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Updated: May 12, 2025
The circle of harmony is therefore more easily apparent to our observation. It is for this reason that tonality is more easily understood when applied to the green and copper bronze of the oak tree against a cool gray sky than the red and yellow hillside and the blue sky. Another important consideration in an estimate of a picture is its truth of values.
It was like the age in painting when figures no longer hung in the gray air, when they were given a resting-place, with trees and a temple. Here we find just the opposite flight from clear tonality, as if painting took to a Japanese manner, sans aught of locality. Where an easy half-step leads gently somewhere, a whole tone sings instead. Nothing obvious may stand.
The anticipation of a Beethoven in the drum of the Scherzo of the Fifth Symphony, or the rhythmic whims of a Schumann in his Romantic piano pieces suggest the path of much of this license. Again, as passing notes may run without heed of harmony, since ancient days, so long sequences of other figures may hold their moving organ-point against clashing changes of tonality.
The song seems the most primitive, however, when considered in the key of E minor, for the harmonies required to place it in this tonality carry more of the primitive atmosphere than do the chords which are required in either of the other tonalities. In this connection it would be interesting to know just how these various harmonizations would appeal to the Tinguian.
It is a fault of the young teacher that she often entirely neglects this, with the result that her class can only sing accurately at sight, and do dictation in, the last key learned. During the first few lessons in a new key it is certainly inadvisable to give exercises in the preceding ones, as the whole attention must be concentrated on the new tonality.
The melody may employ sparingly one or both of the two tones foreign to the pentatonic scale, and yet its pentatonic character will not be destroyed. Diatonic Character. That quality which a melody takes on when the two tones which are foreign to the pentatonic scale of the same key or tonality are freely employed.
To recognize the tonality quickly and certainly, look for the cadences. They are as it were landmarks, placed along the melodic road, indicating from time to time where we are. I cannot dismiss the subject of harmony without mentioning the chord which from its employment at decisive moments and its extraordinary mystic expressiveness has been called the soul of the Tristan music.
These minor thirds are all the same, B-D, the foundation of the tonic chord of the key, evidence that the singers have a keen sense of the minor tonality. The tempo alternates between 96 and 108. The first half of each line is given at 96, but the second half is taken more rapidly at 108 beats per minute.
In both composers, to carry on the comparison beyond the technical phase, is a certain reaching for the primeval, in feeling as in tonality. Here they are part of a larger movement of their age. I. From Dawn to Noon on the Sea. In awesome quiet of unsoothing sounds we feel, over a dual elemental motion, a quick fillip as of sudden lapping wave, while a shadowy air rises slowly in hollow intervals.
And this repetition in the thought is embodied in a repetition of the elements of the sound-pattern; the wave type is repeated from verse to verse or recurs again and again; there is recurrence of melodic form or parallelism between contrasted melodies in different stanzas; there is tonality of vowel and consonant sounds in rime and assonance and alliteration; there may be an approach to identity in the time-duration of the various units.
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