Modern harmony, its explanation and application . e£ E E At one of the most powerful climaxes in Strausss 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 Heros — , Fls. Obs, Tpt. S Rdrns. Tbns, Tubas, & lower The next advance is the combination o
Modern harmony, its explanation and application . e£ E E At one of the most powerful climaxes in Strausss 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 Heros — , Fls. Obs, Tpt. S Rdrns. Tbns, Tubas, & lower 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
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