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We have the scale of Debussy and his successors to draw upon, their new chords and successions of fourths and fifths for new technical formulas are always evolved out of and follow after new harmonic discoveries though there is as yet no violin method which gives a fingering for the whole-tone scale.
A little later, dolce amabile in a madrigal of wood and strings, we may see the gentlemanly devil, the gallant. With a crash of chord and a roll of cymbals re-enters the first motive, to flickering harmonies of violins, harp and flutes, taken up by succeeding voices, all in the whole-tone scale.
Debussy, through his appreciation of the living value of the old church modes, has been enabled to shape for himself a manner of utterance which derives from none of these influences. It is anything but chromatic; indeed, one of its most striking characteristics is its use of whole-tone progressions, a natural result, of course, of its dependence upon the old modes.
Moussorgsky preceded Debussy in his use of whole-tone harmonies, and a contemporary of Debussy, and an equally gifted musician, Martin Loeffler, was experimenting before Debussy himself in a dark but delectable harmonic region.
Parodies whose originals they failed to recognize, experiments in the whole-tone scale that would have interested disciples of Debussy, but his rhythms they understood and recognized as faultless. And Mary danced. With Graham when she must, with Rush when she could. The latter happened oftener than you would have supposed. "Those Wollastons can certainly dance," Sylvia remarked to her brother.
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