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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
=
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
—
,
?
.
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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
%)
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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
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Cello
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II.
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Aeolian Faure,
Borodin, Prince Igor, Act
(?)
Quintet, for strings,
Allegro vivo
Et Lydian
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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
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t>o
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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
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^
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
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IV
V
VI
+
1 VII
+
+
g i a a a a
Aeolian
II 7
I?
III 7
+
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V7
IV 7
+
i
VI 7
VII 7
+
+ +
Phrygian Scale
Tonic
^
bo
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moras
*
j j Phrygian Phrygian
+
„
n 1
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IV
V
VI
VII
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+
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+ +
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II 7
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V7
IV 7
VII 7
VI 7
+ +
+
Locrian Scale
Tonic
Locrian Locrian
^
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II
III
+
+
+ +
+
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V
IV
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VI
+
+ b
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Locrian
I
7
+ +
Ju m II 7
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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
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Mixoly.dian [V 7 of ivl in relation to
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C
I
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40 II
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Phrygian) n Locrian [N" (when inverted)]
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II 7
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Dorian Aeolian Phrygian)
III
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Lydian IV7 [V
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When
used in juxtaposition with a minor
Mixolydian)
Phrygian
Dorian Aeolian
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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
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Mixolydian) Dorian Aeolian
Lydian VII
4
Phrygian Locrian
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Lydian VII 7
i
Aeolian VII 7
j
vn
I
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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."
^
^^
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Vlf
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C Major
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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^
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I
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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
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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,
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45 C-Locrian
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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
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f
W
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— 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'.'
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Worth
noting perhaps are instances of the employment of the Dorian Ireland,
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47
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San
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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
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II
7
Minor
I
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&
Co. Used by permission.
Elgar,
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Copyright 1910 by Rouart, Lerolle
el Cie.
By
special permission of Salabert, Inc., of
1
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St.,
N. Y.
Gesang der
m
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York
22,
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Glazounov, Der Konig der Juden,
as m^t m
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Jiinger Jesu.
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m
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the
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The two examples
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S4 ^
in
^
given are identified with the Phrygian
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si
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p
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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, »
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(final cadence).
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Phrygian IV 7
I
7
Copyright by Abr. Lundquist. Reprinted by permission of Abr. Lundquist.
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5
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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
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mm V 7 of IV [Mixolydian
I
employment of the
V
7
IV I7
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of
suggests the subdominant key
it
and Piano, Op. 114, rV.
CI., Cello,
¥
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is
and imparts
1
7
is
)
either a
in the final cadence where, as
calming influence or a feeling of
lowering harmonic weight.
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Christ,
"Allez dormir, bon pere."
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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
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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^ —
*
»
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^
* Mixolydian
f"
Mixolydian
l\(\)
[v 7 ofIV
V7
VI
[v 7 of IV]
VI of IV]
Saint-Saens,vLe
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a
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f£f P
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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
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this
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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
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Brahms, Sonata, Op.
1,
Andante. /7\
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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
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Copyrighted 1925 by Harms, Inc. Reprinted by permission
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55
8
^m^ Piano
JJJmolto
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Organ
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Mixolydian I 7 Copyright 1924 4? Harms, Inc. Reprinted by permission.
>>
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332
I7
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Copyright 1924 by Harms, Inc. Reprinted by permisston.
Duo
Stravinsky,
Concertante, "Dlthyrambe.'
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in
ibssl /r\
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in
riffle^.
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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
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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
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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
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
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[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&«
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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.
£
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V6
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[Lydian Copyright 1925 by C. C. Birchard
&
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Dvorak, Legenden, Op. 59, No.
3.
Allegro
Pl» %i
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II
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Pedal
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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
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Aeolian V [Major V 3 lj]
7
[V 7 of V]
in question
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The chord
2
a
JLj
JL
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=0
=0
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of
V
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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.
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59 Ravel, String Quartet, First movement.
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Lydian Lydi
pizz.
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Il9
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Cie. Paris, France, Copyright owners, Elkan-Vogel Co., Inc Philadelphia, Pa.
Janacek, Concertino for Clavier. A A
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A
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Minor
II
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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
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[Phrygian
II 6
1 14.
m 0k
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Copyright by Hudebni Matice Umelecke Besedy, Prague, Czechoslovakia. Used by permission.
Mozart, Die Zauberfiote, Aria No. XVII.
Andante
p
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Chopin, Prelude, No.
B Minor
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II]
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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
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Phrygian
II
the Phrygian VII
with or without a seventh 7
becomes Phrygian
V9
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Phrygian
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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
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for
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Aeolian
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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
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I
I
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M.
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Prague.
By permission
of Associated
movement.
M ¥—?
b
£=3^
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First
Music Publishers,
Inc.,
Agent.
63
Pizzetti,
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D'Indy, Lze
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G Major
Major
Phrygian
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Brahms, Symphony No.
agai
4,
Second movement.
:^*ijffi s
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II
Pedal
I
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Major I
Particularly striking
ple serves to illustrate
3l
is
r Phrygian
r
i
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v
I
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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
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Third
trumpet and trombone preclude any tendency to hear the chord as
P. Belaieff, Prague.
By
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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
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II
I
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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
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I
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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
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^
asg
Aeolian VI
I
b ,
First
movement,
Final cadence.
S^E i jm^i At Major
A
III
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£
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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,
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Moussorgsky, Lied des Mepbistopheles in
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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
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F Major
PP of the Copyright
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Melisande, Act
I,
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Scene
3-
f
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Dorian
Major IV
III
Permission for reprint authorized by
III
a
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Dorian Major
Owner, Boosey
Debussy, Pelleas
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Dorian Major III IV I
I
By permission
V'
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&
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
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Weit
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3
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Et Aeolian
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No.
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nach
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—
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69 Brahms, Klavierstiicke, Op. 119, No.
4.
Rhapsody.
*_^
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F^
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Pi
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Et Aeolian
VI
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51
IV
III
Moussorgsky, Silently Floated a
fl *
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Major
i
't
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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
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C Aeolian
H i>
I,..
VI
III
this:
1
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ii
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"
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,
$
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At Minor
V
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III
1,
I
Second movement.
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Aeolian
I
Second movement.
VII
Symphony No.
^
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5,
III
I
Pedal
Dvorak, Rusalka, Act
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of Copyright
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6> permission
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III
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Owners, Hudebni Malice Vmelecke Besedy, Prague.
Chauvet, Vingt Morceaux, No. 15
^^ D Aeolian
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III
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I .
III
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I
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I
&
Durand
Permission for reprint authorized by
Cie,
Paris,
Philadelphia,
Prance. Pa.
Copyright Owners, Elkan-Vogel Co.,
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Rangstrom, Ich arme Nunn', Final cadence.
»
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U
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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
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IV
VII Major Phrygian
II
nite as
^j M m mm$
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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
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VI
I
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IV
VII
III
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pi
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V'
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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
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final cadence.
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I.
VII
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III
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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
.
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Final cadence.
Locrian Minor Major Vl7(lll7)v°9 5bt III
V
-«••
rF ? i IV
i
T9 III
V7
I
[aW,--g] Permission
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i
Eltan-Vogel Co.,
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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
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F Phrygian
Vl7
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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
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Lydian Major
n
V?
[V of V]
[IV]
Elgar,
Dream
of Gerontius.
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fi- cis
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Bt Major
Lydian IF?
I
[IV7] Copyright 1928 by Novello
P
£ a
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By permission
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Co., Agents.
do
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rsrz
H. W. Gray
r
II
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iJTJ ~n~
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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.
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a^
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mm A\>
II-I is
W^B
Lydian
II°?_
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[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
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$ A
Aeolian
I
IV
r ii
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Dorian I
IV 7
The Song
of Solomon.
2=P i
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Aeolian VI
79
Mascagni, Cavalleria Rusticana.
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5
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F Dorian IV
j
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Rimsky-Korsakov, Scheherazade, Op. 35, No.
II.
Final cadence.
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VII
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III
Paris,
Sibelius, First
tUUiffl
l
UMB
I
Owners, Elkan-V ogel Co.,
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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
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or
V
1
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IV
Music Publishers,
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Agent.
a major dominant-seventh type and as such can be used as a secondary
is
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it is
pure Dorian. Moussorgsky, Boris Godounov, Act IV, scene
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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,
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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.
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82 Grieg; Sonata for Cello and Piano,
Third movement, Final cadence.
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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.
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Both occur
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it
may be
in mid-phrase, that
is,
ia
clear whereas that
s
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by Debussy
not at the cadence points.
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The examples
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In any case the Dorian IV? in the
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Reprinted by fermission of A. Fdrlivesi
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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.
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The Golden Legend.
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cadence of the third
V?
As
is
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movement
Elkan-V ogel Co., '
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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
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£
£
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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?
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Since the dominant and tonic triads of the Dorian and Aeolian to
draw a
example
distinction
between the two modes on the
ifcpN
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basis of these
modes
«
are minor,
it is
impossible
The following
two chords alone.
a case in point.
is
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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.
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The is
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V
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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
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special permission of Salaberl, Inc., of
1
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Cie, Paris, Prance. Copyright Owners. Philadelphia, Pa.
Elkan-Vogel Co.,
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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
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(major) J
(Dorian derivative)
Janacek, String Quartet, Third movement, Final cadence.
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cadence
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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
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This
is
an Aeolian
V -I 7
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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."
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du
Christ, Epilogue,
final cadence.
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Aeolian V?
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Copyright 1910 by Rouart, Lerolle
In the
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el Cie.
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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
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Major
St.,
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a tierce de Picardie
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First
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First
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Allegro
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Malipiero, Poemetti Lunari,
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Copyright 1918 £? Maurice Senart
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By
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n. y.
1
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effect.
97 Pizzetti,
La Madre
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Reprinted by permission of Copyright Owner, A. Forlivesi
&
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Debussy, Pour le Piano, Prelude.
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(V?ofVl) Permission for reprint authorized by
Durand &
France. Copyright Owners, Philadelphia, Pa. Cie,
Ma Mere
Ravel,
A
Aeolian
III
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Elkan-Vogel Co.,
Paris,
VI
III
7
V7
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Inc.,
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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
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Permission for reprint authorized by
~
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Durand
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^m C Phrygian
V
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and
V
1
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(Phrygian III [V°7 of VI]
[V°7 of VI]
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The Phrygian
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de Georgie, Op.
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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
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forms of the
Rimsky-Korsakov , Sur
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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
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£ i*^ m£n ^
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100
Phrygian Major Phrygian Major
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Rimsky-Korsakov
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Borodin, Prince Igor, Act III, Chorus and Dance.
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Brahms, Mein tierz
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V7
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Ireland, Preludes.
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Ravel, he
No. f
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Tombeau de
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for
reprint
authorized
Durand
by
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Major
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Cie, Paris, Prance. Philadelphia, Pa.
Janacek, Jenufa, Act.
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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.
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Dvorak, Symphony No.
5, Finale.
If
E Minor N 6
14
V
UliUI Minor
I
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Minor
I
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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.
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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.
¥
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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.
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Opening
E Minor
Locrian y7b
I
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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.
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VI possibly pseudo-modal in
fm V
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Marzschnee, Op. 36, No. 5
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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]
*
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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
»
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.
109
1
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Moussorgsky, Boris Godounov, Act IV, scene
f
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Lydian Dorian
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VI 7
III
II
Dvorak, Symphony No.
5, First
movement.
m if ^p
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A Dorian
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C LocrianVI 7 [V 7 of
Locrian
VI 7
is
a major
V
7
type,
1.
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and
is
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frequently employed parenthetically
asVof N9
.
no Brahms, Quartet, Op. 5 1, No.
N6
(Minor)
[Locrian
1, First
movement.
V7
III
Mozart,
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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'
D Major
I
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Locrian VI'
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[V 7 of I
Pedal
N 6 ?]
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A Aeolian
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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
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Major V?
Locrian VI
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Violin
Orch.
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^^ Locrian Vl2
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Franck, Prelude, Chorale, and Fugue.
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Locrian VI 7
III^
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Minor
NM.
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&
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Paris.
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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.
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progression Locrian VI'
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Music Publishers,
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Agents
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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
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115 Gershwin, Swetf/ and
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Locrian VI?
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Copyright 1925 i? Harms, Inc. Reprinted by permission.
Gershwin,
I'll
Build a Stairway to
Paradise, Final Cadence.
J
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^ C Major
1 V7
iJ^j^j
Pf I
Locrian VI?
!
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Copyright 1922 by Harms, Inc. Reprinted by permission.
Major
I
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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
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|_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.
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IV
IV
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First
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Lydian Mixolydian VII
Permission
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116
1
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I?
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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.
*
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5 C Mixolydian jyjj7 C Dorian
C Mixolydian) C Dorian C Aeolian
hi
5
[IV of IV]
[V
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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."
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succession involving this type of subtonic chord
and although
f
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[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
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Locrian Mixolydian Major VI 7 VII
New York
I
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118 Moussorgsky, Without Sun, "Within Four Walls.' rr\
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J- Efi
8
So
~r night with me,
is
it
Cold,
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with me
night
lent
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IV
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I
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VII
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Liszt,
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Graner Messe, "Credo."
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III
6
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VII
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Cjt
Aeolian
I
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1.
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Tschaikovsky, Nutcracker Suite, Arabian Dance.
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I
VII
I
VII
£ 119 Glazounov, Der Kbnig der Juden, Introduction and Chorus.
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M.
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VI
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of the Copyright
Owners, Boosey
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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
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VII 7
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Grieg, Herbstimmung, Final cadence.
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VII 7
Pedal
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Aeolian VII 7
Locrian VI 7
I?
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Major
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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
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God
love
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Mixolydian VII
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Co., Ltd.
of
W
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Gretchaninov, Liturgia Domestica.
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B. Dorian VII
[For Aeolian VII
&
Owners, Boosey
of the Copyright
7 ,
see
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to III.
below
at
G.]
^ fr^
Guilmant, Impression GrSgorienne.
f
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VII
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2nd
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movement.
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D.
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Aeolian 7 VI 7 I
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In
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VII Copyright 1910 £y Rouart, Lerolle
(V)
et Cie.
By
special permission of Salaberl, Inc., of 22, N. r.
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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
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Major V? of
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Tombeau de
Couperin.
Couperin, No. IV. Rigaudon.
Ij^p ft
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III
V?
Sfp I
V7
I
[Aeolian VII?] Permission for reprint authorized
by Durand
&
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Owners, Elkan-V of>el Co.,
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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
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|
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Durand
iii m V
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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
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126 Malipiero, Rispetti e Strambotti, Final cadence.
E Phrygian
II
7
III 6
VI
III
Used by permission
IV
of the Copyright
Owner, J
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London.
Chester, Ltd.,
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^
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Particularly noteworthy its
early date
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(1822-1823) but
also
whose harmony
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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.
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II.
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1,
Andante.
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V
VI I
VII 7
nit
iv«tt
Major i 6
127
Permission
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Phrygian
V
Major
Phrygian
I
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Phrygian VII7
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VII 7
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4.
Elkan-Vogel Co.,
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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.
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G Major
Phrygian VI
I I
Pedal
I
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scene
7 (II)
Major
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130 Borodin, 2nd Quartet, "Notturno."
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true
V
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as
7
of Leeds
of VI.
of
V
V
of
V
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and
of
unbroken through
is
V
of
V
of
No.
3.
f^
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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
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consider
V
to III.
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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
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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,
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Major
IV VII
VII
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IV 7
VII
IV
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Phrygian or Locrian VII to V.
Gershwin, Rhapsody in Blue,
G Major iS
Phrygian 11S
Major 1%
** Minor
V
VII
D.
I.
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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"
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VII
Major IV
Pedal
Now Avoid Me."
F^ ife
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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
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IV
IV of the publisher,
E. C. Schirmer
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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>
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III
II
I
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Cie,
Paris,
P 'liladelphia,
II
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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
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I
France. Copyright Pa.
dissonance with the former.
-:
a
r.
C Major
s 1
•
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•
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.
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Major VI 7
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reprint authorized by
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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
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-
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fi- nis.
Cu- jus
VI
IV
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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
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&
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
:?
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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.
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*
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fat
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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.
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/.
hk
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1=8 +6 L
A
31)
Major
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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
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"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
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to the notes
Son of Fineen Dubb.
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i
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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
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1
i
i
Modern Greek melody."
n
i/TN
£
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r
Modern Greek melody.
j
r
*
^es*
C-LUF
r
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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
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& ff
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f t ar-L^-
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33
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Philipp
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168
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£
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^
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
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
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.
**
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
-
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J 4
1
— J
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|—A J J J J 1
I.
____— pjjjj rrrr J^b |
1
-
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^ eXlM^^ ^T^ I
196
Movement
ffl"
^i
*i
'mj; ¥
i
ym w
I,
middle
1 T*?
f
f
section.
'
197
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mm —
piv m
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mm w
1
pfip
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fl
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rw!
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gg^
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m
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fl
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cj
™^ ^
J=M,
s=i
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r
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i=fe
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I,
coda.
s
'
!
^
Movement
1
J
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m
u
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l
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*=#
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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
«»
-
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
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^ 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
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Final cadence
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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
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(III)
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2.
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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
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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
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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
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Ave Verum
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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.
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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^
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fifth to perfect,
a procedure which
may
be likened
de Picardie.
effect called the tierce
Saint-Saens, L'Ancetre.
Act
II.
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authorized by
Hl7
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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
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— 222 Saint-Saens, Antigone,
Part
III,
"Invocation to Bacchus."
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(
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.
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styles constitute
.
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m
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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.
—
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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,
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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?
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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
•
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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
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Paris.
enter the scene,
113,
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Faure, Penelope.
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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.
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Faure, Le Jardin Close, 'Inscription sur le sable."
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228 Faure,
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Major
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La Bonne Chanson,
Final cadence.
Aeolian)
Dorian III
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I.
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scene 5, Final cadence.
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By permission
Aeolian
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16 of ].
Hamelle
et Cie,
Paris.
movement.
4
229
The
Faure,
m m
m
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p
=§= IV
VI
I
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^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
$¥
^^
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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
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no
until
r
f
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VI
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Sharp, English Folk-Song:
T
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i=3
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Simpkin and Co., 1907),
i=i
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rr I
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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
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(IV)
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and does so
to emerge
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at this point'
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effect
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[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.
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was published
in
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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
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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:
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Would I were but that Sweet Link.' "The Pretty Girl Milking the Cows.")
Beethoven, "Oh! (Air:
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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
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Aeolian VII?
[V7 of IV]
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— 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
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s
I'ff'f
Aeolian III 6
VII
I
III
IV 6
IV
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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
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P^ De
ve
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jsr
m C Major VI
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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
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238 Liszt,
1
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d=±
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Chrhms, Opening measures.
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Liszt, Christ-, /j, "] Die hei ligei i drei
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239
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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
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|
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
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1-.
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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
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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
£*,
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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.
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243
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II 6
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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
'^
^
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ii»
p
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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
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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 "
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Op. 43, No.
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245
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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.
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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."
$
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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)
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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
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harmony
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the leading tone to be foreign to the idiom he was using, yet hesitated to employ the sub-
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His method of solving the problem was to
orthodox harmony.
rules of
avoid the use of the seventh degree.
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— 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
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He
did not always resort to such stratagems: sometimes the subtonic appears frankly.
Glinka,
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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,
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This emphasis upon the minor "subdominant became a noticeable mannerism; every scene of Russian and Ludmilla, and very frequently in Prince Kholmsky.
Brahms
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exploited by
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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
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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
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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."
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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.
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Moussorgsky, Boris Godounov, Act IV, scene
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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
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255 Moussorgsky, Boris Godounov, Scene
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is
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if it
Harmonic Modes.
He
is
serves his purpose.
Moussorgsky, Without Sun, "All Past the Feast Days."
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to
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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
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EEfc
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fa
9-
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F Dorian
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f^gf Minor
I
Rimsky-Korsakov, Scheberezade,
Major
G Major
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III.
=_^:===========S
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at
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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
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IV 6
^
pp
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II,
ye iv6 hi6
scene 2, Intermezzo.
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IV 6
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V
IV 6
Stravinsky, Petroushka.
&
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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
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Phrygian
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It will
be noticed that Dvorak reverts to a conventional
V
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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
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* 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.
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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^
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8
e^
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Et Major
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l-
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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
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piss
i
Permission for reprint authorized by
mm
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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
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s
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Permission for reprint authorized by
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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
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pizz.
Durand
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pizz.
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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
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m
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S£EE£
mis
tks
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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
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1
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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
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III,
"Masquerade."
s Si£
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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
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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
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j-j
Uti 17
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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
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J
i
co as
J
W
J. -
ni
W
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iJ
M m ta
set
j
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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]
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'
i
i
^
^
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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
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£ *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
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"
M'
EfeEfe
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"
f
F| Mixolydian
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-J j
J
"
t
^ W4
f
g
f
P
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j j j
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>
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f
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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
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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
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2i
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Nath aniel
The diatonic modes in modern music;
