Modern harmony, its explanation and application . Jma dolce Some modern writing for the voice is seen in the following-examples drawn from widely different sources, and aU leaningtowards the duodecuple scale: Allegro moderate. i ^i ELGARGerontius p \f» j f m > Sancius Sanctus , De , o. ro (R^hig.) ^ With iij--ir r^rr te DELIUS, 5 Songs, Autumn. ^p pf i^^A^Tr out. stretchd necks and sing-ing they hast .en a way ^^ i I /Harmonic\ b6V outline. / Keck und verwegen. J6 |6 S3 6- •iJL HUGO WOLF,Der Schreckenberger 5 )iJij J>cfPr r,jjj JJ^pir dad
Modern harmony, its explanation and application . Jma dolce Some modern writing for the voice is seen in the following-examples drawn from widely different sources, and aU leaningtowards the duodecuple scale: Allegro moderate. i ^i ELGARGerontius p \f» j f m > Sancius Sanctus , De , o. ro (R^hig.) ^ With iij--ir r^rr te DELIUS, 5 Songs, Autumn. ^p pf i^^A^Tr out. stretchd necks and sing-ing they hast .en a way ^^ i I /Harmonic\ b6V outline. / Keck und verwegen. J6 |6 S3 6- •iJL HUGO WOLF,Der Schreckenberger 5 )iJij J>cfPr r,jjj JJ^pir Rei ter, da geht dieWelt so dumm. 168 MODERN HARMONY There is a sort of Pointillism which scatters the melodicMelodic ^^^® ^y *^® large spacing of major sevenths. ThisPointil- is permissible on the twelve-note system; but itlism. j^g^y. ^,g regarded also as a frolicsome dalliancewith the chromatic scale on the diatonic basis. A full exem-plification of this method will be found in the second ofSchonbergs Drei Klavier-stiicke, Op. 11. (Scheme) ***
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectharmony, bookyear1915
