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: Wreniillen, IVAN VYSHNEGRADSKI Manual of QUARTERTONE HARMONY ‘Translated from the French, by Ivor Darreg Table of Contents ‘Translater's Introduction « . ae Compariscn of Quartertone Alteration Signe «+k Author's Preface eee ee ce ee lS PRELTUTKY woTES’.”.".”, 6 The Now Intervais : | | | : Circles of Quartertone Intervals’... PIES? PAT see Altered crnanonts . : Grnanented or Compound Ornaments... Chrosatic Passing-Niot A Chords Altered ty Quartertona Modulations into the Hew Keys. SHOW PAT esse ee ee ce Nartifictai" Quartertone Scales The Tetrashord Principia. se. ss The Unrestricted Use of Quartartoies |!!! 28 Clusters and Complex Chords ee se es. 29-30 Polytonality and Bi-atonality . .) APPENDIX: Acoustic Justitseations for the System of Quartertones «6... 32 Harmonie Series Table sey te ADDENDA Br TRaWSLATOR 2-0 DDS Biographical Data... 2.111) Concerning Harmonics’... Nosenclatire and Related listers | | | ‘The Couper Quartertons Flat-Signe . Nanos for the Intervals... 2 ss 3T Musical Orthography vie-L-i12 Quartertonis’ 38 DR Wehnogradsid « Quartertone Harmony = —______"iihmeeraded _e_Quartortone Harmony. Translator’s Introduction The Listene='s ear—and that means yours !—te capable of far finer distinctions than conventional musie ever asks it to nake: tn other senda, ‘our hearing capacities and perforsing capabilities are seriously union ubilized by the decidental musicel syste: Many forwart-Looking composers, theorists, and instrunontnakers have sealized this—soso as far back as Ancient Grosee before Aristotle's tias, and the annals of history and athnomusicology ara full of accounts of the pee of smaller intervals than the "senitona” of 12-tone equal teupeséconte The Greek loxtcon tolls us that the term Nenharmonie” originally peane. in keaping" “eustablo! "£itting" "neet"—so that genus ot system thus Isto) led would have been, at least for sono ties, the more estoonsd syston, on ane array of musical sounds for the connoisseur, or for the diserininsting elite, And in at least sone of its forms, the enharmonic genus had intervals areuna ‘2 quirtertone in size, Hore and there around the world, from ancient tines 121 the present day, Snell intervals of this sort have boon proservad and cultivated oo there ss nothing new about quartertones, ant nothing unnatural abaut sone peorte dee siring thea, dreaxing about then, or actually trying then on for bisee iat vwas new, about a century ago, was the masa-production of inetrunonts athe pianos and organs incapable of playing thon, and the codifying of 4 conivonal ‘welve-tone oysten in the mass-produced materials of music inetruccion, We have to resopber that, in Beethoven's or Schusann's time, the reaour= gee of 12tono tenperanant and of the piano are largely unexplored. Later, ‘he key-ayaten was exploited to the init; then cane the breakdowns af tonality, in which such nanos as Schinberg and Dobutey figure. Even so, thore neve seine for places yet to go in the 1890s or tho turn of the century, By the 19203, sone people bugan to sense, whether consciously o gubcon= gelously, the apptoaching exhaustion of the twelve genttones' resources. Se sporadic exporinertation with quartertons pianos began, here ail there. cand Yan Wyshnegradoki, newly sottlod in Paris, was one of’ these experioesvors, Unfortunately, the "aodern"—sadarn in 1920, anyway—piand was the worst Possible instrunent on which to try out quartortene music! Ito timbre had evolved—this was largely unanares, without such consetous direction