Modern harmony, its explanation and application . n responsibility. The third class attacks these chords freely, and resolvesthem according to an agreeable or significant leading of theparts. 78 ALTERED NOTES AND ADDED NOTES 79 A fourth class neither prepares nor resolves them, andunder this category perhaps come the escaped chords,those cleverly arranged strange resultants heard in themore highly coloured harmonic web of Ravel and FlorentSchmidt, of Strauss and Stravinsky. The first class—passing chords—need little explanationbeyond saying that in this and in all classes, any one, or all of.
Modern harmony, its explanation and application . n responsibility. The third class attacks these chords freely, and resolvesthem according to an agreeable or significant leading of theparts. 78 ALTERED NOTES AND ADDED NOTES 79 A fourth class neither prepares nor resolves them, andunder this category perhaps come the escaped chords,those cleverly arranged strange resultants heard in themore highly coloured harmonic web of Ravel and FlorentSchmidt, of Strauss and Stravinsky. The first class—passing chords—need little explanationbeyond saying that in this and in all classes, any one, or all of. the notes, may be chromatically altered upwards orChrdf. 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 naturalcourse. The fifth or the third (or both) of a common chord maybe thus treated. The same modifications may be meted outto the chords of the seventh, of the ninth, eleventh, andthirteenth. Table ofAltered Notes in Common IV
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