Modern harmony, its explanation and application . rogression of a second proceeding into aunison may be found in Schuberts canon in Erlaf See, andthe pedal chords in the cadences of Beethoven and Brahmsare as revolutionary in effect as anything in Debussy. BEETHOVEN. Largo e raesto. .. h ^ i 55= fe pp i t See also the double chord from Beethovens Ninth Symphony,given on p. 104. Of all the wider applications of the pedal principle, thesustained Mediant is now almost as frequent as the Tonic and Dominant—perhaps more so. Numberless in-j^^ stances spring to mind—the finale to Elgars First
Modern harmony, its explanation and application . rogression of a second proceeding into aunison may be found in Schuberts canon in Erlaf See, andthe pedal chords in the cadences of Beethoven and Brahmsare as revolutionary in effect as anything in Debussy. BEETHOVEN. Largo e raesto. .. h ^ i 55= fe pp i t See also the double chord from Beethovens Ninth Symphony,given on p. 104. Of all the wider applications of the pedal principle, thesustained Mediant is now almost as frequent as the Tonic and Dominant—perhaps more so. Numberless in-j^^ stances spring to mind—the finale to Elgars First Symphony, Moussorgskys Song of Mephistopheles,Smetanas Aus meinen Leben String Quartet, GuilmantsSeventh Organ Sonata (second movement), Karg-ElerfsPassacaglia in B flat minor (finale), Debussys charming pianovalse La plus que lente, and so on. Dvorak and Poldiniare very partial to it; Wolf-Ferrari also. The following hasthe effect of a double inverted pedal, the Tonic and Mediant: Andantino soave. KARG-ELERT, Pastel. Op.»2,N?3. Svpp. GREATER FREEDOM ON THE OLD LINES 21 The same principle is seen in Example 45, although theB flat is explained more simply as an appoggiatura. Ex. 45. Lento. ^ RUBINSTEIN,Pres les Ruisseaux rs
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectharmony, bookyear1915
