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Updated: May 12, 2025
The song seemed to be in the old Irish tonality and the singer seemed uncertain both of his words and of his voice. The voice, made plaintive by distance and by the singer's hoarseness, faintly illuminated the cadence of the air with words expressing grief: O, the rain falls on my heavy locks And the dew wets my skin, My babe lies cold... "O," exclaimed Mary Jane.
The composer needs no theory of harmony; his ear is his only guide, as the eye of the artist is a sufficient guide for his colouring without any theory of colour. There is only one thing which the composer must keep before him and which the hearer must consciously be able to recognize the Tonality. The problem of harmony therefore in practice reduces itself to that of modulation.
Its tonality accounts for the moods evoked, being indeterminate and restless. Opus 24 begins with the G minor Mazurka, a favorite because of its comparative freedom from technical difficulties. Although in the minor mode there is mental strength in the piece, with its exotic scale of the augmented second, and its trio is hearty.
A mystic is Franck in his dominant moods, with a special sense and power for subtle harmonic process, ever groping in a spiritual discontent with defined tonality. A glance at the detail of his art discloses Franck as one of the main harmonists of his age, with Wagner and Grieg. Only, his harmonic manner was blended if not balanced by a stronger, sounder counterpoint than either of the others.
In his compositions in Grieg-ton Smith has seized the fascinating looseness of the Griegorian tonality and its whimsicality.
Now, if those who have 'picked up' the knowledge of sight-singing without knowing how they did it be asked to explain how they arrive at their intervals, it will be found that tonality plays a large part in their consciousness. In other words, they are perfectly certain of their key-note, and at any moment could sing it, even after complicated passages. This fact is the root of the Sol-fa system.
In the third measure of the fifth line, the singer very plainly vocalizes a half step from F to E. The second and fourth lines also show semitones, though these are not so distinctly given on the record as the other example. In the last measure of the third line there is a modulation into the tonality of B-flat which carries through two measures.
Now in ordinary speech and prose, the change from one tone to another is constant and irregular, following the variation of mood in the substance of the discourse. How is it with verse? There is a simplification and tonality identity in tone which is absent from prose.
Nor is tonality, in the all- pervasive sense in which we understand it, a characteristic of ancient, or of mediaeval music, while the tendency to end on a certain tone, which we should to-day call the tonic, was always felt.
Every scale implies a tonality, i.e. a tonic note, to which all the other notes bear some definite numerical relation. There cannot be a chromatic scale in the scientific sense in music; what we call by that name in a keyed instrument is merely a diatonic scale with the intervals filled in; it always belongs to a definite key, and the accidentals are only passing notes.
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