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Hamerton admits that the French etcher was "one of the greatest and most original artists who have appeared in Europe," and berates the public of the '60s for not discovering this. Then this writer, copying in an astonishingly wretched manner several of Meryon's etchings, analysing their defects as he proceeds, asserts that there is false tonality in Le Stryge.
Polish national music conforms in part to the tonality prevailing in modern art-music, that is, to our major and minor modes; in part, however, it reminds one of other tonalities for instance, of that of the mediaeval church modes, and of that or those prevalent in the music of the Hungarians, Wallachians, and other peoples of that quarter.
But it is only with his Fourth Symphony, dubbed "futuristic" because of the unusual boldness and pithiness of its style, the absence of a general tonality, the independence of the orchestral voices, that Sibelius's gift attains absolute expression.
It marks, in its reaction, the excessive stress of tonality and of simple colors of harmony. The basic sense of residence is not abandoned; there is merely a bolder search for new tints, a farther straying from the landmarks.
Though the tonality is at first firmly established, yet as the movement becomes more agitated, the final tendency of the modulations also becomes uncertain, and for a few bars it would seem as if the key of F-sharp minor might be the point of destination.
It is made up mostly of the tones A, C, D, and E. These tones belong to the pentatonic scales of C major and its relative minor A. In tonality, the song cannot be considered as belonging to either of these keys, as there is a very distinct feeling of B-flat in it, notwithstanding that the tone is seldom dwelt upon, but passed over quickly, almost glissando, in nearly every place where it occurs.
Later on, the correct signature should be evolved by experiment, and the same plan followed for the other keys, before the 'rule' for finding the signature is discussed. The melodic form of the scale can then be taught, and both forms practised to give plenty of freedom in the new tonality. The various minor keys should then be taken in the same order as that in which the major keys were taken.
That is, the understanding of a chord as something TO BE RESOLVED, is indeed part of the feeling of tonality; but the ending on the tonic was that out of which this resolution- feeling grew. <1> Stumpf, op. Cit., p. 33. <2> Grove, Dict. Of Music and Musicians. Art. "Resolution."
In the original the final note of the first two bars is F natural, while in the third bar the tonality is raised and the F becomes F sharp. The transcriber had failed to make this change, and so had lost the uplifting effect of the sharped F. All the life and color of the phrase had been destroyed, and the result was intolerable. I fished out a quarter and rang for Bolder.
The experience is, on the contrary, immediate, an impression, not a perception; and this immediacy points to the one ultimate fact in musical feeling we have so far discovered. The whole development of the scale, and the complex feeling of tonality, is an expression of the desire for consonance. Every change and correction in the scale has gone to make every note more consonant with its neighbors.
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