John Vincent - Diatonic Modes in Modern Music

LIBRARY OFWELLESLEY COLLEGE PRESENTED BY University of California Digitized by the Internet Archive in 2011 with funding from Boston Library Consortium Member Libraries http://www.archive.org/details/diatonicmodesinmOOvinc THE DIATONIC MODES IN MODERN MUSIC THE DIATONIC MODES IN MODERN MUSIC JOHN VINCENT UNIVERSITY OF CALIFORNIA PRESS Berkeley and Los Angeles : 195 f~ /> University of California Publications in Music Editors (Los Angeles) : L. A. Petran, R. Volume 4 Submitted by editors July pp. xiv 1, U Nelson, • Publishers: Mills Music, Inc., H. Rubsamen 1 1947; issued Price. W. + — 298 November 15, 1951 J 12. 00 New York, by arrangement with the University of California Press, Berkeley and Los Angeles 280*34 Copyright 1951 by Mills Music, Inc., 1619 Broadway, International Copyright Secured. New York All Rights Reserved. .df! Manufactured by offset in the United States of America To Glareanus (1488-1563) Whose Modal Theories Influenced Four Hundred Years of Music — Preface WHEN Glareanus brought out his Dodecacbordon in 1547 and more that the traditional was usage. Glareanus' purpose it had been apparent for a century modal theory did not square with the contemporary ecclesiastical to reduce the existing practice to a practicable theoretical for- He could hardly have realized to what degree his work was prophetic of the He could not have anticipated that his system of twelve modes would remain mulation. period. hundred for four years. It is work was not only recognized so penetrating nomena tonal (Major-minor) practically unrevised a tribute to the validity of Glareanus' deductions and conclusions that his as a true interpretation of his immediate past but also that his theories were and so soundly based on and integrated with the developing and evolving musical phe- that they remained authoritative for centuries even though musical styles changed radically. Nevertheless by the beginning of the last century there were signs that even so cogent a theory as Glareanus' must eventually be reexamined. All during the nineteenth century the tonal horizons widened and with the coming of the twentieth century the process was greatly accelerated. The disparity between and practice was ever greater and the need for a new modal formulation became always more scale theory acute. In an attempt to answer this need, I have made exhaustive researches into existing practice and have arrived at a formulation of eight Diatonic Modes. likewise founded A A further theory on good usage by recognized composers meaning codification of practice has historians, teachers, or students. what has been done, it for future progress. It A valid my is Modes — is for all musicians, be they performers, theorists, composers, new also provides a solid the Interchangeability of of the past century or so. theory not only explains and promotes understanding of and substantial observation point for surveying favorable paths hope that the theories I have advanced will have significance for these important matters. name George W. Chadwick, who gave me my first instrucwho encouraged me to develop my own modal theories. I wish to record also my indebtedness to Walter Piston, whose penetrating criticisms did much to insure the validity of my ideas during the developing stage; to Dr. Hugo Leichtentritt and to Dr. Otto Kinkeldey for their interest and for reading the manuscript; to Roy Harris, who in many ways helped keep the project alive. I In recording obligations, tion in modal theory, and it is a pleasure to John Powell, gratefully recall the assistance of the following institutions: the New York Paris, Music Library of the Boston Public Library, Public Library, the Music Division of the Library of Congress, the Bibliotheque Nationale of and the Staatsbibliothek of Berlin. My greatest obligations, however, are to my col leagues in the Music Department at the University of California, Los Angeles, Professors Robert U. Nelson, Walter Rubsamen, and Laurence A. Petran, each of whom To Mr. David Brower and read the text and gave invaluable suggestions. the University of California Press, Mills Music, Inc., to Mr. staff, I thank owe Mack I owe much Stark, other staff members for their careful supervision of all technical matters; Mr. Jack Ecoff, Mr. Norman H. Warembud, and Lillian Adams, for her great help with all the bibliography and index. Finally, I must acknowledge without the inspiration and assistance of Los Angeles December, 1950 my manner that the of correspondence, of at the production a debt of gratitude for their unfaltering cooperation and heart-warming enthusiasm. my secretary, and I wish to and for typing work could never have been finished wife, Ruth. J. V. / Acknowledgment Wish I to express here owners who gave my many appreciation of the courtesy of the permission to quote from various publications. American Library of Musicology, New publishers, agents, and copyright My thanks are due the following: York, by permission of the George Grady Press, Agent, to quote from Inc., A Theory of Evolving Tonality, by Joseph Yasser Augener & Co., London, for permission to quote from Harmony Simplified or the Theory of the Tonal Functions Chords, by Dr. Hugo Riemann, trans, the Rev. H. Bewerunge. of Breitkopf und Hartel, Leipzig, for permission to quote from J. S. Bach, by J. A. P. Spitta. Schirmet Music Company, Boston, copyright owners, for permission to quote from Principles of Harmonic E. C. Analysis, by Walter X. Le F. Piston. & Roux G. Schirmer, Cie, for permission to quote New Inc., from La Musique grecque (Edition Payot), by Theodore Reinach. York, for permission to quote from Sketch of a New Esthetic of Music, by Ferruccio Busoni, ttanslated by Th. Baker. Harvard University, Cambridge, for permission to and Practice from Rameau to 1900," by V. Henry Holt and Co., New quote from a doctotal thesis, "The Relation of Harmonic Theory L. Jones. York, for permission to quote from Jewish Music in its Historical Development, by A. Z. Idelsohn. Houghton Mifflin Co., Boston, for petmission to quote from Modern French Music, by Edwatd Burlingame Hill. quote from the Preface to My Ladye Nevells J. Curwen & Sons, Ltd., by petmission of G. Schirmer, Inc., Agent, to Booke (William Byrd), by Hilda Andrews. Journal of the Folk-Song Society, for permission to quote from "Note on the Modal System of Gaelic Tunes," by Annie G. Gilchtist; "Modal Survivals in Folk-Song," by E. F. Jacques. Kistner und Siegel, Leipzig, for petmission to quote ft om Neue Harmonielehre by Alois Haba. La Revue musicale, for permission to quote from "Cours du College de France," by Jules Combarieu; "L'Har. . . , monie," by Alfredo Casella. Librarie Fischbacher, Paris, for permission to quote Librarie Renouard, Paris, for permission to quote Longmans, Green Tone from La Pluralite des modes et la theorie generale de la mu- by Xavier Perreau. sique, . . . , by H. & L. F. Macmillan Company, Modern Music, from Histoire de New mission of H. & Co., langue musicale, by Maurice Emmanuel. York, for permission to quote from Grove's Dictionary of Music and Musicians, for permission to quote from "Problems of Harmony," by Arnold Schonberg. Charles Nef, for permission to quote from Histoire de Novello la London, by permission of Abr. Lundquist, copyright owner, to quote from Sensations of von Helmholtz, translated by A. J. Ellis. Co., musique la (Paris, Payot). London, for permission to quote from Diatonic Modal Counterpoint, by Ralph Dunstan; by per- W. Gray Co., Agents, to quote from Theory of Harmony, by Matthew Shirlaw. New Harmonic Devices, by Horace Alden Oliver Ditson Co., Boston, for permission to quot? from Miller, and from Seventy Scottish Songs, by Helen Hopekirk. Oxford University R. O Morris; and from Ptess, A London, for permission to quote from Contrapuntal Technique in the 16th Century, by History of Music in England, by Ernest Walker. Preston, London, for permission to quote from A General Collection of the Ancient Irish Music, by Edward Bunting. Simpkin & Co., London, fot permission to quote from English Folk-Song: Some Conclusions by C. . University of Chicago Ptess, Chicago, for permission to quote from A J. Sharp. Theory of Modulation, by Thorvald Otter- strom. University of Rochester, Rochester, N. Y., for permission to quote from the doctoral thesis, "The Evolution of Harmonic Consciousness," by Ruth Hannas. Winthrop Rogers, London, by permission of Boosey Counterpoint, by C. W. Pearce. & Hawkes, copyright owners, to quote from Modern Academic Contents Introduction 1 THEORY Book One: . . Part I. II. Harmonic Analysis: A 5 • . . A I: Diatonic Theory of Chromaticism Brief Critique and a III. The Diatonic Modes: The Ordinal and IV. Interchangeability of V. VI. VII. VIII. IX. X. XL XII. Theory Extra-major-minor Chords: Tonic Forms 23 38 42 Extra-major-minor Chords: Supertonic Forms 56 Extra-major-minor Chords: Mediant Forms 65 Extra-major-minor Chords: Subdominant Forms 77 Extended Harmonic Resources Extra-major-minor Chords: Dominant Forms 85 Extra-major-minor Chords: Submediant Forms , Extra-major-minor Chords on the Seventh Degree II: I: The Diatonic Element in Ancient Greek Music The Ecclesiastical Modes XIX. The Scales of Folk Song XX. Genesis and Growth of the Major-minor System XXI. The Minor Mode The Use The Genesis of the Ecclesiastical 116 Early Systems XVII. II: .108 151 155 163 169 174 178 XVIII. Part . 135 140 145 148 A HISTORY OF THE DIATONIC MODES Part . Kindred Studies Pseudo-modality Book Two: XXII. 16 Lateral Indices XIV. The Case for the Locrian Mode XV. The Phrygian as a Minor Mode XVI. Summary and Conclusions XXIII. 7 12 Mode Part XIII. New Modality and Tonality: Some Distinctions of the Harmonic Modes Modes by Bach and Handel and the Troisieme Mode 185 Bibliography 193 200 204 209 232 247 260 267 285 289 Index 295 Blainville XXIV. The Lowest Ebb of Modality XXV. Abbe Lesueur, Antiquarian XXVI. Modality and the French Romanticists XXVII. Modality and XXVIII. Modality and XXIX. Other German Romanticists Manifestations of Modality in the Nineteenth Century XXX. The Modes XXXI. the the Russian Nationalists in the Recapitulation Contemporary Period THE DIATONIC MODES IN MODERN MUSIC Introduction work This nevertheless divides itself naturally into The two A sufficiently related to divisions are roughly: two be treated (1) theory, more or less independent, are under the title The Diatonic Modes in Modern Music. and (2) history. Book One, Theory, has two parts: parts which, although Diatonic Theory of Chromaticism and Kindred Studies. The interchangeability of scale forms above a single tonic for the enrichment of the melodic and harmonic means is not limited to the juxtaposition of the Major and the Minor modes, but also includes those diatonic scales which are the monic mutual interchangeability analysis, this of the relationship modern counterpart which of the ecclesiastical modes. offers a valid means for a simple When applied to har- and diatonic explanation certain chords (hitherto considered chromatic) bear to the tonic. These chords have not lacked logical explanation either by traditional analysis, which resorts to tem- porary modulation and the Ausweichung (digression), or by the theories of half -modulation or parenthesis modulation Piston). (Piutti), of substitute tones (Riemann), and of the secondary dominant system (Weidig and These systems have served too long and too well disprove them. The author aspires only to present a to be overthrown, new viewpoint and and no attempt is made to thus perhaps add one step to the progress of music theory. the Book Two, A History of the Diatonic Modes, comprises two parts: Early Systems and the Genesis of Harmonic Modes. Although Book Two concerns chiefly the period since the rise of the major-minor system (1600-1900), a sketch of the previous scale history included in Part One, for the purpose of is orientation as well as to throw into relief the thread of diatony, which is one of the constants of occidental music. The common denominator charactistic links the tovoi of the scales of Western of ancient Greece, the eight and the two used almost exclusively for the past three lae for tuning, and the differences the framework of all our scales latter a fifth or a civilization modes of Pope Gregory, the twelve centuries. Despite divergent in the theory of the function an octave divided into is their seven-tone diatonism. is of Glareanus, mathematical formu- and relationship of the component tones, "whole" tones and two "half" tones, the five fourth apart depending on the starting point of the reckoning. (Greek modes, Gregorian modes, Church modes, and so on) This all derive from The several scale systems this basic scale pattern and its seven octave-species. For purposes of convenience, these basic scales will be called the diatonic modes. Departures from the basic diatonic forms are but mutations through the use of superimposed "chromatics." These chromatics (half-tones and sometimes even smaller to the diatonic scales intervals) have always been subservient and are thus not so much smaller subdivisions of the octave as they are subdivisions oi the whole-tones of the diatonic modes. This statement encompasses the "genera" of the accidentals of "Musica Ficta," Even and the chromaticism of major-minor after the general adoption of the which for convenience may be said to have occurred the so-called ecclesiastical scales persisting. vival, and the The title factors involved chosen for qualification "diatonic" is this is major and minor To at the scales Greek scale-theory, practice. and the practical eclipse of all others, beginning of the seventeenth century, expose their course through the purpose of the second part of this period, their work, The Diatonic Modes in Modern Music, an arbitrary one. True, there are many other is diatonic (the diatonic modes). Proof great body of folk and art music now space of an introduction, the reader is lies find Book Two. may scales suggest that the limiting found in music but, notwith- standing some superficial evidence to the contrary, the scale basis of the musical art of Western tion we eventual re- in the recorded history of the scale structure civiliza- and in the extant. Since these subjects cannot be treated adequately in the small referred to the later chapters for a full exposition of the evidence. must not be supposed, however, that there It music. Its functions, nevertheless, are is no natural impulse toward chromaticism in Western complementary to the diatonic substructure. Instead of reducing the seven-tone series to twelve semitones, these smaller subdivisions of the octave, employed as harmonic tones in the major-minor system, are actually definitive auxiliaries of the Major (or Minor) mode. Thus, for example, the chromatics in the traditional augmented-sixth chord define the dominant degree): (fifth $£* C Major and the so-called Neapolitan sixth "leans" on the tonic: m s J5=fe 3$= as C Minor This will be more fully treated in the chapters on the major-minor system (Book One, pp. 6-15; Book Two, pp. 174-181. It will be noted that the existence of twelve modes mode names employed follow Glareanus, who is credited with proving the The title page of his Dodecachordon l lists the scales as follows: instead of eight. GLAREAN AQA EKAXOP AON I Authentae Plagij A Hyperdorius D Dorius E Phrygius F Lydius Hypermixolydius Ptolemaei B Hypophrygius Hyperaeolius Mar. Cap. C Hypolydius Hyperphrygius Mar. Cap. D G Hypermixolyd. Mixolidius Hyperlydius Mart. Cap. Hyperiastius vel Hyperionicus Mar. Cap. E Hypoaeolius A Aeolius C Ionicus Hyperdorius Mart. Capell. G Hypoionicus Porphyrio B* F* Hyperphrygius Hyperlydius The mode on because of its where B, here diminished it Apuleius & Mar. Cap. Hyperaeolius Politia, sed est errar. named Hyperaeolius and marked with an fifth, is was mainly an academic it served disappeared along with the cantus distinction of melodic ambit. 'Henricus Glareanus, AflAEKAXOPAON (Basle, 1547). show that it was rejected The whole plagal category has asterisk to usually given the designation, Locrian. been discarded in the modern period, since any useful purpose firmus, iastius 3 There are several other systems of mode nomenclature but the one chosen has several advantages: a) It is well known and Germany and widely used in systems seem to be current: the traditional Roman terminology, and a "white-note" characterization, b) complete since It is qualification Once i.e., names do not mode de fa, etc.) carry the inextricable preconceptions is, of the and ambiguities which by numbers. ecclesiastical classification i.e., in- (It is clear that little it. The Church mode numbers are too closely identi- traditional theoretical dominants, mediants, participants, absolute regular and conceded modulations, cadences, has undergone comparatively figurations, that summary Greek usage must forever remain nebulous, although everything known of with certain functions of tones, etc.) Although the essential diatonism of our music evolution since the earliest records, the superimposed internal con- tonal functions and chromaticism, have gone through vicissitudes, and their manifesta- one era does not necessarily have more than tion in mi, ) accepted, the the Hellenic period emphasizes the debt music owes to initials, mode de 2 certain derails about ancient fied re, encompasses a scale on each of the seven diatonic degrees. (This important accompany the Greek enumeration or the evitably mode de lacking in the pseudo-Greek listing as given by Koechlin in his admirable is rules of counterpoint. c) it in English-speaking countries. (In France three Catholic Church numerical designation, a pseudo-Greek resemblance to that of another age. In this superficial connection compare Greek chromaticism with that of Wagner, or the dominant of Gregorian Chant to that of Cesar Franck. The history of music theory is a history of the revision of viewpoint in an attempt to meet the changing relationships of these variables to the constant of diatony. study, it has been thought well to divest the diatonic basis of music of its To clear the way for the present overlying complications in order new point of view. The names Dorian, Phrygian, and so on have a solid historical justification since they have existed present meaning for more than a thousand years. It is true that they result from a misinterpreta- to gain a d) in their tion of their original e) two Greek The terms mode of objections. First, they complexities as mode of D significance, but the sanction of ten centuries D (for Dorian), have no on C mode of historical standing, (for —«- t* Mode |U $ «» of and second, F on A° would serve very well but employment would (for A -Lydian). b o D on C of F on A b This terminology proves very confusing in analyses where the 'Charles Koechlin, Precis des Regies du Contrepoint (Paris, et Cie), p. 132. their .. o o ° ° o " Mode Heugel cannot be overlooked. (for Phrygian), etc. C-Dorian) and mode of -a E5 E mode changes frequently: for result in such . Moussorgsky, Mode of E on (D = Phrygian) Mode of A D . Mode A Night on Bald Mountain. of D on D. (D = Dorian) on D. . CD- Aeolian) of G on D Mixolydian) Mode (D = For the foregoing reasons the nomenclature chosen seems the best of the several existing systems. is certainly not advisable to attempt to invent a new It set of symbols to add to an already confusing array. BOOK ONE: Part I: A Theory Diatonic Theory of Chromaticism " Chapter HARMONIC ANALYSIS: CRITIQUE AND A NEW THEORY A BRIEF T has long been recognized I which normally belongs I in harmonic theory that a tonality The chord to another key. the C-tonality in spite of the fact that it is V 7 is not overthrown by a single chord i d-f -a-c in the following example does not upset of G. m ^m m =8= 3 C + Major In like manner the chord g-b-d-f does not indicate a modulation in the final cadence: Bach 5 $ t—r m ^^ A J ^ J G Major to rr u* Both of these types of harmonic progression are juxtaposed in the following excerpt. This only serves is intended, since the key scheme would then be D-A-G-D, imprac- emphasize that no real modulation so short a space. tical in m 8- n £LA ^Mf if fMW IF t u rw m$ m + + Copyright 1928 by Novello & Co., Ltd. Dream of Gerontius. a;.,ru-,^,.n j. J Elgar, Vied by permission of H. j P^P i W. Gray Co., Agents. Such apparent violations of key have been given various names which indicated their transient har- them monic significance. Traditional theory treated of key was brought about only by a subsequent as fleeting modulations, considering that a real full cadence to affirm the new tonality. Piutti 1 change recognized the ambiguity of such chords and called the effect "half-modulation" and "parenthesis modulation." German term Ausweichung is quite descriptive of the digressive character. Riemann 2 The explains the Aus- weichung by a system of substitution (the substitute-klang). 1 Carl Piutti, Regel und Erlduterungen zum Studium der Mu( 1883). See also D. G. Mason, "A Neglected Contribution to Harmonic Theory Piutti's Parenthesis Chords,' New Music Review (April, 1908), pp. 299-303. siktheorie — "Dr. Hugo Riemann, Harmony Simplified or the Theory of the Tonal functions of Chords, trans, the Rev. H. Bewerunge (London, Augener and Co.). — — Weidig 3 and Piston 4 are modern exponents of the parenthesis-modulation idea. Their system of "secondary dominant formations" recognizes as legitimate all chromatically built chords of the V (7) type placed a perfect degree of the preceded by above every degree of the major and minor scales except the leading tone. "Any fifth major or minor, (with the exception of the leading tone, a purely melodic note) may be dominant without disturbing the tonality." B scale, its These secondary dominants are thus related to the V$, Illit, and VII (also lb triads of the borrowed from the minor). In minor the and VII (subtonic). The secondary chords so formed are designated major mode: V, IV, V, (V list is V (7> V of V, 3b ), <7) II, IV, (IV of IV, mally resolve to the chord to which they are related. As an extension of the principle, the (Neapolitan sixth) 6 7 allowed, but in 1833 Jelensperger is "half modulation." Piston 8 even recognizes the —n -* e o f\ nr> "V «J «-i ° rt V——— 4Vs 1 ., if ^ C Major I of V of r r° 6 V VI, III, and nor- <7) of N 8 N 6 as a O U F u H ^ f-" i —« . _ 1 V7 of V V ^ i f III V7 '), etc., by regarding the this j "JT^ if 1* V Ki «» V6 had anticipated 3 ofVofV and the IV of IV. —A— ~**— —&— ^z ** IK C Major I (7> — » -** V VI, and III IV of VI IV IV Part of the development in harmonic analysis has tem previously in use: it come about because of the inadequacy of the was a clumsy technique which had the relationship of certain chords. The chromatic chords (augmented sixth, N fault lay in the 6 , to resort to continuous modulation to explain narrow concept of key which regarded etc.) as violations of harmonic materials forced a progressively broader view of the the key. The sys- all but a few increasing complexity of the limits of tonality. With the wider harmonic outlook came two significant changes: (1) More chords could be related to the tonic. Under the parenthesis-chord system of Piston and done by recognizing relationships is once removed. 9 For example, two chords not ordinarily closely associated with the major-minor may become intelligible through an intermediate Weidig this is chord to which both are in simple relationship. "Adolph Weidig, Harmonic Material and Clayton its Uses (Chicago, Summy Co., 1923), chap. xvi. 'Walter Piston. Principles of Harmonic Analysis E. C. Schirmet Co- 1933). h (Boston, lbid., p. 1. "Weidig, op. cit., pp. 344-345. ' Daniel Jelensperger, Die Harmonie in Anfange des neun- zehnten Jahrhunderts und die Art sie zu erlernen, trans. A. F. Haser (Leipzig, Breitkopf und Hartel, 1833), p. 34. 8 Piston, op cit., p. 45, (IV of IV). Principles of Harmonic Analysis does not mention V (,) of V of V, but the expression is used in his classroom. The V-of-V-of-V relationship '' it twice removed. . More extended harmonic (2) passages could be accounted for within a single tonality. This change only recognized in theory a fact long apparent to the ear: an established tonality throw; persists until it another well-established is illustration of this persistence of and obscures the first is really difficult to over- Here in the consciousness. is an a tonic: 1 w r s * G Major IV I IV Mixolydian VII [IV of IV] $ m ^ TT Tr "C5" « TI~ C Major I ~n~ ~n~ C Lydian = Tf~ mr IV C II [V of V] Although the chords rately. If we C begin with not satisfactory as a are identical, there is no doubt about the C Major, the final chord must be final. Similarly, to begin in G Major is tonality of either, if considered sepa- Major: the penultimate chord, to feel G Major, we any other close unsatisfactory: is can- not add another chord (C Major) at the end. The advantages of perspective of the broader conception of the limits of major-minor tonality are in the directness and comprehension. In the following example from Beethoven, the entire passage in relation to the tonic D. The section containing accidentals may be regarded only by a kaleidoscopic analysis which misses the point of the music, which up in the relationship middle part is which the chromatic section bears harmonic color projected on the yet constantly relates the whole harmonic texture as a series of full modulations meaning traditional analysis fails to show to the ruling center of gravity ( D) Finale. mm ji ]> j v7 P if 91 V7 this, account of the chord-by-chord relationships, Beethoven, Quartet, Op. 18, if heard is bound manner of speaking, the that the to the D-tonic. In a D background. A while an analysis by the parenthesis-chord system renders is is m^ if £ VI (I if m %) v7 3. 10 jpi i-^>-^h ID)V? oflVIV I I [iv] IV of IV v E minor -y^ passing 7 tones II 4 III I Vof IV II Pedal chromatic I 7 V of IV V'of IV L v7 V7 of V7 V IV TT 6 II 4 VUO.4 inT V° f of IV (yoj* (!) V'of of II II p^utl m Elk tJlir ' U- r?4 1 4 "v^T * The symbol which the root The older method of character of the music gests a diatonic scale $ is analysis is V used to designate a chord of dominant function in omitted. which uses transient modulation has at least recognized in the figured bass. on a I virtue: the diatonic When a transient modulation is indicated, ^=^ ~n~ «: one related degree: =*= - "C5 E ^ C v (# is DV' 3SZ G V 7 C V' it sug- 11 Its disadvantages are that, although it emphasizes the diatonic element, (1) it fails tionship digressions bear to one another and to the established tonality; and (2) modulation. The result is it to recognize the rela- resorts to too frequent method recognizes the impor- a lack of harmonic perspective. Specifically, the tance of the roles played by the subdominant and dominant chords in determining harmonic progression patterns. It has long been known that the at the interval of a fourth or a fifth. What march of harmony is strongest between chords whose roots are remained to be recognized was that the chords concerned in The such progressions have relationships not unlike those of the true V-I and IV-I. principles of the pseudodominant and pseudosubdominant tonal functions, although unformulated, were unconsciously applied by composers, and the theories of The primary concern Weidig and Piston grew out of these theories is of a fait accompli. to account for the progressions involved, neglecting the relationship which the component chords bear to the tonic. even at the risk of The advantages gained through a fuller understanding of the progressions are not to be minimized, but certain drawbacks inherent in the system should be noted: (1) sized. (3) trariness The The is harmony essential diatony of the limits to slighted. (2) is which the system may be permitted probably what Piston has reference to Although the use of such terms impossible extreme, there are many as II of IV, II of when he V, V to extend (7) as a tonal function seem somewhat is overempha- arbitrary. This arbi- says, would be stretching the bounds of etc., instances to be found in The which the expression IV of V tonality to perhaps [sic] an seems reasonable. 11 (4) Although easily within the bounds of tonality, the chords designated as secondary by the device " = = of " are not admitted to have a primary relationship to the center of gravity. Instead, as earlier in the chapter, the relationship Where (5) the nomenclature the chords called is lost, "V was shown only established through an intermediary. is of V" or "IV of IV" do not proceed ro the V or IV, justification for and these names serve no better than any arbitrary designation. Faure, Penelope, Act III, Scene V. Final cadence. ^8^ *§_ m* i =S^ ZKSZ V7 of V C Copyright 1913 by Heugel It is the object of the present work to show & Cie, Paris. M 3SZ I Used by permission. Through an extended concept of that: (1) diatony, many chords in the parenthesis-chord system have a direct relationship to the tonic. In other words, certain chromatically conceived chords are actually diatonic. (2) practice 12 A are well within the confines of tonality. (3) number of chords not now included in common The complete diatonic system defines the limits within the bounds of tonality to which the juxtaposition of chords The "extended conception of diatony" is a tonic and the resulting increase of harmonic will be the object of Chapters III may be carried. a principle which includes the interchange of modes above possibilities. Substantiation of this theory as an actuality and IV. Later, every chord of the expanded list will be illustrated from the music of recognized composers of the past and present. The establishment of the theory of interchange of tonality to each of the diatonic modes. modes depends on a conception which grants Such a conception can hardly be controversial but, in an effort to avoid any possible misunderstanding about the subject, the following chapter provides a consideration of modality and tonality. 10 cit., p. 45 "IV of V" seems to be a typographical context indicates that IV of IV was intended. Piston, op. error. The ..."An authoritative list of the chords of common practice given in Piston's Principles of Harmonic Analysis. is : Chapter II MODALITY AND TONALITY: SOME DISTINCTIONS THE BASIC scale term, mode, divorced from any consideration of tonal function, means simply if a cyclical interval-succession-pattern in sound. In Western European music this Schema (T resented graphically as follows The seven component sounds by a = tone, S = semitone) in this basic pattern are called tones may be rep- and are represented in notation and spaces called a staff. The term tone is also used to indicate the larger of the two kinds of conjunct interval in the pattern, the smaller being a semitone. Major second for the former and series of lines minor second for the The tone). meaning latter are better terms: their basic pattern is Although the term diatonic has come to The seven tones of the Schema diet , across or through, plus xovog , be synonymous with the phrase by conjunct staff-degrees, principally used to denote conformity of a scale to the it is not ambiguous. is given the qualifying term diatonic (Greek are designated Western European Schema. by by the the correspondence between the letters and the tones is first seven an accident of letters of the alphabet although history. f D i T A ,F. 7 T T J^ t i- G Western European Tonal Schema For the purposes of This may serial enumeration any tone of the Schema give the result: may be chosen as a starting point. cycle D-E-F-G-A-BC-D Since the D was arbitrarily chosen each of the other tones may E-F-G-A-B-C-D-E 2 F-G-A-B-C-D-E-F 3 G-A-B-GD-E-F-G 4 A-B-C-D-E-F-G-A 5 B-GD-E-F-G-A-B 6 GD-E-F-G-A-B-C 7 These octave species, successively serve as initials. D-E-F-G-A-B-C-D 1 although not yet assigned musical functions, may be called diatonic modes, since each conforms to a cycle of the Schema. At least in the West, the most primitive tonal function is the melodic final or tonic. Any tone of the Schema may serve in this capacity. It is impossible, however, to conceive a tonality consisting of but a single tone: at least one auxiliary tone ments are at a minimum is is essential. only rudimentary: street After the tonic, the most important function interval of a fifth Music having a tonic but in which the other tonal is cries and some Pentatonic melodies are that of the dominant. above the tonic but, as in the plagals of the the fourth, or even the third. Its functions are: ( 1) to Most often ecclesiastical be conspicuous as modes, it it is ele- illustrative. placed at the may be the sixth, a note in the melody and/or as a chord in the harmony, and so be definitive of the tonic and (2) to form the principal cadence by the progression (melodic or harmonic), If but the dominant this is dominant to tonic. a fifth above the tonic, there cannot be claimed when it is placed at may be a certain physical basis for some other 12 its domination, interval. In the latter case the ruling and 13 cadential powers of the dominant fifth When become dominant are wholly conditioned by conventionalized usage, and even with the must be partly this operative. the tonic and dominant of a mode have been and conventionalized established assigned their respective roles and these have to the extent that their normal employment is well understood, anarchy has been banished from sound and order has taken the place of chaos. The tonal potentialities have been limited in order that those remaining can be more readily apprehended, and since they are less extensive, there from one that progression tonic may is the to the other These are the final. we come a corresponding gain in meaning. Specifically, is two most important tones are the tonal scheme, the tonic to understand that in a and dominant, that they are mutually cadential (dominant-to-tonic being the stronger), is many although least conditions of tonality, definitive, and that the other established conventions contribute. According to stood that it is view, this modes have clear that the ecclesiastical it is but tonality, must be under- it from that of the major-minor system of the past three hundred a different tonality years. Furthermore, owing to the lack of uniformity in the matter of dominants and other tonal conventions, among the strength and quality of tonality varied than some others because of diminished prominent its the several modes. Thus Lydian tonality was weaker tritone, and the Locrian was declared defective because of Since the character of a particular tonality is the product of a certain set of formalized tonal usages, any change in these will produce corresponding mutations in the its fifth. Phrygian mode when its dominant was the metamorphosis by which the before this point is discussed C-mode some shifted in that character. from the original b to Such a modification occurred c. Much more important was Church theory (the Ionian) became the modern Major; but of must be taken of the matter of intonation of the notice intervals of the scales. Pythagorean tuning was in use until long after the were of the proportion 8:9, semitones 243:256, and of polyphony. In this system the rise and thirds sixths were classed whole tones Under as dissonant. the influence of polyphony this tuning began to be questioned and, after the tenth century, the "natural" came third (4:5) gradually Equal temperament is a into use. Zarlino still later (1517-1590) completed the process with his senario theory. development. These changes undoubtedly altered the character of the cannot be said automatically to have given rise to despite the preeminence of the Major, although its scales, but the adoption of the the Major. Indeed, the Ionian effect described, is somewhat mode new tuning today still exists disparagingly, as pseudo- modal. The Ionian mode of Glareanus, with its dominant on the fifth of the scale, and the have the same diatonic form: T-T-S-T-T-.T-S. Yet the difference between the two the fact that no trained musician cult to put into words. would mistake the The divergence between ventions. Further light will be thrown on tions of tonality characteristic of medieval A lish it. 1 discusses each thesis is one for the other, the matter has question later in the chapter by a polyphony as contrasted able and is diffi- summary of the conven- despite courageous attempts to estab- from Rameau's through Riemann's and brings very damaging first evi- to formulate a complete theory 2 To him is due the credit for the practical idea that the V 7 contains within major mode key system and so unmistakably defines the key. This is very service- of the major-minor system. the limits of the been with those of the major-minor system. dence to bear against their propositions. Rameau, however, was the itself modern major marked. In spite of based on the dissimilarity of internal tonal con- on very questionable ground physical basis of tonality rests Shirlaw this effect of the two is probably the most important single principle of major-minor tonality. Fetis considered that the necessity of resolving the dissonance of the 3rd and 7th of the V 7 deter- mines the tonality of modern music, and taught that the modern major-minor tonality was the result of Monteverdi's . . 3 supposed introduction of the use of the tonality resides in the melodic . and harmonic affinites of the V He 7 . also says, sounds of the scale, which determine the successions and aggregations of these sounds. 'Matthew Shirlaw, Theory and a of Harmony (London, Novello Co., Ltd., 1917?). Rameau, Traite de I'harmonie (1722); idem, Demondu principle de I'harmonie (1750). J.-Ph. stration S J. monie F. Fetis, "Monteverdi," Esquisse de (Paris, 1830). I'histoire de I'har- 14 . . Tonality then, . our Major and Minor character, the order of melodic and harmonic facts which results from the arrangement of sounds in is scales; if and the harmonic even one of these sounds were to be placed results would be quite . makes the following statements about Shir law differently, tonality would assume another 4 different . . Fetis' definition: These remarks have been considered by not a few besides Fetis to be very profound and to betray a deep insight into the nature of music and harmony. In reality they are very superficial. Fetis asks us to believe that it which determines harmony and harmonic knows who succession, whereas the reverse is the truth, as every musician is the scale is acquainted with the history and development of the Church modes. These Modes, quite different as regards the arrange- ment and proportion of sounds from our modern modes, were, under they assumed the form of our Major and Minor modes. It would be modes out of existence. 5 This final declaration may be true if we harmony banished these old modes" but the whole correctly interpret the phrase "old work assumes the present-day thesii of the present the influence of harmony, gradually altered until correct to say that existence of modes identical in their diatonism with those called "the ecclesiastical modes." was too If Fetis when he general specific in assigning tonality which rendered important of tonality, mutual tion between ties. all results service to the chord-successions in a piece achieve a unified their is too says, has always been the referring of It [tonality] only to the major-minor system, Schonberg to a center, to a fundamental tone, to an emanation point composer in matters of form. All the tonal successions, chords, meaning through their definite relation to a tonal center and also and through 6 This statement does not deny tonality to modes other than the major-minor, but different kinds of earliest Christian period ... As modes. Helmholtz it makes no distincmodes of the Greeks and the specifically includes the and emphasizes the importance of the final to the tonality. the fundamental principle for the development of the European tonal system the whole mass of tones and the connection of harmonies must stand in close and always distinctly perceptible relationship to some arbitrarily and the selected tonic, finally return to which forms the whole composition must be developed from -mass of tone The it. ancient world developed this principle in this tonic, homophonic music: the modern world in and must harmonic music. 7 even more clearly includes the diatonic modes: Piston's statement about tonality The presence that the same of a center of gravity, or tonic, being the sole requisite for the presence of a tonality, tonality may be given a large number of variations in the makeup of its scale. it will be seen 8 Recognizing a neglected point in tonality definitions, a distinction between the melodic and harmonic elements, Yasser Tonality tain number is is does not show the implications of the idea. which organically and tonocentrically unites the melodic and harmonic functions of a cer- of systematically arranged sounds as most sirrply represented in a musical scale. To expand which still a principle this definition and describe the two fundamental aspects governed by the above principle, we may add in reference to our present (diatonic) system that the tonal center represents a single note (tonic) from the melodic point of view, and a chord of three notes arranged by thirds (tonic triad) from the harmonic point of view. Again, that in the melodic aspect this system manifests a characteristic distribution of its degrees within an Octave, forming various chains of whole steps and half steps (Modes) monic viewpoint this system divides nances and dissonances, the all its possible tonal combinations into latter inevitably two distinctly . seven regular (diatonic) . . Finally, from the har- opposed groups of conso- "requiring" resolution into the former. 8 All the usual definitions of tonality have a certain logic, but there seems to be a general lack of recognition of the differentiations which the more must be made between a broad, comprehensive formulation and particularized, exclusive statements dealing with existing subdivisions of tonality. In the absence of definitions which take cognizance of these General Tonality is distinctions, the which a mental grasp of the musical texture that principle by through melodic and/or harmonic conventions relating is thus the tonal center and ordinarily the Tonality in Plain Chant is following definitions are proposed. final. The all component tones conventions may Idem, Traite complet de la theorie (Paris, 1844), p. 249. et de la pratique de I'har- monie 5 Shirlaw, op. cit., one of may their is maintained number which not have physical bases. a system by which a mental grasp of the unaccompanied melodic line maintained through a system of linear tonal conventions. Conspicuous 1 or to p. 337. "Arnold Schonberg, "Problems of Harmony," Modern Music (May-June, 1934), p. 177. among them is are the final or tonic, H. L. F. von Helmholtz, Sensations of Tone, trans. A. J. (London, 1885), P. Ill, chap. 13. "Piston, Principles of Harmonic Analysis, p. 60. "Joseph Yasser, A Theory of Evolving Tonality (American ' Ellis Library of Musicology, New York, 1932), p. 331. 15 the dominant reciting note, the absolute initials, the mediant, from the note immediately above. to the final It and the stylized final cadence: a progression thus only makes use of the melodic phase of the general principle of tonality. Tonality in Renaissance 'Polyphony texture is a system by which a mental grasp of the melodic and harmonic maintained partly through the methods of unaccompanied plain chant which apply mainly to is whose function the cantus firmus, and partly through certain added harmonic conventions component triad triads to the triad of the final which has taken the place of the simple final. must be conspicuous; the progression dominant usually be perfect, that member is, harmonic was regarded melody. The dual nature becomes the principal cadence; scale; and the the tonic note in the top voice as well as in the lowest. It that in spite of these of the voices triad to tonic triad on the important degrees of the there are other conventional cadences as a whole outlook was results, the of this tonality should be noted because it to relate the is The dominant still final is cadence must important to re- horizontal, not vertical: each was undoubtedly a factor in the eventual capitulation to the major-minor system. Major-Minor Tonality is a system by which a mental grasp of the musical texture is through a very circumscribed and highly characteristic harmonic (vertical) means of relating and harmonic elements to the tonic or its triad. Among maintained all melodic the differentiae are: Cadential conventions: a) (1) V-l and IV-V-I are the normal formulae. (2) The major ing to (3) ( 4) normally progresses up to the tonic and acts somewhat like a red arrow point- Restricted are the progressions b) one of V The seventh of the V has a normal resolution downwards to the The arresting I f is normally used before the V in the cadence. triads II, III, VI, c) third of the it. II-I, third of the tonic. V-IV, VI-V, and any extended employment of the secondary and VII °. The chromatic conventions require the normal triads and thus make the that each chromatic note or chromatic chord lean on some relationship clear. Quite arbitrarily the descriptive term Tonal has been applied to the music written in major-minor and observing tonality Period. Any The three centuries of major-minor music is known as the Tonal deviation from the established conventions of this tonality are called extra-tonal or modal. Pseudo-modal is the term used to designate emphasis of the secondary chords Major mode, which To conventions. its results in a weakening of its the three subdivisions of General Tonality II, III, VI, and VII ° in the tonal quality. ( tonality in plain chant, tonality in Renaissance Poly- phony, and major-minor tonality) must be added one other kind: the tonality of the diatonic modes in contemporary use. As will be shown later in Book Two, all the diatonic modes music of the present epoch. Their scale types are the modern counterpart of the are to be found in the ecclesiastical modes but there the similarity ceases: the plagal forms have disappeared, the dominants of the Phrygian and Locrian are no longer placed on the sixth degree, and most of the old conventions of harmony and cadences have been superseded. Certain conventions of the major-minor system have been imposed upon these dominant is always a above the fifth tonic, the texture is essentially harmonic trapuntal (horizontal), and the dissonances of the seventh and ninth are used freely principles of resolution which apply termed Harmonic Modes, on the diatonic If scales 10 to such dissonances in Classical since their tonality known is scales: the (vertical) instead of con- (subject to the harmony). These scales then same may be the result of superimposing Classic harmonic formulae and Locrian. modes named above without further proof, the matter may be as Lydian, Mixolydian, Dorian, Aeolian, Phrygian, one cannot grant tonality to the considered as a hypothesis, and agreement reserved until there has been submitted the additional evidence embodied 10 The in Chapters genesis of the III and IV on the principle of interchangeability of modes. Harmonic Modes second part of Book Two. is the subject of the Chapter III THE DIATONIC MODES: THE ORDINAL AND LATERAL INDICES the ancient Greeks recognized that the interval Even of Since time tuning has been based on a series their the fourth, and so it became the first of a fifth had great significance for music. fifths. interval of polyphony. Organum used the fifth and its The dominants of five of the inversion, six recog- nized authentic Church modes were placed on the fifth of the scale, and in the major-minor system the fifth rules A supreme. favorite device for "explaining" the derivation series of seven perfect which may be reduced to fifths and ascendancy of the major C Major ir -*y- scale scale is to refer to a form: ir ti~ "XV m TT The c, question which has always been embarrassing for the theory the second component of the sometimes said that the series series, instead final fifth is nitely." pletely diminished and this 3E is No theorist has is: Why does the scale begin on In order to avoid this stumbling block f: said to "close the series in order to prevent it is clearly its an evasion because the clear if we continuing indefiseries is not com- 1 fifths. demonstrated by means of the series of fifths that the C-Major is complete diatonic scale system. The reason that the major scale begins on the second becomes it is Ol In spite of the neatness of this explanation composed of perfect first? begins on c and ends on ^ The of the reduce the component tones of a series of seven perfect fifths to but one scale of a fiftb of the series the compass of one octave and do this seven times by adopting each of the tones in turn as a beginning. There will then be formed the seven diatonic scales known as Lydian, Major, Mixolydian, Dorian, Aeolian, Phrygian, Locrian, respectively. 1 Specific citations are not subject. It is given in this brief mention of the a sufficient to say that the series of perfect fifths as possible theoretical basis for the relationship of the tones of the major scale has tempted every theorist from Rameau to Riemann. 16 and 17 F = Lydian C ; Major * !:«» G - Mixolydian <L D = Dorian M A ; Aeolian E = Phrygian B = Locrian m r>~ 3SZ "cy- If the initials of the initials is is, of course, the is above scales are written in scale form beginning on "F", a diatonic series of formed. This makes a convenient table of the tonics of the seven modes. Each of these tonics first notes of up of the same diatonic duced m series. its respective mode, and all the seven modes in this presentation are made Since the initials or tonics themselves are in diatonic order, the table pro- called the Ordinal Index. 18 Ordinal Index ^ Lydian m Mixolydian m • • Aeolian m Locrian 3S Major ^^^ «- * » XI. Dorian m Phrygian Initials m The ~o~ liaison between the modes of the Ordinal Index Minor. Thus A-Aeolian G-Mixolydian is is is comparable to that of Major and the relative Aeolian of C-Major, and its relative The converse of this operation for the original. This is interchange of those of the Lateral Index, which If we relative shift from one mode to another Index there must be a corresponding modulation. In other words, although the component tones of the musical texture remain the same, the tonal center of gravity these notes. its E-Phrygian; is the relative Mixolydian of D-Dorian, and so on. Such relationships, however, involve a change of tonic: in order to in the Ordinal Phrygian continue a series of will be thirteen integrants is is is moved from one mode above a tonic, 2 and the relationships in this category are derived as follows: fifths until the cycle complete, that is which may be represented is, until the first tone recurs, there thus: Complete Cycle in Fifths 3 8- m- u to another of to retain the tonic while substituting another of the scales -. * * 82 See chap, iv for further discussion of the interchange of mode. 'Note of a b. that g> is the enharmonic equivalent (tempered scale) 19 Any group of seven middle tone (d in which is the link 4 consecutive tones this case). If from this cycle will common taken as the have one tone which tonic of the seven possible the converse of that described in the derivation of the Ordinal which binds the several derivative is common to all: the modes (by a process tone d becomes Index), this center scales into lateral relationships. D = Lydian D Major - D= Mixolydian . m- w ^ \>~ D = Dorian D = Aeolian ** D= Phrygian D By reducing the modes = Locrian to their scale forms posed scales form a convenient table which and placing them above the common tonic may be d, the juxta- called the Lateral Index. Lateral Index Natural Signature D- Lydian t±- m gfltf m ^ D Major = D= Mixolydian m m ^ D = S m Dorian m T>- s Aeolian ^ D Phrygian = D= Locrian ss& This index constitutes the theoretical basis of the principle of Interchangeability of single tonic. Further consideration of the principle be found in the next chapter. 1 Seven tones are necessary to form a complete diatonic scale. and proof of its Mode above a contemporary existence and use will 20 It will be noted that sight, but, in no mention has been made^f the Minor mode. This omission not an over- is agreement with most writers on the subject, the Minor mode is here considered to be derived scale, the seventh degree of which has been altered to permit the Major from the Aeolian (or Dorian) mode dominant-seventh chord. (The matter fully treated in is Before concluding the discussion of modal theory point, in spite of the fact that, strictly speaking, it is it Book Two, Chapter xx seems logical to dispose of one other related something of a digression. Simple inversion of theme has been a stock device of composers the fifteenth century; but at least since the Ad it was a closely and Art of the Fugue Bach the two kinds described by Fux jealous guardians. In his Musical Offering its used inversions but these were not of the modal type, being confined to Gradus Flemish schools of there was any early recognition of exact inversion of mode, if guarded secret which 'died with in the '.) Parnassum of which the original edition appeared in 1725. made in two ways: by simple contrary motion, and by inverted contrary motion. The simple made when the self-same notes ate merely turned upside-down so that those notes which first This inversion can be contrary motion now ascended, is descend. This done without the is slightest attention to the semitones. For example, see that which has been'given so often: Model Simple contrary motion * The ^ other kind of inversion tones remain tones. The exact is made by turning manner in which the notes over in such a this is done is shown way that semitones remain semitones and in the following illustration. 6 TT ~n~ (8) ~Tf~ (S) 1 Compare the ascending notes at the left with those desending at the right: When D is F inverted becomes B; G becomes A; etc. This process applied to the inverted becomes C; inverted, original it remains D; model will be E as follows: 5 Model # Inverted contrary motion SE Various writers have discussed one phase or another of inversion. The subject is treated in Rousseau's Dictionnaire (before 1740) in the article "Systeme" written by Serre and Morambert. credit for being the first to note that the former mode "semi-mineur" Phrygian mode Serre must go is the inverse of the Major, although he calls the because of the minor second and minor third at the bottom of the inversion. ^ C= Major S To 6 TI~ t>y» b <> ' T~ C= Phrygian The subject was not mentioned German theorists. 7 again until a century later 6 Johann Joseph Fux, Salita al Parnasso, trans, into Italian by Alessandro Manfredi (Capri, 1761), p. 181. * Jean Adam Serre, Letter appended to Esiais sur les Principes de I'Harmonie (Paris, Prault Fils, 1753), pp. 143-144. 7 H. L. F. von Helmholtz, Lehre von den Tonempfindigungen when it was recognized by a number of physiologische Grundlage fur die Theorie der Musik (1863). Artur von Oettingen, Harmoniesystem in dualer Entwickelung (1866). Dr. Hugo Riemann, Vereinfachte Harmonielehre (1893). Hermann Schroder, Die symmetrische Umkehrung in G ( 1902). der Musik, Beiheht 8 der Publikationen de I als M 21 Bernhard Ziehn of itself, s carried the idea one step further in demonstrating that the the Aeolian inverts to Mixolydian, and the Phrygian some reason he omits mentioning is an inversion the antithesis of the Ionian or Major. For that the Lydian and Locrian are inverted forms of each other. Otter- strom, however, gives the following When is Dorian list, which is complete. 9 inverted Ionian becomes Phrygian. Dorian remains Phrygian becomes Ionian. Lydian becomes Locrian. Dorian. Mixolydian becomes Aeolian He ment. . . attaches ." composer, 10 no importance Whether or not who Aeolian becomes Mixolydian. Locrian becomes Lydian. to the fact for this is true he adds, "These may depend on curiosities belong to the realm of amuse- the point of view, but from the standpoint of the should be aware of and take into consideration every possibility offered for the develop- ment of thematic material, the statement is misleading. The inversion correspondence between the modes is most simply illustrated by the following Spiegel- bilder (retrograde inversions). Lydian MaJ° r m ^ „ «C"V» o Mixolydian ^___^ UEijoav Dorian "-* 1 -»-2 *: UEIJOQ Apparently no one has demonstrated that the whole diatonic system The Dorian with its is symmetrically invertible. identical tetrachords forms the center, since it inverts without modes (those with a major changing form. The Lydian, the most major of the three major third) since every scale degree is at its maximum distance above the tonic, is the mirrored reciprocal of the most minor mode, the Locrian. The two following diagrams The first is illustrate the symmetrical invertibility of the complete diatonic system. concerned with the Ordinal Index, the second with the Lateral Index. Bernhard Ziehn, Canonical Studies; A New Technic in Composition (Milwaukee, Wm. A. Kaun Music Co., 1912), p - 3 ' "Thorvald Otterstrom, A Theory of Modulation University of Chicago Press, 1935), p. 131. "Ibid. (Chicago, 22 SYMMETRICAL INVERSION OF MODES Ordinal Index C-Major (Ionian (UBinoj) JofBj\[ - o SYMMETRICAL INVERSION OF MODES Lateral Index D- Major (Ionian) m ubjuoi) Jofej^-Q Chapter IV INTERCHANGEABILITY OF MODE Interchangeability of Mode may be defined yet maintaining a single tonic. In effect, this as: means the substitution of any diatonic scale for another that any one of the diatonic scales place of any other above any given tonic. For example, for the Major substituted the tonic Minor, the tonic Aeolian, the tonic Phrygian, * Minor (Harmonic or melodic) (b)o may take the on tonic D) may be * m „ (say and so on. Major w mode #" ^ Aeolian o 5 bo «* ^ Dorian o " o «» ^ o «» Phrygian " bo ti W t> ' S Locrian l ui b« Mixolydian $ " O * tot Lydian ^^ o * So far as the free alteration of and has long been the other serious; is -O- M major and minor are concerned the practice is recognized in theory in use. Strange, that one should feel major and now more «» "Ti~ They both present the same face, now more joyous, The passage from either to occurs frequently and swiftly, the two begin to shimmer and coalese minor and a mere touch of the brush easy and imperceptible; when it as opposites. suffices to turn the one into the other. indistinguishably. 1 1 Ferruccio Busoni, Sketch of a New Esthetic of Music, trans. Dr. Th. Baker (New York, G. Schirmer, 1911), p. 21. 23 24 It is clear that adorn itself the with a sharp, part; minor, It is The it is its upper tetrachord (and thus the but another form of that principal lost its individuality; it scale. essential elements of its per- The day the Dorian consented to accepted being amphibious: major, and thus modern, in the upper and antique, in the lower. 2 The Dorian mode minor. new minor mode, borrowing from the newly born major, fect cadence) [the original minor] not, morphologically, a species: . . , it is is not even a minor tinged with major, prevailing idea in recent years with regard to chords in general between major and minor. Piston . . it is rather a major tinged with a variety. 3 is may be used that they interchangeably .* makes the following analysis of an excerpt from the second movement of Dvorak's Symphony No. 5: Dvorak, Symphony No. pm W&\ i§Fp W* IF fc PiM. £ ep^ M^ 9 te i Dt in The above example same tonality. The in the v 6 ofn VI in IV furnishes an excellent illustration of the alteration of chords first, third 5, II. from the minor and major modes and sixth chords are derived from the minor mode, whereas the second, fourth, and seventh chords are associated with the major mode. 5 Rameau regarded the minor not as an independent scale but as one related ment from the major. 6 For it, was these reasons, one at liberty to substitute, the tonic minor for the major. In Lesueur's opera La Caverne at the to, and deriving its treat- where the expression demanded words "quel triste" there is a sud- den change to minor. Lesueur, £ *= $ S - vez ar - des ra- ches 7 7 P^P S pleurs i P Vous T II. i> m'a- vez ar - ra ? t 3 G Major Lf M m MMF ^ Mr m O o ^m m P Vous m'a La Caverne, Act . i ches 7 s^ 6 m ? h des pleurs r i 7 quel trist ^ ^ ' ^ . G - sort e et qu'il m'af - flige tjji' &* ^ Minor 3fe ^ Doubtless for similar reasons Brahms^ sometimes adopted the same procedure. 1 Maurice Emmanuel, Historie de Librairie Renouard, 1911), II, la p. 292. Langue Musicale (Paris, * Horace Alden Miller, New Harmonic Devices Oliver Ditson Co., 1930), p. 19. 5 'Ibid., II, p. 345. " Harmonic Analysis, p. 39. Rameau, Traite de I'Harmonie, II, chap. 21. Piston, Principles of (Boston, - 25 Brahms, Symphony No. G Minor 2, III. G Major Brahms, Die Trauernde, Op. ^ Lasst ^ P P die drei Ro - sen stehen, an die m H ^— P P -m Major Minor p m Kreuz - /- M Major g g le bliihn: - heut p Minor ^^ ihr das ^5 Mad - No. ^ ^^ P 1 el kennt mm 7, dem 5. 26 Brahms, Sextet for Strings, Op. 36, I. G Major SI J J J J J J 7TTO J J J j J j J J J JJ J r G Major By reason of its descending form, the Minor mode includes the Aeolian and so establishes its changeability in traditional harmonic practice. Lesueur, Ossian, Act IV. C Aeolian _ or Minor PNf=r s C Minor M ^ Gretchaninov, Sun and Moon, Op. 16, No. $ ± T=f C Minor C Aeolian . . C Minor * 2. inter- 27 Although the ascending melodic form of the minor scale has the major sixth degree, it is not clearly Dorian because of the major seventh degree. Riemann, however, gives more than a hint that he considers it interchangeable with the Dorian. . . . The major sixth in the minor scale (raised third of the minor subdominant), if used unnecessarily, without modulation and without melodic rising to the third of the major upper dominant, will always produce turns like those peculiar to the Dorian mode of the fifteenth to the seventeenth century. 7 . . . A Minor More practical evidence that the the same tonic Dorian is capable of being interchanged with other modes above given by Brahms. is Brahms, Vergangen Op. 62, No. Andante 3E w l±LA ^ ==T r p^w r ^ ¥E r P* J J m ijLo r rt r r . ^m r i- tr s ^Ui ^ . 8 1/ T -Jij ^m^ =8= Dorian ' Riemann, Harmony Simplified or the Theory of the Tonal Functions of Chords, pp. 92-93. 2XZ =8= -F •=-r Minor M Dorian s r r ^ r ¥ s J- r ^ r .D Minor $ If i mir Gliick und Heil, i D Dorian s ist 7. m j i 33= ~1T~ 28 It is a remarkable fact that the scale [in the three theorists First, N 6 chord] who were is ". . . very few theorists [before 1900] suggest that the lowered second of probably a remnant of the Phrygian Mode." 9 who g 10 1 * 1 u who ^ ~r»~ regarded all the following as belonging to one key without modulation: j J-U. g j rj ?^ t, , *Eff ^ ¥ f Ne Third, Riemann, The chord its latter chord who made (A minor: the following observations: b ) is clear on d-f-b name, of course, but are known by the name of the Chord of the Neapolitan sixth. this point, that the introduction of the second of the minor scale) makes the scale resemble the Phrygian. (a) i least N° ~m 1§ however, at r —w i * are, considered the chord a "half-modulation": C Minor Second, Tiersch, There ahead of their time in their manner of construing the Neopolitan sixth chord: ^ Jelensperger, 8 (b) & ^^-4 . . . . . note characteristic of . We leave the it (the minor u S id) i=# P -O-^ ~T«- A Minor 8 V. L. Jones, "The Relation of Harmonic Theory and Practice from Rameau to 1900" (Doctorate Thesis, Harvard University, MS., 1934), p. 485. 8 Jelensperger, Die Harmonie im Anfange des neunzehnien ]ahrhunderts und die Art sie zu erlernen. p. 34. 10 Otto Tiersch, System und Method der Harmonielehre (1868). n Riemann. ot>. cit., pp. 92-93. 29 . Contemporary writers, however, have not failed The probability is that this chord (the Neapolitan . . second degree in The early this minor scale is to note this suggestion of the Phrygian. sixth) was taken over from the Phrygian one half-tone above the tonic and has a major form of the Neapolitan Chord was probably from the Phrygian triad. scale scale, since the 12 where it occupies a position a half step above the initial note. 13 Curiously, complete scale passages in conjunction with the of the older composers. This times. is N 6 chord are not to be found in the works a development which has taken place only .within comparatively recent Most composers, unable to use the leading tone with the chord because of the resulting augmented second and diminished third, $m 7 S c (a u6 N6 I* *s C =8= ±*P± and apparently unwilling to use the subtonic mi 1^ as i to correct this, since the scale 9 7 m ~n~ Ittifii Tf~ I 6 would then become Phrygian ~n~ TT N6 form incompatible with major-minor habits of thought), solved the problem by avoiding either ascend- ing or descending scale passages at such points. Freed from former hampering viewpoints, contemporary writers unhesitatingly write scales over the N 8 with the result that interchangeability of mode includes the Phrygian. Sibelius, Violin Concerto. D Major 1 Orterstrom, A D Phrygian I Theory of Modulation, p. 1. II (N 6 ) "Miller, New Harmonic Devices, p. 18. 30 D Major D Phrygian I II (n6) 8- m 9 i i j *=fe i m f m ? n D Major The i * a. ± i i I source of the Phrygian is not necessarily the N 6 it : frequently appears melodically or in connec- tion with other chords. Rimsky-Korsakov, Scheherazade, No. III. 26 £ EEE f W s sg*-^ ST ^ m pg lri ^^S i==fi J =£ 5fe it; G G Major G Phrygian The scale I G Major VII 7 which most naturally accompanies the the following form (Locrian) m G Major Phrygian VII 7 is N 8 is used in conjunction with not always it. felt to I be the Phrygian: quite often 31 Beethoven, Quartet, Op. 131 VII. Wfi CjjMinor Only one tone The essential a b is (c) of Jfejtl! Locrian Cjt the Locrian scale is missing in the first measure of the following Sibelius excerpt. quite prominent. ^ Sibelius, ^ fpi f mw i Symphony No. 2, II (coda). F** V6 "ST D Minor D Locrian I 16 Copyright 1931 *y Breitkopl-H'drtell. By permission of Associated Music Publishers, Inc., The d b passing tone of the following example makes n r~n ^m i_u also indisputably Locrian. Smetana, Polka Poetique, Op. i 4 ~cs p ^m n it Aa,e::t. wm i 8, No. 2. $ V? G Minor n^ , j V N6 (G Minor) I (Phrygian II or Locrian II) In the "March and Hymn" from The accompanying harmonies Les Troyens by Berlioz the Locrian scale occurs in complete form. are also Locrian, one chord, the what the character of a passing chord. Berlioz, Les Troyens, E pg w P S£ C Major I minor V°? which, however, has some- te^ >!f £ "March and Hymn." **z ttz l^r^ i .C Minor IV * 32 II [Minor] Locrian I<5 The Locrian then must be admitted to the In like manner, scales employed with a of M u6 list IV of of IV ^f . modes which are interchangeable. V 7 of IV must be Mixolydian, those above or V7 V must be Lydian. . . . The minor seventh in the dominant following in the same major part, will scale, introduced without modulation and without the third of the minor sub- produce peculiarities of the Mixolydian. 14 i $ FT1 C O rj m Mi%°^an C Mixolydian flT^iflTTTjT S C a -j ^^i a m p 2 r - p E -< -j j. J J JJ J j i V 7 of IV VI I i Saint-Saens, Coeli Enarrant, (Scale) P—rn- f i- i No. IV, Op. 42. m &3 IT Tf" [v7 of IV?] Permission for reprint authorized by Durand " Riemann, op. cit... pp. 92-93- & J IV F Mixolydian TT I Cie, Paris, France. Philadelphia, Pa. Copyright Owners, Elkan-Vogel Co., Inc., 33 Sullivan, IPlf The Golden Legend tf C Lydian Scale m C w i j i J i i V^of IV V7 The Mixolydian scale sometimes has its the final cadence of Grieg's Piano Concerto and resolves directly to the tonic. ( V°7 of V origin in chords other than the is a case in point. For further discussion of The chord this 16 V°? IV here of is IV or the V x.) Grieg, Piano Concerto, Op. 16, Piano Orch. A I V [Mixolydian] Mixolydian V? V7 of IV: a true Mixolydian chord see Book One, chap, Final cadence. 7 III. V 7 — , ? . W 34 * ** $ i^ *£ # i ^= ^m «^ imi The foregoing examples were chosen because each arbitrary specification was imposed for the sake of concluded, additional evidence several mode is some cases it exhibits but a single clearness but now modes /Tv change of mode. Such an that the bare exposition has been form of more extended offered in the changes, and although most of the or by scale, in %) \f t/ r\ excerpts. Some are defined horizontally, that will be necessary to refer to the of these contain either melodically is, component tones of the harmony in order to reveal the mode. "Sally Brown," Journal of the Folk-Song 1914, I _& ho - Liv- er - pool roll ,J_j! lin - Mixolydian er ing - | r 1 Liv-er-pool lin w p jjt|» ^mmai . And we my p 1 (?) spent I Aeolian Used by permission — go. for 43. shipped on board of a D Aeolian Way p. Society, —ffa r ^^ 1 - er J | 1 Major shipped on board mon-ey 'long with Sal-ly of a Brown. (?) of the English Folk Dance and Song Society. Dubois, Noel. ^ ni A m ^5= f=F r/ l iWffhN r¥ M M .Dorian Aeolian Used by permission of A. Leduc & . Minor Co. Editeurs, 175 rue St. Honore, Paris. i — ^ 35 Saint-Saens, Piano Quintet, -» —— ^ Jk.' — J' is * 1 1 2 #-= f 1 7 7 f £ -» :z i t- ' Strings TT III. — -]•• »-= s -4 Op. 14, m ^=« m Piano col Soprano gva basso D Minor . i ii m D Aeolian wm i i ^=^f -*- 7 . i D Minor i i r . Glazounov, Suite pour Quatuor d'archets, Op. 35, No. Violin I Violin II 3. Cello D Dorian J /l^- I r °? r ^ r^rr tirr i iViola^ «7 ""^ . — Y D Aeolian Copyright 1894 Ay Af. P. Beiaieff. By permission of Associated Music Publishers, Inc., Agent. 36 Jacobi, Synagogue Service for Sabbath Eve, "Tov L'hodos." m tu m m mm m m ^ €aw ^ ^ ^sL m ^e aa ^ ^=k dJ=± ff j.j kJ. ? J-i- G Mixolydian JjJA,, & i ¥# *» f ^^ J=^ pE^f \aM l Jl it* i i Hi i . Mixolydian .Dorian . Used by permission of .Mixolydian Bloch Publishing Co., New York, N. I' I' ^ Mixolydian Pj^ f^5f b i' 1 «j: 1 1 \,iH t 4 ii- s !=£=§ /r\ sti —T Maior Major. p: Vi/ Y '. Ireland, Piano Concerto in g> ^ .Major i El> i frf f€ffl E » h . Finale. is i'crcrcttr ^m h^lTl m i «-i»-t g=g^ m f f ' Dorian Major Copyright 1932 by ] & W Chester, Ltd., London. Used by permission. V — * 1 — • . 37 Cui, Angelo, Act ^ mm j>m j *j : III. ? 1 j j A Aeolian J.J J fi=y=¥ g 7 7 i ^=^ p ^n^ j i V 7 ^£3=7= | j '7 5=. f_ 7 7 .Aeolian Phrygian (?) 7 r i -i^h Minor 2nd II. Op. 115, II. (?) Aeolian Faure, Borodin, Prince Igor, Act (?) Quintet, for strings, Allegro vivo Et Lydian 3?i=g x — =wkf=. fj£~rt «j Passing tone ,l — r l> 1 [ajor ? PI lrygian — r i p hrygian & i/• : « Ik [ajor #' ? i'i ^-Hj Permission for reprint authorized by Durand & Cie, Paris, Prance. Philadelphia, Pa. Copyright Owners, Elkan-Vogel Co., Inc., In view of the evidence presented, which consisted of examples from the works of recognized composers, the feasibility of the practice of interchanging inference ress js which only seems to modes above a tonic can hardly be doubted. The by their inherent musical feelings, once again blazed a path of progwas recognized in theory. The principle on which the practice of mode substitution that composers, guided rest later may be formulated as follows: the eight diatonic modes tonic without destroying a The Harmonic Modes, see its function as center of gravity. Book Two. l6 are interchangeable above a single V EXTENDED HARMONIC RESOURCES Chapter Application of the principle of interchangeability of mode not only gives the possibility of wide melodic horizons within a given tonality but also of increased harmonic resources within the frame of that tonality, since chords be found to be common may be on each tone of the scale. Many chords will, of course, example the triad c-e-g is the tonic harmony of erected more than one to scale; for C-Major (or Ionian), C-Lydian, and C-Mixolydian. It is only when a chord includes such characteristic notes as the Dorian sixth degree, the Mixolydian seventh degree, and so on, that it becomes differentiated from the usual major-minor inventory. Here is a complete of the chords possible in the diatonic system including some which are extra- list major-minor. Through the broader concept of tonality, the latter may be recognized as having a demon- Such chords are marked with a cross (+). Chords peculiar to but (+ +). Chords having no marks are found in the Major or Minor strable direct relationship to the tonic. one mode are indicated by two crosses mode. T ,. Lydian Tonic Scale ir ¥ ^^ Chords Lydian in I + + + wm Lydian I? V IV III II II? IV7 V7 + + + + + + + + i=* m III 7 VII VI VI 7 VII 7 + + Mixolydian Tonic Scale Chords § Mixolydian b Q II I § \\ § » ^ III IV V VI VII b P^P Mixolydian I 7 mm III 7 II 7 + + + + + + I " t>o *\ IV 7 + + H V7 i VI 7 + VII 7 + Dorian Tonic Scale n IE ~CT~ Chords j Dorian I 1 Dorian • I § II* h + ii *a "» ^ v VI VII n n '~n ^ IV* III (+) ^ i t (+) ' I7 lit* in 7 IV 7 + (+) + + + These chords also occur in the Major and Mixolydian modes but when used in conjunction with a minor tonic triad possess striking individuality. 38 + V7 + + + + VI 7 VII 7 + + + + 39 Aeolian Scale Tonic __^ Chords IhorQS a j | Aeolian Aeolian b I'U b § III II I ' „ I 'I t *B g IV V VI + 1 VII + + g i a a a a Aeolian II 7 I? III 7 + ^ bo n* I V7 IV 7 + i VI 7 VII 7 + + + Phrygian Scale Tonic ^ bo |,o moras * j j Phrygian Phrygian + „ n 1 *» »» ^ IV V VI VII II III + + I + + + g^^ g m a j Phrygian I 7 bo =g= tt I , ii-u I , II 7 III 7 + + + V7 IV 7 VII 7 VI 7 + + + Locrian Scale Tonic Locrian Locrian ^ |X » |; I II III + + + + + bo V IV bo =g= Im» VI + + b j i <JL Locrian I 7 + + Ju m II 7 '» n III 7 IV 7 where such terms mode names, ,b V7 VI 7 VII 7 + + + + + For more convenient reference the extra-major-minor chords table. Besides the o liiii n' + + + VII + may be classified as in exist. Extra-Maior-Minor Chords* I H § Lticrian I [yo7 of NS] m m i 3e Locrian I 7 • the following the usual parenthesis-chord designations have been given in brackets Dorian Aeolian Phrygian For the sake of simplicity all 7 I chords are shown -£ m Mixoly.dian [V 7 of ivl in relation to tonic C I 7 40 II w W Lydian Phrygian) n Locrian [N" (when inverted)] II I [V of v] I 1 ^ 1U =s Phrygian n7 Locrian II 7 Lydian j [V 7 of V] I III Mixolydian [v c7 of IV » » 5 gE Dorian Aeolian Phrygian) III > ?] II Locrian sa s Dorian Mixolydian III? [V°? of IV?] j III i Phrygian III? [V 7 of VI] „,^ Aeolian! Locrian III? IV ^ #^P SIV Dorian Lydian IV [yo7 f v] m Dorian IV 7 [V 7 of IV of IV ?] Lydian IV7 [V ? of V] 1 When used in juxtaposition with a minor Mixolydian) Phrygian Dorian Aeolian Lydian V V I. Locrian V [Phrygian IIP 7] [V°7 of VI] Mixolydian) Dorian Aeolian j ) Phrygian V7 V7 [Phrygian IIP?] [V°? of VI] Locrian V 7 41 VI S Dorian VI [V o7 of IV of IV?] ft Dorian VI 7 m Locrian VI? [V 7 of [V°? of IV of IV?] N6] VII « i* «E Mixolydian) Dorian Aeolian Lydian VII 4 Phrygian Locrian -& 5 Mixolydianj VII 7 Dorian Lydian VII 7 i Aeolian VII 7 j vn I J> i Phrygian VII 7 Locrian j f [v 7 of III] The next chapters will illustrate these extra-major-minor chords by examples selected from actual compositions. Care has been taken to choose excerpts containing the chord under discussion in the clearest form possible but it must be many excerpts will inevitably include other even though it may compromise ready intelligibility. realized that not invalidate the illustration, chords. This does Chapter VI EXTRA-MAJOR-MINOR CHORDS: TONIC FORMS % i C Locrian [V°7 of is unfortunate that the first I N 6] chord to be illustrated is also the one about which there ITthe most controversy, but in any logical order the tonic chords should be The accept. idea of a tonic triad with a diminished fifth There this interval. is As good reason somewhat likely to be difficult for most musicians to for rejecting such a chord as a final because of the lack of repose inherent in a final then, only some exceptional intention of the composer could justify ment. As a passing chord in a progression, however, is is is first. its its employ- use can be sanctioned since, in that case, repose hardly requisite. Berlioz, Les Troyens, "March and Hymn." ^ ^^ $E S Vlf ^ cresc. ^ ^ 3E Minor C Major fefe^ !=%=£ f*f T^ f m J 5 =l^ ± W^^ WfW \>4 ?£*& Z2Z v XT g g g g kr Locrian The final the Locrian I cadence of the I" movement of Janacek's Trfrax Bulba Rhapsodie contains an example of I. Note the Major second degree (f *) of the scale figure above the the mode but, since it is a non-harmonic, has no bearing on the analysis first followed by the Major Locrian tonic (E), which violates of the accompanying chord. Janacek, Taras Bulba Rhapsodie, End E Locrian Major I of First I Copyright 1928 by Hudebni Malice Umelecke Besedy. Used by permission. 42 Movement. 43 This chord may be used as V° 7 of N 6 (Locrian Such a case occurs in Finlandia by I). Sibelius. Sibelius, Finlandia. Mm 3^ ^ m '# -w Si., ^m 1m- F Minor I =8= T "XT 2 Locrian II In the Prologue to Scene which lasts for Note the g h II of Boris Godounov, there four pages of the piano score. degree of C-Locrian) (the fifth is F Minor 1% II I yc7 N6 f N 6 n6 I4 two chords a curious alternation between The passage seems best interpreted by regarding C as tonic. /* enharmonically (the fourth degree of C-Lydian). is the tonic and dominant degrees of C-Locrian are always present and play a role somewhat 1 Thus double like a pedal. Moussorgsky, Boris Godounov, Prologue, Scene 2. etc. C Locrian I I I The two following examples +6 Lydian Locrian II? are self-explanatory. I +" Walton, Concerto for Viola. mI m Andante Viola m i): $1 1 i r ?. vvrJl i^^J^ cyp^ 1000 n^? ^ ~^ffl 7 t\ ->•> ij : ^^ ^j^ 7 I p^p 5 0PZW- j ^lm^ s i r rr rr iHg^ **=» f p l gJ- S3 =F Locrian I Copyright 1930 £> Oxford University Press. Used by permission. 1 This particular enharmonic correspondence ized by composers. is i?lrpJJ] SlIS f f T f£fffws- r jjUM+ =3= f fft . f- often, capital- ,J1n^l rfl J fl. i i 2 44 Vincent, String Quartet, IV. Allegro Phrygian Phrygian Locrian Locrian Copyright 1942 by Mills Music, Inc. By adopting an experimental attitude, the Locrian I may be employed as the final chord of a musi2 gives the following cadence formula for the mode "Hypophrygiscb H" (sic) which, cal work. Haba nomenclature, is really Locrian. The diminished chord is frankly the final in this case. despite his +"" + .+ + . . B Locrian I Another experimental Locrian close is given here. In spite of the fact that the indisputably Locrian, the inconclusive nature of the diminished fifth is last four measures are almost evaded by the special ment. Vincent, String Quartet, J $ g& njyjJT] JS*E ^m m& G Locrian J ^ n=m £E VI VII VI m. m& Uii Ma s^ ^ pm ^ ^ pizz ife f J? i i 7 pizz. IV crlp7^^ r vi7 VII III m *=qt ^m VI fei \ VII 6 m m 1/ is ^^ I sm &£ S m II. * ? EE f^ £^ ^^ I Copyright 1942 i> /M;//j MajlV, /»c. 'Alois Haba, Neue Harmonielebre des diatonischen, chromatischen, Viertel-, Drittel-, Secbstel-, una, Zwolftel-Tonsysterns (Leipzig, Fr. Kistner and C. F. W. Siegel, 1927), p. 60. E ^ M* * \^m treat- 45 C-Locrian $n C Locrian The Locrian chord as V° ? of 7 1 N is 6 naturally somewhat more I 1 7 rare than the simple triad. It tially 6 is possible to construe the but curiously enough no examples have been found which illustrate such usage. Although complicated by unresolved appoggiaturas, the G-l + 7 followed by G-Locrian chord of the following excerpt seems essen- first 7 1 . Ravel, Trio, Permission for reprint authorized by Durand t & Cie, Paris, France. Philadelphia, Pa. Since this chord m are Dorian 7 1 common I7 must be present in order to differentiate. possible by the appearance of a scale or by other chords. The following examples is made Copyright Owners, Elkan-Vogel Co., Inc., I C Dorian' C Aeolian j C Phrygian' Distinctions are I. because the third to three modes, other factors minor and the sixth is is major, these being the characteristics of the Dorian mode. Faure.Op. 42, No. 2. ifel VL =± f W ^m^ E\> — 8 At Aeolian I Major VII VI Dorian I Major I Moussorgsky, Boris Godounov, IV. Introduction I V V ; The simple forms of the tonic chord in these modes hold no particular interest in connection with the present study since they correspond exactly to the tonic of the Minor mode. The single exception countered. It is owes the Dorian its +" which is occasionally enexistence to the Dorian sixth which forms a majoi sixth with the tonic. I ^ 46 Rimsky-Korsakov, Snegourotchka, Danse des Bouf fons'.' ^ fc£ y l ^ >« ^> l : :> /^ 7 -\-J J P J ^ J I ^ F Dorian n^ > ^ ^^ ^ n^ i ^ sf ' S Minor I' Andantino con moto The Land Ireland, V°^ I of Lost Content, *=*= I. £ 'Tis a i g » I I a j ^ d * » t t P^ i Jjp l egatn ii'i iffEgj *•>: t* T P 'M' come rSpring; out j i i i »^ I' 1 ^ I7 E Dorian Dorian £ it to r ram - P 1 ble The 3 i I P I hill-y tf» Sl I p 7 M ' I brakes a jpj 1 - ^— J round - : ^ i . Copyright 1921 &> Augener, Ltd. Reprinted by permission of Augener, Ltd. Worth noting perhaps are instances of the employment of the Dorian Ireland, ^m E On m# Si A V7 San Ma-rie IP^I =^ 3; =fe± £ La £ - goon In ^ tpi I ? The Bells of San Marie. port i of Ho III IV ^^ II v Copyright 1919 hy Augener, Ltd. Reprinted by permission of Augener, Ltd. - ly 'ijij Dorian II? £ tip ii i? I 47 1 Ma On ry IV San Ma- rie La 1 goon - V7 Mixolydian fi r *5 I (minor) Debussy, Six Epigraphs Antiques, 1. 77. G Dorian 1^ Permission for reprint authorized by Durand & Cie, Paris, France. Philadelphia, Pa. Copyright Owners, Elkan-Vogel Co., Inc., Since the minor third and minor sixth are to be found in connection with the following chords, they are identified as Aeolian 1 7 . The first two come about by scalewise motion descending from a simple Malipiero, // finta Arlecchino, Part *>: 7 flpPP|??Pph gFPPh % P f^ I. WPh PFPp ^ m ^h*m fET p^^ *: s D Aeolian I 7 IV VI III III 7 . II 7 Minor I V7 Copyright 1927 by C. C. Birchard & Co. Used by permission. Elgar, ^==^ $ e; II 7 £ I f Pedal * rr W of Gerontius. r'rfr iii Aeolian IV s 1= 1: r r — m m A JL: Dream IV VII' Nf# fej^ ^V ^V^'^"^'^'! ' Copyright 1928 £y Novello & Co., Ltd. Reprinted by permission of H. W '. Gray Co., Agents. 3 I. p £p 48 De a pp??r? r t \ (ijiur r -r i P n p i^ Sev6rac, Heliogabale, pt p- p i V Pt ^=i a i: 7 I A Aeolian V7 ^^ «= &-=- 3E V IV 14 Copyright 1910 by Rouart, Lerolle el Cie. By special permission of Salabert, Inc., of 1 East 57th St., N. Y. Gesang der m i. York 22, __ Glazounov, Der Konig der Juden, as m^t m New 2. Jiinger Jesu. -zg^ £ : 1 P I F Aeolian VI I Copyright 1914 by m M. the By permission 1 =*4 ho our of - ly 1. * faith, J^ I » ^ * —*~w 3=^ -* Aeolian S HT I Hon- or the IV I Saints, 7 I IV f T =j- our great pro 1^^ =53 VII I 1^4 3=5 f^. EG Agent. g sm E\> Inc., Moussorgsky, Boris Godounov, IV, Scene guard- ian and champ-ion s I Music Publishers, of Associated ^^ p=$=^ w. Be P. Belaieff. VI I' g £3 - tect- ors and pa IV I IV I 7 * — IV .VII Molto vivace E Aeolian I trons. $ ^—^* I - I Dvorak, Symphony No. 5, III. 49 ^ m& V \ yI i f m e? & m rricrr * s i The two examples T of S4 ^ in ^ given are identified with the Phrygian I ^ si ^= =^ p ^ i r r c i * s mode only by the Phrygian signature supplied by the composers: the characteristic minor second degree of the scale appears in neither. Both excerpts are final cadences. Emmanuel, In Memoriam, » ife (jf).v pi MfTfrys VW ¥ C Phrygian S rt ^rrt 1^^ 17 I /T\ - -1 gfeg US r£ rs ? :, £k. i II. x* tt 3^ -r*0- gF ": o • ' (I 7 ) Rangstrom, Es wollt" das Madchen frith aufstebn (final cadence). Ftt Phrygian IV 7 I 7 Copyright by Abr. Lundquist. Reprinted by permission of Abr. Lundquist. 3?" J 50 5 $ C Mixolydian I 7 [V 7 of IV] The most frequent employment of this harmony as the parenthesis chord V 7 of IV. Although examples are to be found in the works of almost every composer, Franck, Brahms, and Faure exhibit an especial predilection for it. Brahms, Trio for pm jT J A Major classical usually stated, 1 J t mm V 7 of IV [Mixolydian I employment of the V 7 IV I7 J rV (Mixolydian of suggests the subdominant key it and Piano, Op. 114, rV. CI., Cello, ¥ gg=i The is and imparts 1 7 is ) either a in the final cadence where, as calming influence or a feeling of lowering harmonic weight. ppi |n ') C ?>•— v^ Bach, Prelude jjJjF 7 JljJjJJ 7 m J J^^ JJ J J IV [Mixolydian J Jffi I7 J Ov 3£ /7\ ¥ w V7 [II 7 IV P r ^m i »a j I. m V 7 of V7 ] Berlioz, L'Enfance du Christ, "Allez dormir, bon pere." m P* ^^ ^ £* F Major I r rf r 1 r r'lrr'r i Jij in tt t 1 ** -9- V 7 of IV IV [Mixolydian I^J is V 51 faure.Pelleas et Melisande, Prelude, ^mm fea^= I /O W5 r^r C^T ^m ±±M ^~rn P G Major 1 V 7 of IV IV [Mixolydian I 7J I By permission of J. Hamelle I et Cie, Paris. Brahms, Op. 33, No. 15. Eb Major It is also I V'of IV IV [Mixolydian I 7] II 1 held that a cadence involving some such progression as the following of the tonic, since is perfectly definitive suggests the keys a fifth above and a fifth below. it P * TS- r S f s TF C V 4 V7 I of V \V 7 of IV VI V' IV Suggested tonics and signatures: m ^p t£ 3EB3 F No one would hold that these are real modulations since they are not "fixed," yet the upper and lower dominants are truly implied: hence the term parenthesis modulation. Without denying this method of explaining the definitive powers of a progression which includes dominant and subdominant, some notice should be taken of another view- parenthesis modulations to the The point. tonality of the whole cadence C-Lydian, and C-tonality with b sions into the two contiguous 4 b is is C despite the / : and b b accidentals. C-tonality mode C-Mixolydian. Thus the Major is defined by with momentary / ' is excur- modes: C-Major: C-Lydian: C-Major: C-Mixolydian: C-Major. Although in traditional cadential practice the resolves to IV), this is the relevancy of the lydian 7 1 chords ( not name its V sole use: the chord 1 of IV becomes marked with an asterisk) actually untenable, * is . I TV and acci- is the true V T of IV, (i.e., when it resolve to several other harmonies. In the latter case questionable. In the not unassailable. Contiguous modes are those which differ by but one See the Lateral Index above, p. 19 dental. may be construed as VI) would have pivotal significance as VI of T Mixolydian V /// of 1 two following examples of IV, the chords IV respectively —an if the Mixo- which follow ( analysis which, II if and not 52 Brahms, Variationen und Fuge uber ein Thema von rm Lr~ j^ n j^ — * » -T ^ * Mixolydian f" Mixolydian l\(\) [v 7 ofIV V7 VI [v 7 of IV] VI of IV] Saint-Saens,vLe ^ a ^ f£f P * o P - o P ^ I7 reprint authorized by evidence the conclusion ing a stereotyped classical which carries with it The Mixolydian no ^ VI III Durand P is I & Elkan-Vogel Co., Cie. Paris, France. Copyright owners. Philadelphia, Pa. may be drawn that V 7 of IV is Inc., a legitimate specific term imply7 is a name for the same chord sometimes used in the midst of an otherwise major passage: Op. 42, Introduction. Mixolydian I Permission for reprint authorized by Durand is _ Major I & Cie, Paris, France. Copyright owners, Philadelphia, Pa. most frequently occurs in the elaboration of the cancelled leading tone. 3fc of IV] I7 following final cadences o harmonic progression, whereas Mixolydian 1 C Major it =?=5= Mixolydian I 7 [V 7 of IV] I Saint-Saens, Coeli Enarrant, but perhaps o implicit enchainements. 7 1 i¥ 3fc =§= [V 7 of IV this P ^ M«* -P^Q^ I From o Celeste. T3~ ?: Permission for Feu g 7^ i+6 I 3 IV 7 I Bt Handel, Op. 24. regarded as Mixolydian it Elkan-Vogel Co., final cadence. would seem that the Inc., Unless the tonality is mode of the threatened by the — - 53 wmm m Brahms, Sonata, Op. 1, Andante. /7\ ^rtte j'^^^ Uf #g J. l /T\ 3S CSF3 3 » ' m * i 5f^*5f — * —* • ^ * * * ^?*5J* —• —5 I ~ i » i ' —* •— —- ^*5* 1 • * —L— ^i^^S IV 17 ' <- kP II Mixolydian Brahms, Ez« Sonnett, Op. 14, No. % fe St J iMitJ !W 1 *r tes -I I i J r i j '^n i m^ ir * J=* V r *E?=* rrr ^m 6 ppi At i — Mixolydian IV _ I? /TN a fcfe $E i*tW ^^ ^^ :F*£f s fT * ^ ^8r /7\ * 14 Major V^ Mixolydian l7_ [IV] Dubois, C Minor V7 Perminion for reprint authorized by A. Theme Mixolydian Leduc & l7 Provengal VariS. Aeolian Co. Editeurs, 175 rue St. I I Hrnore, Paris. 4. 54 Saint-Saens, Rhapsodie MixolydianI 7 D Major Durand & Permission for reprint authorized by The final tonic an attempt to tone harmonic daring justify this bit of of the tonic. This is true if it is Op. 7. I Inc., elaborated by the introduction of an e has been pointed out that the e b b . In the seventh partial is the disparity of tuning between the minor seventh degree and the sixth over- disregarded, yet the chord formed is F Major II] Copyright Owners, Elkan-Vogel Co., Cie, Paris, France. Philadelphia, Pa. chord of Chopin's Prelude in [iV II, is 7 nevertheless Mixolydian 1 . Chopin, Prelude in F Major. 8- F Major V7 I V7 I Mixolydian I This instance of the use of the Mixolydian 7 1 as a final is all I7 the I more remarkable when we that not until almost a century later are similar examples found. Apparently there it until the early essential 1920s when formula of which there may was a fad in jazz circles for is realize nothing resembling an ending, more or less elaborate, the be given as follows: $ ^=R 5^ ^^ Mixolydian I 7 C Such a motto soon became too persists trite and was discarded, but in more subtle form the Mixolydian both in popular dance music and in more orthodox composition. Gershwin, Sweet and m er*p ri Lr $ fes mm Jte **«'?£ /f fe m <r G Major V? I V«0 Low Down. i Copyrighted 1925 by Harms, Inc. Reprinted by permission m 1 7 - Gershwin, Rhapsody in Blue. 55 8 ^m^ Piano JJJmolto P|1 f rit iyiawTO , t ^^ s &Efe m Organ B\> Mixolydian I 7 Copyright 1924 4? Harms, Inc. Reprinted by permission. >> %g r musf j> i m —00- Et Major ^ 5 n -j ':Jjj -= I 55 Gershwin, Fascinating Rhythm. _ "i r I |- ' ' kb. Wi^f gtf 3 r i . ?ozr JOT3-J-- 3 T Mixolydian V7 332 I7 I Copyright 1924 by Harms, Inc. Reprinted by permisston. Duo Stravinsky, Concertante, "Dlthyrambe.' =*=&* in ibssl /r\ ' in riffle^. i HP m C Mixolydian I7 By permission As if Owner, Boosey & Hawkes, Inc. for the explicit purpose of demonstrating once again that there the final cadence of a Purcell might of the Copyright easily anthem is nothing Purcell, Praise the Lord, Soprano fa j „:.- -. . il''»fcrfor Al-le m Al lu m le-lu P3& J— _(g le - - lu WW - - trJJ tJjj ia, i i O Jerusalem. ia. m ^ ii le-lu al - ffi le-lu ia, al £ li' _*.a& ia. -aal - Al Bass the sun, anticipates the spirit of this jazz formula to such a degree that be taken for an inspired bit by a Tin Pan Alley composer about 1925. Al Alto new under - le - lu le-lu JJJ: iSJ ia . it Chapter VII EXTRA-MAJOR-MINOR CHORDS: SUPERTONIC FORMS $ C Lydian w m C Lydian [V of V] II [V of V] T HE classical use of the Lydian II <T) is as Vm of V II 7 and examples are so common that illustra- tions are almost superfluous. The following illustrations, taken from Mozart, Beethoven, and Brahms, should be sufficient. Mozart, Sonata (K. 310), Finale. tm rm H§g A Major I w * P^» iimp £ ^P m. -09- T V°7 II I *& Pedal P^ s rr i o p m V7 of [Lydian Vof V V II 7 [Lydian ] II] Beethoven, Sonata, Op. 109, Third movement. V 7 of E Major VofV I [Lydian 56 V II] V V 16 Brahms, Ez'# 57 ^— Deutsche; Requiem, Op. 45, Second movement. m&« i* te S gBp if *ts 6 q ccr r r tcr r r 5 F Major V I V form. of r nr 5 r V V7 [Lydian II] V of Pedal Occasionally there are cases where the usual 'nr 5 r r 5 V7 I I (7) *J= *± fit JB Two (7) V is followed by a modal dominant instead of the such examples follow. Malipiero, La Principessa Ulalia. £ m Vr * y 7 i A Dorian? ^F r r E r ^ y £ V of V V (Dorian) V6 I **t [Lydian Copyright 1925 by C. C. Birchard & I II] Co. Used by permission. Dvorak, Legenden, Op. 59, No. 3. Allegro Pl» %i ^ a ^^ 3P G Minor ^^ II II I I Pedal V' ^3 ,J^~J^ & i as a^ I p Lydian II In this case the general is term Lydian II m ,7) chord. <7) is more applicable because V The following excerpts illustrate two are taken from passages which are introduction of the Lydian II ?££f?p not always used as illustrated above, however, since does not resolve to the dominant chord. last f££f? Aeolian V [Major V 3 lj] 7 [V 7 of V] in question S=fc ^ti ^ WWf Wf J=^= p y Dorian V4 The chord 2 a JLj JL m =0 =0 =P of V ? * W often progresses to 1. loses its raison d'etre if it it the foregoing statements. The entirely Lydian; the others are major-minor, except for the 58 Brahms, Symphony No. § ?F 1 ^ E Minor IV VI II II m t. m S Lydian Fourth movement 4, ^s- Minor [V 7 of V] I Svendsen, Norwegian Rhapsody, Op. 22, No. 4. Pa P * ,es S£ r=f I) =5= u 3£ 4 i Major V 7 Lydian I I II II Pedal r^^TO r^4ffl *E3>! , - ^ j . f r ^^ II II I _ By permission of Copyright tttt G Major La Legende de 'ffffcffff t t t=t I A V7 ((Lydian I II 7 ) V Owners, Wilhelm Hansen, Musik-Forlag, Copenhagen. Liszt, a£=*=£ i D « Sainte Elisabeth, No. i J A8 £ = = vrrv Si P¥ Pf P¥ IV Lydian II 7 [V 7 of V] 8- j ;;f r r»f * j- wwm ^m - - ^ / / I .&?> 'Pf tlli^ dill:" ! ii [V of V] ' 5 59 Ravel, String Quartet, First movement. *Tj I —T i J . m F Major fci=* * lJ^ Lydian Lydi pizz. I Permission for reprint authorized by Il9 Durand & Cie. Paris, France, Copyright owners, Elkan-Vogel Co., Inc Philadelphia, Pa. Janacek, Concertino for Clavier. A A a^^ ^ /CTf: i # m A i A * * A A P P m m rC> ^FFE /A ^ A Lydian A /T\ Minor II I Copyright 1935 by Hudebni Malice Vmelecke Besedy, Prague, Czechoslovakia. Used by permission. Gretchaninov, Liturgia Domestica, Op. 79- $S * ^ i=J= s ^p C Lydian 3 I II By permission II I of Copyright Owner, Boosey & =s /T\ p I Hawkes, Inc. Moussorgskyj Boris Godounov, Act C Lydian I III, Scene II. 3 60 It is a remarkable fact that considerable personal research has failed to reveal other established uses for the Lydian II (V <7) <7) . As has been shown, of V), whether this or modal). But it may be invested with the function of a secondary dominant dominant be major-minor or modal, and no other progressions appear may move directly to I (major, minor, be employed frequently enough to permit generalization. to s m ¥ff C Phrygian) C Locrian it C Phrygian) C Locrian n I n7 I [N 6] In traditional harmonic practice the Phrygian or Locrian the Neapolitan Sixth chord, and precedes the 1 6 or the V (7) II is used only in the first inversion, in the cadence. Dvorak, Rusalka, Op. ^e^u mps^ s rinir^i m 0> ft \ f F Minor ,i iTj [Phrygian II 6 1 14. m 0k * -T I is i&i^ m^ r T fi T 14 ] Copyright by Hudebni Matice Umelecke Besedy, Prague, Czechoslovakia. Used by permission. Mozart, Die Zauberfiote, Aria No. XVII. Andante p rTTV c| Ii 4 " J J l|J I J iat I 1 j j £ N6 G Minor [Phrygian 1 II] Chopin, Prelude, No. B Minor $ h me I vnsin n^ 1 ^ £ [Phrygian f II] r ^>oco cresc. ^f te N6 & nri &=& iff rrfs rpf 6. r p1 i> VS s called 61 Various writers have pointed out that the chord under discussion sometimes occurs in root position (in which case Neapolitan in it is this inversion connection means very mode or to the Locrian. There form progressing swer, the chord yet serves little between two possible derivations, for discriminating to the Phrygian and in the second inversion (called the called Neapolitan chord) to I * V should or is its for, as N 6 ). The name purpose well enough until the need arises 1 has been shown, the chord also the academic question may belong either whether any but the first be designated by the name Neapolitan. Whatever the an- frequently found in all positions (sometimes with a seventh) and often resolves to is chords other than the traditional The following examples 1 6 and V. illustrate the Phrygian Fibich, II (Neapolitan chord) moving to IV. SmrfHippodamie, Op. 33, Act IV, Prelude. ^m ^ IV Phrygian II IV »i C Minor V ^ Minor V? Pedal By permission of Copyright Owner, Pr. A. Urbanek a Synove el Fits. Gretchaninov, Liturgia Domestica, Op. 79. Dorian III IV I Pedal W & 1 9-. -9- -*• £ 313 Dorian IV Phrygian II the Phrygian VII with or without a seventh 7 becomes Phrygian V9 17 BE i oj Copyright may II » mm m iS By permission Phrygian -' -^ 35* 1 =•= Minor — ' . * * V7 Owner, Boosey J & Hawkcs, Inc. progress to Phrygian VII. In the second example below, (or perhaps Phrygian VII + 6 ) when the e Brahms, Schicksalslied, Op. 54. C Phrygian 1 See above, Book One, chap. v. I b moves to d. 62 Faure, Messe Basse Sanctus, Final cadence. Ho san - frp- i * If na, ho J a J san- na san - - Ja J jfi =3 7 , f Ho l , in a F ^ * £2 3g= The for reprint authorized by Durand & II 7 Ig France. Copyright owners, Philadelphia, Pa. Cie, ~n~ Mixolydian Aeolian Major Aeolian VII? 8 S vnt Permission o /T\ fe n« ^ sis P^ 3 tf'P £ I J w eel eel fc G Phrygian - na, £rpz 311 m ex Paris, I Elkan-Vogel Co.. Inc., succession Phrygian II to I has been used repeatedly as a final cadence. Frequently the progres- sion takes place over a tonic pedal but this is not invariable as will be seen in the Glazounov and Pizzetti excerpts. Chopin, Etude, Op. 25, No. 4. Final cadence. Lento A Phrygian II I Pedal Rangstrom, "Ein Kuss von rothem Munde." C|t Phrygian I By II Pedal permission of Copyright Owners, Air. Lundquist, Stockholm. Glazounov, Quartet, Op. 10, m s Wk S — m Phrygian I I H Copyright by M. P. Belaieff, Prague. By permission of Associated movement. M ¥—? b £=3^ £ First Music Publishers, Inc., Agent. 63 Pizzetti, $ S -<• U«-«- » -a s . Ij i Pisanella, Prologue. ^ — Pfl £ «j/ * I: L# r _?##> bir l> » Ek Phrygian II+ 6 II By permission 1 i 5>~ of Copyright 1 I Owner, A. Forlivesi & Co., Florence, Italy, D'Indy, Lze</ Maritime. ~J~J3~ G Major Major Phrygian I I Brahms, Symphony No. agai 4, Second movement. :^*ijffi s a gj j E Minor II Pedal I «P=M p > i ?-r .fVI Major I Particularly striking ple serves to illustrate 3l is r Phrygian r i j <= v I II the cadence Phrygian what Major ' 7 II-I in diversity of expression Act may be Godounov, while the other examobtained from the same chord succession. II of Boris 64 Moussorgsky, Boris Godounov, Act Pedal I De B\> II. Phrygian I II II I I Pedal I Copyright 1910 by Rouart, Lerolle Severac, Heliogabale, Act. III. et Cie. By special permission of Salabert, Inc., of 1 East ilth St.. New York 22. N. Y. Gretchaninov uses Phrygian Symphony. The IV + 8 II figure given to the 7 as the penultimate chord in a resounding final cadence in his Gretchaninov, Symphony No. 3, Second movement. ^ iW C(t Phrygian II S S 3E ^ S ^ ^ ^ 7 ^ piSllii J& !#• | gg& ^=>5= **= 1 SB sp^ iMI iHH ^s # if- <^f i \ i Copyright by M. Third trumpet and trombone preclude any tendency to hear the chord as P. Belaieff, Prague. By ^^ M£ ^m ^ ^ ppp s s ^ ii7. permission of Associated Music Publishers, Inc., Agent. » S Chapter VIII EXTRA-MAJOR-MINOR CHORDS: MEDIANT FORMS 5 5& C Mixolydian The Mixolydian III (7) III 7 C Mixolydian III [V°7 of IV?] [V°? of IV?] Two can scarcely be said to exist as an independent chord. tribute to this circumstance: (1) being built on the factors con- third degree of the scale, the chord not is suffi- ciently functional to counteract (2) the instability inherent in a triad with a diminished fifth. (7) the other hand, the Locrian I harmonic as no such entities special of IV chord t7) both of which have diminished , through the firmly established functions of their harmonic role, The mediant are set The Mixolydian III 7 7 1 Suk, Em 7 ) or apply to the Mixolydian III as well. (Mixolydian 1°|), although rare, is Marchen, Op. 16, III. On up degree, having heard as an incomplete Mixolydian tonic seventh (1° is and the progression patterns of the Mixolydian these, see above, chap, vi.) roots. fifths, does not secure the individuality of a diminished triad erected upon Instead, the chord (Mixolydian III) 2 V and the Phrygian 1 it. V° ( 7 For sometimes found. Trauermusik. Andante sostenuto *%m P##w fel n S ifflij fr! T B Mixolydian r r II I r ' IV VI VII 7 1-7 I I? VI VII? 1 [m 7] I [hit] Copyright by N. Simrock, By permission of Associated Music Publishers, Inc., Agent. $ The Dorian and Aeolian III M ** C Dorian C Aeolian <7> C Dorian C Aeolian III can be employed as IV <7) of III' IV of IV although this analysis pushes the idea of parenthesis chords almost beyond the point of credulity. $ Im ^ Mixolydian 1 8= fifth. * 5 iE Mixolydian III This does not apply to the forms ot the mediant triad hav- ing a perfect 5 8= 2 A I' physical basis may be claimed for this phenomenon. The three notes of the Mixolydian III have difference tones (Tartini tones) which supply the, missing root of the Mixolydian I': 65 66 Jacobi, Synagogue Service for Sabbath Eve, "Sch'ma Yisrod." F Major IV " . Dorian VS IV I [IV of IV of IV IV of IV] By permission The oj names (Dorian III-VII-IV) alternative —an advantage not tonic New Blocb Publishing Co., offer the York, N. Y, advantage of relating each chord directly to the ing the logic of the harmonic progressions. In the above example the chain of subdominants and there is IV come extremely truncated on is unbroken reveal- harmony which gives point to The pertinency of IV of IV of IV and IV of IV would beIV. a certain sequence-like inevitability in the progression of the the figuration logic of the is shared by the parenthesis-chord nomenclature wherein the emphasis IV of IV- of to IV of IV to questionable, however, whole series is if the sequence were not carried through to the final IV, since the predicated by this as an end result. The following examples illustrate such a effect. Liszt, Christus, j^i i S r Aeolian Minor VII 6 I IVoflV? I J m t III IV of IV of IV? f # im r i "Die heiligen drei Konige." VII 6 VI] 16 IV of IV? I6 1 r n« I ^^ ^m in^: *< Brahms, The Death of Trenar. Voices Horns 5 ^^ 5Er5 j I Aeolian Minor E W The only way VII III I IV of IV of IV? I in 1 4 \ iV IV of IV? Minor v which the progression might legitimately be termed IV of IV of IV to IV of IV to elliptic sequence in which the final IV is omitted, but such an idea is / 1 is by regarding the phrase as an more fanciful than real. Besides progressing to a chord with the subtonic (lowered leading tone) as a root (Mixolydian, Dorian, Aeolian, or Phrygian VII), the Dorian and Aeolian III chords among which both the major and modal V (7) (7) are important. may be followed by several other 67 Suk, Symphony in E Major, II, Op. 14. Aeolian Major V III Copyright by N. Simrock. By permission of Associated Music Publishers, Inc., Agent. Dvorak, Quartet in Vivo ^^i^ f i j ^r^ * ^ asg Aeolian VI I b , First movement, Final cadence. S^E i jm^i At Major A III W * Major £ ! £ 7 - * 3Efc=E I V? Copyright By N. Simrock. By permission of Associated Music Publishers, Inc., Agent. Faure, Requiem, Offertoire. -thlf}^[} D Major ''M!J III 7 Used by permission F-£J P P Major V~ Aeolian I Ejjpggp g of J. Major V< Aeolian I III Hamelle Debussy, Pelleas Act I, Scene 1. et I et Cie, Paris. Melisande, I —s- f D Dorian F h F IV III III' I V Permission for reprint authorized by Durand & prance. Philadelphia, Pa. Cie. Paris, Copyright Owners, Elkan-Vogel Co., Inc.. Moussorgsky, Lied des Mepbistopheles in i Bi,7-ju m $i # ' \ i I \ e£ mE B Major Auerbachs Keller. M r ^^ I^^ F P Minor Aeolian I III IV V Minor Aeolian III s IJ'IBI 5 I ^^ V I V 68 The same chord may be followed by the subdominant Note the IV 7 in the first Brahms example. Gretchaninov, Liturgia Domestica, Op. 79- gup ^Ji f J I 1 * J F Major PP of the Copyright 'n'J tf ^i f • — al ra et & I IV Hawkes, Inc. Melisande, Act I, ^ Scene 3- f s" ^ h-m- Dorian Major IV III Permission for reprint authorized by III a f re Dorian Major Owner, Boosey Debussy, Pelleas *? fff Dorian Major III IV I I By permission V' igjp#jp f Durand & C'te, Lydian II Dorian [V of V] IV Paris, Philadelphia, France. Pa. V Copyright Owners, Elkan-Vogel Co., Inc Brahms, Lied, Op. b'W g \ a Weit ii - ber das Feld 3 ^m 1^' Et Aeolian <• I § r m durch die - 'Jn F^? Liif h n 3, No. 4. ~3 te =*==? hoch * w IV nach ^^ VI III — - 69 Brahms, Klavierstiicke, Op. 119, No. 4. Rhapsody. <?— *_^ iS_h fe^^ J^ F^ i 3EE ^ s ^ Pi ,/T\ g '' i Et Aeolian VI I 7 IE [ ifm 51 IV III Moussorgsky, Silently Floated a fl * l^g * | i - i J j j £Q ^ i ^^ El> Major i 't l pHH r ^ [,,; r j ^- Aeolian VI I Although the Aeolian III (7) J J J V-- r ^ glMajor IV III Spirit. JM I often progresses to the submediant, the root of the latter is always the Aeolian (minor) sixth degree, never the sixth of the major as would be true in the Dorian mode. The progression III to Dorian VI is VI does not appear to have been used in Dorian. The explanation a diminished triad, and the roots of the two chords from the melodic lies in the fact that the interval of a diminished fifth. Always i/ ffa "l" .) ii Never this: » ii n ** n ** hn 1 ''" C Aeolian H i> I,.. VI III this: 1 h r» ^ ii j TTTl 4-" " C Dorian VI III Brahms, Wie die Wolke nach der Sonne, Op. B Aeolian I Aeolian III 6, No. 5. 70 Brahms, Variations on a Theme by Haydn, Var. VI. ,i^Jip r-TH.pB uj-mj^a Bk Aeolian J> I Dvorak, Quintet in E, Third movement. Minor Ak Aeolian fin 1^ Aeolian I VI III Vl(vn7 )lII_ III I s na is I I F j VI III V7 I VI III Minor I V Copyright by N. Simrock. By permission of Associated Music Publishers, Inc., Agent. Dvorak, Moravian Duets, No. Ravel, Ma Mere I'oye, Pavane. ^f A III 7 Aeolian VI III 7 VI V7 4. J..J.3J./3 r*f"" T Mixolydian Aeolian I Permission for reprint authorized by Durand & Cie, Paris, Philadelphia, Dorian and Aeolian harmonic progression III are frequently as will France. Copyright Owners, Elkan-Vogel Co., Inc., Pa. succeeded by I. This usage be seen in the accompanying excerpt. may be found in any part of a 71 Brahms, Sonata, Op. n\ Q^ C Minor J Vc I V I Aeolian Minor I if III By most important use of the mediant chord under discussion far the The ately precedes the tonic chord. of strength relief is offset from the Andante. 1, progression I V? in the cadence is where it immedi- not "strong" in the usual harmonic sense, but the loss is by a corresponding gain in subtlety. The blandness of the directness of the classical V-I cadence which in many cases III to I close offers grateful would be too severe or too brusque. Dvorak, Symphony No. C(t Aeolian V I Sibelius, $ &^ -! P f ** W J TV ^m li iii ii r r-rr I4 V? At Minor V *9 5" : III 1, I Second movement. § ^rfr i%m U - ^M l ) ,i i r-rr r Aeolian I Second movement. VII Symphony No. ^ ' VI' Ii 5, III I Pedal Dvorak, Rusalka, Act U pi JTIj^niJUJH ?¥» pup '<'» J' E C(t Minor p j p p 1 p J' » p J»- J' J iJH SI of Copyright j^fil pip Aeolian 6> permission 1 P I i Ifi J. III I Owners, Hudebni Malice Vmelecke Besedy, Prague. Chauvet, Vingt Morceaux, No. 15 ^^ D Aeolian I z& ^ IV III =8= xr i" = aU =8= f II. 72 Ravel, L'Heure Espagnole. *A t!* $ ^M k m M: i urn y* J. 3 m /Iffl =t 77 G Major Dorian I . III Major I I Pedal I & Durand Permission for reprint authorized by Cie, Paris, Philadelphia, Prance. Pa. Copyright Owners, Elkan-Vogel Co., Inc., Rangstrom, Ich arme Nunn', Final cadence. » m U £ J p. m wm ^ E AeolianV f=? w IV 7 I. in i By permission of Copyright Owners, Abr. Lundquist, Stockholm. « C Phrygian C Phrygian III III 7 [V 7 of VI] Not only may and VII), but the Phrygian III progress to the same chords as the Aeolian III namely, also to II, which is I, IV, V, VI, major in the Phrygian mode. 3 Moussorgsky, Boris Godounov, Act IV, scene jl'jfH^'JJJ wm m Ak Major E I 3 Phrygian Aeolian II is diminished and an independent chord. is fesia P ¥ ip III IV VII Major Phrygian II nite as ^j M m mm$ Jj &. b* it l I therefore somewhat IV less defi- III II III I III II III Major V7 I 1. 73 Phrygian not at III 7 all frequent, V employment as of VI but considerable investigation indicates that a fact which seems odd in view of the logic of the relationships involved. finds this is Cui, Trios Scherzos, Op. 86, No. 3 C Aeolian V 7 ofVI '* I (Phrygian VII 7 -III7) a a ^ j , j + i V7 Minor II 7 "For a discussion of this chord, see chap. xii. By permission The chord note the III is 7 , of Leeds just as frequently resolves to as well as the Music Corporation, Agents. chords other than VI. In the following Faure example, preceding chord, which includes a chromatically lowered tonic. clearly the result of similar motion in all the parts and, as such, has of a passing-chord. little M ^m Faure, Prison. ^m g } >H\W\^ f 1 #=** =C •III? E\> Aeolian Phrygian III 7 VI 7 I significance: Op. 83. Si -gfi- XMinor V7 [H?>] Brahms, Symphony No. 4. Fourth movement. i i iprpf i i E Mixolydian I 7 Lydian II 7 [V 7 of V] [V 7 of IV] Phrygian Dorian |"V 7 of VII il] or l Lv7ofIVofIvJ LydialTTT7 Minor [V 7 fv] I III [V 7 of Vl] V7 7 its The status latter is that 74 Again, paralleling the practices which pertain to the Aeolian forms an important cadence. 7 III , the progression Phrygian III III, Examples are to be found which make use of the simple Phrygian — I III or even III? Dvorak, Requiem Mass, No. 8. "Lacrymosa." ##Ni Bt Phrygian m i &= gggi VI I * i 9-=- IV VII III £L 9-=- I Rangstrom, Pionerna, Final cadence. pi vJ^J v J ^ V ¥' -V ¥r J J - J J V' a« Fit Phrygian III By permission of Copyright 7? Owner, Abr. Lundquist. Eichheim, Across the Silent Stream. Cfl Phrygian Phrygian Major III? Major III? By permission of Copyright The judge by I Owner, The Boston Music Company, ^ ^^ — C I m C— Locrian III Locrian III 7 Locrian III chord does not seem to have found a great deal of favor with composers its limited employment. The simple that of Richard Strauss' opera Electra, and the triad figures fifth and prominently in at final movement least two if we final cadences: of Suk's Asrael Symphony. 75 Strauss, Electra, End C Major Locrian Major I III By permission of opera. of the Copyright I Owner, Boosey & Hawkes, Inc. Suk, Asrael Symphony, movement, Fifth £ jaTflM 3^ f pjxp j final cadence. ^^w PP 5 C Major tfS: Phrygian Major I. VII I -a^m $ f r=** pppp sp Locrian III 5^^ m: -9y Major I The Locrian T7 .„ III' is rare and the only examples of it which have been found are transitory, hardly meriting designation as true chords. Faure, Messe Basse. Benedictus. Al> VI(IV 6 Major VI \ ) Mixolydianll 4 . i n> r S^ VI 4 jtefe ,]-.- r ffis 1 rr # ^F^^ ¥W FW « IV Final cadence. Locrian Minor Major Vl7(lll7)v°9 5bt III V -«•• rF ? i IV i T9 III V7 I [aW,--g] Permission for reprint authorized by Durand & Cie, Paris, Philadelphia, France. Pa. Copyright Ownexs, i Eltan-Vogel Co., Inc., 76 In spite of the dearth of evidence in actual composition, chord. The following of chords, despite a series somewhat it does not seem impossible to use the bizarre quality, is a cadence. ^m * ^45P#5 wmj i 'ST F Phrygian Vl7 ia kfe ^ £ Tf~ =J= jg (ill 7 ) Locrian III 7 Major I not inconceivable as IX Chapter EXTRA-MAJOR-MINOR CHORDS: SUBDOMINANT FORMS A s with the other chords having a diminished its there root a third below The is Lydian II° really 7 <7) should doubt that the Lydian IV III, it seems to be but an incomplete 1 . m ?1 C Lydian IV Thus Lydian IV is Like the Mixolydian be considered an independent chord. form of the chord having fifth, C Lydian IV? and Lydian IV is Lydian II ? 7 therefore apply to the Lydian 11° and II "7 (T> progression patterns of the Lydian II 7 Among form of the chord given in Chapter VII, however, there are none which makes the following excerpts noteworthy. the examples of the complete move to III and this fact m m D Major Smetana, Blan6k, No. fif i W Mein Vaterland. # nii^ F 6, ^ Lydian I Major VI III II°7 £ Lydian Major n V? [V of V] [IV] Elgar, Dream of Gerontius. ^= % Pro- fi- cis - an- i-ma Chris- ce-re, fm ti - 3E Bt Major Lydian IF? I [IV7] Copyright 1928 by Novello P £ a m# - na ^ r r de hoc 1 & Co., Ltd. By permission mun - u«» Mixolydian VII Co., Agents. do s> m rsrz H. W. Gray r II e- iJTJ ~n~ «=# J23 III of IV Aeolian VI III 7 "The reasons for the subordination of the two chords are mediant chord is weak whereas the subdominant is strong. See chap. viii. similar, except that the function of the 77 II 7 Major V JzS_ «= 78 Because Lydian II ? is more rare than the simpler forms of the chord, the cadences given (however, the formula Lydian are unusual. As was shown in Chapter VII Gretchaninov, Sun and Moon, Op. 12, No. $ ifets below by no means unique). 2. m a^ U I s mm A\> II-I is W^B Lydian II°?_ I [iV 7] Dvorak, Biblische Lieder, Op. 99, No. 1. Final cadence. ± m $ 1 C Dorian IV 7 C Dorian IV (V 7 of IV of IV) or (VfofVII^) The Dorian IV is a major chord and exactly corresponds to the subdominant in the Major mode. Only when used in conjunction with a minor tonic is there anything remarkable about the chord or its employment. The same observation applies to Dorian II, which contains the characteristic note, the major or Dorian sixth degree of the scale with minor third. The Dorian II, however, is not only rare but may, in a sense, be regarded as a form of the Dorian IV, and subject to the same rules of progression. The succession Dorian IV-I forms the forbidden ^ between the tritone thirds of the two chords: tritone I $ —-8tr si C Dorian IV In spite of it is this, the progression has become very usual. It may be found anywhere in the phrase but especially favored as a cadence formula. Moussorgsky, i r p i i 'ij $ A Aeolian I IV r ii '' p ( I hi m pi (i m m VI ip Dorian I IV 7 The Song of Solomon. 2=P i I \i m v i Aeolian VI 79 Mascagni, Cavalleria Rusticana. J m v^L^vi-^ >ib : ^s g 5 g ^E g F Dorian IV j g _K j I Rimsky-Korsakov, Scheherazade, Op. 35, No. II. Final cadence. IH^mm fnm gg ^s tfpp^p^rirf • lf_ ft ! IV B Dorian ^y ^^ ii§ 311^^^^ £^^^ ^ ^ ^=^ Guilmant, Impression Gregorienne. wm f=* C Dorian V I Permission for reprint authorized by VII I Durand & mr W ^3 f IV III Paris, Sibelius, First tUUiffl l UMB I Owners, Elkan-V ogel Co., France. Copyright Philadelphia. Pa. Cie, Symphony No. movement, g Second movement, $ » G Minor -T—lPi ¥, final cadence. rr p I 6 Dorian IV I Op. 104, final cadence. f Copyright 1938 by Wilhelm Hansen. By permission of Associated Music Publishers, Inc., Agent. Ibid.. 6, Inc., ~B * 80 Hindemith, Tuttifantchen, No. 2, "Lied." Final cadence. J m§ *m? a : if t g^ IV or V 1 7 IV Music Publishers, Inc., Agent. a major dominant-seventh type and as such can be used as a secondary is V of IV of of VII"). From is i I of Associated « s Tf" the standpoint of statistics this In the following example Dorian V of VII lb although n: 5« ^ C Minor Vl of IV of IV IV of IV garded as i ^ i By permission $ t^m zm quency. i a§ C Dorian Copyright by B. Schotl Sohne. Dorian IV - nm £ ^ *\ IV progression seems relatively unimportant because of IV (without seventh) moves to its infre- Dorian VII and may be re- perhaps drawing an unduly fine distinction, since the whole passage it is pure Dorian. Moussorgsky, Boris Godounov, Act IV, scene fa 7p i ir r vppp f ppppf i I -yppp i pp pp r ^ m if 1. e= D Dorian IV V VII [V of VIl] Another example which shows Dorian Note, however, that Dorian IV and IV 7 rV* 7 (V 7 also resolve to I, III, lb moving to Dorian VII 7 and Major V of VII 7 ) given below. is . Bartok, Rumanische Volkstanze, No. 11. p \ Jt m Ftt », i j Dorian I !! ,! w i ! m > £e£ IV I ! mm In IvW L I t III I 5 l > J 7^ IV Copyright by Universal Editions, By permission of Associated Music Publishers, Inc., Agent. I J W 81 VII 7 IVl III Minor Minor Dorian IV 7 VI V V7 In the somewhat complex style which he habitually employs, John Ireland shows a decided predilection for the the Dorian Dorian mode. IV and IV T . The beginning of one of his songs contains several instances of the use of Observe that the third of the V 7 never appears but is represented by the unre- solved suspension. Ireland, ^ ftl 1 ^W ^^S rt!P fS J J^ =r III IV I - r=p IV EE? « ^ Mr I *£ *-r~. ? 9- IV III Il7 J p VII IV [V of VIl] *=^ Ei5 -*>—*>- j;~^' mi ^ at 7 7 at Pi 4=^ 1m IPS i •> v7 "TV" ^ Bells of San Marie. i m ^mm A Dorian The f= Il7 ii' Reprinted by permission of Augener, Ltd. The preceding chapter quoted a few measures from the last movement of Brahms' Fourth Symphony which contained an example of Dorian IV 7 progressing to Lydian II 7 This should be regarded 7 as a rather exceptional passage, since it is a series of Major V forms. . It is as important. lydian I, a cadence that the progression Dorian Note that in the IV 7-I Dorian IV-I proves like two examples the Dorian IV first and the others to the usual minor (Dorian) 7 resolves to Major I, tonic. Gretchaninov, Liturgia Domestica, Op. 79. Final cadence. $ m ^ «== zm i Et Dorian III Major IV7 I By permission oj the Copyright Owner, Boosey & Hawkes, Inc. to be the most the third to Mixo- 82 Grieg; Sonata for Cello and Piano, Third movement, Final cadence. Cello l|p fat i j u .1 i m r r i #% Piano ^^ H9- A Major r -9- Major Dorian IV' I I Gretchaninov, Liturgia Domestica. Chorus Piano C Aeolian VI Dorian IV 7 By permission I of the Copyright 3i Owner, Boosey Moussorgsky, g*mm^ -<S- Mixolydian On F Dorian I4 * IV 7 * I6 Hawkes, Inc. the River Dnieper. -«-' IE 3E -»-=- tr; W$W^? * & -en ^ ^ V2 I. im £= Op 36. 83 The Dorian IV? has been employed with surprising frequency. The uses to which the chord is 7 put are the same as for the Dorian IV or IV as the examples will attest. The first illustrates the , resolution to the V Minor in a cadence. Eichheim, Aedh Wishes His Beloved Were Dead. m pi^j \^mm *=* '^h> j f -& F Dorian Minor IV? I I V Reprinted by permission of the Boston Music Company. Of is the next two examples Both occur less so. it may be in mid-phrase, that is, ia clear whereas that s L/ fcfcSJi is by Debussy not at the cadence points. Allegretto scherzando Violin one by Grovlez said that the ' ' w Piano ^m G Dorian m ste b- IV? I T- -- VI 7 Aeolian VII I Copyright 1936 by Editions Maurice Senarl. By special permission7 of Salabert, Inc., of 22, Debus c y, V7 D Dorian IV? _ Permission for reprint authorized by The examples of [?] In this the In any case the Dorian IV? in the E E Mixolydian last measure ^^ g YorJt V9 1. VII Elkan-V ogel Co., Inc., is if the d and a clearly defined p i£ m£ i and this is the essential Mother and Child, No. 3, point in the Hope. m £3=5 5 Aeolian (7) IV By permission of the bass were a double pedal. 1 (| I New harmonies of the second and third complete measures seem to Ireland, : scene Cie, Paris, France. Copyright Owners, Philadelphia, Pa. illustration. A * [mS] I, Durand & be the result of using two chords at the same time, as $ f#i East 57th St., Dorian IV7-I cadences require no comment, with the possible exception of the one by Ireland quoted below. w 1 N. Y. Pelleas et MSlisande, Act. [v 7] IV? L •=• IV? of the Copyright Owner, Boosey V, IV III & Hawkes, Inc. III "TV Dorian Major IV? I 84 Gretchaninov, Liturgia Domestica. By permission of the Copyright Owner, Boosey & Hawies, Inc. Pizzetti, / Jfastori. A Phrygian Dorian IV? [V? of VII it] nil [v? of vf] Reprinted by fermission of A. Fdrlivesi & C, Florence, Italy, X Chapter EXTRA-MAJOR-MINOR CHORDS: DOMINANT FORMS the major-minor INdoes not mean that functions of "rule the system the role delegated to the dominant it most truth of this the usual alternative, has so thus formed normally restricted: much Major or Minor mode tion, granted, it must be observed progresses only to the tonic. that, like all rulers, The movement is this is para- it is to the submediant, formula that to introduce some form of the factor, brings V 7 in either the There can be no doubt that to arouse an expectation of the tonic. more than any other this conven- about the strong feeling for a tonal center of gravity which During the two-hundred-and-nfty-year period com- dominated by the major-minor system the word dominant had but one connotation: the harmony pletely The of the fifth degree of the scale. fact was entirely forgotten that in the ecclesiastical on the the dominants of the Phrygian and Locrian scales were placed modes on the plagal When, as third, sixth, or even the seventh degree. happened during the past fourscore Church modes. it was but natural Thus major-minor system. it is that no modern counterpart modes came about empirically mode. Moreover the dominant is distinctions always the instead of through them the formulae and practices pertaining were made between the authentic and plagal whatever mutation was necessary to make itself suffered of the old to transfer to forms and that the all-important functions of the dominant (V) were carried over dominant chord modal system and those of the composers sought to escape the monotony years, Since the rediscovery of the diatonic an antiquarian movement, sixth degree 1 of the major-minor scales, there appeared other scales which are the is said to the character of an evasion of the expected resolution that a cadence associated with the so-called classical tonality. to the This the reverse, since the called deceptive. is So thoroughly established is is it is just Although the dominant has often been no other chord are so circumscribed. harmony" and the doxically the of the utmost importance. is has more uses than the other chords; the truth fifth it intact, although the conform to each particular degree even in the Phrygian and Locrian modes. It understood that the dissonances of the seventh and ninth are freely employed, especially in connec- dominant (V 7 V and inversions). The transfer of major-minor harmonic procedures 9 tion with the , with the same this is due Lydian , to the loss of the clausula vera mode to the diatonic modes has not invested the latter In the Mixolydian, Dorian, Aeolian, Phrygian, and Locrian modes, stability of tonality. by the substitution of the subtonic for the leading tone. the seventh of the dominant to the third of the tonic in a Lydian V-I is major and is, therefore, less positive in progression. This fact, its In the tendency to combined with the detrimental fall effect of the tritone, explains the relative weakness of the tonality of this mode. The rather disparaging descriptive term connection: strong tonality is an over-valued weak shades of musical expressiveness. In contrast to I seems abrupt, rude, or truncate. tonality attribute many if is perhaps an unfortunate choice in this the obtaining of of the it means sacrificing delicate modal cadences, the Major-minor V7 Far from being limited to one mood, however, the modal dominant cadences exhibit a wide range of expression and ample evidence will be found in the excerpts given below. J The Phrygian mode (E-e) had a fifth degree dominant (b) before the tenth century, and then the dominant was altered to the sixth (r), at least in theory. 85 86 * C Lydian As mentioned above, the seventh of Lydian fourth with the tonic. V7 V major and forms the interval of an augmented is Despite these disadvantages the chord have a decided predilection for it. The is not particularly rare and Ravel seems to example (from Ravel's Piano Concerto) contains a number first move without of Lydian dominant-seventh chords, but the soprano parts seemingly lying harmony. This excerpt an is illustration of polyharmony, that is, regard to the under- two (or more) simultaneous streams of harmony. Ravel, Concerto for Piano, Third movement. ,'*»f 7f 7lf 13-f "y 7 J I—7 #ii# pui '."hj V m vi_ I Permission for reprint authorized by ' 1 V7 Durand V7 t7 I ^V ^ sw 7f I i' 7i PP fc etc. * F 7? vi__ v7 vt yl. "v7 * & Cie, Paris, France. Copyright Philadelphia, Pa. 7 "v 7 T Owners, Elkan-Vogel Co., Inc., Ravel, Cinq melodies populaires grecques, No. IV, Final cadence. pm m f ebS Lydian T+6 Permission for reprint authorized by P PM> Pii* m ag ifpiiii A EE3=fc V7 Durand & Cie, Paris, France. Copyright Philadelphia, Pa. +6 Owners, Elkan-Vogel Co., Inc., 87 Sullivan, E Lydian The Golden Legend. I Satie, Apergus desagreables, No. 1, Pastorale. F Lydian Faure. Fantasie, Op. 111. 1i i g^ G Major *g s^ S r =^=* f^^f IV I ! £ V2 E III I fi ^ ^ S Lydian (I- III $ V7 ) I V7 Permission for reprint authorized by The final use of Lydian cadence of the third V? As is Durand & Cie, Paris, France. Copyright Owners, Philadelphia, Pa. movement Elkan-V ogel Co., ' Inc., of Ravel's Piano Concerto contains an instance of the often true in the music of this composer, there are added tones and unresolved appoggiaturas. Ravel, Concerto for Piano, Third movement, Final cadence. m unresolved -( app. £ £ JUL Sm m^l G Lydian V +6 Permission for reprint authorized V? by Durand & ^unresolved a PP m- T Cie, Paris, Prance. Copyright Philadelphia, Pa. +6 Owners, Elkan-Vogel Co., Inc., , 88 C Mixolydian) V7 C Dorian C Aeolian C Mixolydian) C Dorian C Aeolian I Although the above types are common ample belongs is is The ) to three modes, the particular scale to So usually defined by other chords or by scale passages. concerned the distinctions have every mode. j little meaning except real reason for such differentiation ing the variety of musical expression which is to reveal that the to aid the reader in is far as which any given harmonic progression V —I 7 ex- cadence occurs in comprehending and possible not only between the several classify- modes but within Recognizing the inadequacy of words to do more than give any but the the strict confines of each. made to characterize the effect made on purely musical grounds. the Mixolydian mode are contained in the two principal chords: the third of The first five of the following examples third of the dominant is minor. roughest approximation of the musical meaning, no attempt has been of the quotations: appraisal must be The the tonic make characteristics of is major and the 7 use of the simple dominant, the next two illustrate the V- , and the last contains an instance of the employment of the V? De Severac, HSUogabale, Act. Chorus $ ^ m m fSi^ C Mixolydian I By J— J T= =f= VII V6 special permission of Salabert, Inc., of ^^ =: I East 57/a J/., New 0* X_L r T C Mixolydian York 22, N. Y. m 2nd Gymnopedie. $ \>, £± \n Satie, I. TWr rit. J> r Il7 , V Glazounov, Suite pour Quatour Op. 35. jTIJ ^nn~\ J f ":i f C Mixolydian i lnni 1 Orientale. j^B^ pip¥ w V I Copyright by M. P. Belaiejf. I By d'archets, permission of Associated Music Publishers, Inc., Agent. II. > s 89 Women's Cui, Angelo, Chorus, Final cadence. &—, ^ Sfe At Major Mixolydian I z^ f tr V I w m m iJ^'trf ±i i f i w^ r>> Wf V I V V I V I I Brahms, Die Mainacht, Op. 43, No. ^ 2. Final cadence. m $<A* B ^Tb ^At £B Hi J~l n 1 i ^^ S v IV+6 IV [Aeolian IV+^Jl Ft Mixolydian I Pedal np Sowerby, hh Money Musk. r"1 i r r PffFS E Mixolydian II 6 ^ V7 Copyright 1924 by C. C. Birchard I & Co. Used by permission. De a * i a ^=i^=i ^ ^^^ Bt Mixolydian VII V. By ( J . ii,i * V7 IV Sev£rac, Heliogabale, Act. 1 East "sllb St., New York / t V7 I . special permission of Salaberl, Inc., of 22, I ^ N. Y. Ireland, Concerto for Piano, Finale. 200) Orch. £ Mixolydian I +D I. ! * * * ^ * I ^ li s ' V i — ^ 'I v' /T\ -*f* I+ 6 V? Reprinted by permission of Copyright Owners, J & W Chester, v? Ltd., London. 90 :Mft ^j i i \j -X-\ \tfj Since the dominant and tonic triads of the Dorian and Aeolian to draw a example distinction between the two modes on the ifcpN \ \ basis of these modes « are minor, it is impossible The following two chords alone. a case in point. is Janacek, Mladi. Suite for wind instruments. £ P E^ Dl> m uu ES Dorian bJ^iJ ,-Iy Aeolian) (or H .mfiirfii.i - i i w s c^ f £^e ^ j i I r r Vlf - I Pedal Reprinted by permission of Copyright Owner, Hudebni Malice Vmelecke Besedy. When, however, tone, it becomes the Aeolian is minor. the sixth degree of the scale appears as a basis of differentiation: the sixth This, then, is member of another chord degree of the Dorian scale or as a passing major; the sixth of the is V —I 7 the method by which the next examples of the progression are declared to be Dorian. » Antonida fmm Sobinin I ^^ 4 1 4 j. s ^^ D Dorian I V t l £j I i J . t A Life for the Tsar, ^ M ' i $ Glinka, cj Act II. m LcjEir fr r p ^^ ^^ 6 j j j i. 5 7 i lE C C C * r i£ 91 Moussorgsky, toar a ^ a 3 J- ! It J i »J V . Dorian F Aeolian -&—&— g . —i?* * II * B ffl.fr . .?#> 'W the River Dnieper. wm rfr|'~pTi l^iifzj On "° Vl7 I I F^ D'Indy, Quartet, Op. 35, Third movement. I j- j j ^m -n zem k 33 4 i r G Dorian The is first V I of the following Dorian V —I cadences 7 is regular resolved in an unorthodox fashion and the final chord is enough but major. in the one by Satie the seventh In the excerpt from // finto Arlec- chino, Malipiero not only resolves the seventh irregularly by having it ascend one degree but he intro- duces a curious figure in the penultimate measure. Malipiero, Armenia. G Dorian V III 7 V7 IV Pedal _ By special permission of Salaberl, Inc., of 1 East illi St., New York 22, N. Y. 92 Satie, ^m i ^ s 2.tf Gymnopedie, Final cadence. m p 33 -#t 1* — s>- r Major in. G Dorian Ti II 9 (VI?) V7 II ( ?) I Malipiero, // finto Arlecchino, Final cadence. £ 5 ^i g B\> # 1 F F W$ k F Dorian m Siw m p^ e^ V7 I I w I. \A pm V7 I V' V7 I Copyright 1927 by C. C. Birchard & I Co. Used by permission. In the Dorian V? the characteristic major sixth degree of the ninth with the root of the dominant. this ; mrfwm wm f V7 V7 I r i ^^ W^f £ 4 i The mode forms the interval of a major tritone appears in the resolution of the Dorian V* to does not deter modern composers from using the cadence. tritone '"'*— ^w $ m zxsz D Dorian V? Ravel, Valses Nobles et Sentimentales, No. 2. ^m 3 *^fM yi r G Dorian i u y^ f—r r v? I I 3t= ±= r v? Pedal Permission for reprint authorized by Durand & Cie, Paris, Prance. Copyright Owners. Philadelphia, Pa. Elkan-Vogel Co., Inc., I, but 93 Before proceeding to the dominant progressions of the Aeolian mode it may not be out of place to Minor mode cadence in which the dominant with major ninth resolves to the minor This major ninth results from using the Dorian major sixth degree in the minor mode. In tonic triad. other words, the minor with major sixth degree is derived from the Dorian instead of from the Aeolian. consider the unusual Because of the tritone mentioned above, the progression from dominant with major ninth to minor tonic is forbidden in stria harmony but may be found occasionally in free composition. tritone ^E =8= „ ,,. ,, 9 D Minor V7 (major) J (Dorian derivative) Janacek, String Quartet, Third movement, Final cadence. i ^^f 204 d U ri r /7\ wt n\ ^ fflS Gt Minor J- V 79(ma J°fr) ffi \y . (Dorian derivative) Reprinted by permission of Copyright Owner, Hudebni Malice Umelecke Besedy. Sibelius, i - Symphony No. 6, Second movement, cadence final ^m PB € ^¥W I fT 1 ^E $ £ G Minor V v 9(major) P y j IV I (Dorian derivative) Copyright 1938 by Wilheim Hansen. By permission of Associated Music Publishers, Inc., Agent. Sibelius, OTJZJ m £ Sf C Minor V < ? ffl 5^5 J J^J r^ J 9 J' (Dorian derivative) . vrim iff r=r p ,(ma or) , r (major) En Saga. t r iS r "r 94 Ibid., S ## m Clar. I ffi ^ S ^^ S S TT 8= =8= Coda. S ffi «»- «t»- o<^ Ek Minor V?( ma J° r > 9 kft (major) (Dorian derivative) Examples of the Aeolian dominant cadence are found more frequently than any other kind. explanation no doubt in the fact that the usual lies simply canceling the leading-tone of the Minor the In his book New Minor mode mode The derived from the Aeolian, and by is reverts to Aeolian. Harmonic Devices, Miller quotes an example of a minor or modal dominant from Ravel's Sonatine? Ravel, Sonatine. pg^j £ tj s i p Permission for reprint authorized by 'Durand This is an Aeolian V -I 7 cadence in F as is 1 & Cie, Paris, France. Copyright Owners, Philadelphia, Pa. proved by the minor sixth (^ such progressions might be cited but a few carefully selected ones will It might be argued that the excerpt stands this is true, first quotation given below i b ) Inc., Many in the first chord. suffice for illustrative purposes. no more Aeolian than Dorian. has supplied a flat to every b which is but throughout the "Credo" Liszt Liszt, Elkan-Vogel Co., As occurred. Graner M,esse "Credo." w ^ D Aeolian I V<5 Berlioz, L'Enfance du Christ, Epilogue, final cadence. s 123 m /7\ ¥ a Miller: Harmonic Devices, r iz Aeolian I" New ? /T\ Ftt \\> m Il7. p. 41. I ^ V irz I the ' 95 "Die heiligen drei Konige.' Liszt, Christus, m ^n ^^f C Aeolian m g ±* i ^* r 'y'ppr ^ Li/r * » f r bp M 3 ' IV I I V" j * V I g j ^^ Hump i ggpj B Minor ** I Brahms, Vertath, Op. 105, No. 5 I J g p w$mAeolian V r f II v ^ ' r V- ft i- s III I Minor III 9 VI J 1 II r V r I Brahms, Symphony No. E Major I m r II' m > i i^ IV I m g P Aeolian |iv| V Major I ir V7 4, II. v / 4 96 De $ Severac, Heliogabale, Act § «; =at 'Lj g s ^ i r r ^n Finale. II, /Ts tr-\, F Major Aeolian V? I Copyright 1910 by Rouart, Lerolle In the * * . i last el Cie. By Major special permission of Salabert, Inc., of two examples note that Aeolian The next excerpts e* V (7) are illustrative of the Aeolian V progresses to 7 I 1 East jlth Major St., 'New York a tierce de Picardie I, -I cadence. Dvorak, Symphony No. 5, v 4m m3. » m First m f movement. s 4 4 j= fe 22, P G Aeolian 1 Dvorak, Concerto for Cello, First movement. Allegro i '* 1 n i ^'i»pt B Aeolian i^F rE IV I W I V I Malipiero, Poemetti Lunari, r mm * No. 5. i r il= fflE E Aeolian V7- I Copyright 1918 £? Maurice Senart et Cie. By special permission of Salabert, Inc., of n. y. 1 £<*j/ 57/A 5/., New York 22, effect. 97 Pizzetti, La Madre m m i al Figlio Lontano. E co-me spie-go i m T G Aeolian V I \'i Reprinted by permission of Copyright Owner, A. Forlivesi & C. Debussy, Pour le Piano, Prelude. is -2--T- jSL V A Minor VI 7 4£ ¥m V7 of * \&i P r, (major) V7 of Hl(minor) S3 Phrygian +6t [enharmonic! J& Aeolian \ V7 III? (V?ofVl) Permission for reprint authorized by Durand & France. Copyright Owners, Philadelphia, Pa. Cie, Ma Mere Ravel, A Aeolian III 7 Elkan-Vogel Co., Paris, VI III 7 V7 VI Inc., I'oye, Mixolydian Pavane. Aeolian I Permission for reprint authorized by The Aeolian Vf does not ninth of the Aeolian dominant the minor & Durand Cie, Paris, Francei Copyright Owpers, Philadelphia, Pa. occur so frequently but is the feature by it is not unknown. which the mode can be Elkan-Vogel Co., As in the Inc., Dorian Vf, the definitely established for it is sixth of the Aeolian scale. In the two following examples only the cadence of each is analyzed because this is the part which has bearing on the immediate subject: to propose an analysis for the remainder would be to risk a pointless controversy: Ravel, Le a __ ^— Permission for reprint authorized by ~ Durand & Cie, —^ Paris, Philadelphia, Tombeau de Couperin, No. Forlane. Prance. Pa. Copyright Owners, Elkan-Vogel Co Inc III. f e 98 Ma Ravel, ; ffrtrff f*rt r f f rrff ^ —« • — e 3 Mere r T Pavane. I'oye, fe ^N F s f Aeolian V V9 Pedal Permission for reprint authorized by Durand & Cie, Paris, France. Philadelphia, Pa. ^m C Phrygian V C Phrygian and V 1 V7 (Phrygian III [V°7 of VI] [V°7 of VI] V Copyright Owners, Elkan-Vogel Co., Inc., m (Phrygian III° 7 ) The Phrygian may be employed as incomplete ?) de Georgie, Op. # m 3=s *fc J *&4 it may Minor of VI (Phrygian I .) les Collines 3. n* P VI III°7) to construe the example above to consider the second is be demonstrated that the Phrygian V is measure as Phrygian V Such a viewpoint has a certain logic because a harmonic entity, despite the fact that it has a dimin- fifth. Proof of the last statement it lies in would be found resolving solves to I (major or minor) the It is true that to VI. manner its which the chord is is is, used. If the chord in question an incomplete must have is erected. its re- in evidence of this claim. most diminished chords are abbreviated forms existing without V V of VI, most not the case: the chord most frequently and the accompanying excerpts are offered degree on which the chord The following in root a third below, that Such, however, does not apply to the Phrygian fifth 7 Pedal were but an adjunct of the chord having often III° ? progressing to VI, or in other words, a deceptive cadence. ished VI (Phrygian S I Another way of -^^ V° 7 C(t i V forms of the Rimsky-Korsakov , Sur i I root. That this explanation in the importance of the functions of the are examples of the Phrygian V (7) progressing directly to the tonic. 99 Rimsky-Korsakov, Christmas Eve, Part IV. n w^ j i, ^m =e=^ D Phrygian f Ctt Major ^ rfi I Liszt, mm \f-hh 1 1 = » ^ f* n ^ ^ Jb jJ: i £ 6 Hungarian Rhapsody No. SB a e^ 8 n ff Major Phrygian V' I 2. Brahms, Symphony No. 4, I Second movement. Jl :— Mixolydian Phrygian I? E Major Phrygian n Major Maj I II I 7 V \ 7 of ivl Tv L — P II Tn^I J L Major I I Pedal Dvorak, Moravian Duets, No. 11, Final cadence. r D Major V' Major Phrygian I V7 I Dvorak, Rusalka, Op. 114. £ i*^ m£n ^ rU F Minor to ^2 r V? Reprinted by permission of Copyright Owners, Hudebni IW iili F I Maine Vmelecke Phrygian Besedy, Prague. 100 Phrygian Major Phrygian Major (Phrygian) I Rimsky-Korsakov i m PPT H gjgj Sur de Georgie, Op. P les Collines 3. J) P 1 " C|t Phrygian I V7 I Major Phrygian V' (Major) I Pedal Borodin, Prince Igor, Act III, Chorus and Dance. w r r r V B Phrygian VII I r -r 7 Pedal Brahms, Mein tierz ist schwer, Op. 94, No. 3. Final cadence. Phrygian V7 Major I D'Indy, Quartet, Op. 35, Second movement. Final cadence. & B\> ^*r-$ w Phrygian V7 * WW Major I ~w 101 "The Holy Boy." Final cadence. Ireland, Preludes. F Dorian V2 By permission of the Copyright Ravel, he No. f Ill, Tombeau de m Permission for reprint authorized Durand by j e=^ #? Phrygian I j. 1 w- Major Couperin, = ^m^m Gfi Hawkes, Inc. Forlane. pi * & Owner, Boosey Major & I Copyright Owners, Elkan-Vogel Co., Inc., Cie, Paris, Prance. Philadelphia, Pa. Janacek, Jenufa, Act. I. m ** f f i Gtt mg Phrygian P^ *~* fV 7 J * -f 7 PN J j~3 J I f I f V? IT irr ^ P if Jj g »n% j j ra . J l h-TJ ** j~ i , * V7 |l | i ll jl -|| » ^ » j j ** f* j r r 17 I IP IV7 Copyright 1917 £7 Universal Editions. By permission of Associated Music Publishers, Inc., Agent. Note the implied Phrygian V* The Phrygian Second Quintet. two dominants. V 7 may in the Janacek excerpt above. progress to some chord other than the Observe, however, that the Phrygian II 7 is I as Faure" demonstrates in his here merely an interpolation between 102 Faure, Et Major V7 Phrygian Permission for reprint authorized by C Locrian is First movement. V7 Durand & Cie, Parts, France. Philadelphia, Pa. Copyright Owners, Elkan-Vogel Co., Inc., m ^ The Locrian dominant 2nd Quintet. V C Locrian V' located a diminished fifth above the tonic. This the arithmetical divi- is on the sion of the octave and stands in sharp contrast to the other dominant chords which are built harmonic division. was due It Such a circumstance to Such an as legitimate. attitude, is altered fifth who from diminished are to judge apart is have made use of the Locrian to perfect when the tonic is V in their works. Notice reached. Moussorgsky, Boris Godounov, Act IV, scene Allegro non troppo A we however, would have to be maintained against the combined opinion of a representative group of composers that the fifth degree if The musical effect of a progression such that there may be those who cannot be found containing the Locrian V. involving chords whose roots are a diminished it rejected as unfit for music. apparently accepted as a challenge by the modern composer is from the number of cadences accept mode was to this "defective" fifth that the 2. [I?] (Aeolian?) r $ m <• r ^ti mm UtA ^ -** Major ^ ^ s jrs Phrygian I II VI Locrian (Aeolian?) V [I?] Dvorak, Symphony No. 5, Finale. If E Minor N 6 14 V UliUI Minor I tflittl Locrian Minor I - 103 Das Rosenband, Op. Strauss, Jri i 4 A Major 36, Dorian or Aeolian I [III] Copyright 1911 6? Universal Editions. By permission of Associated Music Publishers, Inc., Agent. Suk, Ein Marchen, Op. 16, First movement, final cadence. Fl. m 3 u, J §^2 si kj-ji^ -?-— i Cl. gg gl ft J-JTl ^ s ^ E Major V I of Locrian II V sijzdl im^ ^ 4£ etc. s aft Aeolian Major III I Copyright by N. Simrock. By permission of Associated Music Publishers, Thompson, Pueri Hebraeorum, bua» 4& „ „ „ Agent. Final cadence, tit *£ f» Inc., r ¥&d p rail. bJ £ ll 1 l/R G Locrian VI I i o'///? P^ t]i** do Major t/W [yi H ivj »o «: ^ I /Au consent of the publisher, E. C. Schirmer Music Company, Boston, Massachusetts, Copyright Owners. No. 1. t J 104 Cui, Trior Scherzos, Op. 82, I JH r J. I s s i ^m «E=* § a i its C Major 1 -U— j>i>j £ I app. gj V * g^ JlJbJ fi mm dzzi Locrian VI I No. Phrygian VI' II Major Locrian V III C Pedal Reprinted by permission of Leeds Music Corporation, Agents. The Locrian employment V 7 is a major chord with a major seventh. Strangely enough, it has found considerable in the cadence and elsewhere. Grieg, Sonata for Cello and Piano, Last movement, final cadence. Major I 105 Ravel, String Quartet, First movement. ¥ Y S aB A Locrian Permission for authorized by reprint ^=ff Major V' Durand & I Copyright Owners, Elkan-Vogel Co., Inc., France. Philadelphia, Pa. Cie, Paris, Pushing the process one step further, Rangstrom and Stravinsky lower the seventh of the Locrian chromatically thus forming a major chord with a minor seventh. would have V to be called either 7 V of the leading tone or 7 In the parenthesis-chord system this of the lowered tonic, both unlikely designa- tions in the following examples, since the chord in question proceeds directly to the tonic. Locrian sion, V 7b seems to have a certain logic especially however, is when not widely used at the present time and V the resolution its place is is to I. The name This particular progres- not yet definitely fixed. Rangstrom, Der Becher. 8- ut «" m \ % % i n f U: \ » ^ i ii t * eU "f ^ F(t Major Locrian I Major V? t I Stravinsky, Opening E Minor Locrian y7b I Minor _ By permission The (V deceptive cadence V—VI progression Symphonie de Psaumes, of first movement. in other —VI) modes is of the Copyright Owner, Boosey & Hawkes, I Inc. has been mentioned only in connection with the Locrian V. not frequent but does exist, as the excerpts attest. Grieg, Ein Schwan. Voice \> \\ 1 r- J' ^ -N ^ rvfe E dzz I P m /T\ f n nzz ! I IV& 3 :^tf l> a • -a F Major m -i Minor VI fc Phrygian V VI Major M6 T The r 106 De Chorus (unison) J] ml- II, No. 4. ^^ i E UeUogabde, Act Severac, M ^li *w rJ <?- StBEEpEE n7. s *• -* L*-: V I I 8- :""? ^m V? I Pedal JT3-pi Tj J P I l4 * 9-1- VI _ JiD/n-j tc«^i zm V * 9-*- »-= Bt Mixolydian * *— ij J Jl * V? VI V7 EtV VI 7 _ V Pedal i ^ rrf «^ g^; Copyright 1910 ij Rouart, Lerolle el Cie. By ttnuTf /T\ *=E i special permission of Salabert, Inc., of Sibelius, ita pit ?*^ J « I St., New York 1l*9-1- s VI possibly pseudo-modal in fm V G Major) VI 22, Marzschnee, Op. 36, No. 5 jr r — E Aeolian V (or £aj( 57/* ^ a§ J- 1 *m II 6 I 6 ^ j jj i 107 S ^ I *:v ws=* g p r sH r—x- .z: m *f ^=#^ ^Tr VII 7 I VI VI G Major V 7 a f i^^ ° XI Chapter EXTRA-MAJOR-MINOR CHORDS: SUBMEDIANT FORMS DORIAN VI is another diminished triad the real root of which placed a third below; that is is, on the fourth degree of the scale. In other words, the chord is an incomplete Dorian subdominant (Dorian IV° 7 or IV "f) and conforms to the same progression patterns. (See in this case, above, chap, ix.) ± g ft C Dorian VI 7 [Dorian IV ?] [V°? of IV of IV] C Dorian VI [Dorian IV°7] [V°7 of IV of IV] The Dorian IV 7 may be used parenthetically as quotation from the Clarinet Quintet by V 7 of IV of IV Brahms the incomplete form or V 7 of VII of the chord th is . In the following illustrated. Brahms, Quintet, Op. 15, Final movement. B Minor I I 6 V°7 of VII lk VII (Dorian) [Dorian IV°7] * * J d rr r r tj f i ^m IV Aeolian VI As VII, stated in Chapter IX, the chords to and Dorian IV I. 7 The resolution to VII is Minor V which the Dorian IV and IV snown on page No particular significance, however, 108 is 7 may progress are III, V, 80, and instances are given below of the (Dorian VI) progressing to each of the other chords except was not found. I III, attached to this hiatus. an example of which » r . 109 1 a i*# ^ At Dorian it Moussorgsky, Boris Godounov, Act IV, scene f ft s* -: ^—V -: V| VI' * = -: p u i j.i' 1 i Act IV, scene = At Minor Lydian Dorian I ~r~ 7 :- I y a j 4 ] "i 7 y VI 7 III II Dvorak, Symphony No. 5, First movement. m if ^p VI I p -» -»• A Major A Dorian I VI I I Preludium HI. f m ^p^Mf: p iT^lifl C Dorian Copyright i\ w a g P( VI 7 I i * ^ ^#^ 7 I II by Wilhelm Hansen. By permission of Associated Music Publishers, Inc., Agent. * * * $ m Lk C LocrianVI 7 [V 7 of Locrian VI 7 is a major V 7 type, 1. jJz J i : — : i r3 ^—F SiB — * a ig T C = vS VI' Ibid., m J 2. and is N 6] frequently employed parenthetically asVof N9 . no Brahms, Quartet, Op. 5 1, No. N6 (Minor) [Locrian 1, First movement. V7 III Mozart, ^i 7 gj » | j ^^ jf la P-&-P- li E^ =6= o 7 «P r D Minor Vg Giovanni, Overture, s ^Pf £i 7 V 7 of N 6 N 6 VI Dow uf'r ^ r'r * i 6 14 I TLocrian VI 7 The chord is not limited, however, among them, the subdominant. one to this use: it III may resolve to several other harmonies, Moussorgsky, Without Sun, No. 4, "Within Four Walls." rf'<n- D Major I sr i ,j j^ Mr Locrian VI' I [V 7 of I Pedal N 6 ?] j ' Major IV j * 7 r E 7 Ill Pizzetti, / Pastori. A Aeolian I Locrian VI7 [V? of N 6 ?] 7 * 7^ | E g J g J tem-po H I mi di gra - r^ et F=S 3sse ^ i - ±^ • mm fc3E Dorian IV I Reprinted by permission of Copyright Owners. A. Forlivesi Another chord which may follow the Locrian VI 7 involves the chromatic alteration of the Locrian that it may conform mony, wished to reaffirm the tonality dominant dominant. to the ordinary the is ( & C, Florence, Italy. Major or Minor the note) by raising V it 7 . This progression a semitone in order the composer, having used an extreme har- It is as if by introducing the strongest chord possible, a Major-minor V 7 Chabrier, La Sulamite. j-irj P# & i. 7 TSP i=3tl sk ^F^FF %m Ek Major P^ 1 i H(j Major V? Locrian VI I Dvorak, Mazurka, Op. 49 Violin Orch. &s " iiiii ^'P ^m rf ^^ E Minor VI u 1 7 ^^ Locrian Vl2 7 ' # ^y E" mm . — 9 112 Franck, Prelude, Chorale, and Fugue. E\> Major Locrian VI 7 III^ I Published by authorization of Minor NM. Enoch & Cie, I Music Publishers, Paris. r Svendsen, Carnival in Paris. = ¥^=^=r A A \l hh =^ —0-> '= i m —r~— A ^h=.=^=i 1 A =3=^.=^ i—WZ * 7 A A. V 1 E Major V Locrian VI 7 [v 7 of N fi ?] (V) The most important to major or minor I is rpftffl ifl} ^ t *—} £ Major V 7 function of the Locrian not a strong one, yet VI 7 it is is to form a cadence. often quite effective. Moussorgsky, Without Sun, No. i m B &p if 3E D Locrian W VI 7 I ^ Major Pedal 2,. now Avoid Me." iif 1 ^1 £ 7-—" I "Thine Eyes in the Crowd & 1 V 7 a -f^M 1 s I The progression Locrian VI' | 113 Brahms, Romanzen aus Magelone, "Sulima." «m as a E Major p i j t 7 7 a g^ ^ j^pj Major Locrian VI? I Smetana, Braniboriv I^j•j jjElE/Qt^ J"? )^. n I"1 C Minor r ^ i=£ V I Cechach, Act I, introduction. JJjJldftjirCD "p I No. Cui, Trios Scherzos, A . ^^^ * C Major .U 4- ^ id ,q m ^S # 4 1 £ * 1 Major Locrian VI' I 4I ^ H 1. I Reprinted by permission of Leeds Music Corporation, Agents. m^ Faur£, Op. 103, No. tT\ * w •> i I itI' -T— r- 2 n l; a i • r5 i S m 2 E*^ ^ i .J EJ * 5a. Jr 7 | 7 Jp 7 t ~ * $&. Locrian I 7,d:— 1 f> 5a. G Minor £ 1 * I Ravel, L'Heure Espagnole, Scene JJJJJ = = = = = = J JJJ« ^* ! J ^fcl r E Locrian VI? Permission for ^S =tE3 *5t ^ [Mixolydian V . reprint authorized by Durand & 7 Minor VI? $ 3. Cie, Paris, France. Philadelphia, Pa. Copyright Owners, Elkan-Vogel Co., | ll Inc., XV. = « 1 114 Gretchaninov, ft— riHft W o* 4£ — o | ——— *>Ma ^ a y C 1 1 1 -^ — i —— > = _ * ij rn Major I. n r" — > j, — _ «. E LocrianVI 7 [l+ 6 r+ Symphony No. r I ?] Copyright by M. P. Belaieff. By permission of Associated Music Publishers, Inc., Agents Rangstrom, Floderna. j Minor? Gft (Aeolian?) 4U1 mm ot 3=1 — .'H/U =: S 5 I 3 3 3=1=1 ) 5 3 Locrian Vl7 3 Minor ? Aeolian? I Reprinted by Permission of Copyright Owners, Air. Lundquist. Grovlez, Sonata for Violin and Piano, 8 I, introduction. Phrygian Mixolydian D Aeolian III? I? Locrian Vi9 Permission for reprint authorized by Durand & Cie, Paris, France. Philadelphia, Pa. Copyright Owners, Elkan-Vogel Co., Inc., . 115 Gershwin, Swetf/ and J^= EE * w -J— J— 3- f ^T ^ Low Down, 3 si p F P Final Cadence. •a 3bu. * =K 7 G Major V 7 Locrian VI? I Copyright 1925 i? Harms, Inc. Reprinted by permission. Gershwin, I'll Build a Stairway to Paradise, Final Cadence. J j'' I j"; ^ C Major 1 V7 iJ^j^j Pf I Locrian VI? ! i Major I Copyright 1922 by Harms, Inc. Reprinted by permission. Major I * Chapter XII EXTRA-MAJOR-MINOR CHORDS ON THE SEVENTH DEGREE The lydian VII and VII 7 place in common on the leading tone which do not have an established Under the conventions of the major-minor system the chromatically the scale (the fifth of Lydian VII) would imply a harmonic turn toward are die only chords practice. raised fourth degree of the dominant. =* C Lydian VII 7 C Lydian VII A major chord on the major supertonic which progresses to the dominant is recognized as a parenthesis chord and designated V of V. A minor chord on the leading tone (which contains the raised fourth degree), resolving to the dominant, might be called But /// of V. VII even when it resolves to this is less reasonable, since III The chord the harmonic function that dominant and subdominant possess. has not therefore termed Lydian is V. m m U Faure, Prelude en Fa Majeur, Op. 103, No. 4. n .'nil F Lydian » j jJ Ki p^f V I of |_III Such a progression equally rare is is weak and, no doubt the progression Lydian VII to I V? for that reason, has had little use. Also weak and I. Brahms, Ein deutsches Requiem, Op. 45, p^ fe^ IT? First movement. ini r r. i F Major i V° 7 IV IV 4 I VI * J £=P III Lydian VI I VII Faure, P s rEt Major VI 1 p r I? for reprint authorized by Durand First movement 1 L/'T p Lydian Mixolydian VII Permission 2w^ Quintet, I7 & VII Cie, Paris, France. Philadelphia, Pa. 116 1 p3p^ Major I? VI Copyright Owners, Elkan-Vogel Co., Inc., ^ 117 There seems implication is which sions of no other progression to be in use in which either Lydian VII or VII that the chord has insufficient color to compensate for the unconvincing it is T The figures. harmonic succes- a part. * $ 5 C Mixolydian jyjj7 C Dorian C Mixolydian) C Dorian C Aeolian hi 5 [IV of IV] [V of III] C Aeolian VII 7 [V 7 of III] are The conventional use by no means common. of Mixolydian, Dorian, and Aeolian VII is as IV of IV although examples Beethoven, Missa Solemnis, "Gloria." m i' p glo- ri- a De SP^ m XL In D Major - m I $ i" pa i tris i Z3Z IV I % i=i=j=i [Mixolydian] VII B o Vi/ A V IV IV 01 IV i J De Act Severac, HSUogabale, I. I m i P I to i i I V I lian VII — I I V7 el Cie. By it I special permission of Salaberl, Inc., of 1 East VI tb St., • 22, N. Y. succession involving this type of subtonic chord and although f j r [VII] Copyright 1910 4/ Rouarl, Lerolle The most common V7 . IV of IV IV Bt Mixolydian j has other uses, it is is Mixolydian, Dorian, or Aeo- especially important as a cadence. Moussorgsky, Boris Godounov, Act IV, scene i i gigg s *a Et Major I — 1 tf * gj^ ^ w ~n~ Tf- j Mixolydian VII Locrian Mixolydian Major VI 7 VII New York I 2. 118 Moussorgsky, Without Sun, "Within Four Walls.' rr\ —r J- Efi 8 So ~r night with me, is it <s Cold, si - with me night lent — rsf r\ f rr fi: /C\ gaps D Dorian IV I Major VII I Gershwin, Second Rhapsody. » ^m ^ ^ w& i^& i i ! S i i 7 i - j s F Mixolydian I VII VII I I Copyright 1932 £y Nezi* World Music Corp. Reprinted by permission. Liszt, iipf ' {' f f=f f Graner Messe, "Credo." g^5! men. m W *>:.o D f f Aeolian VI III 6 I VII p r III IV ^^ VI VII /7\ I Brahms, Von ewiger Lieber, Op. 43, No. Cjt Aeolian I m m ^m Vrflf G Aeolian 1. I Vj Pedal. Tschaikovsky, Nutcracker Suite, Arabian Dance. T IIP SP SS VII I VII I VII £ 119 Glazounov, Der Kbnig der Juden, Introduction and Chorus. m *M= « PP A Copyright by VIl| Aeolian IV M. P. Belaieff. % V •> -»— I By permission of Associated Music Publishers, Inc., Agent. Gretchaninov, Liturgia Domestica, m ¥ J i s* r /C\ J -I7TJ- r- By permission There seems to be Major VII VI C Aeolian I I Pedal of the Copyright Owners, Boosey & I Hawkes, Inc. no reason why the Mixolydian VII 7 and Dorian VII 7 should not precede the tonic chord, especially since they are used in other connections. The fact remains, — above progressions seem not to have been used, although Aeolian VII 7 I is fairly however, that the frequent. Schumann, Humoreske, Op. 20. ft jimflbi B\> Major I Aeolian VII 7 Major Aeolian Major I VII 7 I Grieg, Herbstimmung, Final cadence. 5 m G W &h, - 1 Aeolian I VI =? VII? TlI+6] 120 Dvorak, Gute Nacht, Final cadence m ^ ij" ±~*\ ii 'Y4 mm & i ij ,M 1 —M a* w —a L ^k 11 _ jg •7 r E Minor Aeolian VII 7 I II' * s pc sr jgLij 1 ; Vi/ r i Ravel, Valses Nobles et Sentimentdes, No. E Aeolian I VII 7 Pedal Permission Aeolian VII 7 Locrian VI 7 I? for reprint authorized by Durand & Cie, Paris, France. Philadelphia, Pa. Copyright Owners, Elkan-Vogel Co., Inc., Gretchaninov, Liturgia Domestica. pw£U-^U /C\ See 1 ^f zm 1 LA C Aeolian VI7 VII7 . - /^ Major I By permission of the Copyright Owners, Boosey & Howies, Inc. 3. 121 /*«/. M ^= « =? 2? 9.-W. S^!^ £SE Zzte± -o" -j^- s^ ~n~ 1^ 3E IT l 3E TT - C Major I Aeolian VI No ~n~ Major VII' 17 I other progressions involving the subtonic chords in question are so important as those just There trated. =&: are, however, a number of alternative progressions which seem of be mentioned here. A. Mixolydian VII to II: Stanford, Eden, Chorus, ^m God of -jn i "God °- God love of of Night." * i light. 8- G Mixolydian VII I II Copyright by Novello & By permission Co., Ltd. of W H. I . Gray Co., Agents. Gretchaninov, Liturgia Domestica. ih j l m m\it C Mixolydian VII ef H?& h l l (9) II : r%r isV l Major f V By permission and VII B. Dorian VII [For Aeolian VII & Owners, Boosey of the Copyright 7 , see 7 Hawkes, Inc. to III. below at G.] ^ fr^ Guilmant, Impression GrSgorienne. f $ & Hi C Dorian VII I I Permission for reprint authorized by Durand & IV III i Cie, Paris, France. Philadelphia, Pa. i Copyright Owners, Elkan-Voge! Co., illus- consequence to sufficient Inc., p 122 Faure, 2nd Quintet, Third n h movement. -JJT3 j f. * £* J- »- .J y J. W^ . „ B Aeolian i J 1 Dorian IV 7 VI 7 V7 II VII 7 for Cie, Paris, France. Philadelphia, Pa. D. Copyright Owners, ' f ' c_C_ r Elkan-V'ogel Co., r-C-r ' Severac, HSliogabale, Act » w J— ^^ ^= F^ t = ^^ C Major I II, No. 2. L* -Ut/ 73 rjJ IP r*rr ri*. S Inc., Aeolian VII to V. De J L I Mixolydian VII to V. E. | IV 1 Durand & by reprint authorized Aeolian 7 VI 7 I HI I Permission T, »J i~ *• „ J=afe f= 23Z In Mixolydian (VI) VII Copyright 1910 £y Rouart, Lerolle (V) et Cie. By special permission of Salaberl, Inc., of 22, N. r. 1 &u; 57/A Nc» 5«., Vori Dargomijsky, Stowe Guest, Opening scene. i i,Mj^ i r pir ^ # Srr ^ V°7 (minor 6) t fc i p p p u i . cij r hpp ^g i i P T passing tone r ipffp £ C Major p I Aeolian 7 IV =^£ ^^ Minor VII V7 ^^ I Dorian VI 7 Brahms; The Death of Trenar, Op. 17, No. Voices Horns C Minor I Aeolian III VII Minor it V I 4. 123 F. Aeolian VII to VI. Sibelius, Symphony No. 1, First movement, Coda. E Minor V G. V of III. Aeolian VII Note 7 is a Major V 7 form and therefore used in the secondary dominant system as is that Ravel used the chord with ninth in his Ravel, Le Tombeau de j 0S ,|M i § *=p C|l » J Major V? of J III Tombeau de Couperin. Couperin, No. IV. Rigaudon. Ij^p ft " III V? Sfp I V7 I [Aeolian VII?] Permission for reprint authorized by Durand & Cie, Paris, France. Copyright Philadelphia, Pa. Owners, Elkan-V of>el Co., Inc., Bruckner, Quintet, D Minor I II. 124 V7 VI V7 * *te C Phrygian) ^^7 C Locrian C Phrygian VII C Locrian The Phrygian VII and VII 7 are one of these chords properly belongs The fifth degree of each diminished, it is Locrian. I identical in type with those of the Locrian is and the mode to which not defined without reference to the surrounding harmonics. mode is its distinguishing feature. If it be perfect, By this means the following examples are declared the mode is Phrygian, if to be in one or the other mode. moves logically to the tonic. The whose expression may range from the suave or mysterious to the brusque or Either with or without the seventh, the Phrygian-Locrian VII progression forms a cadence merely matter-of-fact. Debussy Pour le Piano, Prelude. X W^J 1 !eee^ A Phrygian 7*1 * ^ j VII I Permission for reprint authorized by | \ A Minor Durand iii m V & Cie, Paris, France. Philadelphia, Pa. tf fff gf Phrygian VII Copyright Owners, Elkan-Vogel Co., Inc., P 1 125 Brahms, Mein Herz ist schwer, Op. 94, No. 3. Final cadence. G Major Phrygian VII ^^ gg ^ /7\ tec j | s a^^f l£ £fe ^ =EE^I? /t\ j zr I » Major i j zr C0 *<S -»^ J J • Major Phrygian I I V7 Glazounov, Le Kremlin, Second movement. i $ I i if I f f T Y f 1 i i # ?f~t- W£ A j £ Mixolydian I 6 T- a ip V I 6 V Phrygian r * ii II VII Malipiero, La VII Major I III $ » J J i D Aeolian I ti V riui I 6 IV i^r-i By ptrmhsion ^^ Aeolian Phrygian VII 6 of the Copyright Principessa Ulalia. V? I Owner, C. C. Bircbard, 6 Co 126 Malipiero, Rispetti e Strambotti, Final cadence. E Phrygian II 7 III 6 VI III Used by permission IV of the Copyright Owner, J & VII I W London. Chester, Ltd., Gretchaninov, Liturgia Domestica. ^ m C Phrygian VII Yj Pedal By permission Particularly noteworthy its early date is the (1822-1823) but also whose harmony of the Copyright & Hawkes, Inc. example of Phrygian VII 7 quoted below, not only because of because Weber has been disparagingly characterized as a composer first consisted chiefly of tonic pfa Owner, Boosey and dominant. m Weber, Euryanthe, Act II. m& m »• m i ^m pif >^ ¥pi »-=- m Wt^FJ^F* tjtf E Major Phrygian Major VII7 I Brahms, Sonata, Op. 1, Andante. s : * \> Phrygian C Major V VI I VII 7 nit iv«tt Major i 6 127 Permission for reprint authorized by Durand & Cie, Paris, France. Philadelphia, Pa. Copyright Owners, Rimsky-Korsakov, Capriccio Espagnole, No. Bl> Phrygian V Major Phrygian I VII7 Phrygian VII7 I VII 7 I VII? 4. Elkan-Vogel Co., Scena e canto gitano. Major I Inc., 128 k -3- j i , | 95 P' a* i J « r-«r - «« ;^£#N i: 4: 3 *": *": rM^i 1 1 3 5 5 M M . . M a '. . : a -J, * 1 1 L f\ 1 , Rimsky-Korsakov, Sndgourotcbka, "Hymn ip 'i \ f des Berendeys," Final cadence o~ —3?: r S © ISfc ft* D Phrygian VII? Jacobi, Major I Synagogue Service for Sabbath Eve, — Wft "Mi Chomocho S= " n *— '* f i G Major I 1 I Phrygian Major \Tl7 I Final cadence. 4 jfeaii: jrttj I," i If Phrygian Major VIl6 Phrygian Major VII 6 I I Used by permission of the Blocb Publishing Co. Gretchaninov, Liturgia Domestica. #^P^ ~rr= TT 3E m ¥ Jm3E C Phrygian I fl? ^m |l,|J permission of the Copyright Owners, Boosey Eichheim, -1 ^ ' m u .'W j [ | i= Jrr E l V VII By permission I7 Hawhes, Inc. Aedh Wishes His Beloved Were Dead. ^L(juLJliW m Mixolydian Phrygian F Dorian & J iiii Jl ii FF | I m l| 'i Major VII? Pedal VII? of the Copyright Owners, I Dorian Minor V IV? The Boston Music Company. I — — 129 Respighi, Toccata for Piano and Orchestra. D Major (V 7 ) Locrian VII I Major Major Aeolian I I VII Copyright 1929 by G. Ricordi The & Co., Inc. Used by permission. other progressions associated with the Phrygian VII tance but merit some attention. They <7) <7) are of and the Locrian VII 7 Phrygian VII and VII to A. II. Saint-Saens, Quartet, gUl tffCff E 7 7^7 51 E Minor I jfisfi fe-te fe±E 6 II impor- less are outlined below. . Op. 112, First movement. ^m fes ffr: pz3r r ,U= 4 m r*f 7 7 G 7 r •r -r- l2 Phrygian i VII7 ^m ¥m i^W S3? =tefe V ^ 1 \ T5 ^^ 1 d> -r Minor Phrygian I V' II 7 7 jt L/77 }, 7 V7 II S VII 7 F#*=^ P' (>• 1-/7 " » V. 'J. 7 —p- -JT'h —P^ —p-= 1 " I 7 . i F 5 II K77 £ 7 V I Permission for reprint authorized by Durand & Cie, Paris, France. Philadelphia, Pa. Copyright Owners, Elkan-Vogel Co., Inc., Moussorgsky, Boris Godnunov, Act G Major Phrygian VI I I Pedal I I, scene 7 (II) Major I 1. 130 Borodin, 2nd Quartet, "Notturno." s ^ *£ i Ml ' I ^fe _U 1 A Major V 6 1 1_ _ _ j_'|J_ l VII 7 Phrygian VII n^f j^fs F^f T^f m \ 7 [;_ VI | I Phrygian By permission Since the root of the Phrygian VII true V chords 1 it as 7 of Leeds of VI. of V V of V V and of unbroken through is V of V of No. 3. f^ VI III 7 Minor [V 7 of VI Vl] II 7 V7 Music Corporation, Agents. in the last V of Scherzos, Op. 86, example resolves a perfect fourth, were a modal parenthesis dominant of the succeeding chord (Phrygian [Pursuing the idea further, the the chords comes if it 7Vz'o.r i p VII 7 consider V to III. rr r=? k C Aeolian Major _ J Pedal Cui, j _Ml Hf B. ijj j II 7 Minor Phrygian I I g£S@ V V VI and 7 may even be possible to 7 which is a construed as modal parenthesis respectively, because the series of fourths to the final tonic. which designation, of V, II it is III ), formed by the roots of The Phrygian VII 7 of the above progression ludicrous as it may be, is not without point in beex- plaining the whole series of relationships.] C Phrygian and Locrian VII to IV. Dvorak, Quartet, Op. 105, Second movement. m 1 U=M 1 i ri±A j j ^m ^ 5fe #feaf F Minor j r ? t T^ ^m IV 2 I iEEtk^ gyft^ rVap ^ r—r5fei ^? f^ f^ip #^p 1 imm i Phrygian Minor IV. Copyright by N. Simrock. The Locrian relationship of the V to I, I V V VII VI since the roots to II form the is By permission similar to that of a interval of a diminished of the Associated fifth. Music Publishers, inc.. Agent, Such resolutions are permitted under the ventional harmony in sequences. rules of con- 131 Respighi, Maria Egiziaca, ^m m ' >?] >? =f i i M <> I mr- cj \f'?rm - W £W> ^ ^ I. ai D Phrygian (IV III I I VI IV Major IV VII VII II) Phrygian ' 1 II I IV 7 VII IV Copyright 1931 by G. Ricordi V ^p i> («• fff .'Hh> #• Major V|u 6 & F Minor r ^=J ^ Ue 7 7 t i ¥ $. ^ 7 •? 7 j' •? •? ^ ^ TO Locrian I in! he Dtluge, Part : pp i p pif p pij . I 1 (V 7 ) ElE ^1 & i ^w a 1 » • iH \ B fc & IV VII Phrygian or Locrian VII to V. Gershwin, Rhapsody in Blue, G Major iS Phrygian 11S Major 1% ** Minor V VII D. I. !*• kiE : Used by permission. Saint-Saens, m v ^> f Co., Inc. Phrygian IlS iiS Major iS Copyright 1924 by Harms, Inc. Reprinted by permission. Phrygian 11? 7 132 Moussorgsky, Without Sun, No. "Thine Eyes in the Crowd — F" 1 t « \ p 1 py J r ep fc I j I P*S H r r |J,V b I r wf a til pr-r S ^ D Phrygian II I I3# VII Major IV Pedal Now Avoid Me." F^ ife v m VII 7 V I ^ VI I Phrygian VII to VI. Brahms, Symphony No. G Major BE Locrian i E. 2. Phrygian VII VI Aeolian IV 4, Second movement. Major I Part II: Kindred Studies Chapter XIII PSEUDO-MODALITY AN effect called pseudo-modality produced by violating the conventional progression-patterns is of the major-minor system. Specifically, this consists of emphasis on the secondary chords VI, and VII) and use of the progressions ecclesiastical practice and for that reason is VI-V and V-IV. In a sense, this sometimes called the Ionian mode. It is is ( II, III, a reversion to the more nearly correct, however, to consider that certain progressions permissible under the old modal system (for instance, to IV) have been applied process by which the Harmonic Modes, to the major, hence the name pseudo-modality. is a reversal of the came into being. The latter, the of imposing major-minor conventions on the diatonic modes and, from modern equivalent of the old Church are the result This V scales that point of view, are pseudo-major-minor. There are very few examples of pseudo-modality which approximate the Ionian with its rigid conventions of dissonance and severe effect of the ecclesiastical style. m « Thompson, Pueri Hebraeorum. m mm E ¥=¥ f=» G Major V m 5E — -& -5- f IV V Used with consent IV IV of the publisher, E. C. Schirmer I v i FT r n t II Music Company, Boston, Massachusetts, Copyright Owners, In order to evoke a religious aura some composers have adopted a pseudo-modal style which, although without dissonance and quite simple, would never be mistaken for anything but modern composition because of some other consideration (harmonic instead of contrapuntal conception, for instance). Respighi, Maria Egiziaca, Episode IV VI Copyright 1931 by G. Ricordi & 135 Co., Inc. Vied by permission. I. g * 136 Debussy used pseudo-modality for the purposes of impressionism, but not often so simply following example. Debussy> H \a — - ,-. • p -; =3 -9 • I*): ** 1» ** v •* • . ^ - • •U * - 1 • -: t - u DamoiseUe ilm . «u " -. U » - • • •= -= III II Permission for reprint authorized by III II I Durand & Cie, Paris, P 'liladelphia, II is • i Owners, Elkan-V ogel Co., The most conspicuous difference between pseudo-modal practice and The final cadence of ha Damoiselle t\lue Cheveux de hin • II I France. Copyright Pa. dissonance with the former. -: a r. C Major s 1 • «~ • as in the Inc., that of the Ionian illustrates this, is the use of and ha Fille perhaps the most cited example. Debussy, ha Damoiselle Blue. Permission for reprint authorized by Durand & Cie, Paris, France. Philadelphia, Pa. Copyright Owners, Elkan-Vogel Co Inc Debussy, ha Fille aux Cheveux de hin. G\> Major VI 7 a* s 1 1 ±-i £b rn £7i rfrfrTi J-± •&' — B -r Permission for reprint authorized by Durand & Prance. Copyright Owners, Cie, Philadelphia, Pa. Paris, f VI Elkan-Vogel Co., Inc., aux 137 ^M-M flfrfff,^ kk ^ ^m m? *=*= s yi± II Apparently it is Lesueur ( 1760-1837) who must be credited with having although his outlook was principally antiquarian. ^= r\ S Major El> n\ /T\ ^g re - gni /C\ £ Ws ^ Book Two, first used pseudo-modality, chap, xxv.) Lesueur, 3 me Messe Solennelle, "Credo." n\ Cu- jus rs (See below, XT ^ m p^ e m tS- w. - rit Si ^ f fi- nis. Cu- jus VI IV -6- V /7\ =t VI I 5=*= VI During the nineteenth century pseudo-modality became common property and found favor with the members romanticists as well as with of the several national schools. (See below, Book Two, chaps, xxvi-xxix.) One' of the modern developments in the realm of pseudo-modality is the use as a pedal of a tone other than the tonic or dominant Respighi, Maria Egizicaca. 1- m P A Minor i m nin.ip.^iik^ik n m Pf f ? (mediant pedal) £y rg j i £1 i-j WW w Copyright 1931 by G. Ricordi & Co., Inc. Used by permission* 33^ 138 # i i * -* Pseudo-modal J ^W jj - used to some extent but are not so frequent as the true modal final cadences are (See above, chaps, vu-xii.) forms. Rangstrom, "Ik weet en Franken amoreus."- y § § ^S A Major H 1 J g J: jg s=^ fFTFT IV I II 7 IV III :? ;p III 7 . IV III Used by permission of Copyright IV II' Owner, Abr. Lundquist. Gretchaninov, Credo, Final cadence. t ai Although not modal" effect. strictly who do . pseudo-modal, the employment of the minor submediant in Major calls this An it is ^ 17W TT is so common often referred to as a "pseudo- the "minor-major" [HoU-Durtonart]. $ : Tf~ use modality and pseudo-modality that Helmholtz C «: =§= ^ i II 7 E Major with composers ^ £§£== 1 3SZ tonic odd circumstance writers of northern Europe. is that the device is as rare with Italian composers as The example below is it is frequent with perhaps unique. Verdi, Aula, Act. V^ i ?m a p,if ^m =£ J j Al> Major Note nant, as is II I that the chord in m usually so with the composers of Helmholtz: Die Lehre von den Tonempfindungen als Musik (1863), is ¥ f V°S is the supertonic and not the subdomi- Germany, Russia, Scandanavian the "minor-major" physiologische Grundlage fur die Theorie der p. 467. 3=p „5b 5b which the minor submediant appears We must infer that the effect of *H. ^'^TTj - W ifc I. countries, and Czechoslovakia. foreign to Italian temperament. 139 French composers have found it but phonie sur un Chant Montagnard Frangais more little is to their taste. The final cadence to D'Indy's Sym- an outstanding example. D'Indy, Symphonie sur un Chant Montagnard Frangais. J. m G * * ^ f - * £ X fat * mii • i Jl$ 1 i I •/. '/. 3e*e Major Mi!. Vlib I I f/je^ &> permission of J. Hamelle et Cie, Paris. Chopin, perhaps because of his Polish blood, was fond of using the minor subdominant chord in Major. 2 Almost alone lection for the among nineteenth-century German composers, Brahms showed a decided predisame effect. 3 The Russian, Czechoslovakian, and Norwegian national composers used the device too frequently to need illustration. Almost always the minor sixth appears makes the following exceptions noteworthy. as the third of the simple subdominant chord, which fact Sokolov, Quartet, Op. 14, Final cadence. %3 % /. /. hk m 1=8 +6 L A 31) Major i y% i /C\ /r\ ^^ fF=^|: j : g TT- : I Copyright by M. I P. Belaieff. By permission of Associated Music Publishers, Inc., Agent. Tschaikovsky, Casse-Noisette Suite. * D Major "Danse des Mirlitons l " i I [Aeolian II?] 17 Polish Songs, Op. 74, No. 10. in the final cadences of his songs. See also, Variations XXIII, and XXIV of Variations and Fugue on a "See: Theme "Especially Op. 76, by Handel, Op. No. 4. .24, and the final cadence of Intermezzo, . . Chapter . XIV THE CASE FOR THE LOCRIAN MODE A harmonic point of view the Locrian mode was From of the complete system. The chords were treated in Chapters diatonic tions employed several discussed VI through XII as a part and notice taken of the restric- which apply to the harmonies of this mode. It was concluded that Locrian chords can be body of a composition, but that cadences terminating with the diminished tonic freely in the triad are less readily acceptable. A general consensus holds that the Locrian number mode only as a theoretical curiosity and has no exists mode is practicable and is found and folk music; they even supply examples from various sources to support their arguments. Westphal conjectured that the ancient Greeks used the b-b scale (Greek Mixolydian) and quoted place in practice, but a of writers emphatically declare that the in both art two specimens1 but since these are only fragments they are not conclusive proof. Combarieu offers more positive evidence in the words of Plato, who said that "under the influence of the Mixolydian 2 [Locrian] the soul is troubled and constricted." , see writers like Bellermann It is truly distressing to and Helmholtz, by the authority of pretended non-existence of the Although the B-b scale B and F modes was rejected by mains of the [Greek] Mixolydian (B-b) in the posed , lists Qui Lazarum, down a fifth, above the final is is the Church. 3 being unmusical, re- are frequently found when trans- mode) the plagal deuterus (4th Gregorian fifth Roman [E-e not heard. 4 the following plain chants as Locrian: Antienne: Ecce lignum Oravi Deum. Ecclesiastic chant as or less disguised as a transposition Roman Antiphonary. These are the chants of down a fifth] which have the bb or in which the Gevaert of these errors [Locrian and Lydian] in the liturgic chant of the most of the theoreticians of more their names, contributing One to the perpetuation of the errors that a simple examination of the facts suffices to refute. crucis. Nos autem Introits: Communions: Memento gloriari; Misericordia verbi tui; Feci judicum. Domini. Offertoires: Terra tremuit; Alleluia de V Ascension: Ascendit Deus. Repons: etc. 6 m Hymn Afc E Vir gi nis eMe* « ? ? ? * les (etc.) o^ ^ /C\ U- ? Perreau also gives a list 6 m m - to the Virgin PP of Locrian plain chants: m /T\ £ 7 Sanctus (Samedi Saint, edition de Solesmes) Media vita . . . Sanctus Venite, exultemus Quern vidistis, As an Deus (Repons du manuscrit de Domino (Psaume de l'office Saint-Gall, dans les "variae preces" de Solesmes) des Matines). pastores? (Repons des Matines de Noel) illustration he auotes one of the examples mentioned by Gevaert, Nos autem 'Rudolph Westphal and Rossbach: Metrik der griechischen Oramatiker und Lyriker Leipzig, (1854-1865), I (Supplement), 'Ibid., p. 146. "Ibid., p. 147. pp. 50-54. 'Ibid., p. Combarieu: "Cours du College de France," La Revue Musicale (Oct. 1, 1906), p. 441. 5 Fr. Aug. Gevaert: Histoire et Theorie de la Musique de I'Antiquite (Ghent, 1875), p. 146. 'Xavier "Jules 101. 'Ibid. 140 8 233. La Musique Perreau, Generate de p. gloriario. la Pluralite des Modes et la (Paris, Librairie Fischbacher, Theorie 1908), 1 2 141 down B-b mode (transposed a fifth to E-e) tem j i 1 tet in L r~i | J J bJ 1 do cru- ce J/ | J^jTJ J jm J« 1 1 sa i^ r nos ni - por S I quo est in ti, - .h ri- a - mi - - .n Chris glo - | lus, - ;jj i tri i S Je r vi - I rg ta et ^s j ti- o tra, per quern sal - mus. In speaking of the Locrian and pleteness." its plagal, Dunstan says he includes them "for the sake of com- 9 These modes (the Eleventh and Twelfth of the numerical designation) are now regarded used them, and that must be an excuse for passing reference. where the chord cannot very well be diatonic. 10 final Apparently by the a but Bach as obsolete; they represent the one case in modal music Further, final, that it must be last statement Dunstan means that a diminished triad altered to a major or minor tonic chord. is almost unacceptable as This conclusion is borne out by what he has to say about the following melody: It is major) almost impossible to harmonize this melody satisfactorily without using the triad of A-major (or evea D- as the final The A-major chord triad —and is the this was Bach's method. more "orthodox" of the two. 11 Mode XI Melody It (A. D. should be observed that he does not say that the diminished Locrian tonic triad a final chord: he allows himself a loophole by using the qualifying almost. is 1302) impossible as It is just this possibility on which Combarieu seized when he wrote that the Greek Mixolydian scale from B to b, of that sort which has, from our point of view, the chord b-d-f as the fundamental harmony, . . . . . . being essential, can and should serve as the conclusion of a melody written in the Greek Mixolydian. student would dare end any work whatsoever on without root, and, by that token, it that chord because because in requiring a perfect chord on C-tonic to succeed b-d-f, and abandon an effect we should interpret which in some cases might be very we stick to the '"Ibid., p. Counterpoint 53. "Ibid. "Combarieu, (London, (June 1, 1906), pp. 257-258. however, to the beaten track poetic. 1 18 cit., pp. 53-54. The third example is labeled transposed, but since the melody exceeds the lower limit of the octave e-e by but one degree (which is allowed) "Dunstan, op. Mode XII it loc. cit. dominant seventh chord It is regrettable, commonplace and Dunstan quotes three Locrian melodies, presumably from plain chant. "Ralph Dunstan, Diatonic Modal Novello and Co., 1920), p. 52. as a it appears to us as a dissonance demanding resolution. which, Today, no must be concluded Mode XI (Locrian). that it is an error and should be considered — | —t — — f 1 142 Mode XI [Locrian] J J J # g il XII [Hypolocrian] " P^ c I ^ **T^ 3 Mode J I J= f 3E TT Mode XI (Locrian)J XII [actually | j J J J J ' | JJJ_ffl J m ^ The tonic here Nevertheless, one frame into which as 'rejected' in is &, a a n a. fe* & f r downward the melody ranges ^ /T\ an Icelandic manuscript of 1700: Tff may 3 -n —-^& P melody It fits. is first found P ^^ i a fourth to / and a third upward search through the entire system of the twelve recognized Church this @ ^S -S J ; ^JJ" i;JlJ &. (2 TJ J' J'j : Hammerich found a Locrian melody a ^ TT Mode i' * J to a Ck_ (2 d and is -e- therefore plagal. modes without finding the one of the two modes which Glareanus rightly designated as and was called Hypolocrian [plagal Locrian] —the 14th mode. 14 Locrian folk songs are very rare, but not nonexistent, as the following examples bear witness. The first melody given below sized in the melodic line, it not clearly Locrian although is 0' 4=\t^y=T^f¥ » # --*=¥= *=* i i —rp f— — #=r =!= *=±— « "Angul Hammerich, "Studen iiber (1899—1900), I, pp. 347-348. w m * f ~~m » ends on Lament In free recitative i it seems more closely related to the tonic — f ff -*£=m m to the notes Son of Fineen Dubb. - i £ t' r~) -• L d empha- 15 +- --=—f- w ~~f /C\ M islandischen Musik," S.I.M. for the 3 -rr^-7—\i-L- -^r -uj Owing b. a. 4 h= ^Journal of the Folh-Song Society (1918), p. 200. ff — 143 m m | Old Swedish folk song. r r r i r r r f i p i mm ri ir r r r r r i r r i u r r--ir ;i 1 i i Modern Greek melody." n i/TN £ ilcJ'V r Modern Greek melody. j r * ^es* C-LUF r /TV 4? * f ^ S3 - J J J i Japanese Air. |^ir r i f Whereas the harmonies r Debussy's Sonata for Flute, Viola, and "Otto Heilig, cit., p. r less Harp is i walachische ^ B frequent. An in compositions of the con- example found in the "Interlude" from almost unique. tiirkische griechische, r mode have become common 150. "Slovakische, r r f 1' J 1 of the Locrian temporary period, Locrian melodies are '"Gevaert, op. i und Tanze, pp. 295-296. Lieder, u.s.w.," S.I.M. (1902-1903), "Ibid., p. 296. IV, 144 Debussy, Sonata for Flute, Viola, and Harp, "Interlude." C Locrian Major Permission for reprint authorized by Durand This melody is & Cie, Paris, France. Copyright Owners, Philadelphia, Pa. from the whole-tone usually regarded as deriving partly with the following whole-tone motive from Pour un tombeau sans the difference is Elian-Vogel Co., scale, nom which Inc., but when compared greatly resembles it, marked. Debussy, Pour un tombeau sans nom. JK'Uj^r prJrrH'Uf ^r D The is Durand & CU, Paris, France. Philadelphia, Pa. I Copyright Owners, Elian-Vogel Co., Inc., objection that musicians most often lodge-against the Locrian not that mode as a vehicle for musical contains a tritone between the tonic and the dominant an augmented fourth below, it nor that the tonic triad commonly given is that they cannot "feel" the unaccustomed to hearing the mode and prejudiced by his exclusive diminished: the reason is This means that the mode. ^ rT (Whole-tone scale) Permission for reprint authorized by ideas I listener, major-minor experience, does not readily comprehend the component tones of the melody through their In other words, relationship to the strange tonic. of gravity, or at least the tonality It is there is a mistake to make 19 it is impossible to feel the tonic as the tonal center to be unstable. judgments purely on the basis of final clear evidence of bias. without being able to sing is felt Many musicians reject the Locrian first impressions, especially mode without when careful consideration, a single Locrian melody from memory, and without making an effort to escape the tyranny of the major-minor concepts. Most more not objectors to the Locrian can be placed in the above class, yet there are careful before discarding the exist. On It must be granted that the other hand, the sincerity of Combarieu, Perreau, cannot be questioned. acceptable to mode. some but From such to others it is conflicting opinions we some who have been for such persons the Locrian does Hammerich, Dunstan, and can only conclude that the Locrian others, mode is incongruous. There are three subdivisions of Locrian usage: (1) melodic, (2) interpolated harmonic, and (3) The first of these has no harmonic concomitants: the final tonic is a single terminative harmonic. note which does not imply a triad, diminished or otherwise. are found in ancient plain chant sists and in folk song unaffected by Examples of such enharmonic music art music. The second of employing Locrian harmonies in the midst of an otherwise orthodox passage. division con- Many examples Book One. The last category is the most controversial: the use of the diminished Of the three classes, this is the most difficult to accept, but rejection of the imperfect of this are found in triad as a final. fifth as 20 a proper concluding chord neither repudiates nor invalidates the two other uses. that any of these subdivisions "Contrary to popular might be accepted and the others Locrian melodies are easy to Perhaps because of their decided character, such melodies as the Debussy excerpt or the belief, sing: intonation is not difficult. It would seem rejected without being inconsistent. Japanese air (quoted earlier in the chapter) are quickly learned and, once committed to memory, are never forgotten. "For examples, see Boo¥ One, chap. vi. Chapter XV THE PHRYGIAN AS A MINOR MODE THE Minor mode of the major-minor system is a combination of certain features of the Aeolian, the Dorian, and the major scales: from the Aeolian and Dorian minor as sixth derives from the Aeolian, wheras the came the minor the third; major sixth may be regarded alternative belonging either to the Major or to the Dorian; the leading tone and dominant cadential conven- tions are the contribution of the Major. In the never-ending quest for to utilize the cadence. 1 new Phrygian scale as a Minor The musical resources, mode by it was natural that composers should attempt joining with it the conventions of the Major dominant imposition on the Phrygian of cadential practices characteristic of the Major of the process by is the reversal which the most conspicuous feature of the former (the minor second degree) was made available for use with the Major mode. In the following final cadence the melody is F-Phrygian, yet the underlying harmony is conventional major-minor. Sibelius, Belsazar's Gastmahl, Op. 51, No. J3n J- m fffff . H'i> F Minor I4 J^Jt frfff f i i V& [Phrygian Vjj] (in 6 ) m g T £5*=£= ?t|J I'll? "Nachtmusik." a. - ' 3. ^' ' 1 J l & : 7 «— nz This produces a Phrygian dominant seventh with a raised third forming the leading tone. It may as a major dominant seventh with lowered fifth, but since the diminished third (e -g ') is regarded be t, 1 outside major-minor practice, such as analysis The V5 b 7 is a part of common is less plausible. major-minor practice as an "augmented six-four-three" chord, in which case the lowered fifth occurs in the bass. Dvorak, Liebeslieder, Op. 83, No. G Major I 'For a full discussion of the subject, see Book Two, chap xxi. 145 7. 146 All such augmented sixth chords which resolve to the tonic cannot be attributed to the chromatic lowering of the second degree of the major or minor scale. In the next example the augmented sixth seems to have come about through chromatically raising the seventh degree of the Phrygian scale, this being the mode employed at that point, as is proved by the bass of the second and fourth measures. Rimsky-Korsakov, Mlada, Act pp I t=* ppp thKlt f^r C Phrygian IV m mif mw jjjj V°^ II I 6 I m ^m IV I V°Ij, II I I II, Scene 4. i^ii *=% 6 IV ¥ I Respighi even used a major sixth degree in connection with the Phrygian, thus imitating the melodic form of the Minor scale. Respighi, Belkis, Regina di Saba, "Danza m * $ dell'offerta." s c* * * A Phrygian I * I+6#v°Li _ I Pedal I Copyright 1935 by G. Ricordi & Co,, Inc. Used by permission, Franck frequently used the Vh, sometimes with the diminished third instead of the augmented There is no doubt that he regarded it as an extension of manner especially with reference to the in classical which he employed harmony and thus it. Franck, Symphony, First movement. & D Minor 13 V& I I6 [Phrygian^! Franck, Prelude, Chorale, and Fugue. ^m m * f m^ ^4 *=s mm r i± C Minor I 6 V ^ [Phrygian V°|l Published by authorization of = iv 6 vlt [Phrygian NM, Enoch & ii 6 i vQ Cie, Music Publishers, Paris. it may be sixth. regarded, " 147 Most examples are susceptible to dual analysis: either major-minor with lowered supertonic, or Phry- The two gian with raised seventh degree. but, because of the chord is known modal possible interpretations are given with the following excerpts and the freedom with which the predilections of the composers employed, the Phrygian explanation would seem to be the more Moussorgsky, Boris Godounov, Act IV, scene altered valid. 1. mmm im m f a I D PhrygianV V°|# l3# D Minor V l3tt V°l\, i Rimsky-Korsakov, Pskovitianka, Overture. m ^m C Minor si fgyg W 3 ^ I r [Phrygian V?, •" V^ Vt DPhrygian Sibelius, Belsazar's Gastmahl, No. 4, "Khadra's Tanz." gpS*m i T f 1 1 f nj *=£ a ^ ¥=^# a Et Major ' i i '/I r^ I i_i [Phrygian V?J From the evidence presented above with the Phrygian as a minor venture is mode with a to be considered successful has not been adopted generally. use of which is it At may be concluded that there has been some experimentation chromatically-supplied leading tone. must be left to Whether or not the individual opinion at present, since the practice best the Phrygian-minor mode would seem restricted to rather special musical circumstances. to be an anomaly, the Chapter XVI SUMMARY AND CONCLUSIONS systems of harmonic There are two system. and the paren- analysis in general use: the traditional system thesis-chord The first of these is founded on the original figured bass to which have been added modifications The most important and improvements. of this system are: component chords (name, (2) to reveal the structure of the Although foreshadowed by it Piutti, the parenthesis-chord development by Weidig and Piston. concentrates subdominant. nants. chief objects as a consequence, and tonal functions an analysis must resort modulation in order to explain chromatically-formed dominant-seventh type chords. to frequent type, The The and inversion). type, (dominant and subdominant) are related only to the tonic and, state of made by Rameau. contributions are those (1) to explain the tonal fabric in terms of the dual modality of classical tonality, system of analysis was brought to Slightly less concerned with details of inversion on revealing chord progressions by capitalizing the functions of the its present and chord dominant and This analysis results in a system of secondary (or parenthesis) dominants and subdomi- By means of this system certain chords formerly considered modulatory are recognized as being dominant or subdominant functions of the major-and-minor-scale degrees (except the leading tone) The system these were secondary tonics. has obvious advantages in that as if can -more readily disclose it extended applications of the typical major-minor progressions. The between the two methods of analysis essential difference is that the first has as its object to major (and minor) diatony, whereas the second aims to disclose the conformity of the chordal catenations with the conventions of classical minor-major tonality. trace the deflections in the course of In their different ways, the two systems are dedicated to classical harmonic greater part of the music since 1600, it come to be violated freely, but The major and minor scales are but form and bear the same names valid for the years. modal harmonies are Not only have major-minor now common. two of the complete system of diatony. The other modes are Lydian, Mixolydian, Dorian, Aeolian, Phrygian, tonic is does not take into account the decrescence of major-minor dominance and the revival of modality during the past hundred progression patterns They attempt tradition. to evaluate every tonal combination in terms of major-minor practice and, although this Although they are of the same and Locrian. as the ecclesiastical scales, modern modal practice is dia- so different that Harmonic modes. 1 Like the major and minor, these scales are interchangeable over a tonic, a fact which has an important bearing on modern harmonic practice, since it means that a composer may at any time draw on the harmonic resources of modality. It must be pointed out that the parenthesis-chord system is a theory of extended major-minor domithey might better be called nant and subdominant functions and that by the very names of the chords, their resolutions are implied. For is this reason, the parenthesis designations indicate A complete list of the modal chords and the chords to which they have been found to progress fifty years. is a more circumscribed use for modal harmonies than found to be true in actual practice. Every extra-major-minor chord belonging to the Harmonic modes has been used in music of the past given in the summary below. Besides the added in brackets where such terms 'See (7) fV OT N Rare Locrian b. Dorian, Aeolian, or Phrygian c. Mixolydian d. Lydian e. Phrygian or Locrian II f. Phrygian or Locrian II H Book Two, second (7> 7 I of [V7 [V<7> the usual parenthesis-chord designations are exist. 8 a. I mode names, ] 7 I as final chord but used freely elsewhere. Progresses to IV, II and VI. of IV] Progresses to IV, V] Progresses to V Progresses to I of 7 [N8 ] 8 II, VI, or even I. (Major or modal) and I. or V. Progresses to IV, Phrygian VII and I (cadence). part. 148 149 g. h. ,7> Mixolydian III [V° Dorian or Aeolian (e> III c<9> Mixolydian of IV] <7> I Phrygian j. Locrian III' 7' [V7 [V OCB> of V] [V7 of IV of IV?] 17 Lydian IV Dorian IV ' <7> (cadence) and I to II also. III Progresses to to k. above). c. Progresses to VI, VII, V, IV, of VI] III I (see 7 Aeolian i. , Progresses to VII, V, IV, I (cadence). III I (cadence) and 7 II. does not appear have been used. Lydian IT' 9' (see d. above). Progresses to VII, Major or modal V, and minor III, I (cadence). V7 m. Lydian Mixolydian, Dorian, or ; Aeolian V""; Phrygian of VI]; Locrian V V <9> [V° Progresses to Dorian o. Locrian VI Dorian IV [V7 of 7 VI (deceptive cadence). (7) VT 7) n. (cadence) and I <9; Ne "", Progresses to ] minor (see II, 1. above). IV, Major or modal V, and major or (cadence). I V and p. Lydian VII Progresses to q. Mixolydian, Dorian, or Aeolian VII Progresses to IV, V and Progresses to IV, V and Progresses to IV, I. (cadence). I [IV of IV] 7 r. Dorian VII s. Aeolian VII t. Phrygian or Locrian VII 7 7 [V of III] <7) III, and VI The more chords parenthesis system brought mode it recognizes tonal the use of interchangeability of sions means which principal factors with Rameau combined gressions the is I (cadence) IV and V. occasionally followed by II, III also). Analysis by inter- by demonstrating that the logical limits of dia- The new system supplies a needed adjunct to exist- major-minor the intrinsic diatony of tonality. many harmonic Through progres- as chromatic. which harmonic analysis interpretation of the inflections of the essential diatony, music. 7 violate the spirit of mode may be grasped which otherwise must be analyzed The two (cadence). and (2) by showing that these chords have an even closer direct relationship to the tonal center of gravity. ing systems, since I into relationship to a single tonic. carries the process further (1) tonic tonality are wider than hitherto supposed and III. and Progresses to major or minor (Phrygian VII changeability of V two elements in is which one system, but concerned are chord progressions and the is his one of the fundamentals of Western method of accounting for chord pro- was superseded by the invention of the system of secondary dominants and subdominants. There were then two systems of analysis neither of which was complete within itself: both were necessary to explain the harmonic fabric. Interchangeability of intricacies of the it modern mode now march of the harmony. would seem challenges the adequacy of the diatony, but offers Until the creation of some that the functions of Rameau system for coping with the no improvement on the parenthesis-chord system new method which harmonic analysis will continue to will again for exposing combine them, be divided between two systems. BOOK TWO: A History of the Diatonic Modes Part I: Early Systems XVII Chapter THE DIATONIC ELEMENT IN ANCIENT GREEK MUSIC MOST writers on scale systems warning the reader that have confined their expositions to a single time period without earlier and frequent failure to emphasize that no system differ in important immutable or unchanging has resulted is The details. in consid- Scale systems have changed constantly throughout recorded history and, as a conse- erable confusion. quence, the subject does not lend it is would later manifestations incorrect to treat the from the original Dorian itself to Greek modes scale to the reaction against exotic influences, For a single delineation for any extended period. as a single system. complex system Some notice in use in the fifth century B.C., the and the ultimate return this reason must be taken of the evolution subsequent to diatonism. The allusions to music in the works of Plato and Aristotle shed some light on the subject but many questions which probably can never be answered. The theories of Pythagoras (582-507 B.C.) are mainly concerned with the physical bases of music. rela- tionships are known His studies in the mathematical-acoustical only through the writings of his followers, and it is not clear just raise how much connection his work had with the practice of the day. Aristoxenus (third century B.C.) and kindred subjects. Of these but is supposed to have written more than four hundred works on music two remain, one of which supplemented by the writings of a pupil, Cleoneides. fifteen tovoi to As Knowledge incomplete. Ptolemy (second century of his work Michomachus and early as the fifth century of the Christian era Boethius essayed a reconciliation last century, is Euclid, both of the fourth century A.D., also advanced musical various theories and systems but his success Within the is A.D.) reduced Aristoxenus' seven modes, but whether or not this was in order to conform more nearly to practice impossible to say. theories. is was not among the great. the music of antiquity has received a great deal of attention and has been 1 Emmanuel, Munro, Gevaert, Westphal, Jahn, and others. In view of this and since the object of the present treatment of the Greek scale is but to throw the diatonic elements into relief, no detailed summary is attempted. exhaustively treated by Reinach, Separate origins are ascribed to the two M (±) came from a tone sequence m was based on a sound *. first octave-species (modes) of of the lyre, whereas the Phrygian, U) + series of the Asiatic reed pipe, the aulos. The name Lydian suggests that this scale arisen in as many separate locales, judging from Although both were diatonic also originated in Asia. their several octave-species with their peculiar tunings in Plato's time The other names: Aeolian and Ionian. must 'See the Bibliography for the titles of these works. J. The Dorian, ^ independent origins would suggest differences of tuning but It is possible the divergence between Dorian and Phrygian had been lessened employment of HqcC and aoX6; together. 2 'A. Greek music. necessarily p. 155 376. by the occasional modes might have Taking this view, the have suffered alterations in Internationalen Musiigesellschafl Hipkins, "Dorian and Phrygian," Sammelbande der series, their (Leipzig), this respect IV (1902-1903), 156 in order to have become incorporated in an integrated system. the theorists, beginning with the two basic completed the system by using successive tones The dialogue of Socrates and The alternative to this conclusion and integrated modes, Dorian and Phrygian, quite and the names were given as primes, Glaucon mentions that arbitrarily. modes but the complete system, six is logically as given by Cleonides, a pupil of Aristoxenus, had seven. Diatonic Genus ID V » ** a m <* o o o ™ o -» » -*» » Hypodorian m Hypophrygian Hypolydian ^ 3E Dorian Phrygian ^ • 2.=E a Lydian m • m Mixolydian Besides the Diatonic genus there were in two derivative genera, the Chromatic and the Enharmonic? which the two intermediate notes of each of the fundamental _£k_ 3 -O- tetrachords, TT were altered in the following manner: Chromatic Enharmonic4 +* "Still another genus is W* o given by Emmanuel, the Neo-Chromatic. In this the tetrachord type was: m fr i|. 3E Q Maurice Emmanuel, Histoite de la Langue Musicale (Paris), Librairie Renouard, H. Laurens, Editeur, (1911), I, p. 8}. 'The sign -(- is here used to mark the diesis ( Sleai;. S^axtoxTi ) or quarter-tone. It represents a sound one-quarter of a tone above the note to which it is prefixed. 157 To the foregoing table must be added the following: Chromatic Genus =_jj^_jj£ 7. *1: ^ ~ *+ h^ -o »- l / l[ 7, Hypodorian #£ J£ ^ jK» b^ jg |g Hypophrygian o Phrygian 2. ^^ =rg=iF '-J Li' E Lydian g '*J' 1 0«EE£ TT gB^ Mixolydian Enharmonic Genus 7. V- ^ " Hypodorian .»*»*.£ - +- „,~ te | +. h . ? ^^ Hypophrygian fa Hypolydian i -»- + O n +* 1 " L bn _ === LjV ' i Dorian -E Phrygian • +* »• + *J go —1j il o " * +» I_ * + — Lydian i- ,v ! ^ 1 I Mixolydian The complete range was called the "Perfect System." gave opportunity for transposition. Two extra notes were added below and the b b 158 Perfect System m J? Besides this arrangement there appear to have been others. lists six modes of an enharmonic genus which appear one, the Dorian, is identical to *f For instance, Aristides Quintilianus have been in use about 450 Note B.C. that but 6 with Cleoneides' list. m +r D * Iastian (Ionian) s m Dorian m s -*•+• ti< '+* ti< Phrygian ^=^ *$*=& Lydian S m "Mixolydian Syntonolydian This does not exhaust the inventory of variations 7 of the subject of scale forms during the but- it is sufficient to illustrate the complexities Golden Age of Greek music, from the of the pre-Christian era, even before the baffling question of tonal functions Any contemporary gravity music is commonly is concept of designated as tonic. approached with wide divergence mode this as as to the is sixth to the fourth century considered. or scale inevitably includes as basic Difficulties are some tonal immediately encountered Among modern a prime preconception. 8 writers when center of ancient Greek on the period there Various conjectures have been advanced proper resolution of the problem. but instead of clarifying the situation, they have merely misled the casual student by lack of agreement There are several possible ways of construing the expressions of ancient writers on the subject of the proper tonic or tonics of the documented fact has Greek modes. Failure to mark clearly the line marred the work of some modern scholars and, ously compromised the value of the contribution. Three authors, however, statements, maintain their positions with considerable plausibility. proposed solutions are given below. It is only at least fair to say that between speculation and with Westphal's who 9 have made has seri- definite For purposes of comparison, the three Gevaert, in a later work, 10 modified his views somewhat. a.) Gevaert bases his conclusions on Gaudentius and lists three pairs of modes. pus (Problems, xix, 32). The further complication of Aristoxenus' fifteen t6voi is omitted from the study, the view being taken that these are For a brief account of theTdvoi in Grove's Dictionary of Music and Musicians (3d), New York, Macmillan (1935), II, pp. 441-^49. "Rudolph Westphal, Musik des grieschischen Alterthums (Leipzig, Viet, 1883). 10 F. A. Gevaert, Les Problemes Musicaux d'Aristote (Ghent, "keys" and as such, they merely duplicate the modes 1903). Theodore Reinach, La Musique Grecque p. (Paris, Payot, 1926), The list pitches by transposition. see the article 36, note 1. has been rearranged for purposes of comparison. 'Aristotle mentions Terpander's scale and the scale of at Olym- other "Greek Music," 159 o CR tonic of Hypolydian Lydian both m «» t >: Hypophrygian Phrygian tonic of both m tonic of Hypodorian Dorian both Speaking of the pairs of modes, he says, They both are related to the same fundamental sound. tonic is, They have but for the Lydian group, F; for the Phrygian group, G. Hypophrygian compositions, the final a single tonic, in the Their difference sound has the function of a tonic; in the is follows: as modern in sense: that Hypolydian and Lydian and Phrygian modes, it plays The melodies of modern music almost always end on the tonic. In the antique art it was mode ended on a dominant, the secondary mode, characterized by the syllable hypo, ended on the role of a dominant. not so; the principal a tonic; the and that difference was enough, from the viewpoint of the ancients, to modify the expressive character of melody. 11 The Dorian and Hypodorian have exactly the same treatment, according error by Gaudentius giving the tetrachordal division as b.) tones, E Differing from the above both in grouping of the Emmanuel comes to the following conclusions I. x* S .#. m 13 regarding c .» Dorian ^ -o- Final on pseudo- tonic ^Fundamental ^» =— m ^ Final on pseudo- dominant II /Fundamental m -*» Dorian o- ^ 3E Final on pseudo - tonic I ,k\: ° Fundamental o » m o Final on pseudo- dominant Mixolydian Idem., Histoire et Theorie de (Ghent, 1875), pp. 131-132. la Musique de I'Anliquite an component Fundamental .Q. -° u of the finals: Dorian Group (Hypodorian) Aeolian to Gevaert, in spite of E instead of E A E. modes and in the functions B "Ibid., pp. 139-142. "Emmanuel, op. cil., I, pp. 96-103. 160 II. Phrygio-Lydian Group zS Hypophrygian (Fundamental o -*» * ^ ^ Final on pseudo- tonic (lastian or Ionian) (Fundamental ^ Final on pseudo - dominant Phrygian o m /Fundamental o *- A m Final on pseudo- tonic Hypolydian m -» o f* » 1Fundamental ^ Final on pseudo - dominant Lydian Although the three modes and finals marked with an asterisk correspond exactly to three of two vaert's (Hypdorian, Hypophrygian, and Hypolydian), there the resemblance of the Each of Emmanuel's finals is the lowest degree of the scale whether (the fundamental) or the pseudodominant. work of c.) In his article Mese and Tonic in it as "Greek Music" in coincides with the pseudotonic it mode is the tonic." was not the lowest note of the mode. Grove's Dictionary of Music and Musicians, H. synonymous terms throughout. He concludes that ". . S. still Would this final 18 15 Mese some our modern tonic? Or to the effect that the then be the ancient equivalent of be tonic (Mese-tonality or A-tonality) and the where the melody ends on the third or perfect cadences Macran uses But, even in such case, could not the melodic final have been in every melody. note other than the Mese? Further- the only modality to be found . This view has support in the law of Greek music as stated by Aristotle would the Mese 14 final [Greek music] resembles that of our minor scale without the sharpened leading note." must predominate Ge- tables ceases. This condition finds no support in the statement that "no antiquity expressly states that the lowest note of the scale of a more, Gevaert takes the stand that the zee: fifth final be secondary as in our im- above the tonic? 17 G Major Folk Song $ ZEE isr icj w m& rrr In the absence of conclusive evidence, perhaps fuses to he is ^nu^^m u"^ 3d above tonic G Major it is G best to take the viewpoint of Reinach, commit himself on the question of finals in any mode except the Dorian. Mese a role only analgous to our tonic. Even who for the re- Dorian careful to ascribe to the "Gevaert, op. cit., p. "The Greeks 130. "Macran, Grove's Dictionary of Music and Musicians, p. 448. "Aristotle, Problems, xix, 20. II, on the modal also liked, occasionally, to third, "A" said, in this case, that Emmanuel, op. cit., I, end their melodies "B" in Ionian. the music became "intense". in Hypolydian, p. 177. It was 161 There are reasons for believing that the ancients have attributed to one of the notes of role analgous, at least under certain conditions, to that of our tonic in ; the octave, one can scarcely conceive the idea of a The mode without no doubt modal octaves a their where the range of the melodies exceeds truth, the existence of a directing note of the species. The mese is not only the principal tone of bond between the sounds, it is also the directing note 1 * of the melody. In all well-composed meio 19 the mese returns frequently; whenever the melody departs from it, it hastens to return. texts of Aristotle and his school leave in that regard . . . the music, the dies, He holds that even this conservative conclusion cannot serve as a valid basis for speculation about the tonics of all the ancient modes. more of the tonic becomes even Confronted with Was number writers have a is due partly to own many Or is it musical practice to is must be it realized, is prob- the meaning of this diversity? that the records are so fragmentary that possible that the lack of agreement lack of understanding? sufficiently close relationship to Since these and day? Is it their What of questions pose themselves. Greece the scene of a musical Tower of Babel? they cannot be interpreted? modes other than the Dorian, the question the 20 assortment of scales and genera, which, this varied ably far from complete, a "When we examine obscure." among the ancient theorists and Could it be that the written theory did not make it a valid record of the music of that other questions about Greek music will have to remain unanswered, much Reinach, however, is able to form certain conclusions. The Greek modes, and the barbaric modes adopted by the Greeks, were formed separately and spontaneously and, in the beginning, must have consisted of very varied types irreducible to the tuning of the Dorian lyre, which tuning was eventually to become the Panhellenic type. In the epoch of the greatest flowering of modal about . it . will remain conjectural. . music, from the sixth to the fifth centuries, the number of these types possible according to Hellenic principles of the eight-tone system. certain was even more than the seven primary ones As Greek art and civilization modes, through minor modifications, were adapted to the tuning of the Hellenic lyre something of a distinctive character; some took new names which indicated their relationship fundamental modes, the other were eliminated. 21 The reduction, translation, to one of the three . extra-diatonic elements, doubtless infiltrations same process of were consolidated, while yet conserving from the Orient, underwent concurrently and assimilation by the indigenous Greek this art after a relatively brief popularity. The whole enharmonic full attention frequently borrowed profound. species, bizarre as of the theorists its final it ; is it was, had a great popularity in the fifth century. the base of the system of notation lowest interval. In revenge, in the ; it It occupied the contaminated the other two species which fifth century, it fell into discredit as rapid as it was In the epoch of Aristoxanus, about 300, upon hearing an enharmonic melody some amateurs "vomited bile." 22 The enharmonic genus, although having disappeared from the actual music, nevertheless received attention as a historical fart from the later Greek theorists and writers. This has been a source of some confusion to the present understanding of the ancient music. Rejected henceforth from musical practice, nevertheless for several centuries the enharmonic continues to linger in teaching and theory. It had a factitious existence which has given to moderns a false impression about its real importance. 23 The tendency toward depuration Lydian and the Hypolydian, 24 progressed through the elimination, in the fourth century, of the to such an extreme that certain theorists contemporary with Aristotle, admitted only the Dorian and Phrygian, holding that the others were merely modifications. The chromatic genus was scales as is V|YE|ld)V. 28 "Ibid. ""Reinach, op. cit., "Ibid., p. 42. "Ibid., pp. 36-37. "Ibid., p. gradually discarded and Ptolemy (second century a.d.) being the only ones in use at that time: 18. p. 40. "Ibid., p. 37. "Ibid., p. 37-38. *lbid " P- 3§-39. 25 lists the following 162 Diatonic Dorian Diatonic Hypodorian -Si- Mixed Hypodorian* -o- 351 Phrygian Diatonic Hypophrygian *Note that this tetrachord is the only survivor of the Chromatic genus. we have now Since Greek music light of yields its arrived at the point leadership to where the history of Christian Church music begins and Rome, perhaps it is well to survey the Greek scale system in the legacy to the succeeding period. its Beginning with a single native diatonic species, the Dorian, Greek music in its long history was subjected to a variety of exotic influences: other modes, different tunings, the Chromatic and Enharmonic There were two discernible periods of modal eclecticism but the foreign elements were even- genera. tually assimilated: Iastian, etc.) new modes (Phrygian, Lydian, Greek system through readjusting the intonation of the alien scales (1) long before the greatest art period the several had become to that of the Dorian; part of a (2) after the close of the Golden prevailed and the bizarre genera (Chromatic, Enharmonic, to diatonism The Age etc.) the predilection for diatonism finally disappeared. The cycle from diatonism was complete. contributions of Greece to Christian civilization in the realm of scales may be partly summar- ized as follows: tonic a.) A b.) An c.) A system of seven-tone diatorac scales or modes based on tetrachords. emphasis on the fourth as a fundamental interval. conception of certain internal tonal functions, which, however vague, must have been analagous to our and dominant. d.) A theory of transposition. b f e ca d Chapter XVIII THE ECCLESIASTICAL MODES CHARACTERISTIC of the music of the early Christian Church shows Hellenic influence. The Every scale system a modified adaptation of the Greek system: the names of the scales are the same, is although with changed correspondence. The erable evolution, but the source of each characteristic But is the establishment of the Schola Cantorum in clearly discernible in the older system. Rome 475-524), Cassiodorus (ca. Ancient Greek music. For (ca. new Unfortunately, the system. 485-580), and Martianus Capella deal only with highly organized modes of the ninth century present several this reason, the answers to which must be sought in the body of music remaining from the formative period. In addition to the scales used in his time, Ptolemy (flt 140-1 60 a.d.) also modal system. 1 MESE SPECIES It is and the 1. Mixolydian A— 2. Lydian G-g 3. Phrygian 4. Dorian F— E— 5. Hypolydian D— G 6. Hypophrygian F 7. Hypodorian C— B— d C b a E not clear whether this was an invention of Ptolemy or whether an existing it represented a tabulation of In either case, his work seems to be the connecting link between the Greek scales practice. ecclesiastical The modes. latter were descibed in the writings of Notker (ca. 840-930), and "Pseudo-Hucbald" but must have been several centuries old these modes were formulated at least as early as the sixth century of the practice of the plain song dating from that time and even RANGE Dorian f Phrygian E-e b* Hypophrygian B-b a Hypodorian That others. FINAL D D a 1st, or 1st Authentic 2nd, or 1st Plagal Lydian F-f c Hypolydian C-c a F 6th, or 3rd Plagal Mixolydian G-g D-d d G G 8th, or 4th Plagal •later 912), Hucbald earlier. E E F Hypomixolydian tered. DOMINANT D-d A-a (d. at that time. does not appear too unlikely in view Greek names, there were two Besides the system of enumeration which used 2 seven octave listed which, by reason of the changing Mese, must be regarded as having the greatest significance for the subsequent It will For in spite of were no writers from the in the sixth century, there fourth century to the ninth to record the steps in the growth of the works of Boethius species, result of consid- these changes are well understood, the exact steps in the process are not. if riddles, the show the internal tonal functions c 3rd, or 4th, or 2nd Authentic 2nd Plagal 5th, or 3rd 7th, or 4th Authentic Authentic c be noted that the correspondence between the Greek names and the octave species has l>een How One this came about point of confusion is may have arisen by misinterpretation of the vn6 (under) which were used in an inverted sense to our point of view. mode, Hypodorian, and proceeding interpretation of the same al- not thoroughly understood, but there are some shrewd conjectures. to the vn6 mode, Mjxolydian, the Greek terms wrip (over) and Thus, by starting on the wuIq result is just the inverse of our instructions: 'Note that the Dorian (E-e) is the only one which exactly corresponds to the Greek modes; the others not only differ by reason of the shifting Mese but also by the inverted order of the names, ' Compare cf. the index, page 156. the scales Aristoxenus (p. 156). 163 of Ptolemy (p. 162) and those of 164 GREEK b-b (vot6) A (vjtep) W. S. ECCLESIASTICAL Hypodorian a-a Mixolydian g-g (over) c-c Lydian f-f d-d Phrygian e-e e-e Dorian f-f Hypolydian c-c g-g Hypophrygian b-b (under) a-a Hypodorian Rockstro says the d-d new nomenclature came about through Proslambanomenos, or disjunct note below the the Proslambanomenos gradually came |l limits of each mode. to be regarded as the T the usual practice of adding a This was applied to the Ptolemy 3 list; fundamental of the scale and the evolution names was complete. Thus the Dorian mode is found to have its seat as ever in the octave from E upwards, with a as its Mese or Dominant: but it now descends to D. Similarly the Phrygian has b for its dominant and E for its lowest note; while the Lydian has c and F, the Mixolydian d and G. 4 of the ecclestiastical . . . These had become Matters of far greater importance are the definite Dominants and Finals. were well understood and, their functions sense of the word. Although ". . . It is not too The modern much were modes as a consequence, the eight scales to claim that a new phenomenon had appeared principle (subject, however, to exception) dence take place on the tonic was stated for the first 6 (ca. evident from the music that this had been operative for at least four centuries. Too to weaken the tonality. The idea is and the misconception that tonality For a full discussion of this that is V—IV) are final ca- 990-1050), often is modern theory has commonly dubbed modal and modal music possessed no it In ascribing tonality to Violations of major-minor used the terms tonal and tonality as opposites of modal and modality. convention (such as the melodic 7 b -I or the harmonic modern in music; tonality. which requires that the time by Guido d'Arezzo" the old modes, due notice must be taken of the ambiguity of the term. in the fixed, tonality was are said fostered by this usage a unique attribute of the major-minor system has been general. matter see chapter ii. The eight modes were really four pairs, each pair having a common tonic or tonality of D, E, F, or G. The principle of the Final was firmly established in practice as well as in theory and, to a somewhat lesser extent, so was that of the Dominant of the Authentic modes. In the Plagal modes, the Dominants were more theoretical than practical, especially in multiple-voice writing. Quite evidently a device of theory to include melodies of lower ambit within the four (D, E, F, and G), the tonalities Plagal forms became difficult to distinguish from the Authentics after the introduction of Polyphony. organum and Notwithstanding the different Dominants, the distinction between the Authentic and its Plagal was not based on any essential difference of tonal function, but merely on melodic range. One must bear in mind that the Ecclesiastical modes, unlike the modern scales where the function is to determine the harmony, had instead as their function only to specify the compass of the melody; they marked the boundaries within which the voice could move. 6 Despite the artificiality little signifiof the distinction after the rise of polyphony, and despite the the Authentics, in the dominants between the Plagals and their respective cance attached to the differences its place in theory. modes to twelve but this a persistent tradition that Charlemagne increased the number of 7 was used as early as the thirteenth seems to have little foundation. Emmanuel says that the mode on century and it had existed long before that in its transposed form. Plagal system continued to occupy There is A __L. m 8 S. Rockstro, "Modes Ecclesiastical" in Grove's Diction- Music and Musicians (3d. ed.), Ill, "Reinach, La Musique Grecque, p. 44. ary of ^_ "Charles Nef, Htstoire de See above page 162. 'W. ~ p. 476. 39. p. ' Emmanuel, Histoire de la Musique (Palis, Payot, 1931), . la Langue Musicale, I, p. 286. . : : : 165 A more extravagant claim is "Kodex 169 that of the City Library of Leipzig dating from 900 A.D. proves a contemporary familiarity with twelve modes." famous work, the Dodecachordon, not only proved the existence of the mode on A, but also established that the C mode was in use. In each case he quoted music from the preceding He centuries to bear out his contentions and supplied the new modes with names from the Greek. Glareanus, 8 in his reasoned that upon each of the seven notes of the diatonic If the erected without accidentals. the order etc.), Plagal modes. series, c, d, Authentic division of each octave may be reversed to a fourth plus a The total number is now fourteen. is a fifth (g-c-g, a-d-a, etc.), Two g, a, e, f, fifth b, a scale plus a fourth may be ( c-g-c, d-a-d, forming seven accessory or of the fourteen, the Authentic b-f-b and the Plagal f-b-f were considered defective because of the diminished fifth b-f and the tritone f-b and so were This brought the system to its complete form of twelve practical modes plus two defective discarded. ones. Thus to the eight original ecclesiastical modes must be added the new: Original Modes PLAGAL AUTHENTIC Dorian: I Phrygian III V : Lydian: Mixolydian VII : Hypodorian: a-d-a IV Hypophrygian b-e-b VI Hypolydian: d-a-d II e-b-e f-c-f g-d-g VIII Glareanus' c-f-c Hypomixolydian d-g-d Additions a-e-a Hypoaeolian e-a-e Locrian:* b-f-b Hypolocrian* f-b-f Ionian: c-g-c Hypoionian: Aeolian : g-c-g •Defective modes. Glareanus argued that the Ionian was very agreeable, that was discriminated against instead of being frankly admitted. it already existed in practice, and that "The Ionian, the most common mode, it has 10 been banished in our time." This mode is most suitable for dancing: we found it most visited. You would find this mode very rarely in the works of the past four hundred years, they have changed it tribution my But, in has been so cherished by the Church singers, that, tempted by many Lydian songs its we opinion, for sweetness and charm, over to this mode. 11 This mutation of the Lydian by adding church singers. frequently used in the European regions that, the old Church composers. b* to form the Ionian was one of the abuses practiced by Glareanus disapproved the habit and called was that he brought theory up it His great con- "distortion" (torquere). to practice in the cases of the Aeolian and Ionian modes and so established their respectability. The dum, or b which appears single chromatic element h in the early period of This was used in two ways: (1) as an accidental . nature to transpose a Perfect System. The mode up a fourth. Apparently this 12 was a Church music to avoid the tritone is spite of their disagreement. music: the f-b, in the sig- in the Greek This may change the mode to the view of the matter but the partially account for the rare employment fact mode on C (modus must stand in of the Lydian which, be- h frequently used the b and so became identical with the hated mode of secular lascivius). 'Ruth Hannas, "The Evolution of Harmonic Consciousness" (Ph.D. Thesis, University of Rochester. 1934), p. 47. 'Henricus Glareanus, AOAEkAXOP AON " Note h use of h* as an accidental would, of course, have the effect of changing the mode. For true that the early theorists did not take this cause of the tritone the b-rotun- and (2) direct influence of the b instance, a flat introduced before the b of the Lydian would, as has been said, Ionian. It is Glareanus' statement that the Ionian is the first of the This was also the opinion of Gioseffe Zarlino in his armoniche (1558). "Glareanus, op. til. " Signum asininum, or asses' mark. series. lililutioni ) 166 Concurrently with the development of polyphony, more and more chromatics came into use. history is because most of the accidentals were difficult to trace Ficta eventually included the use of b h , e h , f, c%, Not only were and g'. the performers' taste. Their This Musica 13 two these chromatics used for the left to original purposes, transposition i.e., and avoid- ance of the tritone; another and more significant factor had appeared: the Clausula vera. This name was given to the most satisfactory cadence the essentials of which are that one voice fall a whole tone to the Final while another ascends a semitone to it. m The same effect Clausula subsidiaria. on other important tones of the scale was called Clausula media, Clausula ficta, or These cadences were impossible on the degrees of the scale where the descending tone was but a semitone above the Final. would form an Xk. -h interval of an augmented In such cases, the chromatic alteration of the ascending tone diminished third) (or sixth which was stylistically incon- gruous. ^ 6(t In order to heighten the cadential effect of those cases where the Clausula vera was precluded, became customary to alter the succeeding chord from minor to major (the effect now it called tierce de Picardie.) Si.- &E m These were the alterations usually left to be supplied by the performers; any chromatics which the composer judged would not be understood were written in. Among the first written directions form- ulated for the correct performance of Musica Ficta were those given by Johannes de Muris in his Ars Further developments were explained by Pietro Contrapuncti secundum (early fourteenth century). Aaron (early sixteenth century), Glareanus, 14 Zarlino, 15 Ludovico Zaccini, 16 and Cerone. 17 This continued expansion of chromaticism began to obscure the identity of the modes and even to threaten their existence as a system. the major-minor system, for much This may, with good reason, be regarded as a capitulation to is equally susceptible to both a modal and a of the later Musica Ficta major-minor explanation. Emmanuel gives an analysis of Palestrina's mass Aeterna Christi Munera and concludes that it is Tonal, i.e., major-minor, in its entirety. 1S Some other music of the period, notably Gesualdo's six-part madrigals which surely have their genesis in Musica Ficta, does not seem reconcilable with either the ecclesiastical modes or the major-minor. Gesualdo, Gia piasi nel dolore. Gia pia ~Ztr ^ do nel *i ife ^B~ pia C Major si nel * «* do Glareanus, op. i cit. Zarlino, op. cit. Zaccini, Ludovico : Prattica di musica utile et necessaria si - ^P #8 'M T gio lo ~o~ C Major L>] 13 la - ^pge R. O. Morris, Contrapuntal Technique in the Sixteenth Century (London, Oxford University Press, 1922), pp. 11-12. 14 Hor gio- lo Hor Gia 15 - anco al cantore (Venice, 1592-1619). Melopeo y Maestro (Naples, 1613)u Emmanuel, op. cit., II, pp. 409-411. (See, however, the distinction made between Tonality and Major in chap, ii, above. al compositore 17 Dom . . . si Pietro Cerone, El 167 mio il co Hor Even is partly as late as the beginning of the eighteenth century, music may be found in gio - which the concept modal and partly major-minor. Telemann, Fuge. 19 ij' & ff *-* j w * r ~m rna jr -jTT] 1 1 g g f f s ?=^^ ^ j y a g r j i < j i r t r [_rr ?=£ ^W "Georg (1731). f t ar-L^- of 20 r cJ-J GS3 Kleine Pugen » r P#£#£ ~^m 1 17^3 m 33 Telemann, No. 17 > i p r ^^ ^-^ i» ^^ Philipp gtf* ,uj A S m <d< m^_ * m i Sk^ J w m— —7W 5k J I m m= 168 tfBiB ^S oa ™P P=P 5 ^ ^ *nn PP s sa ^ P 3 ^ r3T i * p=p^ iw^j-n s= i a f g s J! J, 5 ^ n^l "TTf £ 3 J f P m P ^ LCtrtu »3U P p r j. j. r * p ^ This outline of the history of the ecclesiastical scales has dealt briefly with the more important The Church modes had their prototype in those of Greece although the two systems were not identical. The eight scales of the early Church, four Authentic and four Plagal, later became twelve, with six in each category. They possessed true modality and tonality by virtue of their fixed Finals and Domifacts. nants. Chromaticism, at first permitted as a license to ameliorate certain internal extended and the purity of the modes was thereby compromised. difficulties, began to be Eventually excessive employment of chromaticism led to deterioration of the modes and as will be shown in a later chapter, to the reestab- lishment of diatonism in another and more circumscribed form: major and minor tonality. Subsequent events have shown, however, that this apparent eclipse of the whole system by member (the Major) was but temporary. its most prominent Chapter XIX THE SCALES OF FOLK SONG music could not have generally conceded to be of great antiquity. Certainly the MUSIC FOLK Deen an "art" product. The archeological remains of many primitive peoples include some musical first is how instruments and indicate what the music was what musical effect early there like, since we can merely is was the urge The same an art product. is but latter category; all the them in their motets. more can be The but with sources of Greek There are various hints of a vigorous secular for the canti firmi of their masses, or included said concerning the age of that great body of folk music by a rote method which a high school student so aptly described to us part, There must have been considerable mutual influence Church composers frankly borrowed folk melodies Little its music remaining from that period seems to be true of early Christian music. since handed down give only a hint as to conjecture. musical activity paralleling that of the Church. It relics not clear where "art music", as distinct from "folk music," began. It is music were certainly of the ear." These for music. doubt that the human voice also played little "from as lip to does not seem likely that the substance of a good tune, any more than that of a good story, should ever be lost. There are those who claim that the original scales of folk that the diatonic scales arose through the addition of There is same extent the historic universality of the pentatonic scale present musical practice of almost every country 2 Duhamel Nearly 3 filled in and Modern scale. musical science which may be found in the past or - hypothesis that the diatonic is common to modes were the property most of the world. He adds that the seven-tone diatonic modes. have been filled in, and the nations who use them are familiar with other notes rise to the the pentatonic scales all . says that the pentatonic scale and so gave believe 1 . discusses Bourgault-Ducoudray's of the Aryan race who in the "gaps." of course no doubt of the relative universality of the Western diatonic also accepts to the gaps were two tones song were pentatonic, and besides the curious and characteristic formula of five; but in the background of their musical feeling the original foundation of their system remains These pentatonic scales intact. 4 have been conveniently tabulated as follows. 5 Pentatonic (or Gapped) Scales Mode TT~ I ~n~ "TT Mode '# Mode «» -o~ III P= TT « o " T- Mode IV TT~ Mode V 'Joseph Yasser, A Theory of Evolving Tonality (New Maurice Duhamel, Les 1 5 Modes de la Musique Bretonne (Paris, Rouart, Ijirolle ct Cie., 1911), pp. 50-56. "The difficulty of defining P on the value of such a thesis. Gaelic 4 Annie G. Gilchrist, "Note on the Modal System of Tunes," Journal of the Polk-Song Society, (Dec, 1911) PP- York, Library of Musicology, 1932), p. 335. * O 152-53. "Aryan race" throws grave doubts "Ibid., pp. 150-153. 1<59 w 170 Most give some lows. of the melodies in the Frances 6 Tolmie Collection are pentatonic and seem (Six- and seven-tone 2 5 7 7 1 impossible to relate any of these scales to a particular seven-tone mode, since either of the two "gaps" of the five-tone ceivably To scales are omitted.) Mode I Mode II Mode III Mode IV Mode V It is primitive. idea of the comparative frequencies of these scales, this collection has been classified as fol- become any series, if filled in, might have two forms or (} b Mode Pentatonic ). I might con- of the following: * * Major o «i «i P «* P ~"~ * Mixolydian ^— «> Dorian \> " » — ^ —^ Minor ' * ~TT The same holds These are true for hexatonic scales. less common and probably represent an inter- mediate stage between the pentatonic and the septatonic. Although some forms are very to the ecclesiastical the rare, the seven-tone diatonic scales of folk modes but without the Minor mode with leading tone but theoretical dominants, etc. song exactly correspond There are some folk melodies these are usually regarded as having been altered from the nal Dorian and Aeolian by "trained" musicians, or else adopted by folk singers from composed Fortlage ture. 7 in origilitera- quotes a Swedish melody which has been changed from Aeolian to Minor by altering the seventh degree. Swedish Air, Original E Aeolian r»r i cjt ,r E Minor Oettingen 8 discusses the of their songs: they sing the organ! 9 Much n m Ibid., J tells notice has been taken of the preference certain peoples have modal versions over those in * how strongly the Esthonians resist such mutilations even when the leading tone is played by an accompanying same matter and minor seventh u\ u Altered which modifications are introduced shown for traditional for reconciliation with Major-minor practice. Mr. Curwin, in reference much Doric says: "In Wales, both North and South, this mode is modern minor mode, and popular tunes printed in one mode are sung in the to the ecclesiastical preferred to the Lah mode, the . . . other." 10 8 Tolmie Collection", Journal of the Folk-Song (Dec, 1911). Karl Fortlage, Das Musicalhche System der Griechen in "Frances Society * seiner Urgestalt (Leipzig, 1847), p. 130. s Dr. Artur von Oettingen, Harmoniesystem in dualer Ent- wickelung (Leipzig, 1866), pp. 97-98. "Ibid., p. 113. 10 H. Helmholtz, Sensations of Tone for the Theory of Music, trans. as a Physiological Basis Alexander Longmans, Green, and Co., 1875), p. 441. J. Ellis (London, 171 Someone rearranged the Gaelic church service hymns, raising the sevenths, to make them "modern." But when it came to practice, the discord that resulted between the few who could sing the raised seventh and the many who could not, made them quickly return to the old way. 11 Even music, it be true that the major seventh degree in Minor if it often impossible to distinguish altered Dorian is adopted bodily into folk Phrygian, 12 literature. modes were adopted etc., a process of synthesis the two Then there is not natural to Western European folk and Aeolian folk songs from songs the question of whether or not the Dorian, Aeolian, is music from the Church. into secular art conceivable that through It is and Pentatonic, being congruent, could have com- scale systems, ecclesiastical bined to form a more comprehensive and dynamic set of folk scales. In British folk-music the Dorian is on the whole the commonest of the old modes the Mixolydian and Aeolian come next (though in England the latter is considerably less frequently met with than the other two), the Phrygian is distinctly rare, and the Lydian is almost unknown. Sometimes, however, the tonalities become confused (a Mixolydian scale with an occasionally flattened third is fairly often noticeable) or the same melody is found in different modes, as well as, perhaps, in the ordinary major scale also; the minor scale is by no means common. 13 ; In one study of old English popular music . . . it was found that out of 118 tunes, there are: 44 Dorian, 19 Mixolydian, 12 Aeolian, making 75 together. Most of the other 43 are major. 14 The following from 1899 to tabulation of the folk songs which appeared in the Journal of the Folk-Song Society 1931 should give some idea of mode frequencies. melodies foreign to the British viously from such works Isles, (b) the revival hymn and (d) as the Beggar's Opera, Omitted from the count were: tunes in sailors Volume VIII, (c) melodies ob- much songs which show too (a) music-hall Under the heading Doubtful are included pentatonic and hexatonic tunes (usually street and melodies of mixed mode, i.e., changing mode. Never is there an interval of an augmented influence. cries), second. Tabulation of Modal Frequencies in English Folk Songs Data from the journal of the Folk-Song Society, London, J c Ul -3 Years 19051906 19071909 19101911 19141916 19181921 19221926 1927- 23 1 22 14 2 6 II 140 40 1 28 46 4 22 III 59 41 1 23 36 7 25 IV 47 12 5 13 3 6 V 131 20 25 24 3 39 10 16 1 19 11 12 i_) la VII 89 33 15 28 9 69 VIII 77 26 17 26 3 37 635 200 145 203 1 32 223 14 ~ 2 15 44 2b 5 3 3 14 0.2 10 0.2 lc (1921). p. 246. (Boston, Oliver tered folk tunes 13 p. vii. In view of this fact no attempt has been made to "restore" and adopted the frequency of the Aeolian modes of folk music. The reader is simply advised to bear in mind that whether or not he believes the Minor scale with major seventh is intrinsic to folk lore, any group of folk p. of the this scale is likely to contain examples of al- art songs. A History of Music in England (London, Oxford University Press, 1924), p. 315. The statement about Ernest Walker, the one or to eliminate the other in the frequency tabulation melodies using Q h3 84 Helen Hopekirk, Seventy Scottish Songs Ditson Co., 1905), a. VI centage ; O 108 Total Ibid. (1918). p. 191 Ibid. (1918). p. 10. 3 c I Per- b. < -U> o u o Q 1931 c. o % > 18991904 c a "o .2 Ul "o "3 c a '5b is not borne out by the table on 171, below. "E. F. Jacques, "Modal Survivals of the Folk-Song Society (1899), p. 6. in Folk-Song," Journal 172 In France there exists no such large collection for purposes of comparison. group by D'Indy and Tiersot deductions are not as that gathered valid, From such a small but nevertheless there seems to be some indication that a broad survey might reveal a great difference in the modal percentages between French and English folk song. A tabulation of modal frequencies in French folk songs Aeolian Phrygian Dorian Doubtful 16 Major 8 8 2 3 nent in Castile and Andalusia. is . G from altered . a, g f, , e to a, The modes found . A and k modes) In the latter is some Moroccan g , f, 1 and the cadence e. song include Dorian, Phrygian, Mixolydian, and Aeolian (D, E, Among and plagal forms. twenty or more Aldus in the collection of the Archae- ological Society of Pontevedra, 5 are Hypodorian, 5 Mixolydian, 4 Hypophrygian, phrygian, 4 Lydian, especially promi- is influence % in Galician popular in their authentic province there shows: 13 The Phrygian cadence Spanish folk music makes use of most of the modes. 15 Phrygian and 1 Hypomixolydian. 4 Lydian, 5 Mixolydian, 4 Hypo- characteristic of Galician tunes is the resemblance Another The of some of them to Gregorian melodies, not only in the mode, but also in melodic formula and cadence. difference is A ... rhythmical, not melodic. 17 constant feature of southern Spanish folk-music (and of the works of Granados and Albeniz) currence of the fourth The mode 'Phrygian' cadence, with its drop of a semitone to the folk songs of Italy have so long been under the influence of art music that sible to estimate their modal frequencies. The diatonic modes seem to the re- it is no longer pos- have been employed, since a few Lydian tunes have been found, and, especially at Naples, the Phrygian feeling The is final. 18 is strong even today. Volkslieder and the songs of the Minnesingers and Meistersingers were originally founded on the diatonic modes but the Major and Minor modes did not begin to make their appearance until the In Bohemian folk song the Major mode predominates, although there are many fifteenth century. modal tonic On tunes. the other hand, the folk songs of Moravia are about equally divided between the dia- modes and the Major. Although Magyar music, Hungarian folk song The augmented second is not so frequently found as is exotic influences are seen in shows some instances of Dorian and Phrygian. generally supposed. modal scale. Many old Finnish songs have a range of but a fifth; others exhibit a complete Scandinavian music has a peculiar feature in that the melodies often begin in the Minor mode and end especially the in the Major, or vice versa. Mixolydian and Phrygian. Many songs, however, make use of other diatonic scales, Iceland has been untouched by art-music influences of the past three centuries and consequently retains the Original scale forms. All the diatonic but the Lydian To it modes are found, preferred. such a degree does the Lydian as a valid that is mark of the genuine mode determine Icelandic. the character of Icelandic melodies that Even today the Lydian might be called the Icelandic mode. Nearly two parts sung in parallel fifths], are in all [ttvisongur: this scale still turns up it may be regarded so often that one almost feels melodies which were characteristically sung mode. The as twinsongs diabolus [tritone], formerly so dreaded, was introduced without hesitation. 19 In most cases where one meets inaccuracies in the collected melodies of Russian folk-songs, either to (1) faulty notation or (2) faulty harmonization because of the compromise that is are due made between the these modes and the modern ones [Major-minor] Folk-songs are marked by their strict adherence to a modality. Most of the songs are in the four following modes: 20 Phrygian, Dorian, Major, and Aeolian. 21 ancient . The most important modes Mode of the Prophets). "This Vincent d'Indy, and Julien Tiersot, Chansons Populates Vharais it Vecors (Paris, 1892). Recueillies dais le mode change none could possibly be classified as belonging to the Minor mode. "J. B. Trend, "Song: Spain and the Basque Country," Grove's Dictionary of Music and Musicians (3d ed.), V, pp. 10-11. "This group includes only songs which have a or which lack a complete scale: ™Idem, "Morales, Cristobal," single of Jewish music are the Phrygian {Pentateuch mode), the Dorian, and Aeolian (both recognized forms of the 15 . Grove's Dictionary of Music [Mode of the Prophet] is the stand- and Musicians (3d ed.). Ill, p. 511. l0 Angul Hammerich, "Sludien iiber islandische Mus<k," in (1899-1900), p. 347. the Russian text the Greek nomenclature was used and the list was: Dorian, Phrygian, Lydian, and Locrian. "Julius Nicholaevich Melgounov, "On Russian National S.l.M. "In Music." 3THorpa<|(HiecRoe OQcspeH'He (Moscow, 1890), VI, p. 133-134. 173 ard scale of Jewish music, not only in the Synagogue song but also in folk-song. of all Jewish folk-song From is the foregoing based upon it is Nearly 80 per cent 22 it." apparent that it would be unsafe to venture more detailed conclusions than the following about the scales in the folk music of Western civilization. a.) The most b.) Apparently the septatonic scales came primitive scales of which there the Pentatonic by filling in the larger intervals or is any knowledge are the Pentatonic. later ( and may be regarded (1) 2) as adaptations as developments of from the Church which could be readily articulated with the five-tone scales through a process of confluence. c.) All the diatonic modes, with the possible exception of the Locrian, are well established in folk latter, however, is not unknown as was shown above, chap, xiv.) (The music. d.) The Minor mode with leading tone is denote an art influence. ™ A. Z. Idelsohn, (New Jewha Music in its Historical York, Henry Holt and Co., 1929), p. Development 50. found in folk song, although its presence there may XX AND GROWTH Chapter GENESIS OF THE MAJOR-MINOR SYSTEM ike L the modern Major Ionian, the any resemblance and the influence scale is a C-c type. The only the ancient Lydian; this similarity is final is scale in Greek music to which very superficial, since the Mese, is a, it bears had great uncertain (see chap, xvii): O m m XC (music example) The between ancient and modern tuning would also preclude any but a differences Of the original eight ecclesiastical modes, not one can be said to resemble the only one of the C-c type is the Hypolydian, but was introduced into the Lydian Glareanus grounds for his the slight correspondence. fifth, its final is F and its dominant modern Major. The When, however, is a. for the purpose of avoiding the tritone, the resultant type, C-c, thesis: the existence in practice of the Ionian. b h gave This scale Glareanus divides at which, but for Pythagorean tuning, gives the same diatonic form as the Major. Gerbert quotes a passage from the late thirteenth-century work, Lucidarium musicae planae, by Marchettus of Padua, "With any kind and sweeter which seems to prove that the Lydian had even then degenerated into the Ionian. of ascending cadence into the fifth above, the utterance of such notes is more agreeable 1 more adapted to singing." The hexachordal system invented by Guido seems to point to C-c type influence which would place Ionian existence as early as the eleventh century. Taken together, the two upper hexachords form a C-c to the ear, and is type scale of an octave and a third. type scale is Since the B (fa) of the lowest hexachord B is b (B-molle), the Gc again formed by the two adjoining hexacords. Guido's Hexachord System ut re ut re mi fa sol la F G A B g D ut re mi fa sol la E F G HexacBrdum Hexacordum molle naturale In his Musicalhches Lexicon (1732), Walther gives a A mi fa sol la CPE B Hexacordum durum list which there are no Lydian examples. He says that, according 2 Lydian degenerated into the Ionian "183 years ago." of Lutheran hymns to Raselius (d. classified by mode in 1602) and Snegassius, the Nor was the Lydian the only old mode to yield to the Ionian. Glareanus records that the "Mixolymode was in the greatest use by the old Church composers, but in our time iS almost unknown." The alterations permitted under the rules of Musica Ficta tended to convert the Mixolydian to the Ionian by the use of f in the cadence. The process was not limited to the Lydian and Mixolydian; the dian minor modes coalesced to form but one composite minor. 1 Martin Gerbert von musica sacra potissimum 2 Hornau, Scriptores (St. Blaise, 1784), ecclesiastic: III, 1732), p. 410. "Henricus Glareanus, de pp. 110-111. Johann Gottfried Walther, Musicalisches Lexicon ( Leipzig, 174 AQAEKAXOPAON, II, p. 133-134. 175 ... by became the constant substitution cf b h for b forms of the Aeolian and Ionian respectively, so that really virtually transposed left instead of good deal of The identity, its sixteenth and we have only four modes Moreover, the Mixolydian (G) mode, thanks to the sharpening of the / at the cadence, lost a personality, and tended to merge into the Ionian, though its capitulation was not so abject as that of six. actually appeared in the signature. 4 whose b b the Lydian, (under the laws of Musica Ficta), the Dorian and Lydian modes merge to Modal System century two general into . . . was a compromise, in foreshadowing our types, clearly which the all modes tended own major and minor to lose their scales. 5 we see all the old modes dividing themselves into two groups (this some were swallowed up by the Major mode, the others by the Minor mode ... At the end of the seventeenth century, this simplification was a fact, fixed and definitive." In the half of the sixteenth century last observation does not apply to folk-song) : Thus, graphically: Lydian ^^^m~ Ionian _^ Ionian (which became Major) Mixolydian- Dorian -^^^^^ Aeolian [Phrygian]— The Ionian mode was and p. 165), it development of The also "" Aeolian (which became Minor) " the predominant must have exerted mode of folk song as was noted by Glareanus (see above, a strong influence on the prevailing modes and the course of art music. reason behind the eventual supremacy of the Major thirds (the Lydian and the Mixolydian) proved for consonance and tonality, The natural than another. ever, be accounted for it is is not useless to try to explain shown preference mode over to deduce. difficult for the on purely musical grounds. the other scales with major Until a definite physical basis by mathematics why one Major during the past three centuries The strongest cadence formula is is more may, how- scale is founded on the Clausula vera: $ *> *» T why Just lished, this is so is impossible to explain but the fact can hardly be denied. Granting this as estab- immediately becomes clear that the Clausula vera cannot be used in connection with the it Mixolydian, since this scale has a seventh degree a whole tone below the tonic. the possibility of such a close but its characteristic interval, the tritone, ( the The Lydian scale gives augmented fourth between the tonic and the fourth degree) has been avoided as an abhorrent melodic interval since early Christian times. The The Major mode establishment of the system was is thus the logical choice. period from 1500 to 1700 discussed, and even we know may be called the transition period as major-minor. after the disappearance of In Chapter trina belong to the last the early existence of the Ionian and established. des Pres, Willaert, Certon, Morales, Cabezon, Andrea Gabrieli, and Pales- period of the old Church modes. Their cadences may be said those of the major-minor system because of the alterations permitted by Musica Ficta. reduces most of the these be modes to the Ionian or Aeolian two modes did not conform made many which sound -Ibid., p. 65. major-minor system. The same estimate Gabrieli, but the Ionian influence is may even Tonal, witness the following example: 'Morris, Contrapuntal Technique in the 16th Century, pp. 13-14. to resemble This treatment (sometimes Dorian), but the progressions within to the conventions of the of the works of Sweelinck, Schiitz, and Giovanni stronger and there are to the most of the other modes, the conventions which define the classic major-minor system had yet to be evolved The composers Josquin XVII from the old modes "Jules Combarieu, "Cours du College de France," La Revue Musicale (Jan. 1, 1906), pp. 16-17. 176 Der Jiingling Schiitz, Auferstehungs-Historie. im Grabe J £ » Ent P S euch setzt - i J ent- setzt nicht, euch Ich nicht. weiss, ^ J ?=£ D i »• H It t dass su ihr i chet - Je i=f sum von Na - ^ 4. Ich weiss, dass za - i J chet Je J su ihr - reth, - den ge ij>J E J>fj sum von Na - za-reth, er ist auf hie, er ist auf # « I m m j /f d zig * * ten, er d den ge-kreu-zig ' - )3 4 hie, * ' 1 ' ten, r (H)8 i * d er ist p P3 nicht r i>r I virginalists exhibit a ^ compromise between the old and the new. principally Ionian with occasional lapses into other modes. on which diatonic system and modern tonality nicht s Byrd (1542-1623) and the other The music seems The ist u m > w m kreu . . . music was based may be said to bridge the gulf between modality this virginal but in this transitional, wholly experimental period there was no divorce between the major and the minor, resulting in a freedom from constraint that made for rapid progress. 7 By Purcell's time (ca. 1658-1695) the major-minor system was fully established in England al- though infrequent "pseudo-modal" passages can be discovered in Dido and Aeneas and King Arthur. Especially in some of the final cadences of his Church music does Purcell show that modal feeling had not entirely died. To the early (See above, chap, vi.) homophonic composers, V Peri, Caccini, Cavalieri, and especially to Monteverdi (who 7 is must go a large share of the credit for fixing major-minor Monteverdi is no modality in the works of this group. particularly seems able to write in both styles: his Church music belongs to the older order. Viadana and Cavalli must also be given credit for their part in the formation of the new style. The works of Frescobaldi, Froberger, and Buxtehude represent successive steps in the advancement of the Major-minor credited with the introduction of the tonality. system. It ), must not be thought that there Buxtehude's compositions are almost wholly tonal, with only an occasional modal touch. ' Hilda Andrews, Preface to My Ladye Nevelh Booke, William Byrd (London, Curwen and Sons, 1926), p. xxviii. by- 177 With the advent of Tonal Period had Bach and Handel the fully arrived and its transitional, experimental period conventions were firmly established. came to a close: The modal traces the be to found in Bach are almost invariably due to the use of traditional modal chorale melodies. It was Rameau 8 who reduced the new system paper the results of a long period of experiment by to theory, but, like Glareanus, many composers. he merely put on His theories have had great im- portance for music ever since, although certain hypotheses have been forced to yield to more thorough investigation. The Major-minor system not yet complete. has continued to develop within Beethoven added to the lucid system of Wagner, Gounod, Franck, Chabrier, and of tonality. The not be further discussed in these pages. scales was gone. The Minor quest for fresh tonal means led limits and the process, even today, is Berlioz, Chopin, Liszt, contributions without violating the spirit been traced by many authors and need of the past century the novelty of the two composers to experiment with other scales with All during the Romantic period there was an movement grew in strength and importance until the twenwhen the diatonic modes became a powerful factor in the musical resources of almost composer. The history of this development is the concern of the second part of Book Two. undercurrent of modality and gradually this tieth century, 8 scales has By the beginning the result that the wider diatonic horizon reappeared. every made Strauss each course of the Major and its Mozart and Haydn. Jean-Philippe Rameau, Traite de I'harmonie (Paris, Ballard, 1722). Idem. Demonstration du principe de I'harmonie (Paris, 1750). XXI Chapter THE MINOR MODE the point From times characterize much as it is Minor of view of the diatonic system, the it that of a "Mineur batard," as 1 but now more serious; either to the other and a mere touch of the brush when easy and imperceptible; is is not that of an independent scale so complement of the Major. They both Strange that one should feel major and minor as opposites. joyous, so irregular that French writers some- is position its it suffices to turn the represent the same face, The one into the other. occurs frequently and swiftly, the two begin to now more passage from shimmer and indistinguishably. 2 coalesce It is only necessary to consider the two qualities of the Major and Minor to solve the riddle of their partial correspondence. In the quality of modality, they are certainly unlike: Major Scale Minor ^ Scale HE $jgi jBjgjj m In the matter of tonality, however, they are identical, since the conditions of maintaining that tonality correspond exactly. It is (See chap. ii. ) usually said that the Major imposes the latter's seventh degree to the leading tone. et lui has impose of a half-step, It is in Emmanuel which is minor ii scale." and iv, Major mode appeared and was used It is "asservit le mineur more is as often by 4 As has been shown above, modes coalesced into two types, not upheld by history. through the practice of Musica Ficta the ecclesiastical The Clausula one major (Ionian), the other minor (Aeolian). Lydian. modern epoch third than the artificial imitation of the cadence, found in the major a small point, perhaps, but such a position Chapter says that the cadences caracteristiques du regime majeur"* and Schonberg agrees that "the minor scale particular characteristic less in the its means les cadence formulae on the Minor, causing the alteration of its vera had existed long before the true with the Dorian and Aeolian as with the Ionian and accurate to claim that the basic cadential and other conventions definitive of the Tonal Period were developed simultaneously and that the Major and Minor modes are themselves part of these conventions. Although the form of the Minor which emerged at the end of the evolutionary process was Aeolian, plus the modifications necessary for conformity to the exigencies of tonal practice, there indecision between the Aeolian and the Dorian. Visible evidence of the struggle of the seventeenth and early eighteenth centuries. "minor keys requiring flats 1 Emmanuel, Histoire de a Ferruccio Busoni, Sketch of a Dr. Th. Baker 3 Emmanuel, (New op. cit., la were written with one Langue Musicale, New I, to flat less is the Minor signature and through the Bach-Handel period the than are the same key signatures of today."" 'Arnold Schonberg, "Problems of Harmony," Modern Music 5. (May-June, 1934), Esthetic of Music, trans. York, G. Schirmer, 1911), I, p. Up was a period of ° p. 27. C. W. Pearce, p. 171. Modern Academic Counterpoint Winthrop Rogers, 1914), p. 6. 178 p. 16. ( London, — 179 Buxtehude, Passacaille. D Minor (without the signature) Bl> Handel's Acts and Galatea and Bach's D-minor organ fugue (the so-called Dorian Fugue) cited as late examples of this practice, may be although in some modern editions the original signature has not been preserved. The Dorian from sition signature for the ecclesiastical derivative of the Dorian, modal i.e., Minor has given had the 3 Scale (Melodic-Dorian form) 1 P tran- major or "Dorian" sixth degree. characteristic Minor $ some time during the major-minor system the preferred form was a practice to that of the it the idea that at rise to -o~ Pearce says, "The minor key-signature of the period subsequent to the time of Bach and Handel extending to the present day tical —would seem from the Aeolian mode." scale 6 . with that of the Dorian mode." The same view is held by to suggest some sort of derivation of But that "the original form of the minor scale the modern minor seems to have been iden- 7 Emmanuel 8 but he makes disappear by the sixteenth century. Sometimes, and beginning with the sixteenth century — it is it clear that the a general tendency Dorian form had begun to — one lowered by a chromatic semitone the sixth degree of the descending scale in order to agree with the dimorphic minor consecrated by J. S. Bach.9 Minor J , If Scale (Melodic- Aeolian form) ^^ H' ~T5~ In spite of these opinions there seems to be insufficient evidence for concluding that the Dorian was the original form of the modern Minor. The Dorian the transposition of the Dorian Glareanus showed, mode — but, as mised by lowering the sixth degree, making and seventeenth centuries sixteenth, fails to deed, the truth seems to be just the reverse. it signature can be explained as deriving from actually Aeolian. mode was this frequently compro- Research in the music of the fifteenth, reveal a predilection for the Dorian over the Aeolian; in10 In view of these facts, we must deduce that for a long time the two modes were both regarded as legitimate and neither was used to the exclusion of the other, although eventually the Aeolian form came to be preferred. From one scale has a point of view the Dorian is still represented in the major sixth degree in the ascending form and Pearce is modern Minor mode. The Melodic quite justified in referring to it as the 11 Thus "our Minor mode appears to be a combination of the Dorian and Aeolian." 12 The melodic form was used by Bach, Rameau, and Kirnberger, 13 and also by the virginal com- "Dorian sixth." posers. "Ibid., p. 7 Ibid., p. 17. ture) 15. use of "Emmanuel: 'Ibid., 10 p. op. cil„ II, J. D II, p. " the mode is frequently reduced to Aeolian by the W>. Pearce, op. 13 For example, the Auferslehung-Historie by Schiitz is writDorian mode on (no sharps or flats in the signa- ten in the 11 pp. 289-292. 15. yet cit., p. 21. A. P. Spitta, Bach (Leipzig, Breitkopf und Hii.rtelj.1880), 610. Ibid. 180 Byrd, Ladye Nevells Book, No. 10. ^= m «: mT ~TT~ rr r ^ ^ J |J TT i -01. TT 33= C Minor (Melodic form) Dorian signature Among the madrigalists, however, Morris has noted: Byrd's frank abandonment of both the Dorian and Phrygian modes. hardly an exception, in the Aeolian mode, both in with two flats, this practice which are not left to the tender mercies of he was followed by all Musica According to that the course, Spitta, 15 Werkmeister, in his effect is D with one that of an intentional archaism later (in his . "Hark or . G In Alle- 14 . , Musikalische Paradoxal-Dis- In his Handschriftliche Musiklebre, his position to a preference for the Aeolian. Johann Gottfried Walther taught both forms. flat, key signature) Harmonologia musica (1702), agreed with Rosenmiiller Dorian was the better representative of the Minor but 1707) changed (i.e., Ficta, but boldly inserted as a the great madrigalists; here and there (as for instance in Morley's you find a piece of deliberate modal writing: but the lulia") His "minor" movements are written, with natural and transposed forms its 18 Basing his opinion on the music and on the Clavierbuch Bach recognized only the Aeolian form (meaning the Anna M. Backs (1725), Spitta declares that melodic- Aeolian form). In general, Bach's music attests the validity of this conclusion, but he did not consider himself irrevocably bound, because he sometimes chose the Dorian form. - C-Minor W'ell-tempered Clavier, Bach, Fugue II. C Minor Dorian form Melodic Aeolian form Although it is seldom employed in complete customary modern Minor scale pre- scale form, the serves the Aeolian minor-sixth degree in spite of the augmented second. This is called the harmonic form. ^ $ This scale Satze. 17 is said to Minor < m ~rt~ Ij Mizler, in his Musikalische Bibliothek, to the Musikalischen Wissenschaften at Leipzig in (Harmonic form) ^~=b have been invented by Lingke and 13 Scale is described in his Musikalischen Haupt- gives an account of how Lingke 1744, and relates that it proposed this scale was approved by the mem- bers. The reasons behind the final triumph of the Aeolian form of the for facile analysis. " Morris, op. "Spitta, op. 10 Ibid. cit., cit., The comparative blandness p. 65. II, p. 610. Minor are perhaps too subtle of the Dorian with identical tetrachords " 18 P. 16 Vol. ff. Ill, p. 360. 181 o as well as its major IV character due to and its triad = o may = " «» offers greater contrast to the the most "minor." ° " M (T) "^ Major because of the minor IV is has more If, however, the question had logical choice since it is Neither the Locrian nor the Phrygian permitted the necessary dominant caden- suggested by Combarieu relative Major, opposes better the cially triad. the Locrian would have been the conventions and for that reason were not available. the Aeolian The Aeolian help explain the outcome of the struggle. dissimilar tetrachords, been decided on degree of contrast alone, tial S T who 19 Another possible reason for the choice of says that the chord a-c-e, which includes chord c-e-g than would the relative Dorian c, the tonic of the 20 d-f-a. This is espe- understandable in the light of key relationships for succeeding movements of an integrated work. 1,1 There have been some attempts to use the Phrygian as minor with major-minor V formulae. See above, chap. xv. a M Combarieu, op. cit., p. 427. Part II: The Genesis of the Harmonic Modes Chapter XXII THE USE OF THE ECCLESIASTICAL MODES BY BACH AND HANDEL The theories modes of the and of the early Church were formulated by of Ancient Greece whose musical outlook was monodic. So long tions music consisted of a single melody as when chant, the original theories were adequate, but plural line or melody was introduced some modifica- were necessary and thus arose the convention of construing the mode of polyphonic music Such a practice was logical enough so long that of the Cantus Firmus. in the foreground but, as men as the to be Cantus Firmus was kept polyphony developed, the Cantus Firmus was more and more obscured by the was eventually to disappear altogether. By the time this happened, a complete system, had given way to the major-minor system and Tonality. richness of the counterpoint and Ecclesiastical Modality, as The Tonal 1600 may be said to extend approximately from to 1900. It in period, the period of major-minor dominance, should not be thought that there was no manifestation of the modes during the three centuries: Western civilization the system of the Diatonic inator of all scale systems Major scale and its and has had a satellite, Modes ( the seven basic types) Book One, Part the common denom- significant role in this as in every other musical period. the Minor, are but a partial expression of the whole during their ascendency the complete system of Diatonic Modes made above, is itself felt The of diatonism and through modulation (see Besides this evidence of the roundabout influence of the diatonic norm, II). When, after as will be demonstrated in the next chapters. having thoroughly exploited the major-minor scales and modulation, composers began to seek fresh means the modes per se never wholly disappeared, Modes returned to general favor. This latest manifestation is not a is a new facet of the eternal scale system of Western civilization. Whereas the theory of the modes of the Greeks and the early Christian Church was a monodic concept and that of the Middle Ages and the Renaissance was contrapuntal, the modern usage is harmonic. The Harmonic Modes, as they may be called, were formed through the conjunction of a number of folk and art influences. Practice derived from superimposing some of the major-minor of expression, the basic Diatonic restoration of earlier practice: it harmonic techniques on the extra-major-minor diatonic development of the Harmonic Modes chapters together with Chapter xxx scales. Chapters xxv through xxix trace the in the several countries during the nineteenth century, illustrate the practices which are the technical and these basis of the modern diatonic style. The works of Bach and Handel are usually conceded to be uncompromisingly Tonal and these two masters are considered the first composers whose writings entirely conform to the conventions associated with the major-minor system. That this was a conscious choice on their part can hardly be doubted, since not only must they have been thoroughly grounded in modal theory but they were also acquainted with the modal music of their predecessors. In Handel's work we find very little trace of any modal influence. abrupt and surprising harmonies in the recitatives, but the effect is There are occasional rather hardly modal. Perhaps such pro- gressions were dictated by the exigencies of the particular dramatic inflection desired by the composer. There are, however, a few instances which cannot be so readily dismissed. Handel never wrote pieces which are wholly modal: the harmony always reverts to conventional practice somewhere in the course of the work. Such regressions are usually introduced to effect an emphatic cadence or an unmistakable modulation. 185 These characteristics, it may be added, are found in — 186 the music of many a later composer whose habits of thought were major-minor but The following himself of the kaleidoscopic harmonic palette of modality. who wished to avail excerpts are illustrative. Handel, Israel in Egypt, "And $ T S f TT 7 ir r r will exalt I m Him." r~r -»- r D Dorian n t \: £=£ Tf~ TT r P-m— «» ^m P- (Dorian) ^ W^ ^^ ^y $ ? r ? i ' =± ^ subject D Dorian [D Aeolian IV?] follows the excerpt is After passing through conventional and modulatory. there occurs a return to F,), J J f I (A-Minor, G-Minor, G Minor A J1j J.J. ^QTf The treatment which =f= A Minor m several keys t r IA Aeolian rj n^ M J-J J S ttt ^PF crrr D-Dorian for a few measures before another digression which leads to a conventional final cadence. Ibid. i li 1 J- J i u —& * C 9 H —a ^1_ e j ' -iH Q. n «» •> 11 16 1 D Aeolian f S Jnjj 5^ "TS -r^r subject I zm Minor V Dorian 1 1 187 J rf J J — »-r-f r - ** - f ,/ H 1 S 1 J ['— r i f r_r r F1= U 1 L* — —— # " r 1 -^-n 'J- J 73 1 f^= : ' 1 =f==^l Minor Ibid. Final cadence. =^= *y m The : 0- IP! -«*- TT ««: use of a long pedal over which chromatics are introduced sometimes produces a modal In the Air "Sin not, modulation to B' O King" from Saul, but the impression it Handel probably considered the gives at first is e' in the fifth measure effect. as a Mixolydian. Handel, Saul, "Sin not, ^^ fe J!.?|J"P 3 I 'J: 9W f^ ^ UT Wl s ^ifcp ^m f O King." oc£ CJ'r *=«= i Although the chorus "Egypt was glad" from the same work ends on E- tonic and appears E-Phrygian, there major triad is a curious inconclusiveness about the tonality followed by an e-minor one. credited to HandeL, since this is The impression owing to begin to the constantly recurring e- of ambiguity, intended or not, should not be a famous case of plagarism: the piece Johann Casper Krell (1627-1693) which Handel appropriated. is actually a canzona composed by 188 Handel, Saul, "Egypt was glad." E ^ WWW W? *r-+ *-. f* * f r J -^ J 2k 3CE #ff f ^^ ^ ^ * J m P=W$ W J f ^ PP f^ Ibid. Final cadence nj ^ *j The same n B i =M= r sort of equivocal interpretation must be applied Again the choice to the following. between the tonality of E or that of A. Handel, Samson, "Hear Jacob's God." inna ^ 9 E Major l i iFTH jg I f i <U ih 1 1 Aeolian W II IV A Minor f i- } m& V7 Phrygian III Dorian VI Minor VII Il7 Ibid. Final cadence V [half cadence leading to next piece in A] I lies 189 No particular importance Dorian signature for their is attached to the fact that both Bach and Handel sometimes used the minor movements because, make degree was usually chromatically altered to employed the ever, ecclesiastical and because of chorales, as was shown, this had little significance: the sixth modes more often and more frankly than did Handel, more this his signatures are Bach, how- the scale agree with the Aeolian form. especially in the varied. Likewise one can understand Bach's connection with the Church modes through his manner of using key sig- Thus he natures. consistently wrote E-Dorian with and avoided any signature two sharps, F-Dorian with three Dorian, Phrygian, and Mixolydian at all for the flats, when used G-Dorian with one in the original flat, [white-note] form. 1 According to He he of knew Spitta, how further Bach made constant use from the Church modes extracted all to use the resources so well that knowledge of the of his ecclesiastical modes. modulation which they are so capable of offering, and that wealth of he subordinated the modes more simple to the radical feeling Major and minor modes. 2 the This statement is difficult to check because Bach subordinated the modes as Spitta says, if, to the more simple radical feeling of the Major and Minor, he was so successful that the music gives no sugThe advantages of the broader outlook gestion of modal thinking as a mental process of the composer. afforded by an understanding of the whole diatonic modal system are apparent, but it is hazardous to delve into the intellectual processes of any composer when these are not perfectly manifest in his product. Conceivably Bach's genius could have availed itself of the modulatory resources which his music exhibits through orthodox major-minor harmonic procedures. to account for his key changes, and since proof was perhaps carried away by Spitta understanding of, his own and searching penetration is not necessary to resort to a modal explanation It is we lacking, are justified in concluding that in this case Discernible in the music, however, zeal. into, the problem of harmony. So predecessors and contemporaries in this respect that his harmonic conceptions well be, as Spitta says, that a thorough familiarity with the ecclesiastical . . Bach's inexhaustible harmonic richness, which . overmuch modulation, arises is exhibited in from two sources: from a most thorough all far does is a certain broad Bach surpass seem transcendent. modes was his compositions It his may contributory. and certainly without utilization of the octave-species and from an exceedingly sharp and assured feeling for the relationships inherent in the Major-minor system. 3 According to parently this his pupil Kittel, Bach used a mixed style in harmonizing the chorale melodies. means using major-minor formulae with modal tunes by or avoid the effect of the characteristic degree of a particular mode. is Lydian 4 Ap- resorting to modulation to lessen For instance, the following melody beginning but Bach has taken advantage of the Lydian fourth to modulate to the domi- at the nant key, thus diminishing if not entirely obliterating the effect of the tritone. Bach, "Freuet euch, ihr Christen."" n f^ T m gg 'J. A. P. Spitta. 1880), II, p. 614. 'Ibid., II, p. 'Ibid., II, 611. p. 613. /. S. =Si zrr mm cjt Bach (Leipzig, Breitkopf und Hartel, T r r w 1 Johann Christian (3d 5 Kittel, 1831). p. The original key is G. ed.. Erfurt, Der angehende 37ff. praktische Organist r 190 By means modal melody may be subjected of similar devices almost any The following is E-Phrygian melodically but harmonically Bach has treated to conventional it as harmony. A-Minor and ends on a half cadence. ±E t WWnj — ii j-A ^^ ?^% j_^ r /r\ a 1 s =F^ s r c/r r r c j J i i J ^N# WPW JJ J 5 r i J3j i j e rr r Oi 1 .I j ^F^f *c J 1 schrei ich. **<m iJ Lrr r r Noth Bach, "Aus tiefer * r ±=± TTT ^ Vi/ ^fff *F=T r Analogous methods have been applied to the harmonization of a number of chorales in several modes. The accompanying list names of chorales which gives the exhibit the "mixed" style. Phrygian "A hilf, Christe, Gottes Sohn." "Mitten wir im Leben sind." "Es woll 'uns Gott genadig senn." "Christum wir sollen loben schon." "Erbarm dich ?nein, o Herre Gott." Dorian "Das alte ]ahr "Erschienen vergangen ist ist." der herrelich Tag." Mixolydian Not always "Komm sei gelobet "Nun preiset alle Gottes Barmherzigkeit." does Bach choose to follow the Gott Schbpfer, heliger Geist," tion gives a modal impression up to IV and VI is if strict major-minor conventions. The soprano melody of considered separately, to the first cadence cadence then sounds like a half -cadence. but the effect und gebenedeiet." "Gott On is clearly Mixolydian and the harmoniza- when suddenly C-Major the second stanza the first pseudo-modal because of the emphasis on the secondary to V. is established. The final measures will be heard as C and the progressions V triads — 191 Bach, "Koram Gott Schopfer, heiliger Geist.' /7\ G Mixolydian I VII C Major V V IV IV ^M= J J J J r r Uf r r r ^ II I /7\ r J fV r^^ l>: r r FT r- ^ ^ I .. j i L . r j r i=i err I j r r Vi/ On the other hand, j L-T ff t r r r j i. r r—TLP-t/ r ^f^t r Bach sometimes reversed the procedure by introducing modal touches into an otherwise wholly conventional chorale. Although there are modulations to C- and D-Major, "Gelobet seist du, Jesu Christ" ends with a G-Mixolydian final phrase which Mixolydian in the final cadence is is somewhat akin to a codetta. fully treated in chap, vi.) Bach, "Gelobet D Major seist du, Jesu Christ.' G Major (The 192 Lydian Mixolydian Often cited as an example of the use of the Dorian mode by Bach and Fugue This for organ. "Dorian Fugue" but the reason called the is probably founded on the Dorian signature but Minor was nature for the still this is is is the fugue from the Toccata The explanation obscure. is insufficient because the practice of using that sig- Bach's contemporaries and immediate predecessors in use at that time. Minor regularly supplied the accidental to lower the sixth degree of the instead of placing it in the signature. would be more nearly accurate to call it the "Aeolian Fugue" because during the course of the subject and answer the leading tone (C*) is avoided and the most prominent form of the scale is the It The Aeolian. construction of the subject work the remainder of the is remarkable and although it may have been done designedly, conventional and shows no evidence of capitalizing the idea. is strictly Bach, Toccata and Fugue. Fuga 3E rr r § f-i r r r r tr* '< -j ^ r p r d rY i ' r p f at i- j r —u r^r '' > r ± f=r^ t vr f tJ . j £ r J?nnj i j ¥ wm r m From 6 f J -J=^L v -r j— k T J . 'cxi 1 ^*^ — ^m &m^=mhki ur c/'r cj p the foregoing evidence Bach and Handel is we must concur with the popular opinion that the tonal medium of predominantly major-minor. They both understood the modes but used them only occasionally, each in his own particular manner. Handel's plan was to interpolate modal sections but Major formulae at important cadences in order to reaffirm the tonality. Bach, on the other hand, gave many modal chorale melodies a major-minor harmonization. This resulted to revert invariably to the in the "mixed" style of sages and even gave A each harmonizing mentioned by some of his final cadences comparison between the modal may be Kittel. Exceptionally Bach wrote pseudo-modal pas- a Mixolydian turn. styles of the two masters is Brahm's harmonization of German folk songs, which are regarded polative" posers modal who interesting called the prototype of later manifestations of modality. style used by Handel may be compared wished to simulate a religious atmosphere. will be discussed in their proper chronology. as and important because Bach's "mixed" style models of their kind. is found in The "inter- to that of Liszt and most of the romantic com- These two are not the only modal styles: others Chapter XXIII AND THE BLAINVILLE Many are the men whose them a contributions to the cause of music claim for the recorded development of the art. many Perhaps gotten or his innovations mistakenly credited to a have been predicted by mere MODE TROISIEME another more lasting place in deserving has been for- just as All this might colorful contemporary. but that a colorless individual, of no particular importance to music, logic, should become immortal through a futile project is one of the paradoxes of history. Charles Henri de Blainville (1711-1769) was a violoncellist and a teacher of music in Paris. composed a small amount of unimportant music, among which were several book of sonatas "pour le dessus de viole avec la basse continue," and several symphonies. Harmonie pretentious are his theoretical works: (1754), and Histoire generate critique sessed qualities cantatas, et He ballets, a Somewhat more (1746), L'Esprit de theoretico-practique I'art musical But none of these pos- philologique de la musique (1767). which would have done more than gain two for their author a brief mention music ency- in clopedias. In 1751 there was published in Paris a thin little volume, the title page of which runs as follows: ESSAY SUR UN TROISIEME MODE Presente et aprouve par Mr; de l'Academie des Sciences, JOINT LA SIMPHONIE Executee au Concert du Chateau des Thuilleries 30.May 1751. PAR MR BLAINVILLE The essay occupies seven pages, after and figured bass. The symphony, which which comes the symphony (in score) for strings, bassoon, exemplifies the proposed mode, consists of three movements: a last two movements are short; the second is an Adagio, and the third a Minuetto. The back cover is an "Extrait Des Registres De L'Academie Royale Des Sciences" which summarizes the theory and tells about the performance of the symphony before members of the Academy. The mode proposed by Blainville was an exact inversion of the Major. This gave a diatonic form slow introduction leading to the main section {presto); the identical with the ecclesiastical Phtygian, a circumstance recognized by the author. tween the two were internal: the dominant of the old Church Blainville 's scale, which he called "Mixed Mode," was the scale was the The fourth. The differences be- sixth degree but that of location of the dominant on the fourth degree above the tonic carries out the inversion idea, since the fifth of the scale, the Major mode dominant, projected downward gives the ja^dominant. The Mixed Mode has neither dominant nor perfect cadence. Granted but it has the plagal cadence of the ancients. By what right do we reject this cadence? Do we not have motets by Lalande which use it? Moreover, one cannot deny that the fourth may substitute for the dominant and take its place. One division of the octave rises, the other descends. It is the latter that I make use of; thus I satisfy the most rigid rules. 1 Apparently the chord on this fourth degree dominant or pseudodominant should have been ex; tended downward by thirds Tonic 1 from the I Charles Henri de Blainville, Essay Sur (Paris, 1751), p. root, not upwards as in conventional harmony. m= ^ Pseudo dominant Triad of Pseudodominant Un Troisieme Mode 5. 193 194 But if make Blainville intended this he did not for the plagal cadence as always understood it clear; could not have been used in such a connection and so the interpretation sumed that the ordinary IV-I progression abandoned. is the plagal cadence to which he refers. is of the d-f-a chord as a possible pseudodominant chord, he so uses no mention introduction to his Symphony. Blainville must be It But even at the it if as- he makes midpoint of the (See below, p. 195.) makes a great point of the Mixed Mode contains the inversion fact that his sula vera but his stria adherence to the inversion idea leads him of the Clau- inevitably to the six-four chord. In- stead of avoiding the subject or equivocating, he triumphantly solves the difficulty by a neat chain of native logique with If doubt one whether the course of the as to desires is When is which the French love to demolish their opponent's arguments. one objects that the Mixed Mode, having no semitone I found Mixed Mode on the lowest in the complete the C-major as it arrives at its octave, seems to leave the ear in uppermost semitone that scale is finished, I will observe that the ascending scale, I finish my degree, whether in the bass or treble. explain. I shall octave by ascending semitone b-c, but in descending the semitone understood as the third of the dominant. Mixed Mode of E In the the semitone when descending and The semitone which is so pre- when ascending and in we usually do. in the bass is the treble thus comes the opportunity to complete the octave otherwise than cious to the ear not less is found in E-Mixed Mode, as consonant than the chord from which it it in C-Major, but in a reversed order. is originates if it is less perfect, ; to leave the senses desiring something than to surfeit them; and from the Major and Minor Modes. pursuit of Art, the less The extract fifth; All this is thus that the Let us remark in passing that the further the verity and simplicity but the from the chord of the six-four and the is it is registers of the the proper tonic. more the is it we bizarre but it seems A chord of the six-four more piquant ; it is is better Mixed Mode differs fortuitously away from nature in the are swept effect. 2 Academie Royale des Sciences confirms the impression that the "The principal chords of the two other modes are the on the contrary those of the new mode are the fourth and the may be also fairly clear. The sixth." third 3 feeling of understanding, however, is seri- ously threatened by the following explanation of the final chords. In descending, I have the choice of finishing my scaie by the common chord of its fourth note, or by the perfect major chord of its tonic. This can be done in two ways, either by the sustained note in the treble or by the plagal cadence in the bass. But the plagal cadence is no longer used ? Alas It is a resource which has been taken from ! us without reason and which I see difficulty in reclaiming. 4 no Again "in descending" might be interpreted in question. as applying to the formation of the 12 "the its * Tf- above, * common chord of fourth note, or H3E5 by the common major chord of B tonic" its same kind could not have been so interpreted, assume that Blainville was consistent, and therefore since the former case of the it is reasonably safe to above solution for the following. 2 l S i its common by the « common major chord of back cover. chord of fourth note, or $ * Ibid., 4 3 "the 'Ibid., p. 4. tonic chords 4 3 ~TF~ $ two its tonic" 'Ibid., p. 6. as was shown to discard the — — 195 Curiously enough the resulting chords are the same except that the third of the e-g-b triad in the first instance, The first of the of elimination, ou par la two cadences mentioned cadence plagale dans the Symphony, where, are used. in the last quotation is somewhat puzzling but by a process seems that what Blainville meant by the phrase "ou par it minor is major in the second. The whole if this la Basse" note soutenue dans la le dessus the kind of treatment found at the end of the introduction of is be a legitimate illustration, both the sustained note and the plagal cadence of the introduction (Note that the melody quoted. is a scale: the pure is Mixed Mode.) M Andante S * I w^r V-lr % Ff l I £=*= i ^ & w^^f * 7 Sustained note (tonic) ||^7 p | S Pseudodominant d-f-a? m m ^J 1 % m 7 ^^ 1 IV of IV? IV Plagal cadence The cadence does not sound unusual and in the last four measures which is the reason at all foreign to double plagal, the essentials of which might best be chords, IV to not understand: there difficult to described as IV of IV its is IV and the two The midcadence sounds like a V to the entire of IV in E-Minor because of the No work. measures of the Presto, there no attempt seems movement, which is to is very little to suggest anything most of the harmonies and the remarkable at all. have been made to capitalize the new mode until the a close copy of that of the introduction. Here a strict major-minor a-c-e chords of the After these mea- final are several excerpts cadence of the from the Sym- phony. Beginning of movement Presto *> : 1 | m a g* introduced. six-four chords are used, are strictly major-minor, and except for a curious play between the e-g-b t£—f is final ascending and descending full octave of the which might not have occurred through scarcely a progression The above remarks apply sures nothing prototype in the final cadence of the chorale quoted in the preceding chapter. Although the introduction makes use of both the "Mixed Mode," there first to is The cadence major-minor harmony. This type of cadence strongly resembles Bach's "mixed" style of harmonizing and the /. above cadence has conception. is strict w -f-f-w- -MJ - J M —J_J J 4 1 — J ' |—A J J J J 1 I. ____— pjjjj rrrr J^b | 1 - ^JW I ^ eXlM^^ ^T^ I 196 Movement ffl" ^i *i 'mj; ¥ i ym w I, middle 1 T*? f f section. ' 197 **= E^f w mm — piv m z? ^^ a u •> f mm w 1 pfip ^s* r^ #* PC fl g rw! ^^ ^ m w -« *m to •- Jlljjjll iJJJ^ J /; gg^ m ** m m ^ m x4 fl J J r^ 1 Ml Ttr^ cj ™^ ^ J=M, s=i ' r [J ^ i=fe »CFT V I, coda. s ' ! ^ Movement 1 J ^m^ ±A m u ^ * l V *=# ^ T jj 198 movement Final cadence, Sm ^LU LU i fei ^nm j i Wfm r W^ m i *£ff 11 & ult ^ P j j j j i x2 S II. « 4 t Movement tt III, beginning. 1§ P¥ *W e@= i^P 6 4 6 Final cadence, # movement III. m M w TT s TT ^^ w ¥P ^ ^ ^ m * n / * p ifT ip =f * » Blainville . That is true, but all I new mode disarmingly modest: he disclaims having used the is have been done by someone more skillful. The Mixed Mode is not a new thing. It Phrygian] « * It name Fourth Mode existed in the old counterpoint under the the notes of the scale were not used regularly, skilled than I. if Mixed Mode were considered the suitable and if it know how Not 5 it we engaged M. content with the researches, new mode the the music, nor was "Mixed") (called some were informed on the part in the experiment, after which the first Symphonic piece of Blainville to play for us a is Of principally employed. subject, others harsh; the harmony seemed very good. it none but the ordinary modes, We were Serre, writing in of ridicule against the "Troisieme ered sufficiently damning by the dence cited against Blainville's Speaking generally, glance, but does not reveal that it its Nothing was found disagreeable not. Ibid., at once, p. 2. back cover. is as before. 6 mode and he Mercure de France, was the chief his Symphony instigator of a to bear are not conclusive but apparently they The following human but two forms of extract beings, possible to observe the contour of a is in storm In his Essais sur les Principes de I'Harmonie, Serre contin- one should not conclude that mode than to suppose there ' It own comwho took a fair is were consid- example of the evi- scale. it is it is male and female, so in music there are human a third sex. but that does not indicate that would be more natural and more ''Ibid., having then had another symphony played which used was repeated with the same success Parisian public. as in nature there are but two kinds of modes. first Mode." The arguments brought ues the discussion. his the several persons Despite the approval of Rousseau and the Academie, Blainville's proposed easy prey to his enemies. sex at as successful. position in which fell pictur- were employed by someone more Rousseau found the Symphony admirable and the members of the Academie are reported considered [Plagal the possibilities were not imagined. Musicians of today persist in the same error by abandoning an important resource; they do not esque the result would be might as effectively as It is a third plausible to admit that there is figure without being able to tell its equally easy to imagine a melody which mode. I even dare to advance the idea but a single mode in music, the Major, a third. 7 'Jean (Paris, Adam Chez Serre, Essais sur les Principes de I'Harmonie Prault, Fils, 1753), pp. 26-27. 199 With posals, 8 its questionable and the manner of deriving the scale, its two tonic chords, the six-four chord proSymphony to substantiate the claims of the author, the theory made a failure of the it. So successful was the attack that even Blainville's enthusiasm seems to have been dampened; no more music in the "Mixed Mode" appeared from his pen, nor did he again champion the scale or at least he did not do so in print. perfect target for the taunts directed at — Blainville a failure. is unimportant in the history of the diatonic modes since Apparently he was content and even anxious to let his attempted contribution was appeared to prove the value of their master's theories and take revenge for his humiliation. complete lack of significance, no history of modality Perhaps Blainville's vindication ignominious failure of le is is complete without reviewing the twofold in that not only troisiene mode but is No the matter be forgotten. his own memory that the survival of the name pupils In spite of a fiasco of 1751. perpetuated through the of his principal detractor depends on the part he played in the incident. "The zig, modern exponent in the advocacy of the free use of the six-four chord Neue Harmonielehre (Leip- frank than Blainville's. absolute inversion idea has a composer Alois Haba. In his book Kistner und Siegel, 1927) he explains his theories. His is even more XXIV THE LOWEST EBB OF MODALITY Chapter After Bach the major-minor system reigned supreme. of the eighteenth century found the masses of tions called for classic art to By we may ous Theirs was a foreign. occasionally find but these are not necessarily modal. Even are strictly conventional in this respect: their musical concep- religious atmosphere by resorting to ecclesiastical scales. which such romanticism was diligent search of the second half ample tonal means within the bounds of these two modes. Haydn and Mozart no evocation of The famous composers In odd scale formations in the the latter part of Don works of these composers, Giovanni there occurs a series of curi- scales. Mozart, A Minor (Melodic) Locrian? Aeolian Don Giovanni. Finale. Aeolian . Phrygian? Mixed-minor? Locrian Melodic The this is of idea, tonality here is undoubtedly A and it is possible to interpret the scales modally as shown, but secondary importance: the whole treatment comes about through the domination of the principal which is the chromatic expansion of the middle parts. 200 201 Even examples of this kind are rare. The Church scales seem not only The period from Bach to the romanticism made use of but two of the complete ebb in the history of the diatonic There were three factors was destined of diatonic scales. modes, a history which reaches back which operated altered by the course of art music, list to keep the old scales and the melodies of the common have fallen into disuse to but to have been almost entirely forgotten. rise It of nineteenth century may at least be called the lowest 2,500 years. Folk song was but slightly alive. people formed a rich heritage which be a strong factor in the reintroduction of those eclipsed members of the diatonic modes. to The romantic movement and owe much national schools to this source, as will be demonstrated in sub- sequent chapters. Textbooks constituted a second preserver of the diatonic sum by Joseph Fux, published in Vienna in 1725, soon spread to modes and uted a fundamental importance to the ecclesiastical He ing methods of the sixteenth century. The famous Gradus ad scales. his European all work countries. Parnas- Fux attrib- really a reversion to the teach- is stoutly defended these scales against the "radicalism" of his The book had a wide influence and its rules of counterpoint dominated musical edumore than a century and a half. Haydn, Mozart, and Beethoven all used it in their studies contemporaries. cation for named based his teaching on it. Piccinni, Padre Martini, Abbe Vogler, Gerbert, Cherubini, and Bellermann all recommended it. Another work which had a part in the survival of the Church scales was Lesueurs' Expose d'une and the first Musique, une imitative et particuliere a r.haque solemnite (1787). the subject published at that time and although in a period almost bereft of such issued in it one of the few references on It is did not delve deeply, it did supply it little book not without significance. is did not discuss the modes, Elements of Musical Composition, by William Crotch 1812) had a certain freedom of harmonic outlook remarkable for that time. author says, "It commonly some information In view of the author's later importance as a teacher of knowledge. composition at the Conservatoire Nationale, the Although 1 is doubtful whether the in national that Purcell used the seventh to the key note, used with a flat and other music, ought to be considered a change of key." minor seventh preceding the cadence and illustrates it 2 For instance, the fifth He (first and third very mentions the fact by an excerpt from Dido and Aeneas. 3 m Purcell, 4 ft 't £ i- p Dido and Aeneas, No. r r 11. i !f j ? r A tion work which was on the severely criticized but subject of the ecclesiastical ¥ r p which nevertheless served to disseminate modes was Methode d accompagnement du plain Niedermeyer, published in Paris in 1855. ' An some informachant, by Louis English translation was issued in 1905 with the title Gregorian Accompaniment? In German-speaking countries Dehn's Theoretisch-praktische Harmonielehre (I860) erable influence. Dehn 5 had consid- contented himself with a concise exposition of the modes beginning with the Greek, but made no attempt to teach modal writing. ']. F. Lesueur, Expose d'une Musique, une imitative et (Paris, Chez la Veuve Heris- particuliere a chaque solemnite sant, 1 1787). William Crotch, Elements of Musical Composition Comprehending the Rules of Tborough-Bass (2d ed., London, Longman, Rees.Orme, Brown, Green and Longman, 1833), p. 55. 3 4 Ibid. Louis Niedermeyer, Gregorian Accompaniment, trans. Wal- Novello (New York, Ewer and Co., 1905). Dehn, Theoretisch-praktische Harmonielehre mit angefiigten Generalbassbeispietea, Schlesinger'sche Buch- und Musikalienhandlung, Berlin (1860). lace Goodrich, s S. W. 202 More recently there have been a number on modal technique, of excellent texts books are but a by-product of the reawakened modal spirit: especially that of modes was complete. the sixteenth century, but by the time they appeared the renaissance of the Such because of the date of their publication they can hardly be said to have contributed to the regenerative process. The third factor in keeping the modes alive was the Church. Its through the great body of modal compositions handed down from the posers — — who Fux, Fortunati, Lesueur and others Fux (1660-1741) is was not only manifested but also through Church com- used the traditional scales to some extent. 290 Church works, many credited with influence past, of which exhibit following excerpt, in the Mixolydian mode, illustrates his serious, dignified modal writing. The style. Fux, Missa S.S. Trinitatis. Close of "Kyrie." i h i &± m~r~ h ^n f m Jn ^m jr i' IH ^Jlj t S J -4 #fg^ r Jit j er r r ± -o- r=m p * r fzr s Francesco Fortunati (b.1746), a pupil of Padre Martini, wrote modal Church music besides his secular operas, symphonies, etc. ten in The following Mixolydian example 1769 when he was maestro di cappella at is ^trf W Psalm many minor composers Dixit, writ- Dixit. fi. nrrrii.iirrr i Lesueur was writing modal Church music in the years following 1806. century of the Psalm Parma. Fortunati, S the beginning of of sacred music (F. Krenn, Grell, Greith, B. Mittenleiter, Fr. Nekes, Molitor, J. M. 6 During the nineteenth Haller, Jakob Blied, Emil Nikel, Mitterer, Joseph Hanisch, E. Duval, L. Nieder- meyer, Schaller, Skuhersky, and Rembt) only the works of Grell, Schaller, Krenn, Nikel, and Skuhersky display any marked modal tendencies. The 7 five masses by Schaller are in a purer style than those of his colleagues. 6 See chap. xxv. 'Included in the collection by Emil Nikel: Lauda Sion, Sammlung von hunderfiinfzig 2-, 3-, und 4-stimmigen Gradualien, Offertorien, 3 stimmigen Hymnen und Marianischen Antiphonen nebst fiinf Mess en fur das ganze Kirckenjahr (Ratisbonae, Sumptibus Friderici Pustet, MCMIV). 203 Schaller, "Qui sedes." 8 Final cadence. /C\ s mr ^^ n ±== ^f Al m lu le 1 E Phrygian if# ja, al - le m tr lu m m m ^m T ja. «=M Franz Krenn (1816-1897) composed twenty-nine masses and attempted to imitate Palestrina's style but in Missa ad modos Gregorianos, Op. 51, work is this one may much other music. Apparently he The hardly be said to have been wholly successful. The Kyrie and Gloria of this Church wrote sacred music. In this of his best compositions. are Phrygian. Many another composer who had no direct connection with the category are Beethoven, Berlioz, Liszt, Brahms, Mendelssohn, and Gounod, to eminent. name but a few of the most Their works belong in a special class which might be called sacred concert music. These compositions will be discussed in the following chapters together with the several composers' purely secular productions. Thus we see that the use of the modes had been declining since the introduction of Musica Ficta. The decline was greatly accelerated after the formation of the major-minor system and the period of lowest ebb was between 1750 and 1825. But the modal scales never completely disappeared, never were completely forgotten. posers Always there were scholars who studied them, people who sang them, and com- who wrote music in them. a sense, assured their regeneration. 'Ibid., N°6. Strong and steady were the three powers that preserved them and, in These three factors were textbooks, folk «song, and Church music. Chapter XXV ABBE LESUEUR, ANTIQUARIAN one composer There WAScompositions, but in the last years of the eighteenth in his century'who not only used the modes employment also strongly advocated their to his pupils. To this one of the credit for rekindling in France, interest in the old scales. man is due much Jean Francois Lesueur (1760-1837) sang in the choir at Abbeville from his seventh to his fourteenth year and astical it he owed to this experience that is his first knowledge of old Church music and the At the age of nineteen he was appointed maitre de musique modes. at Seez. ecclesi- After several changes of post, he arrived at Paris and, in 1786, through winning a competition, he became maitre de musique at Notre Dame. becoming a By was here that he was made Abbe; only It his ambition to write opera restrained him from priest. this He time his interest in old music had become a passion. but investigated the ancient Greek been motivated by an antiquarian art. His music reflects this not only studied Church music, preoccupation and shows him to modes by more modern means such as the use of seventh chords and excessive moduhe sought only to recapture the moods of tranquil contemplation, of kindly diginity, and expressiveness of the lation; instead, of unaffected piety. Lesueur, 2e Oratorio pour le Couronnement, "Beatus qui a - z zsz » irzr % legit." & i i S r\ ^m~w r^F=^ £ C Phrygian. i»«l /T\ $ fS^f kf=f m >& ifctz: P JT\ ^w t i g=b ^£p= I3H_ rs &= za=z /T\ y i have In his counterpoint he did not usually attempt to extend the spirit. § =? |g 8 g rr | ^^ m /T\ \ ,ti § £2g \>& \'u 3=^ Locrian I»l| 204 IV 3 \ 3E ^^ kM pf Major m I — 205 Lesueur, Messe des Morts, "Sanctus." Soprano M «» ft Sane- tus o l Tenor o B m Baritone o t i. § > J G M et «* : $ o o o o Pie- ni sunt coe-li et a m «» M 3ti » o tu - «* Ho - san a o tu - Ho a - na - ne - ex in - i=^ |d eel - sis a o *» o o g g= ° tl san ex- eel -o—O- *£ - g <Hjo «» - na «» «» in | l l| «» o " o M " Mixolydian -o- ~n~ Be ^ o- Dorian ^ Sabaoth us - -o ~"~ f^- **= ter- ra Glo-ri-a —»—o- | o ** let- -o > i* g ter- ra Glo-ri-a =M=«= o de —o 5_ Mixolydian Pie- ni sunt coe-li * >: do-mi-nus Sanc-tus N~" o ii ^ > tr Sane - tus o o o » H I oT -o- O N « y- Sanc- tus Bass -o- die tus qui ve - nit no in - Do mi- ne - mi - ni Dorian J TT ZE 3E Ho 3E in cel 3E TT m *K ITS SIS SE ** ~n~ Ho eel sis ** >> Mixolydian Lesueur, Rachel Oratorio, "Dico ego opera midi." ** 3Z=^£$=& ti =p=p */M P=f^ E Mixolydian ti -o ti —»- ^^ 2ZZZZ ffi w w o p _p z±nzacxx ^s '^ p- m v 206 He modes did not always use the may have to refrain its in as pure a form as did the Renaissance composers. This fact explanation in the tyranny of the dominant seventh cadences, for Lesueur was often unable from resorting to conventional Major-minor cadential formulae. In this respect his methods re- semble those of Handel. Lesueur, Cantate (religieuse) executee cm manage de S.M. Napoleon Ie avec I'Archiduchesse Marie Louise. No. 2 "In Peritia Sua." ^S P mMef^f ^ WWf ^ i £3 ^m ^te^E ^ u r if "f ». Bt Aeolian §u g m m& g rj ^ ^W I'f ^ y ^ VII 7 III [V 7 of g III III] f*M^ p "r i r r M-'T-frrfi^ i :n "gj least i r * r r-ujj cjjp i i [V 7 of At rj r r f I I £ ^eese i >t III] i > *={ Major V 7 VU 7 ment » In* I one innovation should be credited to Lesueur: by providing a simple harmonic accompani- modal melody he created a modal homophonic excerpt from the Cantate illustrates his modal homophony, for a style which has been much used since. as does the following: Lesueur, Ire Messe Solenette, "Credo." W¥ ¥De j A Minor V 7 i Dorian I a =v m de ^F=i =± de 1 7 1 —£ 1 i V 1 The 207 ^=g lu men - de m j ve de nf^n^n m rum - isas i g^a=s 7 I i f i lu a^=« It was not through his music alone that Lesueur influenced the course of music in France. been one of the original professors of the Ecole de and when, two years of instruction and ique for the new later, this Garde Nationale which was la He had established in 1793, school led to the founding of the Conservatoire, he became an inspector was a member of the committee which formulated the Principes elementaires de mus- school. In 1802 he was dismissed from the Conservatoire, partly because of having published an audacious booklet, Pro jet d'un plan general de I' instruction musicale en France (1801), and on Cherubini and Catel when an opera by the latter was given precedence the Academic What might have proved a great misfortune turned out happily when partly because of attacks over Lesueur 's at he became maitre de chapelle to Napoleon. He discharged the duties of his new post with credit to him- wrote the mass for the Emperor's coronation, and, with the production of his most successful opera, self, Ossian, ou les Bardes, became a great favorite of the ruler. In 1818 Lesueur returned to the Conservatoire as professor of composition and ity that he made his most a brilliant group of dozen of Prevost, young men who were destined won his students the coveted Prix de which has is mark on left its the whole mode Eglise," or "dans le Eolien." de la Sagesse (1796), which is The following nome dorien et sur le modern French "Compose and Gounod. to emphasize the subject in his teaching, a school. He was a true academician and his mode is noted in a subtitle is d'apres 1'antique harmonie des chants de la premiere In the opera Telemaque dans I'Isle de Calypso, ou employment of the le Triomphe Greek modes, the carried to excess: every division has a pedantic superscrip- Nymphes dans le mode hyponome diphrique et sur le mode Eolien en mode lydien aigu, avec la melopee mesoide quotations were chosen at random: "Cboeur des choraique"; "Choeur des Vents: Sur le observant la melopee haute"; and "Moderato et Erolique." him Lesueur's principal effort at the practice of calling attention to the tion. Besozzi, Xavier Boisselot, apparent even in his compositions: almost every instance of modality printed in the score by such phrases as An even Bourgeois, Ermel, Paris, Giraud, Berlioz, Eugene Lesueur's preoccupation with the old scales caused fact in that capac- to perpetuate the influence of his teaching. Rome: Ambroise Thomas, Elwart, Ernest Boulanger, didacticism was it In the nineteen years that followed he taught significant contribution to music. — Dans le Burdened with such pedagogics, the wonder is that the . work . . succeeded. Lesueur was convinced of the moral and ethical character of the modes and sometimes expressed his conviction that one the mode amusement of the and another vice. took advantage of the old man inspired virtue class, professing to play in a virtuous one. A persistent story relates that The in The influence of his teaching is disrespect, how much this can never be correctly estimated for his doctrines were dis- music of Berlioz, whose Memoir es (chaps, vi and xx) show eminent pupil honored and admired to and Such youthful pranks do not necessarily indicate Lesueur's case he seems to have had the veneration of his students. clearly discernible in the Gounod, by playing music in a licentious mode while his master. full effect of Lesueur's teachings seminated largely through the music of his pupils. can be gauged by the number of his students But the purely pedagogical aspect of who became important professors. his influence Antoine Aimable Elie 208 harmony until 1871. Napoleon-Henri Reber became a harmony teacher in 1851 and taught composition from 1862 to 1880. Charles Louis Ambroise Thomas was professor of composition from 1852 to 1871, when he was appointed Director of the Conservatoire. Jules Massenet, a pupil of Reber and Thomas, in Elwart joined the his staff at the Conservatoire the year before his master died and was professor of long term as teacher (1878-1912) had as pupils Bruneau, Pierne, and Charpentier. Debussy's master, and Louis Albert, Bourgault-Ducoudray belong in the direct pupils of Thomas. Bourgault-Ducoudray was lecturer on the history of music line, since Ernest Giraud, they were both at the Conservatoire. He wrote Conference sur la modalite dans la Musique Grecque, and ardently advocated the employment of diatonic modes in composition. Although he lived at the time when the Classical period was giving way to a new spirit, Lesueur was himself an antiquarian whose predilection for the scales of the Church and of ancient Greece placed him it. in the peculiar position of contributing to the genesis of the It would be a modes or that he alone was responsible for modality as an inevitable development, but at a propitious Romantic movement without being of gross exaggeration to claim that he foresaw the extent of the revival of the diatonic moment. it. it In any event, romanticism would soon have embraced cannot be denied that Lesueur exerted a desirable influence Chapter XXVI MODALITY AND THE FRENCH ROMANTICISTS HECTOR the pioneer of Romanticism in France. Berlioz (1803-1869) was patient temperament and circumstances of environment, in his early career He a rebellious son, a refractory student, and an iconoclast. come a doctor. He had Because of an im- he seems to have been defied his parents' wish that he be- nothing but disdain for Cherubini and the teachers at the Conservatoire, Lesueur Even being the single exception. his innovations seem to spring from an intolerance of former Living in a revolutionary age, he was imbued with the spirit of revolt. values. Bach's music he found dull. Beethoven, on the other hand, was his god: through the music of this composer he seems to have recognized a proud and defiant spirit whose prodigious struggles must have symbolized the very apotheosis of his Although he admired Gluck own. who was Aulide, From greatly, Berlioz was totally unlike the composer of Iphigenie en willing to devote years to the definition of an aesthetic. the point of view of the formal art of the Classical period, the principles advocated by the young romanticists must have seemed artistic So thoroughly anarchy, a repudiation of the laws of beauty. did Berlioz subscribe to the theory of unrestraint that, but for the influence of Lesueur, even his musical training might have been more a fact to which his music The ment is their own use of the diatonic somewhat deficient than testifies as modes by Berlioz were not pedagogical. a particular descriptive musical in program of obtaining the result desired, use of these scales The debt he owed was. is is had no His sole desire was to produce If of modality Their employ- interest in such scales for effects which the exigencies of one of the diatonic modes offered a convenient no other excuse was needed for its employment. atmosphere and although composers were of expression, Berlioz failed to The following examples was never forgotten, Neither was he concerned about questions of "correct" required. to simulate a churchly them a wider range that master undeniably a direct influence of Lesueur. rare for the reason that Berlioz, unlike his master, sake: his aims progression, traditional dominants, etc. means it plainly as his spoken and written word. The most later to discover go beyond the obvious. from L'Enfance du Christ (1850-1854) were introduced by Berlioz because of their appropriateness to the religious subject he was treating. Note the prevalence of Aeolian. Berlioz, L'Enfance du Christ, "Chorus of Ishmaelites." zsj- Si A n 3^E 3E J m^ ^^ m Aeolian i patent ±Jk Dorian 209 & jjjj Efe= Aeolian ffi j 210 Berlioz, L'Enfance "Depuis i *m ^ P Mr r*3- sii¥ Gjj * r Christ, trois jours." d r r £ Minor Aeolian (Aeolian) ^ pi n m sft «a n ,i M m Dft i du Aeolian (9-1- | g£ en; as ^ i trr i r» ^^ ^ ^-*- Minor Berlioz, L'Enfance du Christ, "La Fuite en Egypte." ^^ p^ £ ^^ Ftt I J Aeolian ¥ J i ggjifc Dorian J J * j J ^ j j.j j s*p Minor — — i 211 du Berlioz, L'Enfance Christ. Epilogue Final cadence. 4 ta V^ /T\ 5 123 b3 V i The frankness of the modality of the final cadence of L'Enfance du Christ is remarkable for that time. The practice had been to revert to a conventional cadence in order to establish an unmistakable close. The end of the Messe des Morts (1837) illustrates this procedure. Note also the series of cadences (pseudo-modal and Phrygian), the leading idea of which is the manner in which the intervals of the (Compare the odd-numbered measures.) bass line contract. Berlioz, L'Enfance du Christ. Trio for Harp and two Flutes. li* — s 'J A / P rr 14 G Major 8 9 IV 1 TT ' II im- Vi3l Phrygian II Major ,11 V I. chord which appears in the Messe des Morts cadence is introducing modal harmonies into otherwise major-minor passages. rare a century S 7 •frTT- The Phrygian «» III (e-gjj-b) tice of f etc. & ' Pip m f men a ten —& —o —% ago but has since been expanded and is now common. an example of the prac- The idea was somewhat Berlioz obtained exotic harmonic color with the device, as the following excerpts attest. Berlioz, Messe des Morts. Final cadence. m n ^=$ £iF=i n B Minor p i iiS ~^m 1 1 1 m^ i= Aeolian V 212 Minor I I V7 Ibid. m 'tttt I *f§ i m T jtp S §s ? Bl ilii B Major pm ji .'* § g j rJ-f i^S lt rrrr ^ § eN# ^ V #59 r? fc V 7 Minor pi | J gi f f-f rrrr ; r r rrrr H^ ^ jH^'^ ta V Phrygian ^ II P gm ii fi Aeolian VI? V Berlioz, Lej Troyens, P ^ SS »f "March and Hymn." m C Major ^^ W # * j J^l ,J 6 ^ ri ^ 3=^ Minor Locrian II i" d 213 d d $ i Another French composer of the period He (1818-1893). would take who used the old modes was Charles Francois attended theological courses for several years and During orders. his sojourn at the Villa Rome wrote a mass which was performed at in 1841. shadows of all descriptions, his secular music. It most of which was during is was thought Gounod at the time that Another early mass was given in Vienna the Throughout his life fol- he continued to write forgotten today, but which in sheer quantity over- he had become a religious mystic, that his last years, after The Messe a ]eanne a"Arc is said et Vita, and other large works. Rheims Cathedral while kneeling on the stone where Joan of Arc knelt. he composed his Redemption, Mors have been composed in the he Medici he studied Palestrina's music assiduously and lowing year, and the Messe Solennelle appeared in 1851. Church music it to In view of his temperament and his predilection for the Church, the failure of his sacred music to win approval must have been a bitter disappointment. ciency of the quality of the music, similate the essentials of a it is Church And although nevertheless a significant it cannot account for the commentary on Gounod's remark that he seldom employed the modes frankly, style to of his study of Palestrina, his admiration for Berlioz, and the influence of Lesueur. stituted a kind of counterfeit effect is mainly by chord it is form a promising i.. JU i resulting basis for a religious style. Gounod, Messe, w The merely weak. This practice, plus a characteristic and stud- reiteration, does not Adagio ifeE in spite All too often he sub- modality which consisted of common-chord progressions. neither major-minor nor modal; ied simplicity, obtained defi- ability to as- J.. J»i J pp^p Priere pour le Roi. m xc m^ ^w U pppp J\i>J>-i 'Wr.f $ to J - VI m 1 mm i At VI i i$ V7 Very occasionally there are brief otherwise conventional surroundings. II- V moments It may of real modality. The following instances be thought that the excerpt from Ullysse progression in C-Minor but the succeeding recitative (not quoted) is clearly is G-Minor. occur in an elaborate 214 Gounod, Oboe „bi- j i 9 - <' I m 7 J 7 J j j-^> ^ i^jirn „ w *w <w fa 7 ? J? Major G Phrygian JHjl? J- J B3E : w- W g^ppi mJ No. 11. ^JBl ^ Phrygian jtsw-j* J-iM- w -&» ft* 7 Ullysse, &* f^r 7 Major ^ Gounod, Mejje, "Credo.' Dorian C Aeolian? Minor? Perhaps influenced by the title of the poem he was setting (Epitaphe d'une jeune Greque), Gounod one occasion employed the pure Aeolian mode with very pleasing results. The excerpts are taken from the opening and closing measures. on at least that Gounod, Epitaphe d'une jeune Grecque. Andante #m Z i 'H'if D j i i \i 'i jiji 1 i m ^m *i 4 * i f. Aeolian 5EEEEEEES ^^£^=£5 i T^f m T^»»/f-f 3' 215 Ibid. Final cadence e^ i * ^F=r=: m S m LEST tSTf i i t_HT ffi r P £l gnn LEST r m1 MTT s j ¥ r WrWF^i LEST r i SF*^^ LE£T LBTf S * >: E* EE= Lie -_ E_E£ fc£ T Strictly speaking, Frederic Francois may be argued artistic life ' 1 r it 1. in France. T Chopin (1810-1849) does not belong that such a classification was spent T ' is not without basis, since his father to the French school, but was French and most of his His temperament seems to have shown characteristics inherited both from his father and from his Polish mother. The dreamy melancholy, the violent contrasts, and the dance rhythms of Chopin's music are truly Polish but the refinement of his harmony may be claimed to be a result of French ratiocination. The melodic and rhythmic elements were strongly influenced by Polish folk music, but this apparently did not predispose Polish songs, Op. 74, are major-minor. He Mazurkas, Op. 24, no. 2 and Op. 41, no. 1. him to make much use of the modes: for instance, his rarely used real modality; the best examples are those in Chopin, Mazurka, Op. 24, No. f A Aeolian f I (VI) f fc=M II (III) k^^ IV V7 2. 216 >** rK ± ZJ infeM i==M IT (VI) (III) ' B kmm IV ^ # V7 Wirf. If [V7 f V] V Note the Lydian II 7 in the second and sixth measures of the excerpt: it is a of V formation which almost establishes C as tonic. Beethoven, in the famous Lydian hymn in Quartet, Op. 12, used the Lydian II 7 in exactly the same way. (See chap, xxvii, p. 232.) The Mazurka, Op. 41, no. 1, offers an extraordinary example of modality. First the theme given in pure C'-Phrygian harmony. Chopin, Mazurka, Op. 41, No. Maestoso Ctt Phrygian 15 11^ 1. is 1 217 Then, form theme, Chopin has transformed at the recurrence of the {tierce de Picardie) and the remains in Phrygian. rest procedure: using a chord from the Major from the Phrygian (Neapolitan mode sixth) into a by using the tonic chord in it This its in a Phrygian passage instead of introducing a m ^^^ ^me i u. Phrygian I ^sp stt i ^ J j £. l3tt II« j=± l3# & J H u^ i J t IV l3tt IV 6 l3# II w ll. J l3tt l3tt Il6 For the part he played in French music Charles Camille Saint-Saens' importance Throughout his long life (1835-1921) and especially a steadying influence which was as Societe Nationale de 1. ^ ip*=3 IV 6 3# chord 1 Major passage. Chopin, Mazurka, Op. 41, No. C(t Major just the reverse of the traditional is much after the disturbing events of intellectual as musical. He is very great. 1871 he exerted and Romain Bussine founded the Musique with the object of promoting the performance of new French works. gether with Berlioz, Gounod, and Lalo, Saint-Saens is chiefly responsible for the great music in France after the Franco-Prussian War. Even after the younger and Debussy) usurped the leadership, Saint-Saens continued to be a men power To- development of (Franck, Faure, Chabrier, in the musical life of his country. The source of his modality the scales of folk music is more difficult to decide with certainty. Since he came from peasant stock, might have influenced him, but neither the Trots Rhapsodies sur des Cantiques Bretons, Op. 7, for organ, A is 2 nor the Rhapsodie d'Auvergne, Op. 73, for piano, supports such a conjecture. plausible explanation of Saint-Saens' adoption of modality as a legitimate musical medium the extent to which he was influenced by Berlioz, Liszt, by the prevailing spirit of romanticism (al- though he himself had marked classical tendencies), contact through his position as organist slightly first at St. and by Church music with which he was Merry and later at the by his association with Louis Niedermeyer at whose school he taught for four The in constant Madeleine, and perhaps years. modal usage by Saint-Saens are in his Messe, Op. 4, written in 1856. The idiom of the "Kyrie" recalls Lesueur but the "Gloria" seems more akin to the "March and Hymn" from Le Troyens by Berlioz. earliest instances of Saint-Saens, Messe, Op. 4, "Kyrie.' G Aeolian 'For in a final cadence formed by the succession Phygian Chopin's Etude, Op. 25, No. 4, see above, p. 62. 1 1- 2 See, however, the Mixolydian quoted above, p. 54. final cadence of Rbapsodie It 218 , 2 PT ? yjSf J T^T rETtrlT £ -t r -»• » r (Phrygian?) S £ 4 A ^« I Major PI «n 1 i.j^jnJ a g^ No. 2 "Gloria." i Locrian IV t mmm ^ ^ r Saint-Saens, Afewe, «• ^^^ vS ' (Minor?) as A m fc=£ r I j i i , Aeolian *£ i VII i Major VII (II) I These when first essays in the use of extra-major-minor material have a tentative they are compared with examples from Saint-Saens' later works. Piano Quintet, Op. 14, were written only two years after the first air about them, especially The two cadences from the mass. Saint-Saens, Piano Quintet, Op. 14. Third movement. 6 . 219 Saint-Saens, Piano Quintet. First A rf^ -its 3 t *¥ ^ A Hh* Mixolydian 1 7 [V7 of IV] The following "S ^ hsL IV Minor passage from 'J 4| Lydian IV 6 I4 Ave Verum » ijg 1 r. 5 movement A invites 5T Phrygian IV 6 Major n6 I comparison with those quoted from the mass. Saint-Saens, m £=£ m r=F 1X3 o Ave Verum, V Et Major * ' 1 1 1 J '/'l' , ^& j 4 Bl g ^ bi ^ « J ^=¥ VI Ill y^E t: I '311 f 3l l VI i 3 r t: r r "i' Il6 Major V°9 of VI vil ti Hj j i Il7 i^ ^ Dorian Phrygian Phrygian VI 6 VII I 5t=J= s »>i V I 'EbVofV V V In 1886 Saint-Saens wrote his delightful suite Le Carnaval des Animaux, of which the "Marche Royale du Lion" is Dorian. Saint-Saens, Le Carnaval des Animaux, "Marche Royale du Lion." Final cadence. {$ 7 "• -a- §p3i >>rrTrr r : jr^nj n r A Dorian I III rr r J 3= j ?= . 220 fc *-+ i m The first String Quartet, Op. 112, dated 1899, Two gian mode. The Locrian most remarkable is in its S fe employment of the Phry- quotations were given above, page 127 and page 129tonic chord is a rarity as the chord of repose at the cadence, but Saint-Saens offers a problem by altering the diminished solution to the changing of the minor third to major in the to the JtJryrri* ^ii^ i5p# J^Stfjttfl fifth to perfect, a procedure which may be likened de Picardie. effect called the tierce Saint-Saens, L'Ancetre. Act II. m i # ^= r ^^ (c Locrian Vl7 n?) E Vl| . Permijjion for reprint authorized by Hl7 Durand & Cie, Paris, France. Philadelphia, Pa. Blkan-Vogel Co., Copyright owners, He In 1893 Saint-Saens brought out his music to Sophocles' Antigone. have been the first to attempt an approximation of Greek musical many composers, among them may be mentioned style. the following: seems in The play Tommaso Inc., this work to has been treated by Traetta (1772), Francesco Bianchi (1796), and Niccolo Antonio Zingarelli (1796). male chorus with orchestra (Op. 55, 1841). Mendelssohn used the same subject for a All the above works are uncompromisingly major-minor. In a preface to his version Saint-Saens says: "In order to reproduce as closely as possible the effect of antique choirs, the choruses are written in unison, employing instead of the modern Major and Minor scales, the Greek modes used use has been made in plainsong." Saint-Saens uses the Greek Dorian prevailingly but some of the Hypodorian, the Hypophrygian, and the Syntonolydian. 3 Saint-Saens seems to be writing without a great deal of conviction. tave doubling for the evident purpose of obtaining a full sound while Greek on practice. This is especially manifest orchestral sonorities for their effectiveness. when we Even the He recall that his other restrained resorts to making a show extremes of oc- of conforming to works depend a great deal polyphony employed was criticised as being an anachronism. 4 The following quotations from Antigone are illustrative of the technique employed. infrequency of accidentals and the correspondingly few changes of mode above a tonic. J Syntonolydian mode: * A later (1898) setting of Antigone by C. F. Abdy Williams has even less polyphony. Scale Final Note the Not only does he attempt to use the Greek modes but also Greek rhythms. Some polyphony was present in Greek music according to Reinach. (See his La Musique Grecque, pp. 69-71 ) — » 221 Saint-Saens, Antigone, Part m p ^ m p i ^S r f i I. i=M i •n A Greek Dorian fe i nr r r gMM i g i r Saint-Saens, Antigone, Part H v P — * 5 *l p j p p p J J j rj ^^ w ^^ • tf i £ 1 m i Saint-Saens, Antigone, Part m > i h > p p i r n^ 3 ^s ?n l f inii Nui i * — G Greek Hypodorian m m 4 ^m f m f m- m OS -»*- F3 i g|| Permission for • Dorian m II. r-p P £ 3EE^ - i or Phrygian m wm r p e=e? E Greek Hypodorian g ^ j r 1 ^^ i p yy reprint authorized by Durand & France. Copyright Owners, Philadelphia, Pa. Cie, Paris, 1 B Etkan-Vogel Co., Inc., II. — 222 Saint-Saens, Antigone, Part III, "Invocation to Bacchus." f pgipE rr ^m t I m »M ; § m Si ^ p^$ f l r Iff rff s§£i p B Syntonolydian [HypodorianJ p--kj e^ r #M Pi | g * £ ===£ •? •? =S=*E * P (7 Saint-Saens, Antigone, Part II ^ 5 . g ^ ^^ m G Greek Hypophrygian in ^p^ ^ * r i j j a * ^ *C=« Permission for reprint authorized by Cesar Auguste Franck ( Durand & 1822-1890) Cie, Paris, Prance. Copyright Philadelphia, Pa. is Owners, Elkan-Vogel Co Inc. of minor importance to a study of the diatonic modes. He never adopted the ecclesiastical modes as part of his tonal material in spite of his long service as organist at St. Clotilde. His harmonic innovations were extensions of the major-minor system and the use of even such short modal interpolations as the following "Other instances of modality may be found in the following works by Saint Saens: Les Noces de Promethee, Op. 19 (1867). Introduction Aeolian. Melodies Persanes, Op. 26. "La Brise" — is —Dorian. Aeolian. comparatively rare. Hesse de Requiem, Op. 54 (1878). "Dies Irae" — — * * 223 Franck, Danse Lente. The lowered seventh chord but tone. mannerism of Franck usually occurs supertonic may be as a lowered fifth of the dominant regarded as Phrygian melody used in connection with the major-minor leading (See above, chap, xv.) Franck, Prelude, Chorale, and Fugue. ^ J | J i #=# j j ^^ ^ y= aa= : ^ C Minor I 6 VI 6 V°, V& M. Enoch & Published by authorization of N. Cie, * :i IV IVr+6 f I music publishers, Paris. Franck, Symphony, First movement. ffa=* -J— — , 1 4h — —>tm * • • -m D Minor Highly pendent ". styles constitute . . Chabrier and Faure m — 1 I m 1 fathers of the generation of 1895." m m Emmanuel Chabrier (1841-1894) toward a freer conmay be termed the first 'modernists,' since their inde9 traits." They are was not so. to . . the veritable foster- supplement those of the Major-minor Like Franck in this respect, his harmonic individuality depended on extending the traditional musical material, but the scope of is ". 7 Harmonic freedom often means adopting modal- harmonies encompassed a passage which — I« an indubitable assertion of French system, but with Chabrier this ' Vo? I significant are the contributions of ception of harmony. — TT •- m -J i41 rtf^ w [ 1 modal. Two his such examples are given below. "Edward Burlingame Hill, Modern French Music (Boston, Houghton Mifflin Co., 1924), p. 5. 1 Ibid., p. 45. originality occasionally 224 Chabrier, Gwendoline, Overture. C Dorian Chabrier, m i ~ J r r i r La Sulamite, Opening. ifr rr \ - +&k? ^^ wm W' w^ 1&s si .'nViiJ-j E\> ffi e}' Aeolian i7 (IV 7 I) Major Aeolian (Major) Dorian ^& Aeolian rv in Major Locrian vi_vni ii 7 vi 7 v? In their influence on the modern French school Chabrier and Faure share honors but in the history At about the same time, a manner stylistically more of modality, the composer of Espana cannot be compared with his colleague. Faure in France and Moussorgsky in Russia began to use the modes in To mature than their immediate predecessors and contemporaries. the modes in a way which reaches a maturity which is wholly independent of is not imitative of earlier these two go the ecclesiastical aesthetic. styles: the credit for first using With them modern modality evolution in the theory and practice of the modes which had been in progress all during the nineteenth century had finally brought about a complete break with the past Modality. In order to differentiate the two styles, the newer may be called Harmonic 225 Gabriel Urbain Faure (1845-1924) studied at the Ecole de Musique Religieuse with Niedermeyer, named being Dietsch, and Saint-Saens, the last position as organist at at the Conservatoire. At his real master. Four years Sauveur in Rennes. the age of twenty-one he took a he was back in Paris as later In 1905 he succeeded to the directorship of the refined lyricism revealed a new Meanwhile he had slowly latter. His original and insinuating har- to be recognized as one of the great musical forces of France. mony and assistant organist maitre de chapelle at the Madeleine and professor of composition In 1896 he became at St. Sulpice. come St. French music and inevitably placed him in the role side to of spiritual leader of the younger generation. shows a categorical acceptance of the principle of interchangeability of mode Although Moussorgsky preceded him by a few years in this innovation, there is no ques- Faure's harmonic style above a tonic. tion but that Faure evolved the idea independently the vocabulary of harmonies lost in such a broad The to use first it as a conscious combining a free exchange of the modes with seventh and ninth chords on any degree, By formulation. and was one of the field, was Another and vastly increased. but from less sensitive composer might have been Faure deftly created a subtle harmonic texture. it influences behind so radical a concept of harmony are difficult to conjecture. Born in the Midi, At the Ecole de Musique Religieuse he Faure was no doubt familiar with modal chansons populates. would have received instruction in the Church modes; through Saint-Saens he would have become acquainted with the German romanticists; and at Rennes he would have experienced the folk music of down and the young man Saint-Saens was convinced that the strict tonal system was breaking Brittany. must have been familiar with his master's ideas. 8 Yet these factors do not explain the idiom of Faure: he never used folk melodies nor does his music suggest any such influence; nor can any style have been its The music prototype. proached the technique exhibited by that of Faure. those given although of Saint-Saens, A frankly often ecclesiastical modal, never ap- comparison of the excerpts given below with on the preceding pages will reveal the gulf which separates the music of Faure from that of his predecessors. The following first two passages illustrate the lengths to mm *u pp which Faure carries interchange of irff ja — te=* IPgpi lar^rtn VI 7 I? frVlr » 5r Aeolian VI IV? Reprinted by permission oj Heugel 8 Saint-Saens in a "Causerie Musicale" in the Nouvelle Revue, 1, 1879, wrote "Music has come to one of iods of evolution. Tonality agonizes. The • i ^OT] its antique modes perre- <& Cie, •'"I II 7 Mixolydian VII November j If Tj flVi J/J in harmony is being modified." "See Book One, pp. 10, 37, 45, 51, 62, 116, Major V I? Paris. enter the scene, 113, i Major V7 VI III w «rv¥ m =* mun m ms. w III 1 mode. Faure, Penelope. r*. -jfr G Dorian 9 Book One. The excerpts have been chosen to supplement those given throughout 122. 6,7, 73, 75, 87, 102, * ; 226 Faure, Fantaisie, Op. 111. G Aeolian V7 VI [V|j( of V] m W 4 4 "J V Major Lydian Major 1 » ^ 4 : ¥ V ng =& r-^r'f Major Minor V 11% V 7 of V ±d= V Mixolydian IV+ 6 Vi Major i It!: Major Lydian IV+ 6 <!: 4= =iE Lydian v 11 ^^ £ "J V III 7 HI l6 Major « V 7 ofV ?^r¥ r^j— 'r- K 1- 1 E — fc : 7 Major j 5 *? p ? 7 — Lydian VI VIl| [v 2 ofni] VI 3 " IV. VI IV Major Lydian II [ivsfi] ii ^^T ^m i r-4? III I m ma rnr -, Minor IV k T i Phrygian Permission for reprint authorized by Locrian <**- V7 * 2 J} £_ sbsL s ? W S=A 2 SL j passing ' fU^ V7 =4 + ^ Jr g g i " Aeolian II Durand & Cie, Paris, France. Philadelphia, Pa. Copyright Owners, Elkan-Vogel Co., Inc., ^ i ^^ $r &t j , .J> J J VI 7 if fc^BJ 3*#i S >>frV Ie ? v vi 7 1 The cadences [v 7 ofvi] iv in (7) ii(7) m mm *fe= ^ fn* ^^ m mm in La Bonne Chanson, 1892. presque peur, en verite." m& ^ m 13 E Phrygian IV 7 u. » of Faure are very interesting and seldom conform to traditional formulae. "J'ai m ¥ 1 W Faure, i * Dorian Major III V°^ Major IV^ ^ jJlJl V6 14 j , ~rr~ i- Mixolydian Major , 227 V7 Major I4 m w m mH P P* w ^ TT Tf~ Faure, Le Jardin Close, 'Inscription sur le sable." $ m w J^U. m ^^ E Dorian I T^. reprint III authorized VI 7 by ~¥T" ^ fet ? V§ IV7 Permission far ^? IV 7 IIl| Durand & I7 rrrfl ^8^ III 7 Cie, Paris, France. Copyright Philadelphia, Pa. Owners, Elhan-Vogel Co., Inc., 228 Faure, m T 'CrucCr'Cr ^ 6cfbrTr I Major Ff J "N'est-ce pas?" Major (or III I T ^^ PW *± Dorian G Major La Bonne Chanson, Final cadence. Aeolian) Dorian III I Pedal _ Dorian I Major III I Faure, Penelope, Final cadence, Act I. m &m *A J- y *»* i E Aeolian m -U r'T r Major Aeolian in II 7 I By permission of J. Hamelle el Cie, Paris, Faure, Penelope, Act III, scene 5, Final cadence. ~Tf~ P m TT C Major IV 7 VI 7 Lydian IV7 [V°9 of V] II 7 I [V 7 of V] Faure, Pelleas et Melisande, Third D IV 7 Minor Phrygian Il6 By permission Aeolian II 7 16 of ]. Hamelle et Cie, Paris. movement. 4 229 The Faure, m m m =t* p =§= IV VI I *J=^J= i ¥^ft £ D Aeolian ^3F i Birth of Venus, Final cadence. Mixolydian VII Locrian I? VI? II Major II I By permission of J. Hamelle et Cie, Paris. In contrast to Faure, the source of modality as used by Vincent d'Indy (1851-1932) cated in the music. He was a disciple of Cesar Franck, D'Indy, however, was a instruction in the diatonic modes. osity turer, needed no prodding. and From editor. He was from man whom is clearly indi- he probably received of broad culture whose little or no intellectual curi- a true musicologist as well as a composer, teacher, conductor, his association lec- with Bordes and Guilmant in their movement to revive old music and plain chant comes the influence of the Church and from scales, his collection 90 Chansons popu- lates du Vivarais, Op. 52, comes his interest in the modes of folk song. In the last certain death in te Domine" and when part of Le Chant de la Cloche, quotes from the Ritual for the Dead. Again an attempt to rescue the the Master Bellfounder's body comes into view, he in L'ttranger men when the Stranger and Vita have gone to in peril, an old sailor intones "De profundis clamavi ad the throng which witnesses the tragedy answers with a Phrygian cadence. D'Indy, La Legende de Saint Christophe. F Phrygian Copyright by Rouart, Lerolle & Cie. By Another Phrygian cadence occurs special permission of Salabert, Inc., of 1 East }lth St., New York 22, Op. 74. in D'Indy, Pour les Enfants, No. 2 "A Op. 74. l'Eglise," B UrLf'lg S§ U E Phrygian VH7 1 " CoPintht hi Rouart, Lerolle & Cie. IV By U ' VI ±=± I special permission of Salabert, N. Y. -r IV I Inc., of I East iltb St., New York 22, — 230 One of the chief motives of L'Htranger Aeolian. is might be called the "Motive of the Tempest." D'Indy, L'Etranger, Motive of the Tempest. Later form A It Aeolian Permission jor reprint authorized by Durand & Cie, Paris, France. Philadelphia, Pa. Copyright Owners, Elkan-Vogel Co., Inc Early form A Aeolian In the Quartet, Op. 35, the theme of the third movement is Dorian. D'Indy, Quartet, Op. 35, Third $¥ ^^ J- J J J—• J L m J m—j * Efc J- movement TJJ J J L * * r G Dorian V I In the prelude to Act II of Fervaal a "Cevenole" chant populaire in the Mixolydian mode, 10 is used. but until near the end the tonality appears to be C It is said to be harmonized and the mode mainly Phry- gian. D'Indy, Fervaal, Op. 40, Act Permission for reprint authorized by Durand & Cie, Paris, France. Philadelphia, Pa. 10 M. Kufferath, "Fervaal, A Musical Action in Three Acts and a Prologue," Music (September, 1897), XII, p. 565. Copyright Owners, Elkan-Vogel Co., II, Prelude. Inc., 231 Although several of the composers who were discussed in this chapter lived well into the twentieth century, they belong primarily to a generation earlier than 1895. the subject of Chapter xxx. The succeeding generation will be XXVII Chapter MODALITY AND THE GERMAN ROMANTICISTS The most remarked piece of modal writing in the past two hundred years occurs in Beethoven's movement of which begins with an Adagio marked "Canzona di divinita da un guarito, in modo lidico" ( "Song of thanksgiving offered Quartet, Op. 132, the third ringraziamento offerta alia to the Divinity That the music by a convalescent, in the Lydian mode). great composer there is no question. It is an exalted expression of should not detract from the enjoyment nor should sidered at all derogatory to point out that the passage its be con- it not the pure piece of modal writing that cer- is tain enthusiasts contend. That Beethoven was keenly alive to the musical significance of the the "Sacred .song in the Lydian mode," in the quartet diatonic chords of the mode and No. 15, modes, he has shown in his harmonization of The melody Op. 132. without, of course, modulation. This is a typical is harmonized exclusively with example of genuine modal writing and one which musicians would do well to study. 1 Beethoven made no such claims: he probably would have resented a piece of his did not modulate. The Lydian. Not only peculiar quality of the Lydian mented fourth degree. as here, the If, pose of making the author's position mode is modulate, but is its character harmonized by a The following annotated is lost. as disparaging a is remark that not strongly due to the tritone between the tonic and the aug- augmented fourth degree 2 most of the individuality of the mode hymn does the analysis is V 7 of V chord, offered for the pur- clear. Beethoven, Quartet, Op. 132, Third movement. Molto adagio Lydian? (Major? Non-commital since there j i J.J J J m no until r f $ V 7 of V VI B S rrr J ¥ rr r is V?of )„ VofV V J. Sharp, English Folk-Song: T r r V y i Il7 C. i=3 PPi r 4=± Lydian II 7J L dia n y Simpkin and Co., 1907), i=i V6 F rr I C IV v2 I« 14 IV 6 v7 fV V7 V 2 Some Conclusions (London, See the Chopin example of the same kind on the preceding chapter, pp. 215-216. p. 48. 232 233 PPf fefe TT fTT rr * sM c V* I v°| 16 I VI f^ r III IV I V°J I [Pseudo-modall m ^y m ±5^ fTTT ^TT -J^U=: ^e± r L i=i£ I6 VPa I n ^T IV6 C IV 6 V7 (IV) V ^E^k H ? r f=f V V vi VI« LydianU 7 I 6 [v 7 ofV] _ i v7 r(V of IV) r I V [V 7 of V] II 7 and does so to emerge 7 of i ¥=F^ r r * VI at this point' J J d=d= T7 A r i rr c C but F begins r 1 ^^ T Still u ±U I II 7 I« fr ±=±4 r r r F Lydian I J. J J V7 r effect J J J J r r r r [Modulatory] V toward D-key of next movement i Akin to a pseudo-modal effect The whole passage tonality of the seventh chord g-b-d-f. fifth its As below. followed. to the tonic. this form of chord under use engenders an expectation of resolution to the tonic with root a fourth a logical extension of the system the chord place of traditional practice, but must resolve rendered somewhat ambiguous by the employment of the Because of the strong conventions associated with the major-minor system, above or a is it V 7 of V has become a common- usually resolves to the dominant chord with seventh, which in turn In other words, the relationships are clear when Beethoven, in the present case, has violated the formula, and, as a the established pattern result, the is chord relation- ships are not definite, the tonality deliberately weak. These observations should in no modality have their proper uses and case be construed as a criticism. who can say that in this piece of Weak tonality and pseudo- program music Beethoven did not find the perfect means of expressing the emotions of convalescence, that period of contented ennui in which the recent sufferer, for forgetfulness of the past? now the descriptive phrase placed at the ing new A tions of more than willing to exchange vagueness about the future must have been Beethoven's if we may judge by beginning of the succeeding section: "Sentendo nuova forza" ("Feel- at peace, Some such is intention strength"). critical modal scholar might regret the fact that Beethoven did not observe certain established convenwriting. the classical model. It can be equally well maintained that the structure of the The answer to both charges is last quartets violates the same: the music transcends There are a few modal passages in the Missa Solemnis. whole work and seem limited to Dorian and Mixolydian. mere form. They form a very small part of the 234 Beethoven, Missa Solemnis, Et Resurrexit. $E S i * J - rex - ter it P a ti - a ti * *• -J £ G Major f ^ re-sur Et ter I /T\ ^ f=f ff '*f | Dorian IV * ^^ M VII III Major II I 76*/. * =3* ^ s "Cf J=J D Major I 3=g - J= ^L $ r r II IV 3E D Major Mixolydian V /«(/. J=J ^^ 4=i 1 ¥=£ was published in ^ — o, i Major Mixolydian Edinburgh in 1814-1816. Since many Irish, it and Welsh folk songs and the folk tunes of the British Isles are might be expected that the harmonizations might also be modal. except for a few instances such as the following. modal, Major IV Beethoven was commissioned to provide settings for Scotch, collection r ^S =g S r .' V £ S d "J- Such is not the case, however, . "When Far from the Home." Final cadence. i 235 In some cases the melody has been chromatically altered to conform to the Major or Minor These changes cannot definitely be ascribed to Beethoven for they Compare before being given to him. may have been made by "The Pretty Girl Milking the Cows" the original of scale. other hands as given by 3 Bunting with that of Beethoven. "The Pretty Girl Milking the Cows." Original: #^^ i i if , r Hi i rX J r i rlr O Would I were but that Sweet Link.' "The Pretty Girl Milking the Cows.") Beethoven, "Oh! (Air: t^m $ s= $* i I i J i ± 44 W^ m s*=p ?li . . w t How far . 1 1 p u~n ^ t " i| i I i 7 T p r : he [Beethoven] employed Volkslieder and other tunes not invented by himself is not yet known. Certain melodies in the Eroica, "Pastoral" and No. 7 symphonies, and in the sonata op. 109, are said to have been thus adopted, but at present it is mere assertion. 4 Rasoumowsky Quartets (Op. 59) Beethoven introduced Russian themes. That of No. 2 is conventional but that of No. 1 appears to have been Aeolian in its original form. Note that the seventh degree is the Aeolian form at the beginning but is raised to form the leading-tone in the In two of the cadence. Beethoven, Quartet, Op. 59, No. 1. (Melody D Aeolian?) 5 Edward Bunting, A General Collection of the Ancient Irish Music (London, Preston, 1796), N°54. 4 H. C. Colles, "Beethoven," and Musicians, I, p. 308. in Grove's Dictionary of Music 236 If Beethoven used folk song to any great extent, no resulting modal influence works. Either he altered the melodies radically, or he used only major-minor is tunes. tive to the above that folk melodies found but small place in the art of the master, points to such a conclusion. is noticeable in his The only and all alterna- evidence It is safe to assert that the diatonic modes were of slight importance to Beethoven: he used them What is significant is that he used them at all and almost everything he did was in a sense prophetic. beginning had been made and a precedent set. With Beethoven's last period begins the renaissance of modality in German musical culture, but the reawakening was not immediate. In spite of the example set by Beethoven, German composers were slow to adopt the modes and lagged behind the French in this respect. very — little. A Robert Schumann (1810-1856) wrote almost entirely within the yet was sufficiently independent to make use of whatever limits of the major-minor system tonal combinations served his purpose. Like Beethoven, he possessed a keen sense of humor, rare in composers of instrumental music. The Humoreske, Op. 20, composed before 1839, is one of the most extraordinary examples of musical humor, and it is in the cadence that Schumann finds use for harmonies from the Aeolian mode. This is perhaps the earliest instance of the use of modality for this purpose. Schumann, Humoreske, Op. 20, Final cadence. Bl> Mixolydian f I nm 18* VIl7 IV I? I3l) Aeolian VII? [V7 of IV] I i jfl r?g VII? ±=i f jy. /7N 5S£ £ J Major I \^ — 237 The Mendelssohn (1809-1847) show no oratorios of trace of modal His musical ex- writing. pression lay wholly within the boundaries of the major-minor system. Franz Liszt (1811-1886), other hand, As parents. made some young man a use of the modes had wanted Liszt in those of his to become a Although apparently negated by a vital factor in his life, as works which have a religious priest but basis. was prevented from doing so by certain episodes in his career, the religious urge proved by the fact that in 1858 he became a is Francis of Assisi and received an honorary canonry in 1879. stimulated Liszt to write his masses and other sacred works. It was is his remained tertiary in the order of St. interest in the His modality, then, been largely the result of Church influence, a judgment which on the may Church which be said to have borne out by the fact that most of his other works are conventional major-minor. 5 In the Graner-Messe (1856), the "Credo" is Aeolian. The style adopted is simple and direct: there are neither seventh chords, nor accidentals. Liszt, A men. _ ^r=r D Graner-Messe, "Credo," Final cadence. j" J UtZJ j s I'ff'f Aeolian III 6 VII I III IV 6 IV * ~n~ Vi/ VII I VI In later works Liszt retained the simple chord forms but used some accidentals and some pseudomodality. Liszt, Die Glocken des Strassburger Mtinsters, Final cadence. m K P^ De ve a jsr m C Major VI ^ ^ De rs_ Mixolydian I VII 6 VII Major VII V Liszt, h I mi I) 1 See, however, the excerpt on p. Major 99. = A Missa Choralis, "Credo," Final cadence IT men A men —^ JCk. oo VI i « i i 238 Liszt, 1 i Al le - - lu mm d=± u I Chrhms, Opening measures. *F Al ja.. rr r r C ^ W ±^ # '"J p J J i G Mixolydian zSz le J J f i ja lu - r r f r J=^! £ Al JTp p i M lu le ja on r=f * ^^ ##^ J=± g^ :fi F s r^ Liszt, Christ-, /j, "] Die hei ligei i drei 1 Jp = l,l'l ir lf M#- Jjp ^ b 2 l> L» 2-p- p r m 1 ii ' i r i — "1 a— — — —*; C Aeolian sB y • ^ $& I 3 [ Konige." r : 1 1=4f— —i f— L f ? r »* 37~Vp co/ g. p S I 1 m a w f=F ^5 rff urr ^'fft=f C Aeolian 239 a —m—m—w m m * si ftm '3 l m a Vm r-if JiiJ iJj-'r-NJJ u fe #— g B 5 s I 5 ^ ^ ^^i^ij .p "T f 1 f ^E ;zz f#^pp ' 1 ^ i 1 i i ^^ « * ; Bt Other examples of modality may be cited: the and the Kyrie of the Missa cboralis (Dorian). lian), Oster-Hymne, "O It fact that Liszt and Gounod were both interested far the greater part is conventional. in religion suggests the possibility of further resemblances, but aside from the irrelevant detail that their life Between the French and German schools seems to be none. from Christus (Aeo- should be noted that the modal parts of these works represent but a small percentage of the whole: by The Filii et Filiae" spans were almost exactly equal, there is it Berlioz and Liszt who resemble each other in their manner of using the modes as a device for invoking a religious atmosphere but Faure and Brahms 1 who were the first an to adopt modality as essential parison of the latter pair of composers must not be interpreted as an impression would be erroneous. identical: such ditionally; mode for he freely juxtaposed chords drawn from more than a few measures. all is were that their techniques His employment of the modes was not piecemeal. conventional with modal interpolations. was mode uncon- the modes, rarely confining himself to a single Major-minor system; he regarded modal harmony technique meaning it The com- art. Faure embraced interchangeability of the other hand, although recognizing interchangeability of to the element in their mode as a as a Brahms, on valid principle, subordinated means of gaining contrast; his its use harmonic Faure represents a cleavage with the past and presages the future; Brahms' harmonic idiom belongs to the classic tradition of Mozart and Beethoven and his modality is at most an important adjunct. Notwithstanding the been the first of the two fact that he was Liszt's junior to use modality: his piano by twenty-two Sonata, Op. 1 years, (1852) Brahms seems touches and antedates Liszt's earliest modal essay (in Graner Messe) by several years. Brahms' modal little style appears to have been mature at this time and may be said to throughout his career. Brahms, Sonata, Op. n\ C Minor 1. to contains several Andante. tjjji C Aeolian Minor III I§ V7 I have modal Furthermore, have altered very 240 Ibid. C Major C Phrygian VHjj VI Brahms, A Klavierstiicke, Op. 118, No. 1. Opening. Phrygian Brahms, Trio for Piano, A Clarinet, and Cello, IV. Aeolian Brahms, Sonata for Clarinet and Piano, Op. 120, No. ^m § m ij SSPS F Phrygian ^^ S 1. 5=H # 3 J I 4^J^ =^rp » ? | 241 Much of the modality evidently comes about through a desire for melodic contrast. Several such examples are quoted below. Brahms, Pw«o Quartet, Op. 25, Fourth movement. m teii m Hi ^ W3 iJ^T-J 5^5^ G Major Minor Phrygian IV V7 I Brahms, Quintet, Op. 34, First movement. 1st theme I Phrygian Brahms, Trio, Op. 101, Second movement. Jf L''i <u * "^» —LE^— — 1-. ir I i i i —4. £ K » »— * > £ _^r7.n -hj " » J 1 1 j J^JTjt]—JJ [_ -1 -0- -m -P- JF Brahms, Concerto for Violin, Cello, and Orchestra, Op. 102, First movement. A Minor. Aeolian I IV Dorian IV? VII Minor V? 242 Continuous employment of the Neapolitan sixth Phrygian mode. this is sometimes responsible for the generation of the In the following excerpt from the Trio, Op. 40, the Phrygian seems to be evolved in manner. Brahms, Trio for Piano, Violin, and Horn, Op. 40, First movement. P m 3? Violin Horn in 3. l H ib I t TTuj J- g =PPl . ^=¥f mp f) jffi^ i N6 V9 $ ^3 WJ f* 7 | ¥ 7 ] II 6 J|J •#> 5 V6 S: VI 6 movement # i s p , ^ I VII II i fc5 Il6 ^ is . MN# bl SX-^ # V6 VI of the Quartet, Op. 51, no.l, melody, the second degree always appears in Minor form. 7 7 f* I VI 6 VI 5 VI its ^i ^f 6 Brahms seems Phrygian form yet the seventh degree Note the Phrygian signature of four is t> fee I quite similar except that In the accompanying harmony parts, the second degree In the is have to first-violin usually £*, form- usually restored to flats. Brahms, Quartet, Op. 51, No. 1, Third movement. J C Phrygian IV I i been experimenting in the use of the Phrygian as a minor mode with leading tone. ing a leading tone. ^ fr f . fe3 ^ a H ^ ^f^ rrhfrvl^ s 1 HI I ^ HM 1 I Phrygian third l m Ek P^ The TTJy VI ^ Phrygian Aeolian II VI 4 VIl£ its 243 Or^^Lr g gMe ^l/cj-l: rw ^ ' 1 1 J ' i i j 1 i ^i i irr ^ III 6 1 g g ^^ p Minor Phrygian III IV Vllf i V7 V°9 Phrygian Minor IV V V l2 .n^ £3 I C Minor I Phrygian of IV II 6 V6 Brahms was fond A notable case is of this effect (Phrygian melody with leading tone) and used it a number of times. that in the Quintet in F-Minor. Op. 34. Brahms, Quintet, Op. 34, Second movement. ifeji f #^ w IS w '^ ^ Hi «J I V : lh) -/ilPrP ^# ii» <t|»"f p v p if ^ s r^rf^t sate D The Phrygian theme the composer's reading of of the second Greek ing but after a few measures tragedy. it is movement of Symphony No. 4 is thought to have been due to The subject in Phrygian is given out in unison at the open- harmonized with alternating Major and Aeolian. 244 Brahms, Symphony No. 4, Second movement. E Phrygian j£fe^ m g gU1LJLX/ -i u, ¥ i " J Si i 1 v v ->Hi > fflf r J ^ r ''LU- jj jtj: s ^ as ^ Major Aeolian Major I IV I The No I 6 9=F U g j> LLj V? Major um nfld Aeolian IV I a -iij 1 ST Major Aeolian V IV Aeolian I6 I V lj Major IV source of Brahms' modality can hardly be said to be religious influence as it i I was with Liszt. melodic modality was employed in the Requiem, Op. 45, although in the second and sixth movements there is some pseudo-modality. The same method (emphasis on the secondary triads) is employed simulate antiquity in the setting of an altdeutsch text. Brahms, Ich schett'mein Horn m " $ g G Op. 43, No. ^^ Jammerthal, ^ <u IE d§z * in's 3. g § P V III s IV r in to ; ; 245 .. ±t 1 ** 4 J 5 p. n V IV The evocation techniques of Impressionism is V in i is means q 1 of a religious atmosphere through the antiquity through pseudo-modal Aeolian i A III » « o VI III employment of modes and the suggestion of That Brahms sometimes approached the are both romantic ideas. illustrated by the beginning of the song "Von ewiger Liebe." Here the used to evoke the dark, shadowy forest: Debussy later was to use the Dorian for a similar effect in the introduction of Pelleas et Melisande. Brahms, Von ewiger Liebe, Op. 43, No. m rn.i 1. a. T-r Minor IV Dun- kel, wie dun- kel in Wald und in V Feld! Aeolian In the Schicksalslied, Op. 54, the composer has chosen the Phrygian mode for its appropriateness to the expression of the last stanza. But we have been fated To find on earth no repose. They vanish, they falter, Our suffering, sorrowing brothers Blindfolded from hour to hour They are driven like water dashed 'Gainst the rocks by the tempest Darkly the unknown lures us below. — Frederick Holderlin So frequent are instances of modality list in the works of Brahms that it would be easy to expand the given here but to do so would not serve any useful purpose since the main features of his style have 246 been illustrated. 6 One mentioned although peculiarity should be not properly modal: Brahms is it very frequently employed a minor sixth degree in the Major mode, thus producing an effect which sometimes falsely called The same modal. characteristic is among frequently found is the Russian nation- alists. Brahms, Scbicksalslied, Op. 54. ^m M^ «= p=& SF I7TT gjjjjg rtarr ruir E\> 3 Major « H* ftrrrr 3 r 3 Brahms, Piano Quartet, Op. 60, Third movement. fifesg >¥mjJ p^# &L ^ E Major Curiously enough Brahms had no immediate imitators in fact may Bruckner perhaps be attributed to the influence of Wagner, is hardly important from a modal standpoint. His and F-Minor exhibit almost no deviation from conventional motet Cbristus is Germany The in the matter of modality. who made little use of the diatonic modes. Te Deum and the Masses in E-Minor, D, The following excerpt from the practice. one of the few passages which might be considered modal. Bruckner, Motette, "Christus." $ \> fi i r ^m §=m IV 6 V6 D Aeolian I III 6 Minor Phrygian II 6 I 6 Richard Strauss has followed the Wagnerian tradition and although ner's harmonic The legacy, the modes are not a deaths of Wagner, Liszt, and prominent feature of period it is In closing this study of the history of the recognized that there is true that he has added to no spirit diatonic clear demarcation Wag- music. The their careers before 1900, Brahms mark the end of a great period be said to belong to two periods, but by reason of their the moderns. it is his style. younger men, Strauss, Schonberg, Reger, and their contemporaries, may I« VII°7 who began in and technique German their true place is with modes during the German romantic between the old and the new. The sudden advent of impressionism in France about 1890 provides a rather definite date for the beginning of the modern period in that Gountry. an abrupt outburst. In Germany the change had the character of a transition instead of Nevertheless, the final decade of the past century beginning of the modern musical spirit in Germany, is not an arbitrary date for the since during that time appeared such prophetic Don Juan (1888), Tod und Verklarung (1899), Till Eulenspiegel's Schonberg's Verklarte Nacht (1899), and Gurre-Lieder (1899-1901). as Strauss's "Examples of Brahm's modality given elsewhere in this work :t>e found in Book One, pp. 25, 26, 27, 50, 51, 52, 53, are. to ' 57, 58, 61, 63, 66, OS, 69, 70, 71, 73, 89, 95, 99, 110, 113, 116, 118, 122, works lustige Streiche (1895), 124,and 125. 100, 108, XXVIII THE RUSSIAN NATIONALISTS Chapter MODALITY AND Not only was Glinka was His later also the first first opera, A the creator of Russian opera and composer of any country Life for the Tsar, works whose modality is that of the Russian Nationalists but he use of the scales of folk song. was written between 1834 and 1836 and its The modal far antedates all writing found in the works of source primarily in ecclesiastical music. Michael Ivanovitch Glinka (1803-1857) spent must have made an first make an extended the influence of folk music. Lesueur, Beethoven, Berlioz, and Liszt has the people to indelible impression childhood in the country. his on his sensitive nature. It Here the music of was during this period he gained that understanding of the mood of Russian folk song which was to enable him to remain true to the unspoken traditions and unformulated aesthetics of his country's peasant music. haps fortur ate that his formal musical education was meager because ing in classical harmony would have it is It is per- possible that a thorough train- inhibited the very forms of expression on which his fame rests. Lacking musical erudition, Glinka was forced to express himself in the idiom with which he was familiar; he was compelled to solve his problems in a truly Russian way. The fact that he was consciously trying to write national opera in folk background his goal Among no way disproves this contention. Without the advantage of a Russian would probably have been unattainable. the several characteristics of Russian folk song, modality he began his career Glinka knew little one of the most important. is or nothing about the scales of the Church 1 and theory but, influenced by the music he had learned as a child, even the overture to makes use of a kind of modality. Aeolian section, which, after all, Note may be A When their elaborate Life for the Tsar that the seventh degree of the scale does not appear in the regarded as E-Minor without the leading tone. Glinka, A Life for the Tsar, Overture. (Minor with seventh degree omitted) W m? w W^ 3t m m m£ m £ ^m $ ^ =**" A Minor 1 Glinka later became interested in the music of the Church through his connection with the Imperial Chapel. Recognizing that the ecclesiastical scales music, he resolved to learn were identical with more of this Apparently he 1856 went to Berlin to study with Dehn. was hardly conscious of the fact that he had been using the diatonic modes in a far more effective manner than had anyone else since the rise of the Major-minor system. in those of folk branch of the art, and 247 248 Another feature which at the is more important cadence Glinka typical of is A Glinka, |r rr pr r for modulation i II, and No. 15 a. m r a^ gig p Life for the Tsar, Act ijmuiir § r NfrLrJ- $ harmony that he uses orthodox points. \ zSzfc « ff7 7 lf[" «P P^P *'EjTCr*[rlr^M fr 3 3 S J Jb irg 2-2 1 1 nh S i*f£ f< r i v rz: «< 7 v2 2 2 ^* ilJi 7' ?T v>^ v6 7"i 2 2 liH 7 7' 7' •? v6 i "^ r to have tonic v2 V°9 Minor VI 6 was sometimes studious omission of the seventh degree felt M £e£ ? D Dorian The I Glinka seems carried to extremes. the leading tone to be foreign to the idiom he was using, yet hesitated to employ the sub- form which violated the His method of solving the problem was to orthodox harmony. rules of avoid the use of the seventh degree. S jo n * m ' &£J l il I -CJ' iJ v CiP ^S=f /?\ S ^ _ 3E£ m m^ A £ f |H Glinka, Russian and Ludmilla, Act * ms r\ ^r\ Minor? Aeolian? fe^= m ail i F H' M-i Sn£ (l3tt) r i.J ^ i j i r i r i r r r P** M S i r III. /* i& — 249 A kindred device for avoiding the dilemma of the seventh degree was to accompany with bare octaves a melody in which this degree did not appear. Glinka evidently given below was not Minor and the use of the Minor dominant such a tune as the one Russian Unable spirit. chord c-i-g with his slight knowledge of harmony, he adopted a treatment which to reconcile the it felt that c-e^-g violated the made unnecessary to use the seventh degree during the course of the melody. A Glinka, £ -ii^ )H\yj ^m S VB 1 * \ £ h v 7 SEJ J) m r J i • £ £=£ p 8- F Aeolian sb Life for the Tsar, Act III, Opening. r i 1 m Minor He did not always resort to such stratagems: sometimes the subtonic appears frankly. Glinka, m ^ »: S 1 ^ r j> i j Act Life for the Tsar, i=# *r j, A I. # % p^p "S J m # -t Aeolian C Minor Glinka, Prince Kbolmsky, Entr'act. ii(n \ nn i ^ £ 4 Bgp A Aeolian ^^ IS —in i: s > r===> =3= p S 3« m f F f ^ ^1 TT Minor V III n i i. i mm s =§L — J — ' i 250 Two kinds of pseudo-modality served the purposes of Glinka: (a) emphasis on a secondary chord (in the following case, at the cadence point). A Life for the Tsar, Act Glinka, J J3 J J fl J II, P j i r f r r r r T r r r g^ r r — 0— *—0 — =±==4 3 i—i =a= i =J=i=iLJ and ( i n i 1 J J F * i rn j ** j i j < J j. i minor subdominant in Major. A 3 ^ £fr f ^^ j* J* b k jgjj »^ E : , i IV 3t IV 3t D Major Act Life for the Tsar, : II. J2. :2= IV 3l> i This emphasis upon the minor "subdominant became a noticeable mannerism; every scene of Russian and Ludmilla, and very frequently in Prince Kholmsky. Brahms is * i ' Glinka, There r r — — —— —— — ^ i. j n F i b) the use of a exploited by J in S- — J ,i C Major *¥. scene 2, No. 13. later in the century, as no modal writing in A we have it is used in almost The same device Night in Madrid or in Kamarinskaja. Russian and Ludmilla show a remarkable gain in harmonic resource. Prince Kholmsky and In the latter the style has so far advanced that such progressions as the following are found. Glinka, Russian and Ludmilla, Act e m Et Major * * jIlg # r i j j \>(C- -Cj2. K |^. &J& \\>(L \>& I, Finale. \\l ttJI « im Ji *¥^ S Locrian VI? 1 II Major IVJj II« iS Glinka, Russian and Ludmilla, Act IV, Finale. At was seen. Phrygian [MixolydianJ 17 III 7 IV VI IV V 7 of IV IV ng i fi 251 Glinka created from Russian folk song a serviceable and To an important element. ity is this language in which modal- effective musical Alexander Sergeivitch Dargomijsky (1813-1869) contributed a heightened dramatic expression, racy humor, and a restrained declamation midway between song and recitative. His innovations were complementary to those of Glinka and were more concerned with mat- ters aesthetic than with the tonal medium. One any great extent. ity to In Dargomijsky 's harmonic fact, of the few instances is style never embraced modal- found in The Triumph of Bacchus: Dargomijsky, The Triumph of Bacchus. & S A S Aeolian ionpL m * m- Minor His frequent employment of the minor sixth in Major is Aeolian undoubtedly a direct influence of Glinka. Examples may be found in The Triumph of Bacchus, Roussalka, and The Stone Guest, but nowhere so In the finale of the last work the minor sixth appears consistently as in the Fantasia on Finnish Airs. so frequently that, although the key signature is that of A-Major, the tympany f and strikes he was teacher to the tuned to is note measure after measure. this The chief importance of band of Nationalists little Mily Alexeivitch Balakirev called music which was truly Russian. "The Five," (1836-1910) is that and champion and propagandist for the fostering of all His musical output, although of extraordinary quality, was not volumin- The is outweighed by the consequences of his other activities. development of modality, since it is largely major-minor or else shows strong ous and his significance as a composer music added little to the oriental influence. (See the symphonic poem Tamara, and Islamey, oriental fantasia for piano.) Cesar Antonovitch Cui (1835-1918) was the Balakirev, but he was mostly self-taught. He was first little used and may to come under the guidance of the son of a French father and a Polish mother, a which may help explain why the Russian element fact "The Five" of is rather attenuated in his music. Modality is almost be said to be nonexistent except for a few passages in the opera William Rat- 2 cliff. The music of Alexander Porphyrievitch Borodin (1834-1887) prominent feature of his style, especially noticeable in Prince Igor, Balakirev's influence but it was possibly due 1 to Borodin's There are instances of the use of the Aeolian mode in the III, Chorus Tarantella) and in the Quartet. Op. 45 (first movement). — opera Angelo (Act * Prince Igor contains the following modal passages: Act Scene and Chorus Chorus of the Polovtsian Patrol — Phrygian occasionally oriental color. own temperament and — — Act Chorus and Dance— Phrygian III: —Phrygian Jaroslavna's Complaint — Aeolian Chorus 3 modal but a more This may suggest predilections since he Dance of the Boys Aeolian Men's Dance No. 2 Phrygian Act IV: II: —Dorian is is 252 was the illegitimate son of an oriental prince. by the fact that he was reared in peasants. Borodin made The melodic St. The conservative use of modality effective use of pseudo-modality, line belongs to may be accounted for Petersburg and thus never came into contact with the music of the C-Major but the V 7 however, as the following excerpt will always resolves to VI. cadence produces a play between the Major key and its attest SudTemphasis on the deceptive relative Aeolian. Borodin, In the Steppes of Central Asia. Borodin made striking use of a harmonic device which consists of chromatically descending har- mony which was frequently used beneath a purely diatonic melody. The effect therefore, is neither real modulation nor true modality, yet some of the chords have a modal relationship to the tonic. Borodin, Second Quartet, "Notturno." m IFW ggg A *j ? p m V7 of VI Major IV Aeolian t Major VII =p & r pcri » f Lydian II 7 [V 7 of V] in I Borodin, In the Steppes of Central Asia. r r A Aeolian I r v r r £ t-J~Uj Hi T= T r r "' r p ' 253 j" jjjjj s* 35 *f=p r^ Y r T k l=f T r=pF Modeste Petrovitch Moussorgsky (1835-1881) was a follower of Dargomijsky in the matter of declamation and aesthetics, but from the point of view of modality his master was Glinka. Having passed his boyhood in the country, Moussorgsky was thoroughly imbued with the spirit of folk music, and his early environment In general, the left an unmistakable mark on modal methods his compositions. of Moussorgsky resemble those of Faure, although their personal Through an unreserved adoption of the principle musical styles are quite different. of interchangeability, both employ the modes melodically and harmonically with the greatest freedom, and Moussorgsky even preceded Faure in this respect by a few years. sages it changes with every chord or two. the music never sounds as if it No mode is ever used for very long, and in Such constant shifting were an imitation of the manner so thoroughgoing, tialities are as broad as possible within the frame of the diatonic scale system of realized the full flowering of the when used in a The melodic and harmonic becomes a technique of absolute music. is into a neo classic it Instead of being called in for a specific programmatic purpose, modality, In the breadth of this concept Western Harmonic Modes. Introduction. ¥fe? i yg^ r f At Mixolydian * | * m * >'" * i* § V6 Vl7 V Mixolydian V FT * IV I II m u Minor Lydian I Minor LydianDorian VI? poten- civilization. Moussorgsky, Boris Godounov, Act IV, scene r pas- The new usage emancipated ecclesiastical style. modality from the role of a mere coloristic device of romanticism and transformed technique. many largely responsible for the fact that is II ^=4 f e f V ' y r VI 1 V 7 1, J 254 W J Ji.J 4J warn b*T*i I JJ ^^ ^^m 5* bJ IV Minor VII y ^ ^ " ^g| m =fc ^3 Aeolian *^-* Aeolian VII VI VII I V J |? JFFg . M p. Dorian V V VI VII VII I +6 I"™» I T I t+6 I Moussorgsky, Boris Godounov, Act IV, scene Chorus of Boyars. m ' i -J l*» gg Al> II 7 Aeolian l6 i \: as ih r i ir J » I "j | | . i J ^ VTT VI Major i i * III II " » f VII T Phrygian IV III I % * ^^1 * III Major I Phrygian VII VI VII V p V If vi£ (I+ 6 ) u ^^ W Pi p_p v2 I f f VI VII inl r^ Minor V2 J b b VII I ¥ I+ 6 j III tif ^ S II bf iv 7 "'^1 fefa -^ *n'iM III ^P II m Major Phrygian #§=>* b* ^v.-f 'HM IV 7 i m V ^ 6 J J it IV I |EEpJ pS*« II 7 7 d I ^ V ^^ » I M i fl J i IV 7 ^ VI* v! VI 6 (l+ 6 ) ^^ f f Aeolian IV =S S /tN /7\ 3_J II, 255 Moussorgsky, Boris Godounov, Scene I. Prologue. m \ b £ r; * bj i^ Phrygian V+6 ri i | »»]»[, j ^^ s i ^ iLff p ^^ Ij JP# i iiii i j 33* li^££EIEE£ W i ; T £=: f 7- rMajor I It should be remarked that Moussorgsky rarely makes any concession to the major-minor, system: even in the cadences a mode is retained in pure form. Moussorgsky, Khovantchina, Final cadence. -£• SMe $ i-ite: SI g f3 g t- ^ mte ^^m .^3- t:k r. ±22= f pMl SB* Jot /T3, i , ^ 4 3 7 e* At Aeolian I IV I VI IV I I VI I Moussorgsky uses the Major and Minor modes a great deal: to do otherwise would be self the full tonal palette of the chord or short passage if it Harmonic Modes. He is serves his purpose. Moussorgsky, Without Sun, "All Past the Feast Days." itk i ig m Ek ' This final I4 cadence may possibly have been written by Rim- sky-Korsalcov, but sorgsky's style. if so, it is thoroughly in keeping with Mous- to deny him- always ready, however, to interpolate a modal HM Mixolydian Major V IV l6 V f'f I 6 14 J u J * 256 Moussorgsky, Khovantchina, Act — U— _ *¥• m ... U^ ^^w > 5 I —m 1 ' I--1 f d l m 1 1~ » —0 1 J • r I i — — J ' ^ m i v_> — J scene No. 2. * =F b^-* ' b B a J a •0 -0 L < 1=^0 • a 1 Aeolian 6 4 g¥^¥ f m r~" m A Minor V * — I, \ ^ v I j 7 j 1 i 7 1 m » » r "T" i i M ^^ rr=T l. i r i c f i i r r ^=^ EE Minor Aeolian I Almost every scene of Boris Godounov and Khovantchina other works are somewhat less uniform in the excerpts given above and elsewhere. The circumstances of the early 5 The songs and but examples are not lacking as this respect is proved by 6 life very similar to those of Moussorgsky. exhibits modality. of Nicholas Andreievitch Rimsky-Korsakov (1844-1908) were He passed environment where he absorbed Naval College in St. Petersburg but at his childhood in a rural the folk-song spirit. Destined for a naval career, he attended the odd times continued a musical education begun at the age of six. It was time that he met at this Balakirev and was fired with the musical ambition which eventually resulted in his resignation from the service. Rimsky-Korsakov recognized interchangeability of mode own He was much more way. likely to use a single mode as a valid principle but practiced it in his an extended passage than was Mous- for sorgsky and for this reason his modal methods are a closer approximation to those of Glinka than were This style seems more suitable for the musical utterances of one his colleague's. Rimsky-Korsakov used the diatonic modes for lyrical. coloristic effects who was essentially and for reasons of program. In a word, his modal usage was that of a romanticist. '' Boris Godounov: (Paul Lamm, Press, 1928.) ed., Act IV: Vocal score, Scene London, Oxford University Prologue: Scene 1 — Introduction, pp. 305-306 Aeolian Pimen's Narrative, pp. 349-50 Dorian Boris's 1 Introduction, pp. 1, 2 —Aeolian — Prayer (Chorus), pp. 5, 6 Aeolian Dialogue, pp. 8, 9 Phrygian Chorus, p. 14 Aeolian Scene 2: Introduction, pp. 31-34 Locrian and Lydian Act III: Scene 1 Marina's Song, pp. 238-39 Lydian Scene 2 — — Scene 2 Chorus, pp. Khovantchina: Act III: —Aeolian 357-58 —Aeolian 399-400 —Aeolian and Phrygian —Phrygian and Aeolian —Mixolydian and Aeolian Introduction and Chorus— Aeolian Introduction Chorus Act IV: — 277-279— Lydian — to his Son, pp. Choir, pp. 361-64 — Polonaise, pp. 270-72, Charge Scene 7 —Aeolian First and Phrygian ' Other modal quotations from Moussorgsky's works will be found on the following pages: pp. 4, 43, 45, 48, 59, 64, 67, 69, 72, 78, 80, 82, and 147. 91, 102, 109, 110, 112, 117, 118, 129, 257 Rimsky-Korsakov, Snegourotc.bka, "Danse des BufTons." £t EiSJ EEfc : m S ^ fa 9- S F Dorian =S±J ps fct 9- ^^ ^ ^ =^= ^ f^gf Minor I Rimsky-Korsakov, Scheberezade, Major G Major == &*=— $ ^ *):# l,». 7 s II III. =_^:===========S }^^ m-t- ^^ " '^ Major Phrygian Rimsky-Korsakov, Scheberezade, j'r rrrrrrn^^ m f= B Dorian ' i^^ at 4 f V 7 of A Stf I. — 258 Rimsky-Korsakov, Sadko, "Danse des ruisseaux Major et des sources." I Rimsky-Korsakov, Capriccio Espagnole, No. ^ i sm F Major wm ^m IV +6 I ^ i Aeolian IV +6 Rimsky-Korsakov 7 sometimes used pseudo-modality with surprising is particularly striking, since it — — , Sadko Tableau III: Beginning Phrygian Tableau IV: Scene between Douda and Sopiel Aeolian Chanson Vareque Dorian and Aeolian Snegourotcbta Act I Dorian lere Chanson de Lei Act II — — Hymne des Barendeys—Phrygian —Dorian Hymne Act Opening chorus—Mixolydian finale III The following example different. 7 For additional modal passages in the works of RimskyKorsakov, see the following: Nuit Meridionale, Op. 3 Phrygian he Vieux Mont et la Nue, Op. 3 Aeolian Sur les Collines de Georgie, Op. 3 Phrygian — effect. bears a general resemblance to a passage in Stravinsky's Petroushka, al- though the means employed are very — 2, Variazioni. — Pskovitianka Close of Act I, scene Aeolian The Tsar's Bride Act 2, tenor solo with male chorus II, scene 3 Intermezzo Aeolian — Mlada Act II, scene 4 — — — Chorus Aeolian 5/8 Chorus Lydian Aeolian Priests' Chant Act IV First Beginning—Aeolian, four de Fete Mixolydian 3 — later Phrygian and Mixolydian — La Grande Paque Russe Aeolian and Dorian Die Legende von der unsicbtbaren Stadt Kitesh und der Jungfrau Fewronia Act II—Dorian, Aeolian, and Phrygian Act III, scene 1 Aeolian, Dorian, and Phrygian Act IV A cappella chorus^ Lydian — — 259 Rimsky-Korsakov, Pskovitianka, Act pm T ^ r ! P |f IV 6 ^ pp ^^ W II, ye iv6 hi6 scene 2, Intermezzo. fcEt f i EI - n6 6 m6 Il6vn6vi6v g n6 1 i ^ III 6 IV 6 V6 V IV 6 Stravinsky, Petroushka. & ^1 \} *p! tt }h}\ f m mm Most of the Russian contemporaries of the composers some extent but For this reason, their contributions to the detail, m discussed above used the diatonic Liadov, Napravnik, Arensky, although excerpts will be found elsewhere in Rubinstein, which is to the subject of Chapter xxx. and The more modern this younger men, Glazounov, Gretchaninov, Scriabin, Stravinsky, and Prokofiev, belong to a period, a brief sketch of modes development of modality are comparatively unimportant. the compositions of such composers as Tschaikovsky are not treated in £ \ \ work. n XXIX Chapter OTHER MANIFESTATIONS OF MODALITY IN THE NINETEENTH CENTURY The revival to France, of the use of the diatonic had not yet begun to shown the nineteenth century was mainly confined Russia. way by Debussy, Ravel, and other the modes during The composers of England were under German influence and be affected by their own folk songs. Spain's nationalists had yet to be Germany, and In Italy the whole foreign writers of "Spanish" music. musical scene centered around lyric opera, the success formula for which did not include excursions into modality. Only Verdi seems to have had an occasional urge to experiment with odd scales. The Ave Maria (1898) on a "scala enigmatica" is clearly probative and, although diatonic, the scale is not a member of the family of diatonic modes which has so long been part of our Western civilization. Another oddity occurs in Aida (1870) and of Egypt. fication. H #«» -o- is tfS o E «» obviously the result of a desire to represent the exotic color The scale used has a minor second like the Phrygian but the major Note the simultaneous b h and b k in the second excerpt. third denies such a classi- Verdi, Aida, Act b r I gg Tr gj I. n I: ^^PPf yppi ^PI ^ ^ *— T?— ^i ^t^^frT^ Orch.< it=!t=i h 7 I S 7 f3 . » | h==^ Eb ^ u^r'n «= ¥§ I w § ' ,v-i, 'i, 4' v 4' > * * p W " 1 260 S ^-• +- j*> j^lj* ^ ^ J i 261 Verdi, Aida, Act ^J m S r . 7 — p s 7 7 Italy lagged 5 ^ PH^ behind Russia, Germany, and France in the rediscovery of the dia- abreast of developments through flourishing na- Norway and Czechoslovakia were keeping tonic modes, P 8 Phrygian? C Minor While Spain and p II. tional schools. Edward Hagerup Grieg (1843-1907) and Richard Nordraak consciously planned the Norwegian After the latter's death in 1866 Grieg continued pioneering with such national movement in music. effectiveness that today he is not only regarded as founder but also as the greatest composer of his native school. The most famous modal Op. 16. It is this passage in a work by Grieg Mixolydian harmony (Mixolydian V 7 is and ) the final cadence 1 of the Piano Concerto, scale which, at the interview with Liszt in 2 1870, caused that master to exclaim, "G, g, not g-sharp! Wonderful! That's the real Swedish flavor!" Grieg's modality is apparently not the result of a purist's passion for the scales of folk song, because he does not display any marked modal tendency in based on them. tunes, they 3 show Somewhat his arrangements of folk melodies nor in compositions exceptional are the following and whether or not they are genuine folk the composer's fondness for the Lydian mode. Grieg, Nordic Op. 17, No. P^ Folk-tunes, Spring Dance. w^m i Grieg, ^ 1, m m 1 Dance and i The Mountaineer's Song, Op. 73, No. 7. sm tJ03l i C Lydian Grieg, Four Humofesques, Op. 6, No. 1 as^ fe^sgi 3ijf] 4mj-m 71* =ppp 7 m *~T SipP^ ¥ D Lydian 1 For the excerpt, see above, p. 33. •Richard H. Stein, Grieg: Eine Biographic (Berlin, Schuster and Loeffler, 1921), p. 53. * See the weisen, Album Op. 30. fur Manner gesang nach norwegischen Volks- 262 mmm m0l s -m- AV7 The Trauermarsch zum Andenken an Rikard Nordraak I has the characteristic minor seventh scale degree. Grieg, Trauermarsch zum Andenken an Rikard Nordraak. $ § ywi iA S^? ^=tF * fpati lso: L^ ^g^ lsx #* P^ iteii F There are a number of passages which are Aeolian, among them the Op. 27, and the fourth of the Humoresques, Op. From 6. the latter first movement of the quartet, work comes the following: Grieg, Humoresque, Op. 6, No. 2. U^O" f^ .,r2JJi i EfcEfe § or The Phrygian trast: is somewhat =*=£ cj'r rare with Grieg. The following ^^ ^ excerpt is used for humorous con- previously, thirty-second note figures in the upper parts obviously represented the twittering of birds but when transferred to the bass the effect is truly droll. Grieg, Voglein, Op. 43, No. 4. ^m pp ^m D Phrygian . f a- J JJJ a JJtH 263 In common many North European Major mode. The with subdominant chord in the composers, a stock device of Grieg was to use the minor practice is rare in southern countries but is found quently in the compositions of German, Russian, Scandinavian, and Czechoslovakian composers. Bedrich Smetana (1824-1884), founder of the last-named school, and greatly exploited is especially prominent in his salon is almost wholly Major-minor. harmonic methods which gives his music 4 On The remarks about Smetana's modality apply he came successively under the Czechoslovakia It is slight in spell of movement earliest of Czech national style be- a certain freedom in his Zdenek Fibich (1850-1900) equally to and Wagner. Liszt, if we add that His influence outside comparison with that of Smetana and Dvorak. works and seems Symphony No. first incorporated the modes Czechoslovakian folk of Like Faure and Brahms, his manner of using the modes was mature his compositions. even in the is and so on. 5 Weber, Schumann, was Antonin Dvorak (1841-1904) who music into as the essence of a the other hand, there individuality. its With form of pseudo-modality was this pieces, polkas, dances, Apparently Smetana did not regard the diatonic modes cause his music fre- 1 ( have undergone no change throughout to his The second life. 1872) begins with an Aeolian passage: Dvorak, Symphony in £* (posthumous), Second movement, Beginning. mm Tempo di marcia * d i r- VW»i? fi Cjt (J^:88) Mm Aeolian OF J r Minor Phrygian Copyright by N. Simrock. By permisiion of Associated Music Publishers, It will be noticed that Dvorak reverts to a conventional V T Inc., Agent. for the cadence. The practice places him in that category of composers who employ the diatonic modes but rely on major-minor formulae 6 for cadences. This method is perhaps due to a desire to combine the strong tonality of the major-minor with the more comprehensive melodic expression of the modes. Dvorak, Symphony No. m f=^ r E Aeolian £ fe= I * rr ^ ur jj f r ± ^=^ T Il6 * Smetana admitted that he was strongly influenced by Paval Krizkovsky (1820-1885), composer of male choruses in folk song style. p * Fi 5, Finale. III 5 " See examples in Book One, pp. 31, 77, and 113. Other such composers: Berlioz, Liszt, and Glinka. 264 way In another modal melodic the composer shows his wish to fuse major-minor strength and line (usually Aeolian) is modal variety: a supported by a major-minor accompaniment. Dvorak, Suite (posthumous), V Aeolian Minor Copyright by N. Simrack. By permission of Associated Music Publishers, Inc., Agent. Dvorak, Suite for Piano Quartet, Op. 98, Fourth movement. m 2$E "p \ — °f p& 9 fa^E % p\r &— % m * f=P m ^ if % t % % ^^ if* p gg Aeolian Et Minor 0-0-0 w iE i Sg pu mm mn £te£££«te * r ^^ f .Wfete* iS 6 l * ^^ (Aeolian) (Minor ring Dvorak was fond of contrasting repetitions of his melodies and developing his motives by referthem to different modes. The idea has since become common property and perhaps no one has utilized it to the extent of Dvorak's son-in-law, Josef Suk. the technique. The following excerpts are illustrative of 265 Dvorak, The Moon-Witch, Op. 108. A Phrygian Minor Phrygian (Aeolian) Dvorak, Quartet, Op. 34, Trio of Second movement. n J' — Lf f n T^rrrr p r ^^ BE S^ iT2 v^rrr E\> Aeolian e^ ^ ^ e^ ^ s^ g S^ S^ Trm rrrrn i J 8 e^ s^ ^J J5i ^m ^ .JJJUiJ U ^^ ^ TTT Et Major J' l- f ^^ *± t£J ftl \u ^T J s^ Minor V' s Dvorak seems to have preferred the Aeolian mode but did not use it exclusively. Where other are employed, there seems to be some special dramatic reason. The Phrygian example from the modes 266 Moon Witch (quoted above) accompanies the father's finding of the dead infant in the arms of the swoon- ing mother. The following polymodal passage (Lydian and Major) expresses the hysterical gaiety and remembers her murdered guilty agitation of the bride during the- marriage scene as she first husband. Dvorak, The Wild Dove, Op. 110. Molto vivace Lydian Major C Lydian Major Major Lydian A from surprisingly large part of Dvorak's compositions include his works were included in Book One, Part Leos Janacek he is is Lydian in the direct ( 1854-1928) is On scale Krizkovsky-Smetana-Dvorak which presumably g», a*, Vitezslav more b, c*, intensive study of d, e, f*, Novak and g* Josef . . line. The beginning Neue Harmonielehre . is and the und C. F. W. to be regarded as conscious with scale g*, a", b, c*, d', e, f*, g» Suk have continued the national school des diatonhchen, Chro- matischen, Viertel, Drittel, Sechstel, und Zwoljtel Tonsystems (Leipzig, Fr. Kistner of the third act of his opera Jenufa his special preference Siegel, was for the Aeolian and Novak and Janacek and is Moravian and Slovakian folk song. Janacek had a predilection for using but they belong properly to the modern period. 'Alois Haba, A number of quotations found in the native folk music. the other hand, the use of the Greek scales the result of their the scale is writing. considerably less important from the standpoint of modality although Dorian and there are other instances of modality, but an odd modal I. 1927), p. 58. . . J established by their predecessors Chapter XXX THE MODES IN THE CONTEMPORARY PERIOD generally proved hazardous to theorize about a contemporary HAS ITestimates and tions as may be made become their authors is may same hypothesis, hazards a first game process who He an ultimate establishes modes it necessary. is and original evaluahistorians whose serves the truth. It by 1900 Although the He who proposes a establishes a point of departure advancement of knowledge as in this spirit that the following is in the contemporary period are in the past several chapters, had become quite general. their use as inevitable as is comment, and argument. observations on the use of the harmonic As was shown for succeeding generations of critics makes a thoughtful observation opinion, or not so well, as he if The fate. for subsequent investigation, surely, fair The not necessarily the result of keener discernment and whose confident opinions greater enlightenment in turn suffer the Such conclusions and art. are almost invariably revised or superseded later. ecclesiastical plagals, made. modes had been revived and the diatonic dominants, and so on, had dis- appeared, the octave forms were identical with the ancient scales of the Church and the interchangeability which had previously been allowed between the Major and the Minor had been extended include all niques on The changes which had taken the modes. all the other modes: the fifth had become the dominant of each the unprepared dissonances of the seventh and ninth were freely employed. contrapuntal but the new to place were due to imposing major-minor tech- concept was primarily harmonic. scale even of the Locrian; Formerly modal writing was Briefly, these are the characteristics of the harmonic modes. The romantic and slovakia may nationalistic movements in France, be credited with having simultaneously found cept of the old scales. On was new may may be found in such works as 1921) by Vaughan Williams. The betray their native background. A London Symphony 1. 3. 4. in A-Minor, too, had a profound (1914) 1 (1906) — Aeolian Thus effect. with impressionism. Evidences and the Pastoral Symphony cited as works whose titles examples: and Dorian — third Op. 21, by Howells makes use of the Aeolian mode in the is 2 mode, but he has a varied Some modality is found in Chorus "God of Night." style Mixolydian. and is John Ireland Dream of Gerontius, and Stanford's oratorio Eden (1891) Elgar's pure Mixolydian, perhaps because of the use of "Sanctorum For examples see Book One, The following compositions The Land of Lost Content "The Lent Lily" 1. pp. 36, 46, 81, 83, 89,and 101. are also Dorian: 3 The Bells of San Marie Mother and Child 3. "Hope" "John Ireland: The Adoration Aeolian — Sonata for Piano — Aeolian First movement Concerto in B> for Piano —Mixolydian Finale 267 first exhibits a decided predilection for the not confined to that one mode. meritis" quoted from plain chant. 2 for — movements, whereas the is Germany until the influence "The Four Sleepy Golliwogs' Dance" Dorian and Lydian "The Little Girl and the Old Shepherd"—-Phrygian "Prayer Time" Aeolian "The Old Shepherd's Tale"— Aeolian The Quartet 1 this, may be In this class the following — 2. was not It nationalistic spirit predominates in certain other Vaughan Williams: Norfolk Rhapsody; No. Delius: A Dance Rhapsody (1909) Lydian Howells: Lady Audrey's Suite (1916) the 1 be said that nationalism came to British music simultaneously of both ( trend. modality began to be adopted, and, at about the same time, the felt that English became aware of their wealth of modal folk song, and it of expression in the changed con- the other hand, English composers of the period looked to leadership and were slow to grasp the significance of the of Debussy and Ravel Germany, Russia, Scandinavia, and Czecho- new means two Dorian 268 Sacred music in England continues to be largely major-minor but three examples of modality in may be this field cited: CXXXIX—Phrygian Whittaker: Psalm Howells: Mass in the Dorian Wood: The Mode Our Lord (according Passion of to St. Mark) —Phrygian —Mixolydian —Phrygian Chorus — Phrygian Hymn I Hymn II Hymn V Final The generation French composers whose work began of just before the turn of the century modal technique from Saint-Saens and Faure. Although it would be a misimportance of modality in Debussy's music, he was quick to incorporate the take to overemphasize At one time or another he used every one of the it as an integral part of the impressionist method. inherited a well-developed modes with the cussed. many 4 His use of the Locrian has already been possible exception of the Mixolydian. The Dorian opening measures of Pelleas et Melisande are well-known. 5 other modal passages which contribute largely to the illusion of antiquity. the suite Pour from which comes the following Aeolian example, le Piano, is dis- The opera contains The "Prelude" to another work which em- ploys several modes. Debussy, Pour le Piano, Prelude, mI w M 5 tF= 9-. A Locrian M Permission for reprint authorized by The first movement 'Phrygian-minor" 6 V 7 -I Aeolian Durand of the string quartet at the & Cie, Paris, Prance. Philadelphia, Pa. Copyright Owners, Elkan-Vonel Co., Inc., makes considerable use of the Phrygian mode. end of the following example. Debussy, Quartet, First movement. 3 i ' ' i j mm A n jffl G Phrygian 4 r See chap. xiv. 'An aii-Dorian piece d'ete" is "Pour invoquer Pan, dieu du vent from Six Epigraphes Antiques. "For a discussion of this subject, see chap. xv. Note the 269 In Chapter xiv, above, on the Locrian mode, was suggested that Debussy's use of the Locrian is Lydian melody is likewise apt to be erroneously considered A often mistaken for the whole-tone scale. it whole-tone. Debussy, Estampes, No. ^il .n ^ 1 a ^ j» j» I JU. j» 1, Pagodes. 1 J. B Lydian m m^m *A piss i Permission for reprint authorized by mm *! Jt J. *=* Durtmd & Cie. Paris, Prance. Philadelphia, Pa. JTT J. ; Copyright Owners, Elkan-Vogel Co., Inc., Besides the traditional Major and Minor scales Ravel quite frequently uses Greek scales: the Dorian, dorian, and occasionally the Phrygian like the author of Pell/as, he had at also. That is to say that he resembles Debussy, Hypo- without doubt because, one time come strongly under the Russo-byzantine influence. 7 The modality of Ravel does not all proceed from the Russo-Byzantine influence: L'Heure Espagnole contains much modality although the principle of interchangeability is employed with such freedom that the effect it vacillates Most is quite kaleidoscopic from a modal standpoint. between Mixolydian and Phrygian. of Ravel's works contain some modality but the quartet exhibits this fragmentary treatment compare the interesting to final and in a form cadence of the second 268) from Debussy's quartet: both may be Scene 24 Scene 21 (a habanera) is is somewhat less Aeolian. The instances are often very brief. sufficiently clear movement with mercurial: string for ready analysis. It is the excerpt quoted above (p. called "Phrygian-minor" cadences. 8 Ravel, Quartet, Second movement. pizz. J m— pizz. w. m yn ks ^M w s iHH m Permission for reprint authorized by ^ m^ w s S £ s^S r^^ $ Jf & Cie, Paris, France. Philadelphia, Pa. ' Alfredo Casella, "L'Harmonie," in the "Numero Special [Maurice Ravel]," La Revue Musicale (April, 1925). 8 The Ravel example may also be compared to the "Phrygian- Jf : pizz. Durand jsr tW pizz. iff &? gfpE P XT m ^ *C £=*= £f Copyright Owners, Elkan-Vogel Co., Inc., minor" (Melodic form) from Respighi's Belkis, Regina di Saba, see above, p. 146. : : 270 Another striking final cadence that of the is movement first of the piano concerto. Ravel, Piano Concerto, First movement. Final cadence. m f if Sr -P- E i m E S£EE£ mis tks G Locrian Permission for Some of the reprint authorized by more straightforward Menuet Antique Ma Mere Durand & Cie, Paris, France. Philadelphia, Pa. Copyright Owners, Elkan-Vofsel Co., Inc., instances of modality in Ravel's compositions are: — Aeolian I'Oye: "Pavane de la Belle au bois dormant" Pavane pour une Infante Defunte: —Major, — Aeolian Phrygian, and Aeolian Cinq Melodies populaires grecques: "Chanson de 1. Mariee la —Phrygian Le Tombeau de Couperin: Prelude^Aeolian Fugue —Aeolian —Aeolian Rigaudon Trots Chansons: "Ronde" —Lydian Trio —Dorian —Aeolian I. Beginning II. Beginning III. Phrygian Piano Concerto (1932): III. Lydian Pride of heritage, the instinct which engenders nationalism, contracts the cultural horizons to the point the narrow confines of a single several representatives. district. where the In the artistic field of when carried to extremes, impulse finds music the phenomenon In France Deodat de Severac and Guy within of regionalism has had Ropartz, both excellent composers, have devoted themselves to the idiom of their respective provinces, Languedoc and Brittany. De sometimes sufficient latitude 9 mode used. The mode 'Hindola'," music is "dans le mode Severac seems to have been somewhat didactic: he sometimes indicates the "Danse de la Resurrection d' Adonis" in which proves to Act III of Heliogabale is labeled "dans le be identical with the Aeolian. In Scene 4 of the same act the Phrygian primitif" which proves to be E-Dorian with a (the fourth degree) treated in the manner of a pseudodominant "To may be on the a somewhat less extent Bela Bartok and Zoltan Kodaly called regional composers. They have based their art true Magyar folk music which they themselves have painstakingly sifted out from the mixture of Slovak, Gypsy, Roumanian, and Hungarian music current in The music of Bartok, like that of Stravinsky, their native land. falls into no con- ventional mold: for each piece a special idiom seems to have been invented and exhausted. Kodaly's methods are less dis- The following pieces are modal: Kodaly: String Quartet, Op. 2, I. Aeolian; parate. — Duo II. —Dorian. — — for Violin and Violoncello, Op. 7, I. Dorian. Dorian; III. Aeolian. Bartok: Tanz-Suite fiir Orchester, II. — t : 271 De Severac, Heliogabale, Act III, scene 4. 3 fN * 4*= 1 ^ffi n i i i Jl ^ s IF % W \i fff jil^" **» r^ i— E Dorian Copyright by Rouart, Lerolle Cie. et By special permission of Salabert, Inc., of 1 East 57th New St., York 22 N. Y. Much more typical of his style is the following excerpt. De Severac, Heliogabale, Act ^ jmzs^i rfli i ^ / m £ j III, "Masquerade." s Si£ w H=i P i G Modal passages from VI 7 V Aeolian the works of de Severac and Ropartz IV may be found below. De Severac: Le Coeur du Moulin Act II Introduction — Aeolian — Aeolian Final Chorus Heliogabale Prologue Chorus of Christians Act —Aeolian I — Aeolian —Aeolian Act Chorus of Acolytes — Mixolydian Scene IV— Aeolian Finale — Aeolian Act Masquerade— Phrygian and Aeolian Scene Introduction — Aeolian des musiques" — Aeolian Introduction Danse Lascive II III II, "J'ai Ropartz Un Prelude Dominical et Six Pieces a Danser —Mixolydian V. "Jeudi" — Phrygian Yver, vous qu'un —Aeolian Prelude, Marine Chansons 'Marine" — Lydian IV. "Mercredi" n'estes et II. villain I at the places indicated 272 technique was highly personal but he was not without modal propensities. There are various evidences of this in Socrate which is practically all modal, and although the harmony is harsh, the Satie's modes are rather pure. Mort de Satie, Socrate, III, Socrate. D Dorian Copyright 1920 by Editions de la Sirene. By permission of Associated Music Publishers, Inc., Agent. Gymnopedie No. 1 is Lydian and Dorian, No. 2, Mixolydian, and No. 3, Aeolian. Most of the other recent French composers exhibit some modal tendencies: it may be that modality is a part of the technical equipment of every composer and is truly said used often but not exploited. Several examples of modality are: Reynaldo Hahn: La Reine de Sheba "La Scene Sonatine —Locrian modes Hindous: Adagio—Phrygian de Shelmo" se passe dans le palais Maurice Emmanuel: TV en divers Albert Roussel: La Naissance de "On Scene 8 la Lyre qu'un reve edaire dirait sa pensee" —Mixolydian —Phrygian Francis Poulenc: Les Biches (62) through (63) Valse for piano Lydian — An interesting This passage composer. nizes polymodal passage two simultaneous is is found in —Mixolydian Mowements Perpetuels, i-r-Ju it them through the common assimilates T hj i r 7 Major By permission century did Italian composers begin to somewhat of the Copyright H^T B\> Phrygian B\> Major Owner, J make use of the & new Perpetuels, I. W Chester, spoken conviction that the native artistic instinct of consciously evolved aesthetics. nJ J> ^T=^f Ltd. new ideas from other lands, she was until the early years of the present scale concept. The The correctness of the theory reasons for the delay seems to have been an un- artistic. is verity than any system borne out by the fact of the accep- Even when foreign ideas were imported Whether the influence was Flemish counterpoint, the Wagnerian leit-motif, the result has always been the same: of Italian music. an attempted revival of Greek drama, or nationalistic: there was a surer guide to musical tances in other countries of Italy's leadership in matters traits Not J J involved. music has been unconsciously they did not alter the basic . ¥, J^TjT^ slow to react to the revived interest in the diatonic modes. Italy's b 3^E £« Despite the fact that Italy has always been ready to take up For centuries B f Effl are clear enough, although tonic Mouvements rSfirl^ »T s B\> by the last-named 1 sometimes erroneously considered polytonal, but although the ear recog- scale forms, Poulenc, m T No. ) 273 the new idea reasserted The was is assimilated so thoroughly that the characteristics of the Latin temperament are strongly and remain dominant. native cultural heritage could not be the source of fresh musical inspiration in Italy that in other countries, since Italian music had so long been nationalistic, however unconsciously. it In it becomes quite understandable that the early efforts at the use of modal harmonies, must be admitted, were somewhat crude, hardly tempted nineteenth- century Italian composers the light of this which, to it abandon their polished musical speech. By 1900, however, the situation had altered: it had become an important adjunct a point where circumstances Italian composers reacted to the of mode, and soon evolved a modal new had been developed to major-minor system. Under these in several countries modality to the traditional influence, adopted the principle of interchangeabiiity style which is peculiarly their own. modern Italian modal idiom may be summed up The technical essentials of the a.) Frequent long single or double pedals, or inverted pedals. b.) Single or double long-continuing ostinato figures. c.) Added as follows: tones (especially the sixth and second) and unresolved appoggiaturas. d.) Predominance of diatonism (comparatively e.) Infrequent employment of the Minor mode. f.) Common-chord g.) Catenation of passages based on long pedals. h.) The i.) Writing in such a way that the melody rather than the harmony determines the tonality and virtual little chromaticism). progressions. abandonment of the major-minor V 7 -I cadence. mode. j.) Much reliance on figures of open fifths. (A possible source of this is the tuning of stringed instruments. The characteristics mentioned above are illustrated Malipiero, by the following excerpts. Canto della lontanza. 11 Aeolian C Dorian (Note long double pedal and added tones) $-j^m j^F ' By permission of the Copyright Owner, ] & W Chester, Ltd. 274 Malipiero, rti B¥ i *ii s a j La Mascherata del/a Principessa Prigioniere. nrnri flu e n i i tf : Sf 3E G Lydian (Note long pedal and added tones) r i9 *' s ?: * J ife: iip33 SB T* s 331 if ==fe By permission ^ mm Allegro vivo P -'^'•J^Ccf El> of the Copyright Owner, J & W Chester, Ltd. Respighi, Belkis, Regina di Saba. mm iqPPl P§# m m m m m &Pin Lydian (Ostinato figure) Copyright 1935 by G. Ricordi & Co., Inc. Used by permission. Malipiero, Sette Canzoni, "L'alba delle ceneri." 8 g : 4^ r— j^mnJTg J*'-i» : p m d m d 3 j a > - g rijijiji 3 ' ! m ! * ! F Lydian F Minor (Note ostinato figure composed of open fifths) M » n ^gg A £ S m n B> permission # of the Copyright Owner, ] & W Chester, Ltd. d - . 275 Respighi, Quartetto dorico. E Aeolian (Note that the melody determines the tonality) (Not C Lydian) S * m=± 32~rT}sr}\ J= ^-j j-j Uti 17 m ^: 1 % With permission A f ^>IM /^ ri< JfhTSi^ A j 4 1 Major of Universal Edition, Vienna. Malipiero, La Principessa Ulalia. (Note progression by thirds) By permission of the Copyright Owner, C. C. Birchard & Company. Malipiero, // finto Arlecchino. lU W^n m mn m {i^na Lydian D Major m (Note catenation of long pedals) ag:^ ¥^T *p^ JTqfi^ w ^^ *E^f By permission of the Copyright i Owner, C. C. Birchard & rmm £=*=Ef -9r- Company. 276 i^„FHVr\rn Major Tre Canzoni per Canto e Quartette Pizzetti, d'Archi, I, "Donna Lombarda." E I Ri #Hf ^ J ; ma il J Jsm i mj pb p S vo - b r u J b r r J i co as J W J. - ni W 1 U iJ M m ta set j « Sd to, ni Copyright 1927 £? G. Ricordi da TTf & V be, Pedal Copyright 1922 t> G. Ricordi inm a^ Co., Inc. Used by permission. Pizzetti, C Locrian r ^^ chiese lah^= Set r Sfr ?^5wp jgp- Stan- to -H^m r j^j J - JJtJlli j C Phrygian (Scale as ostinato bass) ri & Co., Inc. Used by permission. Debora e Jaele, Act III. — F 277 m I * s&f f r •< \ g g g ecrastr * s inTOhJhHipj |^^ u % J — jw i*n S» ~^ j g> \ m J gili g 4 Of 7 ] J }\ l J J|jJtlJ ^J^ JJ>> ^ J JlJ l I g f f due to modal harmonies ^ archaic in at least one the least predictable. is his musical education at the Paris Conservatoire, but Italo for violin It is Pizzetti, first and orchestra) but with and second movements of the Concerto suggest organum and freely. discant. have been influenced by sixteenth-century music although he has combined technique. It Seldom is the Minor mode found instances of modality by Respighi, Pizzetti, 10 II, Chi did? and Malipiero a passage in C-Phrygian in L'Amore at the words (sung by Manfredo), "Che Morla ella? For instance there did tu? it Pizzetti is Non piu esislere?" har- of seems to with modern harmonic in the last composer's works. are: modal his The beginning should be pointed out that he and Respighi use the Major and Minor more than Malipiero. dei Tre Re, Act Respighi, and Mali- Respighi was consciously art. monies (mainly Dorian) he used the dissonances of the seventh and ninth both the Per- whatever the reason, Montemezzi occasionally employs the use of modality a prominent feature of their work (Concerto Gregoriano ; r but he does not adopt them to any great extent. who have made ? ;W^*i* a he does not conform to the same pattern as his compatriots. 10 g g 1 f^ g the several well-known composers of the Italian school Casella is 5 1 f Ff F haps his eclecticism piero & i J» i - ' jjr j^Jjj^gg F=T5 ' j f iJhJffBtJiJjn] g ^r J J 3 ' i i ^ ^ jl | considerably A number of : 278 Respighi Concerto Gregoriano —Dorian —Dorian I. II. Roma Pint di .... "Pini presso una catacomba" —-Aeolian Vetrete di Chiesa "La fuga I. in Egitto" —Aeolian Chiara" —Aeolian "II mattutino di Santa III. Metamorphoseon Theme —Aeolian Trittico Botticelliano "L'Adorazione dei Magi" Belkis, "Danza deH'Offerta" Maria Egiziaca "O II. —Aeolian Regina di Saba —Phrygian —Aeolian bianco astore" Pizzetti: Quartetto per Archi Lydian I. —Aeolian —Aeolian La Madre Lontano —Aeolian Prigione—Dorian Coro Catecumeni Cucutrice—Aeolian 2nd II. variation / Pastori al Figlio // Clefta di La di Pisanella Prologue Scene —Phrygian —Aeolian Prelude—Mixolydian Prelude 1 Scene 2 Act L'Entremets I Scene 4 Sonata in Fa (cello and piano) —Phrygian —Aeolian and Phrygian Sonata La —Phrygian II. III. in I. Debora Act ' e ]aele II —Dorian Introduction— Phrygian —Phrygian Messa di Requiem "Requiem" —Major, Minor, and Aeolian "Libera me" — Aeolian Introduction Act III Alleluia Lo Straniero Act I Introduction — Dorian Pra Gherardo Act I Scene 1 —Aeolian —Chorus of —Locrian and Phrygian Flagellants Scene 2 Act II, Chorus: "When the people of Parma" Concerto dell'Estate III. "Gagliarda e Finale" Introduzione 1st all' di Eschilo —Lydian Episode—Dorian Choral Episode 2d Choral — Dorian Agemennone 279 Malipiero: Poemetti Lunari 5. II —Aeolian canto delta lontananza —Aeolian Ftlomela e I'lnjatuato — "Donne, che givan fior cogliendo" Lydian La Mascherata delle Principesse Prigioniere —Lydian — Lydian —Lydian IV—Lydian XII — Lydian Opening Rhpetti e Strambotti Verse I Verse II Verse Verse // Pinto Arlecchino Don In Germany Trifonio's —Aeolian Poem No there has occured a curious break in the course of modality. taken up the diatonic modes where Brahms one seems to have This can be accounted for partly by influence of left off. Wagner-Strauss major-minor chromaticism, and partly by the twelve-tone system advocated by Schonberg. Hindemith is many supposed to have been strongly influenced by the modes, and passages bear this out. Hindemith, Das Marienleben, "Argwohn Josephs." gge -^ f^ = * i s \>m ^ f rn f m -f-f E=E * is P Aeolian F Dorian Bi^g la t S ^ : e # ^ ft" gji r- I »* «l W £ *b*b3 Dorian cj I r ^ \> J crr-# m -f - m f-f Copyright by B. Si toll Sohne. By permission oj Associated Music Publishers, Inc. Agent. But the examination of many of his published works suggests that Hindemith's musical language product of an exuberant empirical attitude which accepts limitations only after application of is trial the and error procedures. Stravinsky He may is another composer whose creations bear witness to an indefatigable experimental be said to have applied the laboratory method to musical composition. has at least as much significance as the purely musical worth of his product. zeal. His role as an innovator Each new work seems to have been conceived in a different idiom. It may be said with considerable truth that Stravinsky's latest piece will have more influence on other writers than it will on himself. If the composer of he Sacre du Printemps has since adopted more become a conservative: the technical prodigality. classical details means of expression, have not become less it does not follow that he has complex with the renouncement of 280 Since Stravinsky's art depends on continual revision of technique, modality will be present in his works as a constant. had an undoubted modal passages effect they are in the $h s - le fi=S m is not to be expected that seldom used in anything approaching a pure form. Symphonie de Psaumes are I 1 Al it Furthermore, although the diatonic modes have typical of Stravinsky's ^ M The many modal treatment. Stravinsky, Last 11 Symphonie de Psaumes, movement, Final cadence. J Lau lu - da lau te, - da te, 2Z ^^ m C Aeolian & *F=i lau $ - da te, k=i da lau te. gs ^ fe- m m 3E m SEE* TT ^* ~ ~Tf~ - ___ Mixolydian ity permission of the Copyright Owner, Boosey The polymodal (Locrian-Phrygian) passage in Oedipus & Hawkes, Rex is Inc. one of the most the work. . telling ,. moments Stravinsky, Oedipus Rex. G Locrian Phrygian Phrygian By permission of the Copyright Owner, Boosey 11 Exceptions are the little choral work Ave Maria, which pure Phrygian, and "Ce qu'il a, le chat" from Berceuses du Chat, which is Mixolydian. is 6 Hawkes, Inc. in 281 Scriabin and Prokofiev are of and Glazounov are the The men who may be Gretchaninov have continued the modal traditions of the Russian nationalist school. Liturgia Domestica and the third following instances significance in the history of the diatonic modes. little indicated symphony of Gretchaninov contain many modal from the works of Glazounov. passages, and the Glazounov: Moyen-Age I. II. Suite —Aeolian Prelude Serenade du Troubadour —Aeolian he Kremlin II. II. Dorian —Dorian Stenka Razin Allegro con brio, Beginning —Dorian Suite pour Quatuor d'archets III. Orientale —Dorian and Mixolydian Jour de Fete I. Aeolian, Mixolydian, and Dorian —Aeolian, Mixolydian, and Dorian Finnoises Cortege —Phrygian Der Konig der Juden Introduction — Aeolian Gesang der Jiingen Jesu —Aeolian Zwichenakt —Phrygian and Aeolian VI. Zwichenakt— Aeolian Tanz— Mixolydian I. Esquisses solonnel I. I. II. VII. VIII. Syrischer Jan Sibelius dominates Finnish music to such an extent that he has become a national institution. Strongly influenced by his country's native music, his musical speech has included modality from the earliest compositions to the latest. The following excerpts are from Symphony No. 1, which was ten in 1899. Sibelius, First m $ / m E Aeolian n nil r r i cr Symphony No. 1, First movement. theme. n nn. m flj- r-i i writ- 282 I^Wf hh., > \ 1 a p ld± J r r-r r tm * ' a ss ' f p r Pf &£ I | i g j J " M' EfeEfe ^ "J J .1 " f F| Mixolydian *ft -J j J " t ^ W4 f g f P *K j j j * > as r • § g w j> r » j. =*=* m mm jj ' f f ^m%Sir £ &^w=l=?=p r i i hJ j j j*= P % mm ±=± LjJ -J-4-t * j. = s [>s: P? r r ^ -i fcfe p ^ " r FT 1 . m* ^H^f '"• r J-J 1 I t TT=nr p^ p . ¥i r j f f f ff f f 1 : r Second theme. Ibid., T^T 7&a£, Scherzo. ^ S ##^ *ff rrt if* * fff f * ^ ^y fe^ E Phrygian C Mixolydian . Major Ibid., 4 j=5T T a=l T jj. T G Minor £ T r i Scherzo. i r j £ ^ — 283 In a general way, the manner in which Sibelius employs the diatonic modes resembles Brahms' treatBrahms' modal passages have a more transitory ment, but there are several important differences. character: the gression, modal insertion used for contrast, for commentary, for quaint or fanciful harmonic is and even for suggestion of the archaic, but almost always the modality is extrinsic. On di- the other hand, the modality in Sibelius' music is organic, a part of the basic conception. This fact is supported by the themes of the symphonies of the two composers. Whereas, with but one exception, 12 the themes of Brahms' symphonies are exclusively major-minor, the large orchestral works of the Finnish master include several which are modal. which may be Four examples from the first symphony are quoted above. Others cited are: Symphony No. 2 I. — Aeolian At 12/4 "Lento Symphony No. 6 III. e suave" —Aeolian —Dorian —Dorian IV. — Aeolian I. III. employed the modes with Sibelius also less restraint Such passages than did Brahms. as the fol- lowing do not occur in the compositions of the German. m & Sibelius, " jjjjj J} dim. i lj -J--0- Locrian -J- Final cadence. m pizz. Efc= ¥*<=*T- '-O. . Copyright by Breitkopf & Hartell. By permission of Associated Music Publishers, 18 already given, the following Besides the illustrations and citations modal 4, S§f# £ -4~ i wm^mfff Cjt -J- Symphony No. list Inc. Agent. shows the location of other passages. —Aeolian —Aeolian 49 — Aeolian Fruhling schwindet eilig Lemninkainen zieht heimwarts Pohjola's Tochter, Op. Schwanenweiss, Op. 54 "Harfenspiel" Nachtlicher Ritt —Aeolian und Sonnenaufgang, Op. 55 —Aeolian Scenes historiques I. of "AirOvertura" —Lydian u The theme of the second movement of the fourth symphony Brahms is Phrygian. See above, p. 244.) "See the following pages for excerpts quoted in Book One, pp. 29, 31, 43, 71, 79, 93, 94, 106, 123, 145. and 147. 284 In this chapter on modality to the leading composers. modes, but what they do In in the many contemporary period, the discussion has been confined mainly cases lesser writers amples quoted that the modal activity begun shows no signs of slackening. and evolution is a question to which It frequent use of the diatonic should be evident from the ex- in the last century has been increasing in recent years the use of the complete system of diatonic scales [the at present make even more is naturally of relatively less significance. What Harmonic modes] the future may hold no one can guess the answer. in the is and continuing vigorously and way of further development XXXI Chapter RECAPITULATION Although the development and theory of the Harmonic modes has been treated in some detail, a brief recapitulation in larger terms The basic scales of years are (D-d Western 1 Through interrelated. The diatonic modes. original seem to Greek Dorian (E-e have type) basic seven; the little points into relief. seven types which, from their character, are called the civilization are type) are likewise two integrated parts of the source scales. the last three hundred years more important the relation to these source scales, the scales two were part of the type), since the may throw common in and scale systems of the past 4,000 could be integrated with the Phrygian Major On scale (C-c type) and the Minor (A-a the surface the major-minor scales of with the pair of ancient Greek scales men- tioned above: the octave species are different, the mese theory bears little relationship to the highly organized theory of tonality, and the simple monodic song of the primitive Greek seems infinitely removed from the rich Nevertheless, the two pairs of scales polyphony of Bach. Greek Dorian-Phrygian) belong to the parent system ( major-minor and and have a cultural relationship which transcends the disparate theories. Although the basic scale aesthetic of our music is variety afforded scales. The by chromaticism eventually leads to such excesses that the native diatonism threatened, but before it is have diatonic, the smaller intervals (chromatics) always offered musicians a resource for varying and enriching the fundamental obscured, reaction sets in and the basic diatonism is lure of the is sometimes strongly reasserted. Within recorded history there have been three distinct cycles of the process: chromaticism has three times risen to a point where it almost overwhelmed the essential diatony. in the opposite direction Enharmonic and Chromatic the prodigalities of the The second was placed musica and polyphony, and when follow the extravagances of Gesualdo. With genera., ancient finished early in the seventeenth century ficta But each time the pendulum has swung and the use of chromaticism diminished. the return to simple Greek music completed the when major-minor homophonic The revival of the diatonic and was completed by the turn of the century fully realized. That is modes was begun by the founders of the tice several national schools In the past half century there has been a great deal of activity: revolt polytonality, polymodality, and atonality; linear Despite continuing interest in the twelve-tone system, etc. discernible today a trend toward simpler tonal means largely based on the Harmonic modes. theory and practice of the Harmonic modes derive in large measure from the theory and prac- of the major-minor system with the exception that the clausula vera form of the dominant cadence. In point of reaction against the major-minor cliches Wagner and immediate successors. counterpoint; neoclassicism; neoromanticism, is to Signs that the third cycle was almost complete began to be against romanticism; impressionism; jazz and blues; The first cycle. simplicity re- The pioneering process was concluded just before ( 1890-1900) and by that decade the Harmonic modes may be said to have been not to say that no advances have been made since. On the contrary, development their has been remarkably rapid. there after became apparent that composers were not going it noticeable at the end of the last century with the reaction against the chromaticism of Franck. means and avoided it fart, all is no longer the only acceptable during the twentieth century there has been a strong dominant seventh; most composers have felt that it was the worst of at all costs. 1 Because of the significance to Western civilization, the seven basic diatonic modes may be compared in a general way, to the Indo-European family of languages. The analogy should not be carried too far, since it is modes are indigenous ethnologically to the Indo-European sub- families speaking the centum languages (Greeks, Italians, Celts, and Teutons), and not to those of the satem group (IndoIranian, Armenian, Albanian, and Balto-Slavic). probable that the diatonic 285 286 A concise statement in general terms of the theory of the Harmonic modes may be This useful. formulation has been deduced from the actual practice of the past century. 1. The Harmonic modes gian, Locrian, 2. all are eight in number: Lydian, Mixolydian, Major, Dorian, Aeolian, Phry- and Minor. The concept of tonality formerly included only the Major and the eight scales, even the Locrian. Modal tonality is Minor but now encompasses weaker, perhaps, but that is no longer thought undesirable by a musical world which considers banal those conventions of the major-minor system upon which strength of 3. directly all The tonality depends. principle of interchangeability of all eight from the major-minor practice of interchangeability modes without change of between these two. the semitones of the octave have a prime relationship to the tonic, harmonic freedom without modulation. On making tonality derives Through this principle the other hand, the process of modulation is simplified made smoother through the fact that the two tonalities involved (the old and the new) have more in common. 4. The principle that the strongest harmonic progressions are between those chords whose form intervals of fourths and fifths continues in the practice of the Harmonic modes. 5. The dominant of each mode is and for great melodic the fifth degree of the scale and the dominant cadence and tones roots is an unaltered V-I progression for all the modes, even the Phrygian and Locrian. 6. modes. All harmonic configurations of the major-minor system are transferred intact to the Harmonic Not only are the unprepared dissonances of the seventh tones, unresolved appoggiaturas, and chords in fourths. and ninth used freely, but also added Bibliography Bibliography La Musique Aigrain, Rene. Gay, religieuse. Bload Paris, et Andrews, Hilda. Introduction Booke (William Byrd) My to London, . Ladye Nevells Curwen and J. Sons, Our Musical Idiom. Bacon, Ernst Lecher. Open Court Publishing London, The Co., 1917. York, Bellermann, Johann Friedrich. Die Tonleitern and Musik- mode. A Bunting, Edward. troisieme Fux, General Collection of the Ancient Gevaert, F. A. 3d ed. Musical London, Robert Cambarieu, Grammar in Four Parts, (Maurice Ravel), La Revue musicale, April, 1925. 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New- vember-December, 1903. Co., 1923. Wergeland, A. M. Theory of Evolving Tonality. York, American Library of Musicology, 1932. Carter and Co., 1846. Weidig, Adolf. A Yasser, Joseph. M. Gioseffo. Harmoniche, / II. Sopplimenti. Co., 1912. L'lstitutioni III. Venice, 1589- Ziehn, Bernhard. Canonical Studies, Composition. I. Le Demonstrationi Harmoniche, A New Milwaukee, William A. Technic in Kann Music Index — — — — —— ————— —— ; Index Alfredo, 269, 277 Aaron, Pietre, 166 Casella, Andrews, Hilda, 176 Cassiodorus, 163 Arensky, Anton Bach, 189;— "Aus liefer Noth schrei ich," 190; "Frenet euch, ihr Christen," 189; "Gelobet seisl du, Jesu Christ," 191 191; Prelude Fugue Clavier, "Komm ; Gott Schopfer, Heiliger Geist," 50; Toccata and Fugue, 192; Well-tempered I, II, Cavalli, 176 Cerone, Dom 166 Pietro, Certon, Pierre, 175 177, 179, 180, 185, J. S., 176 Cavalieri, Emilio de', 259 S., 160 Aristoxenus, 155, 161 Ausweichung, 1, 7 155, Aristotle, 180 Emmanuel, 177, 223 f; Gwendoline, Overture, 224;111, 224 Charlemagne, 164 Chauvet Vingt Morceaux. no. 15, 71 Chopin, Frederic, 177, 215 f; Etude, op. 25, no. 4, 62; MaChabrierj La Sulamite, Balakirev, Mily Alexewitch, 251 zurka, op. 24, no. 2, 215, 216; Mazurka, op. 44, no. Rumanische Volkstanze, No. 11, 80 Beethoven, Ludwig van, 177, 232 i;—Missa Solemnis, El Resstirexit, 234, Gloria, 117; "Oh! Would I were but that Sweet Mazurka, op. 41, no. Bartok, Bela, 270; 235; Quartet, op. 18, no. Linit," 111, 3, Finale, 8-9; Quartet, op. 235; Quartet, op, 131, VII, 31; Quartet, op. 132, 232; Sonata, op. 109, III, 56; "When Far from the 59, no. 1. Home," 234. Berlioz, 209 207, 177, f, "Allez dormir bon pere," 209, "Depuis trois Hymn, Henri Guest, Act ; 118, no. no. 15. I, 1, 68; Mein Herz Quartet, op. 60, 240, op. 119, no. isl 4, and Piano, op. 120, no. 1, Thema von Handel, op. 24, Haydn. VI, 70; Vergangen no. 7, 27; Verrath, op. op. 43, no. 1, no. 5, 118, 245; 52; Variations on a ist Theme Christus, II, Prelude, Siegfried, 201, Scene I, 1, 123-124, 97, 247 267 to 63; Pour op. 74, II, les Enfanls, 100, Francais, ///, 91, 230; "A 229; Quartet, op. I'Eglise," Symphonie sur un Chant Montagnard 139 Dodecachordon, see Glareanus Dominant-seventh, reaction to, 285 Dorian signature, 179 Duhamel, Maurice, 169 Dunstan, Ralph, 141, 144 Dubois, Francois C. T. Dvorak, Antonin, 263 Concerto for Cello, Noel, 34; f ; I, Theme Provencal Biblische Lieder, op. 99, 53 Varie, no. 1, 78; 96; Gute Nacht, 120; Legenden, op. 59, no. 3, 57; Liebeslieder, op. 83, no. 7, 145; Mazurka, op. 49, 111; Moravian Duets, no. 4, 70; no. 11, 99; Quartet by 67 in" 265 Quintet in E, III, 70 Quintet, op. 105, II, 130; Requiem Mass, "Lacrymosa," 74; Rusalka, 60, 99, Act 11, 71; Suite, V, 264; Suite for Piano Quartet, op. 98, IV, 264; Symphony in E-flat, 11, 263; Symphony no. 5, I, 96, 109, //, 24, 71, ///, 48, IV, 102, 263; A-flat, I, ; Quartet, op. 34, The Moon Witch, 124 op. 108, II, ; 265; The Wild Dove, op. 110, 266 Aedh Wishes His Eichheim, Henry Buxtehude, Dietrich, 177 ;— Passacaille, 179 Byrd, William, 176;— My Lady Nevells Booke, no. 10, 180 Cabezon, Antonio de, 175 Beloved Were Dead, 83, 128 Elgar, Edward, 267 Dream of Gerontius, 176 285; compared f ;—F ervaal, Act II, 230; La Legende 229; L'Etranger, 230; Lied Maritime, Busoni, Ferruccio, 23, 178 Caccini, Giulio, 269; La Dam- de Saint Christophe, 35, "Von ewiger Liebe, Wolke nach der Sonne, op. 246; Quintet, 1, D'Indy, Vincent, 172, 229 69 Anton—Motette: Estampes, no. Modes, 1, 185, 260, 261, 267, Indo-European language group, 285 mir Gliick und Heil, op. 62. die Fete de Bacchus, 251; Stone Diatonic 105, no. 5. 95; Wie 104; 113, no. 3, 73, 130 1, 251; S., Angelo, 1, Diatonic-Chromatic Cycles, 285 51; Piano Quartet, op. 25, IV, 241; Piano III, phony no. 4. II, 63, 95, 99, 132, 244, IV, 58, 73; The Death of Trenar, op. 17, no. 4. 66, 122; Trio for Piano, Clarinet, Cello, op. 114, IV, 50, 240; Trio for Piano, Violin and Horn, op. 40, I, 242; Variationen und Fuge iiber ein 6, no. 136; La Fille aux Cheveux de Lin, 136; Pelleas Delius, Frederick, 100, 125; 240; Sonata, op. 1, Andante, 53, 71, 126, 239, 240; Symphony, no. 2, III, 25; Sym- Bruckner, Dehn, 69; Lied, op. 3, schwer, op. 94, no. 3, 246; Quartet, op. 51, no. 1, I, 110, ///, 242; Quintet, op. 15, IV, 108; Quintet, op. 34, I, 241, //, 243; Romanzen aus Magelone, "Sulima," 113; Schicksalslied, op 54, 61, 246; Sextet for Strings, op. 36, I, 26; Sonata for Clarinet 37; 82, 61, 83, Scene 3, 68; Pour le 268; Pour un tombeau sans nom, 144; Quartet, I, 268; Six Epigraphs Antiques, I, 47; Sonata for Flute, Viola and Harp, Interlude, 144 Piano, 241; Die Mainacht, op. 42, no. 2, 7, no. 5, 25; Ein deuisches Requiem, op. 45, I, 116, //, 57; Ein Sonnett, op. 14, no. 4, 53; Ich schtll'mein Horn in's ]ammertha[, op. 43, no. 3, 244; Klav- op. 33, 111, op. and Melisande, Act Bourgault-Ducoudray, 208; hypothesis, 169 Brahms, Johannes, 239 f, 263. 283 Concerto for Violin, Cello 4, Act 122 1, oiselle Elue, P., 251 f; In the Steppes of Central Asia. 252; Prince Igor, Act II, 37, Act III, 100; Second Quartet, "Nocturno," 130, 252. no. Angela, Debussy, Claude, 260, 267; f 229 and Orchestra, op. 102, 89; Die Trauernde, op. 251; 89; Trios Scherzos, Antonovitch, Chorus, Dargcmiisky, Alexander Borodin, Alexander ierstiicke, op. Cesar Trios Scherzos, op. 86, no. Boethius, 155, 163 Bordes, Charles, 216; 60 Womens 212; Les Troyens, March and 193 de, 1, Major, 54; Prelude, Combarieu, Jules, 140, 144, 175, 181 Contiguous modes, 51 50, Messe des Morts, 211 31, 42, 212; F Cleoneides, 155, 156, 158 2i9 ;—L'Enfance du Chorus of lshmaelites, jours," 210, Epilogue, 94, 211, "La Fuite en Egypte," 210, Trio, 211, Blainville, Charles 213, in Clausula vera, 166, 175, 178, 285 Cui, Hector, Christ, no. 6, 217; Prelude 1, Across the Silent Stream, 74 Emmanuel, Maurice, 24, 155, 272; In Memoriam, II, 49 295 156, 159, ; 8, 47, 160, 77 164, 178. 179.' ——— — — — — —— — — —— 296 Euclid, 155 Grovlez, Gabriel Faure, Gabriel Urban, 223, 224, 225 Fantasie, op. en peur, sable," 253, 263, 268; 239, La Bonne Chanson, "J'ai pretque 227'; Le Jardin Close, "Inscription sur le Messe Basse, Benedictus, 75, Sanctus, 62; "N'eslIll, 87, 226; verite," 227'; ce pas," f, 228; op. 42, no. 2, 45; op. 103, no. 3, 113; Pelleas 228; Prelude en Fa Majeur, op. 103, no. 4, 116; Penelope, 225, Act I, 228, Act III, Scene 5, 10, 228; Prison, op. 83, 73; Requiem, Offertoire, 67; Second Quintet, op. 115, I, 101, 116, //, 37, III, 122; The el Melisande, Prelude, 51, ///, 229 Birth of Venus, Folk Songs, Smrt' Hippodamie, Act IV, Prelude, 61 263; Sally Brown, 34; Japanese air, 143; Son of Fineen Dubh, 142 Modern Greek Melody, 143, Swedish air, 143, 170; Beethoven's settings of, 234-235; modal frequencies in, 171, 172, 173 Fortlage, Karl, 170 Fortunati, Francesco Psalm Dixit, 202 Lament 267; 160, for the ; Cesar Auguste, 222 Franck, f, 229; use of lowered supertonic, Danse Lenle, 223; Prelude, Chorale, and Fugue, 112, 146, 223; Symphony, I, 223 223; Frescobaldi, Girolamo, 177 Froberger, Johann Jacob, 177 202;— Gradus Ad Fux, Joseph, 201, Trinitatis, Kyrie, Sonata, Parnassum, 20; Missa SS. 202 185, 189; plagarism by, 187;—Israel Will Exalt Him," 186, 187; Samson, "Hear Handel, Frederick, in Egypt, "And 177, 1 not, O King," 187 Hannas, Ruth, 165 Harmonic Modes, 15, 148, 185, 224, 253, 267, 285 Harmonic Modes, Theory of, 286 Haydn, Franz Joseph, 177 Heilig, Otto, 143 Helmhotz, Hermann von, 14, 138, 140, 170 Hill, Edward Burlingame, 223 Hipkins, Alfred James, 155 Hindemith, Paul, 279; Idelsohn, Abraham Zevi, 173 Mode, see Modes Modes Piano, Gershwin, George 111, Fascinating Rhythm, 55 115; Rhapsody in Blue, Paradise, 118; Sweet and Low Down, Build a I'll ; Stair- 131; Second 114 55, 54, 1, 2, 14, "The Holy Boy," 101 Modal usage, 273 Synagogue Service for Sabbath Eve: "MiChomocho—1," 128; "Sch'ma Yisrod," 66; "Tov L'hodos," 36 Jacobi, Frederick Janacek, Leos, 266; Annie G., 169 Glareanus, Henricus, Italian Jacques, E. F., 171 285 Carlo, 166, Gevaert, Francois-Auguste, 140, 155, 158 142, 165, 166, 174, 177 Glaucon, 156 Concertino for Clavier, 59; Jenufa, Act I, 101; Mladi, 90; String Quartet, III, 93; Taras Bulba Rhapsodie, 42 Jelensperger, Der Konig der Juden, Glazounov, Alexander 48, 119; Le Krem- 125; op. 10, I, 62; Suite for String Quartet, op. 35, 35; Suite pour Quatour, Orientale, 88 Glinka, Michael Ivanovitch, 247, 256;—A Life for the Tsar, Overture, 247; Act I, 249; 11, 90, 248, 250; ///, 249; lin, Das Marienleben, "Argwohn Josephs," 279; Tuttifantchen, no. 2, 80 Howells, Herbert, 267, 268 Hucbald, 163 267; Bells of San Marie, 46, 81; Concerto for 89; Land of Lost Content, The, I, 46; Mother and Child, no. 3, 83; Piano Concerto in £*, Finale, 36; Preludes 175 Genera (Greek scales), 1, 156, 157, 285 Gerbert von Hornau, Martin, 174 Gilchrist, II, no. 3, 9, 28 Johannes de Muris, 166 Jones, Vincent L., 28 Josquin des Pres, 175 Kittel, Johann Christian, 189 Kodaly, Zoltan, 270 Prince Kholmsky, Entr'acl, Krenn, Franz, 203 I, Krizkovsky, Paval, 263, 266 Liadov, Anatol Constantinovitch, 259 Le Sueur, Jean-Francois, 201, 202, 204 249; Russian and Ludmilla, Act 250; ///, 248; IV, 250 Greek Modes, 1, 155 f; Imitation of, 207, 220 (., 243 Greek scales characterized, 162 Gregorian Modes, Gounod, Charles 1, 163 teaching, 207, f. Francois, 177, 207, 213, 239; Epitaphe d'une jeune Grecque, 214, 215; Messe, Credo, 214; Messe, Priere pour le Rot, 79, Hahn, Reynaldo, 272 Hammerich, Angul, 142, 144, 172 Ireland, John, Don Impression Gregorienne, Haba, Alois, 44, 266 Interchangeability of Gaudentius, 158 Gesualdo, Sonata for Violin and Piano, 121 Gabrieli, Giovanni, to ; Alexandre-Felix, 229; Guilmant, Inversion of Modes, see way 83 Guido d'Adrezzo, 164, 174 Gabrieli, Andrea, 175 Rhapsody, 11, 114 Jacob's God," 188; Saul, "Egypt was glad," 188; Saul, "Sin F&is, Francois Joseph, 14 Fibich, Zdenek, 1, 213; Ulysse, no. 11, 214 Gretchaninov, Alexander T., 281; Credo, mestica, op. 79, 59, 61, 68, 81, 82, 84, 119, 121, 126, 128; Piano Concerto, III, 16, 33, 261; Sonata for Cello and The Mountaineer's Song, op. 73, no. 7, 261; Trauermaruh zum Andenken an Rikard Nordraak, 226; Voglein, op. 43, no. 4, 262 op. 82, 104; f, 209, 213; effect of his Cantale executee au mariage de S. M. Napoleon le avec I'Archiduchesse Marie Louise, 206 De Messe Solennelle, Credo, 137; La Caverne, Act 11, 24; Messe des Morts, Sanctus, 205; Ossian, Act IV, 26; Premiere Messe Solonelle, Credo, 206; Rachel Oratorio, "Dico ego opera midi," 205 Seconde Oratorio pour le Couronnement, 204 Liszt, Franz, 177, 237 f, 246, 261 ;— Christus, 238, 239; Christus, "Die heiligen drei Konige," 66, 95 Graner Messe, Credo, 94, 118, 237; Hungarian Rhapsody, no. 2, 99; La Legende de Sainte Elisabeth, no. 5, 58 Missa Choralis, Credo, 237 Locrian mode, 15, 17-23, 30-32, 42-445, 140 f. Macran, H. S., 160 Malipiero, Francesco, 277, 279; Armenia, 91; 27 Canto delU lontanza, 273; // finta Arlecchino, 1, 47, 275; La Mascheraf. delta Principessa Prigioniere, 274; La Principessa Ulalia, 57 ; , 138; Liturgia Do- Sun and Moon, op. 16, no. 2, 26; op. 12, no. 2, 78; Symphony No. 3, I, 114; //, 64 Grieg, Edward Hagerup, 261 f ;— Ein Schwan, 105; Herbstimmung, 119; Humoresque, op. 6, no. 1, 261; op. 6, no. 2, 262; Nordic Dance and Folk Tunes, op. 17, no. 1, 261; Piano, 208; ; ; ; — — — — — —— —— —— — 297 125, 275; Poemetti Lunari, no. 5, 96; Rispetti e Strombolti, 126; Selle Canzoni, "L'alba delle ceneri," 274 Martianus Capella, 163 Mascagni, Pietro 79 Cdvalleria Ruiticana, Melgounov, Julius N., 172 Mendelssohn, Felix, 237 Michomachus, 155 Miller, Horace Alden, 24 Modal factors in preservation ability of, 11, 1, 18, 15, 253, 256, 267; inversion reasons for names of, 3 of, 19, 201, 202, 203; interchange23-37, 22; 225, 149, 148, 38, index 19; used by minor 19th-century com21, of, ; lateral of, Monteverdi, Claudio, 14, 176 Owen, 166, 175, 180 2. 59; IV, 45; Scene I, f Boris Godunov, ; I, 129; 48, 72, 80, 256; Lied de< Mephislopheles 91; 82, A //, 64; ///, 147, 253; Scene 28-31, 60-64, 242 Nef, Charles, 164 Niedermeyer, Louis, 201 Nordraak, Richard, 261 163 Novak, Vitezslav, 266 Oettingen, Artur von, 170 Otterstrom, Thorwald, 21 213; mass construed Parenthesis modulation, 51, as Major-minor, 166 148; see also Piutti W., 178, 179 Pearce, C. Pentatonic scales, 169, 170, 171 176 Peri, Jacopo, Pizzetti, 8, anella, I, 63; Tre e Jaele, Act III, 276; Lontano, 97 ; La PisCanzoni per Canto e Quartetto al Figlio 276 Plain chants, 141, gloriario, 141 °lato, 140, 155 142;—Hymn 'rokofiev, Serge, 281 Ottorino, Regina di Egiziaca, I, 277, 278; Saba, 131, 135, Belkis, Regina di Saba, "Danza dell'off erta," 146; 21 A; Maria 137; Quartetto dorico, 275; Toccata for Piano and Orchestra, 129 Riemann, Hugo, 1, 8, 14, 27, 28, 32 Rimsky-Korsakov, Nicholas, 256 f; Capriccio Espagnole, II, 258; Capriccio Espagnole, No. 4, 127; Christmas Eve, IV, 99; Mlada, Act II, Scene 4, 146; Pskovitianka, Act II, Scene 2, 259; Sadko, "Danse des ruisseaux et des sources," 258; Scheherezade, 79; Scheherezade, I, 257; ///, 30, 257; Snegou"Danse de Buffons," 46, 257; "Hymn des Berendeys," 128; Sur les Collines de Georgia, op .3, 98, 100 Rockstro, William Smyth, 164 Ropartz, Guy, 270, 271 Rousseau, Jean Jacques, 198 Roussel, Albert, 272 Rubinstein, Anton, 259 Saint-Saens, Charles Camille, 217 f, 225, 268; Antigone, 221222; Ave Verum, 219; Coeli Enarrant, op. 42, Introduction, rotchka, to the Virgin, 140; Nos autem Schumann, Robert, 236; Mouvements Perpetuels, I, 272 Humoreske, op. 20, 119, 236 Schutz, Heinrich, 175; Augerstehungs-Historie, 176 Scriabin, Alexander N., 281 Secondary dominant system, see Weidig and Piston Serre, Jean Adam, 198 Severac, Poulenc, Francis, 272; 92; Schonberg, Arnold, 14, 178, 246, 279 278;— Debora 111; La Madre Prologue, d'Archi, 148 148 Ildebrando, 277, / Pastore, 84, 2, Schaller Piston, Walter, 1, 9, 11, 15, 24, 1, No. "Scala enigmatica," 140, 144 Phrygian, inverse of Major, 20 Carl, et Sentimentales, 260 Qui sedes, 203 Schola Cantorum (Rome), 163 Perreau, Xavier, Piutti, 45; Valses Nobles I, 52; Coeli Enarrant, no. IV, op. 42, 32; L'Ancetre, Act II, 220; Le Carnival des Animaux, "Marche Royale du Lion" 219; Le Deluge, I, 131; Le Feu Celeste, 52; Messe, Gloria, 2l8;Messe, op. 4, Kyrie, 217; Piano Quintet, op. 14, I, 219; ///, 35, 218; Quartet, op. 112, I, 128, 129; Rhapsodie 11, op. 7, 54 Satie, Eric, 272; Apercus dhagrtables, no. 1, 87; Gymnopedie, no. 1, 92; no. 2, 88; Socrate, 111, 272 Ordinal Index of Modes, 18 Palestrina, 175, Cinq Melodies Populaires f; Reinach, Theodore, 155, 158, 161, 164 Belkis, Don Giovanni, Overture, 110; Don Giovanni, 200; Sonata, K. 310 Finale, 56 Musica ficta, 1, 165, 166, 174, 175, 178, 285 Munro, D. B., 155 Napravnik, Eduard F., 259 Notker, Balbulus, 269 120 Reger, Max, 246 Respighi, in the Feast Days," 255; Silently Floated a Spirit, 69; Song of Solomon, 78 Mozart, Wolfgang, 111;— Die Zauberjlote, Aria No. XVII, 60; sixth, 2, 9, 267, 3, Auerbachs Keller, 67; On Night on Bald Mountain, 4; I, Without Sun. No. 2, "Thine Eyes in the Crowd Now Avoid Me," 112, 132; "Within Pour Walls," 110, 118; "All Past Neapolitan No. Scene 2, 102, 109, 117, 254; Khovanlchina, 255; Act the River Dnieper, 109 III, 260, 86,. 94; Trio, Moussorgsky, Modeste Petrovitch, 225, 253 Prologue, Scene 2, 43, 255; Act I. Scene 2, Preludium Maurice, I, 270; Piano Concerto, 87; L'Heure Espagnole, 72; L'Heure Espagnole, XV, 113; Le Tombeau de Couperin, III, 97, 101; Ma Mere VOye, Pavane, 70, 97, 98; Quartet, I, 59, 105; //, 269; Sonatine, III, Morales, Cristobal, 175 Scene erna, 74; Ravel, Grecques, IV, 86; Piano Concerto, 202 Montemezzi, Italo, 277 posers, Morris, Reginald Ture Der Becker, 105; "Ein Kuss von rothem Munde," 62; Es wollt' das Madchen fruh aujstehn, 49; Ich arme Nunn', 72; "Ik weet en Franken amorc s," 138; Pion- Rangstrom, concepts compared, 185 Modes, Proslambanomenos, 164 Pseudo-Hucbald, 163 Pseudomodal, 15, 135 f., 211, 244, 250, 258 Ptolomy, 155, 161, 163, 164 Purcell, Henry, 176, 201;— Dido and Aeneas, No. 11, 201; Praise the Lord, O Jerusalem, 55 Pythagorean tuning, 13, 155, 174 Rameau, Jean Philippe, 14, 24, 148, 149, 177 Deodat II, 88, 96; III, 64; Act de, Act II, 270 i\—Heliogabale, Act 11, Seen Sharp, Cecil James, 232 no. 2, 4, 122; Act II, 1, no. 271; Act IV, 48, 271 89, 117; Act 4, 106; Act — — — —— — — — ——— — 298 Shirlaw, Mathew, 14 281 f ;— Belsazar's Gastmahl, No. Sibelius, Jan, Tanz," "Khalra's En 147; Saga, 3, Finlandia, 94; 93, 145; No. Marzschnee, op. 36, no. 5, 106; Symphony no. 1, I, 4, 43; 123, 281- 2, II, 31; Symphony no. 4, 283; 93; Violin Concerto, 29 Smetana, Bedrich, 263, 266; Blanek, No. 6, 77; Braniborio, Cechach, Act I, 113; Polka Poetique, op. 8, no. 2, 31 283; //, 71; Symphony no. Symphony Socrates, no. 6, 79; I, //, 156 op. 14, Money Musk, 89 Johann August Philipp, 179, 180, 189 Stanford, Charles Stein, V—Eden, "God op. 36, no. 1, 177, 246, of Night," 121 279;—Electra, 75; Das Rosenband, 103 Stravinsky, Igor, 258, 259, 270, 279 Duo f; Concertant, "Di- 55; Oedipus Rex, 280; Petroushka, 259; Symphonic de Psaumes, I, 105 Symphonie de Psaumes, 280 thryrambe," ; Substitute tones, see Riemann Suk, Josef, 264, 266; op. 16, I, Trend, John Brande, 172 Tschaikovsky, Peter S. Carnival in Paris, E Major, II, op. 14, 67 112; Norwegian Rhap- 58 Sullivan, Arthur The Golden Legend, 33, 87 Sweelinck, Jan Pieters, 175 Teleman, Georg Philipp Fuge, 167 sody, op. 22, no. 4, Nutcracker Suite, Arabian Dance, 259; Giuseppe—Aida, Act I, 138, 260; Aida, Act II, 261 Walker, Ernest, 171 Walther, Johann Gottfried, 174, 180 Walton, William Concerto for Viola, 43 Weber, Carl Maria Euryanthe, Act II, 126 Weidig, Adolf, 1, 9, 11, 148 Westphal, Rudolph, 140, 155, 158 Whittaker, William Gillies, 268 Whole-tone Asreal Symphony, V, 57; Ein Marchen, 103; HI, 65; Symphony in Svendsen, Johan I., 118; "Danse des Mirlitons." 139 Vaughn-William, Ralph, 267 Vincent String Quartet, IV, 44 Wagner, Richard, 177, 246, 279, 285 Richard H., 261 Strauss, Richard, 171 Tonality, principles of, 14, 15, 164 Viadana, Lodovico, 176 139 Sowerby, Leo Spitta, Tiersot, Julien, Verdi, A.—Quartet, Sokolov, Nicholas, Pueri Hebraeorum, 103, 135 Thompson, Randall Tiersch, Otto, 28 scale, properly Locrian, Willaert, 175 Wirkmeister, 180 Zaccini, Ludovico, 166 Zarlino, Gioseffo, 13 Yasser, Joseph, 15, 169 Ziehn, rSernhard, 21 144; properly Lydian, 269 Date Due ' 1 EP 29 19 '0 Library Bureau Cat. No. 1137 , WELLESLEY COLLEGE LIBRARY 3 rtueic M Vinaent, 19*2- 2i 5002 03132 2808 . C 17 4 Jfoh n Nath aniel The diatonic modes in modern music;