(Final Cadencei ^ SERIEYX, ^Xes petits Creoles."
Modere.^
ey
It is not yet realized sufficiently what an important part is
played in harmony by the element of pitch. Many beautiful
"escaped chords" are possible by merely choosing a pitch
position in which they will easily evaporate. Such applica-
tion may be both absolute or relative, and the acceptability
of many passages in modern composers will be frequently
accounted for, merely on the score of distance of pitch, con-
trast of colour, or consequent proportion of sound volume.
This feature, however, wiU be dealt with more fully in the
next chapter (see p. 161).
CHAPTER XII
liATBB HARMONIC TENDENCIES
When we begin to apply suspensions, appoggiaturas— single
and double — elisions, and all the other devices, to the pre-
Widely ceding harmonic methods, we perceive what an
Differing exceedingly complicated thing the mere harmonic
Views, possibility of music has become, quite apart from
expression, volume, tone-colour, and rhythm. Numberless
styles have sprung into being from a hazy method of expecting
the mind to leap intelligently with almost intuitive swiftness,
from one pitch to another far removed, in order to secure
connection. This method seems to be related slightly to
" pointillism " in painting, where any connection between
the paint spots is impossible if too near and separate a vision
is attempted. On the other hand, the blatant and full-blooded
realism of Strauss, Stravinsky, Charpentier and Puccini, and
the strenuous search after the bizarre, the mystic, and the
outri, has led to harnessing together huge combinations of
notes which defy all analysis, aesthetic, rational, and scientific
alike. The raffinement of the percussive noises in Stravinsky's
ballets, the use of such accompaniment figures as the
following from " Prometheus " : —
Ex.341.
Allegro moderato.
Celli div. e
SCRIABINE.Prometheus'.'
^m
nff^ff^'^ffff^
PP
a
P^ EEff P'ESF
C.Bassl.dlv.
154
LATER HARMONIC TENDENCIES
155
and such things as Strauss's depiction of Tills death-rattle, the
dying shudder in " Don Juan," the windmill and the sheep, the
Realism ^''^ji'^S of Sancho Panza's ass in "Don Quixote,"
the swishing of whips in "Elektra," and the
screaming of " the baby in the bath " of the " Sinf onia Domes-
tica," aU surely point to a not far distant return into more
aesthetic channels.
The cultivation of sensuous tone for its own sake, of the
excessive and Spohr-like flattening of intervals to their utmost
saccharine qualities, the love of sheer sonority and
of^rlSesf ^ huge number of notes in the later styles of scoring,
all seem destined to have their return swing to a
style in which economy of notes is the one thing to strive for
in the expressing of ideas. Bantock, Elgar, Wolf-Ferrari,
Cowen, Butterworth, Morse-Rummel, Bristow-Farrar, and
many others may be mentioned as all having their economic
periods, 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 revise
his compositions by cutting out all unnecessary notes and
bars. A wonderful insight into the real expressive
lion ' power of sounds will thus be gained. The modern
practice and theory of " elisions," which is now so
widely developed, has the same end in view — a saving of notes,
of time, and labour for the composer, executant, and listener
alike, by omitting all that may readily be taken for granted.
So far, in the history of the art, we have had to deal with
chords of which one consonant interval, at least, formed some
part; but now, with "the cult of the second," we seem to
156
MODERN HARMONY
reach a point when discord is ciiltivated apparently for its
r,. . own sake. It is important to notice that many
in"the composers use the "second" in chord-formation on
Abstract. ^Yie softer side of the centre of tone- volume, evidently
wishing to replace a very definite effect by a ceitaiu undu-
lating increase in sonority. This use of the interval calls to
mind a practice of the older school of organists (now regarded
askance, but distinctly effective in acoustic places) of adding
a major second in the lower part of the keyboard to the final
Tonic chord. In Example 173 we see an elevation of this idea
by a modern composer.
An important exercise of one of the leading masters of
pianoforte technique consists of the playing of diatonic scales
very lightly and rapidly in seconds, whilst in one of Stra-
vinsky's ballets, " Le Sacre du Printemps," a principal theme
is hurled out by the trumpets in seconds, fortissimo ! Taking
a retrospective glance at the onward march of aural percep-
tion and accommodation, one wonders if the "second" will
share 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 masters
Ti. »«• of the more dissonant minor form of the " second."'
Ine JVlinor i -r> i mi
Second in In Example 43 we saw a case by Beethoven. Ihe
Harmony, striking verisimilitude in Bantock's beautiful can-
tata for a double chorus is obtained by a striking use of this
interval.
Ex. 343. BANTOCK,
"Christ in the Wilderness."
Choirl.
Choir n.
Mstico.
1=4:
3:
"•
Yet it pleased theLord to bruise Him
*»^i
= A
Yet it
11 : i m
it pleased the Lord to bmiseHim
Choir I.
LATER HARMONIC TENDENCIES 157
He hath
fnp
te
M
^mi
lEZI 2
*
■»■•
^^
-mrr-
pleased the Lord to
bruise
^m
Choir H
te
m
Him
^
^^
"'i'*.
-ji^ ^^
|>l|e^
=_-, He hath
^3
it pleased the Lord to bruise Him
But the master who has favoured it perhaps more than
any other is Maurice Ravel. Notice the very different resul-
tant effects of the clash of the C sharp and D in Example 344,
and of the G sharp and A in Example 345, and the astonishing
resonance of Example 209.
Ex. 344.
Assezdoux. ^ RAVEL, J avanel'
1=4
:^# tf* • 5 *^|f^
w
mf
etc.
' ^^- LJLi
f
Ex 845 'RAVEL, "Sheherazade?
Poco Allegretto.
158
MODERN HARMONY
We now turn to a modern development of an altogether
different kind. The plan of thickening the melodic outhne in
octaves, whether in the bass or the treble, is not
Outiin'elf confined to any one master or period. The doubUng
in the extreme parts seems to be the first breaking
away from the older paths. In the example from the
" Falstaff " of that grand old master, Verdi, we see a device
much affected by the younger Italian school.
Ex.346.
VERDl/'Falstaff.
3
'-"^^ J ^J^rYrJJ
C^sar Franck has a beautiful application of it in his
" Beatitudes."
These considerations bring forward the important questions
of the musical chiaroscuro which is obtained from the pitch of
Chiaroscuro ^ Passage, and also that equally important factor
in harmony, the spacing of the parts. Whereas
Wagner, MacDowell, and the sunny Albeniz may be mentioned
as thorough masters of the higher lights, Brahms and Tschai-
kowsky, perhaps, have handled the lower tones with the
greatest success.
From the facile enrichment of a part by doubling in
octaves, we step on to thickening a given part by sixths and
^ chords of the " six-three." This belongs to the older
in°Sixthf. practice, but modern examples of it will be seen
in the following extract from Elgar's great classic
and in Example 265.
LATER HARMONIC TENDENCIES
159
Ex.347.
Allegretto.
ClSj^ —
ELGAR,"Enigma" Variations.
1
^^^
i?5*^
Fls. added ^ •• ^
^
^
Celli
The Dvorak Valse theme, given in Example 6, is one of the
earliest examples of doubling a part in fifths. Grieg came very
near to the same idea in several of his pieces. The three
following extracts reveal some very different uses of the
double outlining of a part by fourths : —
Ex. 348. REBIKOFF,
Andante. "Moment lyrique" for Pft.
Ex.349.
Allegro.
ELGAR,"Gerontius7
(Demoniacal ChorusJ
Ex. 350.
Tres lent.
RAVEL,
"La Valle'e des Cloches'
E.H.
L.H.
160
MODERN HARMONY
In Example 351 we see a beautiful application of a three-
A Threefold fold Outline in the melody, against a background of
Outline, double fourths in the inner harmony. The piece
requires to be thickly enveloped by both pedals.
m. d.
m.g.
Ex. 351
From the same.
The common -chord outlining in the Saint -Saens Piano-
forte Concerto is exceedingly interesting, and reminds one of
many of the novel tone-colour effects in his Third Violin
Concerto. It also constitutes an early instance of the Impres-
sionistic use of common chords in real sequence. The listening
here is assumed to be at least partially horizontal.
Ex.352,
SAINT- SAENS, 5th Concerto.
LATER HARMONIC TENDENCIES
161
The doubling of the outline in sevenths and in ninths, in
Outlining ^^® following examples will be regarded by most
in Sevenths people as distinctly experimental, although the
an Ninths, q^^^ passage may be highly commended for its
verisimilitude.
Ex.353.
Allegretto. (J:80J
SCRIABINE, Etudes, Op.65,N? 2.
Ex.3.54. V
Allegro fantastico.(J-zi44-ieo)
SCRIABINE, Etude, Op.65,N91.
If questions of pitch count for so much in the practice of
outlining, still more does the spacing of the various musical
constituents bear on the acceptableness of the
ChoHs "escaped" chords. These are generally highly-
placed chords, apparently totally strange to the rest
of the harmony, yet revealing, on a closer acquaintance, some
subtle tie with the more substantial chord below it. Strauss
places them very close together, but the qualification of true
tone-colour always counts with him.
162
Ex. 355.
• J: 68.
(|^ - i
MODERN HARMONY
STRAUSS, "Elektra?
iff.> I i i ; il r
j)p
g^ ^
A pianoforte application of "escaped" notes may be seen
in Example 168. Some theorists explain these as unresolved
passing-notes, or appoggiaturas ; but that there is some
more fundamental cormection is undeniable, and this may
perhaps be discovered on the lines of Polytony. When the
principal chord is sustained, any of the chords built up on
one of the other " planes of fifths " derived either from the
sharp or the flat side, may be struck above it and left to
evaporate. The acceptableness of it will depend largely on
the spacing, thus —
Ex.356, s"
fm
iA
\>\>A It
iivyiy
K
^
W
') \y • — ~ g
^
m
Of course, such passages are explainable as " pedal-chords,"
but even in such cases as Example 324, a and b, these chords
do not seem to be altogether unrelated, although at present
they defy all analysis.
CHAPTER XIII
MODERN MELODY
The widest and most powerful appeal in music— that of
melody — in many ways baffles the theorist in all but the most
Difficulty ^^i^tant approaches. We may faintly detect some
of Melodic sort of fundamental plan in the rise and fall of the
Analysis, climaxes of pitch-intensity, and discover openings
in the way of phrasing and breathing. We may have a
scale plan of the tonality, but the methods of inspiration and
the technique of melodic expression still lie amongst the
mysteries of psychology and aesthetics.
A few scraps of technical information are found here and
there. We know the confidence and power of the leap of the
perfect fifth and the perfect fourth in melody, which causes
it to be chosen as the vehicle of all powerful fugal enuncia-
tion, and of such confident expressions of faith as the opening
to Handel's "1 know that my Redeemer liveth." We all
shudder at the ominous tapping of the drums at the diminished
fifth in Beethoven's "Leonora"; but let us harmonize the
same note as an augmented fourth, and we get an assertion
of impudent assurance greatly favoured by the makers of
music-hall ditties. Of course, the value of the interval would
be altered again by the adoption of the " duodecuple " or of
the " tonal " standard.
The historical study of melody is, however, of great interest
because, apart from the question of folk-music, we find most
of the later harmonic innovations predicted melodically.
The augmented second and the diminished third both
appeared in melodic form long before the " minor ninth " and
"augmented sixth" chords came into harmony,
Prediction and the chords built by fourths and fifths were
of Modern heralded by such prophecies as the subject in
armony. rpgg}jg^j]j^Q-^g]j^y'g gixth Symphony and the opening
of Schonberg's Karomer-Symphonie. The ultra-modern writers
163 12
164
MODERN HARMONY
seem prone to introduce their more recherche chords ste/p-
wise, thus appealing to the ear first along a melodic line.
Modern melody differs from the older in four ways : (a) in
its much greater breadth (length of outline) and its largely
increased range, (b) in its rejection of a vocal
Melodic standard for instrumental music, (c) in its less
Character- formal divisions and more subtle outlining, and
isiics. ^^^ .^ being written often over entirely different
scale 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 over
Breadth large tonal tracts, whilst the instrumental melody
and Range, yoams at will over the complete aural range of
sound. Whilst the older melody panted along in short breaths
of two or four bars, and generally rhymed at the cadences,
modern melody sings on for v7hole periods with almost
imperceptible breaks. The Haydn-and-Mozartiau type of
melody seems a mere jingle of rhyming falls in comparison
with the Bach, Brahms, and Franck melodies, which are
aesthetic and psychological entities. A greater freedom of
chromatic 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 that
great vocal writer, Verdi, is significant ; whilst the Elgar and
Chopin phrases show the use of some of the less usual
intervals :
MODERN MELODY
16&
Ex.35S. Adagio maestoso.
Chor. jy^-' _ *
VERDI, Requiem.
*
ts e—
Rex tre.men.dae ma . je . sta ... tis!
Ex.359. Moderato e solemie.
ELGAR,"Gerontius'.'
gra.cious
Ex.360.
Lento.
*_ ^CHOPIN, Etude in E.
Ex.361.
m
BEETHOVEN,
String Quartet, Op.131.
"J ' tJ ^ 'j"
Undoubtedly the treatment of melody freed from the
conventionalities of form, sometimes even reaching to dis-
pensing with the barring, makes at tiraes for effects of
cataclysmal power. The impassioned outpouring of the double
basses in Beethoven's Ninth Symphony tells tremendously
by 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 these
Melody in composers Write in the same idiom for the voice
the Newer as for instruments, although one would think that
Scales, ^jjg standard would have been modified shghtly
with the former. It is not so, however, and the fact that the
166
MODERN HARMONY
Asiatics vocalize smaller intervals than the semitone, must
be borne in mind by those inclined to doubt the possibilities
of laryngeal development. The "duodecuple ' system does
not present the same difficulties as the " tonal," as it can be
carried up to a certain point on the diatonic basis.
Ex.362. (Sehr lebhaft.)
STRAUSS, " Ein Helde nleben."
Ex.864.
(Massig)Iangsam
STR ^SSl' Ein Heldenleben."
a.
^.AWrr»r iii r7! ^N
The 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 the
learning of a fresh scale-system founded on the chord given
in Example 159.
MODERN MELODY
Ex.365. Allegro molto.
167
CHOPIN,
Prelude in C minor, Op.28.
Ex.366.
SCRIABINE, Prometheus'.'
3^
J'ma dolce
Some modern writing for the voice is seen in the following-
examples drawn from widely different sources, and aU leaning
towards the duodecuple scale :
Ex.367.
Allegro moderate.
i
^i
ELGAR"Gerontius"
p \f »
j f m \ n>
Sancius for.tis Sanctus De.us, De profund.is, o. ro te.
Ex.368. (R^hig.) ^
With
i ij--ir r^r"r
te
DELIUS, 5 Songs, Autumn'.'
^p pf i^ ^A^Tr
out. stretch'd necks and
sing-ing they hast .en a
way
^^
i
I
/Harmonic\ b6
V outline. /
Ex.369.
Keck und verwegen.
J6 |6
S3
6-
'•iJL
HUGO WOLF,"Der Schreckenberger"
5
)i' J i j J>cfPr r,jjj J'J^p i "r
dadrauss.en oh.ne Rei ter, da geht dieWelt so dumm
168
MODERN HARMONY
There is a sort of "Pointillism" which scatters the melodic
Melodic ^^^®' ^y *^® large spacing of major sevenths. This
"Pointil- is permissible on the twelve-note system; but it
lism." j^g^y. ^,g regarded also as a frolicsome dalliance
with the chromatic scale on the diatonic basis. A full exem-
plification of this method will be found in the second of
Schonberg'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 " tonal "
medium.
Ex.371. .
Allegro molto vivace
SIBELIUS,
4th Symphony, 2nd movement
It is this strained " aural- vision " which causes most com-
posers to regard the so-called "tonal" scale in the light of
.<x 1" ^^® " duodecuple," and inclines them to treat it as
Melody. ^^ arpeggio of a chord derived from the latter.
This view is emphasized by the fact that the
boldest of the innovators seem somewhat ashamed of the
"whole-tone" appearance scalewise, confining its melodic
fragments to treatments of the bizarre, outr^, and demoniacal.
The lyric utterances are seldom more than mere fragments,
the connected use of the scale being apparently doomed, to
the lower regions of pitch. The following melody from
R^bikoff seems much more acceptable when regarded as a
series of mirror-like reflections in sets of three notes :
Ex.372.
(a) Vivo.
MODERN MELODY 169
REBIKOFF','Les Reves"0p.l5.
Many mourn the apparent exile of true melody from
Tnodem music as an irremediable loss. It was only natural
that composers' eyes and ears should have been all turned
towards the wonderful new fields of harmonic development
and orchestral colour for the time being ; but we have passed
long since the position of Berlioz, whose gaze at melodic
outhne was nearly always deflected by the glorious sheen
of tone-colour which hung around it. The old style of
melody is banished probably for ever, but a new harmonic
art is already emerging, through which the melodic outline
promises to shine more gloriously than ever.
CHAPTER XIV
MODERN RHYTHM
The term "rhythm" is perhaps more promiscuously used
than any other term in music. Having regard for the great
elemental nature of its general application in
of^Term' Ordinary parlance, it should stand in music for the
regular pulsing of the beats, in the sense in which
Berlioz described it as " the very life-blood of music." But it
is almost as widely accepted in the sense of the division of
music into sentences, phrases, and sections. Thus Beethoven's
mark " A tre hattute " in the Scherzo of the Ninth Symphony
is 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 time
divisions of the bar are arranged. In this sense, this art of
duration in musical sounds, dealing as it does with the
manner of the movement in musical time, may be said to be
the metre of the tonal art. There is also a subtler use of
the 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 denotes
the arrangement of the bars into figures, phrases, and
sentences, as raarked off by the various cadences.
Aiuj"*U ^^ often concerns itself with the musical rhyming
of the phrases and sentences, especially in the more
formal music of Haydn and Mozart, and it is always con-
nected with the graded increase and decrease of the tension
in musical pitch.
In all these directions, modern music has advanced con-
siderably, and the rhythmic developments have reacted on
the harmony. "We shall deal with modern rhythm in the
following order :
(1) The subdivisions of the beats themselves.
(2) The divisions of the bar.
(3) The grouping of the bars.
no
MODERN RHYTHM
171
The time seems at hand when the further requirements of
the composer in the subdivisions of the separate beats may
Notational ^^^^ ^e deemed to require an improvement of the
Inade- notation, or an altogether new system of signs, to
quacies. indicate the various durations of sound. A distinct
sign is certainly needed for the third part of a beat, since
the use of compound time is often cumbersome, whilst the
triplet* is but a poor makeshift.
Half-beats against thirds, and quarters against sixths, are
sufficiently commonplace now to possess a less ambiguous
notation than that at present in use. The com-
Mo^menfs V^^^^^' practice of marking irregular numbers over
the beat, hovers so indefinitely between the higher
and lower powers, that examiners are supplied with a never-
failing source of confusing the candidate. The latter is asked
to decide a question which the composers themselves have
never solved — namely, whether a quadruplet in compound
time follows the rule of the quintuplet in simple time by being
drawn from notes of higher power, as at (a), or lower power,
as at (6), and how such practice is reconciled with the writing
of the duplet, as at (c), and the Chopin values at {d).
The early music, despite its origin in the folk-dance, was
not marked by a great variety of rhythm. This quality
was not developed until much later, when the so-called rise
of nationalism in music brought it to a high development.
With the Slav music, rhythm w^as very prominent ; but still
this, and all the older art-music, was based entirely on the
duplex system of note-duration, with the one exception of
the "triplet."
* The present marking of the " triplet " is ambiguous either with
the fingering or the phrasing, or with both. Professor Sterndale
Bennett invented a sign (>— i) which, however, had only a small
vogue.
172
MODERN HARMONY
Nowadays, notwithstanding the present inelastic nota-
tional system, modern composers claim the proper timing
Less Regu- °^ every fraction of a beat as a rightful demand,
lar Divisions The chief pioneers in this respect were Liszt and
of Pulse. Chopin. In the works of the latter we find groups
of seven, nine, ten, eleven, thirteen notes, and so on to each
beat. Such groups are evidently not intended to be sub-
divided, and frequently run right through the bar-line, as in
I the well-known waltz in A flat, Op. 34. A slight modification
of view must be taken in the case of the melismce, which
Chopin writes in small notes, and which are always executed
with the lightest of finger touches. On the other hand, such
forcible passages as those at the end of the Ballade in
G minor form excellent examples of modem vie'ws on the
division of the beat.
Of such groups, at present, the quintuplet of crotchets or
quavers is decidedly the most favoured for anything like
continuous movement, although occasional pieces are found
written in septolet movement. In the Toccatina for Piano-
forte Duet we see the reverse process. Here the last beat is
lengthened slightly, so as to allow the five semiquavers to
agree in duration with the rest of the bar. What is required
here in the bass is a crotchet tied to a note indicating a fifth
part of a beat.
Allegro moderato.ma briUante. *** Chorale for Pf.Duet.
,»1
Ih
^^
•auDITLm'
^
^
za 4-
MODERN RHYTHM
173
To pass on rapidly to the dividing of the bar, it is interest-
ing to observe that the now commonly accepted quintuple
time is no new thing. Handel used it at the end
^Th^es.'° of the second Act of " Orlando," so did also the
Enghsh composer, William Shield (1748-1829), in
his String Trio. In the movement marked Alia Sclavonia
tempo straniere, Shield's quintuple time has quite a modern
look, more especially as no subdivision of the bar is shown.
Purists say that the popular Allegro eon grazio in Tschai-
kowsky's Pathetic Symphony is inaccurate in placing the
duple subdivision of the bar first, but many composers use
either arrangement promiscuously. Other theorists regard
the indication of a subdivision by a dotted line as retro-
gressive.
The conciliatory plan of deriving it by compounding the
simpler times would certainly be better when written thus : —
Ex.375.
i n r r
rnrr r
Another manner, also somewhat apologetic in tone, is to
derive the quintuple from quadruple by simple repetition of
174 MODERN HARMONY
one of the beats. It is certainly very happy in the following
example : —
WILLIAM WALLACE. Fran9oys Villon's Prayer
Ex.376. to Nostre-Dame (from "ViUonV)
Largo e semplice.
jM jirj/ij J
n^inn
r r r r
etc.
'I'lrrrrrrfr
:^tJtjrT
M. Charles Bordes seems to have had the opposite idea
— that of elision or diminution — in his second "Fantasie
Rythmique " (see Examples 377 and 378).
The proper view of the quintuple time is undoubtedly one
strongly accented beat followed by the four weaker ones.
However written, this quintuple time is much more firmly
established than one at first imagines, and the various views
of 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 : Quasi Minuetto from the " Four Sketches."
Reeve, W.: "The Gipsies' Glee."
Swan Hennessy : Allegretto of the String Quartet.
Kabg-Elert: Quasi Sarabande in the "Sonatina Ex-
otique."
Scriabine : No. 4 of " Four Preludes."
Bossi : Oratorio, " Paradise Lost."
Developments have by no means ceased with the quintuple
time, and amongst the chief pioneers in the more complex
division of the bar are M. Charles Bordes, Sigfrid Karg-Elert,
and Florent Schmitt. In the second Aphorism, Karg-Elert
has a new kind of six-four time compounded thus : four-four
and two-four. M. Bordes, in his "Quatre Fantasies Ryth-
miques," has a study in fifteen-eight time, with a trio in seven-
eight, and another piece with an eight-eight time-signature
compounded of three-eight, two-eight, and three-eight, thus : —
Ex.877.
/Ulegretto.
MODERN RHYTHM 175
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 his
Less Regu- Aphorismem into four plus three ; but has also a
lar Time delicious " Pastel " for the organ which runs quite
Signatures, gravely in eleven-eight (see Example 379), Saint-
Saens has a "Priere" in eleven-four, which is less venture-
some, and the idea of combined time-signatures is a mere
convenience of notation.
Ex.379.
Assai quieto-
KARG-ELERT, Pastel, 0p.92,N0l.
Ex.880
Comodo.
=="«/' riten.
SAINT- SAENS,"Priere;'0p.7, NP 3.
s
iteiH
m
^^
'^ri'rrr^Jjj
176
MODERN HARMONY
A recent innovation has been effected by the adoption of
a single-beat bar. This is used for marcato and bizarre
Bars of pieces, and the idea of accented and unaccented
Single bars must be put firmly aside. In a footnote to the
Beats. "Ritornel" of Karg-Elert's "Sonatina Exotique,"
which bears the time-signature "one-four," we read: "The
rhythmic character of each bar is to be equally strong, and
is not to be felt as in two-four or four-four time."
Ex.381.
(a)
m
not(b)
A
nor(c)
A
1
^
Similarly in the fifteenth of his " Aphorismem," in one-two
time, the accents are all quite equal. Amilcare Zanella, in
his " Une Drole de Chanson," writes in unary time, adopting
the crotchet as his unit beat.
The next step in rhythm was made in the direction
of combined time-movements. The employment of three
orchestras playing simultaneously, one in three-eight, two-
four, and the other in three-four time in Mozart's "Don
Giovanni," brings to mind Chopin's Valse in A flat as perhaps
the best-known example of six-eight time against three-four
time. An interesting example of the mixture of duple and
triple divisions occurs in Ravel's "Miroirs." The device is
used again by Ravel in the following exam^ple : —
^*-^,*,^- . . RAVEL.Valses nobles.
Un peu anime. I ■
uu pcu ctlilUlC. 1^.— ■ — — — — _ _^^^
m
^
^
#
(HarmonicJ
(Scheme.)
^9
^^
ms^
jf
51=
w
-r.
MODERN RHYTHM
177
Tschaikowsky's mind often worked in the opposite direc-
tion, and a parallel to the Pianoforte Valse will be found in
the third movement of his Fifth Symphony, where the violins
are repeatedly phrased in twos, against the triple pulse of
the accompaniment. That Schumann was very fond of the
device may be seen in the " Kreisleriana," in the second
movement of the A minor Concerto, and elsewhere. Florent
Schmitt, in his " Neige," Op. 56 (a), desiring a certain altera-
tion of the duplex and triplex divisions of bar, secures it by
the use of the somewhat cryptic time-signature — " six-eight,
three-four."
Ex.383. Tempo di Valse
TSCHAIKOWSKY, Valse,Op.40,N99.
Ex.384. ^ , ,1 FLORENT SCHMITT,"Crepuscules"N92.
„ Calme.W.=5W
»• m 'jg.
fc
ii
E
m
¥
'■^f-f^
pQCO fit
Swan Hennessy has a Pianoforte E tude vdth five-eight time
„ . . in the left hand against two-four in the right.
Time The Elgar and Ravel examples also present very
Movemento. happy Combinations of varied times.
E&.385.
* Allegro moito.
SWAN HENNESSY, Etude.Op.25.
(pf.) ""t^
^
j j tf " —
PP leggiero
178
MODERN HARMONY
"i ^ h 9 jk ^ - '•
Ex.386.
Allegro. J.=zio4
ELGAR.lst Symphony,
y »»j j jjP^
Ex.387.
D'un rythme souple.
RAVEL,"Miroirs;'N? 3.
Apart from this, a widespread desire has long been
evidenced on the part of composers for the interpolation
of occasional bars of an irregular number of beats, whereby
the thought gains a greater freedom than that allowed by
the fixed time-signature.
Such free use of the bar was almost bound to lead in
extreme cases to the abolition of the bar-line altogether,
a course followed by Zanella in his Op. 44, Two
Rlusic* Studies for the Pianoforte. In these pieces he aims
at giving more elasticity to the general construction
of the period, so that greater variety may be imparted to
the rhythm, without the art-form thereby losing its equi-
MODERN RHYTHM
179
librium in the slightest degree as a whole. In a footnote
he advises the player to distinguish most carefully between
the value of the single quaver and those of the triplets.
On the other hand, in his Second Study he states that the
quaver must always have the same value both in groups of
two, three, four, five, or seven quavers. The accents are
carefully marked where required, and sf. is used for a slight
exaggeration of the emphasis. The accidental applies always
only to the note which immediately follows.
For cases of still more combined complex rhythms, the
student cannot do better than refer to the chamber-music
Combined °^ Brahms, whUst, as an example of elaborate
Complex orchestral texture, the following brief extract veill
Rhythms, g^fgce to indicate the lines followed by those
modern orchestrators who acknowledge Wagner as their
leader : —
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 sound
rather naive. The rhyming of cadences is much rarer and
more subtle, whilst increased harmonic appreciation has
rendered many of the older set cadential forms not only
unnecessary but tiresome.
To what an eloquent variety, modern phrasing and
punctuation has now attained, may well be seen in the
y . music of Brahms, Franck, and Reger. Amongst
in Phrase the modern composers, who have distinctly followed
Lengths. Qjj these lines of complete elasticity of phrasing,
are Debussy, Ravel, Stanford, Mackenzie, Scott, MacDoweU,
13
180
MODERN HARMONY
and, indeed, all the composers who may be considered pro-
gressive in 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, and
curtailed. As an instance of perhaps the extreme point to
which the elasticity of the bar can be carried at present, the
following will serve : —
SCRIABINE, Impromptu,Op.7,N92.
Ez.389.
This increased refinement of rhythm in musical thought
has acted and reacted on harmony in many ways, and music
is now eloquent with a gloriously imaged and highly
impassioned prose, which easily out-distances either of the
sister arts of pen or brush in its powers of aspiration.
CHAPTER XV
MODERN FORM
No art is more cramped by the unnecessary limitation of its
terms than music. The word " harmony " has now thrown ofp
its conventional shackles to a great extent, but still with a
large number of people " melody " signifies an exclusive use
of diatonic platitudes and effete banalities. The restrictions
which have crusted over all ideas of " musical form," almost
to petrification, have naturally resulted in the complete
exhaustion of those few forms, the use of which is still
regarded exclusively as " good form " by many musicians.
As MacDowell has said : " If by the word ' form ' our theo-
rists meant the most poignant expressions of poetic thought in
music, if they meant the art of arranging musical
Coherence, sounds into the most telling presentation of a
musical idea, we should have nothing to say ; for
if this were admitted, instead of the recognized forms of
modern theorists for the proper utterance, we should possess
a study of musical sounds which might truly justify the title
of musical intellectuality. Form should be a synonym for
coherence. No idea, whether great or small, can find utter-
ance without form, but that form -will be inherent to the
ideas." This coherence, which is "form "per se, maybe secured
in many ways.
The full problem first presented itself when instrumental
music separated from vocal, soon after the " Apt for voices or
viols " period ; and the early composers, seeing how necessary
it was to lay down some intelligent lines in the new region,
decided that music should be built like architecture in certain
definite and balanced designs. Architectural design — Ruskin's
"frozen music" — soon became a mere fetish, and conse-
quently a serious hindrance to expression.
This unnecessary narrowing down of the term "form"
led to a lamentably limited range of vision, and a consequent
181
182 MODERN HARMONY
cramping of the possibilities of the art, completely stultifying
„ , its progress. The testimony of history is aU for
Prominence the broadest possible expression. Bach's "Forty-
of Sonata Eight Preludes and Fugues " are as perfect and as
«•""■ » classical " in their forms as any of the Beethoven
and Brahms Symphonies, Sonatas, and Quartets. Indeed, the
elasticity and virility of the old Cantor's forms contrast
rather strikingly with some of the mere "padding out" of
form in the works of both the later composers. Moreover,
Beethoven himself shows his feeling of dissatisfaction with
the so-called "Sonata" forms, and breaks away completely
from the older traditions in his later Synaphonies, Sonatas,
and Quartets. In aiming at a greater coherence and more
freedom in seK expression, the last vestiges of the early "dance
suite " disappear entirely, and his slow movement frequently
appears as a link between the others. Already in his C minor
Symphony, we feel he is striving for something behind and
deeper than the mere music, and in consequence he opens up
again the " programmatic " lines, formerly feebly attempted
by Johann Kuhnau in his "Bible Sonatas." Indeed, Pro-
gramme Music is no new thing, and may be defined as a
modern branch of thought grafted on to the musical mental
attitude of preceding generations.
Beethoven's achievements in this direction thus opened
out the way for the " symphonic poem " of Liszt, Berlioz, and
Strauss. This form may have for its basis — (a) a
'musIc."" ^^*'^'^*^ definite plot or drama, as is the case with
Liszt's "Dante" Symphony and his "Mazeppa";
Berlioz's "Symphonie Fantastique," his "Waverley" Over-
ture, 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," "Till
Eulenspiegel," and " Ein Heldenleben"; Tschaikowsky's
" Romeo et Juliette " and " Francesca di Rimini "; and Elgar's
"Cockaigne" and "Falstaff." Or (6) a more subtle psycho-
logical basis, as with Liszt's " Les Preludes " and his " Orpheus";
Strauss's "Tod und Verklarung," and "Also sprach Zara-
thustra "; and Scriabine's " Le Divin Po^me," or his " Prome-
theus " (Poem of Fire), which latter, the composer ascribes to
a theosophic basis.
In either case, how closely the plot is drawn together
MODERN FORM
183
depends entirely on the mentality and the concentrating
power of the composer, for the form is capable of endless
application and expansion, and all the varieties come under
the head of Programme Music, as compared with Absolute
Music.
When the Programmatist laid aside the older forms, some-
thing more than balance of tonality and parts was thought
necessary, and the want was supplied by Wagner's
motif! ' ^i-fnotif and by Berlioz's id4e fix4, or representa-
tive theme. This representative theme — id4e fixe,
leit-motif, or whatever we choose to call it — ^must have a
twofold character. It must not only possess a literary or
dramatic interest of its own, but must also satisfy our musical
sense in addition. The balance is difficult. Wagner thought
Beethoven was too musical and Berlioz too literary, and his
own musical drama just right.
These devices have been adopted wholly, or partially, by
every composer of Programme Music since that time — from
Demands I^ichard Strauss, Smetana, Saint-Saens, Dvorak, up
on the to Elgar, Bantock, and Delius. The writers of
Listener, annotated programmes seem almost to owe their
very existence to this device, since this type of music always
needs some initial explanation, or at any rate some musico-
literary signposts.
Beethoven had used musical mottoes in his Opus 81, and
Schumann mystic letters in his cycles of pieces.
Muss es sein?
Es muss sein!
BEETHOVEN,
String Quartet,Op.l35.
Es muss sein!
But Berlioz associated themes with definite ideas in the story
M . or scene which he wished to illustrate. Liszt
morpbosb achieved a closer unity by founding almost all his
of Themes, themes and movements on his one chief subject, or
on ingenious metamorphoses of it. The following examples
wiU make his method clear : —
184
Ex.391.
(a)
Andante. ,
MODERN HARMONY
LISZT, "Les Preludes.'
Liszt had a fii-m grip on the great principles of form as
coherence, and gathered up his themes at the close with con-
siderable power. Witness the final section of " Tasso," where
he combines, and at the same time changes, the character of
his two chief motive. Wagner carries the idea further in
his magnificent peroration to the " Mastersingers " Overture,
where he brings together the three chief themes.
WAGNER,"Meistersinger" Overture.
Ex.392.
Molto moderate.
Vns,Celli,lstHorn.
^
i
©
HBs.VM.OhFI. „• 1^
s
i
Fag.Bassi.Tuba. if aber aehr markirt
At present, the almost alarming multiplication of themes
seems to point to the abandonment of the leit-m,otif idea,
. since many of them are not used again. The
of"xheme»r increasing aural -mental power of the pubhc
renders them less necessary, and allows the com-
poser to fill up all parts of his musical picture with more or
MODERN FORM 185
less significant material. Elgar's "Falstaff" is a case in
point, whilst Bantock, in " Fifine at the Fair," has swung over
to a series of more definite episodes held together by the
literary character of the subject.
The literary element in music presupposes some fitness
and ability of perception on the part of the hearer, for when
a composer writes a " tone-poem," he assumes that
Listener. *^® auditor possesses some knowledge of the chief
subjects of Shakespeare, Goethe, Schiller, Shelley,
Hugo, and the other great ones in literature, even though
this knowledge may be gathered freshly from a printed
annotation or a friend's hasty r^sumi. For instance, the
hearer at the outset must know what the violin solo in " Ein
Heldenleben" stands for, and so on. Much progress is still
being made by the Absolutists, who hold that the clue must
be in the music itself. In the symphonies of the later com-
posers, we find the old "sonata" lines much modified,
Music. *^ chiefly by a multiplication of subjects, and less
regularity in the arrangement and in the tonality
of the peroration. The number of movements varies from
one 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 master
whose works reveal the most interesting developments on
the lines of absolute music is Cesar Franck. All his music is
of great moment from this point of view, apart from its
wealth of thought and beauty of expression. We must con-
tent ourselves here with a short outline of his beautiful
string quartet in D, which he wrote in his fifty-sixth year.
DTndy explains it as a Ternary form with a modified sonata
as the middle part. Here are the themes :
Ex.393. FRANCK, String Quartet in D.
Lento. Theme X.
Lento. Theme X. E ? :^
Allegro. 1st Subject, (a)
186
MODERN HARMONY
Bridge.Subject. (b)
and here is D'Indy's analysis :
I. Lento — Theme X, D major.
(a) J. Mefifro— Exposition : (a) First subject, D minor.
Bridge subject (ft), leading to II. ; Second sub-
ject (c), F major proper.
II. Development of iento— Theme X, F minor, G minor, etc.
(b) Development of Themes (a) and (c) with modu-
lations.
(c) Recapitulation: First subject (a), D minor.
Bridge subject (6), F sharp, G major. Second
subject (c), B major, D major.
III. Zenfo— Theme X, ending in D major.
We give the outline of Schonberg's interesting Kammer-
Symphonie in E for several reasons. Chiefly because, with
all its modernity, it follows the older " sonata " form. After
a short introduction of purposely vague tonality, we have
the first subject given out, and the rest is a model of orthodoxy
in form. The extracts also supply us with some interesting
duodecuple scale-writing, whilst the accompanying arpeggio
to the eerie second subject shows what trouble the modem
composer will take to secure coherence of tone-colour.
Ex.394. SCHONBERG,
l?chief Subject. Kammer-Symphonie in E.Op.O.
Allegro.
TOTS
MODERN FORM
187
Ex.805.
2nd Subject. ^^^^^
CUnD.
Ex.396.
Peroration.
There is a strong grip of tonality felt throughout this
forceful composition, just as there is, only in another way, in
Scriabine's tone-poem "Prometheus." It wiU be seen that
the latter composer's adopted " tonality chord " is responsible
no less for the opening (Example 397a) than for the final
chords of this remarkable work (Example 3976).
188
Ex.397,
(a)
Lento.
MODERN HARMONY
SCRIABINE/'Prometheus."
sord.
^^
4 Horns
^
i
^^^
StT.& 27
W.W. %.
^
1^
-fe
^z
M
-fe
^
^: 111. ^
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m
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1
H:
With the Impressionists, "form" must be accepted as coher-
Mono- G^ce and justification, and in this direction Debussy's
thematic " L'Apr^s-midi d'un Fauue" is as satisfying and
Formi. convincing as that other beautiful idyll, the " Lohen-
grin " Prelude.
MODERN FORM
189
In England, the adoption of that single art-form, the
" Phantasie," for instrumental trio or quartet, owes much of
its cultivation to that generous art-patron, Mr. W. W. Cobbett.
New ground has also been broken by Dr. Walford Davies in
his Six Pastorals for a string quartet, a vocal solo-quartet
and pianoforte, and also in the " Peter Pan " Suite for string
quartet.
The recent wonderful discoveries in harmonic research
have led to the rise of a distinct form, which may be called a
The harmonic "study." A certain mode or scale is
Harmonic taken, or more often a characteristic chord, from
Study- which one or more scales can be evolved. This
combination is exploited exclusively, in a piece which, held
together by the new and strange tonality of the chord and
some rhythmic design, owes its chief charm to the exploita-
tion of some new "harmonic rays." A similar procedure
takes place when a composer wishes to revel in the enharmony
of " beU-tones," an almost inexhaustible inquiry. The " har-
monic study" serves amply for the demonstration of new
harmonic beauties, and much ot the work done finds its way
into the broader walks of the art.
Schumann was the originator of the short poetic piece, the
real "tone-poem," compared with which the big canvasses
of Liszt and Strauss deserve the title of "tone-
and'p^'tefs*. dramas" This reveals how ambiguous the terms
of musical form are, since all music should have
this quality of " poetry in sound " as one of its constituents.
The Miniature forms serve either for tone-pictures, as with
MacDowell ; for little " Harmonic Studies," as with R^bikoff ;
or for tiny Pastels of absolute music, as with Scriabine's
"Preludes." The following piece is a splendid example of
what can be achieved in this form on the absolute lines : —
EX.39S. .
Lento. J3S4.
SCRIABINE,Op.31,N94.
190
MODERN HARMONY
r\
f
jil t ^ \^- h^\
p dim.
^ni
W^
-ppp
ppp
ii
^
■z\ 3 W-
r-
B; permission of Messrs Bieltkopf &Hartel.
The influence of modem Musical Form on Harmony has
been more subtle, and consequently is less definable than is
the case with the later development of Melody, Rhythm, and
Tone-colour. Nevertheless, it is undeniable that the tightening
up of the longer forms, and the condensation of the thought
in the smaller moulds, have exercised a considerable power on
modern harmonic development.
CHAPTER XVI
CONCLUSION
It is true that composition cannot be taught by rule, but the
technique of it can, and this must be acquired in one way
or another, before real composition becomes possible. The
composer may learn this technique slowly and painfully by
his own keen experiences of failure and success ; or he may
secure its mastery by a diligent and enthusiastic analysis
of the works of the great masters, first in the study and
then in the music-room, the concert hall, and at the opera
house.
Either of these methods may be supplemented materially
by advice and lessons from a good master, or from the careful
study of a modern theoretical work. A theory of musical
harmony is a systematized collection of musical facts, and
logical and clear thinking is greatly assisted by such a
classification of harmonic possibilities. However acquired,
a knowledge of technique must precede the expression of
musical thought.
Moreover, it is not sufficient for the present-day musician
to be master of one kind of musical expression, but he must
j^^ be fuUy primed in the technique of all the styles.
Composer's There is the great contrapuntal school of the
Equipment, seventeenth and eighteenth centuries, the fine
expressional school of the nineteenth, the Romantic Move-
ment, the Programmatic, the Impressionistic, the Post-
Impressionistic styles, and so on. And standing at this end
of a period of amazing artistic activity, and a phenomenally
rapid development on all sides, in an art little more than
three hundred years old, the composer's technical equipment
evidently is no matter to be lightly taken in hand.
The Exercises at the end of this volume are given to
enable the student to gain some insight into the methods
and some practical experience in the technique of the various
191
192 MODERN HARMONY
styles of utterance. Let him beware, however, of assuming
any particular style merely as a pose. Many inter-
Purpose esting discoveries and demonstrations may be made
of the by composing with a new scale or chord-forma-
Exercise*. ^.^^ written out in front of his writing-desk, but
the result cannot be expression in any high degree. The
" Tonal " scale must become part of one's nature before one
can think freely and naturally through this medium, and then
there is the listener's view to be considered. Sincerity must
stand before everything else in music, and the style must be
suited to the particular subject, that kind of musical speech
being adopted which affords the composer the best means
of expressing his thoughts.
In addition to these and many similar studies, let the
student be constantly turning back to a renewed appreciation
The °^ ^^® great masters of the past, for only by that
Perception means can he hope to keep his hold on funda-
oi Style, mentals. The compositions of Beethoven's first
period sound like Haydn and Mozart, and Richard Strauss's
early works are permeated with the same feeling. Wagner's
early operas are at the best but a mixture of mild Weber
and Meyerbeer, whilst Schonberg's and Scriabine's early pieces
are "harmless as doves." However, in his appreciative
studies, let the student beware of a blind, unthinking hero-
worship, which would raise certain recognized masters above
all criticism. For there are many "Homeric noddings" in
the counterpoint of Bach, just as there are mere "paddings"
in Beethoven and even in Brahms. Moreover, with some
composers the very gift of exuberant fluency of expression
causes them frequently to write without the divine fire.
Let the student avoid putting himself into the position of
many an enthusiastic Handelian, who sits and enjoys every
note of the long movements by Erba and Kerl, which Handel
lifted bodily into the " Messiah."
With ultra-modern music it may be true that " the incom-
prehensible utterances of to-day will be mere childish babble
Xl,g to the next generation," but still the student must
Fallacy of remember that all is not music which is modem.
ReaUsm. jj^ should know the whole technique of the
Realists, whilst at the same time he will not fail to perceive
the far-fetched and too self-conscious diablerie of such things
CONCLUSION 193
as the "March to the Scaffold" and the "Witches' Sabbath"
in Berlioz's " Symphonie Fantastique," and the extravagance
of such appliances as a theatre wind-machine in " Don
Quixote," and the swishing of whips in " Elektra." Kealism,
especially cacophony, freezes the emotions ; whilst Idealism,
the expression of beautiful thoughts in beautiful lan-
guage, can never fail to arouse a warm feeling of appre-
ciation.
In approaching a new tendency — such as Impressionism,
for instance — the student must beware of passing judgment
on the first hearing, and must come to it with an
Impres- open mind, free from all bias. The Impressionist
sionisnia ,
accepts the position that much of his thought must
doubtless be lost in the transference into sounds, and so with
a consummate mastery over the technique of this new art,
the composer deliberately throws a veil of elusiveness over
the whole of his musical expression. Such music is not the
hasty jotting of careless hands, but the product of musical
and mental organizations more highly developed than any
hitherto known. The music of Debussy and Ravel, of Schmitt
and Scott, of Dukas and Vaughan-Williams, is very much
more than a mere " bath of sound, which creates a decided
atmosphere of its own, often beautiful and highly sensuous,"
as one prominent theorist puts it. Undoubtedly there is in
this music far more than the appeal to mere physical sen-
sations. With the Impressionists, another step has indeed
been taken towards the conquest of a refractory medium.
Such a recording of the sensitive impressions of exceed-
ingly complex temperaments constitutes in itself a triumph
over matter, in the expression of ideas hitherto unapproach-
able by pen or bi'ush, and only as yet partially apprehensible
by music.
But all is not "tonal" that is French, nor all French that
is "tonal." As the student's acquaintance with the modern
French schools grows, he will cease to confuse the style of
Debussy, Chabrier, Koechlin, Lenormand, and Moret with
that 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 that
Impressionism arose in France, and was developed there
alone.
194
MODERN HARMONY
The propeB appreciation of the real values of orchestral
tone-colour is understood but imperfectly at present. Yet
its influence on harmony has been both powerful
Tone-Cofour and widely spread. With such a full range of
on Har- widely contrasted tones as the modem orchestra
™°"^' supplies, the possibilities of harmony are inex-
haustible. Chords which are impossible on the monochrome
keyboard, glow with indescribable beauty on the orchestral
canvas. Again, new possibilities are evoked by the full
appreciation of the true nature of the various methods of
tone-production. The bubble-like emission and beautiful
sustaining power of the wind instruments, the suave delivery
of the strings, the transparent nature of the harp tones, all
contrast strongly with the hammer-Hke "thud" of piano-
forte tone-production. The clash at the seventh chord in
the following, when played on the pianoforte, is simply non-
existent in the orchestra.
Ex.399.
Etwas lan gsam.
Fi.i.n
WAGNER,
"DieWalkiire.'Actm.
CONCLUSION
195
Short score : —
Such passages as Examples 400 and 401 are unthinkable on
a keyboard instrument or with voices.
Ex.400.
Bewegte Achtel. yis.
SCHONBERG,
5 0rchesterstucke.0p.l6.
Ex.401.
Muted Str
F.SCHREKER,
"D^rferneKJang."
5_
The following Bantock example is only possible on the
separate groups of the orchestra, the limit of voices in this
respect being shown in Example 343 for double chorus : —
14
'196
MODERN HARMONY
Ex.402.
Vivace
col 8-;]rZ""""f
BANTOCK,"Fifine."
Such thinking as that evidenced in the following example
could otily have originated on a sound basis of tone-colour
appreciation : —
Ex.403.
Clar. ,
SoloVn. , h,
Ob. ,b
S o l o Vi *-
SCH6NBERG,"Erwartung."
Coatra Fa^:. |
CONCLUSION 197
Only the widest experience will enable the composer to
choose always the right medium, for his thoughts. How
The Right frequently one hears obvious pianoforte language
Use of painfully struggling to coherent articulation on
Me mm. ^^^ strings ; a " string " passage torn to shreds by
the "brass"; the evanescent tremulous harmonies of un-
damped pianoforte chords being blasted out from the strident,
unyielding tones of high-pressure organ pipes. One need not
continue, for these mistakes are glaringly thrust upon our
ears so frequently.
How many more blunders are made in the sense of scale.
At our musical festivals we still hear works with no pretence
to the "grand manner" given by a body of
Magnitude ^''^o'^^lists and instrumentalists some five hundred
strong, and one frequently hears a couple of
hundred adtdt voices staccatoing out some dainty joyous
measures, evidently thought-out consciously or unconsciously
on 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. Yards
of drum surface, and many cubic feet of brass,
5'Meanf ^^^ necessary for the musical presentment of such
titanic figures as " Proraetheus," but are absurd
when employed for the self-conscious outpouring of ruffled
feelings in a rather juvenile love afPair. Beethoven's Pastoral
Symphony is a delicious idyll of the most delicate kaleido-
scopic colouring, needing but a small orchestra even to sug-
gest the storm, whilst the C minor epic never seems to satisfy
one's craving for more and more violins to declaim that
defiant phrase at the opening ; and still more horns to hurl
out that cataclysmal utterance at the commencement of the
second subject.
Ex.404.
Horns
^m
^
ff
^
Herr Max Eeinhard should have taught us in the " Miracle "
and "CEdipus Rex" the values and the dangers of "mass,"
198 MODERN HARMONY
but 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 fre-
quently into the seclusion of his study and music-room for
the cultivation and enjoyment of the smaller but far more
artistic forms of solo and chamber music.
The cultivation of these smaller - scaled works, which
appear in an endless variety of forms, is one of the most
noticeable features of the present day. This is
^"w* ^"^^ easily understood, for when the composer feels
more confident of his interpreters, he naturally
unbosoms himself more freely, and gives expression to his
deepest and most intimate thoughts.
As to the future of musical harmony, it is unwise to
prophesy ; but with regard to the present, few will agree with
those who cry out that the arts are now both retrogressive and
decadent. To such alarmists we w^ould say that if the study
of the musical classics inspires them with a distaste for
modern music, there is something seriously wrong with the
method of their own musical training.
No school is more attacked by such critics than that of
the French Impressionists, against whom they level the
The Appeal charge of sensuousness. Are we to say that there
to the is no real musical thought behind all their elabor-
Senses. ately beautiful harmonic webs? Rather let us
admit that the Impressionists at any rate are at one with
the so-called "classicists" in having for their chief aim the
expression of the eternal verities. If at times many of them
run to complexity and extravagance, they may easily be
forgiven, for truth is greater than any of the terms in which
we can express it. And as time goes on, truth is perceived
to be wider and wider, and consequently presents an ever-
greater challenge, and an ever-increasing incentive to the
artist to grasp more and more of it.
Even if there were no musical thought behind this new
music — an inconceivable hypothesis — there is still much to
be said for a school which pursues Ideal Beauty itself as its
sole aim. In the development of mankind the emotions have
always preceded the mind. Truths, which the mind is power-
CONCLUSION 199
less to express, are "sensed" indubitably by the sesthetic
faculties. What wonder, then, if the musical Pragmatists —
the Empiricists — again and again assail the citadel with an
altogether new and more complex organization. This very
cult of the sensuous in art, this attempt to capture Ideal
Beauty itself, has already contributed, and doubtless in the
future will contribute still more, to the further opening out
of the powers of musical expression. Both with realistic
cacophony as with extravagant complexity, the development
of opposing schools will help finally to a wider appreciation
of the truth, and a greater power of expressing it.
Naturally this book has only concerned itself with the
technique and the canons of the art, the applications of which
broaden daily. It could not attempt to probe further into the
sources of inspiration, or grasp the origins of the real musical
thought, of which the sounds and their technique are but the
mere vehicle of expression. Any further analysis lies beyond
the veil which even metaphysics and psychology have not
yet been able to approach, much less draw aside.
It seems not inappropriate to leave this, the more impor-
tant part of music, with a quotation from Maeterlinck's
inexhaustibly beautiful "Essay on Silence": "It is idle to
think," he observes, " that by means of words any real com-
munication can ever pass from one man to another. Were I
to speak to you at this moment of the gravest things of all —
of love, death, or destiny — it is not love, death, or destiny
that I should touch; and, my efforts notwithstanding, there
would remain between us always a truth which has not been
spoken." Music can contribute more to the filling up of this
great silence than any other art; and of the five senses of
Music — Melody, Harmony, Form, Rhythm, and Tone-colour —
it is Harmony, more than any other, which takes us
NEAREST TO THE EDGE OF THE INFINITE.
APPENDIX I
EXERCISES
Anything of the nature of a graduated course of.Exercises covering the
whole ground of the text would be outside the scope of the present work.
The following exercises are designed to suggest some of the lines which
the student may follow in essaying a more practical acquaintance with
the present-day harmonic technique. Many of the exercises are modelr
led on well-known works.
I
BASSES
1. Harmonise for Pf . Org. or Orch, and add 11 more bars.
Alia nmrcia
^^
etc.
^
2. Harmonise for String Quartet.
Maestoso -
b5
^
i
^^rVCcf'J'^J'j
-o-
3. Harmonise the following for Pianoforte.
Moderato I l>A ff£
^
4*
^
Add 10 bars.
^
^
s
1
t-^rt
^f:'
t
* b;
^1
i
fe3
Ll/r^riLJlJ' ^
4. Write a Fugato for String Quartet on the following Subject:-
e
=?Sp;:
200
EXERCISES
201
5. Write a short Fugato of 30 bars for Pt or String Quartet on the fol-
lowing Subject. Take E as the centre.
^fe
W^m
*^^
etSr
p
6. 4- part Study.
^^
im
ii ~Tt:
7. S-part Study.
4
s
^r I'^r ri^^ ir J| i J. i j.i-M i
8. 6-part Study.
S
^
zzz:
fe
EZZ
1.7 L
1.7 eic.
9. Harmonic Study.
.J W^ 1 ^- ¥ ^
=5S:
^
f
10. Treat the following as a Bass for a Soprano SongCwithout words)
to Pf. accpt.
Lento
t^%tff-M
^J' I Jm,^
i
5 .'
•I
b7 6 1)
;/¥i} J. i V
T
5
K6
MODERN HARMONY
11. Harmonise the following foT Pf. io the "whole-tone" system.C to
C,.(except for the last 2 bars).
''• ' { ■! J -' 1 1-
-f- ;''~\i^ I ^ ~(^
12. Bannooise for String Qaartei
s
«5 ^t
1 ' ■? '
Il5i5l)5_ «<?«« t5fi5b5_55 |656_
13. Treat the following as a ground-bass for Pf. for 16 bars. Add 16
bars diatonic work for Trio and then repeat tlie"whole-tone"portion.
ScheTzando
14. Harmonise for String Qaartet.
Poco agitato
'>^Mir'i i p Y i p r i^r »py f
Cello
'J' 1,1.). r^MfipV'^p i v'1?'tTv^ 1 ^-
?
cresc.
15. Write a Vocal melody with Pf. accpt. over the following:—
^m
m
i- ' 1 1 r
EXERCISES
16. Harmonise for Pf. (Chords) :-
^
^
^
i
^^^
57 »»
S
9 Il7
7 l»
3
l>7
^
3 t^
17 "J
^
^
7 7 7
5 1>5 b5
I) I #
|9
#8
tl9
9
9
9
8
#7
«
18
6
117
lt7
«5
5
#7
5
h
5
3
3
tt5
3
17. Harmonise for Full Orch. for Pf. or for Organ.
Molto allegro
^
fe
^r^
18. Harmonise for Strings.
Lento con calnm
' ) tfjl^ I
< ? 4_^
-xi-u
8l_7 6
4
S
_ 7 7
7 7
^
^
^J. U Jtji. ^
-iS =
7 7-
7 4 ''7
3
7 4 "7
8
204
MODERN HARMONY
19. Harmonise for Organ.
Poco allegro
Pedal.
^y^ B-OT»rTnr i ^ ^-r"^gr i^^;c^
20. Harmonise the following for Full Orchestra.
Allegro con brio, ma non troppo
Otch. Str. & Braas BasBes
^^
^J> ^
^^
21. Harmonise the following for String Quartet.
'N'\\\ iij\y
£
^
'.'i.''4U.r£pr i r'?lrp>j,ipf i
EXERCISES
205
II
MELODIES
22. Harmonise for String Quartet.
Andante
41
^^m
w^
ffl l rff i i ^
[:imih
\f J]3j,grrptCrK,,]3»^
ta^at
W
23. Harmonise for Full Orchestra, for Pf. duet or for Organ,
Allegro con brio
1
?2i:
. »^. | j. i i jj| .r i rrr ^^
(Vns)
#
^ i p^rTrT
i' i' i' if ^ ^
m
24. Harmonise and extend the following, with 'impressionistic outlining!
And antino con moto
jtit.^ft~**k .^T^^ I^ '^y _ "~^^-^ .
*
i^
te
Pf.
25. Harmonise the following melody for strings, without disturbing
the feeling of a C tonic.
Andantino soave i^
$
[g;^JjJ rrl'^4 j /^^^
\^ ■
^
) P ffl B^ ^
VbJ Jj?^ M
ralL
'- ' U-^ ' 1
206
MODERN HARMONY
26. Add 6 bars to the following melody and then harmonise in the
" whole-tone" system.
Andantina<i«_____^ ^^ ■ -— ^^
4i! j-3 | i-^irrpr j i r'T-Yl/P
■eter
(Pf.)
27. Harmonise for String Quartet.
Vivace l •_ |;
i r[TT i p[Y^r i ^y
l;i*Ji^fe I.
28 Harmonise for String Sextet.<2 Violins 2 Violas and 2 Cellos).
^^
iji cErgp .^
EXERCISES
207
III
FIGURES AND CHORDS
29. Develop the following "Bridge-passage" for about 20 bairs lead,
ing to a return of E flat minor.
Molto agitato
30. Add Bass and.continue in the following style for Pf.
Poco lento alia Valse
fr .^^^ .
m
^^ey
31. Write a short Prelude in 10-8 time, commencing thus :-
32. Write a "Lied ohne Worte" for Pf. in 7-8 time with the following
accompaniment figure:-
t^
^
^
208
MODERN HARMONY
33. Write a short Melody for Piano with the following accomp-
animent figure :-
Andante con duolo
i":i jT] \]J\
pp
^
34. Add an extended harmonic theme below the following pedal-
figure.Write for Orchestra or Pf.duet.
^fz « ^±. \fi ^ft. ^
35. Write several passages of "impressionist" chordal successions
on the following rhythm for "Primo" part, Piano duet, afterwards add-
ing a free part for"Secondo" player.
§ r r I P r p
7=1 73 rr-
m
^^
r^ p m
i r r \pr7rr
^
■ ■
n" Ir c
-TT-
EXERCISES
209
36. Write pieces for Violin and Pf. on the following rhythms :-
f\ (a)
ji fr r i rr^/[/icTrr[_ir ^^
#*ft-
And on this:-
^(b)
^
etc.
r P LLT
37. Write a short Piece for Pf. solo, including the following Chords:-
(a)
^
ii
(b)
*
(c)
s
^
t^
38. Compose short Studies of 8 or 16 bars in Bi-planal Harmonyon
the following combinations. Transpose as required.
M
t^
fe=
?=e=
-f
^W
39. Compose Bi-planal or Tri-planal Polytony on each of the following
series- (a;
^
k
^^
40. Compose several Miniature piec.es for Pf. as Harmonic Studies
of the Chords of the "2nd and 4th',' and of the "3rd and 4th','as used in '
Debussy's"Chanst3ns de Bilitis"and"The Childrens Corner'.'
41. Compose several themes securing "modal feeling" by the use of
successions of minor chords.
210 MODERN HARMONY
IV
MUSICAL FORM
42. Compose-several Miniatures of 16 bars, modelled on the short
Prelude 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) Shakespeare's "Cymbeline"
(b) Shelley's "Atalanta'.'
ic) Euripides'" Hippolytus''
(d) Eurip'ide^ "Iphigenia in Tauris'.'
(e) Tennyson's "In Memoriam!'
(f) The Song of Solomon.
(g) Omar Khayyam.
(h) Longfellow's "Hiawatha? e<c.
EXERCISES
211
V
ORCHESTRATION
45. Invent some eleven-part chords in orchestral tone-colour, simi-
lar to that in Schonberg's"Erwartung',' given in Example N9403.
46. Analyse the following passage from Delius"'Appalachia','thenorches.
trate it. „ . . , ,
Mys terioso l ento
16
APPENDIX II
GLOSSARY OF TECHNICAL TERMS
Absolute musiCj music without pro-
gramme ; non-descriptive.
Absolute pitcli, the definition of
pitch by a fixed number of vibra-
tions — for instance. Middle C
256 per second.
Absolute pitch, gift of, the ability
to name notes merely by hearing
them.
Absolute rate, a fixed number of
beats to the minute ; thus * = 1 20.
Absolutists, the followers of abso-
lute music as opposed to pro-
gramme music (q.v.).
Acoustic, relating to the influence
of a building on the conduct of
sound.
Adagio, very slowly.
Added sixth, a major common
chord phis the sixth.
Ad libitum (Italian), at the per-
former's pleasure.
.Solian mode, a modal scale, from
C to C on the pianoforte.
Allegretto, rather quick.
Allegretto ben moderate, not too
quick ; well in hand.
Allegretto cantabile, rather quickly
and in a singing manner.
Allegretto con dolezza, lively, but
with 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.
Allegro espressivo, quick, but with
expression.
Allegro glocoso, quickly and gaily.
Allegro ma non troppo, not too
quickly.
Allegro moderate, moderately quick.
Allegro molto energico, very quick
and energetic.
Allegro non troppo, not too quick.
Allegro vivace, swiftly.
" Also spracb Zarathustra," a tone-
poem by Strauss, based oil ideas
from Nietsche's philosophy with
this title.
Analysis of music, the explanation
of form with regard to move-
ments and of the origin of chords.
Andante, gently moving.
Andante amabUe, rather slow and
sweet.
Andante cantabile, slow and with
a singing style.
Andante espressivo, slow and sooth-
ingly.
Andante maestoso, slow and ma-
jestic.
Andante sostenuto, slow and sus-
tained.
Andantino, rather slow ; a shade
faster than andante.
Annotated programmes, pro-
grammes with items explained
in short paragraphs.
Appoggiatura, an accented passing-
note.
Approach chord, the chord pre-
ceding a more important one.
212
GLOSSARY OF TECHNICAL TERMS
213
Arpeggio, the notes of a chord
played separately.
Assez doux, mais d'une sonority, very
sweetly, but with a broad tone.
Atmospheric, with a very decided
feeling of the particular mood.
A tre battute, in three-bar rhythm.
Auditorium, the space provided for
the seating of the audience.
Augmented fourths, the intervals
a semitone larger than the per-
fect fourth ; for example, from
C to F sharp.
Augmented triad, a triad with an
augmented fifth.
Au movement, with motion [con
moto).
Aural-mental, a sort of sixth sense ;
perhaps a subtle combination of
psychological and physiological
powers.
B
Barring, the measuring of music
into regular groups of beats or
pulses.
Beat, a pulse in music.
Brass, the brass section of the
orchestra — viz., trumpets, trom-
bones, and horns.
Bridge passages, parts of a com-
position connecting the themes,
to which they are subsidiary.
C, the note in the second space of
the bass staff.
CC, the note on the second line
below the bass staff.
OCC, the note an octave below CC.
Cacophonous, objectionably dis-
cordant.
Cacophony, unsesthetic discord.
Cadences, certain chord combina-
tions which divide the phrases
in music and give the effect as
of commas, full stops, etc.
Cadential effect, the effect produced
by varying the ordinary forms of
cadences.
Cadenza, a brilliant passage intro-
duced during the performance of
a piece as a display of technical
skill.
Cataclysmal power, hugely sonor-
ous.
Chamber music, music for a small
concert or private salon — always
one instrument to a part.
Characteristic intervals, notes spe-
cially characteristic of any one
scale.
Characteristic notation, special
ways of writing chords.
Chord structure, the building of
chords upwards from a note of
a scale.
Chordal vocabulary, knowledge of
various chords.
Chromatic, an altered diatonic note.
Chromatic chords, chords foreign to
a key, which may, however, be
used without modulation.
Chromatic resolution, the resolu-
tion of a discord in some way
foreign to that from which it is
really derived. •
Classical, a term often used either
very loosely or narrowly, but
applied by people of broad-
minded views to the master-
pieces of any age.
Cohesion of scale material, a clear
definition of the scale used in a
composition.
Colour sensation, the special appeal
of the timbre.
Combination, combining of chords,
notes, instruments, etc.
Common chord, an addition of
major or minor third and perfect
fifth to any given notd
Complicated technique, the appli-
cation of many elements — har-
mony, counterpoint, instrumenta-
tion, etc.
Conjunct, by step from one note to
the next above or below.
Con moto perpetuo, with continuous
movement.
MODERN HARMONY
Consecutive seconds, the interval
of the second sounded in two
successive chords by the same
two parts.
Consecutive "six-fours," two com-
mon chords in the second inver-
sions used in succession.
Consonant, agreeable to the ear, as
distinguished from dissonant.
Contrapuntal, the combination of
two or more melodies.
Contrary movement, moving in
opposite directions.
Dance suite, a series of dance tunes,
all with the same keynote.
Derivation, origin.
Diaphony, a crude method of early
harmony by fourths and fifths.
Diatonic, a scale system of two
" tetrachords " {q.v.).
Diatonically, keeping to the notes
of the diatonic scale, major or
minor.
Diatonic concord, a concord formed
by notes belonging to the scale
on which the piece is written.
Diatonic genus, founded on a scale
system of two"tetrachords" (q.v.).
Diatonic imitation, imitation of any
particular part without employ-
ing notes outside the limits of
the scale.
Diminished fifth, the interval a
semitone less than a minor fifth.
Diminution, the same melody
sounded in notes of shorter
value.
Disjunct, movement by skip, as
contrasted with conjunct motion.
Disjunct tritone, the fourth, fifth,
sixth and seventh degrees of the
major or minor scale.
Dissonances, discords.
Divisi, divide, each instrument, or
group of instruments, taking a
separate part.
Dolce, sweetly.
Doloro, with grief.
Dominant, the fifth degree of a
major or minor scale.
Dominant generator, the dominant
as the origin of a natural chordal
series.
Dorian sixth, the major sixth from
the Tonic of a minor key.
Doubled seventh, the seventh of
a chord sounded by two parts at
the same time.
Driving notes, notes brought for-
ward in time, just as Suspensions
are notes held back.
Duodecuple, twelve equal divisions
to the octave.
Duple, in twos.
Effects of immensity, very large or
grand chords of broad effect.
Ein Musikalischer Spass, a musical
joke.
Elasticity of technique, perfect
mastery of sounds.
Elision, the omission of any part.
Emotional effects, musical effect of
sadness, gaiety, anger, grief.
Empirical methods, methods dis-
covered by tentative experiment ;
in logic, the Pragmatic method.
Energico, with energy.
Enharmony, harmony in which the
notation is changed while the
pitch remains the same.
Equal chords, chords whose notes
are exactly equidistant.
Equal steps, steps of equal distance.
Equal temperament, all keys tuned
equally well. See Unequal tem-
perament
Equale, equal ; exactly alike.
Etwas langsam, rather slowly.
Evaporating discords, discords left
unresolved, which vanish in
silence.
Expressional school, the composers
who put expression before every-
thing else.
Extended discord, a discord carried
high into the upper partials.
GLOSSARY OF TECHNICAL TERMS
215
False notation, the use of acci-
dentals employing the same pitch
as C sharp for D flat.
False relations, two chromatic notes
appearing in successive chords
sung by different parts.
Feminine endingj ending on a weak
beat.
Final cadence, the chords used at
the end of a piece.
Fixed key, often Dominant and
Tonic.
Flat supertonic, the second note of
a major scale lowered a semitone.
Folk music, traditional music, often
unwritten down and handed on
orally.
Fonn, the mu ical shape in which
things appear.
Forte, loud.
Fortissimo, very loud.
Fovmdation note, the root of a
chord ; the note on which a
chord is founded.
French school, having reference to
the music of French composers.
Fundamental chords, chords formed
after the natural law on the
tones of harmonics, or upper
partial tones.
Furioso, with fury.
H
Harmonically, with reference to
notes sounded together in com-
bination.
Harmonic colour, the rich effects
produced by varied harmonies.
Harmonic perception, the trained
following of harmony.
Harmonic rays, the harmonic colour
brought about by particular com-
binations.
Harmonic series, the natural notes
produced by a horn or trumpet.
Harmonic "study," a piece formed
upon a particular chord.
Harmonic tissue, a harmonic com-
bination strong in "forward move-
ment " tendencies.
"Heldenleben," a tone-poem by
Strauss depicting incidents in his
own career. Literally " A Hero's
Life."
Hidden fifths, the interval of a sixth
followed by that of a fifth, both
parts moving up or down one
degree.
High-pressure pipes, pipes of an
organ requiring a heavy pressure
or wind.
Horizontal thinking, the regarding
of music as a combination of
melodies from left to right.
"Horn-fifths," the interval of a
perfect fifth sounded by the
harmonic laws on natural horns.
Idiom, a certain stereotyped har-
monic or melodic progression.
Impressionistic. (See Chapter X.)
Inferior resonance, reckoning down
the series of harmonics instead
of upwards.
Instrumental, appertaining to in-
struments.
Introduction, a prelude to any
musical performance.
Inversions, the varying position of
chords when the bottom note is
removed and placed at the top.
Irato, with angry, stormy tones.
K
Kaleidoscopic colouring, continued
change of tone-colour from beat
to beat.
Kammer-Symphonie, a piece for a
large number of orchestral instru-
■ ments with only one player to a
part. (See Chamber music.)
Key-balance, the use of certain
special keys in order to avoid
vagueness of tonality in a piece.
Key-signature, the sharps or flats
placed directly after the clef sign.
Klar., short for klarinet (clarinet).
216
MODERN HARMONY
Laissez vibrer, leave sustaining
pedal on.
Largamento, very slowly and with
broad tone.
Larghetto, not so slow as largo.
Largo e mesto, slow and sad.
Largo sostenuto cantaMe, slow, sus-
tained, 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 and
very tranquilly.
Lento sostenuto cantabile, slow,
sustained, and in a singing style.
"Le Eouet d'Omphale," the Spin-
ning-wheel of Omphale, a Queen
of Lydia, whom Hercules served.
"Le Sacre du Printemps," the Rite
of Springtime.
Lowest parts, parts sounded by
the instruments or voices placed
lowest in pitch.
Lusingando, dying away ; losing
itself.
M
Major sixth, the interval of the same
distance as that from the first
note of a major scale to the sixth.
Major triad, a combination of a
similar formation to the com-
bination of the first, third, and
fifth notes of the major scale.
Marcatissimo, well marked.
Marcato, marked.
Masculine ending, ending on a
strong beat.
Massig, moderate.
Massig bewegt, with moderate
movement.
Massig langsam, moderately slow.
Mediaeval harmony, the harmony
of mediseval times — i.e., modal.
Melisms, a decorative group of
notes of no fixed time, gener-
ally played lightly and quickly.
Melodic lengths, a sentence of
melodic notes.
Melodic lines, the arrangement of
rise and fall in melody.
Melodically, the forward movement
in time, of a single part.
Metamorphosis, the reappearance of
a melody in a different shape or
form.
Middle cadences, cadences, in the
middle of a piece, which avoid
a full close or finish.
Minor chords, chords with a minor
or lesser third.
Minor seconds, the intervals a semi-
tone less than major second, as
C to D flat.
Minor sixth, an interval a semitone
less than a major sixth.
"Mirror" idea, harmony worked
from the middle, outwards in
both directions.
Mistico, mysteriously.
Modal melody, a melody formed
by the notes of a modal scale.
Modal system, according to the old
modes or scales.
Mode, the quality or kind of scale.
Moderate, in moderate time.
Modern (French), in moderate time.
Modem techniciue, the scientific
and acquired parts of the com-
poser's training.
Modernity, appertaining to modem
methods.
Molto adagio, very slowly.
Molto moderate, very moderate in
speed.
Molto tranquillo, e sostenuto, very
tranquil and sustained.
Molto vivace, very quickly.
Mood, a state of feeling.
Muted horns, horns played with a
device arranged to soften the
tone. The mutes at the same
time produce a strange weird
tone-colour.
Muted strings, stringed instruments
with the mute attached, to veil
the tone.
GLOSSARY OF TECHNICAL TERMS
217
N
Native scales, scales other than
European.
Woctume, a piece with a quiet,
contemplative, reposeful feeling.
Notational system, system of writ-
ing notes of different pitch.
Note-communism, all notes equal
in importance.
Noted, written down in musical
notation.
Obscuring of tonality, the tem-
porary obliteration of the feeling
of the key in which a piece is
written.
Octave, the eighth note in a diatonic
scale above a given one ; it has
the same alphabetical name.
Omar Khayyam, a Persian poet.
Opus number, the order in which a
composer's works are published.
Orchestra, a certain balanced collec-
tion of string, wood-wind, brass,
and percussion instruments.
Orch. Bassi, orchestral double
basses (string family).
Outlining, to strengthen a certain
part by adding in octaves, fourths,
fifths, or common chords, etc.
P
Parallel fifths, the interval of a fifth
sound by the same two parts in
two successive chords.
Part, a single line of sound, with
forward movement in the time-
dimension.
Passing-notes, notes which do not
form any part of the chords.
Pas trop lent. Not too slow.
Pathetic cadence, a perfect cadence
preceded by a chord containing
a flattened supertonic.
Pedal, in harmony, a holding note ;
on the organ, a keyboard played
by the feet.
Pedal-chord, a long holding chord,
over which other parts are
moving.
Pedal drum-roll, a " roll " on a long
holding note.
Pentatonic scale, a scale formed
of five notes.
Pesante, heavily.
Phrases, the various divisions of
two or more bars, into which
music is divided.
Phrygian mode, an ancient scale
represented on the piano by the
white notes E to E.
Pitch, the height or depth of sound.
Pitch position, the high or low
placing of a note.
Plagal, modes.
Poco lento, rather slowly.
Polytony, a new system of harmony.
Post-Impressionism, an altogether
free and very personal style of
composition. The opposite of
Realism.
Prelude, a piece preceding any
longer movement.
Preparation, the sounding of a note
belonging to a chord before sus-
taining it as a discord in the
following chord.
Prestissimo, as quickly as possible.
Programme music, music depicting
certain definite thoughts, actions,
or scenes.
Pure temperament, tuning notes
by the perfectly natural law.
Q
Quality of intervals, the varying
width of intervals according to
the number of semitones.
B
Kail, molto, a broad, graduated
slackening in time.
Bealist, a composer who aims first
and foremost at verity and exact
reproduction.
Recherche chords, rare and deli-
cately arranged combinations.
Reflection, the working of harmony
from the middle, outwards in
both directions. (See Mirroring.)
218
MODERN HARMONY
Regulated pulsation, forward move-
ment in time-duration.
Bendering, performance ; mode of
interpretation of music.
Besolution, the precedure of a
discord to the concord which
satisfactorily follows it.
Besolution chord, the chord on
which a discord resolves.
Bhythm, the regular recurrence of
accents and the arrangement of
sentences.
Bhythmical influence, the influence
of accents and phrases and the
arrangement of sentences.
Bozuantic movement, the fertiliza-
tion of the musical impulse by
literature, which began with
Schumann.
Bomanticist, a composer of the
Romantic school.
S
Sans hate et noblement, without
haste, and with great dignity.
Scalar, scalewise ; by melodic step.
Scale efieteness, a scale worn thread-
bare.
Scale material, the individual notes
of a scale.
Scale motion, melodic motion by
step.
Scalewise, by melodic step.
Scherzando, playfully.
Schnell, fast.
Segue simili, to be played or sung
in a similar manner.
Sehr lebhaft, very fast.
Sehr rasch, very impetuously.
Semichorus, half, or a part only of
the singers.
Semitone, a twelfth part of the
octave.
Semplice, simply.
Sempre ritard, always slow.
Sempre rubato, always with artistic
time-placing.
Sentences, melodic lengths or divi-
sions in a piece of music.
Sequences, the same progressions
or intervals used again on other
•' degrees of the scale.
Sequencing, or sequential progres-
sion, progression by sequence,
more or less exact.
Sextuple, a beat divided into six
equal parts.
Similar motion, parts moving in
the same direction.
Sonata-form, the form in which the
first movement of a sonata is
generally written.
Song cycles, a set of songs with a
more or less definite connection.
Spirituoso, spiritedly.
Staccato, short and crisp.
Staccatoing, playing or singing in
a short, distinct manner.
Strings, violins, violas, 'celli, etc.
Subdominant, fourth degree of a
diatonic scale.
Subito, quickly; suddenly.
Subjects, the themes around which
a movement is built.
Superposition of thirds, thirds
placed one above another.
Suspensions, the holding of a note
into another chord to which it
does not belong.
Sympathetic vibration, the vibra-
tion of a second note in unison
or in some harmonic relation, set
in motion automatically by the
vibration of the first.
Symphony, a series of three or four
movements for orchestra accord-
ing to some definite scheme.
Technique, technical equipment ;
in harmony — mastery of musical
sound.
Temperament, a system of tuning.
Tempo de mazurka, in the time of
a mazurka.
Tetrachord, a group of four scale
notes, two tones and a semi-
tone.
GLOSSARY OF TECHNICAL TERMS
219
Theorist, one who works on theor-
etical hnes.
Tierce de Picardie, the major third
with which a composition in the
minor key often ends.
Timbre, the quality of a sound.
Timbre - creating, affecting the
quality of a composite sound.
Tinting, adding extra notes, not of
first importance in the chord.
Toccata, a piece displaying " touch "
on a keyed instrument.
Tonal centre, the Tonic or keynote
of any passage.
Tonal chords, chords formed on the
"tonal scale." (See Chapter V.)
Tonal colour, the varying effects
produced by different combina-
tions of tone.
Tonal combinations, chords formed
from the tonal scale.
Tonal harmony. See Tonal chords.
Tonal principle, the abolition of
semitones.
Tonal progression, movement on a
scale of whole tones.
Tonal scale, all tones, no semitones.
Tone, a sixth part of the octave.
Tone-poem, a piece written with
regard to effects of tone-colour.
Transposition, the placing of a
melody high or lower in the
scale.
Tr6s lent, very slow.
Triad formation, formation of com-
mon chords by adding third and
fifth to any given note.
Triads, common chords.
Triple, in threes.
Tritone, three whole tones in
melodic succession.
Tutti, full ; all the instruments or the
voices.
Twelve-note scale, a scale of twelve
semitones, but not formed by
alteration of the diatonic scale.
See Duodecuple.
U
Una corda, on one string instead
of three ; soft pedal of piano.
Undamped chords, chords allowed
to vibrate freely.
Undamped strings, strings allowed
to vibrate freely.
Unequal fourths, fourths of different
width or quality.
Unequal temperament, a system of
tuning by which certain common
keys were nearly perfect, whilst
the rarer keys were very false.
V
Vague tonality, doubtful as to key.
Viols, stringed instruments.
Virginals, the old type of keyboard-
instrument used in Elizabethan
times.
Vivace, lively.
Vivacissimo, quicker than vivace.
Vivo, vivaciously.
Vocal, appertaining to the voice.
Volume, quantity in relation to
sound.
W
Wagnerian, in the style of Wagner.
Rich, masterly harmony, with the
adoption of the Zei^mo/iy principle
as the chief element of form.
Weak beat, an unaccented beat or
pulse.
Whole-tone scale, a scale consisting
entirely of tones, frequently
called the "tonal" scale.
Wood-wind, wind instruments made
of wood, as flute, clarionet, oboe,
fagotto.
Wotan motiv, the theme given to
Wotan, the chief of the gods, in
Wagner'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.
Balakirefp
Bantock
Beach, H. H. A.
Beethoven
Fifth 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 heim-
gestellt, 17.
Choral Prelude : Wenn wir in hochsten
Nothen 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
INDEX TO MUSICAL ILLUSTRATIONS
221
Bonnet -
Matin Proven9al, 56.
Moment Musical, 287.
BORDES, C.
Quatre Pantaisies rythmiques, 377, 378.
Borodin
Pedal Figure, 383a.
BOUGHTON, R. -
Midnight, 263.
The Skeleton in Armour, 59.
Bridge, J. P. -
Crossing the Bar, 25.
But,!,, John
Piece for Virginals, 3.
Buttebworth
A Shropshire Lad Rhapsody, 138, 194.
Chopin
Etude in minor, 148.
Etude in B, 360.
Impromptu in P sharp, 98.
Maziirka in C, 257.
Nocturne in P, 258.
Nocturne in G minor, 58.
Polonaise, 11.
PreludQ in C minor, 365.
Prelude in C sharp minor, 273.
Prelude in P, 244.
Twenty-first Mazurka, 272.
Coleridge-Taylor -
A Negro Love-Song (African Suite), 143,
A Tale of Old Japan, 22.
COBDBR, P.
Elegy in P, 70.
Transmutations, 88, 224.
Debussy -
Children's Corner, 129, 208.
Images, 113, 268,
La Demoiselle Blue, 256.
Pagodes, 137.
Pelleas et Melisande, 114, 197, 237,
Pr61ude, 123.
Delius
Autumn, 368.
Das Veilchen, 82.
Punf Lieder, No. 2, 259.
DohnAnyi, E. -
'Cello Sonata, 265.
DUNHILL, J, P.
Phantasy Trio, 235.
DUPONT, G.
La maison dans les dunes, 275,
Les Caresses, 336.
DvorXk -
New World Symphony, 36.
Serenade, 291.
Waltz in D flat, 6.
Elgar
Apostles, 30, 38, 90, 92, 310.
Coronation Ode, 4.
22a
Blgab (continued)
Farjeon, H.
Plotow -
PRANCK, CfiSAR
Goss, John
Grieg
Grovlez
GuiDO d'Arezzo
Halm, A.
Harty, H.
Haydn
Hegar
Hennessy, Swan
Holbrooke, J. -
Hub, G. -
Hull, A. E.
Jarnefelt
Jensen
Karg-Elbbt -
korngold
Liszt -
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 16
The 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.
INDEX TO MUSICAL ILLUSTRATIONS
229
MacDowell
/ Machault
Mackenzie
McEwEN -
moszkowski
moussorgsky
Mozart
' Paderewski
Parry
", PiBRNfi
/ Pitt, Percy
POLDINI
Puccini
PURCELL -
; Rachmaninoff
7 'Ravel
R6BIKOFF -
At an old trysting-plaee, 10.
Thy beaming eyes, 39.
To a Water-Lily, 172, 296.
Wald Idyllen, 233.
Sacred Madrigal, 1.
Pour Songs, 220.
The Bride, 49.
Elegy, 274.
Prelude and Fugue for Strings, 229.
Boris Godounov, 342.
G minor Symphony, 213.
Jupiter : Finale, 316.
Sonata in B flat minor, 298.
King Saul, 65.
Symphony in B minor, 24.
LaOroisade desEnfants (Children's Crusade),
77, 320.
Come, solemn Night, 29.
Zigeuner Novelle, 264, 312.
Madame Butterfly, 135.
King Arthur, 2.
Overture : Dido and >Eneas, 103.
To the Children, 267.
Aisie, 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 HARMONY
Reger, Max
BlMSKY-KOBSAKOPP
Ronald, Landon -
Rubinstein
Saint-Saens
SC3MITT, FLORBNT
SCHONBERG
Schreker
Schumann
SCHUTT, E.
Scott, Cyril
Scriabine
Selva, B. -
Sbbibyx -
Sgambati -
Sibelius -
Gott des Himmels und der Erden, 26.
Kyrie, 87.
Intermezzo in G minor, 232.
String Quartet, 47.
Russian Songs, 57.
Pens^e 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
225
Smyth, B. M.
Somervell, A.
Stanford -
Strauss
Stravinsky
Trevalsa, J. -
tschaikowsky
tschebepnine -
Vaugha n-Willi ams
Verdi
Villemin
Wagner
' ' Walford-Davies
Wallace, W.
Wesley -
White, M. L.
Wolf, Hugo
I f Wolp-Ferrari
. York-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, 126, 234, 303,
362, 364.
Blektra, 68, 80, 227, 306, 355.
Till Eulenspiegel, 174, 216, 226, 236, 266, 309.
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, 305, 322, 329,
Second Suite, 210, 280, 327.
MODERN HARMONY
MISCELLANEOUS.
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, 39
Abolishment of key -signature, 50
Absolute music, 183, 185
pitch, 35, 50
Absohxtists, 185
Absorption of Seriabine's chords
into general practice, 73, 180
Accents, 179
Accidentals, 34, 179
Added Dominant, 84
note, 85
passing-notes, 82
sixth, 82
Tonic, 84
Advice to the student, 7
^olian mode, 25
Esthetics, 163
Alien chords, 81
Allusion in music, 28
Alma-Tadema, 66
Alterated notes, 78
Alterations of scale, 65
Analysis of haz-mony, 78
of Franek's String Quartet,
185
of melody, 163 et seq.
of Schonberg's Kammer-
Symphonie, 186
Anthropology, 66
Appeal to the senses, 198
Applications of duodecnple scale-
system, 49
Appoggiatura chordal " drags,"
128 (Ex. 286)
chords, 103, 128
explanation of "escaped"
notes, 162
view of "Tonal" chords, 63
Wagner's, 101
with new chords, 85, 154
with Scriabine, 75 |
227
Approach-chord, 108
" Ariadne in Naxos," 5
Arnold, Matthew, 66
Arpeggio treatment of enhar-
mony, 87
Atmosphere in music, 114
Augmented second, 163
sixths, 85, 140
triad, 126, 134
Authentic modes, 26
Bach, altered scale, 64
as modernist, 1, 60
consecutive fifths, 5
diminished seventh, 3, 48
form, 182
free part- writing, 11
melody, 164
second inversions, 12
Bach's cadences, 64
Bantock, cult of the Bast, 66,
67
equal steps in bass, 87
fifths, 115, 116
Programme Music, 183, 185
Earless music, 179
Bars of a single beat, 176
Basis of music, 24
Basses, 44, 51, 200
in equal steps, 43, 44, 45, 87
Beauty, abstract, 109
Beckmesser, 5
Beethoven, Dominant as gen-
erator, 92
elision, 109
fifths, 115
free writing, 14
horn passage in "Eroica,"
145, 146
modernity, 1, 4
Ninth Symphony, 20
16
228
MODERN HARMONY
Beethoven, Pastoral Symphony,
197
Bell-tones, 148
Bennett, Sterndale, 171
Berlioz, 28, 169, 181, 182, 183
Berlioz's id^e fixe, 183
Bible Sonatas, 182
Bi-planal harmony, 193, 209
Bizarre effects, 154, 17f3
Bonnet, 27
Bordes, 174
Brahms, 110, 164, 179, 182, 192
Bridge passage, 209
Browning, 114
Bull, Dr. John, 2
Busoni, 76
Busoni's new system, 77
Butterworth, 154
Cadences, 31, 32, 105, 110, 111,
113
Cadential relief, 110
Cadenzas of Liszt, 36
Canon in Sehnbert's ' ' Erlaf See, "
20
Cezanne, 115
Classical, use of term, 2 (foot-
note), 182
Chabrier, 193
Chamber mvisie, 198
Charpentier, 152
Chausson, 116, 193
Chiarosonro, 158
Chopin, altered scale, 70
combined movements, 172
fifths, 118
major thirds, 49
melismce, 36, 50, 172
nationalism, 66
quadruplet, 171
quintuple time, 174
vagvie tonality, 50
Chordal origin of "whole-tone"
scale, 53
Chord-formation, 83
by fourths, 97, 160
Chords derived horizontally, 140
of ninth, 125
of seventh, 123
Chord-structure, 90
by equal intervals of same
quality, 95
by equal intervals of uneven
quality, 93
Chromatic alterations, 85, 88
discord, 33
notes, 15
scale, 5
not a mode, 78
resolution, 59
view, 33
Classical, 2
Cobbett, W. W., 189
Coleridge-Taylor, 66
Colour sensation, 72
Combined harmonic streams,
135, 136, 137
keys, 138, 139
themes, 184
time - movements. 171. 174,
177
Common chords in similar mo-
tion, 119, 160
on chromatic notes, 13
Comparison of Scriabine's scales
with "Tonal" systems, 72
Composer's equipment, 19
Concord as pedal, 146
Dominant seventh accepted
as, 156
Con moto contiauo, 179
Consecutive fifths, 8, 116 et seq.
Contrapuntal styles, 131
Crick, harmonic, 120
Cubism, 2
Cui, 149
Cult of the East, 66
of the second, 155
of semitone, 98
Davitl. Ferdinand, 67
Davies, Walford, 16, 29. 49
Debussy forestalled, 2. 20
harmonic studies, 209
harmonics, 73
Impressionism, 36, 59, 115,
129, 193
" L'Apr^s-iuidi d'un Fanne,"
188
mirroring, 56
new chords, 108
" Pelleas et Melisande," 62
scale of "Pagodas," 66
songs, 130
String Quartet, 128
"tonal" harmony, 56, 58,
61, 62
Definition of Impressionism, 114
GENERAL INDEX
229
Delius, 183
extract from " Appalachia "
for orchestration, 211
Demands on the listener, 183
Desire to modify notes, 64
Diablerie, 116, 192
Diagram of duodecuple system,
30
of tertia-tonal system, 77
Diatonic basis of music, 166
fovindation for the old chro-
matic notes, 34
music, 7
Diminished seventh, transmu-
tation properties, 90
third, 163
triad, 128
Diminutions in newer time-sig-
natures, 174
D'Indy, Vincent, 25, 186, 193
Discord in the aljstract, 156
Discords used Impressionisti-
cally, 126 et seq.
Divergencies from the old prac-
tices, 5
Division of the octave, 33, 76,
77, 95
Dominant, 25, 40, 84
abandoned, 39
added to any chord, 84
as root, 92
feeling, 74
impression, 40, 72, 73
influence, 40, 73
ninth chord, 75
Doubled leading note, 14
Doubling outlines, 1 58
Dorian mode, 25
plainsong, 27
sixth, 25, 80
Dukas, Paul, 193
Dunhill, T. P., Phantasy-Trio.
107
Duodecuple scale, 87, 167
system, 23, 32, 33
Dupare, Henri, 116
Duplet, 171
DvoMk, 5, 66, 182
Eastern colour, 66
Economy of means, 197
"Bin Mvisikalischer, Spass," 5
Elasticity of phrasing, 179
of technique, 179
Eleventh, chord of, 82
Elgar, basses, 18
economy of notes, 27, 155
"Palstaff,"185
mediant pedal, 20
polychromatic method, 46
programme music, 182
scale, 69
symphonies, 185
Elisions, 5, 13, 105, 106, 109, 152,
153, 174
Elusive tonality, 37, 46, 50, 62,
198
Emotional properties of the
open fifth, 116
Empirical method of chord-
construction, 4, 9, 93, 180, 199
Empiricist, 199
Enharmonic vicvv, 86
Enharmony, 23, 86. 89, 112, 129,
138, 139
Enterprise, 60
Equal chords, 86
interval passages, 37, 38, 39
steps in the bass, 43, 44, 45
temperament, 24
temperamental tuning, 33,
95
Equality of intervals, 36
Erba, 192
"Escaped" chords, 81, 152, 161
"Escaped" notes or chords, 78,
162
Evaporation of sound, 83, 111
Evasive tonality, 37, 46, 50, 62,
193
Exact "reflection," 143
Exceptions to Impressionistic
chordal successions, 128, 129
Exercises, object and use of.
191
"Exposed fifths," 11
Fallacy, 192
False notation, 60
relation, 109
Peeling of straitness, 24
Feminine endings, 110
Fifths, 5, 116, 119, 120, 123, 159
chords formed by, 97, 127
Figure as pedal, 147 et seq.
Figures and chords, 207
Pinal cadence. 111
Fitzgerald, 66
230
MODERN HARMONY
Five senses of music, 199
Flaubert, 66
Form, 181, 188
coherence is, 181
harmonic influence of, 190
Formula, 108
Fourths (chords formed by), 97,
127, 159, 160
with the iDass, 12
Franek, Cesar, analysis of string
quartet, 185
doubling melody in bass,
158
melody, 164
ninths used Impression-
istically, 125
phrasing, 179
progressions of major
thirds, 49
style, 193
Freer progressions, 14
French composers, special quali-
ties of, 49, 148
Impressionism, 129
Fugato, 207
Generator, harmonic, 66, 86
German Impressionism, 129
"Gerontius,"108
Gevaert, 103
Gluck, 1
Goethe, 66, 185
Goodman, 66
"Grand manner," the, 197
Great breadth and range, 164
Greater elasticitv in part-writ-
ing, 6
Greene, 53
Grieg, 31, 66
Ground-bass, 202
Grouping of bars, 179, 180
Grovlez, 116
Guilmant, 20
Guitarists, custom of Spanish,
103
Handel, 53, 162, 173, 192
Harmonic colour, 39, 89
planes, 100, 103, 105 et seq.
studies, 112, 152, 189
Harmonics, 66, 86, 90, 91
Harp, tone of, 194
Harwood, 28
Haydn, 171
type of melody, 164
" Heldenleben," 185
Helmholtz, 24
Homeric noddings, 192
Horizontal hai'mony, 140
listening, 140
methods, 100
Horizontally derived chords, 140
" Horn-fifths," 11
Hypo-^olian mode, 25
Hypo-Dorian mode, 25
Hypo-Lydian mode, 25
Hypo-Phrygian mode, 29
Idealism, 193
Idiefixi, 183
Inadequacies of notation, 5, 34,
60, 61, 77, 96, 171
Influence of modern musical
form on harmony, 190
Influences of tone-coloiir on
harmony, 193
Impression, 115
Impressionism defined, 114, 193
Impressionist exploitation, 60
Impressionistic methods, 191
use, 96
Impressionists, 188, 208
Instruments of unfixed tone, 23
Inversion of the chord of 9th,
125
of Scriabine's chord, 73
Inversions of the chord of ninth,
18,93
of chords used Impression-
istically, 120 ct seq.
Irregvdar numbers, 171
"Jupiter" Symphony, 144
Karg-Elert, 20, 174
Kerl, 192
Keyboard, 34
Keys, combination of, 138, 139
Key-signature, 36, 50
Koechlin, 193
Kreisleriana, 177
Kuhnau, 182
Lalo, 185
Language, 5
GENERAL INDEX
9.2,1
Laryngeal development, 166
Leit-motif, 183, 184
Lenormand, 193
Less regular divisions of pulse,
172
Liadoff, 149
Lied ohne Worte, 207
Limitations, 62
of "whole-tone" reproduc:
tion, 54
Lines and streams, 134
Liszt, 66, 172, 182
Lohengrin, 188
MaeDowell, 14, 179, 181, 189
on form, 181
McEwen, 174
Machault, 2
Mackenzie, 25, 101, 179
Maeterlinck, 199
"Magic Helm," 108
Magnitude, 197
Major common chord with
7th on leading note, 16
second, 98
thirds and major sixths, 39
Manet, 115
Marcato, 176
Masculine cadences, 110
" Mastersinger " Overture, 184
Mediseval harmony, 29, 116
Mediant as pedal, 20
Medium, 92
MelismcB, 36, 50, 172
Melodic analysis, 163
lines, 131, 133, 164 et seq.
outlines, 169
prediction of modern har-
mony, 163
use of church modes, 28
value, 53
Melodies, 205
Mendelssohn, 5
Mental attitude, 60
Metamorphosis of themes, 183
Metre, 170
Meyerbeer, 192
Miniature pieces, 209
Miniatures, 189, 210
Minor ninth, 96
second in harmony, 156
triad, origin, 91
" Mirror idea," 41
Mirroring device, 140
Mirrors, 55 /
Modal cadences, 31 /'
feeling, 29, 37, 68,. 209
influence, 26
music, 24, 27
Modernity, 1
Modern melody, 164
Modification of scale notes, 64,
65, 66, 70
Modulation, 15, 58, 96
Modulatory power of "Tonal"
chords, 58
Monothematic forms, 188
Monteverde, 1
Moret, 193
Motive, 184
Mottoes, musical, 183
Mixed cliordal structures, 98
Mixing the two "Tonal" series,
57
Moussorgsky, 20, 66, 155
Mozart, augmented triad, 53
combined movements, 176
horizontal harmony, 100, 144
modernism, 3, 36, 114
phrasing, 170
" Tonal" chords, 60
Mozartian type of melody,
164
Multiplicity of themes, 184
Music, five senses of, 199
Musical analysis, 170
appreciation, class, 130
rhetoric, 165
Musicrhall ditties, 162
Nasmyth hammer, 197
Nationalism in music, 66
Native scales, 66
Neapolitan sixth, 80, 109
Necessity for elisions, 109
New chords, 47, 55, 81, 84, 85,
86, 90 et seq., 108, 140 et seq.
Newer scales, 71
Niecks, Professor, 34, 114
Ninth, chord of, 161
Ninths, 125, 161
Notation, 5, 34, 35, 60, 96
of tertiatonal system, 77
Notational inadequacies, 171
system, 61
No tonal centre, 49
232
MODERN HARMONY
Obscuring the Tonic, 49
" (Edipus Rex," 197
Olsson, Otto, 27
"Omar KhayyAm," 116
Open mind, the, 193
Orchestration, 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,
211
Oriental philosopliy, 66
Origin of minor triad, 91
Outlining certain parts, 120, 160
in sevenths and ninths, 161
of the wood- wind, 128
Outre, 154
Paddings, 192
Parisian schools, 119
Parry, 31, 105, 185
Parsifal extract, 41
Part-writing, modern, 128, 129
Passing-chords, 78, 79
Passing-notes added to chords,
82
"whole-tone," 61
Pastels, 189
Pastorals, 189
Pathetic cadence, 109
Pedal as tonality, 41
devices, 145
mediant as, 20
Pedal-chords, 139, 145, 147
Pedal-figures, 147, 208
Pedal-notes, 20
Peutatonic scale, 66
Perception, 6
Percussive harmony, 154
Permanent scale, no, 24
Perpendicular harmony, 131, 15 1
Persistence, 66
"Peter Pan "suite, 189
Phantasie, 189
Phrygian mode, 25
"Phryne,"67
Pianoforte-duet writing, 208
tone-production, 193
Piern6, 193
Pitch, 153
Planes, harmonic, 100, 103, 138,
142, 150, 162
Plagal modes, 26
Pointillism, 49, 154, 168
Poldini, 20
Polychromatic method, 15
Polytony, 109, 129, 139, 151, 162,
209
Post-Impressionism, 36, 49, 50
Post-Impressionistic styles, 191
Pragmatists, 199
Programme-music, 182, 183, 191
Progression of ninth, 18, 19
of parts, 56
" Prometheus," 72, 74, 197
Psychology, 163
Puccini, 155
Purcell, 2, 53, 114
Pure modal use, 27
scale, 22
Pvirpose of the Exercises, 192
Quadruplet, 171
"Quintal" planes, 152
Quintuple times, 173
Quintuplet of quavers, 171
of crotchets, 172
Quotations and allusions, 28
Ravel, basses, 44
chords, 84
feminine endings, 110
modal use, 27, 28, 29
phrases, 179
semitone in harmony, 157
Realism, 155
Real vermis Diatonic reproduc-
tion, 122
Reeves, 174
RebikofF, 26, 49, 116
Refinement of rhythm. 180
Reflection, 142. 154
table, 103
Reger, added-uote chords, 84
Dorian-sixth chord, 25
melody, 14
resolutions, 105, 107
"Theory of Modulation," 15
variety of cadence, 110
of phrase, 179
Reicha, 174
Reinhard, 197
Relative minor, 25
Resolutions, 59, 81, 105, 149
GENERAL INDEX
233
Resonance, 157
Reversion to Dominant supre-
macy, 73
Revolutionary, 70
Rhetoric in music, 105
Rhyming of cadences, 179
Rhythm, 171
Rimsky-Korsakow, 28, 149
Romantic, 191
Root in inversions of tlie 9th, 18
Ropartz, 193
Rubinstein, 67
Rule of roots, 59
Rummel, W. Morse, 155
Ruskin's "frozen music," 181
Russian Impressionism, 60, 129
schools, 129
Saint-Saens, 66, 67, 174, 182, 185
Samson et Dalila, 67
Satie, 36, 50
Scale, 197
effeteness, 64
Scales altered, 64, 65, 70
duodecuple, 83
modal, 24
native, 66
new, 70, 164
Seriabine's, 72 et seg.
Sibelius, 71
tertiatonal, 77
"whole-tone" or tonal, 53
Schiller, 185
Schmitt, 87, 174, 193
Schonberg, 3, 11, 86, 87, 100, 127,
141, 145, 163, 192
bass, 97
chords, 11, 86, 87, 100, 127,
141
early pieces, 192
"Erwartung," 211
Kammer - Symphony ana-
lyzed, 188
referred to, 3, 162
orchestration, 150
pedal-chords, 145
planes, 100, 150
Schubert, " Erlaf See," 20
scale, 5
Schumann, combination of duple
and triple times, 177
consecutive fifths, 8, 116
final cadences. 111
Schumann, "Muth," 130 (foot-
note)
mystic letters, 183
pianoforte concerto, 14
Scott, Cyril, 179, 193
Scriabine, absorption of his
chords into general prac-
tice, 76
combined rhythms, 180
favourite chords, 4
form, 185
orchestration, 154
"Preludes," 189
quintiiple time, 174
scales, 72
String Quartet, 22
system of harmony, 72 et seq.
temperamental tuning, 23
tonality, 187, 188
tone-poem " Prometheus,"
189
Second in chord-formation, 108,
156
cult of, 155, 156
inversions, 12
Semitone, 33
Senses, the five musical, 199
Sequencing, 48
Sequential progression of the
bass, 45, 134
Seiies of thirds, 94
of " tonal" sounds, 54
Sevenths, 123 et seq., 161
Shakespeare, 111, 185
Shield, 173
Sibelius, 66, 70, 168
Similar motion, common chords,
etc., 119 et seq.
Simplification of teehniqxie, 155
of theory, 15
Sincerity in music, 192
Slav music, 171
Small scale works, 198
Smetana, 20, 183
Somervell, 8
Sonata lines, 185
Spacing, 158
Spohr's style, 155
Stanford, 28, 66, 179
Strauss, added-note chords, 88
allusion and quotation, 24
contrasted styles, 49
forestalled, 4
melody, 166
234
MODERN HARMONY
Strauss, modernity, 1
ninths in part-writing, 128,
129
overlapping harmonic
streams, 137
pedal-chords, 42
planes, 109
polychromatic method, 15,
16, 23, 43
polytony, 104
Programme Music, 182
realism, 154, 155
sequential bass progressions,
87
"tonal" chords, 60, 61
Stravinsky, 14, 49, 86, 154
Streams and lines, 134
of sound, 136, 137
String quartet writing, 22, 106,
107, 112, 183, 185
Strings, 193
Structures of fourths and fifths,
96
Subdominant, major chord on
raised, 15
Superposition of vinequal thirds,
5
Suspension of diatonic tonality,
36
Swan Hennessy, 174
Swinstead, 29
Symphonic poem, 182
Symphonie in P], 186
System of teaching harmony, 4
Table of altered chords, 79
Technique of the Impressionists,
114
Temperament (tuning), 24, 33, 95
Temperamental arguments
again, 73
Temperaments, 23
Tertiatonal system, 77
Thought in music, 4
Threefold basis of music, 24
outlines, 160
Three harmonic streams, 137
Tierce de Pieardie chords, 29
Timbre -creating combination,
83
devices, 125
Time signatures, new, 172, 174
Tonal centre, 35, 36
necessity of, 49
"Tonal" chords, 47, 53, 54, 58'
206
in modulation, 58
melody, 168
music not always French,
193
scale, 5, 36, 48, 53, 69, 143,
192
included in duodeeuple,
48
system, 40, 53
compared, 72
Tonality-chord of Scriabine, 187
Tone-colour effects, 160, 193
Tone-dramas, 189
Tone-production, varieties of,
194
Tonic, 35, 84
added to any chord, 84
Transference of discord, 105
Transferred resolution, 13, 105
Transmu.tation properties of
diminished seventh chord, 96
Transposed modes, 126
Tri-planal polytony, 209
Triplet, 171
Truth, 198, 199
Tschaikowsky, combined times,
177
melody, 163
nationalism, 66
Programme Music, 182
quintuple time, 173
resolutions, 105
Twelve-note system, 5
Two harmonic streams, 135
Tyndall, 66
Undue prominence of sonata-
form, 182
Unfixed tone, instruments of, 23
Unrestfulness, 74
Value of " wliole-tone '" system,
62
"Vamping" form of Spanish
guitarists, 103
Variety of phrase-lengths, 179
Vaughan- Williams, 16, 193
Vehicle of expression, 199
Verdi, 158, 164
Verlaine, 66
Villemin's pols'phony, 151
GENERAL INDEX
235
Vina, 77
Vin6e, 22, 101
Vivaldi, 3
Wagner, early styles, 192
major third progressions,
48,49
modernity, 1
polychromatic method, 15,
45
quintuple time, 174
resolutions, 85
scales, 47, 66
sequential progression in
bass, 18, 48, 87
use of appoggiatura, 101
vague tonality, 47
Wedding March, 5
Wells, G. H., 4
Wesley chord, 92
Whips in "Elektra," 154
White keys throughout, 27
" Whole-tone " chords, 47, 53, 54,
58, 85, 206
melody, 168
passing-notes, 61
scale, 5, 48, 53, 69, 148
chordal origin, 53
system, 40
Wider tonal relations, 15
Wind instruments, 193
machine, 193
" Witches' Sabbath," 193
Wolf-Ferrari, 20, 154
Zanella, 178
THE END
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