: Wreniillen, IVAN VYSHNEGRADSKI Manual of QUARTERTONE HARMONY ‘Translated from the French, by Ivor Darreg Table of Contents ‘Translater's Introduction « . ae Compariscn of Quartertone Alteration Signe «+k Author's Preface eee ee ce ee lS PRELTUTKY woTES’.”.".”, 6 The Now Intervais : | | | : Circles of Quartertone Intervals’... PIES? PAT see Altered crnanonts . : Grnanented or Compound Ornaments... Chrosatic Passing-Niot A Chords Altered ty Quartertona Modulations into the Hew Keys. SHOW PAT esse ee ee ce Nartifictai" Quartertone Scales The Tetrashord Principia. se. ss The Unrestricted Use of Quartartoies |!!! 28 Clusters and Complex Chords ee se es. 29-30 Polytonality and Bi-atonality . .) APPENDIX: Acoustic Justitseations for the System of Quartertones «6... 32 Harmonie Series Table sey te ADDENDA Br TRaWSLATOR 2-0 DDS Biographical Data... 2.111) Concerning Harmonics’... Nosenclatire and Related listers | | | ‘The Couper Quartertons Flat-Signe . Nanos for the Intervals... 2 ss 3T Musical Orthography vie-L-i12 Quartertonis’ 38DR Wehnogradsid « Quartertone Harmony = —______"iihmeeraded _e_Quartortone Harmony. Translator’s Introduction The Listene='s ear—and that means yours !—te capable of far finer distinctions than conventional musie ever asks it to nake: tn other senda, ‘our hearing capacities and perforsing capabilities are seriously union ubilized by the decidental musicel syste: Many forwart-Looking composers, theorists, and instrunontnakers have sealized this—soso as far back as Ancient Grosee before Aristotle's tias, and the annals of history and athnomusicology ara full of accounts of the pee of smaller intervals than the "senitona” of 12-tone equal teupeséconte The Greek loxtcon tolls us that the term Nenharmonie” originally peane. in keaping" “eustablo! "£itting" "neet"—so that genus ot system thus Isto) led would have been, at least for sono ties, the more estoonsd syston, on ane array of musical sounds for the connoisseur, or for the diserininsting elite, And in at least sone of its forms, the enharmonic genus had intervals areuna ‘2 quirtertone in size, Hore and there around the world, from ancient tines 121 the present day, Snell intervals of this sort have boon proservad and cultivated oo there ss nothing new about quartertones, ant nothing unnatural abaut sone peorte dee siring thea, dreaxing about then, or actually trying then on for bisee iat vwas new, about a century ago, was the masa-production of inetrunonts athe pianos and organs incapable of playing thon, and the codifying of 4 conivonal ‘welve-tone oysten in the mass-produced materials of music inetruccion, We have to resopber that, in Beethoven's or Schusann's time, the reaour= gee of 12tono tenperanant and of the piano are largely unexplored. Later, ‘he key-ayaten was exploited to the init; then cane the breakdowns af tonality, in which such nanos as Schinberg and Dobutey figure. Even so, thore neve seine for places yet to go in the 1890s or tho turn of the century, By the 19203, sone people bugan to sense, whether consciously o gubcon= gelously, the apptoaching exhaustion of the twelve genttones' resources. Se sporadic exporinertation with quartertons pianos began, here ail there. cand Yan Wyshnegradoki, newly sottlod in Paris, was one of’ these experioesvors, Unfortunately, the "aodern"—sadarn in 1920, anyway—piand was the worst Possible instrunent on which to try out quartortene music! Ito timbre had evolved—this was largely unanares, without such consetous direction sixth is that of the supemmajor third. fe} The neutral efxth (17 qtns) de tho inversion of tho noutral third (7 atns). 4) The supermajor sixth (subminor seventh, oixth/seventh) (19 gina) 4s that of the submino: third (supersafor secont, second/third) (5 atns). @) The neutral seventh (21 gins) is that of the neutral second (3 gine). £) The superaajor eeventh 49 the inversion of tke eubsinor second or single quartertons. (23 gins, and 1 gtn, respectively.) ‘Tho rule for Lavereions, then, 1s as follows: major intervals becoaa miners perfect remain perfects supermajor becone subninor; neutral resain 50. $8. Ono might introduco into the nomenclature of quartertone intervals the terse guperaugmonted and subdinintshed. (Then there would be a rule of inversion Stoting Phat superaugmonted intervals econo subdininisid, and vice vorea.) = = - ‘Superaugmented Second. Subdiminished Fifths But wo think tiat this would complicate matters too much; and profer to call the intervale in the examples above "noutral third" and major fourth" respectively, regarding then for this purpose from an "enharmonic! or syno~ ryeroquivalont etanipoint. §9._ A sories of notes separated by the sane interval forms the circle of that interval, if tie eerdes be continued 1111 the starting-nove has again been reached.” For oxample, fron the nato G wo have a sorias of notes separ~ ated by a major second: C, D, E, F#, G#, AF, C. Wo may call this the circle of major seconds. ‘Just as in the semitone syster, certain new intervals of the quartertone ayatem form conplots circles in this ray, that is to say, they fora series in mhieh evary note of the system is included. Other intervals forn a series not Including all the tones of the systen, (Intervals in the semitone aysten forming complete ciccles are: minor second, major seventh, perfect fourth, perfect fifth.) §10. “In the quartertane system, complete circles are forned by: ‘a) the submino> second, with ite nveredon, the superanjor sevenths b) the second/tnird, with ite davorsion, the sixth/aevenths ¢) the neutral third, with ite laversion, the noutral sixths 4) the major fourth, ‘With dts davorsion, ‘the minor ffth. Tn ali, eight intervals, Tho othor four intervals do not include al tones of the syoten in their eireles; only § tones. Thesa intervals are: 'a) the neutral eecond, with ite inversion, the neutral seventh; ) the thiré/fourth, with its inversion, the fifth/sixth. Wo give the twilve circles, onitting, of course, the already woll-knom eireles of the older seniteno intervals: 1) The cirele-af-aubsinor seconde. Atself, already shom above. 2} The edrele 2f neutral seconds, occupying tha space of ono octavo: pil — 2 =f pests SF ‘thie 18 merely the quartortone scale10 Wyehnogradeki © Guartertone Harmony Te sixteen other tones not yet used up, can be mado to form tro more 8 of nevtral geconts, thus Oncke Once Mo may montion that the neutral second divides the minor third into two equal parts, and that alternate notes of these efreles stand a minor third apart fron One anther. Thus the circle of neutral seconds may be resolved into two dininisted-seventh chords, dovetailing into each other at the dist ance of a noutral sacond: 3) Circle of tho sacond/third (supernajor second) occupying the space of five octaves: i ape a so brat bein | = Aiternate notes of this eirele, a2 6 and Fy D-senisharp and d-sentsharp, ete,, Dear to one another the relation of a perfect fourth, which the secont/~ finiza divides ine two equal parts. 4) Girete of the neutrat third, oecupy Se ‘The perfect fifth ia divided into tno equal parte by the neutral third, ‘This chrele may bs resolved into txo circles of perfect Tifths ab a distance of a neutral third ona fren the other. 5) Circle of the third/fourth, occunying 3 octaves: ‘Tho notes of this cirele are those of the etrele of neutral seconds,’ but spaced nore widoly. 6). Cirele oF the major fourth, occupying eleven cetavos, [Obvicusly, fone mist dadict optaves sonovhere 0 Koop this within a practical hearing set =e ne #oN regan 0 eters oy ‘the major fourth divides the aajor seventh into two equal parts, and the foregoing circle may be Tesclved into two elreley of aajor seventhe, separated by the interval of a major fourth. With the major fourth 49 terwinated the series of primary intervals, and with the next now interval wo cone to the invorsions, [I.e., st this point fro pase the half-octave,—Translator,] To cbtain the cireles of each of These, one need only proceed upmarda as before, but take the notes of the other cirela in reverse order. ‘The circle of the minor £4fth wi] be the circle of major foyrths with the notes taken in tho opposite order, thu G11, 1b is interesting to note that to parts, proceeding stmsttaneousiy tn clntrary notion ty quartertono stapa (the two scales starting from unison) MUM give in auceession ail the 24 aonitone intervals: Ei a FO TBAT ea Tf, on the other hand, tho parte are a quartertone apart to begin with, a1 the’ new intervals appear instead: 2 Se Gh EL aah ae OOM SS” SE aceeceenea FIRST PART QUARTERTONES AS CHRONATICS (ACCIDENTALS). ALTERED CHORDS. ‘MODULATIONS INTO THE NEW KEYS. chapter 1. Mitered Ornanents §12, oenanents ore usually classified s2 follows: Teading-tones (azno~ gsatind), mordentay and passinjenstes. In all these cases, quartertonas aay GPiiee in'tho samo soy that seastones would be, Also, the crwaneatat rote wey be a'Sy or 7 auirvertonoe aay fron the principal note, just as wll 2 Suly one qulrtertone away. [tnough Wyohregradskt doosn't nontion 4¢ here, this mould be @ goed place to oaudien tho reader that continuing to use the eariior signa for ernazonte mien seaiae tS" ehe nocoosury complications of the quartertone aysten mould be aoa! Minavised., ordertey turno, de~ should be written out in full.—ransiator.]Tigran _ + tartertow tareor (23, ust naturel, and the bestesounding, Hovover, 42 tho ornament at the intesi2h off but ane quictertons. the special effect of the aenanant st three= ASTI Of Sate atat bused with prudence. intervene Targer than thie span QuERaca Guartestonas should omy be used in the mordenty and then but rarely. $14, Ormanents = qurtertons loner. Anpasiatur’ 48) = Mordent. 3 3) 3 e 3 3 Passing-Notes. §15. ornanents @ quartertone higher. “Aprogiaturd rf ‘the quartertono ormanent 4a alwaya good below tho prinetpil note. Above ‘the principal note thie 1o not alnaye eo} ospecialiy in the caso of the tenie ani the fifth in the najor mode, ant of the tonic and the sediant in the minor. 16. Tt 4e Antareeting te observe that an ornanent a quartertone highor ‘tian'the third in the sinor triad produces a new chord, which may be called ‘the noutral triad. This chord ie intermediate betsecn’major and minor, ard ie sade up of two noutral thirde euperimpored, ‘Thus it 1s a symetrical chord, in tho sazo may az tho chord of tho augmonted fifth or that of the dinintshed Seventh, Fithout transcending the clasotcal harmonic system, tt may not ba sed except as a pasging-chord or as a singly or doublyealtered one (vs $3). “o epal =e equal foo Neutral ~ (27, ‘The ornanont at threo.quarters of a tone, as has already boon stated, does not possess tha naturalnoss of tat at single quartertono, ks a general, fale, it may be used whenevar ve ahould espley an erninent at a whole-tone in‘© Quartertone Haran as the ordinsry twelvs-tone aysten, or in those cases where we would have a choice between the eomitone and the whole-tone, rs a hd: iF Gj Leaf the. he ae three-quarters teat eae Sp key oe ete 1347 3 3 ren o $28, In a other eases, st should be used but sparingly, or when a pocu- uareffoct in waned, This, of coures, is a matter of taste, 39. sninaous omuuewrs teredting harnonie prograseions, Stmultancous ornanenta may form most in- Por exanplé 371 Yiote that the chorde forwed by the uppor parte and mated with the len © are new, With the bass, all the chords my be considered now. Simultaneous mordonte: Simultansous Passing-notes:5 sma Wyshnegradsk © Quartertone Warnony §20. omusoves THoNsELVES onvisEUTED, Appogiatura of appogiatura, = Appogiatura of wordent. Mordent of appogtatura: Mordent of ocdont: $21. Doubte Crnanonta: §2._ An interesting case to that of tho paosagy of the major chon! into the nar and vice rersa, affected by a simdeansous erntnent fe three pants ab # quartertono, two Darts prooeoding direct, the thins ta senestt tee Shere are tvo forna of ‘hia: 1) at a quartertone higher and vice vorses and 2) at nine guattortones higher and vice versa. The second tant ctreda'g wotulatson (r."§0)e maja, map moje First caso:Vyshnogradsid @ Quartertone Harnony is Secon case: ‘The notation of the ornanonts in theso exauples is not "eorrect®; nevor= theless 4% is to te preferred, since it shows clearly the construction of ane chords foraed vy those arnasents. [ Forty or fifty yoors later, composers aed others will not be eo fussy or pedantie about "apelling® of hardonie act oat ite progrossions as was tho case in France of 1920 of 1930. "Progress has deen fade, —Translator.] haptar TZ, AROMATIC PASSTVO-LOTES. $23. tn the sane may that ono can uso quartartones as ornaaonts, ond can tse thes ao chrenatic passing-notes, just aa would be done with aani¢enom., “Shere Se three quactertons Paasing-notee within tho opace of a miner seeds ive itnin the space of a binor third, nino in a porfest fourth; aad’ se ne “ke give Solow an exasple of the scale of € lajer with ail its shronitie pessrng-teeatt SS EP aS Pie §2. Beatdos the quartertons, ono may usa these or five quartertones, aithough this last say produce a father avkward effoct, Por this reason, dt sight be Better to enploy a sualler interval, auch a3 the quartertona, the geni~ tone, or the thres quartertones. hile the auccsasion of two intervie of five quartertonos each ie possible, this cannot strictiy be considared as a esse af ‘the use of passing-notes, Pate So ee ———* ‘Tho A-sonisharp say be interpreted as the 7th harconte (ace the Appendix fon tho Acoustical Basia of tho Quartertone Syston), bub this would introduce @ factor decidedly strange to the classical harsonic aystex. "Por this reason At WiLL be passed over a this point. {25. thon thove are fener passing-notes used between two principal notoe than thare are quartertones botwoen those notes, 41 Docones possible te dispose then in several different ways. For example, in the case of three passing: rates intercalated batneen tro other tonsa a ainor third aparts ntermodiate sounds within this interval, the passing-notes coud te disco 4a the fetloning soven vaya La@ia ¢ 2,‘the fewer pasaing-notes inserted, and the Larger the interval betwosn the principal tones the more possibilities thore will be of placing tho passing Rotos. There ean be no strict rule regarding the choice of such possibilities, Decause that aust depend upon tho progressions of tho different parts and on the inteinaie sonorities of any given disposition chosen. $26, The sixth example of the preceding section presents the unique case of paseing-notes which are all new sounds. Considering such special cases further, we should have two now sounds in the space of a mjor eocond, three within a ainor third, four within a major ‘third, and so on qe= ER ¢g $28. Simultaneous passing-notes in three parts form passing harmonies, which in turn my fora now chords. nich An turn my Tora now ck : ‘ a r 7 fe9. Fasoing-notea may be ornanonted: oe ft ee aWaknegradvic Quartertone Harare ATC At times, there may be more’ than one Anterpretation of ornamented passing-notos, as in the folloning examplo: P decay, ral nate owe apes Niel latte apg Chapter TET: CHORDS ALTERED BY QUARTERTONES. 50, the ornanents and passing-notes using quattertones lead us to the concept of altering chords by quartertones. The principle of euch alteration 4s this: Eich ateration by senitones that 1s otdinarlty in use may bo replaced by a sinilar altaration, Set ef ay a quartertone dastead of a sonitona, Aino, an alveration of threaeneriee soy 4 tone may take place. ‘Thus, with the classics augmented-fifth chord (major thisd and augmented £42th) we obtais three, quartertone-altered chords, With the ainor checl ne obtain two alterations, “Eight moro forms in which the root Le altered, give fe ENrtinan tn alle eo 6 7 8 10 44 12 43 223 4 5 2 TH must not be forgotten that chords 10 and 11 are nerely the tranapo- sithons of chores 8 and 9 = quartertons loner. [Peobilly a printers overagne Pees] $51, Beatdes tho chords already considered, it 19 noceseary to mention tne “txiatence of a sorias of doubly-altered chotday a3 in'the cose ot the neutral chord, wich ean be considered ag the loneting ty a quartertons of the third in the major chord or the raising of the third by a quatertens dn the ninor triad. SS ‘This chord san also be considerod as one in which the reot and £4f%h ore seltrsoed : = =n ‘2. An cxampte of tho vse of altored chords 18 in the spuctal case known fac the Neapolitan Sixth, in which occurs the lonering Uy a tenltone of the second degree of the miner scala,1B Wwahnegradskt 0 Quartertone Haraony If wo lower this second degrée by a quartertone rather than a semitone, the WNeapotitan Sixth" appears this: ® The chord marked @ io the firet inversion of the diminished chord ‘with altered riot, nusber 10 in tho preceding table. $33, Mote the aiterations of the dominant seventh ehont, and of the sajoP aoventh chord: In the chords of the ninth, the major ninth may be altered by either one or three quartertones, the minor ninth only by one quartertone, also alter the fifth of the chord, wo a ninth chords, ‘Since we eay y Torm a very great variaty of altered $54, an ute variety of dominant chonts 1s yosstble, thanks to the Snata- buitty tthe second and aixth dagrons Of tho anor aoeiay “Rete yeogtt Stet the concopt ot Heale with desconting alteration ef tha secre ani eect deeraass So-called Crigntal Seale ‘The Same w]th Quartertones 2 LM ke seer as pa EY # pa he Oasis oo Upon the second, fourth, fifth, eixths and soventh dogrees of this seate amy be based chords both singly and’ doubly altered But auaigeie of seis aecte is not within the province of this chapter. That ia treated tn the firse chars ter of the Second Part, devoted to artificial quirtertone scales: $5. te alteration of the augmented abeth el hord presents an interesting ‘to us. The classical form follows:Wehnegradeki @ Quartertone Harmony 19) PPS ente Tis first chord ay be altered in either of these tno mays: ——=—— = ty Antrodveing the tone between F and Fékand vobngen D ani Df wo obtain sive disterent forma; an'ith tho qeartortofe above Dg no obtain tnres sare forse stilt So Grae $96, Tt 49 wolt-known that in altering the ninth chord and reaoving the fundanental, we obtain a chord which differs by the souitone B/C from the augmented sin enord a Substituting B by © we obtain eight new forms of the preceding chords Using the intermodiate quartertone batneon B and C and by replacing the B in the preceding chords with it, ne obtain yet eleven nore forms: tS Gy 8 ee ‘This we have, tn all, 27 different forma. —— Chapter WV. MoDULATTONS THTO THE NEW KEYS. 37. There are tronty-four new keys, twelve major and twelve minors Ae with tho ondinary semitone keys, each one of the new kaye possesses ite aysten DE accidentals whieh say be groupod into 2 koy-signature.Guartertone Haraony 20 sheared Cimajor «Gt major or Et major or = AK major or af minor ef minor edt minor ft minor But in order not to complicate the notation unduly, we refrain froa using aignatures in conosction with the new keys. Whatever nesns be used to modulate from the old keys into the nem, may algo be used to aedulate fron the new nto the old. [fn the li youre since the above passage mas written, key-atgnatures, by 4 aort of tacit) gontienen'a agreesonty have’ gradually besn eeandoneas What ia to'say, evon within the old twelvactoze aystony aa chreasiician siocristeas the'tej-slgnatare s0cane nore tnd nore of a nilsaace and loser mnt Geek help, Atonality aod aerdelian, of course, have boon fo onail fecteean sha teat. Again within the confines of the twolve semitones, the use of acctdentale has shown a trenenious increase during the past few decades. Sone composers, therefore, havo started 2 now convention: Road every note aa natural, UNLESS Arnodistely preceded by a sharp or a flat. Inasmuch as the writing of quarter~ ‘tonos with the conventional staff-notation 19 absolutely inevitably. going £0 result in an alaraing increase in tho total nunbar of accidentals, thie ne convention deserves at least your careful consideration, even if you decide not to adopt it, It 4s quite Lkoly that this situation will increase tho pressure to use, at least som of the time, othor methods of notation, such aa Carrillets nuns boring of the 2h quartertones. Anong tho possible alternatives available, one should consider Noraro's scheme of apponding nusbere to ths notes inatoad’ of aharpe or flate (se that now aackdontsla do net have te by Learned) and the Schone of spocialis-shaped notes (already available tn soso musts peintakers) for those affected by accidentals. You ean readily goo fron the quirtertons examples appearing in this text, that such shaped notes would save apace, translator) 536. vodstaticns trom ia of tho old acate to those of tha now may not ta ragardod as soicistions te related tayo since the teas ty wine Un does Of the major or eissr Clatonde aie are allo! my’ not bo copay te ah tortones shove suck degrees, ani the intervals forsed by see oon oot ogee Sotho diatonic. sca havo fo Telation to those forand ty the eeiawbetics Guartertonons This te why tho nae of transitory chorda fost mot Set Peach tho key £0 wsch we wish tovaoiulates. fo fect aodeiataen sy mst ape Tap pass fon avenaivone chord to's quartertons one on nin {59.1 fortow that Af the harsony is in more than threo parts, that tbe tno Shorde Forming the junetion betneen tha two acelos mot be horde or the reventh. Thres-part harnony Sp — AB major PF major ey—_Quartertone firaony ai (Prentned) Four-part. harmony. C anajor Ehyajor — C major Ed major We may effect the Junction of two chords through passing-notess: Tpnetion §u0. In certain casos, honover, the Junction nay be effected directly. ‘The bass leaps acre than a quartertone in passing fren the first chord to the second. If the two chords are both consonant, one aust be major and the other rninor. The bans goco up 9 quartertones when the passaye is from major to ‘Rinor, and goea dow pine quartertones when it ia Tro minor to major One or both of these chords may be auguented. The bass then proceeds by. 7, 9, or 35 quartertones descending or ascending. Ao tho augaanted chord 18, syonotrical, all the inversions ara equivalent t2 one another [because of the pitch-aynonjuy regarilass of "spelling" ] and a chord may ba used a3 though it were its first or nocond inversion. 2 = Tan BG oa Ta 7a, G2. the bass may take a tong Toap, a9 with the The Hecond chord must not then be inverter, seventh or ninth chords.£fi2._ Te Junction Detnoen tho to gcatea wi21 sound abrupt and disjointed 46 A his been preceled ty strictly diatonte moles For mi toon pees 2) to prepare this junction by using quartertonce aa pecein eee tater sures Anmedtately preceding, in order that the traneition te phenays eee coe seal will not produce ae strange an effect as, ft would wee that ee ately preceding 4t to bo atrictly distoniey 2) to affect tee mass 2 est a2 posoibuo by not, introtuing all the tants of ths aescla shied once, But to being then in First tro and thatthe skier oF the four tones one ata tine by suspansions, anticipation, niet & minor) $15;, Onn say eftere the sodstation fron nex kaye to old, of vie vera, otther divectay, of inéivectay, by transitory sedulationss Su. One say with equa) proprioty aodulate with the help of quartertone sutored chords, the altered nale boing tawen ao tho contesting Sin eee kg wt dol gic : SiS a od ee —— so + ==Wenoeradeki —«@~—~~SCsuartertone Harmony aaa Modulation by Augmnted Sixth altered by @ Quarterton $5. Chromatic progressions by quartertones offer an excellent mathod of rodustdons SECOND PART QUARTEETONES AS” AN INTEGRAL PART OF ‘THE MUSTEAL sYSTBN, Chapter I “ARTIPICIA? QUARTERTONE SCALES. §u6, with vm aid of qurtertonen 16 {9 posafole to fore arttietal eosten eee te lesiciny Coca tho arse tannen astray ae sale Tealenci.cs, ail the weber of the aeale are conaerel enrich Gogrees, ‘hile and thé other sounfo of the ysten ava considered toon tekstas Iphia io'« very gool extmple of stipdative coftnition"wnetier feet ew scaieb should or abel not bo label ind sartifictal fo arate ee aaa Gciboler"in-a wdelyrunod senses ai msteal senlea are Parszaciotst cammtse GEimole clotorand cary of the’ atftonta Tor ot agaiat a hareiotior sagerate Seclous ani inoearer reenneard) For example, these would be auch scales: ees Teg ch ono night cite the seaie shows tn §3le jae Ag artificial quartertone scales are of great interest from a mustes) point of view, we must.1oarn sonathing about, thes, even though we approach tho Batter superficially. Let us ask: How shall they be classified? $7. the soaten to be given here ‘as axaaples arb based on tho interval of onn octavo, "(That ia, from the tonic to tne next higher tonto te ono cetaves)Tt would be possible to form scales, having an interval other than the cctave as their base, [Fanous contesporiry example: Stockhausen's experiment with the 25th root of Sie, a"yust’ two-oetavancand-aceajor-tnird Io" the base of this "artificial" seate,—Tranglator.] Following are scales Saved on the subminor ninth, the neutral sixth, and the double-cetaves n= =Fhy “Ets FFT ne DOUBLET ore fete TS et ace eee Pris eee a eee Seu eee eects eee ee ee in thle treatise we oha21 confine ourseives to those tannd jon the setave, teaving the anslysis of others to poraona was might by autfiosanely motivstee ts lsetenpe ste Gua. SirtiticiaPquartertone scales may be divided into: regular, semi sregilar, ani irregular scales, aa a preLiainary simplifications Yyshnegradskt @ _Quartertons Haraony Regular scales are those in which the intervals between adjacent degre: are all equal. For instance: the twelve-tone scale of senttonos, the eientetone scale of three-quarter-tones, the whole-tone scale which hay six tonsa, “(Seales with toss than five tones must be excluded a2 being chords arpeggios] rather than seales proper.) Only tho eight-tone seale uses quartertoness the other’ already occur in the sonitone-ayatem. The First veals nay be rejarded, in the quartertone syston, aa a apecial case; tha third scale has been used Uy any composers fron GLinka to Debusgy. [An interesting recent application of tne ton aetle way ty J. Ry Ploreo in a computer placome raconding te §L9. the seat-rgular scateo are thoae which arp based upon a division of the Gctave into 8, 6 lJ, oF 2 cquil parts, these parte, hovover, boing then elves dvided undgattiy, bot each such part’ being divided inthe dane Waye such are, for exanpls: ” Bwiding eclovr info. egbal partes Such ara, fi pL ding eet part —illvtt = Strictly spoakiag, those semi-regular geales are based, not upon the ce tavo, but upon tho neutral second, whole-tone, minor thint, major third, age sented fourth—i.e., the aliquot division of the octave, Yet, since by adding together the 14ke intervals montionad above, wo arrive at the octave eventuale Jy, these scales may still be considered to'bolong to the class of scales based on’the octave, $50. A12 other scales are irregular, Honever, for the sake of conventence, At {5 nacesaery to Amore some Sort of order upon this group.Wahnegradaks ‘tertone Hareory We shal procood upon the totrachord prinesple, this method already being known in connection mith the ordinary major and minor scales, The four tones ithin the space of a perfect fourth (such as C,D,E,F or 2,¥,0,4) are taken a 2 unit, called a tetrachord, the succession of tno tatracherds foraing a mado? (CDEP, first totrachords G ABO’, ascond tetrachord) or amino (ABCD, first totrdchords E'F'GA’, second tetrachord) seale, By using this principle, ‘bat doing so this tine in the quartertone system, a very ular seales nay be derived, Tata may be done ae follows: 1) the modification of the intervals formed by tho degrees of the tetra chord by Fatsing or lowering thee by a quartertone: : Rot % 4 1h ¥ Kh aoa en 2) the changing of the munber of tones within the space that wis occupied vy the original te:rachord. Thus one may have trichords, pentachords, hexa~ chords, and 99, on: SRicHORDS PENTACHORDS 7 : 7 Bu cole = BEAABMOR BS ae w PEESEIORRS. veel ieee g the Anterval oscupted by the trichord, tetrachord, kes, ro- placing the perfect fourth Fy a min fourth, major south, ov augusnted fourth: ari pOMIRR, fURTH sceacant Fan ee F oa eae y oP 537 combining a1 thie sathods, an alnast infSnite varicty of scateBe ager a It aust be observed that when the two halves of the sesle occupy each fan eugcented fourth, one tono mist be shared by both = = == eS 51. amkcxsis oF mw scans. / To analyze a scale is to give the munbor of intervals forned by dts degrees, and to tell what these are, Tt ia also necessary to study tho eirele of aotue lations by related cegreea. For this circle to be complete, it must be tha circle of subminor seconds, neutral seconds, seconi/thirds, neutral thins, or eijor fourths, Since the closest degree of relationship’ will alnays ba found at the most frequent. int= erval in the scale, thie interval will necessarily have to be one of those uentioned, otherwise the circle of modulations by most closely-related degrees iLL not be cosplets. N.BuiIf a scale docs not contain any one of the four intervals mentioned, it cannot possess a conplete circle of modulations. $52. Without @vetling upon the peculiarities of the regular and seniavegular scales, we shall corsider an irregular scale, that example to be a neatral hep- tatonié scale. Intervals of the Scale: 2) By consecutive degrees Woutral Third 6 Subminor Secon? 9 Perfect Fourth 5 Major Thine ° Neutra) Second Thira/Fourtn ° Major Second 3 Minor Second ° Yajor Fourth 2 Second/tnivd ° Minor Third 1 Augeented Fourth 9 ‘Thus the neutral scale possesses a complete circle of modulations by r Lated degrees, the Circle of Neutral Thirds, [One might speak, at least in Inglish, of the Neutral Node, neither” major nor minore—Tranalator] Here 3 4a portion of thia circle in which the neutral third playa the same ‘edhe ashe perfect fourth does in the major or minor scale. Note that a key-signature 19 possible in this parcleular systen,Wahnogradeld “© Quartertone Hanwo $53. ‘The same method applies to the thirteen trnote scale (quasi-diatonie): FIRST HEPTACHORD SECOND HEPTACHORS grey cee ee tee tee Note that ents ccale possesses a cizcle of modulations by related dogreae, which happens to be the cirele of major fourths, It do Anteresting to reveal a certain analogy between this scale ant the sajor scale, cspacially in the atructure of ite two heptashonis, which amAlogous to the totmehords of the major scala, Another sealegy nat thatthe qussi-diatonie sealo aay be considered aa the réduction to a aisle ote ne {he series of thirtcon descending major fourtho (starting with tee fortin acevo the tone, F#) in tm sane wiso as the major scale nay fe seatneres reduction of 's scrics of seven desconding pertoct fourths, ith the fourth above the tonte, Pe 35k. The principle of artificial seaiea 13 not pecut: aysten, the sane principle evidently being possible Just aa well witene ty onitonal systea, Sororal composers have used artifieiat senstone artes” auch ur fie Thele-tong scaie of which we have spoken already, ant" tho soci serfs scale (tone, seaitone, tone, aeaitone, eted, used by Iehalkovsnl senke ete “Kersakov, and other conposeras 0 tho quartertone Examples of the musical enploynent of artificsal ¢ jsirtertons scalea: Haplatonte Seale mention in $34 /