Modern harmony, its explanation and application . ^ ^y~^r 62 MODERN HARMONY and such endings as this:— ,S--1 SCHONBERG, , N9 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 bef
Modern harmony, its explanation and application . ^ ^y~^r 62 MODERN HARMONY and such endings as this:— ,S--1 SCHONBERG, , N9 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 thepossibilities of the augmented triad. , ^^^^hW- PUR
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectharmony, bookyear1915
