Modern harmony, its explanation and application . The next advance is the combination of two or morestreams in different keys. This feature leads us rather nearto the study of Bnharmony, which is explained^Ti^r^ later; but the device originated entirely on the*^* lines of horizontal thinking with the Northerncomposers. Sibelius has a passage in his Fourth Symphonywhere the woodwind instruments are moving in the key ofA major, against a remarkable pedal-figure in E flat on thestrings. It should be stated that the string pedal figure is wellgrounded on the ear before the A major colour is introd
Modern harmony, its explanation and application . The next advance is the combination of two or morestreams in different keys. This feature leads us rather nearto the study of Bnharmony, which is explained^Ti^r^ later; but the device originated entirely on the*^* lines of horizontal thinking with the Northerncomposers. Sibelius has a passage in his Fourth Symphonywhere the woodwind instruments are moving in the key ofA major, against a remarkable pedal-figure in E flat on thestrings. It should be stated that the string pedal figure is wellgrounded on the ear before the A major colour is introducedon the woodwind. Our example is taken from the develop-ment of this passage. After these three bars the two orchestraswork on together in contrasted keys for some time before thestrings finally join the woodwind in the key of A major. SIBJfiUUS, Allegro^ 4th Symphony, Op. 63. ?rm. jString Pedal flgura previously estatUshed HORIZONTAL METHODS 139 At one point in Wolf-Ferraris Jewels of the Madonna,the composer has contrasted the key of E minor on theorchestra against the key of E flat in the brass on the stagein a novel way, but the passage is somewhat crude. Scarcelymore acceptable are the gruesome rushes of fifths in StrausssElektra, even if we had time to listen to them as twostreams; for the two planes of fifths are brought too closetogether for the principles of Poly tony* to be admitted. WOLF-FERRARI, Allegro molto. _ I G^m della Madonna. Ex. 305.
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectharmony, bookyear1915
