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They make it seem as though Schoenberg had, through a process of consideration and thought and study, arrived at the conclusion that the music of the future would, in the logic of things, take such and such a turn, that tonality as it is understood was doomed to disappear, that part-writing would attain a new independence, that new conceptions of harmony would result, that rhythm would attain a new freedom through the influence of the new mechanical body of man, and had proceeded to incorporate his theories in tone.

The minor second may be a "concord," that is, we may like it, some day; but that will be because w have extended our feeling of tonality to include the minor second. When that day comes the minor second will be so closely linked with other fully consonant combinations that we shall hear it in terms of them, just as to-day we hear the chord of the dominant seventh in terms of its resolution.

Their great value lies in developing an innate musical sense, in establishing an idea of tonality and harmony that becomes so deeply rooted that every other key is as natural to the player as is the key of C. Work of this kind can never be done ideally in class.

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.

To ignore them completely when writing for voices is no evidence of genius. Composers seem to forget that the singer must create the pitch of his instrument as well as its quality at the moment he uses it. They also forget that his most important aid in this is the feeling of tonality.

That tonality in which the upper two of the three tones constituting its tonic chord, when ranged upward from its foundation tone, are found at distances of three and seven semitones respectively from it. Pentatonic Character. That peculiar essence or quality which a melody has when it is built up entirely or almost wholly of the tones of the pentatonic or five-note scale.

Former exposition lighting consisted of a lavish display of lighting fixtures, and of unavoidable millions of glaring bulbs, the number of which nobody was permitted to forget. The offensive glare of the direct light had to be eliminated to preserve that feeling of tonality, of restfulness, so impressive in daytime.

This principle of finality, which, in the classic music, is the basis of what is called "tonality," by establishing the tonic as the center of reference and point of completion of all tones, gives to melody its dramatic unity.

Vagabond harmonies, in which the remotest keys lovingly hold hands, do not prevent the sensation of a central tonality somewhere in the cellar, on the roof, in the gutter, up in the sky. The inner ear tells you that the D-minor quartet is really thought, though not altogether played, in that key.

Again the story is told, and tarrying not at all we are led to a most delectable spot in the key of A major. This trio is marked by genius. Can anything be more bewitching than the episode in C sharp minor merging into E major, with the overflow at the close? The fantasy is notable for variety of tonality, freedom in rhythmical incidents and genuine power. The coda is dizzy and overwhelming.