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By A. EAGLEFIELD HULL

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M 17 WALFORD-DAVIES, Lento espressrvo. "Everyman? 34. 35. Scherzoso. 3. 36,N93. DVORAK,"New World" Symphony. 37. WAGNER," Die Lento. ) Walkiire? 38. 1 some of its most effects. The root which Inversions powerful , . of the merely requires judicious placing and arrangement may appear above the minor or major ninth with great effect. A wide selection of resolutions should be allowed. For instance (a) Both the major and minor ninth may : semitone. fall a tone or GREATER FREEDOM ON THE OLD LINES (6) (c) The ninth may remain.

Consequent on the abandonment of the old Dominant with its wonderful binding powers, composers naturally looked about for substitutes which would supply the Some Substitutes necessary cohesion of scale material. This they At first the music was Dominant found in various ways. Influence, held a distinctive note such as the pedal together by drum roll in the following " Parsifal " extract (Example 76), or by a semitonal scale in some prominent part, as in the " " motiv (Example 37) or the scale may be a Wagner's Sleep " " whole-tone one, as in the Pierne extract (Example 77) Here " the " mirror idea, and the retrograde return to the Tonic, ; .

Secured (a) : The abolition of accidentals in notation. (b) A new system of naming the notes of the keyboard. (c) The avoidance of any suggestion, even of a secondary relationship of the black notes to the white ones in other words, the complete obliteration of any supposed diatonic foundation for the old 'chromatic notes. illustrations are merely tentative, and are used to represent the main principles of the system only The following THE DODECUPLE more clearly to diatonic scale. (OR TWELVE-NOTE) SCALE 35 minds which are so firmly wedded to the The lack of such a characteristic notation leads to an indifference in using the stave nomenclature, and the promiscuous use of sharp or flat in the works of the Romantic composers points to an ever-increasing tendency to adopt the equal temperament as a new basis for harmony.

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