Modern harmony, its explanation and application . ourn in theSahara produced many compositions based on native scales,and indirectly was responsible for much of the Easterncolour in such operas as Samson et Dalila and Felicien David in the Desert, and Rubinstein inand The Asra, had already used the real Eastern^^ • scales, but the cult of the East is shown mostlyin more subtle and less definite ways. In some instancesthese native scales are identical with the old modes. Thetheme from the second movement of Saint-Saenss AlgerianSuite might have been written on the scale syste

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Modern harmony, its explanation and application . ourn in theSahara produced many compositions based on native scales,and indirectly was responsible for much of the Easterncolour in such operas as Samson et Dalila and Felicien David in the Desert, and Rubinstein inand The Asra, had already used the real Eastern^^ • scales, but the cult of the East is shown mostlyin more subtle and less definite ways. In some instancesthese native scales are identical with the old modes. Thetheme from the second movement of Saint-Saenss AlgerianSuite might have been written on the scale system of eitherthe ^olian or the Hypo-Dorian modes. On the other 142 by Georges Hiie suggests a scale containingboth C natural and C flat; thus the passage approachesvery closely to what we have called the duodecuple influence as revealed in later composers is probably afree adaptation of the European system to the expression ofOriental and barbaric f eeUng and colour. Allegro moderate. SAINT-SAENS, Suite .p. s: -w--m- ?*? * *-»-C^ ?•? •»?•»- •»•?»- ?»-•»- Ex. 140. SAINT-SAENS, Desir de IOrient.(from La Princesse Jaune.)

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Keywords: ., bookcentury1900, bookdecade1910, booksubjectharmony, bookyear1915