Modern harmony, its explanation and application . The whole-tone system, however, is less fairly bristles with augmented fourths, fifths, and sixths,and must be sung and listened to purely through the tonalmedium. Allegro molto vivace SIBELIUS,4th Symphony, 2nd movement. It is this strained aural-vision which causes most com-posers to regard the so-called tonal scale in the light ;x 1 ^^® duodecuple, and inclines them to treat it asMelody. ^^ arpeggio of a chord derived from the view is emphasized by the fact that theboldest of the innovators seem som
Modern harmony, its explanation and application . The whole-tone system, however, is less fairly bristles with augmented fourths, fifths, and sixths,and must be sung and listened to purely through the tonalmedium. Allegro molto vivace SIBELIUS,4th Symphony, 2nd movement. It is this strained aural-vision which causes most com-posers to regard the so-called tonal scale in the light ;x 1 ^^® duodecuple, and inclines them to treat it asMelody. ^^ arpeggio of a chord derived from the view is emphasized by the fact that theboldest of the innovators seem somewhat ashamed of thewhole-tone appearance scalewise, confining its melodicfragments to treatments of the bizarre, outr^, and lyric utterances are seldom more than mere fragments,the connected use of the scale being apparently doomed, tothe lower regions of pitch. The following melody fromR^bikoff seems much more acceptable when regarded as aseries of mirror-like reflections in sets of three notes : (a) Vivo. MODERN MELODY 169 REBIKOFF,Les
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectharmony, bookyear1915
