AN HARJIONIO ANALYSIS OP THE REQUIEM

BY GIUSEPPI VERDI

Presented by

Gordon Allen Jobnaon

'.ro tult1ll the thesis requirement to!' the degz-ee ot

Jlaater or J4wJ1o

Department of Theo17

Director ot Research Dr. Allen Irvine McHose

Eastman Sohool of Music

oE the
Un1Yera1ty of Roeheater

August 19.$4
Ml
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TG~~-1
c o r.J 'I ':t.
 PREFACE

The uaual approach to G1usepp1 Verdi is that or--

Verdi, the king or Italian opera campoaersJ Verdi, the
dramatist; Verdi, the melodist; and little wonder it is,
because Verdi was t1:rst and foremost, by his own admission,
an operatic oomposeP. Little mention 1s ever made or his
religious works. The purpose ot this thesis has been to
study Verdi '• harmonic atyle 1n his greatest religious work, (
the Regu1em. The oP1g1nal purpose was to study the modul&•
tiona and altered chords used throughout the Re9J!te• How•
ever, in the oourae ot the analysis, the prevalent uae of
parallel modes became so evident that this d1souaa1on waa
deemed 1noomplete without the 1nolua1onof a chapt~r on
them. Alao, in a few plaoea unuaual usage of altered chorda
seemed to foreshadow the breakdown of nineteenth century
tonality. The:reto:re, a final short ohaptezt was added to
discuss that 1nte~est1ng aspeot of the harmonic style 1n
the Requiem.
The analya1s waa made rPom a G. Schi~r vocal aoore
and all references to page and measure numbe:rs pertain to 1t•
On queat1ona conoel'nin,g orchestration and acc~acy or the
piano adaptation. reference was made to the Stein edition ot
the Eulenburg Miniature Score.
The ~iter wishes to express grateful acknowledgment
for the guidance, wisdom. and assistance or Dr. Allen I. JioHoae.
The cr1tic1ama by Mise Elvera Wonderlioh on the construction

11
ot this thesis havo also been deeply ap:prec1a.t$d• M1aa
Max-1lyn Roess-er 1s certainlr to be thanked for her gt-ac1oua
and invaluable help in typing this paper and preparing the

musical examples. In addition, it is perhaps not inappl!'opri•

ate that the writer should record 1n this paper his appreci-
ation for having had the oppozttunity to study at the Eastman
School of Music through the generous provisions of the GI
Bill of Rights. Last, but certainly not least. this paper
WOllld not have been written without the patie11t, steadfast
and willing assistance or my wite.

111
 TABLE OF CO!iTL1~TS

Page
?Rl:J1ACE • • • • • • • • • • • • • • • • • • • • • • • • 11
LIST OF TABLJ.i;S.
• • • • • • • • • • • • • • • • • • • • v
• • • • • • • • • • • • • • • • • • • • Vi
IllTRODUCTI ON • • • • • • • • •• • • • • • • • l
CHAPT.bl1 II. USE OF THE PARALLEL YJAJOR AllD

• • • • • • • • • • 4
CHAf•Till1. III. HODULATIOU, • .. ..
., • • • • • • • • • 23
ALTJ.:;IlliD CHORDS • • • • • • • • • • • • • • 57
Ul'IUSUAL HARl·iONIC DEV~C~S • • •• • • • • • • 90
CHAPT~R VI. CONCLUSION It •
• • • • • • • • • • • • • • 98
BIBLI OGRAF1IY • • , • • • ,. • • • • • • • • • ••• • • • lOl

iv
 LIST OF TABLES
llo 1 ~eaEte

I. l4'REQU1.J:,lCY OP liOD1JLATIONS • • • • • • • • • • • 53
II • LOCATI01i8 AU1l :N.h~HGDS 01? !ljlODtJL\T!ON. • • • • • 56
III. HAP£ ALT.BRl~D CHORDS Ili UAJOR • • • • • • • • • 70
IV. AI.ThRED CHORDS Ill I•:AJOR. • • • • • • • • • • • 71
V. HbLATIVb FREQU.bliCY Oif" ALTBRl.ID CHORDS Il:I l'JIJ\JOR. 72
VI • HARE ALT.t,;.t{ED CHORDS IN :HINOR • • • • • • ., • • 82
VII. ALT.bRLD CHORDS IN }1IHOR. • • • • • • • • • • • 83
VIII • HLldtTIVE i?~<"tU.ii;NCY OF ALTLR.CD CHOHDS Ill l1INOH. 84
IX. NAHES AND FHEQ.U!SliCY OF ALT.G:R.bD CHORD

STRUCTURES USBD Il\4 BOTH NAJOR A]ID HI!JOR • 89

v
 LIST GF GRAPHS

Uo* !I&!
I. NUHBEI-t OF l40DULATIONS TO LACH SCAu D~GllliL: ASSu1~J.IUG

ALL ltiODULATIOI'lS Ailli NADl!: Ij'ROI~ C HAJOR OR C NIUOR • • r:'t.

.:;Jq..

Vi
 OHAPTER I
INTRODUCTION

Without a doubt, Verdi's greatest non-operatic wo~k

was the J4a.nzon1 Reg,u1em, eomposed in hia a1xty-t1rat year in

honor or his poet and patriot friend, Alessandro M.anson1t on••
as he Yl'l'ote, whom "I regattded so much as a writer and vener•
ated as a man--one who was a model or virtue and patriot1sm.•l
SUrpl'1s1ng 1t was that he should compose a Requiem since some
years earlier he had refused to do so on the grounds that,
•There are so many, many funeral maaseal It is useless to in•
crease their number by a new on••"2 But write it he did, and
the first pertormanoe was held at the church ot san Marco in
Milan under his direction on May 22t 187~ with a chorus of 120
singers, an orchestra of 100, and leading soloists gathered
from all over Italy. There was so muoh 1nte:rest in the Regu1em,
that Verdi gave permission tor it to be performed three timea
at the La Scala Tbeate'r where, according to Toye,
the audienoe, untetter-ed by ecolos1ast1oal sur•
roundinga, were able to give tull vent to that enthusi-
asm which has always been the 11fe•blood or musical per•
tormanoea in Italy. The newspaper, l* §911• gives a vivid
account or the evening. On the lett aide or the stage
were the o:rohestra; on the right, the ohorua. The en•
trance of the soloists waa received with aoolamat1orus
that redoubled when Verdi himsel.f appeared. Bu.t Verdi,
"severe as ever, taking his place at the desk 1n the mid•
dle or the stage ••• 1mmod1ately gaTe the signal to begin

lp. Croweet, Verdi t Man and Mua1o1an (flew Yo1'k a Charles

Scr1bner 1a Sons, ·1897), P• lS). ·
2H. Ruttel"8. G1u••mt1 Verdi (stockholm: The Continental
Book Company), P• . •
1
 2

and the applause oeased as if by mag1o." During the per-

tor*!nance the enthusiasm grew unt1l ••• "the applause chang-
ed to l'O&:tttt which, though stifled, even b:roke out during
the pe:r-topmanee, so 1wea1stable waa the 1nsp1rat1on or
the mus1o."••• Attel"warda, amid the wild plaudits of the
assembly, " a 1ilyer crown on an elegant cushion was pre•
sented to VeP4i."J
Verdi was a composer who t!'Uly be,longed to his coun•
t17. He WPOte 1n the idiom of his people and was beloved by
them. Each new work was awaited with anticipation and en-
thusiastically received. The same applied to the Reguiem.
It must be noted, howeve~, that there were those who had mis•
g1v1ngs about the Reg.uiem as religious mua1o. Granted, it is
not muaio which lends 1taelt to the eanetuary, but that should
not stain ita sincerity, workmanship• feeling and depth-•1n
a word, 1ts g:reatneas.
The Requiem waa composed between h1a aecond and third
periods of wr1t1ng-•ju.st prior to hia three greatest operas:
J\ida.- Othello and Falatat:t. It is, tlu:toughout, in keeping
with the style or his other works and justly ao because to
be othe~ise would have betrayed insincerity or studied ped-
antry. Just. one comment in passing••One cannot help but no•
tiee the striking resemblance or the 1Qba m1rum to that in
Berlioz' Regu1em. It seems very likely that Verdi was intlu•
enced by his friend 'a treatment of that d.:ramat1e section.
The aeven movements or the text ~· as tollowat
1. Requ1-. (Introit) et Kyr1e

3p. Toye, G1ua•221 Ve:rdi, H1a &rite and WoJ'ika (New York:
Alfred A. Knopf • Inc. • i93IT; P• 165.
 3
Dies 1x-ae
Domine Jeau ( Oftertorium)
Sanctus and Benedlotus
Agnua Dei
Lux aete:rna
Libera me
In ao.me ~eapeots, the words and division ot movements are a
little different than the standard Requiem Mass.
!£!! is a long poem (hymn)
-
The Dies
and, prior to Verdi• had been bro-
ken up into several movements. Verdi, however, kept it aa a
single large movement with the words of the first verse.
"Diea !r-ae, dies illa,
Solvet aaeolum in tav1lla:
Teste David oum Sibylla."
being woven thPoughout the text or the whole moYement. In
the next moYement, the sa.,nctua is set to a fugue and, con•
trary to common'prooedure, is joined with the Benedict!!!•
the woPds or which are 1neorpopated in the tu.gue. In the
celebration or the Mass, the 1e!! aeterna tollowa the ASnua

-Dei without a. pause. Consequently, many oomposera join the

two movements and treat them as one, but Verdi lett them
sepa:r-ated. The text of the WJlt£1 !lt is not part of the
actual Kaaa for the Dead, but stems from other .funeral pt:tay-
era and gives Verdi the opportunity to sum up the musioal 1deaa
or the Regu1em and unite them in a prayer for deliverance.
The final fugue in the Libera Me waa originally composed in
honor or Rossini at the time of his death·in 1868.
 CIIAPTER II
USE OF THE PARALLEL MAJOR AND MINOR kf.ODES

!he frequent interchange of the parallel major and

minor modes is an important aspect ot the harmonic style in
Verdi •a Reg.u1am. Most composers or the nineteenth centur7
were governed 1n their ohoioe ot mode by the emotional content
ot the text, using major keya to depict happiness and m!nor
keys tor expressing aol'rOW or griet. 'I'be x-elat1ve, rather
than the parallel .m1nor, waa more commonly uaed. Vel"di, on
the other hand, used parallel nearly aa often as x-elative
minor. More.ovar, he freely inte:rchanged the modes within
one setting or the same text.
or the 1801 meaaures 1n the R•W•· 949 have been
analraed as being in a minor key and 652 1n a major key.
This number can only be regarded as approx~te inasmuch as
a major section frequently eontaina so muoh ha.:rm.on1c material
from the puallel m1nor that it is d1tt1oult to determine
whether an entire measu~e is either major or minor. On al•

most every page can be .found uses ot entire themes or, as is

most often the case, thematic motives in the parallel majo:r
and minor modes.

There are several chords used moat commonly by Verdi

1n changing mode a • The moat .t':requent is the dominant which
4
progresses to the toni~ of the opposite mode. !b.e minor IV
chord 1a next in frequeno:r, either appearing in a minot- kef
and progreaaing to a major tonic o~, more frequently, as an
altered subdominant tz-iad in a major ker and progressing to
the tonic or the par,allel minor aa 1n the tollowing example
where a ••ttlng or the Rex ~mend.,. 1n major' using the minor
subdom1nant ia followed by the theme in the parallel minor.
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 7
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 8
tlw tollow1ng exU&ple from the SJ2ptuta•1a, scored tor baas
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 10
Anothe~ instance of change ot mode within a phrase
ta found in the tollow1ng example !?om the Qgllfutat1,1, for
baaa eolo and oroheatra. The example begins ln E major,
changes to the parallel minor on the third count of ·the tirat
aeuure, and returns in another to~ and one•half meaa\U"es

to B major.

haaple S page 78, meaa. 6

Y.ss ~~~~--~~~-+~~L-~~--~~~~~+-~~-­
Sol.
 ll
An interesting example or change ot mode within a
phl-ase 1s found in the Rex ..._t:r._e.m...,.e.,ndi!i i li i i a.,.e acored tor aolo quartet,
ohoru.a and orchestra. It oons1ata mainly ot thematic develop•
ment by the chorus and orcbeat:ra., one voice creating a tonal•
1ty, another establ1ah1ng 1t, and the next ohang1ng it. 1'b.e
<!4
theme is stated in P major 1n the first measure ot the example
1n the aolo mesao~aoprano part and is imitated 1n the aolo
soprano part in the· aeoontl m.eaaur•• HoweYer, at the beginning
ot the third meaaw:te _the soprano part goes to an A~ instead
ot an A#, thus creating a tempor8JW1 1mptteaa1on ot P# minor.
The me&&o•aoprano entranoe 1n the third meaa'trlre establishes
•
the feeling ot P# minol' by a leap tl'om P# to D9. '!'be orohea•
tral b&el part in the fourth m.eaau.Pe, by moving to B, ah1tta
the key to A major by oraat1ng a dominant feeling which 1a
established by the soprano part in meaaure tour. However,
in meaeure tive the th1J'd or the A majora obord 1a omitted
and a leap in the mesao•aoprano part trom A •o P 9 ah1tta
; the tonality to A minox- which 1a then establ1ehed by a.n
added 0~ 1n the orchestra part. The key or P majo:r 1s then
1ntrodu.oed on the last note or measure t1ve by the use o~

Bb instead of B~ in th• mezzo•aoprano part, 1s established

in the orchestra only to haTe an A~ substituted tor an A~
in the tenor part in the seventh measure, thus shifting
the tonality to P minor.
 12
Example 6 page 56, meaa. 4
 13
Ex.ample 6 cont'd•

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F:Pequently a mot1Ye 1a atated and repeated 1n major,

but betore 1t 1s lett goes to minor, or t:ranave~aly from
minoP to major. A typ1oal illustration 1e found. in the
following exa:mple from the D1•s 1rae scored tor tenor aolo
and o~ohestra. Here the motive appears conaecu.t1vely 1n the
o:ttchestra and solo tenor pax-ts in Bh major until a minor
tonic is substituted for the major and then it continues 1n
ab minor.
 15
2. _.._....____ -
Ohange of Ltode 111 section Leading to Cadence -
In the entire Resulem there are only a tew sections
ending 1n minor. Usually a seotion predominantly in minor-
shifts to the pa~allel major in the cadence or 1n the
section leading to it. It the change to t,he parallel :majot-
ia not on the tinal ehord ot a section, 1t ooo~• early
enough to tlmlt eotabliah the new tonality betope the
section comes to a oloae aa illustrated 1n examples a and 9·
In example 8 trom the Res~em fi ~U1! aoore4 to7!
aolo quartet, ohol'\ls and orohestl'a, a IV ohord 1n the key ot
A minor 1a followed by a major ton1o. The section then oon•
t1nues in A major tor eighteen m.eaaures uo the ooncluaion of
the ReulfNI\ n Kzrt•.
 Example 8 page 14, meaa • 4

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'fba mode is again oha.nged troa minor to majo:r in the

aection leading to the cadence in the Dies .!£!!. aoored toJ-
aolo quartet, chorus and or~hest:ra. Near its eonolua1on, the
key ot ab minor 1a ehanged to Bb major by a descending base
 17
line 1n which a D9 is substituted tor a DP in a I" chord
which tollowa a v"J,-. The aeotlon then ends in B" major atter
'11-1
eight measm-es.

Bxaraple 9 page 99, meaa. 1

't1

Only once does a major mode change to the parallel

minor to oonolude a section, that instance just preceding the
!.!. deoet SY!!B'!I! in the Rasu1em f.t Kv:+a and illustrated in

the following example. The ohange of mode is e.ffeoted 1n

the fourth measure ot the example where a VII~ in the key or
"~ .3
A major is followed by an A minor ~ • !he A minor section
 18
concludea after three meuuttee with a deceptive cadence
V7•VI. The.VI chord serves aimultaneoualy aa a deeept1ve
eadence ending the t1rat aeotion and as a I ehord in P major
beginning the It deoet Aimeus.

Kltample 10 page 3. meat. 10

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 19
Example 10 cont td.

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l. 9!!9• !£. Jiode .!! Cadence

Ch.ans• of mode may ooour 1n a oadenoe from maJor to

mino~ or, JtllO:re t~equently, t!'om m1nor to ma.Jol'l• In the
o.rt•rtoa the text; •taoeaa Domine, de morte transire a4 vitam•
tor quartet ot aolo1ata and orchestra la presented in a major
exoept tor the cadence where a minor 'tonic is substituted.
The theme then continues in 0 minor and &tter eight measUJtoe

a major tonic is substituted in the cadence and the theme again

appears 1n major.
 20
Occasionally a section predominantly 1n minor changes
to the pa:rallel major in the final cadence as illustrated in
examples U and 12. In example ll fpom the Libera l4t for
soprano solo and orchestra, the cadence oona1sts ot a Ilk> in
a minor- followed by a 0 major tonic chord. In example 12,
alao from the L1be:ra Me, but scored in th1a aection for sop•
:ttano solo, ohorua and or-chestra, a 0 major tonic follows a
V <o 1n C minor.
-#7
b'.a.mple ll page 171. meaa. 10

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 21
EXample 12 page 210, m&as. lO

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4. ~· !£. Mode !!_ ~PI it. Bu. 31tiS.PD ~ fP.rye

The aolo 1netanoe of an. entire theme, including
the cadence, stated .t1rst 1n major and then 1n the para.ll.el

minor is found 1n the ~ :0.1. The first two settings or

the text. "Agnus Dei, qu1 tollls peocata mundi, dona. e1a
requiem• are 1n unison in 0 maJor with the .first sung
a cappella by the soprano and mezzo-soprano soloists and the
second by the chorus and O:POh&stra. OroheatPal accompaniment
1a added to the aoloieta in th• thi:rd setting which is 1n
a minor, The last two settings return to 0 major and ape

sung alternately b,J the ohorua and soloists with oPobeatra

 22
after- which a. short coda concludes the movement.

Verdi uses the parallel major and minor modes to

obtain variety within a tonal center, going aa of'ten f~om

major to minor (21 times), as rrom minor to major (20 times).

It is 1nte~st1ng to note, however, that with one exception,
a main a•otion always ends in major.
The change ot mode ocoura aometlmes 1n the oadence

and sometime a w1 thin the pb:raae in •h1oh o.aae the mode uauallr
alternates avel'1 tew meaaUX"f)a.. OVer halt ot the changes ocour
from the dominant ot one mod.e to 1ilie tonic ot the othe:r, a
quaPter or the changes trom. the minor eubdom1nant to major
tonic or .trom major tonic to minor aubd.ominant. It 1a
1iltereat1ng to note that the minor IV ehord is otten used
in changing modea, the major never.
 O~BR III
KODULA.TIOlf

The investigation ot modulations 1n the Rewatem

was made to determine frequency, methods, and the rela.t1ve
use o.t closely :related and foreign k•J•• In the process or
analyzing a composition, espeo1al.ly ot the nineteenth centU%7 1
it is sometimes d1tt1oult to determine 1t chorda are merely
altered or it an actual change ot key center oooUPa. The
guide to analysis has been, chiefly, the feeling ot a oha.ng•
to a new key center which may be establiahed by several chorda,
not necessarily including the tonic-.
Thex-e are 277 modulations 1n tl1e Requiem, or an
aYePage ot one eveey seven measures. This figure includes
the to:rty one oha.rlges of parallel mode dlaouaaed in the pre•
v1oua cbapte:r. Ot these 277 modulations, nea:rly one th11'<1
(89) are to a toJteign key, and two thirds (160) to a oloael7

related key.
Alm.ost every knoWn modulatopY devioe 1a u.aed in. the
Regu1g. The oom.mon chord method 1e emp-loyed moat fr-equently
when modulating to close relat3d keys. Sequential and ohro•
matic modulations are otten used in modulating to foreign
keys. A modUlatory devioe very ebaracter1st1e ot Verdi•s
style is change ot mode used by 1tselt or 1n conjunotion with
the common chord type to facilitate modulation to tore1gn keys.
23
 21i-

In the latter modulatory device, a change or mode on a tonic

chord greatly enla.I'gea the scope of diatonic keys. Thus the
new tonic may serve as a eommon chord 1n modulation to many
keys which previously bad been toreign.

The most frequent modulation 1n the Reg,uiep. is down

a. perfect fifth. It is usually tx-ans1ent and made by a ton1o
cho~d assuming a dominant function 1n the n•• key. or the
aixty-tivs modulation. down a perfect titth, the mode 1s
changed eighteen times and retained ro:rt7-1•v•n•
l. hom .! M\B2" liz
One-halt (33) ot the s1xty-:f'1ve modulations are tXtom.
a minor key. Two-thirds of these (23) retain the mode and
the bridge ohorda usually used 8.!'0 I beoomins Y 1n the new key
:#3
or a IV beooming a I. The f1nal fugue 1n the LJrl!e;:a. J!t. eon•
ta1na ten or these modulations retaining ilhe minor mode.
Others are embJ"aoed in the sequential tr~atment of a motive
from the ld!C!7!!!1• whieh begins 1n r minor and passes conseo•
uti!_ely thPQugb the minor keys or BP, Jb, AP, and Db, the
IV ohorrd eao,h time serving aa a link by assuming a tonic
function in the new key.
lfearly one-third (10) ot the modulations down a fifth
fr-om a minot- key have a change of mode. The chord used as
a bridge is a major tonic t~iad or seventh chord whioh 1a sub•
st1tuted for the mino~ tonic and then becomes a dominant in
the new key. An ill:ustra.tion of modulation from a minor key
 25
to the aubdo.minant major is round in the following example
from the OtteJ'torx; wherte a G minor section for solo quartet
and orchestra concludes with a V chord progressing to a !7
"1t3b7
which becomes a dominant in either major or minor. In the

tollowing measure an E9 is introduced establishing the key

as C major.

hample 13 page 113, meas. 7

2• Pz-p!! !\ 1ia.,1o:r K,e:r

Modulations down a titth from a major key ooe~ about

a.a frequently •• those r,.om a minor key ()2 times .. compared
with 33 from ~~nor) and under similar conditions. A eo~non
ohord modulation 13 used and the mode is changed aight ot
thirty-two tunes... An illustration of a modulation f~om major

to the subdominant minor is found in the following example

from Qn2d ~· ndlePI 1n G minor for solo trio and orohestra.
Twelve measures before the conclusion ot the section the mode
is changed to G major where it remains .for four measures until
a cadence is reached. As that ooours, the tonic chord becomes
a dominant in C minor and 1s followed by a minor dominant
ninth oho~d in the new key.

lil:ample 14 page 51, meas. 4

 21
Many of the modulations r~om a major key to the sub-
dominant major appea%t in oontt-apuntal seotions wha:r-e the
theme •lternatea between the tonic and dominant lceys, !i1ne
ot these modulations are found 1n the Sanct.-y, a fugue tor
double chorus and oreheatra.
B. Hod~at1gns .YJ!..! F1t1g\
Modulations up a titth like those down a fifth occlll'
.t'!'equentl:r in contrapuntal or fugal sections, are transient,
and utilize the common oho:rd method. S1gnif'1oantly, they
ai-e more consenat1Ye in that only two oases contain a change
ot mode •
. 1. hom !! Ma~o:r I!Z,
Ot the .topty-t1ve modulations up a fifth (aa compared

wi~h aixty-tive down a ti.fth) only twelve &l"e made fpom a

major key, the remaining th1x-ty from minoP. Usually, the
tonio chord assumes a subdom1nant tunotion 1n the new key,
but ··occasionally the dominant becomes a tonic. All ot the
twelve modulations retain the m.ajoP mode; most of them are
transient, and aeveral occur 1n oontx-apuntal seot1ona. A few.
however, definitely establish the new key, an excellent ex-
ample being found in the -t;eno]!lt solo I.¥••1fCO (p. 70) where
the theme la introduced 1n gb tor eight measures, modulates
to the dominant tor twenty-five, and then returns to the tonic
for twelve, thus g1v1ng the semblance of a th:Pee part form.
 2.
Twenty-eight of the thirty modulations from a minor
key to the dominant retain the mode and moat or thein are oon•
tained in cont:rapuntal sections. The tonic is the common
eho~d and assumes a subdominant function in the new key. The
B!!.!, 1rae tor chorus and orchestra, contains a sequential
treatment of the thematic material which is repeated alter•
nately 1n the tonic and dominant minor keys. A tour measure
section 1s sung tortisatmo by the chorus in 0 minor, repeated
consecutively in G, o, and a minor, eaoh ~epet1t1on becoming
lower in pitch and dynamics.
There are but two changes ot mode in modulating up a
f1tth and both aro t~om minor to major. In example 1$ trom
an a oappella pox-t1on or the Lux yterna, a v, in sb minor
~7
becomes a Ib 1n Bb majo:r.

Example 1.5 page 1.59 1 meas. 6

,
1.$

, /'1 -< j. 1 •
- Is I l.. vr;., -'6n -a,s -c u - 1'5
..Lh:
 The other instance of modulation from a minor key to
the dominant major is found in Example 16 trom the Lacr:ii!nosa

for solo quartet, chorus and orchestra, where a II7 in nb

-#'k/.'
minor, used as a deceptive eadenoe, serves as a dominant
seventh chord in F major.

Example 16 page 89 • meaa. 3

I'I'P ......_____-
::r
c. Modulations
.............
~~ ..................._ ___ .......
Down a Third

There are fifty-one modulations down a third as

)0

compared with forty-two to the dominant and sixty-five to

the subdominant. Two-thirds or these (35) are from a major
key and one-third (16) from a minor key.
l. P'rorn !. MaJor Kez
Nearly all (32) ot the modulations from a major key
are to the relative minor and employ the common chord type
or modulation. The VI chox-d ot the major key usually serves
as the common chord by becoming a tonic in the relative minor.
However, every tonic t:r1ad 1n the major key is u.aed at least
once as the common chord.
Modulations from a major key to the aubmed1ant major
are :ra:rte, there being only two. In both instances the IJJ1n
the original key becomes a dominant oho~d in the submed1ant
key and is followed by a major tonic, as 1llustPated in Ex·
amples 17 and 18. rathex- than the uaual minor tonio. Dur-1:ng
the sequential treatment ot motives shown 1n Example 17 from
the Otte~torz, a III 7 in ab major becoaea a V? in Ab major and
::J:P5
progresses to the new tonic.
 31
Example 17 page 106, meas. l2

The other 1natanoe or a modulation tJtOm a major key

to the aubmediant major is round in the in&•!.&too. scored tor
tenor solo and orohestt-a, whtn.•e a modulation is mad• from the
key of Gb major to Ehmajor. As illustrated in Example l8t
the II~ occurs as a deceptive cadenoe in the key or Gb major
~5
and assumes a dominant function in Bbmajor.
Example 13 page '73, meas. l l

There is only one modulation down a major third from

a major key ana it is found in the Insemiago and illustrated
in the following extmtple wher-e a transient modulation oocurs
tram B ~ major to Gb majo:r. In the 1'1rst meaaure of the ex-
ample a tonic chord in Bb major becomes a III in Gb major and
4:5'
 33
1s followed b1 a li•lL, -I proiression 1n the ne·a kay.

Example 19 page 72, meu. 9

2. hom !. Minor Kez

·Fl-am a minor key, the only modulations down a third

are to the aubmediant major or which there a~e sixteen in•

atanc·es. The only oo:mm.on chords used &:re a. I b•comlng a III
-
or a VI becoming a I, each being used u frequently.
D. Modulations Ya .!. Thi.""
Another common modulation employed in the Reg.uie.m 1a
up a third, there being flft7•four as compared with fifty--one

down a third. Of these fitty•t'OU%' 1 over two•th1rda (35) are

from a minoP key; the rest (19) are from a major key.
 1. l'roa !. K&:qo_%' Kez:
All but two ot the thirty•t1ve modulations up a
third from a minor key •••• aa would be expected, to the rel•
ai1ve major and employ the oommon ehord trP• or modulation.
'!'he choPda usually used are the I Ol' VI triads in root po•-
1t1on or the IV appearing either aa a triad or seventh
chord 1n Poot position.
Ot the two remaining modulation• up a third fPOm a
minor key, one 1a up a major third, the other to the mediant
minot- ker. 'l'he latter, 1lluattt•te4 ln the tollowing example,
1s found in the »&•! &ru between the Contutatie in E minor
tor baas solo and orohestra, and the P.!u. 1rae in G m1nol:' .tor
chorus and oroheatP&• On the third count ot the seeond meaa•
ut-e or the example the F# 1n the aolo baas part 1a part or a
V oho:r-d 1n E minor and 1a held attel* the orchestra Pelease.
-#7
~ hold plus a turn on the toUl'th count prepare the listener

tor a t1nal oadenoe in E minor or possibly G major. A G minor

tonic, however, 1a substituted tor \he beginning ot the new
section.
 35
Example 20 page 79, meas. ll

~,.;... . ._ r._ , ~~II

-- ....
'='r• tJ.tJA, pn '"J
-.
• ,..
-
.l .:.. I
-I.,. .... Mr ~ I~ I I r a• • _
, r . , . •a.
n
•
~~ I

.,. .
,..,. - · - -I
-~~ I' T ,. il -, I1"7
..-.-...-A. I
u
I
I I
I..
rl' I
I
I
.,
I'
I """'
"- I I

- -
J -...J I .II I I I "'_"'lk. I I
r..., I I • ...-::1' I
• ,,-_
' I

- ,9e- rc
T
t:c~-r.,.._,.._, -~.; - -
All~r• e•~ l'n",...
._
........
~

J
....
.- .,.
-... .:; A' Ill

'"
LL
•

-.-·.
'
> > >
-.... •,
.... "''"::
., ....... ""31~ ~ -4. .. 71
I.
~>>~
- •....
I

_.I .... •
... • ..... ..
L
>
•
~-
' I ..
> 1.)

.
..1
_
>
-..... .
.. ...... .D
... ,
-t
• .., •
...
~
:..
:-
.L

""''
'-
::..
A.
,-

~~: ~~
•
F FJ '
,....,
I
... &
~

..,.-_,A ..,,
- · · - -.• IL _. '7
A

-.
~.>

...., - -
n•
•
>
0

B.J/11
>

- •
>

...
> >
• - - :.· .....,_
> >.
I
I
J

:::;;;
f.\
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r
....
1""11•
.. -.
Ia. L "I
•a '"In
1.
La. l
ft'
•
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~
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- -
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L~--..,
..... _, , I I,.

.
> >
'

c:J· :r

The aole in.atanoe or a modulation up a major, rather

than a mino~, third from. a minor key is round in the Ottel'to:rz
tw aop:rano, ••••o•sop~ano, tenor and baaa soloists plus
orchestPa, and 1lluatl'ated 1n the following example where the
"n• cadant in obaourum• seot1on ends 1n the key or P minor
and the "sed a1gn1rex- eanctue" aection begins ln A major.
As the soloists and orchestra oonclude the •ne cadant 1n
obacuttum• phrase on a half cadence in F minox-, an E~ appeax-a
in the solo soprano part which ia held thJ'ough aeuure two or
the example as the other soloists and orc.best)."& are silent.
In the third measure the orchestra ente:rs on a Vz., 1n A major
at which time the soprano •s sustained B '=1 loses ita function
 )6
aa the leading tone 1n r· minor and assumes a. dominant tunct1on
in A major.

sed-

2. ~ !. MaJor !fZ
Nineteen of the t1~ty•.four modulat1o%UI up a th1Pd
are fztom a major key. ot the••• t•elve are to the med~ant
minor and the common ohol'da usually used &:H a I becoming a
VI, or a III beoom1ng a I. The IV and VI ehorda are used a

rew times, but the II, V or VII ~•"'•"•

An instance ot modulation trom a major key to the
 37
med1ant minoP 1a tound in the Regu1eps. !! !It1•. Inae:rted be•
tween two similar R•au1em aete~nam eeet1ona tor ohorua and
orchestra in A minor, 1s the cont:ttapuntall!. ceoe.t hDQU! in
F majo:r tor a oappe·lla chorus • At the end ot the Te dt,oet
~~ the ebona baa an F major tonio, followed b7 an A
minor tonio 1n the orohestra whiob repeats with the oborus
the Resu1,~ aete£!!9: almost note tor note.
The IV, when uaed as a oommon ohorcl in modulating to
the med1ant m1nor, assumes the function. ot a Neapolitan
second chord u illustrated 1n the following example t:rom
the A?!!! lrae, aoo:red tor- chorus and orchestra. The JlOdula•

tion takes place on the thittd count ot the example where a.

IV, 1n Ab majoP baooaes a I~ in 0 minor.
b"l-
 38
Jaample 22 page 21+1 meas. l

> >

....,
...It
...
II

ll
l"'
~
1..
11n
-,
JL
. -
I
• .n••I
I
- I
T
I
T
~

7),._e$
-
I
vil- {~
('~.,. .... ~e _J. j_
- J
>
11.,L..,. b-n
>
.,..
·~

.J
I·
I•
....
"''
I.
u--r
11•

....
II
... ·t.::-
I'

'
I
-. T T
I I
...
I
...
I

f" D, -e.5 1 - r11-e.

~ .
--· . ...
I 1.. .c:::2 _..
I
,...' ... -~ • I I I lh
.. ._
• -..-
I

. . . ,. •
I I I I I••
I ~-~ 11 . . . ~

' " ~
.,"I ~

> > > >

-;:l· .,.~
) •
p~e.
I
I
I

"'
I -
' • I Jl ......
-J·D"I
.J a.;: A •

-
'-
-, D
~

,.
~
I
-~

'
- -
--.:c

.... -
1""111"-
l
•
....,._
>

i'he only 1nstanoe or a modulation from a major key to

the med1ant majoJ- is in the Reg.u1!!! !lil.rle scored tor aolo
quartet, ohorus and orchestra and illusts-ated in the following
example. The common ohord, found on the last halt ot the
toUPth count of the example, is analyzed as a VIt, in C major
beooming a IV' in E minor. However, on the thil'*d count a Gil
appears in the tenor pa:rt as part of a I in C major, and two
~
counts later is found 1n the alto part creating a I, in E
¥
ma.joJt. Thus the modulation includes a chango or mode by going
 39
with the aid ot the G/1, to B major !'ather than E minor. The
plano part contains all the essential features or the point
under d1souss1onJ therefore• the Q.U&l'*'tet and chorus parts
will be omitted from the example.

Example 2.3 page 10, meaa, S

Ot the modulations up a third tl'Om a major kef, the

most frequent to a tore1gn key 1s up a minor third retaining

the mode, there being 11x 1natanoea. It 1a used etfeotively
in oontPast1ng the texte ot ••m1~oo tssuam rena and .9.'!!!.
Mariam abaolv1at1, the tormer ending in a major and the lat•
ter beginning in Eh majo~.
A aequent1al treatment ot this type or modulation 1a
toUJ:?A. in the Rex 're:mendae where the key is ra.iaed h-om E b
major to Gb major ( enhapmonio ot F#) • then to A maJor, and
lastly to C majo:r. Aa illustrated in the following example,
the theme t1rst appeatta in the solo bass part accompanied by
a I,·II~ -v1 px-ogress1on 1n E" majo~. In the second measure
y.
or the example on th• fourth count, the :root or the ah major
chord is in the solo soprano part and on tne t1~st oount of
the third m.eaaU!'e becomes the th1P4 or a Gb major chord. The

mezzo-soprano part 1n meaa~•• thPee and tour then as a repet1•

t1on ot the theme 1n ab accompanied by the same harmonic pro•
gPession. On thct last oount or the touPth •aaure, the root
ot the dominant oho~ is again in the aolo aoprano part a.nd

aga1n becomes the th1ri or a new tonic ohord, this time A

major. The aa.me JWOP•••1on 11 then used 1n a change to
0 major.
Example 24 page $2, m.eaa. l l
B. lodN:a,1o9! Down .! §!oond
liodulationa down a aeoond are lntrequent, then beiDg
only seventeen as oomp&Ped with r1tty-one down a third and
a1xtT•t1ve down a. t1tth. or th•se seventeen, only on. 1s
down a minor seeond, the rest &l"e de>wn a major second.
i'welYe are tttOm a mino:r key, tive from ma3or. B•oauae or
their 1ntl-equenoy it 1s dlttioult to determine a typical pro•
cedve ot modulation, 'but a few general1t1ea ean be made,
naaely t they are likely to ocou:r in eontrapun\.al ott sequen•
tial aeot1ona J oltromatio type or modulations utilizing dim·
1n1shed seventh chords occurs frequently; lastlr, the oommon
chord type or l'll0dulat1on 1s used in going from a minor key to
m.ajo:r with the 'tonic triad becoming a superton1o tr-iad 1n the

l,. Prom !. Minor ·!!I.

All ot the twelve modulationa fNm a mlnoP key 81'8
down a whole step with six retaining the mode and aix chang•
1ng to major. Moat ot the la.tte:r six are 1a.•ana1ent modulations

in contrapuntal sectione, the coliU'BOn oho:rd being a minor tonic

triad wh1oh becomea a aupertonic in the new key.
Moat ot the aix modulations down a whole step trom a
minott key wh1oh retain the mode are uaed 1n aequeneea and ••·
ploy an altered d1m1n1ehed seventh chord which beoOl'.llea a d1&•
tonic aeventh 1n the new key as illustt-ated in examples 2S
and 26. In both instances a modulation 1a made trom. C minott
to a.b minor, then to J.P minor. by means ot a ••quenoe 1n
which a IV 1 beoomea a VII7 1n the new key. Although the
"'"'*' ,:/7
modulations in both examples are quite sim1lar, they ocom-
in different par'• ot the Reg.u!ea, the t1rat being in the
••...· 11-ae and the aeoond in the final L1b•ra Me
..D1.,. -.... tusu•.
In the following example tram the Dies 1rae for
choPWJ and orohestPa, the tirst two meaaur• pb.raa• contalna
a 0 minoS' VIl* •I h6U"JD.onio progr·eae1on which 1s repeated in
~73
meaalll'ea three and toup in B h minor-. and 1n .five and au in
Ab minor. The IV., at the beginning of meuurea three and t1ve
~-~:t;t(,
each time serves as a VJ~ '7 in the new key.
lxample 2) page 22, meaa. 8

,
T
.
, ......... ...
Ill T77L
-
.....rv I l l -
TH
~.
~J
-J
r
I
J' - I
I
I
I
I
I
• • •
"-
.........
-- _,.- •
......._

-
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I
..J
I

.I
.L

-<.
r
C' ~
I
I
I
~J
-
~.
I
~
j
•
T '
--., T
I
I
T
~

IF .J_.
lD, - - J~
l ~.~~r.le: 1l.: - f!'J
T

k~ - _J_. .
j_
- .,
~-•·
_, .. i.

J
....
...-
n
~ -~

,-.,.....
..........
I'll
_ ___..,J !
~
•
I
., r

.
I
I
I
I
I
1
I
I ' ,.,
- .. I
p
..
7
1
~

.
I
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'I
I
r7

......_,.,
I
I
~
I
I
u--.
.
'I
I
T
1
I
I

'"""
. > >
.,... .,..> > - ;; ~~~L,_,-Pf¥-~~! : >-
- --
h-~
..
1\ II IL
....
L- t-
>
;;....
""-r ..
~
'
v.. .. _ ... _ , ...... r r r _l j_ I I ~

....• ..-
•• •• .-
>

~
:;.. I I ..J
~-
~ :;;.. ;;.. [;A - .&... r I • I I
Ill
~

I
1__. A..-
T ~ iI
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'- . . . I

~-
•• J
T •• T .....I
- I
r.

v
'
J ff > :>
I > >
... $> _,_
>
> ~ .
- u•
.>
.. .-
..• -
...
- .
w- u•
..
( ,._..--,,
.r :'\.. --u
• A.. .iiiT I

I
.,
K
-. I..
~
...
•
.... ._
T T I
• I
•
I • ........
--'-..........
.
"""- I _l
\.. , ~ _j_ I I I
q• • ~ .....
I
~t 'J -4'-
> .> >
 '!'he IJ.bera Mp_ theme, in example 26, appears consec-
utively in the minor keys ot 0 1 ~, and AJ, • 'Ihe first two
measures are in C minor with the Y:be:ra !t motive in the
soprano pal't. On the second count ot the second measure,
the thPee lowex- Yo1oea begin the harmon1o prouesa1on v_;.;,_•
I, .v:L.Ik•I•IV7• Thia pro.gresaion 1s pepeated 1n the minor
+ il? ~#=6
keys of Bband Al> w1 th the Ubepa !!! thel16 being :rep•ated 1n
the aoprano put in the ool'Hapond1ng keys • 'fhe IV 7 on the
-:/Jf'l*-6
third oount or \he th1~d and t1tth moaaUPea aervea as a VII 7
-if?
in the new keye. '!'he piano pAP1 1 belns a dupllcat• of the
voices, is omitted troa this ex.aaple.
Example 26 page 192 1 meu. S
 45
The sole 1nstanoe cr a change o:f mode during a modu-
lation t~om m1uor to rnino:r down a whole atep occurs in the
Kzr1~ · scored to'r quax-tet of aoloists, oh.orus and orchestra

and illustrated in example 27 where a B minor tonic ohord on

the thiPd oount ot the second measure serves as a II in A ma-
jo:r. and p!'ogreaaee to a v,. However, an A minor tonic triad
1a substituted tor the majo:r- and creates the key of A minoJt.

Bxample 27 page 13. meaa, ,4.~

I
 2. !Tom .! ~ajo.~ ~·I
ot the five modulations down a wb.ole step from a
major key, two retain the mode. Both will be discussed since
different devices a!'e used. The one which ooours first in
the Rem!1•• is round in the ot~e.J:ttorz rOP solo quartet and
o:reheatra and illustrated 1n the f'ollow1.ng &X8ltlple. The
essential :teatures of this sex-1ea ot modulatlona are the
sustained notes 1n the solo soprano part and the sequential
repetition or the prlncipal theme aooompanied by a v~-I.b

progression in the SUOCG981Ve major keys O't A (enharmonic of

B double flat), Ab, and ab. S1noe tlW only modulation down
a halt atep 1a found in this eeque.noe (trom A to A.b), lt will
be included with this example.. In the fil'at two meaeu.rea an
E~ is sustained 1n the aolo sopztano put u the theme and V~
Ih progression az.e stated 1n A major.. '.ftle E~ 1a lo..,.tte4 in
the third measure to Eb• and the I.b in A major beeomea a
ltJeapolltan seoond chox-d in A.b majott and progresses to a V L aa

the thenne 1a repeated in the new key. In the t1tth measure

the sustained J:b is lowered to D...h as the oroheatra has a l"epe•
t11s1on ot the V2-•I" Pl-08l'eaa1on. th1s t!ae 1n G b maJor.
 47
Example 28 page 105, me as • 11>
----------··---·------~-----------
----------

~-
-v
.~
n ...... ~· ' .... -. , , I
+h..
I I •
-,-
- 'T

-
~--.:;;;- -v I ~ T TT I I I
~
~
..... ..,""
"'17 "T
I T
I
I
I
T
I
"T
..,.,.
T~
.I
I I T
I
r
I -
h
r ..
T

1 ,.,; - Jn," - ~~r

J
s .. ,.- e~

~
~

~
~ .
n
l='.
.. .....
lA I T
~ -=-~==~ ·~·-- ~~·
-~

(
I I I
..._ I
7
"]II L
....u-n
WI .._._
......._.
"T [7

., l : - .... p

'T "T.
-
IV' ....

-- ._ .
--n ..
,.,,...,..~

.~~~. ...
......... ,..
flf ... 1111'
.
~

~-
n-
.
I/IF.

----.
"'-I'
- -
I'.:;. I" -p-_- II...
,_ •:;..- -::...-
• - ..
- ••
•
r:;. !;,.

--
-~ T "T T T I T
"T7 • I T -. I -.
-
I
L..

The other example ot a modulation down a Whole step

w'hioh retatna the majot- mode • 1a from the final tugue 1n the
L1b•r• It tor solo soprano, chorus and oPcheatPa. In the
seoond measure ot the example • the A majott tonic triad ie
1a changed to a minor I & by means ot a leap from A to 0~ in
the bass part on count three, then becomes a IIw in G major
and proceeds to a v~. The piano part, being a duplicate of
-tts-
the voices, is omitted tram this example.

Example 29 page 196, meaa. 4

_,
--,-
14 Staves
/
h1
G::o:..

An 1ntet-est1ng alte~ation is used in modulating down

a whole step fPOm a major key to minor. An illustration, ex•
ample 30, is found 1n the ~tr1e, soo~ed to~ quartet or soloists,
chortis and orchestra where the ohromatioally descending bass
line in the seeond measure changes the 0# major tonic triad
to a O# minor triad which, in turn, becomes a II~ in B major
and progresses to a v7 • In its resolution, however, a minor
tonic is substituted tor the major, o:reating the key o:r B
minor. Thus, the mode is changed from 0# major to minop ao
a common chord modulation can be made from 0# mino~ to B major.
Then the mode 1a changed again••from B majo~ to m1no~.
Example )0 page 13, me as. 2

• ·..-.._ LJ..-•• .w- I ""-

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T
.
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·1
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I
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•
II
I
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- La- &.,-.So"-"
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6
..... _.. - r
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Iii"'
I

I
- I
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1 ....
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I
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~ - rc.. -
ll~~~~ > >
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---
.,_ -r-r
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.....
I 1 c.J. I I ll:.'lllo.

...'"'
I I

.-
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I .,
..6 fl. c:J ~
II ....
I I I r ~ I

' Le-
e-
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K!:1 - r-i. - e i-so,..,

~ !Itllo >

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t.~
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.......
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r I

F. Modulatiopa !!a A §eoonp

The least frequent modulation in ·the Rsg.u1s is to a
key up a aeoond• there being only seY•n or which tour al"e up

a whole atap and thr•• a halt step. ~ee aro from a major
key, rou:P trom a minor.
l. Prom J. Ka~ot 1fZ
Two ot the throe modulations from a major key go
 Cr)
;)\ ..

ohromat1cally to the supert.anie minor by means of a V be-

coming a IV in the ne"N key. The r~alllaini!lg "'
one is up a half
step to a major key as illustrated in example 31 .from the
01,tertoa where the "Quam olim Abrahae'* ends with solo quar-
tet and oroheatra.. In the fourth measure or the example,
the ob major German sixth chord ot IV,., (F!r-Ahb-ob-Ekbor,
#<it b" ~3
enharmon1oally, .F~-G~Bil-D'=?) becomes a C major V2-. and pro-
greeaea to a I,.
Ku.mple )1 page 110. meas. 6
 51
2. From .! M1 nor Key
Change or mode and the use or sequence are an 1rrtport•
ant a.apeet in the foUl' modulations up a second frorn a ·minor
key. Those up a whole step atte sequential and oc.cul"' near
the end of the D1es !£!! (p. 28·29·) wh.ere the unison chorus

part fo~ tour measures is the dominant note, Bb, in the key
ot E lo minor with the harmonic progreuion, .vl.-I6 •V:~. -I"-Vi'·I-
V4-•I, in the orchestl'& part below it. The ohoNS part then
.)
moves to the note C whleh becomes the dominant note in F
minor as the tour measure phrase with orchestra 1s repeated
in the new key. When the a 1s moved to D it becomes the
dominant note 1n G mlnoP as the seque·nce is repeated in
that key.
'!'he :t'ollow1ng example is tltom. the baas aolo in the
Contutatie and 1lluatratea the only mo4ula,1on up a halt
atep trom a m1nol' k8f• In going tPOm the kay ot E major to
Gb major the minor keya or E, F, and G~ are used. The t1rrat
meaem-e of the example concludes an eleven measure section
in E major. A ohange ot moda to E minor, however, 1s ant1o1•
pated on the aeoond oount by the use
.
or a C~ 1n a VII4 and in
b~ 3
the aeoond measure by the harmonic interval FI•Dil being low•
ered obromatioally to all-ax, then raised to PII•D/1 again. In
the third measure the minot't third goes to an E-GI:/ wbiah torma
a I~ cho~ in E tdnoP as the solo bus part remains on the
~
pedal B~. The reeling of E minor 1a tte1ntoJ-eed in the third
measure by a descending pure minor scale. The toUPth and ~1tth

measures in F minor al'e a sequential repet1 tion or measures

two and three :tn E :minor with the contmon chord, in the fourth
measure, being a VI in E mi.no!l, V tn F minor. This chord goes
-#{
to a I,, then to a VI which beoomas a V in Gb minor. The sub•
~ ~7
st1tut1on or a majo~ tonic, however, changes the key to GP major.

i:xaaple 32 page 76, m.eas. 9

 A study of tile modulations in tho :ileS[Y:i;eiU shows the

order of frequency to be as illU:otratad in the .following

table and graph.

Table 1. b"'REQULNCY OF HODULATIOl~S

l·1odulat1on no. ·f
~" 0
t Total l"'lod.

Down a fifth 65 23
Up a. third 54 20
Down a third 51 16
Up a fitth 42 15
Parallel mode 4l 1$
Down a second 17 6
Up a second 7 3
'l1otal l·~odula tiona 277 100
 54
Graph 1 - NUMBER OF MODULATIONS TO EACH SCALE DEGREE ASSUM~
ING ALL MODULATIONS ARE MADE FROM C MAJOR OR C MINOR
JJ..

J'J,

l.O

2..l

33
 55
The modulations, taken as a whole, are usually of the
cormnon chord type a"ld a1~e frequently found in sequential or

contrapuntal sections.
A.n htll'!1onio analysis or the f.t.eg.u1em srJ.ovvs that one or
the outstanding features ot Verdi's style is frequent change
or mode which is reflected in modulat1ona 1n two ways : 1n
modulating fz-om one key to the parallel mode .t and as a device
to widen the scope or diatonic keys to~ modulatory pttrposes.
The following table oonta1ns a s1.unmaey of methods ot
modulation and whe~e they are commonly round.
 56
Table 2 LOCATIOUS AND H~'THODS OF I·10DULAfJ.1J:OU

}llodulation 1-vhere Oomnonly Found ~~etbod

Down a second Contrapuntal and Use o£ diluinisr.ted seventh,

sequential sections cr41.nge ot mode tmd ohro•
mat1c type of modulation
to foreign keys
~-- -- - - - --·
Use of common chord
modulation to closely
related keys
Up a second Sequential sections Use ot ohange ot modo and
Chromatic type of mo~lation
to foreign keys
Use of COliltuon ella rd. 1·aodu-
lation to closely related
keys
Dow.n a tr.d.rd Throughout the Use of ch.roms. tic type modu•
Hequ1em lation to foreign keys
Use of oorm1on chord rr1odu•
lat1on to closely related
kGJfS
Up a third Foreign modula tians Change or mode and ohro-
found in sequential tmatlo type ot modul.ation
seot1Cll8 to foreign keys
- - - -- - - - - - - - - - - -- - - - --
Cowoon chord modu· Carmon chord module. tion to
lat10l8 appear through- closely related 1-::eys
out the Requiem
Down a fifth Throughout the Requiem Ocmnnon chord
Up a fifth 'l.'h.rt::nghou t the Requiem, C01·nm.on chord
especially 1n contra•
.. puntal sections
Parallel r.1ode Throughout the Requiem Change of raode
Tr1-tone Is not used
 CHAPTER IV
ALTL:RED C:IOHDS

The 1nTest1gat1on ot altered ohoJ'd& in th• ~.eg;u,1em

was made to determine trequenoy, alterations,_ 1nvel'a1ons,

means of 1ntroduot1on and departure, and uae 1n deceptive
cadences. The analysis 1s based on the de.t1n1 t1on that an
altered ohoPd must contain ralaed OP lowel"ed scale deg!'eea
ot the key and x-eta1n. the t\tnot1on or the baa1o d1aton1o
tl"1ad trom which 1t 11 de..1Yed. The ra1aed and lowered
scale degrees 1n a. major key oonli1at or arrr altettation or
the major soale. In a minor key the raiaed and lowered
scale degrees· oona1at ot.any alteration or the harmonic minor
scale.
The number ot altered chorda 1n the entire Re9ru1e
totals 134.. Thia number appears amall because 1t does not
include ohords altet'ed in the pro-cesa ot modulation.
A. Alter•d Ob.ol'de !a Ma~w
Altered chords in a major key oocu:r on evecy scale
degree in the Re9.ual!m and \otal seventy-two. They are x-ep•

resented by twenty-tour oho:rds of' which nine ape triads,

thirteen are seventh chorda, and two are ninth chorda.
1. lifo!~ ~g,uent Altend Q8orda .!!!. MaJor
Two altet*'ed chorda rall under the olaaa1t1oat1on ot
"most tx-equent". They are IV• used eleven times J and I 7 , used
eight times.
b' b7
Together they comprise 26 percent ot all alteped
57
 !t is interes tin.g to I'I..Ote that both

The IV 1s the most f'requent altered chord found 1n a

major key.
h'The~e are eleven instances or its usage besides
1 ts frequent appearance in the proeess of modulating to a
foreign key or parallel mode. It is usually preceded by an
unaltet-ed IV chord or a VI chorda On the other hand, \then it
appears as a modulatoey chord• 1 t is usually preceded, not by
a IV or VI, but by a I chord. When the b(,
IV is preceded by. an
unaltered IV choPd it progresses to a V or ~. The b6 1a in•
~

troduced ohromat1cally from a ~6 or br leap tram the aubdom•

1nant note • The pPOgl"ese1on ot IV-IV•V or ~ 1a usually pre•
biP +
ceded by a fl• Thus the two moat frequent altered chords in
major, IV and are orten used 1n the same progression as
1;, b1
I~,

in the following example trom the L.tbera !! for soprano solo

7
and a oappella. cho!'ua. A I 1n sb major', on the third count
b1
or the example• progresses to a IVq. A leap, on the third
oount of the second measu.re, .from the root of the IV oho:rd
to G0 forms a IV" aa well as a orcas relationship with the
bfl!l
ab and the previous Gi:J 1n the alto part. The IV" then cont1n-
bl:,
 •

Lv~ per-f?..e -tv .- ~

-"Bb: ..,;r9 ~ ti' 1il'- :r'"~
b 7 b (,. Circle Blue Print Co.. 1111

When the IV is preceded by a VI, 1t ocours in first

blo
inversion with the alteMtd sixth being the result of a chlto•
mat1c passage .from the submediant note to the dom.1nant note.
'l'his ch~omat1c movement 1n the bass 1a accompanied by an up-
ward scale•wiae movement in the soprano from the mediant note
to the dominant note. In the following example t'Pom the
Libera Me --- tor
............................. oho:rus and orchestra the chromatic movement ot
 6o
the bus results in a IV on the fourth count of the second
meaa\U'e which progresses to a
IJ' ~ •
~

,,. nil •"'~~ .......

J:::::.... 1
Jo
~~'
CJ -
Ci
- -
..
-
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-- ,_ I I

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A

...
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u•
I .-. I I
•-' n
'u A
_______,.,_ r- , IL.M1 I

J - t;:;:-- ",:' l
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I/',
Nll"'t·n ~o~a ..
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y
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till,.,., -
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dD - 'le:c . . L__ ({, (#111)/t, -10
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n
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..........'
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...
.
L.oo. 11
....
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I
u Ul
' -..... ,

I'1
b1
The altered chord which appears second 1n ft-equenoy
in major keys is r,.,.
b7
It is used eight times and is usually
introduced by a V or I ohord and tollowod by a IV. A typical
use or this chord ia round in the J\S!NI Dai and illustrated
in the following example. Here the I? is preceded by a I
b1
 61
and tollowed by a IV&•
+
page 1$), meaa. l

~ -• '""' fl1
.A ............
-
- ,. .. -•
' 1'2C.•
I I ~ I
,~1-
1
I I
I
~ • - I
I
II
l
-
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I
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.J ,_ . . . . T ~ l • I

,.,.
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-:j~o.:_

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do -· do - -
- _,
,.
c/o ~ ..... ~~ l. \
-··
•'-
..go.,
-.TI
:"'\.. Cl 17 1- I
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.I ~ c:J ILl &....- I
... .........: T ~ __. I 1..1"""" _I

' c};;--..:::: - - _b_ /I-

I ~~
~
,...........,
r
l\
.... _ .,
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...... • -... •
-- • I, - .....r
ll[;,jl •
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r r·
)IIIII

1?:#IW'~) I t-·
pp~
I .J -J. ~r
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!,. "' •. C7 T7 .......-~
1- J•

~ - f C/ CJ ...

.,
I...IJ
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~
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I 'I

2. Mode~atelz FPeguent Alte~ed Qborda ~~ Major

Eight different ohoN\a fall under the olaas1t1cat1on
ot "moderately frequent" including chorda on every step o:t
the scale except tonic and leading tone. 'l'ogethet- they total
thirty•three and oompz-iae q.6 peroent ot the altered chorda in
major keya. Baoh type of chord will be diacuaaed and illua•
trated. triads and their reapeotive seventh chords being
grouped together.
 The II and II., ar-e used three and tour times respect•
*'f 4tf
1vely, and, with just one exception, &Pe tound 1n root poai•
tion. That one exoeption ie a II,.t used aa a deceptive oad.ence
"*-I- J
and will be discussed under altered chords used as deceptive

oadenoes.
The II and II 7 chords &!-e usually preceded by a I or
~~ 4'1'
VI and followed by a v. When used in an approaeh to a cadence,
the I rathet- than VI ohord pl'eoedu the altered cho:r-d and re•
aulta in the progNaaion I•II?•V7 •I• When a VI Ohord precedes
*+
the II or II1 1 1t 1a aometimea in the torm ot a seventh chord
4"' "'lef.
with a #l, anotheP ot the altered chords in the lfmoderatel7
frequent" olaas1t1oat1on. T.hua two ot the moderately frequent
altered chords are aametimea used together as in the following
example from the Reoor-4!:£!• The ha.rmonie progression, begin-
ning in the second measure ot the example. 1a IV•V:Lt.-II?•V7 •
.fl(-3 '11-¥-
 6)
kample )6 page 70, meaa. 2

~
, •" .... .,.
II
.,.,._.':
, I
. .).I •
I
-"""-!
I
~,;,t#,,/.
~

I
-- •• 1 -
P'"
., ~ , ...,...
r- I I I
£..---

...
I -

., ,., .. &-'
..J
... -
I
..
~I
• .JJ I
-~~-
.Jill•. 1 -
"""'
I~·

I I
I .
,- · • 1
I J
r •
_.I
I II

..
rI
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..
...-
I
I'
I
._,
I I
1 .... I
., I
I
I
.
I
I
I
L~
..J L
I
I

I
- - 0 n1s An-te. J&. -c-.,, An-~e Ji -~nc,
"M~,.., •. s;,p. S".l.
.
p.
_L
A
v

"' I v
l!LA
II
""'..,
.....
_I
I
I
I
I
I
I
I - ....... • .L
I
I
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.......
It
I
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.... --......_
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t:il.
.... I

~·
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a
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a.
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f!.'"",·1ft+
-e- -u. Al\.--le J,; -
D - ~IS
y
- ~n-tc.

n~"'D .. .j. f1 b.g;:::::::-

( I
II
"
II
. II
...,..
, . , .II
..,- ~
....
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too.:
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-.....
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..... fl._

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~

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-
._, • .II JilL _I I rJ II
t , - I• _, ,. I I
.... ., ~ .tL ..
..,- n r
,

I Mil ........ 1: P'

~ 1
., ...,
•
-
CJ
-""' \r.. ~.

,,~~
I I

III and III7

:ffs' tl:s

The III and II]?, each used tour times, are usually
~s- ..J-s-
introduoed by a I obord 1n :root position and .followed by a
VI chord, alao 1n root position.. The III always oocurs 1n
'fl.s-
~oot position but the III~ is occaa1onally in first or second
-t:t-5
inversion. When it is in second inversion in the progression
I·II~·VI, the bass line of ton!o to leading tone to aubmed1ant
41-5-~

is opeated. The following example trom the lns•~soo 1llua•

tratea the typical progression l•III•VI.
'ItS'
 64
Eumple 37 page 71, •¥• lS

. .

The IV,, used five times, is always tound in root poa•

4"4j3
1t1on with the b3 uaually part of a obromat1o passage from
the mediant note to the supertonio note, and the ~~ t~equent­

ly intr-oduoed by leap .from above o:r below and followed bJ' the
dominant note. In the following example t:rom the !!!!, aeterna
tor a cappella trio, a VI Chord in Bbmajor 1s followed by a
IV1 (minus its th1:rd•·G), creating a leap in the bass trom
~cl-~3
the note G to E~. The IV1 then progresses to I~.
**h3 hJ+
 6S
Example 38 page 16S• meaa • 3

V?
4s-
'1'he Jp uaed five timea, 1a uaual.l'J a chromatic chottd
between a V1 and a VI. 'The baaa liM h'equently progpeasea
trom the dominant note to the submed1ant note by n:y ot the
II$ producing the root poa1t1on or the v,.
41~
However, it 1a not
uncommon tor the V, to occur 1n first 1nve:ra1on w1 th the IS
*11-.!F'
being introduced chromatioally in an 1nneP voioe as in the
rol1ow1ng example from the Oopts~at1!•
 66

~-------~ ---- -~-- - - - - - - ---

So(o
(3a.s~ F ~
~---L----.r----

re, be-

·JII

VI and VI'!
41t -:/:tl

!be VI11 uaed a1z ttmea, appeaPe in root poa1t1on and

41
every inversion, but the VI 1a used jWJt twioe and then only
41
1n root poa1t1on. They are ueuall:r preceded by a III or v 7
,:t!)
and are sometimes tollowed by a II1 a.a in Example )6. When
4+
they az-e introduoed by a III they continue to a II as in the
¥s-
tollow1ng example trom the NmMf l)(ti.
 67
Example 40 pagt ~. meaa. 10

). Intreguent Alte~•d Chorda in Jla~or,

The ohords liated as "1nt:requent" :r-epresent eight per•

cent or the altered chords in major and consist ot the II7
and VI,.
b'
~1;,.-t,t: I

~ !! , is always found 1n seoond inversion. the bass

noto being part ot a chromatic progression tram the submed1ant
to the dominant note. It 1a introduced by. a VI or IIJ3 and

continues to a V o:r I". In the tollowing example from the

'f
Requiem !! in:&~· the bas a note or the II~ 1• low red a hal.f
step forming a II~
bt,.l
which progreasea to a v1 •
 68
page 6, meu. 10

~ . --------~-----------~----- --------··--·----~~----

-~a~-,_;;;

A_
~·
,,... .
_.. ----- .
~e, pr.JL__~

-...
I II _I~ I I
_.I I I II
.I lla..,.
,.. I I I I I II

.... -
, ...........,
I I I"V' If_ ,-, I CJ• I _1_1

- - ,,
I" .I - I I 1: J II

~ ,..0 t'e et.

•

~
-...
.........
.r1 IJ
H

ve .
•
I
I
I
--
ni -
I
I
I
I
-t9:
e'l:,
~I
II
II
II

..• ........... --
ll
..... J.IT
W
II

II -
I
I
I
I ---
I
I
I
I
CJ
II
II
II
II

I ,; - ef.
Ye -
I _l
n

··-
il'. " . I I I I II
1..... 1. ~~ '""'- 1ft~ I .I I I II
~ .... JIL_ I 1:_..1 • _ll
..,. ... I I t - II II
I I u
' ve - n , - ei. .

The VI7 1e .tound in aeo-ond or third inversion, but

¥/It:~-(
never in :root position o:v t1rst 1nve:rs1on. When found in
third inversion it is preoeded by a V choztd and tollowed by
a V oz- I"• thus making the dominant note in the bass a common
'f
tone tor all thl.-ee chords as in the following example trom the
Libera 1•. HePe the VI~ ooc~a as a obromat1o ohord between
- df#4f;-.
two dominant oho~d••
Example 42 page 183, m.eu. 3

----------··---·-····--· ----

q.. Rare Altj!:Ped Ohol'dt .!!!. MaJop

Twenty peroent of the altered ohorda 1n major are
claas1t1ed aa •pape'* and a:re ao called because they are used
only onoe ot- tw1oe in the Reg.utem.. In general. they are not
verry unuaual chorda tor nineteenth oentUPy mua1o. Twelve
types eome unde:r this clus1t1eat1on. Aa would be upeoted,
most ot them appe8.1' in chromatic aeotions. No examples will
be given, but their names, frequency and locations in the
Requiem &NJ o1ted 1n the tollow1ng table.
 70
Table 3 RARE ALT;:.:RJ.SD CHORDS IN. NAJOR

Chord ~"'reauoncy Patte l'~ieasure rlo.

2
-i~--
I 1- - _l_-
-1:Ps- 13
I 1 165 3
b3

I 1 l 200 8
.dtb1
II l 72 8
bZ- b'
II, 1 6 9
b~ b'
III 1 74 4
b?

III9 l 154 lO
4~

IV? l 9 3
~..fb"

IV
,fjt.f
2
-~~±--
l 9
2
- -13--
IV1 l 9 3
#f

VI9 1 76 6
-Itt
VII1 1 76 9

A complete list or the altered chords used in major

keys is contained in the following table with triads listed
in the left hand eolunm, seventh and ninth chords in the
right hand column.
 71
Table 4 ALT.L;R.GD CHORDS Iil HAJOR

Symbol 'rype chord II Symbol ~1fpe .chord

CHORDS ON TUB TO!IIC
1\·jinor triad l; Hajor-minor seventh
Au~;1ented triad --=I::-,,--~--=Dim-::--·~1n-1'::'""s-=h-e-d~s-e_v_e_n.....-w
~1'61

CHORDS OJ,I TH..G SUl:.~RTONIC

Hajor triad II? Najor-mino:r. seventh
-*4-
N.ajor triad II7 Half•dinlinished seventh
6'
Structure N3•d3-l13

CHORDS ON TH~ lrliDIAlM."

III
-9'5"'
Jliajor triad Y.}., Hajor-minor seventh
,,
III Diminished triad !~inor ninth

CHORDS Orl TH.t;

!·I1nor triad seventh
IV Dtminished triad Dtminiahed seventh
-1/:c/-

onoRDS ON 'l'.tlL DCI'~IUA14T

Diminished seventh
II J; I
CHOHDS 01~ 1
rHh
VI I~1ajor triad Hajor-minor seventh
-1.1'1
D~n1shed seventh
VIq Hinor ninth
4t
 12
'l'he following table shows the comparative frequency
or all the altered chords 1n major. 'lbe figures 1n paren•
thesis indicate the frequency of usage.

Table 5 RELATIVE FREQU.i!iNCY OF ALT~Bhl> CHORDS IN l.riAJOR

Fl-equency Alto red chords ,~ or total no.

IV, I-, 26
' b~ b'1
(o) (i)
-------------T~=====-~======~--------~==----+------
l·lodera tely I.IJ,riii, III~, IV 7 ,
r"fi, 1
VI, VI 7
1
,;}j.6 V.,,
ftlequent 4'1- ~,;, . "'l"S 4.s- .,rttfb-3 4"£r ~~ ~I
(3) (if) (4) (¥-} (5) (~) (~) ('),
Infrequent II1 VI-, 8
b'
(.a)
1
~,~,
(.8)

I. I I I.., ' II.,~ I I-, J III, II~ I 20

4',r 63 4-lb? h1-bw -d-4-J," b1 45
(.2.) {I) (I ) (I) (I ) (I ) (I )
- - - - --- ---- - - ·- - - -- --
 73

The total numbeJS or altered chorda in minor keys is

sixty-two, almost aa many as in major keys. However, the:re
are only twelve different ohords used in minor as compared
with twenty-tour in major. Of these twelve, five are triads
six are seventh ohords, and one ia a ninth ohord.
1. !!!! heguent Altered Chords ln. Kino!"
Four altered chorda tall under the olaasit1cat1on of
"moat f:requent".
.J
They are 1 7, used tan times; II , used ten
b~
times: IV7 , used nine times; and IV?, used eleven times.
-:11:4 *" -&'
Together they comprise 64 percent of the altered chords in
major keys.

I7
·:tt3
The altered chord found aeoond 1n frequency in minor
keys is 1 7• Curiously, this major-minor seventh· struotw.-e
-=li-3
is also used often u an altered seventh choro 1n major keya
--ten times in minor, eight times in major. When in a minor
key, it 1s usually in third 1nve~s1on and treated muoh the

same as 1n major; that is, it is usually 1ntroduoed by a V

or I and followed by a IV or IV~. ~.hen it occurs in a I-IL:
=tf3
IV' p~ogression as in the following example from the Libera
Me, the bass line or tonic to subtonio to submediant is cre-
ated. The piano part, being a duplicate of the voices, is
omitted trom the example.
 74
Example ~3 page 201, meas. 5

net ,-,._, · tli - e -

1!: _, _,-7 fl
- J;

II
/J:;..

The II. also used ten times, always occurs in first

bv
inversion with the :root or fi:fth or the chord 1n the soprano
part. When the fifth is in the soprano part, it 1a preceded

by a tonic arpeggio as in the following example trom the

--
Quid sum, m1serl
 75
Example 44 page 47, meaa. 12

~
tiC

lfl!!"· I
-..1-0
f)

"' ..I
..
Dl
. .,.,. --
~

•
.~
I
I
I
..............

-
• -
I
I
I
I
I
ri..A'
I
I

...._ ,•
... I I
I
I=".
IT

-
.&

I
- :rvs
L.....L
- I

ivs
,, p _,--
-'
,
I
~
....
""., -- -· I
Ul_

• -·
D
••
I"""
.
-- .
,
.....
I "I
I
I

?,;,.)
I i~
~: ~~
l - ~:e. ,
I ~~ ~
-. ,
• -r .....

---- -- - .........
r-''L I I Ill I I 1
....
J"ft a
~ ~·
1 r
.a I
1 I ::.,oij
~.
-r~.--r I
I J
;n.t.- ..
~-
I
I
I ........
I I I
\, W# D I I I I I ~ '1 ., r I I ~v--

I I I

.9: Circle Blue Print Co., lie.

lhen the poot ot the II ia 1n the soprano part. 1 t

h~
is preceded by the tonic note and continues to the leading
tone by skip, or diatonically by way of the tonic note as
in the following example from the ~ 1rae. This progress•
ion, II,-IV~·V·I,, is repeated tw1oe in the succeeding two
bZ.. *4- ~
measures.
Example 4.5 page 24, meaa. 3

The IV.,, a German augmented sixth ohord, is used

-dt.f
nine times--always in POot position. It ia usually pt-eceded
by a II or IV chord and tollowed by a I,; orJ.,• In the pre•
'f 7
ceding example, it 1a used with a II"• In the :follo·wing ex-
bZ..
ample from the Otfertorz, the 1nt:roductory and departure
chorda are II~and I~.
 \

77
Example 46 page 115, meas. 6

-------------------

The altered ohord used moat fPequently in mino~ keys

is the IV?• It appears in ~oot position or, mo~• frequently,
-1tt./d-fo
in first inversion and is preceded by a variety or chords
including IV,, V, and V1 • When in first inversion, it pro-
gresses to a I~ as in the following example trom the Qg!~.
If
.!!!!!• rdaerl
 78
Example ~7 page 4,8, meas. 5

..I
•
~- ... ......
-- • n~
I •
I - •

..,. -.JI •
·

. , Ill: I ......_ II"

._, ill I ._ I I

.
~ tl JJl •
I

,
l
)
r 1 D

...
•

.... .
.A1:.
. -. I.a.•
...,
.

t _l_

.JI /
1 • •· I
_. 1• 1.1-I"'T I
h JQ
_.,.

I
_._r
I
I
I
I
A
I II
'I
I• r
I
I
I
I
-
I'
1..-w
..Ill
I .....
'I"
I

2. Moderatelx ~eguenjt Altered Cborda !e. Minor

Two chorda tall unde:r the olasa1ficat1on or "m.oder-
a.tely frequent". They a.:re the II7 1 used tive t1mea, and VI1,
-:tit.f' -ti:&
used tour times. Together they total ti.tteen percent or the
alte~ed chords in minor.

The II 7 is used rive times--once 1n first inversion

-:t:b'f
and four times 1n second inversion. It is preceded by a
variety of ohords including I, IV, and VI, and is usually
followed by a I o~ v. The bass note or the chord is frequent-
ly pa:Pt of a descending bass line fx-om the tonic to dominant
note, but is occasionally reached by leap from the tonic note
 79
ae in the tollowing example from the Reguiem aeternam.

Example 48 page 182, meas. 10

:r 7I.J3
-$ telt·BiutP-ri&t-C
. f'lftp ···--· ~-,lL W:

The VI?, used .four times, 1a always found in root

~
position, The bass note of the ohord le always part or a
descending baas line from the tonic to dominant note. It
1a preceded by a I-I., or I·I~ end ia followed by some form
- ~3 .
or II, IV, or VI with the submediant note in the bass, then
a I~. The tollowing example from the ~C£l!OS& illustrates
the progression I-IJ..•VI1•IV, -IV, ·I,.
-If" ~ ~ If
 80
Example 49 page 95, meas. 1

..sv,

3. Intreguent Altered Chords !!!., 111nor

Two al,ered ohorda are claas1t1ed aa "intrequent• in
minor keys: the II 1 . and VI. Because the II, is used only
.Ji t #{, #:=' -#:1/-t:t:.,
as a deceptive cadence which is :repeated three times in a
phraae extension 1t will not be discussed he~e, but under
alte:red chords used as deceptive cadences. That leaves only
the VI, used three times, to be discussed. Together', the
#'
two ohordo are used a total of seven times and comprise eleven
percent or the altered chords in :tn!nor keys.
 81
VI
-#-~

The usage or the VI resembles that

-1:/:., or several other
altered chords 1n that it 11 part or an harmonic progression
with a descending baa a line from the tonic to the dominant
note. The progression, as illustrated 1n the following ex•
ample t:rom the Ofterton:. is I·lz...•VI"·I4•I,.
-11:-, ! y..
Example 50 page 113, meaa. 6
 82
4. Rare Altered Chords in ~11nol'

Ten per cent ot the altered chorda in minor are

class1tiod as "rare", and are so called because they are
used only once or twio·e in the Regy1e. Four tn>es come
under this claes1t1cat1on. No examples tlill be given but
their names, frequenoy, and locations 1n the Ragytem are
cited in tho following table.

Table 6

Chord Freque1;1oy Page Heaaun

J3 2
--- -l~-- . - - - . ~- -·
II 1 152 3
~-t:J::..'
II
-d:&
1 5 l

Vq 2 l
-- -- _9]_ --.. --- -3--
97 ·-
"*'
 83
A complete list of the altered chords u.sed 1n minor
·keys is contained in tho following table v1th triads listed
in the lett band col'Ullln, seventh and ninth chords in tho
right hand column,

Table 7 AL1'1!ltED CHORDS Ill NINOR

S}'mbol Type chord 11 S7fJlbol

CI!ORDS OU THB TONIC
I
..,:/:"3
l".ajor triad II Najor-minor seventh

CHORDS ON Tllli SUPERTONIO

I11nor triad II, H3-d.3•!:1.3 struo tu.re
#"ti-
Lajor triad II, Y•Jor-m1nor seventh
'*li_,
II 1-'Iajor tria
bv

CHORDS ON Tl:i.8 Jt11J>IANT

None II
German augm.ented
sixth
D1min1Shed seventh

CHORDS OU Tl1h !X)1"1INAl'iT

Dom.1nant ninth
II *Y~ 1
CHORDS Oli TH.8 SUBHJIDIA!f.I'
VI D.l.min:l. shed tl"1ad II !!., Hal£•d1r:J.1 ni shed
seventh
~'
CHORDS OlJ TilE LBADIUG TOUL
None II
 84
The following table shows the comparative frequency
ot all the al terad chords in minor. The t1gurea in paren•
thesis indicate the frequency of usage.

Table 8 RELATIVE FilliQU.b'liOY OF AL'I'EHLD CHORDS IU ~1INOR

Frequency Altered Chorda ;~ of Total tio.

t.:.lost frequent I1 1 II, IV'?,
-:tJ;3 . b z... -:tSf
IV1
~ f*(.
64
(lo) (1o) (9) (11)

Hoderately II1t Vl1

-t:J::Y..
15
rrequen.t -tJ:(,

(SJ (¥--)

Infrequent II.,t VI ll
44-t:e -tJ::.{,

(~) (..3)
Rare I, II, IJl V~ lO
-k~ #4-d, -dt, 7
('-J (I) (1) (7-)
 85
c. Altered Chords !a Deceptive Oadeno•!
Many times thl'oughout the coUl'se ot a long composi-
tion it is necessary and desirable to extend a phrase for
one of several purposes such as further development of old
material in the same key, introduction or new material in
the same key, or utilization or old o:r new material in a new
key.
To extend pbraaea, striking etteota U'a obtained
with decept1Ye cadenoea utilizing suoh oborda aa II, III, IV,
and VI, as well as many altered chords.
Altered ohox-da used by Verdi as deceptive cadences
1n the Req,u1em include I~• II4, IIIb, and VIu in major
-#fb1b7 #4,3 b;b1+ #-t
keys, and I2..1 II 7 , and IVc.. in minor keys. So the reader
~'3 -ir4 :If& -#:4- if6
may become acquainted with the manner in whioh these cho~ds

are used by Verdi, the following examples have been taken

from the Requiem and all condensed to a piano score and trans-
posed to the key of a major or C minor.
 (;I'
00

Exartlple 51

Altered Chords Used as Deceptive Cadences

in Major Keys

~JS
Ul .,,..., 1ser -
-·- P~.!l• 1 metJ6.
- ~_,. l(c~- 1l

.. -
•''.1· l<e!f - B 6
f\ f\ ...
i'

~
A
TIA ~
\. lJ
0
}
•
.,,
I
-
• ,-
•
'
r:..
r
I
r.:IW
..... _d.
~--.
• .• - •
1 ....
.....

- - -• -.
.L
I. . . . .
•

•
) LJ ' ·~
...~--.... r~I.e. l-!
l II "•
1- I•
J
I•
I
I ~'

-
I I
•
..
I _-
~~~~
I
I
I
I _.
I •.
I
I
~..-
r
I
•
I
I
•
I
I
_. ~
.,..~
I
t-
,
I#
r2
r
- ,_
-il
• •
ill
•
.ill
~.JI
..
1
:Jli
J,r
r 9 ? > ...,.
-t:&J

p. ?' '"•••.c I
- t:~n:,. /fi•e:~-

( " -.....
I
I
n
•
J •._ •
~~ 1!-~
-~ ~~::.1'-
• L.
~
....
~·
••
:~ .... ~:
,....
~
il-
r•D
• - -~

-
.,..
.. •
,..--
3_
i
.. .... ..--.. -• •.. -
,...
..
. • - "-
......
... ·~
....
If

· ·~
-
""::

~~-- ~
.. '
'
.........__
J

,_,_ J ..\lb. ~sJ -e- .,. -•

'
--.-.J

-
"'
.. I I
I
I
I
•
r
I
..
I~
- Mr-
~~

-
c~
..- ..
u

-
>
a
u c. •
'
.,"15...

(k
ft
• .. • .. • •
,...,.~

..l
11'""111
r-
..,
[)
~
0
I " ::.1 ..._...
"'.Y • • • I

I ~
~

l -.. ,, ...
h• br7
1: ""\ .. - ~ I• '7
..,
Ill .. ,...,
;
u
'-
'7

-- ...""""'
~
 87
Example 51 cont'd•

Alte:red Chords Used as Deceptive Cadences

1n K1no:r Keys

p. /7 I -,. .J).. '/-

 38
There are a total or 1)4 altered chords in the
Req.u1em, :represented by thirty•aix different chords. Ot
these thirty•a1x different altered ohorda, fourteen are
triads, nineteen a:re seventh chorC'la, and three are ninth
chorda. The frequency ot usage, however, has a d1tterent
ratio. the total num.ber or altered seventh chorda exceed.ing
triads two to one.
As would be expected, altered chords are u.aed with
approx~tely the aame frequency in maJor and minor keys.
Perhaps a much more a1gn1t1cant observation 1s the fact that
sixty•tlutee percent ot all the altered ohord structures appear
in both major and minor keys. Their names and frequency of
usage are listed in Table 9·
 89
Table 9 1iAJ1.LS A~ID I~Rl:;QU.t:~lOY OF ALT.GRLD CHORD STRUCTUH.ES
USED IU BOTH lUJOR A~lD !·1IHOR
Sy:mbol Frequency Symbol ot Correa- Frequency Total U8S
in ponding chord in l'Jajor
lajor structure in Minor and Hinor

J.17
!? 8 I1 10 18
-P=-3

I 1 I Diatonic l
bB

I Diatonic I 2 2
-P:-.3

II 1
-tJ:.~
4 II1
-IF if~ It:,
4 a
II1 .3 II 1 Diatonic 3
b"
II 3 II l 4
-Jl;4 ~+t:bt,

II1 1 II1 5 6
~4-b" ~+
II l II 10 ll
hz-
""b'
II Dis. tonic II 1 l
-IJ:'
IV ll IV Diatonic 11
h'
IV1 5
4-+b~ ~~ ll 16

vf Diatonic v, 2 2
:t/7*"
~
VII7 1 VII'1 Diatonic l
b(, ~1

38 46 84
 CHAPTER V

UNUSUAL HARMONIC DBVIOES

Moat ot the music in the ftegu1em oan be analyzed in

te~a or eighteenth and early-to-m1ddle nineteenth century
style. There are, however. some unusual harmonic devices
which defy det1n1t1on within those bounds. Inolud•d in this
group are Verdi's usage or 1nYerted pedal point 1n connection
with non-functional progression, aemi-tunotional h&rJnon1za-
t1on or chromatic melody, and non•tunotional chorda appear-
ing at the beginning or conoluaion ot a section or movement.
A. Inverted Pedal foint
Unusual us~ge ot inverted pedal point 1n the Requiem
consists ot a group or non•tunet1onal oho:rda appearing beneath
a sustained or repeated note in the soprano part. There are
two such instances.
In the tollowing example from the lt!crD!Ps&, a Db in
the violin part serves as an inverted pedal point while the
harmony goes from a functional Bb minor tonic triad to two
non-runotional triads (B;b major and oh major). then returns
to a Bbminor IVt..•lt,•V? progpess1on. The basa part for this
~+ '+*7
progression or five chords is a typical descending chromatic
line from the tonic to dominant note.

90
 91
Exaxnple 52 page 99 1 me as. l

The aeoond instance or unusual usage ot inverted

pedal point occurs just atte:tt the terrifying "Quantua tremor

_
est tuturus" 1n the Dies ........
irae. """""""'

tra, beginning with the trumpets on a pedal

Here the brass of the orches-
zJJ, build to a
tremendous climax fop the chorus baas entrance on the wopda
"Tuba mirum.". In the intervening twenty•aix m.eaaurea, a dim•
1niahed t:r1ad on B; is formed by the gradual superimposing ot
minor thirds. After two m.eaaUPes ot an Eb major triad, a
diminished triad appeus on F beneath an 1nYerted pedal note
 92
on E~. The tx-1ad then moves ooneeoutively to diminished t:riada
on PI and a. At that point the notes or the diminished triad
become the third, t1tth and seventh of an B b major.mino:r
seventh chord which assumes a dominant function in the key
of Ab minor. !he Eb whioh recently had serYed as a pedal
point, inverted pedal point and dominant note 1n Ab m1no:r,
remains 1n the soprano part or the chorus or o-rchestra. tor
a total of titty-one measUPes.
B. Harmonisation ot Ohroaat1o MelodJ:
The hal'Dlon1zat1on of ehromatio melodies oontainsthe
moat advanced hamonlo p:rooeduree 1n the R~•~u1em. The ohromat-
io passages begin in a well defined ayatem of tonality, tempox--
ar1ly violate traditional r-oot movement and :return to the
, system or tunot1onal harmoDJ' be:toN the oonoluaion or each
ph:t"aae.

The t'ollowing example from the Dles 1rae is typical

or the three instances of unusual Poot movement round in
the harmonization or chromatic melodies. It is interesting
to observe that the succeaaion ot root movements (up a third
--down a second--up a t1tth) in the non-tunot1onal major
triads on counts five to eight are duplicated in the next
tht-ae counts.
 ('\.3
'1

Example 53

>>>> >>>
J, b~ -~ b~ ..,. _L J,'~ -~-- > ,> > > > > >
....
rl'-""" • ..
"[']
1 - I • ••
..
J I
I
I
I
I I
I r I
I
I
I
' I
I
_!
I
I
I
I
.,
I
I D'-
I
I
I
I
--
r ., .__
.,r _. ....
I
I-
.
I

f}'
_._,L_ -
' __!
_._ I I _I_
I
I _l I

t:;,.. .ri. '':t L-l ~ .

-'- _l I _l_ I • I I I ~

see -clu., ;,., F ~- ,;.[. l.a: le- de 1>~- ,~"J

' > >
..
> > >
"V ~II > .> > > .> > >
...... - .
~
. I_...
A~
LL_I~-
........
... •

•
~
__n. ••
- ,
:.I
I""'
.. •41
1141!1 _.
..... -jl-
......
I_¥'

~-3~~- ~:;
. .... ,...
~~
.
1111113.

•)
~
, ·'".
_, ... •
-I • ., .. ..
·-" ~ •
...
..,. . . ---....
~
....
~~ ....
-4-, ... . . .,~;to
•
:;t ... "'> ••
'-
,_ ~t ~-,. =
I

c: 'ff'
> > > .>
?
> .
> > > ":; > I> •.
41

A similar example is found on page 170 in the Libera

-Me.
The rema1n1n...~ instance of unusual harm.onlzation or a
chromatic melod·y 1s especially interesting because it appeus
three times in succession and each time with a completely
ditfel'ent harmonisation. The theme 11 sung first by the
sopranos, second by the tenors, and last by tho entire chorus
in four part h~ony. In the seoond measure or the first
statement, the hax-mony becomes non-tunet1ona.l where a t'1rat
inversion Bb minor triad p:r-og:reases oonseout!vely to the sec-
ond inversion major triads ot pb, zb, DP and C with the root
always in the melody. With th.e conclusion ot this planing in
 94
the third measure. the h&l'mOny again becomes functional on
the 0 major t!'1ad, The first six chords ot the second state-
ment illustrate the type or root 1novement which can easily
lead to non-tunot1onal harmony as the ~oot sequentially goes
up a fifth, up a third; up a t1tth, up a third. The third
statement begins and ends with :root movements up a fifth and
a third. However, from the tourth to the thirteenth choro,
the:re is only one instance of :root movement up a t1tthJ the
:remainder alte:rnate between a third and a second away. The
following chart shows how completely different the three
harmonizations ~••
 Qu.t.a.t'V'\, o- ·~r P...- brQ· hc:te..
1 I ,
(2) 1(dm7

't . c B'rJ d"

. }J
.L l
j
b I Db
'
J ~..J
. (l)
I LJ,
1
I
(m7 )l
bJ, c t i
(dm7
d

(l) · (7) t(hd7) (hd7) (1) (m7)i (l) 1 (7) ,

2 I e b ~ B b b b bb AJ, I bk ~ c ~ b A"

Key:
Capital letters: major triads
Stnall letters : minor triads
1: first inversion
2: second inversion
7: major-minor seventh chords
m7 : minor seventh chorda
dm7: diminished seventh chords
hd7: halt•dim.in1shed seventh chords
enh: enhannonic spellings within the chord
 96
c. Non•tunot1o:nal Chord Prosress1one !! !h! P.!·
sinniP,& .2£ ConcluJion ot .! Section £ MoYement
The 1natanae 1n the Rf!guiem which moat fo:reshadowa
the breakdown ot tonal music occurs 1n the .&Y& aeterna.
The movement begins on a ab major triad in second inversion
with solo mezzo•soprano and tremolo "d1via1" violins. Arter
two measures the harmony changes to a D major triad and the
following three measures consist or functional ha~onr in
the key ot D majo~. In the following tour measures. a device
~sembling planing occurs as the notes of a descending melo•
dy in the mezzo-soprano part appear consecutively as roots
or a D major' t:r1ad, C minor triad, A major-•1nor seventh
chord. Gil major triad and E major-minor seventh oho:rd. At
that point a aho:rt sueeession or root moYements down a f1tth
oecurs as the E major•minor seventh ohord la followed by an
A majo:r t:r1ad, D major-minoP seventh chord and a G minor triad.
On the G mino:r triad the rest ot the str1nge are added to the
orchestra and the following three measu~es consist of tuno•
tional harmony in the key of B b major only to have a ohange
or mode at the oadenoe.
Non-functional chords are used very etrectively in
momentarily interrupting the pr"evalent tonality neal' the con-
clusion ot entire movements or sections. Th1a practice is
used so frequently (four times) as to become a oharacteriatic
device 1n Verdi's style. In bringing the movement to ita
close. the chorus, as 1.r in a recollection or afterthought,
 97
utters a short statement in a foreign tonality whioh 1a
followed by a quick :reestablishment of the prevalent tonal·
1ty as the section is concluded. The chords used tor this
purpose are always major triads in root position.
The following example from the Reg,u.1tm !1 ~1e is
a typical illustration ot non-runotional chords near the end
ot a movement. The prevalent tonality or A major is inter-
rupted as the ohorus sings the wopd ·~tate•, first on an
P major triad and then on a B" major tz-iad. The movement
concludes three meaaures after the last ehord or the example.
page 17, meaa. 4.

PP
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other illustrations are round on pages 100. 165 and

185.
 CHAPTER VI
OOltOLUSION

To complete the picture of Verd1 1 the h&Pmonist, a

different slant must be p~sued 1n th1a oonolud1ng ehapte~.

In the pPeceding chapters, a study hae been made of individual

ohot-ds and modulations; now the •whole" must be considered.
One or the moat striking oharaoter1st1os or Verdi •·s
h~on!o style 1s the alternation of the parallel majop and
minor mode a. Th1a influences every phase ot his WY-1 t1ng :
melodies, modulation•• altered chorda, oounterpoint,-•even
key algnatUPea.

Ma.nr melod1ea o:r themea appear 1n one mode, then

are :repeated in the parallel mode. SOmetimes the thematic
r-epetition or dev•lopment containa alternations ot mode with-
in the phr"ase Ol' melody as 1n the following example from the
!gjemtaoo fof! solo tenor and orchestra.

llx:ample S6 page 73, aeaa. 6

Pugue themes, too, are •olored by the 1nterohange ot modes

aa 1n the following example from the sanetua. a fugue tor
double ohorua and orchestra.
 99
· &itam.ple S7

/jt
......
1~-4- e hor ~A~
-
s.cpr-.
I
I - I. ....,
I
- I
I
.::, --.
I
--....:
""
T
I c-,
-- .., I
I

I"""F
~
, I
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Pl&
I
I
-
T
I

- ... - - "' '

I
T
....
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2.~
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.;.....
............
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~

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I IJI

Ill
,._,
J
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I
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ra I
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l
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r
r
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1

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\T • d.
-· - - -- - e..-+u

Altered chords and modulations ue greatly atreoted

by the parallel mod~s as haa been seen in previous chapters.
The majority or altered chord st~uotures are used in both
major and m1nol" keys. These chorda, part1oul&l'lJ'• t•nd to
erase the barrier between majo:r and minor tonalities.; They
may be used within one key or, very conveniently, as modula•
tory devices to the pattallel mode or foreign keys. Otten.
the key clianses to the pa~allel mode tor several pages at a
time without a change or key signature. Tbia is particularly
ao 1n the '~!!!! Del and S aeterna •
.
F'ol' a pf.oture ot the role papallel modes play in the

key scheme ot an entire movement, one need look no t1.1rther

than the Refll.\&em .!llSX.ra,l• The opening "Req~1em aeternam"
section is 1n A m1no7, A major, and A minor. The seeond aeo•
t1on, •Te deoet hymnue", is in F major, followed by a recap-
itulation of the "Requiellt aeternam" section in A. major and
A minor. !he cont~apuntal "Kyr1e" section then begins 1n A

majol', modulating frequently to olosely related and .foreign

keys and often employing change of mode as a modulatory device.
 100
It then concludes with a section alternating between A major
and A minor.
Suoh frequent usage of the pa~allel modes as has been
described in the preceding paragraphs creates great tlex1-
b1l1t·y melodically and harmonically, nart-ow1ng the gap between

majoP and mino~ keys.

Thus far, no mention has been made of the beautirul
melodies so p:revalent throughout the Reg,ulea as in his operas.
Near the beginning of this thesis was the remark that change
ot mode was evidenced on nearly every page. Now the obser•
vation must be made that on nearly every page is ample evi•
dence or the tuneful nature or this composer from tb.• field
ot opera. Flowing melodies, s.imply and beautifully har-
monized; drama; emotion••'rheae ..,.... as much a part of his
Regulem as of his operas. They are, in etfeot, what makes
it "music Of the WOPld" to the point where 1t is deemed,
not unwoz-tby, but unsuitable to:r church pertormanoe by most
ohurob mus1o1ana.
A study ot the Regu3z.. shows that Verdi wu a master,
not only ot melody, dl-ama, and emotion, but alao ot the har-
monic aspects of music. Ilia two excellent tugues bear wit•
ness to his c~aftamanship as does his usage of the parallel
major and minor modes. It 1s true that Verdi was not ahead
of his time, but it is also ti'Ue that he, among other oom•
posers or his time, fo~eehado•ed the breakdown of nineteenth
century tonality.
 BIBLIOGRAPlr.{

Apel, w. Banerd D1gt1onarz or !Wf1o. Cambridge t Harvard

Uiilie:re1ty 6esa, 1944.
Ooll•s, H. o. (editor) Grove•• Diet&~ ot ~ and
Mw!1o1!Jll. New '!orli: 'l'fie ~l!inoompan;:; 1932.
Oolles, H. o. VtrdSif Reql!1em. • !2it!. sn t.he ~·
London• · .o:rd t1iiivera1ti Preae;-!943•
Oroweat, F •. J'!l'dl'
MD. an<1 Mf1e1an.
SoP 'bner •a Sons, 1 9 •
New York: Charles

KoHoae, A. I. The Contrafrt&l Harmonic Teehnig.ue or the

18th EtYn• w YoPkt P. s. <li=otia & 5.;-t'947•
Ruttera, H. G1ge;eR1 Verdi. Stockholm: The Continental
Book Oomparrr.
Toye, P. lin York:

101