Modern harmony, its explanation and application . e 173 we see an elevation of this ideaby a modern composer. An important exercise of one of the leading masters ofpianoforte technique consists of the playing of diatonic scalesvery lightly and rapidly in seconds, whilst in one of Stra-vinskys ballets, Le Sacre du Printemps, a principal themeis hurled out by the trumpets in seconds, fortissimo ! Takinga retrospective glance at the onward march of aural percep-tion and accommodation, one wonders if the second willshare the favour now bestowed on the dominant seventh,—acceptance as a concord. Whi
Modern harmony, its explanation and application . e 173 we see an elevation of this ideaby a modern composer. An important exercise of one of the leading masters ofpianoforte technique consists of the playing of diatonic scalesvery lightly and rapidly in seconds, whilst in one of Stra-vinskys ballets, Le Sacre du Printemps, a principal themeis hurled out by the trumpets in seconds, fortissimo ! Takinga retrospective glance at the onward march of aural percep-tion and accommodation, one wonders if the second willshare the favour now bestowed on the dominant seventh,—acceptance as a concord. Whilst considering the problem of discord in the abstract,it is interesting to notice a few uses by the great masters Ti. »«• of the more dissonant minor form of the JVlinor i -r> i mi Second in In Example 43 we saw a case by Beethoven. Ihe Harmony, striking verisimilitude in Bantocks beautiful can-tata for a double chorus is obtained by a striking use of thisinterval. Ex. 343. BANTOCK, Christ in the Wilderness. Choirl. Choir Mstico. 1=4:
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectharmony, bookyear1915
