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Updated: May 11, 2025
The notes G-natural and D-flat do not belong to this scale. At those places where they are put down in the notation, they are used to better define the glissandos. The singers pass over them rapidly, sliding from the topmost note of the group to the lowest with no perceptible dwelling on any of the intermediate tones.
It is in measure 3 of the top line. The glissando here eliminates this tone also, but, by comparing this measure with the corresponding measure of each of the other verses, we find the same avoidance as in the case of the G-natural, evidence that the performers do not sense this other foreign tone. The song is therefore very markedly pentatonic in character.
If, however, this conjecture is wrong, and the performers really feel that the groups in question all start on B, then the G naturals are eliminated by the glissandos. The only other G-natural is shown in measure 7 of verse 4.
"As he looks through the C-minor symphony by Beethoven, a musician is transported to the world of fancy on the golden wings of the subject in G-natural repeated by the horns in E. He sees a whole realm, by turns glorious in dazzling shafts of light, gloomy under clouds of melancholy, and cheered by heavenly strains."
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