Modern harmony, its explanation and application . ER II GREATER FREEDOM ON THE OLD LINES In this age, when everything is thrown into the crucible andtested, it is only natural that composers should show anincreasing desire to break through many of the rules hithertoalmost universally respected. One cannot doubt that there issome deeply lying principle under the many exceptions of therule forbidding parallel fifths and octaves. The fact that the idea of part-writing ceases to exist when two or^°1* more parts run in consecutive fifths hardly seems to hold good, as this depends entirely on the di
Modern harmony, its explanation and application . ER II GREATER FREEDOM ON THE OLD LINES In this age, when everything is thrown into the crucible andtested, it is only natural that composers should show anincreasing desire to break through many of the rules hithertoalmost universally respected. One cannot doubt that there issome deeply lying principle under the many exceptions of therule forbidding parallel fifths and octaves. The fact that the idea of part-writing ceases to exist when two or^°1* more parts run in consecutive fifths hardly seems to hold good, as this depends entirely on the dis-tribution of parts and on the spacing—very largely also onquestions of accent, and considerably on the style of the restof the harmony. The punctuation and phrasing accounts forthe consecutive fifths in the following example by Schumann,whilst the cadential effect destroys the feeling of consecutivesbetween (a) and (c), and the similar motion to the fifth from(6) to (c) in the Somervell song:— SCHUMANN,Faschingsschwank,Finale, PlUil}4 g^ GREATER FREEDOM ON THE OLD LINES _, ,Andante. Shepherds Cradle Son^ ffn o i
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectharmony, bookyear1915
