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Updated: May 29, 2025
Harmonically it obeys no known law consonances, dissonances, are interfused, blended, re-echoed, juxtaposed, without the smallest regard for the rules of tonal relationship established by long tradition. It recognizes no boundaries whatsoever between the different keys; there is constant flux and change, and the same tonality is seldom maintained beyond a single beat of the measure.
This note then becomes for us a plan or purpose; for as it goes, it leaves in the mind a memory of itself, no mere pale sensation no image ever is but a motor set, an expectation and desire to hear the note again. If the next note is harmonically related, this purpose is partially fulfilled and we get the satisfaction of a partial success.
It was not a subject to be worked out contrapuntally; it was not sufficiently striking harmonically to tempt Haydn, as themes of an allied sort had constantly tempted Emanuel Bach, to make music and gain effects by repeating it at intervals above or below.
This method of "imitation" was employed by all the polyphonic composers. Continuity was assured; lovely or unlovely harmonic dissonances were always arising, and being resolved through the collisions and onward movement of parts; the music, both melodically and harmonically, could be as expressive as the particular composer's powers allowed.
Whatsoever is harmonically composed, delights in harmony, which makes me much distrust the symmetry of those heads which declaim against all church music.
A mere succession of tones, however pleasing separately, does not make a melody; for melody depends on a definite scale and on certain relations between the tones of the scale. These relations illustrate the three modes of aesthetic unity. First, there is harmony. Tones are harmonically related when they belong to the leading chords of the key.
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