Modern harmony, its explanation and application . Consequent on the abandonment of the old Dominant with its wonderful binding powers, composers naturally looked Some about for substitutes which would supply the SubsHtuies necessary cohesion of scale material. This they Dominant found in various ways. At first the music was Influence, held together by a distinctive note such as the pedal di-um roll in the following Parsifal extract (Example 76), or by a semitonal scale in some prominent part, as in the Wagners Sleep motiv (Example 37); or the scale may be a whole-tone one, as in the Piern^ ext
Modern harmony, its explanation and application . Consequent on the abandonment of the old Dominant with its wonderful binding powers, composers naturally looked Some about for substitutes which would supply the SubsHtuies necessary cohesion of scale material. This they Dominant found in various ways. At first the music was Influence, held together by a distinctive note such as the pedal di-um roll in the following Parsifal extract (Example 76), or by a semitonal scale in some prominent part, as in the Wagners Sleep motiv (Example 37); or the scale may be a whole-tone one, as in the Piern^ extract (Example 77). Here the mirror idea, and the retrograde return to the Tonic, THE DUODECUPLE {OR TWELVE-NOTE) SCALE 41 leaves no doubt as to the tonal centre. In the Heldenleben motiv the tonahty is held firmly by the pedal-chord on thebrass instruments. Ex. 76. in Eb. ^ ^ W^GNER/Parsifal!. LentO;^ :|=E fiiik g—t^ Croisade des Enfants. -fe. g ll ^ fee i (Orch.)/5» 55i: jn: fe ?a •e- Ex. 78. Etwas langsamer. STRAUSS,, . Ein Heldenleben.
Size: 2168px × 1152px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, booksubjectharmony, bookyear1915
