AStudyofModernHarmony 10016681

Un der th e Edltorsh lp of S te wart M acp hers on
A S TUD Y O F
M O D ERN H A R M O N Y
(ET U D E SU R L H A R M ONIE M O D E RNE )
’
R E NE LE NO R M A ND
ENG LI S H TR ANSLATI ON B Y
H E R B E R T A NTC L I F F E
TH E B O S TO N M US I C C O
1 f I
OS
1
2 6 -2 8 W ES T ST .
, B TO N , M AS S .
F
Co py right , b y Le M on de M usi c al , 1 9 1 3 , F ren c h
‘
Edi ti o n
J
Co py ri g ht , b y ose ph W i lli a ms, Li m i t ed , 1 9 1 5 , E n gli é h Trai l slat io n
J W 1 55 08
'
. .
FACULTY OF MUS C
/0 /
0 16]
UNW ERSiTY OF TORONTO
I 8 6 3~
TA B L E OF C O NT E NT S
T RANS LAT O R S’
PR E F A CE
PRE F ACE
EX P LAN AT O RY NO TE S
TW O OR M O RE C O N SE C U T I VE F I F TH S B Y C O NJ U NCT M O T I O N .
C H O RD S O F TH E S E VE NTH .
C H O RD S OF TH E NI NTH .
PRE PARAT I O N OF DIS C O R D S

N O T E S F O R E I G N T O T H E C H O R D S — PA SSI N G N O T E S — ORN A
M E NT S
.
APP O G G I AT U RA S
ANC IE NT D E V I C E S (I M I TAT I O N S S ! U E NC E S )
E B AR LI N E S
—
F AL SE R E LAT I O N S PE D AL S M E L O D I C I NTE R VAL S
.
, .
. .
TO E N D A P I E C E
S CAL E S. T O NAL IT Y
TH E W H O L E TO N E S CALE
V AR I O U S H AR M O N I E S
.
I ND E X M U S I CA L E X A M P L E S
'
OF
L en orman d, R en é 7 , 9 , 50, 58 , 83 ,
1 13
M en c h aca V I1 I , 95
B o ga lt D
ur u - u c ou dray M o des , G reek 88 , 8 9 , 90
B ru n eau , A lf red M o des , Am b rosi an G re go ri an 91
1 02 , 1 09 M o re au , L eon 19
e
Capl t , A n dre M o re t , E rn est 8 , 57 , 1 1 8 , 1 1 9
C h ab ri er, E mm an u el 1 9 , 2 0 , 36 , M o z art 67
5 7 , 86 R am e au J ,
. P . 51
C hausso n, E rn es t 15 R ave l M a ,
u ri c e 2 4 , 36 , 3 7 , 38 , 4 8 ,
ChOpi n 20 49 , 59 , 6 1 , 62 , 63 , 7 4 , 7 9 , 84 ,
D eb uss y ,
C lau de 4 , 8 , 2 1 , 22 ,
24 , 2 5 , 2 8 , 2 9 , 46 , 47 , R o ssi n i
4 8 , 5 7 , 64 , 7 6 , Ro usse au ,
S amu el
52 , 7 4 , 7 5
u s Th eodo e
D bo i ,
r 1 1 , 1 38 Ro ussel Albert ,
D uk as Pa l ,
u
S abb at i i Pe e n r xi i i xi v 45
,
D u po t G ab i el
n ,
r 7 8, 1 1 5 , 1 1 6 S ai t S a
n -
C ami lle
en s,
F a lli E
ne e t ,
rn s 1 29 , 1 30, 1 3 1 , 1 32 6 6 , 1 08
F au ré , G ab ri el 6 , 1 4 , 1 8 , 24 , 28 , t k
S a i e, E ri 1 29
38, 7 3 , 7 4 , 1 1 4 , 1 28 S h mi tt F lo re t 3 1
c ,
n ,
3 2 , 6 7 , 8 6 , 1 05
F ran ck Cé sa r 40 S ch oe b g A o ld
n er ,
rn 1 86
G e o ges A lex a
r ,
n der 5, 9 32 1
Go unod 7 2 , 82 S c ri abi n e V1 1 1 , 9 5 , 99
H uré , Jean 1 2 5 , 1 2 6 , 1 27 verac
4
Se , D é odat de 7 , 58 , 64 , 83
I n dy , V i n c en td ’
44 , 1 1 2 , 1 1 3 W agn er, R ic h ard 87 , 9 7
K oec hli n , C ha ler s 4 , 33 , 34 , 3 5 , W oollet t , H en ri 9 , 6 5 , 94 , 1 03
44 , 53 54 , 65,
TR ANS LATO R S PR EF ACE
’
TH E wi der groun d covered by the translator s littl e work ’
”
L ivi ng M usic , i n this s eri es p r eclu ded anything more
than a p assing referenc e to t he dev elo p m ents O f M o dern
,
H armony S ev eral r evi ewers as well as a numb er of

.
,
p rivat e rea ders of that book hav e suggest ed that som e ,
furth er not es on t he sub j ect woul d b e welcom e It is with .
no littl e p l easur e th er efore that the inv estigations an d

i deas of M Ren é Len orman d are n ow O ffer ed to English
, ,
r eaders .
It may b e of int er est to m ention that M Len orm an d is a .
Fr ench com p os er born in 1 84 6 M uch of his earli er stu dy

,
.
was p ursu ed without dir ection though he r ec eiv ed his fi rst , .
p iano fort e l essons from his moth er a p u p il of J ! imm erm an ,

.
,
an d lat er had som e assistanc e from B erthol d D am cke a ,
well kn own G erman th eorist In S p it e of t he bri ef nature

-
.
of his tuition his earli est p ublish ed works dr ew att ention by

,
their workmanshi p as w ell as by th eir musical i deas H e .
has devot ed his creativ e faculti es mainly to S ongs (in which

he is class ed by thos e who know his work b est with M M .
G abri el Fau ré an d H enri D u p arc ) an d to C hamb er M usic

S ev eral O f his songs hav e b een translat ed into English of
, .
which his v ery modern S ev en M elo di es may be m entioned ,
an d his int er est in British music has r esult ed in som e v ery

charmi ng arrang em ents of Irish M elo di es for Violin an d
Pianofort e H i s Suit e of Vals es S é ri eus es his P etit e S uit e
.
,
an d oth er short p ianofort e p i ec es are also w ell kno wn in

this country .
M Len orm an d is t he founder an d dir ector of a S oci ety

which has for its O b j ects the p r es
.
,
”
Le L i ed en Tou S P ays
en t ati on O f Fr ench S ongs an d t he making known in Franc e
,
of mo dern songs of oth er countri es On on e occasion an .

,
entire ev ening was devot ed to t he young British school an d ,
Works by this school fr equ ently figure in t he p rogramm es .
It is only in r ec ent years that M Len orman d has j oined .
himself with those who are studyin g the lat est p has es of
“
modern musical Evolution H i s Etude sur l H arm on i e .
’
M odern e of which thi s Book is a translation has arous ed

”
, ,
much discussion an d at t he sam e tim e has won for its

, ,
Author high tribut es alike from p artisans an d o pp on ents .

TR AN S L A T OR S P R E F A CE
’
iv
Thep resent p ublication claims to b e no mor e than a bar e

translation It woul d be p ossibl e working on t he lin es lai d
down by M Len orm an d to giv e exam p l es O f t he dev elo p
.
,
.
,
m ent of harmonic w riting in England an d in G ermany .
For various reasons this has not b een consi der ed a dvisabl e .
On e p oint may b e notic ed in this conn ection E ach country .

,
without nec essarily b eing b ehind oth er countri es in general

matt ers has s p ecialised in som e t echnical dev elo p m ent To
,
.
Franc e has fall en that of H armony ; to England that of

C horal Effects ; to G ermany that of visualis ed an d associat ed
mu S I C .
Whil e th erefor e t he r eader what ev er may b e his p osition

, , , ,
wh eth er a p rofessor with all the t echnicaliti es of t he Art at

his easy command or the stu dent fr esh from labourin g
,
through the t ext books may be urg ed to study oth er music

,
on th es e lin es it is not ina pp ro p riat e that t he exam p l es first

giv en shoul d be s el ect ed from t he works O f t he young Fr ench
,
school .
TC LIFFE .
PR EF AC E
AS human s ensibility mo difi es its elf c eas el essly during t he

c ours e of t he c entur i es M usic its faithful int er p r et er
, , ,
evolv es S i de by S i de with it .
A deep study Of t he continual transformations of t he

m u sical art woul d b e ou t of p lac e 1 11 this work w hich i s Of ,
an ess entially modern charact er W e l eav e on on e S i de t he

music of t he Anci ent G r eeks an d also that O f t he M i ddle
.
Ag es an d consi der only t he great evol u tion of t he s ev en

,
t een t h This lai d t he foun dations Of t he musical

th eory still us ed in our own days an d in its r esults is of t he , ,
high est im portanc e It was this that ma de p ossibl e t he

.
‘
brilliant achi ev em ents Of t he 1 8th an d 1 9t h c enturi es .
Wheth er they w ish i t or not all those w ho think musically

are mor e or l ess im p r egnat ed with t he i dioms O f that p has e
,
O f the art .
But t he p ag e on which are inscrib ed t he illustrious nam es

O f Bach M ozart B eethov en S chumann Wagner et c has
, , , , ,
.
,
scarc ely b een turned w hen alrea dy n ew formulas a pp ear

, ,
w hich no didactic work has y et set in

The res ult of this stat e of things is that young musicians
l earn the p ractic e of th eir art following t he rul es O f t he O l der
t ec hnique an d th en fin d thems elv es out of th eir b earings
,
when they woul d writ e in t he modern styl e ; from w hich it

arises that they fall into exagg erations for lack of t he in
struction app ro p riat e to cont em p orary musical thought .
“ ” “
But say t he th eorists t he t eaching which we hol d
, ,
”
rests on i mmutabl e bas es This ass ertion is dis p utabl e
. .
I S it not a littl e dange rous to S p eak of t he immutability of a
In our da s y th i vo l tio p o
s e u n r c eeds so ra pi y th t
dl a a c m o po ser,
arr iv
ed at t he c l se o of
hi s c areer, has t he sadn ess of b i g
e n o g
n o l n er In
o
c mmun io of i
n dea w i th
the yo g o p o
un c m sers, u n less he has k pt
e his
i O p to
m nd en o t tt
t he c n s an ran s fo t o
rm a i n O f t he art It o
i s a c u ri u s .
f t th ta t he m a r j o ity of i i t k Si g i t
t he elder m u s c an s a e des a a n s t he n ew
fo
ac
rms . i t
S n c ere an d ru e ar s s ti t th y
e are th t
a , su rel y Sho u ld,it
o t k i t t
w u ld seem , a e a assi o n at e n eres i n the e lu vo t i o
n o f t he art .
B ut th o
ese c n clu de, ou bt less, th t th i o
a e r w rks m ar k
a defi mt e, i rre
vo b o i t i o
c a le c n d n .
E vo l u t i o n c o mme ci g fro m t he l 6 th c en t u ry
n n .
I th is s arch for n ew f orm la ea h race seems to wish to

affi rm i ts p er o al g e u
n e u s, c
s n by fr ei g i ts lf fro m G erman art
ni s, e n e .
vi _
1 R E F A CE
_
D
,
system w hich r eli es On an artificial scal e? At the p resent

time this syst em con sists O f thirty o n e sounds com p rised-
within t he com p ass O f an octave As a matt er of fact these

.
thirty on e sounds are reduc ed to t welve by t he conv ention

-
of temperamen t .
*
Altho u gh t he syst em of t em p eramen t may b e k n o wn to all, we

th i n k i t m ay b e usef ul to recall i t If , startin g fro m a (3 17 17 , a seri es Of
.
ri go ro u sly ex ac t asc en di n g 5 ths i s b u i lt u p, t he 3 1 ac t u al so u n ds wh i c h

c o n st i t u t e ou r syst em wi ll b e Obt ai n ed The who le O t he f “
Trai t é
f
.
d harmon i e o G evaert (p ub lish ed by Lem o i n e) i s b ased o n th at seri es

’ ”
of fi fth s Wh atev er may b e the n ote t ak en as the p o in t of dep arture,

fif
.
at the tw elfth su c c essi v e th i t will b e p erc ei v ed th at the sou n ds n o

lo n g er agree w i th t he o c t av e ; so th at i n bri n g in g th ese 3 1 so u n ds wi th i n
t he c o m p ass of the o c t av e n o n e i s t he eq u iso n an t Of t he oth er (see
Fi g I )
. . Th ere has th u s b een m ade a c o m pro m ise or m ean i n o rder to
h ave bu t twelve so unds to the o ct ave (Fi g II ) Th is c o n v en t io n,
fi
. .
wh i ch was m ade sc i en t i c ally abo u t 1 7 00, has b een c alled tu n i n g by

equ al temperamen t G u i do d Arezzo m u st h ave p rac t ised t em p eram en t
’
.
b u t i t was n ot u n t i l lat er th at M ersen n u s an d aft erwards Lou li é an

S au v eur pu t forward so me sc i en t i fi c ex plan at i o n s . R am eau bro u ght
th ese to a m ore p erfec t develo p m en t abo u t 1 7 20 i n order aft erwards to
f f
devot e h imsel to the st u dy O h arm o n i cs (Fi g III ) . .
Fi g I I I
. .
Natu ral so un ds .
(F i rst harm o n i c s
) .
F t? G b
P R E F A CE vi i
In oth er wor ds we writ e mus ic as ,

if we thir y o e
t - n
had
soun ds at ou r dis p osal an d we ex ecut e ,
it by means o f twel ve
soun ds .
At t he p resent tim e com p os ers cont ent th emselv es W i th a

r ej uvenation of the classical th eory It may b e a day will
c om e w h en th ey will w eary O f t he fals e combination in W t
.
h
c onc ep tion an d ex ecution are di ff er ent on e from t he oth er
*
.
But th en on which S i de will they fi n d th emselv es ?

,
C ontinui n g to acc ep t t he thirty o n e soun ds an d rep u -
di at i n g t he temperamen t will th ey deman d unt em p er ed ,
instrum ents ? That woul d be logical but it woul d revo ,
lu t i on i se t he manufacture of instrum en ts .
I n t he a bov t ab l (Fi g I ) w e r p e e t the r lati v e pi t h of the

e e . e r s n e c
i t o
d ff eren s u n ds acc o rdi g to t he f eli g f m i ia bu t wh ile th e
n e n o us c n s, es
m ai t ain th at C it for x am ple i h i gh r th a D b t he p hy i c i t s affi m

n ,
e ,
s e n ,
s s r
t he c o t rary Thi s o t ad c t i o m ay p erh ap s b e ex plai d i f w e adm i t

th at th s m ito e r sult i g f om the alcu lat io of the p hysi cist has
n . c n r i n ne
e e n e n r c n s
n ot t he sam e o i g i a th at f t he m i i a s
r n s o us c n .
I t he b ll t i No 2 (1 908 ) of t he I st i t u t P y ho l og i q u
n u e n . M J ea n s c e, . n
M a old has m ad a i t ere t i g c o mm i c at i o as to th p o ssib ili ty

rn e n n s n un n e
O f b ri g i g t he m i c ia a d t he p hy i i st i to agr m e t
n n us I ci d t
n n s c n ee n . n en
ally h er p ro ach es e omp o ers fo th eir i gn ora ce i th matter f
c s r n n e o
a c o ust i cs P erh ap th ey are wro g i t ak in g too li tt l i t e e t i th is

. s n n e n r s n
q ue tsi o ; bnu t w h at an th ey d o i f i t i s o t to b e cco ec t ed w i th t m ,

n nn e
peram t wh ile wai t i g for the th eo ri st s t o u de t a d ea h oth er

en ,
n n rs n c
su ffi ci t ly to g i v e th em a logi cal syst em i n whi h the ry an d prac ti ce
en c o
s hall be i n agreemen t?
M usi cian s who play i n stru men t s wi th v ari able sou n ds j u sti fy
t h emselves by say i g : W e do n ot p lay t he t em p ered n ot es ; we p lay
“
n
t he mu si c as i t i s wri tt en Th i s is p e h aps t ru e Of t he st i g q u art et

o r an y oth er gro u p s n ot c o m p risi g i n st ru m en t s w i th fi x ed so u n ds
. r rn ,
n ,
b u t i t i s v ery h i gh ly c on t est able wh en ev er t he t wo k i ds are u sed i n

'
c o mb i n at i o An o rch est ra wh en i t ac c om p an i es a c o c erto for the

n .
, n
pian o an in stru m en t wi th fixed so un ds i s c omp elled to play
t em p e ed sou ds if i t do es n ot w ish to play ou t Of tu n e
B esi des an o rc h est ra c o m p i ses so m e i n st u m e t s of fi x ed so u n ds ;
r n .
if so m e art ists we e to play the P yth ago ean sou ds as th ey claim the
,
r r n
r r n , ,
oth ers p layi g t he t emp ered so un ds t he eff ec t wou ld b e v er disagree
n ,
ab le ; w h ile if a th i d class of i nst ru m e t alist s play ed t e n at u ral

The i m p erf ec t i on of t he
r n
so u ds i t w o u ld resu lt i n i credi b le disc o d

au di to ry o rg an O f so m e wo u ld p erh ap s en ab le th em to b ear i t b u t
n n r .
, , ,
reaso n c o u ld ot allo w i t An d as for C h am b e mu si c w i th t he pian o ;
n . r
wo uld c o mp o sers an d Vi t u o so s who h av e p a ed th eir li v es c o m p o sin g
r ss
a d p lay i n g m u si c for pi a o an d st ri g i n st u m en t s really h av e bo rn e
t h is c o n t i u al disso n an c e i f i t had b een ac t u ally p o du c ed? A d
n n n r
n , r n
V o cal m usic ! I n hi s P i c ip es du S yst em e m usi c al et de l H arm o n i e
“ ’
rn
J ame le) M A selm e V i é e says : o n t rary to a c o mm o n O pi i o

“
( , H l , . C n n n n
I t i s phy s l g c ally i m p o ssi ble for t he vo i ce ac c o mp an i ed by an i n st u
1o o i r
,
m en t of u n c h a g eable so u n ds to emi t t emp ered in t erv als Wh en i ts

di sc o d wi th t he n ot e fi x ed at
n , .
n at u ral i n to n at i o n lead to a so u n d i s n r
t he mo men t a u ni o n m u st q u i c kly b e p ro duc ed bu t alway s by fi exi o ”
, , n .
Wi thou t en t erin g in to t he learn ed c o siderat ion s Of M Vin ée (see his

it suffi ces i n the presen t case that we state the
n .
t reat1se pp 4 1 an d
, .
fact of this un i o n .
viii P R E F A CE
Will th ey sha p e th eir thought to the s cal e of natural

soun ds with its harmoni cs not inclu ded in t he p res ent
,
syst em ? The att em p t has j ust b een ma de *
Will th ey a do p t in th eory t he division O f t he octave

.
, ,
into twelv e equal s emiton es as it in p ractic e exists for ,
instrum ents w ith fixed soun ds ? That woul d not chan ge the
soun d of t he music but woul d mo dify t he th eory an d b anish ,
t he acci dental signs it i an d This w oul d b e t he en d o f ,

)
t he syst em of thirty on e sou n ds an d also of temperamen t -

, .
In any case it is imp ossibl e that th eoretical music an d

,
p ractical music will not en d by comin g into agr eem ent with
each oth er On e can fo res ee that this w ill not b e don e w ith
.
“
ou t s ev er e struggl es The tim e has not y et arriv ed say
”
.
t he p rofessors ; on e must l earn on e s tra de w ell with t he

“ ’
F or tho gh th vo i a d th i t m t w i th va iable ou ds
u s, al u e ce n e n s ru en s r s n
ca nx t t h th i ty e o d f u th o ti al y t m i t m
e ecu e e r -
on s un s O o r e re c s s e , see s
p ov d th at a oo as a i t m t f fix ed o d i h a d i m lta
r e s s n n n s ru en O s un s s e r s u
n eou sly w i th th em all art i t i t i ct i v ly i g a d p lay t h t em p ered
,
s s, ns n e ,
s n n e
n ot eth at i s a w e h av e aid b for i t p r t thro gh the m edi m of
-
,
s s e e, n er e u u
t w lv ot th at wh ich i s wri tt e f r th irty o
e e n es ot e Th at state n o - ne n s .
m t a f lly h ck ed w o u ld b of g reat i mp o rt a c to the p art isa s

en , c re u c e ,
e n e n
of t h th eo ret i al div i si o
e of the cale i to t welv q al sp ac s
c n s n e e u e .
Th R ia e om p os r S c i abin in hi s Prometh eus for

u ss n c e ,
r e,
“ ”
orch est a ha j t wri tt t h ov el scale

r ,
s us en e n
C , D , E , F iat, A, E h
fo of
.
rm ed th
the 8 , 9 th, 1 0th, 1 1 th, 1 3 th an d 1 4 arm n c s (see F i g 3 , th h o i .
p g vi
a e o h t o
) ; t he rc es ra d es n ot la t he em ered s u n ds,p y la s the t p o it p y
t o
n a u ral s u n ds by t ki g o t
of t he ac u al of n u m ers 1 1 , 1 3 , t pit h b
P t of
a n c un c
an d 1 4
“
.
”
i o o io
M u s q u e a M sc u ; N c las e r f ; M onde M usi c al; 30th
Ju 1 91 1
of
ne .
o po
I n the C urs de C m s on M us c ale,
”
i t
M V n c en d I n dy
’
itio i .
I o
(Vol , 1 902 , D uran d) , his c lla ra r, M Au u s e Sé ri eyx,
. g t gi v es i n bo to .
a n ot p e ( o p o i
6 2 ) s m e ers n al deas on t he su
. pp io i t
ress n O f t he ac c den al
ig
s n s (4 by
4, b, n) , p oy t t hi h h g
t he em l m en Of a s aff Of w c eac de ree (l n e i
p p t i v i by
or s ac e) re resen s n ar a l t p a em ered semi to ne .
o ty h
M re rec en l , M M en c aca, an Ar en n e g ti th o i t e r s , hasb o ght
fo
. r u
t ot t io
rward a s s em Of n h
n , whi c w ot xp i h l ere , b u t t he
ivi io o f
a e c an n e an
y
t
resu l Of W t h i s t he d s n o t v i to t v
t he c a e n i t v
wel e eq u al n er als .
The n ames c sen

ho by h
M M en c ac a for hi s sc ale of t v g
wel e de rees .
are : do , dou , re, rO , m i , fa, fe, sol, n o u , la, se, si o th

S m e Of ese m ay b e .
p
re lac ed w i th v t gad an a e, for th y e to gg t
seem su es t i
a c er a n rela tio n
b te ween t he n ot hi h
es, w th
c , u n der o tio o ght
ese c n di ns u to x i t
n ot e s .
T sh i th o i t h i
e rs f k
m sel m a es theOb v io th tser at n t i b
a a c er a n n u m er o f
V i t io p o
bra ns r du c es a fix o th t th
ed s u n d, an d a o
ere i s n o reas n for c on
th t o
n ec t i n g a s und w i th igh o
i ts n e b urs h o
“
E ac s u n d i s or i s n ot ; it
o if
.
has a p hy i xi t
s c al e hi h
s en c e w c ot
c an n b e m d i ed yt
” “
i
S s eme M u s c al .
h P y
M en c ac a ( le el, L n
”
yo of t v g
The scale wel e de rees su pp resses
i t ig
t he ac c den al s n s :
“
Of k o
The it an d t he b are all i h
n w n m u s c al c ar
ac t ers t he m so t v x t i o y o v t io
e a usl c n en n al
”
.
fi t iff ty to
The rs d i c u l ov o
be if h g of y t
erc m e, a c an e s s em i sto he
iv i
arr ed at , w ll b e to o ot t io
fi n d a m de O f n a th i
n for of t v
s sc ale wel e
g
de rees th t of a h o pp to
M M en c ac a w u ld a ear . i fi t of
b e d f cu l appli
ca t io to p o y pho i
n l i
n c mu s c po
The o
r b lem d es n ot a pp to
ear be .
i n oluble, an d we n wk o th t y i
a o n m an tt p t
s des a em b i g
s are e n m ade to
sop i t ve .
P R E F A CE ix
p resent system Without dou b t but it is to be wished

.
,
that i t shoul d be done under such conditions that onc e t he

studi es are com pl eted t he creativ e faculty shall n ot be
forc ed into a groov e .
*
In matters of art it is dang erous to l earn to do as others

do . C ertainly it is n ec essary to consul t tra dition in or der
to inter pret t he mast erp i ec es of t he p ast ; but to invoke
tradition wh en it is a qu estion of creating is not that a
fals e way w hich can only l ea d to a p lagiarising of one s ’ ‘
p r edec esso rs ?
To r eturn to M o dern H armony : that which mak es t he n ew
school p articularly int er esting is t he consi derabl e effort it is
making to free its elf from t he laws of t he ol der t echnique
w ithout having any other gui de sav e t he intuition of a n ew
i dea of b eauty C ertain authors an d this is a wi des p r ea d
.
i dea in t he worl d o f amat eurs imagine that in these days

“
o n e can writ e no matt er what Th ey misunderstan d t he .
charact er of t he evolution o f to-day The mos t daring com .
p osers are all t echn i cians of the great est Thos e

w ho unite to such mast ery t he great er gift of a truly musi
cal t em p eram ent bring th emselv es naturally to t he firs t
rank The others com p licating t he harmony sim p ly with
.
,
t he p l easur e of t he grammar i an class th ems elv es rather ,
among t he theorists than among t he creators which never ,
t heless assures th em an im p ortant p lac e .
The harmony call ed modern consi dered as a m eans o f ,
t echnique do es not suffic e to constitut e a modern mu si c .
S uch com p ositions wh ere are to be foun d gath er ed tog ether

,
all the n ew devi ces oft en give only a negative imp r ession
, .
On t he oth er hand som e works bas ed on harmoni es r ela

,
t i v ely sim p l e can invok e an int ens ely mo dern

Above t he mann er o f writing th ere is th er ef or e the modern , ,
i n spi rati on an d t he musicians of classical education mak e a

,
mistake wh en th ey com p licat e th eir harmoni es thin king
A c m ser o po v y m h to th f o t wh b lo gs to t h mod r
th at he h i ms lf ha fo d veral y ars of de p rat e
er uc e r n , o e n e e n
schoo l, declares e s un se e s e
eff o rt ecessary to get rid of t h i mp io received i t he t im e Of hi s
t ship a d to re—tablish his i di vid ali ty
n e ress ns n
stu d en , n es n u .
W e sp eak of i o us a d w ll i stru ct d art i ts l av i g o on e

w i th who m t he searc h af t r st ra g e a d
n - n n
ser e e s , e n
si de t he c ro wd of i m i t ato r s, e n n
weird h arm o i o ly erv es to h i de th ir i g o ra ce a d ab o lut e lac k
n es n s e n n n s
o f musi c ali ty .
Th ere are to be f o u d ma y examp les m the m usi c of M G ab ri l

”
n n . e
F au re who by t he p ec li ar a d h armi g t u rn he g v es to so m har
, ,
u n c n i e
m o ni c c o mb i at i on w h i c h are r lat i v ely litt l c o m p li c at ed i s o e of
n s, e e , n
t he m o t m o der c o mp o s rs of ou r ep o c h
s n The p rec ursor o f t he m ov e
e .
m e t of to day wi th wh i c h he sti ll remain s a so c iat ed by his p odu c

n -
, s r
ti o hi s p osi ti on i n the h istory of Fre c h musi c will be i mp ortan t
n s, n .
x P R E F A CE
thus to modernis e th emselves B efore all else th ey mus t .
write with the sinc erity of their ins piration an d of th eir

feel ing .
The comp os ers who about forty y ears ago contribut ed to

, ,
t he ev olution of t he art with all t he ardour of th eir youth

Pr es ent —
,
ful fill ed th eir duty at a us eful tim e day mast ers .
maintain an obstinate struggl e for the acc ep tanc e of t he

n ew formulas which are im p os ed o n th em by t he in evitabl e
transformation of all things an irresis tibl e forc e to which
they are comp ell ed to submit One may overwh elm th em .
by com p aring th eir works with those of t he masters of t he

p as t ; bu t t he question is not one of kno wing wh ether th ey
are doing b ett er or worse than their p r edec essors Th eir .
mission as com pos ers that is i nventors o f music is to mani

, , , ,
fest their s ensi bility i n a n ew la n guage to write something ,
other than that which has alrea dy been written .
The new school makes i ts elf kno wn by works of a pec u

*
liar charm w hich are not witho ut some affinity with other
,
more p retentious an d unmusica l p ro ductions M ust there .
b e s een in th es e only a r efin emen t o f the ol der art or are ,
th ey to be consi dered as t he beginning of a n ew art ? It is

difficult to for es ee t he ans wer whic h o u r desc en dants will
make to thes e t wo As to tho se who imagine
that a return will be ma de to the p ast o r who think that ,
a n ew g eni us will be brought to lig ht through the m edium

o f t he te chnique an d a es th etic of t he p ast their ill u sion we , ,
b eli eve is comp l ete There can no more be a n ew B eethov en

, .
than there can be a n ew C hristo p her C olumbus .
Whil e waiting for t he didactic work which will buil d up it ,
may be a n ew musical system it has s eemed to us int erest

, ,
ing to extract some of the mos t typ ical harmonic examp l es

that we have met wit h in the works of mo dern authors .
W e must ask t he young harmonist w ho may r ea d this littl e

book to consi der it as a document of transition between t he
treatis es of t he p ast an d thos e o f t he fu ture as a sort of ,
in ventory of mo dern harmo ny ; as a landmark p lant ed i n a

vas t fi el d of sonorous vi bratio ns which mus i cians hav e b een
indefatiga bly cl earing for more tha n twenty fi ve c enturi es - .
R ENE
B y the au dac i ty o f
hi s arm n es an d als h o i
e r c arm an d o by th i h
i ity b y
m us c al , M D e u ss may be c ns dered as t he c e
. o i s sc l hi f of thi hoo .
o t p o
D u b less he had his recurs rs, he has his emula rs, he w ll a e hi s to i h v
o
su cc ess rs ; b ut t he sc re of
“
o
elleas et M el san de
”
P
m ar s an e c m i k po h
t hehi to y
s r of the art .
h ap XII C on cl usi ons

S ee C . . .
I owe a x pla at io to tho o f my fr

n e n i e ds wh may be surp rised
n se n o
at t he t e de c i es of th i p u b li c at i o
n n s I am go g to g v i t th em a d
n . in i e ,
n
JE
’
xi
in so oi g m u st ap ologis f r p ak i g of m yself It i s ab su rd to
d n e o s e n .
s pp o
u th at m i al evol ti o ca ta d still at a y m omen t wh at v er
se us c u n n s n n e
o f i ts h istory ; a d th ere i
n o easo s nf r a c o m p o e w h at v er m ay b e
r n o s r, e
hi s age or wh at v er hi p ro d ct i o t o Sho w h i m lf i di ff r t or ho st i le
,
e s u n, se n e en
to th at evolu tio B ut
n . ith r th at wh i ch i s r th at wh i ch sh all b e
ne e no
c an destroy th at wh i c h ha b n I h ave th e fore b n able to wri t e
s ee . re ee
th is little work withou t ab a do in g a ythi g of m y profou d admira
n n n n n
t io for the M ast e s of th p ast an d withou t ab j urin g a y of m y pro
d c ti o s wh i c h goo d r b ad r m ai t he i cere ex pressi o n of a f eeli ng
n r e ,
n
wh i ch t ime has b een ab l e to modi fy

u n , o , e n s n
.
EXP LANATO R Y NO TES
IN order not to multi p ly b eyond m easure the numb er of our

quotations we had int ended to confine ou r choic e to the most
,
typ ical exam p l es met with in works th ems elv es consi der ed
as typ ical On consi deration we hav e a do p t ed the p lan of
.
,
consulting a larg e numb er of works in or der to evok e mor e

”
comp l etely t he atmos p h ere in which the mo dern Fr ench
“
school lives an d mov es .
Her e in al p hab etical or der is a list of com p os ers whos e

w orks are quot ed:
M M L ouis Au b ert Alfred Brun eau C a pl et E C habri er
.
, , , .
,
E C hausson C lau de D ebussy P aul D ukas G abri el D u p ont

.
, , , ,
Fanelli G abri el Faur e Al exandr e G eorg es Jean H u ré

, , , ,
Vinc ent d In dy C harl es Koechli n R ené Len orman d Ernest

’
, , ,
M oret Leon M or eau M auric e R av el Alb ert R ouss el

, , , ,
S amu el Ro uss eau S aint S a ens Erik S ati e Flor ent S chmitt
,
-
, , ,
D é odat de S ev erac an d W oollett .
As will be s een by this list this littl e book is almost ex ,
c lu si v ely Fr ench in its sco p e

*
.
It go es without saying that we are conc erned only with

harmonic facts or with mo des of writing which p res ent a
,
mo dern feeling .
W e hav e no int ention of p ro p osing a n ew syst em or o f

writing a treatise on harmony ; we p r esent m erely a coll ee
tion of exam p l es w hich we hav e exp lained as far as p ossibl e
through the m edium of t he earli er
W ithou t a y d i to stu dy sp eci ally m od r Fren ch m i we

n es re e n us c,
h ave b ab l to g ath r tog th r a
een e am p l c o ll c t i o
e of u i o ha e e n e e n c r us r
m o i es by o u lt i g t he work s of forei g au thors su c h as M u s rg
n ,
c ns n n o s o
sky f r R o i a R i h ard S tra for G rm a y C yril S ott f r E gla d
u ss ,
c u ss e n ,
c o n n ,
K o daly for H u ga y t c W n c arc ly v

r ,
t u to q ot e M A old
e . e s e en re u r . n:
S cho b rg of V i
en e a who se wo k s ar
en n o far as we are c o c er e
,
d r e, s n n ,
c o mp let ly i t lli gibl

e un n e e .
I n order to recko n wi th so m e o f the p ro c es es of t he m odern

schoo l i t will b e well to ref er to t he h armo n i c seri e :
s
s
H ere wi ll b e fo u n d, w e el e e , the b iv ori gi o f n t i

a c er a n n u m b er of
progression s re p oved by
r c lass c al eac n i t hi g .
X1 1
E XP L AN A T OR Y N O TE S xii i
S om e authors quot ed have willingly h el p ed us to

of t he
make a of their int entions an d to th em we p res ent
pré ci s ,
ou r sinc er e thanks If in th ese not es t he c el ebrat ed nam es .
of M M M assenet D ubois et c et c are not met with it

.
, ,
.
,
.
, ,
i s that th ese mast ers of an in dis p utabl e tal ent hav e doubt , ,
l ess j udg ed that the harmonic innovations with which we
In n o c ase mu st
too d fi it e st at m e ts b e b a ed an y the har e n e n s on
mo c s ri s b c a
ni e e t o ly d th so u d
, e u se, n o a d 1 3 la k p rec i e n o e n s n c s
n ess,b u t t he who l i m ay b fou d to b e m odifi ed by the ma er
e ser es e n nn
wh i h t he o di g bo dy s t i v i b at i o
i ha b ee r q u i it i o ed i all p ossible fash i on ;
in c s un n i se n r n .
Th h arm o i c
f om it h ave b ee ded ced a mb of sy t m m o or l ss mge i ou s
e n ser es s n e s n n s
r n u nu er s e s re e n ,
m ore r l o r o eo u s W e wi ll add oth i g to th ese labo u rs of phy si

ess e r n . n n
c i ts who su rp a s u s i c o m p et e c e b u t li m i t o u rs l v es to a s m p le
ded c t i o wh i h i to b e f ou n d f ormu lat ed i
s s n n ,
e i
u n c s C h ap t er II an d also n ,
p a ti ally i C h ap t er I
r ,
n .
It m ay ot b u s l s an d i any ca e i t will be i t erest i g to run

throu gh the diff re t syst ems th at spra g u p aft er R am eau H ere are
n e e es ,
n s n n ,
e n n .
t he am es of the au thors of
n m of th s treat i e M arpu rg Testori so e e e s s .
, ,
t h Abb e R o si er L v s S org e P ere V all t i Pere S abb at i i the

K i r b erger G ott fri ed W eb er
e us , e en , ,
o ,
n ,
Abb é V ogler K n cht D a b e S ch o t ,

e , u ,
r e er, n , ,
D er de La gle B i h a B erto
o ,
n C at e] d M omi g y B lei
, e c S ch i d r,
n, ,
e n , n, ne e ,
J ele sperg r Fet is t et c W e sto p th i s li t abou t the m iddle of the

n e , , e c .
,
. s
1 9 th c e t u ry at wh i c h p eri o d ap peared the t r at i es k own to all
The n am e o f R am eau dom i at
n , e s n .
th s en orm ous eff ort ; his th eories w re

of all th e e freq u e t ly c o n tradi c to ry syst ems a d rem ai ed
n es i e
the or g i in s n ,
n n
in u es u t il t h c o m
n g f C at el e in o .
A d look in g ov r th ese o lder work s sev eral i t r st i g am s are

Pé re Sabb at i i am o g oth ers who af t er h av i g w o k ed
n e n e e n n e
enc o t
u e rn
ed — . n n ,
n r
wi th Per M art i i p lac ed h im self u der the di rec t i o n of P e e V alott i
e n n r ,
M aestro di C app ella at St A tho y s P adu a V alott i p u b li h ed o n ly . n n
’
, . s
t he fi rst p art of hi t r at i se (D lla S ci en za T ri ca e
s a ti ca d lla M edem a
e e eo c e
M ca lib o p m o Padova 1 7 7 9) a d i t was ab bati ni wh form u
lat d t h h arm o i es o f hi s m ast er Th y did ot fail of a c ert ai n
usi r ri ,
in n o
m oder savo u r a m ay b e j u dg ed by the f o llo wi g :

e e n . e n
n s n
To the c o mm o n cho rd he added t he 9 th a d p resen t ed i t th us n
W e may n otic th at
omm o chord wi th the 9 th added i t i s t
e the c n no
a ho
c rd f h
t e 9 th
o — i oft e to b m et w i th the m odern sc hoo l s n e in
(C h ap I V . It m ay b e an alysed as a app oggi at ura so u ded n n

ag ai t the h armo y ot e
ns n -
n .
To t he c om m o n c ho d he added also the 1 1 t h wh i c h m ay b e an al ysed

r ,
lik e the p recedin g i e as an app ogg iatura so unded at the same t ime
. . .
,
as t he h armo n y n ot e -
.
E X P L AN A T OR Y N O TE S
are conc ern ed wer e contrary to th eir aesth etic p rinci p l es

, ,
an d sav e with rar e exc ep tions

,
th ey have not employed
,
th em .
bb t i i
Pé re S a a n o i g
c m n t t i oo
at leas t wo c en u r es to o s t t
n s a ed
th t i v io of
a t he n ers n a 9 th was a 7 t h o hoo f
So, the m dern sc ty
l req u en l
i v io of ho of
.
p oy
em l b o
s t he 9 th oot
el w the r i n n ers n s rds h p
t he 9 th (C a
i v io o f
c .
III hy v
T e u se e en t he 4 th n ers n ho of
the c rd t he 9 th,
po o i p t i b by
r n u n c ed m rac c a le i l th o i t
the class ca e rs s h p III
(C a
. .
[1 1 ]
h p XI
C a .
2 ST D U Y OF M OD E R N H AR M ON Y
In the mi ddl e ages all t he chants an d m elo di es were

accom p ani ed at the fifth or at the fourth ; the di fferent com
b in at i on s which th ey form ed were designat ed by the g en eral
name of Organ u m On this su b j ect H u cb ald wrot e with
Y ou will see a s uav e harmony b orn of this
.
“
enthusiasm :
combination .
Nos q u i vi - vi -mus b e -n e di ci m us D o mi -
nu m
Tu pa - tri s sem pi - t er - n us es fi li us
L ittl e by littl e cons ecutiv e fifths were abandoned an d at ,
t he comm enc em ent of the 1 4 th c entury we fi n d th em for

bi dden by Jean de M uris W e must say that G eva ert has .
attributed th eir first p rohibition to Ti n c tori s in the 1 5th

c entury Nev erthel ess Jean de M uris is v ery exp licit with
.
,
regar d to succ essiv e fifths .
The mast ers of the p erio d w hich immediat ely p r ec eded

ou r own have car efully avoi ded th em Nev erth el ess , th er e .
are few authors in w hos e w orks som e are not to b e met w ith .
H i stoi re de la M a si gn e M oderne, M arcillac (F i schb acher) .
Kiesewett e has disp u t ed the p actical exi t e ce of Org a u m

r r s n n ,
seei n g i i t o ly an ab e ration of the th eo ist G chi cht der e pc

i sch—
n n r r . es e u ro e
ab n dli echen
e r u s er h
o ti gen M u si k 2n d ed (Leip si c )
n r eu Fro m
, . .
all t he ev i den c e i t app ea s th at he was m ist ak en a d th at su cc essi o s

of fi fth s we e i n u se i n t he M iddle Ag es
r ,
n n
I n t he c o u t ry c h u rch es wh e the f ai th fu l si ng i n un iso n i t often

r .
n ,
n ,
h app ens that some amo n g th em ac co mp an y the women s vo ices a 4 th ’
b elow an d the men s voices a 5 th above ; that is the old Orga u m M

’
n . .
Lav i gn ac has n ot i c ed as we h ave a d has j st ly remark ed (La

M asi g et le M u si ci en s D el ave) th at the fi fth a d t he fo u th are
, , n u
fi fth g fou th
ne s , r ,
n r
the in t e vals whi c h mo st resem Ie the o c t ave : o c t av e
r ,
r
It is prob ab le t hat th ese p easan ts lac k i ng mu sica l educat i o n , ,
imag in ed themselves sin g ing at the oc tave or uniso n with the other
v owes .
S TUD Y OF M OD E R N H AR M ON Y 3
W e may quote the follow ing exam pl es :

ROS S N I I . W i lli am Tell .
(2 n d A c t .
)
An da n ti n o .
B EE TH OV E N . E roi ca S y mphon y .
(1 st m oveme t )
n .
It i s i t ti g to ot the c a that B eethov ha take to allo w

n eres n n e re en s n
th
e re c o ll
ecti o f a h fifth to be lost befo attac ki g a othe
n o e c re n n r .
S CH U M ANN ,
Op 2 6 . . F i n ale .
4 ST UD Y OF M OD E R N H AR M ON Y
Here are som e fragm ents of mo dern works: The succ es

sions of fifths h er e are used un der t he conditions which are
summarised at t he end of the chapter .
C LA UD E DEB US S Y . Chansons de B i li ti s .
( F mon
ro t , P ub r ) .
L en to . L en to .
(1 ) Len to: The 5 th d o bled pro ceeds by o trary m ot io n

u ,
.
c n .
(2 ) Len to: S e era c v l o ecu t iv e fifths by disj un ct m ot i on

ns .
S tudy of M odern H arm o n y .
L en to .
(3 ) (4 ) (5 ) (6 ) S ee the “
D edu ct i ons p age 1 1 .
C H K OE C H LI N L es reves morts Op 1 3 , No 2
. . . .
1 7 61 3 57 ? rou ge Op 1 3 . . ~ (R ou art St L erolle, P u b r ) .
, Moderate
An dan te
.
.
d 2
(7 ) Fi fth s betwee n the i n n er p arts wi th con trary motio n of the u pp er

,
t
F i f th
par .
(8 ) s b etwee n the i n n er parts .

ST UD Y OF M OD E R N H AR M ON Y 5
A L E XA ND R E G E OR G E S . H y mne au solei l .
(E n oc h , Pu br ) .
(9 ) C hro mat i c fifth s .
S AM UEL RO US S E AU . La Cloche da R hi n Pa g e 11 .
(Chouden s P ub r ) , .
An dan ti n o .
ifth s by C hro m at i c t p s; o mmo n

.
(1 0) F s e the 3rd i s c to the t wo

c ho rds .
G FA. UR E . L e S ecret . P ri son .

( J . H amelle , P u b r )
.
Adagi o .
(1 1 ) F ifth s w i th similar m ot i o n i n all t he p art s .
(1 2 ) F i fth s b etween the o u ter p art s wi th psimilar m ot i o n i n all t he

pa t r s .
'
S A NT—S A ENS
I . 5 th P i an of orte Con certo . (D u ran d P u b r ) , .
An dan te .
p erforman ce the li st en er can n ot bu t n ot i ce an imit at ion of per

(1 3 ) I n
eu ss on i n st ru m en t s u sed l t he E ast Orga i st s who h av e t ak en p art
i n p erform an ces o f t he O atori o s an d C a t at as of H an del an d B ach
i n . n
u der t he direc t i o n o f G ev ae t k o w th at eru di t e m u si c an f orb ade the

r n ,
use of mu t at i o n sto p s fi n din g th at t he art i fi c i al h arm o n i c s c o n fli c t ed

n r n i
,
wi th the n at ural h arm oni cs o f the Orch est a

,
The u se wh i ch M r . .
S ain t Saens m ak es of th em on t he p i an o (so u n ds 3 5 ) i s both ori g in al

an d pi q u a t n .
D EOD A T de S EVE R AC . Un revs .

(Edi ti on mu tu elle ) .
Tres c alme .
(1 4 ) Fi fth s b etween o
t he l wer p arts wi th ob li q u e mot i on
, of an in n er
p art .
R E NE L E NOR M A ND . P i eces exoti qu es .

(J H amelle P u b r )
.
, .
Moderato .
(1 5 ) Fi fth s c au sed by the m e l odi c ou tli ne; c o tai

n n ed w ith in t he
i i ts of the o c tave
lm .
E . M OR E T . P ré ludes, (N O .
(H eu g el, P ub r ).
An dan te con an gosci a .
(1 6 ) C hord Of the 6 th an d 3 rd arran ed so g th at the 3rd i s above the

6 th, w hi ch c au ses the f fi th b t
e ween t he t wo u pp er p arts .
8 ST DU Y OF M OD E R N H AR M ON Y
E . M OR E T . I n terlu de . I mpressi on de n ei ge .
(H eu gel , P u br )
.
(1 7 ) C o n t inu ed i n
t he sam e m ann er for se era v l b
ars The fift
hs .
here do n ot resu l r m the tfo p og io of p t h o i

the ar s i n the arm n c
fif th o t i o y
r ress n
ti It
i s a mel d ac c m an ed o y o p i by
the c n n u usl The
i t v i fi it y p t
ssu e . .
o
s un d of
the sam e n er al n de n el re ea ed c auses m n o oto y
n In .
the p t c ase, I mpressi on de n ei ge, t he e f ecf t i t

i s n en ded b y the
fifth vok f tiv y
resen
au tho r, an d t he s e e e f ec el o b
the s m re m elan c ho y
l of a
sn owy day .
CL A U DE D EB U SSY . H ommage a R ameau .

(Du ran d (P ub r )
, .
(1 8) et c . S ee the D edu c t i o ns, p age 1 1 , No 3 . .

page 9 .
(23 ) F i fth s w i th the b ass ,

p i t ed i oth er p art s
du l ca n .
I
S A NT S A E NS
- . L e P as d A rmes da R oi J ean
’
.
(Du ran d P u b r )
, .
An i mato .
Moi -n
es,V i er-ges P or t e o t
r n D ez
gran ds i g
c er es S u r so n fo t
r n
we sempre
(24 ) Th is work was c om p osed i n 1 85 2 (wh en the c om p oser was 1 7

y ears of age) an d pu blish ed i n 1 85 5 The fifths are i n t en ded to g iv e
.
an impression of b ells .
ST D U Y OF M OD E R N H AR M ON Y 11
D ED U C T I O N S
Without any intention of formulating n ew rul es we may , ,
b y gen eralising from t he for egoing instanc es deduc e t he ,
f ollo wing in dications ha ving s p ecial relation to t he mo dern

styl e .
Two or more fifths in succ ession in similar an d ,
c on j unct motion are r ea dily us ed i n t he two lo w est p arts

*
, ,
w h er e t he u pp er p arts p roc eed by contrary or obliqu e motion .
also used i n t he two lowest p arts a ecom

Th ey are ,
p an i ed by S imilar motion in all t he p arts T h es e succ essions .
o f fifths are g en erally short an d will b e so much t he b ett er ,
if some p r ecautions are taken as to the mo de of app roaching

an d l eaving th em e g ,
. .
i
( ) T.h e last fifth a pp roach ed by d is j unct motion with
a not e in common b etween t he chords .
The fifths p r o c eeding by similar an d conj unct motion ,
t he last fifth accom p ani ed by som e contrary motion

in the u pp er p art .
iii
( ) S ucc. e ssions o f fif ths which t erm i nat e by similar
motion are met with ; but th ey are more rar ely
f ound .
Us ed in t he u pp er p arts th ey may be p r es ent ed in

t wo ways :
( ) Bare fi fths
i Th ey are thus v ery promi n en t
'
.
,
an d a numb er cannot b e h ear d in succ ession w ith

ou t monotony I n alt ernation with oth er int ervals
.
that effect is modifi ed .
Classi c al t ea h i g
c n adm its the p o sib ility of
s c er a nt i fifth s by se mi
to ne .
TH D . UB OI S . N otes et é tu des d harmon i e ’

. Pa g e 97 .
( H eu gel, P ubr .
)
o
T lera le, b v e en for t he s u den , t t by
plac mg th em in o
t he l w es ar s
”
tp t .
(Th D ub s) . oi .
T his work c o m plet es th T ait é d R eb r a d o e or oth er m ay

e
“
r e e ,
n n
alwa ys b e c o sult d f r ev ryth i g wh i h lat to cla i al t c hn i q e
n e o e n c re es ss c e u .
I f t he thir d is a dded a succ ession of chords of three

,
not es in root p osition i s giv en ; the adding of t he

lower octav e of t he fifth giv es a chord of a di s
p osition sp ecially suit ed to t he p ianofort e an d of
,
great sonority .
Fifths are of good effect in the inner p arts part i cu

,
larly w h en th ey are associat ed with contrary motion in t he

oth er p arts (7 ) If th ey r esult from chords of the 6th an d
.
3rd with t he p arts doubl ed (a combination p ractis ed for

many y ears ) th ey los e som e of t heir charact er
,
.
Th ey are mor e rar ely us ed b etw een t he extr em e p arts

by similar motion in all t he p arts .
By dis j unct mot i on th ey are r eadily used with not es

in common between t he chords .
C hromatic fifths may b e freely us ed .
If a long succ ession of fifths is giv en in t he lower

p arts th ey c eas e to form a p art of t he harmoni c tissu e
,
.
(23)
Th ey may al ways b e used wh ere the comp os er has
a definit e aim but th ey are still forbi dden
wh enev er th ey are t he r esult of awkwardness or lack of
skill in w ritin g ; a p rohibition mor eover which may b e
, ,
app li ed to any int erval what ev er .

ST UD Y OF M OD E R N H AR M O N Y 13
C HAPTE R II
CHORDS OF THE SEV ENTH
On e knows that by r esolving a chor d of t he s ev enth on a

chord a fif th b elow , what is call ed t he natural r esolution is
obtained Under t he nam e of exc ep tional r esolutions many
.
oth ers are used, eith er by r etaining t he sev enth , or by making

it ris e or fall by conj unct degr ees , an d p roc eeding to any
oth er chord but that of a fifth b elow W e fi n d t he r eci p e .
for th es e r esolutions in all tr eatis es on H armony .
The mo dern school has f urth er enlarg ed t he circl e of th ese

r esolutions by making chords of t he sev enth mov e by similar
an d con j unct motion in all p arts , asc en ding or desc en ding .
W e may add that , usual or exc ep tional , th es e r esolutions

may be ma de by int erchange of p arts AS we S hall see, all .
modern authors writ e th es e succ essions *

.
h
T ese res lu o tio
n s m ay fi n d th eir origi i f n ot th i j u st ifi cat i on
n, e r ,
io
i n t he su c cess n of t wo n es ot by o j c t m ot i on Tak i g for example
fi t h arm o i cs as follows
c n un . n
,
t he soun d of C ; we a e t he rs h v n .
T hus a p ract ised ar will di ti gu ish the Odd h armo ic 3, 5 an d 7,

as tho se wh i h gi v t he f o llo wi g hord of t he 7 th
,
e s n n s,
c e n c
mak i n g om e res rvati on

s e
as to t h j t i to atio
e us n n n
of t he so d No 7 un . .
I f aft er the n ot e C , we o
s und th at of D, i t p rodu ces a n ew series O f
harm o i
n cs :
4 5 6 7 8 9 0
EX A M P L E S
G FA. URE . L e p arf u m i mp é ri ssable .

( J . H am elle, P u b r ) .
An dan te .
(1 ) Su ccessi on
by o j ct m ot i o n , desc en din g , of t wo th ird i
v r io s of the c ho d of the
c n un - n
e s n r
The sm al l alwa s y i di cat es

n the presen ce of t he lead n i g n ote .
(Tran sla tor ) .
T s h i gi v s u s a
e n ew c ho rd of the 7 th (W i th t he same reser a i v t on
for t he s oun d No .
The D c m o i g imm di at ly aft

n e e er the C , the fi rs t cho rd is su c c eeded
by t he sec n d o by imilar a d c o j s n n un c t m otio n in all t he p arts :
M odern
omp o r m ay th r fo all g th at th ey do n oth i g bu t
c se s , e e re, e e n
work i the m o uld w hi h Nat r i di at

n to th m It i a i di at ion
c u e n c es e . s n n c
that i ot easily se i t is t u b t f whi h v rth les a oun t
s n en , r e, u o c ,
ne e e s, cc
may b e t ak e n .
If co ti u i g to ac p t th oun d 7 as a min or 7 th th h armo ni c

, n n n ce e s , e
n i th is added a s c e i o
n of ho d of th 9 th will b e obtain ed by
,
u c ss n c r s e
co j ct d grees
n un e
E CH A
. U S S ON . S erres chau des . Pa ge 6 .
(R ou art et L et olle, Pub r ) .
(2) C hords of the 7 th by c o ju t

n nc m ot i on h y
T e m ay als b e
. o
an aly sed as (a) o rn am en t at i o n
,
of th
t he 3 rd, 5 an d 7 t h, t he success n io
of t wo c ho rds of th e 7 th, how ve er, rem ai i g n n .
S AM UEL RO U S SE A U . L a cloche da R hi n . Pa ge 1 35 .
(Chou den s P u b r )
, .
Calmato .
It ma be ob j ct ed th at i f s v ral ot s a h eard imulta ou sl y

e e e n e re s ne ,
they pr u c so m a y s e of h a m o i cs th at t h mixt r red
n eri es t her n e u e u c es
importan ce of th ab ov e d du ct io s That i s tru e a d th erefore we
e e n .
, n ,
g v th em o ly as a theoret cal su gge t io

i e n i s n .
(3) (a) (5) C hords of the 7 th by c o n ju n c t degrees (0) E i s an .
a p ogg iat ura (6 ) C h an g e of the c hord o n t he reso lu t i o n of the a

p .
ppog
gi atura .
(E tt for F ) .
(4) S ec on din ve io s o f the c hord

rs n of 1 m ov in g by c o j u c t
n n
degrees an d si m ila m ot i o n i n all the p a t
r r s .
page 1 38 .
(5 ) Su c cessio n s of secd n o n i ve si o s o f c ho d of the 7 th by c o j u n ct

r n r s n
an d s imi la m ot io
r n i n all the p a t s The p ese c oi the 9 th i n t he
r . r n e
u pp e p a t do es t h a ac t e of the su c ce o _
r r n o t al er the c r r ssi n .
pag e 59 8 va.
Passin g chords .
G FA . URE . L e p arf u m i mp é ri ssable .

(J . H amelle, P u b r ) .
An dan te .
(1 0) R esolu t i on by i t
n erc h a ge of p art
n s .
( 0)
1 2
A p ecu li ar ch arm resul ti gn f om
r the very f ree movemen t of
t he p arts .
G FA
. U RE . A di eu .
(D u ran d, P u b r ) .
(1 1 ) R esolu t i on by in t erc h a g of p arts

n e .
G
‘
. F A UR E . L e secret . Au ci meti ere .

(J H amelle Pu b r )
.
, .
Adagi o . An dan te .
(1 2 ) R esolu t i on by in t erc h an ge of p arts .
(1 2 ) R eso lu t i o n by i n t erc h an g e of p arts

2
.
E C HA B R E R
. I . Le roi malgré lu i .
(E n oc h , P ub r )
.
p ag e 52 .
(1 3 ) l st in versi o ns of th ho e c rds of the 7 th, mo vi g by tep

n s .
L EON M OR E A U . Dan s la nui t .
(1 4) Su cc essio ns of the sec o nd in version of c hords of t he se v en th .
S t u dy of M odern H arm o n y .
Allegro .
(1 5 ) Chord of the 7 th of the 4th Sp ec i es mi x ed with the oth er

20 ST UD Y OF M OD E R N H AR AI ON Y
S t dy of
u M odern H arm o n y .
Tree len t .
(1 6 ) C hords
of the 7 th of th fi r t p i e by im ila a d c o j ct e s s ec s s r n n un
m ot i o i all t he p art
n n Th r a to b fo d i C hopi a d S h
s .
*
e e re e un n n n c u
ma nn so m s e i o of ho d of th 7 th m ovi g by st p
u c c ess ns c r s e n e .
C H AB R E R I . B ri sei s . Pa g e 28 .
(E n oc h , P ub r ).
(1 7 ) S u cc essi o n s of t he fi t i v
rs n ers i o of c ho
n rds of t he 7 th of the
fi t
rs sp ec esi .
It will b f
e u se u l to rec all he re the c l se
- o of t he 2 1 st M azu rk a of
C ho pi ; n
S T UD Y OF M OD E R N H AR M ON Y 21
CLA UDE DEB US S Y . P elleas et M eli san de

’
.
(D u ran d P u b r )
, .
Tres m dé ré
o .
Et vo i ci des t rac es de san g .
(1 8) S u c c essi o n s oft he 3rd i versio n of

n the c hord of the 7 th of the
1 st s p ec ies wi th t al ered 5 th .
p ag e 84 .
c es pe —
ti t es m ai n s
-
.
(1 9 ) Su c c essi o n of the 4 th inv ersi o n of ho c rds of the 7 t h by c on
ju n c t degrees (see p rev i ou s n ot e) .
an d als o th is bar of S h c u m an n , S cherzi n o Op 2 6 , NO 3 . . .

22
‘
S T UD Y OF AI OD E R N H AR M ON Y
(20) S u c cessio ns of 3 rd in ve sions of v a io us k i

r r n ds o n a p edal
.
CLA UDE D EB USS Y . P elleas et M eli san de . D u ran d, P u b r ) .
pag e 2 60 .
An i m é . Et j
e vou - drai s sa
J6 vou drais to de man -der .
(2 1 ) Su ccessi o ns of c hords Of th e 7 th of the 3 rd sp ecies by con j un ct

degrees .
ST UD Y OF M O D E R N H AR M ON Y 23
page 1 1 4 .
3 rd 2 n d l st 4 th
. . . .
(22 ) S u c cess io ns of i v n ers io ns of the fo ur s p eci es of of the

7 th .
pag e 10 . Ani m é .
(23) C ho rd o f t he 7 th wi th the 6 th rep lac in g t he 5 th .
i o
The m n r 6 th a h vi g th am o d asth a gm ted 5 th we can
W
n e s e s un e u en
y
an al se the c rd as ho a c ho rd of t h I th m t d 5 th T h is
fi
a g e e e i u n .
exam le p
n ds a lac e p h ere o ly for t he p urpo e of Showin g the cause of
n . s
NO 6 of the D edu c
. tions .
A BR
. UNE A U . M essi dor . P ag e 2 80 (Chou den s P u b r ) , .
(24 ) S u cc essi o n of
hord of the 7 th by o j u c t m ot io of
t wo c s c n n n
the bass a d of the 7 th b u t wi th tw n ot
n i omm on ; we men t i o
, o es n c n
thi s because of the moveme t of the t wo ve th s n se n .
M R AV EL
. . S u r l herbe
’
.
(D u ran d P u b r ) , .
len t )
.
G evin de C hypre est e qui s x

tres exp ressif .
(25 ) (a) I n v ersi o n s of the c ho rds o f t he 7 th m ov in g by semi ton es .
(b) P assin g n ot e .
(6 ) G is an app oggi atura .
(d) P ed al .
G FA. U RE . L a bon n e Chanson . No 5. . (J H amelle P u b r ) , .
0 m oderate .
CL A UD E DEB US S Y . P elleas et M eli san de . g

Pa e 26 .
(2 7 ) C hords of t he 7 th of p ecies movin g by c on j un ct a d

the l st s , n
sim ila m ot io n , wi th
r an in v ert ed p edal wh ich n ote i s an in tegral p art
,
of all the c hords .

26 ST UD Y OF M OD E RN H AR M ON Y
D EDU CT I O N S
W ecannot r ep eat too oft en that w e have no int ention of

formulating t he rul es of a n ew technique In sayi n g that .
mo dern com p osers u se succ essions of chor ds of the s ev enth

u n der t he following con ditions we limit ours elves to oh ,
serv ed facts .
Two or mor e chor ds of the s ev enth o f t he first s p eci es

may p roc eed by step (either of a tone or a semitone) an d by
S imilar motion in all t he p arts asc ending or desc ending , ,
eith er in root p osition or in th eir inv ersions .
C hords sev enth of t he s econ d sp ec i es whilst

of t he ,
th ey may p roc eed un der the sam e conditions as thos e of t he

first sp eci es do not give so satisfyi ng an im p r ession The
,
.
more they are associat ed with other S peci es t he bett er they

sound .
C hor ds of t he sev enth of t he thir d S p eci es are used

under t he sam e conditions as chords of t he di minish ed
s ev enth .
(28)
The first inv ersion of t he chor d of t he s ev enth of t he
fourth s pe ci es l ends its elf b ett er than oth er p ositions of that
chor d to succ essions by conj unct an d S imilar motion p ar
ti cu larly by st ep of a semiton e Nev erth el ess mix ed with
.
,
other s p eci es it i s us ed as th ey are in t he root p osi tion as

, , ,
well as invert ed .
In all t he foregoing succ essions it must b e notic ed

that the disp osition of t he p arts p lays an imp ortant role ‘
In the inv ersions t he int erval of t he s ev enth is p r eferr ed to

,
that of t he s econd although that arrangem ent may be

, ,
p racticabl e .
C hords of t he sev enth with an augm entation of t he

fifth may p roc eed in desc ending by simi lar an d conj unct
, ,
motion .
As t he augm ent ed fi fth is t he enharmonic of t he mi nor

S ixth ,
th es e int ervals are of ten writt en int erchang eably .
(7 R esolutions by int erchange of p arts are r ea di ly us ed .
It suffic es that t he
not e of r esolution b e h eard in any on e of
the p arts whatso ev er .
C HAP TER III

CHORDS OF THE NI NTH *
C hor ds ofninth hav e like chor ds of the s ev enth th eir

t he , ,
natural r esolutions an d thos e call ed exc ep tional Both are .
found in all tr eatis es on harmony an d hav e b een exp loit ed ,
by all com pos ers W e w ill conc ern ourselves now only with
.
t he r esolutions which b elong to t he mo dern school v i a : ,
t he succ ession of two chor ds of t he n inth moving by st ep an d

in similar motion in all t he W e will add to th es e
s ev eral r esolutions littl e us ed in t he classical t echniqu e .
The r esolution of t he ninth u p on another such ninth by

conj unct mov em ent o ff en ds t he s ensibiliti es of many musi
eiaus ; it is c ertain that two bar e ninths in succ ession are
unp l easant ; but they are not at all disagreeabl e an d t he ear ,
acc ep ts th em readily i f the com p l et e chord of the ninth is

,
us ed as it occurs in t he harmonic s eri es :

,
In all the succ essions which f ollow , t he dis p osition of t he

p arts is v ery imp ortant .
The Fren c h t
rea ses of R e er-D uti b
s an d of D u ran d rec bo i
n se og i
b u t on e c rd ho oft he n n ( i th
m a r or m n r) jo
M G e aer i n hi s i o v t
fo p i
. .
Tra it é ’ ”
oi P b h
d harm on i e (Lem n e, u lis er) , has adm ed u r s ec es : i tt
C hords of the 9 th of 1 st Chords of the 9 th of 2n d C hords o f C ho rds of
S p ec ies S p eci es the 9 th of t he 9 t h of
W i th m aj o r wi th m in o r w i th m ajo r i th m i n o r Wt he 3rd t he 4 th
n i n th . n in th . n in th n in th
. S p eci es sp ec i es
. . .
See C h ap t er II , Chords of the Sev e th n otes

n , on t he h armoni c
seri es .
EX AM P L E S
G FA . URE . P ri son .
(J H amelle, P u b r
. .
,
! u asi adagi o .
(1 ) Su c c ess n io o f
t wo hords of th
c e maj or 9 th of the fi
rs t speci es ,
m ovi n g by the des cen t of a m ajo 2 d r n .
G FA
. URE . L a bon n e Chanson . (J H ame11 e P u b r )
.
, .
o f two cho d of th mi o 9 th of th fi t Sp ci es
(2) (a) Su cc essi on r s e n r e rs e ,
t h fi t m ov in g to the s c o d by t he desce t of a m i o r 3 rd m erely

e rs e n n n ,
by ch a g of rootn e .
CL A UDE D EB US SY . Chi ldren ’

s Corn er . (D u ran d, P u b r ) .
(3 ) Chords of the 9 th pro ceedi g by m in or th i

n rds u pwards .
C LA UDE D EB US S Y . Chan son s de B i li ti s .
ions of c ho of p ecies
~
(4 ) Su c cess rds the 9 th of the 1 st an d 2 n d s .
CL A UD E DEB USS Y . Chan sons dc B i li ti s . F

( ro mon t , Pu b r ) .
(5 ) C hords o f th e 9 th p o ceedi g by ch om at ic
r n r sem i ton es .
CL A UDE DEB US S Y . Chan son s de B i li ti s .

( F mon
ro t , P u hr ) .
(6 ) C o mm o nhords wi th app oggiat ura r c hords of the 9th wi th

c s, o
pass g otes Wh ch ev r i t erpretati o b e ado p t ed th ere i s a su c
in n . i e n n ,
cess o
i of chords of t he 9 th p ro c eedin g by th i rd u p wards
n s .
CL A UDE D EB US S Y .
'
P elleas ci M eli sande . g
Pa e 23 3 . (Du ran d, P ub r ).
(7 ) Chords of the 9 th an d the 7 th alt ern at ely by , c o n j un c t mot io n .
(a) 4th sp eci es (b) 2n d sp ecies (0 ) 4 th sp eci es

. . .
page 232 .
A n i mé .
(8) f
(a) C ho rds o the 9 th p ro c eedin g by 3rds down wards .
(b) C hords of t he 9 th p ro c eedin g by 3rds u p wards .
(c) C hords of t he 9 th p ro c eedin g by c o n j u n c t degrees .
(9 ) C ho rds of the 9 th by desc en din g m aj or seco n ds .
p ag e 242 .
Chords of the 9 th by ch o mat i c degrees

r .
F L ORE NT S CH M TT I . L a Tragedi e de S alome . Ja q

( c u e s D uran d, P ubr )
.
(1 0) I v ted
n er ni nth s (k ys of B m i or and
e n A m in or) on t he un
raised 7 t h degree , wi th do m i a t p edal n n
F L OR E NT S C H M TT I . L a Tragé di e de S alome . (J ac q u es Durand, P ubr ) .
Dan se de l Efiroi
’
’
.
(1 1 ) 4th in v ersion of the chord of the dom in an t 9 th (key of G maj or) .
F L OR E NT S CH M TT I . P salm X L V I .
(12 ) 9 th wi th maj or 7 th (th at is, the c hord of the 9t h of the 4th

Spec ies) .
‘
F L OR E NT S C H MI TT . Troi s rapsodi es .
(D u ran d, P ub r ) .
(1 3 ) (a) Nin th w ith dou ble alterat io n an d an t icip at io n i n t he u pp er

p art .
(1 4 ) (a) (b) C ho rds of the 9 th o f wh i c h t he root an d the 9 th

an d
ppear at f
t he in t erv al o a7 th from on e an oth er by t he 9 th b ein g b e
e
ow the r oot .
F L OR E NT S CH M TT I .
! ui ntette p ou r pi an o et c ordes .
(M athot P u b r )
, .
Modéré .
(1 5 ) (a) D o m in an t 9 th c om plet e wi th , , t
added, al era tio ns of the 5 th
an d t he 7 th .
L en t .
(1 6 ) R esolu t io n O
f t he 9 th .
CH . K CE C H L I N . Chant de K ala N ag .
(R ou art L erolle, P u b r.
)
ho d of th 9 th p ro eedi g by st ep at
C r s e c n (a) an d by di mi i h ed
n s
4 th at (b) wi th a ot e i c o mm o
n (F#
n Gb) n . .
.
S t dy of M od
u ern H arm o y n .
1 9) (a ) 3rd n ers n si v io of the chord of th e maj or 9 th p ro ceedin g by

tp ho to
(w le n e)
i v io o f hord of the 9 th
s e .
(b) 3 rd n ers n s t he c ,
m aj or an d mi n or, pro ceed
i n g by t p ( emiton )
s e s e .
(20) Su cc essi o n , by de sc en d ni g m iton e,

se of 3rd in version s o f chord
of t he m in o r 9 t h
.
C H K (E C H LI N
. . P relu de .
(2 1 ) S u c cessio n of l st i n versions o f chords o f the 9 th by con j u n c t

degrees .
E . C HAB R ER I Le roi malgré lu i (E n oc h , P ub r )

.
E . C HA B R E RI Le roi malgré lu i .
(E n oc h P u b r )
, .
M R A V EL S u r l herbe
’
. . .
(D u rand P u b r )
, .
(24 ) (a) The 9 th again st t he root i n the u pp er p arts The r oot t ak es

!
t he c h a a t r of a p edal i
r c e n an i n n er p art .
Altho u gh the fo
go i g ex p lanat io n i s
re n
t h b tt er o e i t may al o be o idered
th at i t is the G wh ic h fo rms the p edal
e e n ,
s c ns
.
M R AV E L
. . L heu re
’
esp agn ole .
(D u rand P ub r )
, .
Le peti t 60
”
l oi seau
38 ST UD Y OF M OD E RN H AR M ON Y
(a) P edal on F lt .
(b) C hords of the m in or 9 th wi th al ered t 5 th pro ceedin g by se mi

ton es .
P edal i n inn er p art on Fh t ak en a d q u itt ed regularly on an

(6 ) ,
n
in t egral n ot e Th at m ak es a dou ble p edal F it
(d) It i s i n the m i d of t he c o m po ser to c o n sider the n otat ion of t he
.
,
so n g o f t he b i ds as a pi c t u esq u e extra mu si c al eff ec t

n
r r ,
Part i cu la ly-
. r
i s th i s so i th at w h i c h c o c ern s t he fi st p assag e (P et i t C o q ) of w h i c h
n n r ,
t he ot at i o i s o ly approxi m at e
n n n Th i s sou n d wh i ch p e h ap s app oxi
.
,
r r
mat es to th at Of p e cu ssi o i stru m en t s i s p ro du c ed by t he reed of t he

r n n ,
dou b le b assoon sep a at ed fro m t he in st ru m en t

r .
M R A V EL
. . M i roi rs .
(N octu elle) .
(26 ) Chords of the 9 th by c on j u n ct m ot i on at (a) ,

an d by u p ward
3rd at (b) w i th app ogg i at u ra an d p assi n g n ot es
,
.
G F AU R E
. . Theme et V ari ati ons . (J H amelle , P u b r )
. .
(27 R es lu o t ions of cho rds of th e 7 th an d of the 9 th by 5th down wards .

ST DU Y OF M O D E R N H AR M O N Y 39
S tudy of M ode rn H arm o y

n .
C o mb in at i o n of c hords of the m aj or a nd m i n or 9 th i n progression by

tp
s e .
(S ee D edu c t io n s No .
o t io ns a d u cc
R es lu n s ion s of chords
ess of the 9 th (wi th or w i thou t
alt erat i o of the 5 th)
n .
S t dy of M od
u ern H arm o y
n .
f f
C hord of t he di mi n i sh ed 7 th i n ou r dif eren t form s, by ch an g in g t he
root This c o mb in at i o n b el on gs to t he classi cal t ech n i q u e, as well as
.
to m odern h arm on y .
40 ST UD Y OF M OD E R N H A RM ON Y
D E D U CT I O N S
M or e than ver we mu st rememb er that the gen erali sa

e
tions w hich follow are deductions founded u p on t he work of
mo dern comp osers
m
.
(A) T w.o chor ds of t he a j or 9 t h of t he first s pe ci es ,
i n root p osition may p roc eed by conj unct degrees (ton e

,
or s emiton e) asc en ding or desc en ding by S imilar motion ,
in all the p arts *

.
Asc en ding :
D esc en ding :
b t g t
The es arran em en
p t th t of
of t he ar s i s a
h o i
t he arm n cs
B
( ) . T w o first inv ersions of chor ds o f t he ma j or ninth of
t he first S p eci es p roc eed l ess easily un der t he sam e con ditions .
Th ey are n ev erth el ess (2 1 ) p ossibl e w ith careful dis p ositio n

, ,
of t he p arts .
S econ d inv ersions l en ding th ems elv es to smooth arrange

,
m ent of t he p arts p roc eed easily ,

.
S ucc essions of thir d inversions un der t he sam e con ditions

of similar an d con j unct motion are p racticabl e tho u gh a
, ,
litt le har d .
Not i ce th i p a ag fro m t he F i k y pho y :

‘
n ale of S m
’
s ss e F ran c s n
42 U
ST D Y OF M OD E R N H AR M ON Y
app oggia turas antici p ations

et c . b ecome valuabl e chor ds for harmonic r es earch W e
, .
cannot too oft en r ep eat that the more or l ess agreeabl e

so und of thes e p rogr essions dep en ds on t he dis p osition of
t he p arts an d also on t he combination of ton e qualiti es if
, ,
writt en for t he orch estra .
R esolutions may b e sought on all chords (7 .
C hords of t he 9 th of t he s econ d thir d an d fourth

,
s peci es are not in actual fact used very often

they will be us ed in t he futur e without dou b t like thos e of
, ,
, , ,
t he first s p eci es.

ST D U Y OF M OD E R N H ARM ON Y 43
C HAP TER IV
PREPARATI ON OF DI SCORDS
At the p r es ent day all discords may b e a pp roach ed with

ou t p r ep aration It matt ers not what mo dern work we
*
.
may look at to be convinc ed of this W e need giv e th er e .

,
fore but very few

,
SAM U E L R OU S S E A U . L a C loche da R hi n .
(Chou den s, P ub r ) .
pag 89e .
(1 ) C ho rds of t he 2 m ov i g a m aj or secon d n
'
(or di min i sh ed 3rd)

wi tho u t ei th er p rep arat i o or reso lu t i o n n .
page 32 .
C hords of the 2 by c o j u n ct m ot io
n The addi t i o n n . of a vo c al
p art ,
ne verth eless ,
allo ws of an oth er i t erp ret at i o (S n n . ee p . 32 of
the S c ore ) .
For a o g t im e th er
l n e has b een n o q u es tio n of t he prep arat ion o f
the m in o r 7 th .
B E ETH OV E N . S on ata Op 3 1 .
, No 3
. .
On re err n f i g to Ch ap t r X (Whole To e S cale) there il

w l be
f
e - n
x
oun d e am les p of the au gme t d fifth u ed fr ely n e s e .
V D I ND Y
.
’
. L i ed M ari ti me . (R ou art L et olle, P u b r ) .
(3) 2 c hords w i thou t prep a at i on

r .
CH K(E C H LI N E xtract f rom N o 4 (Ep i taphe) of E tu des A nti ques

h h
. . . .
(S u i t e S y mp on i q u e) (un pu b li s ed) .
(4 ) (a) 2 chord s w ithou t p ep aratio

r n ; n oti ce also
an d t he fals e r lat i o
e n
C H KCE CH L I N
. . Le Vi n .
(R ou art L erolle, P u b r ) .
(5 ) C hord of t he 7 th of the 4 th sp eci es wi tho u t prepa ati on

r .
DE B U S SY . P elleas ct M eli sande . Pa ge 2 .

( Du ran d P u b r )
, .
(6 ) (a) Chords of the 7 th wi tho u t p eparati o n

r .
ST UD Y OF AI OD E R N H AR JIJ ON Y 45
TH E S EC OND
The whol e mo dern school s eems to be hyp notis ed b y the

i nt erval of t he s econd which it writ es at ev ery turn
, .
S om e discor ds which wer e tak en succ essiv ely as su spen

sions as r esolved a pp oggiaturas an d lastly as unre solv ed
, ,
app oggiatur as hav e giv en p lac e to combinations o f fr equ ent

,
u se . In this combination of so unds t he a pp oggiatura is

h eard at the same tim e as t he p rinci p al note which pro ,
duc es t he int erval of a s econ d .
The t wo combinations most us ed are :

1 The sixth a dded to t he C ommon C hor d;
.
This must n ot b e co nf oun ded

-
w ith t he chor d of 2 .
is t he mann er o f its Origin :
S u sp ensi o n . o ved
R es l Unresolv ed App oggi at u ra
App ogg i atu ra . App oggi atu ra so u n ded wi th
.
t he p rin c ip al
n ote .
2 . The ninth added to th eC ommon C hor d;
h v
W e a e alre d
a y p oin ted out (page 9 ) th is c omb in at i on indi cated
by P ere Sabbattmi .
This is not a chor d of t he 9 t h, but is form ed as follows :
Su sp en si o n . o ved
R es l Un res l ov ed A pp oggiatura
App oggi at ra u . A pp ogg i t
a u ra . so un ded wi th
t he h a m on y
r
n ot e
US S Y
.
C LA U DE DEB . Chi ldren ’

s C orn er . (D u ran d, P u b r ) .
8 va bassa .
(a) App oggiatu ra of a E 5 n ot h eard .
(b) G b, a poggi at ura of F .
(c) C hor of E h wi th sixth added

CL A UDE D EB US S Y . I mag es .
(N o 3.
,
M ou vemen t ) .
ST UD Y OF M OD ER N H AR M ON Y 47
(8 ) S u cc essi o n of ho
c rds
o f +4 w i thou t 6 ths wi th
,
p assin g n ot es .
C LA UD E D EB US SY . Chi ldren ’
s Corn er .
(9 ) ( )
a F ppogg iatu
a ra at same t im e a
s the p in cipal n ote
r .
CLA UD E DEB US S Y . Chi ldren

’
s Corn er . (D u ran d, P u b r ) .
(1 0) C o m m o n C hord wi th si xth added .
(b) Appoggi at ura wi tho u t resolu t i o n (see C h ap t er V I ) .
CL A U DE DEB US S Y . Chi ldren ’

s Corn er . (D u rand, P u b r ) .
(1 1 ) 3rd n ers ni v io of
c ho rd of t he 9 t h .
CLA UD E D EB U SSY . P elleas ct M eli san de . (D u ran d P u b r )

, .
p ag e 1 43 .
M ai s on m ’
a di t q u ils
’
n e S ai m ai en
’
t pas
(1 2 ) App oggi atu ras wi thou t res olu t i o n or oth erw i se .
M R AV E L
. . M i roi rs (A lborada ) .
(D emet s P u b r )
, .
(1 3) (a) Fhapp oggiat u ra (on E b) ithou t re olu t ion

w s .
(b) Chapp oggi atu ra (on B b) wi thou t so lu t i o n

re .
(c) G fiapp oggi atura (on Ffi) wi tho u t reso lu t i on .

R E NE L E NOR M A ND . Pay sage pou r les V eber s ’

. (R ou art L erolle, P ub r ) .
(1 6 ) Chro m at i c sc ale a
t j or sec on d wh ich
the m a , c an o lyn be ex
p lai d
ne on the gro un d of i ts h u m oro u s i n t en t i o n .
S AM UEL RO U SS E A U . L a C loche da R hi n . Pa g e 1 .
(Chouden s, P u b r ) .
Grave .
(S ee Ch ap V ) . .
A ND R E C A P LE T . D o, ré , mi , f a, sol
.
(M on de M u si c al P ub r ) .
U
ST D Y OF M OD E R N H AR AI ON Y 51
C ho rds o f th e 7 th by ch ro matic
d ge rees .
The ot o f th p a t i C m aj
n es e r n
ar by t r s app ogg at
e u n as pr i ur ,
1n
ci pal ot e a d p as i g ot es
n s n s n n .
In his H istoire de la M usique I p age

(V o l .
, M .
W oollett quotes som e curious exam pl es from R ameau :
R AM E A U . P lates.
(a) R et ardat i o n o the F it f

f
.
(b) An t i c ip at io n o the to n i c .
(c ) App ogg i at u ra ag ainst the

pri n cip al n ote .
(a ) Orn amen tatio n o f the p ri ncipal n ote and of a t a dat io of the

re r n
o
,
sec nd
.
52 ST UD Y OF JII OD E R N H AR M ON Y
C H AP TE R V
NOTES FOREI GN TO THE CHORDS .
PAS SI NG NOTES . ORNAMENTS .
If fourths fifths s ev enths seconds ninths may b e writt en

, , , ,
as harmony not es by similar an d conj u nct motion on e ,
p erc eiv es that t he mo dern school hav e allowed m elo dy not es -
to b enefit by t he same freedom It will be seen at t he en d .
of t he cha p t er un der what con ditions th ey are now us ed .
S A M U E L R OU S S E A U L a Cloche da Rhi n
.
(Ch d P b ) . ou en s, u r .
p ag e 1 34 .
pag 62 e .
(1 ) (a) Tru n c at ed t u rn i n t he lo w er p art .
(2 ) (a) Orn am en t at io n of t he m aj o r th ird .
S AM U EL RO US SE AU . L a Cloche da R hi n . (Chou den s, P u b r ) .
Moderato .
(3 ) Passi g n ot es i n
n
m e t d fo u rth s
ri e
a d S i xth s
n .
S AM UE L RO US SE AU . L a C loche da R hi n .
(Chou den s P u b r ) , .
p g a e 28 .
Theme de la c loche .
(a) Orn am en t at i on with in e p edal on B

W th i n e a d u pp er p edal o
n r .
(b) Orn amen t at i on i n r n n B .

ST D U Y OF M OD E R N H AR M ON Y
'
pag e 1
(a) G k
,
is a p assin g n ote .
(b) C b E b G fi p assin g n ot es
W th
.
(e) E 3 ap poggiat u ra m akin g i t s resolu t i o n S mult a eou ly

0
i n s i t he
m ov emen t of t he p assin g ot es n .
CH . K (E C H LI N . N é ere .
(7 ) Orn am en t at i o n i n fo rth
u s .
CH . R (E C H L N I . L es M etauic .
(R ou art L erolle, P u b r ) .
(8) (a ) (b) Orn am en t at i o n

by c o trary m ot io ( ) Or ame ts makin g
n n 6 n n
a c hord of t h 7 t h ;e v rth l i th m i d of the c om p oser th se
ne e e ess n e n e
c o m b i at i o
n are wri tt e
ns for th eir so o ri ty wi tho u t c o nsi derat i o
n n of n
m cal g amm ar
uSi r .
C H K CE C H LI N
. . B erceu se p hoque . (R ou art L erolle, P u b r ) .
( )
9 P assi n g n ot es i c hon ds o f t
r he se c o n d — a rapi d su cc essi o n o f
li ght ly p layed fou rth s fo tri g q u art et aga n st susta n ed p arts for
o
r s n i i
voi ce an d fl u t e
C H K (E C H LI N
. . L es M é tau x .
(R ou art L et olle , P u b r ) .
(1 0) (a) F an d A p assin g n ot es n ot preceded by the h armon y n ot e .
C H K CE C H L IN
. . L es R éves morts .
(R ou art L et olle , P u b r ).
Moderato .
(1 1 ) P assin g n otes i n 7 ths .

CH KCE CH LI N
. . B erceu se p hoqu e .
(R ou art L erolle, P ub r )
.
A ndan te c on m oto .
V o x SO O
i L .
se mp re pp
( )
1 2 Passi g n ot es i fou th s an d i n fi f th s by con trary m ot io n
Th i s i s wr tt e Wi th t he eff ec t of t he o rc h est at i o n i n m in d
n n r .
i n r .
C H K CE C H L I N
. . B erceu se p hoqu e . (R ou art L erolle , P u b r ) .
P assin g n ot es i cho ds of t h i th Owi g to t he altera

(1 3 ) (a) n r e n n . n
t i o of the 5t h; the ch aract er of the cho d of t he 9t h i s an n ulled An
n r .
orch e t al eff ect

s r .
C H K (E C H LI N
. . A ccomp agnement .
(R ou art L erolle , P u b r )
.
p o rall
oc .
a me f
s ef - eu i lle en
’
san
tres dou c em en t .
(1 4) Simu lt an eou s orna m en t s by co trary n m ot i o n .

(B y C o mm o n
C hords ) .
D EOD A T D E S EV ER A C . L e ci el est p ar dessu s les toi ts .
L en t .
R E NE L E NOR M A ND P aysage p ou r les V eber

’
. s .
(R ou art L erolle, P u b r )
.
(20) P assin g n ot es i n ch an gi n g o ct av es .
S t dy of
u M o dern H armo n y .
(2 1 ) (22 ) Orn amen ts i n au gme ted 4 th a

n nd 6 ths .
S t dy of
u M o dern H armo n y .
ST D U Y OF M OD E R N H AR M ON Y
cr6 gc0 O
(23) Orn amen t s i n i ve t ed 9 ths

n r .
M . R AV EL . M i roi rs .
,
.
(24 ) Passin g n ot es i n 4ths .
S A NT— I
S A ENS 5 i h C on certo
. .
, .
Motto a llegro .
(a) Passin g n ot es i n fi f ths and seven ths Th ey h ave for th eir .
?l t he p o rtrayal of an ex u b e an c e of j oy wh i c h i s t he c h arac t er of
gp
r ,
i e i ec e .
D ED U C T I O N S
From the foregoin g exam pl es it m ay be deduc ed that the,
M o dern S chool em p loys p assing not es an d ornam ents under

t he following con ditions :
PA S S I NG NO TE S
In s econds in combination with a pp oggiaturas
,
In minor t hirds (C lassical t eaching )

. .
In maj or thir ds C ha p X . .
In fourths
In fifths
In augm ent ed fifths C hap X . .
In S ixths (C lassical t eaching )

. .
In s ev enths
In thirds an d sixths (C lassical t eaching )
. .
In fourths an d sixths C ha p IV . .
In augm ent ed fourths an d sixt hs

In common chords
In chor ds of t he s ev enth
In chor ds of t he ninth
In changing octav es
Without b eing p r ec eded by the harmony not e
OR NAM E NTS
In s econds
In minor thir ds (C lassical t each ing )
. .
In maj or thir ds
In fourths
In fifths C ha p I .
In sixths (C lassical t eaching )

. .
In thir ds an d sixths (C lassical t eaching )

. .
In fourths an d sixths C ha p IV .
In augm ent ed fourths an d sixths

In common chords
In chords of the s ev enth C hap II . .
In inverted chords of the ni nth

C HAP TER VI
APP OGGI ATURAS
C hor d-changing ,
ith er at t he sam e moment as the r eso
e
lu t i on of an a pp oggiatura or during t he continu anc e of t he

,
a pp oggiatura i s a p roc edur e which may b e fou nd analysed

,
i n tr eat i s es on H armony The s u pp r ession of t he not e of

.
r esolution of the a pp oggiatura is a r ec ent p ractic e This .
artific e o p ens a p ersp ectiv e enti rely n ew to lovers Of t he

u nf or es een On e may thus writ e by conj unct degr ees t he
.
, ,
u pp er or lower auxiliary o f any not e what ev er of a chor d ,
an d th en not troubl e about it aft erwar ds But th er e .
must be goo d r eason for having re course to this m eans ; us ed

at all awkwar dly it will easily giv e the im p r ession of i n coher
enc e G oo d taste alon e can s erv e as a gui de
. .
M A U R I CE R AV E L . L es gran ds ven ts ven u s d

’
ou tre mer .
(D u ran d, P u b r )
.
L en to .
(1 ) App ogg iaturas w ithou t resolu t ions .

(S ee C h ap V III , (4 )
. w h ere
t he c o m pl t p a
e e ssag e is a aly sed )
n .
M . R A V EL . S u r l herbe
’
.
(2) Appoggi atu ras w i tho u t res ol t i o

u n .
M . R AV EL . Valses n obles et sen ti mentales . (D u ran d P u b r )

,
.
(3) Th i s f agm t i
r en s c om p o i gle chOd
sed on a s n r
ST DU Y OF M OD E R N H AR M ON Y 63
Let u s n ow see t he p assa e g i th the resolu ti o s of the app oggi aturas

w n
all of whi h r ol t o
c es u i ns tak e p lac e o ly i n b ar A w h ere t he c ho
n ,
r
c h a g es i t p o i t i o :
n s s n
The E (a) an d (b) do es n ot p odu ce

r a c h an g e of c hord It
. is a
p assi n ng ot e in both c ases .
M R AV EL
. . M I R OI R S (Oi seaucc tri stes) .
(D eme t s, P ubr )
.
App ogg i atu ras wi tho u t res olu t i o ns
(6 ) I n wr iti g B it i n place of C2 the resolu ti on on Alt b ec om es q u it e

n
n at spi t e of t he p ese c e o f A i n t he lo wer p art t he o t l

h
0
u ral, i n r n am en a ,
rn
c h a ac t er of wh i c h i s ev de t
.
r i n .
CL D E B
. US S Y . Chan son s de B i li ti S . (F romon t , P ubr ) .
(a) E an a pp oggiatu ra m ak
i n g i ts r eso l t i o n on D at t he
u
o
m m en t of the c h an g e of chord
at (c )
(b) The sam e E (app oggi at u ra)
b ome a i t egral
ec s n n n ot e i n t he
c ho rd of t h i th
_
e n n .
(a) an d (6 ) gi ve
D EOD AT D E S EV ER A C .
(5 ) S ee C h ap V III
2
. App ogg i at u ras wi thou t res ol t ions
u ,
or added n n i th .
C H KCE C H LI N
. . L es R éoes morts
’
.
(R ou art Lerolle, P u b r ) .
(a) pp oggiatura
G, a
wi tho u t resolu t i o n .
(b) D 14 an d F t app oggi

at u ras w i tho u t reso lu
tio s n .
*
(6 ) G fi appogg at
Wi thou t resolu t on
i
i .
(d) B To n i c p edal , .
M ay b e y
an al sed c lass c all i y . S ee the
“
Trai té of Re b er .
66 ST UD Y OF
'
M OD E R N H AR M ON Y
C H KCE C H LI N
. . Le sommei l de Can op e . (R ou art L erolle, Pu b r ) .
L en to .
en serran t u n p en to m ou nt .
a un len t b ai ser
pp mp re
se .
Su r la b ou - c he
‘
sen ti son a me
(a) P edal; (b) F lt p assin g n ot e an d b 9 o E on F it p edal; f

(6 ) gon F a (a) E h P assi n g n ot e ; (e) D fi E s C h Ht app o ggi at u ra
fi ;
.
f
;
c ho rd of t he ollo wi n g c ho rd t ak en at the sam e t im e as the h arm o n y
,
, , ,
n ot es i n t he lo wer 8 v e (j) The same as t he p rev i ou s b ar

.
*
. .
S A I NT S A ENS
‘
-
D éjan i re .
(Du ran d P u b r )
.
, .
(1 1 ) App oggi aturas ho

i n c rds of t he d m n i i ish ed fi fth . T h ey
rep resen t t he a go i of
n es H ercu les on wear n t he a i g f tal t u n i c .
S ee foot n ote o
- n ne xt p ag e .
ST D U Y OF M OD ER N H AR M ON Y 67
F L OR E NT—
S C H M TT I . P sau me X L V I . (M at hot P ub r )
, .
( )
a
(1 2 ) (a) E b app oggi atu ra of the D b i n the fi n al c ho rd (b) .
F oot ote to p ag
-n e 66 .
M O! A R T . L E n levemen t
’
au serai l.
(Tran sla i to n D u rdi lly .
) Pa g e 74 .
D OD (RE ID ?
The appoggi at ura again st the h arm on y n ot e i s of classical u se :

(a) F lt against G (b) E ag ai st F
.
(c) C it again st D
n . .
It shou ld b e n oti ced th at i n the p resen t c ase the ton e q ualit ies are -
diff eren t .
I n q u otat i o n (1 0 ) the h armo n y n ot es are at the o c t av e b el o w .
B E ET H OV E N . F i nale f the 9 th S y mphony

o .
f
H ere i s a c h arac terist ic ex ampl e ro m B eethov en , i n wh i c h the c hord
of t he 7 t h on C tr as app ogg i at ura to t he c ho rd o D m in or i s attac k ed f
at t he sam e t im e as t he latt er, so th at all the n ot es of the scale of D
mi n o r are h eard tog ether
.
.
A LB E R T R O US SE L .
'
B ou rree .
(R ou art L erolle , Pu hr )
.
U
ST D Y OF M OD E R N H AR M ON Y 69
(a) (b) (6 ) lab
(1 3 ) S o m ewh at c om pli c at ed as th ey are i n app earan c e th ese h arm o n ies

(a) (b) (c) are c o mp osed of app oggi atures of t he c hord of C 11 m ajo r (d) .
D EDU CT I O N S
The f or egoing quotations b ear s p ecially on t he un

’
1 .
resolv ed a pp oggiatura As we have sai d, t he u se of t his

O
.
artific e dep en ds only u p on t he goo d tast e f t he indivi dual ;

only musicians in whom is an artistic intuition strong enough
to take the p lace of t he rule S houl d u se it
'
.
(8)
C ha pIII . C ha p IV .
2 It is evi dent that from t he mom ent that it b ecame

.
p ossi bl e to make p rogressions of all kinds of harmoni c

c ombinations by st ep an d by S imilar motion of all t he p arts ,
t he mo dern school fo u nd its elf authoris ed to tr eat appo g

g at u ras simultan eously by S imilar mov em ent un der t he sam e
i
conditions of fr eedom .
It may be obs erved that i f a chord is of the charact er of

”
an a pp oggiatura as r egards all its not es an d if it moves ,
by similar motion th er e results a succ ession of two i dentical

,
chords The first p reserves the charact er of an a pp oggia

tura only by t he natur e of t he neighb ouring harmoni es or
.
by the p resence of a pedal

,
.
70 ST UD Y OF AI OD E R N H AR M ON Y
C H AP TE R VII
ANCI ENT DEVI CES
BAR -L I NES
FALSE RELATI ONS P EDALS .
MEL ODI C I NTERV ALS

I mi t at i on s .
artific e of traditional writi n g t ends to disa pp ear

This .
C ertain com p os ers hav e com p l et ely r enounc ed its u se ; oth ers ,
an d th ey p erha p s form t he gr eat est numb er u se it only to

, , ,
en hanc e t he p iquancy of t he harmonic colouri n g M usi cians .
of a classical education conti nu e to utilis e it with all t he
sim p licity of a school ex ercis e It woul d b e as wrong to .
p roscrib e it entir ely as to abuse i t All that can contribut e .
to t he r ealisation of the art istic i deal conceiv ed by t he

comp oser it i s goo d to u se .
S equ en c e s .
For lon g in t echnical studi es an exc essiv e u se was ma de

, ,
of s equ enc es a matt er w hich can only b e r egar ded as de

,
p lora b le for it inculcat

,
e s in t he p u p il a tast e for easy
formulas The Sequ enc e is t he moth er of t he R osalia
.
“
.
The exam p l es w hich on e m eets with s eem to hav e b een

insp ir ed by a r ecoll ection of t he school rath er than by an y ,
.
aesth etic i dea Nev ert h el ess in c ertain cas es th ey may ,
corr esp ond with a dramatic s entim ent or assist t he exp ansion
of t he m elo dic outlin e .
h
T ere n eed b e n o q u es n ere t he c m n a t io h of
n s, sc arc el o b i tio y to
hi h i
b e c alled m us cal, w c en er a n ed the m as ers t t i
t he X Vt h c en u r t of t y .
V ery h ppi y o k o
a l , w r s c n c e ed i n s r are iv
b e m et w th i Spi i t
nl to i th o y
y o p io
rarely i n t he m dern er d :
B D AM C K E
. P — R E L UD E i n 4 ar s for r an or an i n c u n er
. p t og pi o o t
p oi t by t og
n re r o t
rade an d c n rar m n (Ri chau t , Pubr , a u y oti o . . bo t
R E NE LE NOR M AND .
— D I VERTI SSE M ENT AM ER I CAI N
p o
for i an due i n c u n er t o t p oi t by retrograd n e an d c o n trary m ot i o n .
P
(J H amelle, u hr , c 1 87 5
W ith o artisti c i t re t th i ki d of mu ic
. . . .
n n e s s n s c an be c onsidered only
as a v i rt u o i ty of t ech i q
s w i ti g n ue i n r n .
ST UD Y OF M OD E R N H AR M OI Y V
71
B ar-Li n e s .
It do es not s eem to us p aradoxical to say that among the fi
obs t acles raised by t he th eorists aga i nst t he dev elo p m ent of

music al thought t he ni Ost Serious i s that of the bar line It ,
- .
—
was at t he outs et (t OWardS t he en d of t he 1 6 th c entury )
a means of facilitati ng execution an d i n t he charact er of ,
g u i de ci n e a fing er p ost it r
,
e n der ed an d still r e n d ers gr eat ,
s ervic es w hich make i t difficult for us to dis p ens e with i t .
But its action i s not limit ed to th ese s ervic es L ittl e by .
littl e t he not es have group ed thems elv es oth erwis e than in

this bar taking in t he mind of t he c omposer an im p ortanc e
,
r elative to their p osition ; that which p rec edes t he bar is feebly

acc ent ed th at w hich follows imm ediat ely is struck strongly
,
weak b eat strong b eat The mi n d of t he g reat music i ans

,
.
is itself war p ed by t he p ower of th at h abit The classical .
th eorists have impoSed on th em t he division by four m eas

ures : The C arrur e
“
.
Without having any p edagog i c int ention we co u ns el all ,

w
young music i ans to habituat
m -
e th ems elv es to thi i ik an d to
__
”m am a w
i t e Witho u t taking any acco unt of the q uestion of bar
w r
“
l i nes Af ter t hat to facilitat e r eading th ey will add bar

_ _ _
.
, ,
lin eS b efor e t he acc ent ed p arts of th eir musical discours e .
From that will p roc eed m easur es of all sorts ; but what do es
this
“ 6 7 4 3
( S ee L Ab b ay e of K o e
’
c hli n wh e r e m e asur e s o f 4 4 2 2 ,
”
alt ernat e an d also R hodan t e of t he sam e author wh er e
, , ,
are foun d m easur es of g 2 2 2 2 g

55
F alse R elati on s .
What is to b e sai d of the fals e r elation of the tritone?

“
R eber foun d t he rul es obscur e an d contradictory T h ey .
are now no mor e ; no on e both ers much about t he fals e

r elation of t he tritone It was inadmissibl e that t he two
,
not es of a harmonic int erval on which r est ed t he actual

tonality shoul d be h eard in two n eighbouring chor ds Two .
maj or t hir ds in succ ession by whol e tones wer e forbi dden ,
“
A
“
elp to
M
f
b le m in ds an d bad c ou t ers M o rley (Tr
h ee n . .
W e m ay p OiDt h re t t h r ma k ab l t di e n R hyth m a d
‘ !
” M a
t fa fro m sh ari g
e o e e r e s u s o n
Ti m of M J a d Ud
e W e b eli v e h
. e n
’
i ne
r . e e i s no r n ou
p oi t of V w I a y case hi ew a d very p rso al Vi ews are of the
n ie . n n ,
s n n e n
very h igh t i t e t for mus a s
es n er s i ci n .
M H W oollett Pi ces d é tude (Ledu c B ertra d

” “
. hi . in s e
’
n ,
gi v a ge ral list of all th bar m ea ures wh i ch are to th
es ne e -
s , e
n u m b er of fifty .
The A dan t e a d Fi n al e of the 2 d S y mpho n y of B o rodi n e

n n n
co m p ise c o n t i u al c h a g of t i me ,
r n n es .
b cause th ey p ro duc ed the false r elation of the tritone ; for

e
a long tim e maj or thirds have b een so writt en so we need ,
say no mor e (S ee C ha p t er X )
. .
The que stion of the false r elation of t he octav e is mor e

delic at e ; n ev erth el ess t he b est authors writ e it but so ,
skilfully as to draw from it ha pp y eff ects .
*
P edals .
The soli d pedals of the tonic an d dominant on which all

t he mast ers hav e p il ed up vivi d p rogressions p r ep arations ,
”
for the gr eat climax ingenious stretti et c hav e not fai l ed
, , .
,
to come under the influenc e of modern tim es

A m elo dic outline may b e taken as a p edal in
oth er cas es the pedal is so S hort that it may b e call ed a
“
p assing p edal If in their origin (l 0th c entury )
, ,
p edals wer e a nai ve procedure for sustai ning the th ey

hav e b ec ome in modern writing a sourc e of harmoni c
, ,
compl exity .
G O N ODU . Uly sse .

(Chou den s Pu hr )
,
.
A, C in n er
Se so leil m o te
n et brfi
hi
T s is bol h o y
d arm n for t he eri od at w c hi h it
was wr i tt en W e
ho o of C
.
rec all, tothe the c ele rat ed c m o po th t

he in te t ed
f
n ur ser, a res
i i vo tio
h m sel i n mu s cal e lu n , an d m re o th
an on e yo g o p oser fou d
un c m n
f
in hi m a warm de en der .
Primit iv l y the burdy gurdy (Vi elle) an d the b agpipes ( orn e

e -
, c
mu se) we e i n t en ded to mak t he toni c h eard
r e the b as i a c o t u in s, n n in
ou s m a er;
nn i t is k own th at the Arab s accomp an i ed th eir h eroi c
n
so n gs wi th a sustain ed n ot e on the R eb ec .
G FA . URE . L e P arf u m i mperi ssable

’
. (J H amelle , Pu b r )
. .
Fa sel re al t i on .
G FA . URE . L es P resents . J
( . H amelle, Pu b r ) .
(5) F alse rela tio n.
M . R AV E L . M i roi rs .
(Oi seaua: tri stes ) . (D u ran d, Pu b r ) .
The Ghb i g ae n n a pp oggi atura , o i g t las ical t h iq th

ac c rd n o c s ec n ue ere
is no f relat i o
alse n . The sam e r m a k apph
e rto th oth er chordses e .
S RO
. U S SE A U . L a Cloche da R hi n .
(Chou den s Pub r ) , .
A llegro moderato . pag e 1 1 8
(7 S eq u en ce .
M . R AV EL . S ai n ts . (D u ran d, Pu b r ) .
(8) B ar of o ne b at e .
S R O SSEA
. U U . L a Cloche da Rhi n . Pa ge 3 1 . (Chouden s, Pu b r ) .
(9 ) (a) Chro mat i c f alse rela t ion .
C H KCE CH LI N
. . L e V ai sseau . (R ou art L erolle, Pub r ) .
o
V ice Orc he t s ra .
ppp bu t exp ress wely

L en to .
he bass gradually dyi n g

17
0 0 t
a way
(The fig ure wh i ch v
ser es as a p edal i s p rep ared i n the p revi ou s b ars )
.
M usi cal an d° expressi v e eff ec : t dri ftin g of the v es

sel, i tress
ds ,
tu d e an d b i tt ern es
s .
C L D EB
. US SY . H ommage a R ameau .
(D u rand, Pu b r ) .
L en t et grave .
(1 1 ) (a) M elo di c o u tlin e fo mi

r n g two in vert ed p edals a thi rd ap art .
(b) P edal i n the b ass .

S T UD Y OF M OD E R N H AR M ON Y 77
C H K CE C H LI N
. . S oi r P awn . (R ou art L erolle , Pu h r)
.
L en to.
E t des vais seau x d A si

’
m
e e
(a) F lt roo t of a chord of th 9th; (b) F lt app oggiat ra of E ; AH

e u
ppoggi at ura of G ;
a (c ) B tran si en t to n i c p edal; (d) P edals B b an d F, .
I
G A B R EL D UP ONT . L a mai son dan s les du nes . H
( eu gel , Pub r ).
u n a 00
(1 3) () A
a n ot e foreign to the h arm o y form i g a i
n n n n n er p edal .
I
G AB R E L D U P ONT . L a G lu .
(A C T IV .
)
Tres len t .
P edal i n th b ass on wh i ch are im p osed remot e h armon ies Aft er

e .
t aki g k owledg e of the foregoi g ch ap te s the eade can explai all

n n n r ,
r r n
the su c c essi o s of c hords b y m ea s of alt erat i o n s an d app ogg i at u as

.
n n r .
M . R AV E L . G aspard de la nu i t .
(L e gi bet) .
(D u ran d, Pub r ) .
p a t i cu larly i t rest i g exam ple of an i er p edal The whole

A r n e n nn .
pi c e m ight be q u ot ed as th at ot e so m etim es Alt so metimes B b i s

e ,
n , , ,
n ot ab an do n ed for a si n g le i st a t i t he m i d t o f the m o st dist u rb i n g

n n ,
n s
h a m on ies c om plicat ed b y u resolved app ogg iat uras
r ,
n .
P A U L D U KAS A ri an e cl B a be B leu e P ag e 9 7
. r (D a d P b ) . . ur n , u r
.
(a) On e of the u pp er p art s appro ac h es the p edal F it f om th dist an ce

W ll b fo
r e
of a semi to ne . hr T e e i e und a n u m b er of i terest i gn n ex amp les
of pedals i n th i sco
s re .
C H R (E C H L N
. I . E tu des an t i qu es No 1 .
(S u i te S y mp honi qu e ) .
(U n pu bli shed )
P lu s len t .
tra n qu i llo .
x p of h a g of b ar
E am le c n es s, (or ra th er o f ph ras
, es ) , wr itt e o i gin r
n all w y itho t b a li s
u
.
r- ne .
M elodi c I n tervals .
All tr eatises on harmony devote a cha p t er to the m elo dic

int ervals p ermitt ed or forbi dden .
Neverth el ess t he B reton labour er t he boatman on t he

—
, ,
Volga t he cam el driv r of

,
e t he de sert to w hom N ature has
suggested a dmirabl e songs as tho u gh to deri de p rofessional
,
—
musicians no n e of th ese anonymous com p osers have con
su lted tr eatis es of harmony to kn ow w hat th ey hav e t he
right to S ing an d oft en th ey hav e used m elo dic int ervals
said to b e forbi dden .
That th ere are som e int ervals mor e or l ess easy to attack
“
is incont establ e but a musician will writ e no m elo di es
,
”
exc ep t thos e p ossibl e to sing if he writ e s for t he voic e ; an d

,
instrum ents do not r ecogni z e difficulti es of intonation .
The qu estion may th er efor e be look ed at un der two

, ,
as pects :
1 In writing for instrum ents all int ervals are acc essibl e ;
.
2 In writing for t he voic e t he fr eedom of writi n g is lim

.
i ted only by gr eat er or l ess facility of ex e cution .
L a rge bo di es of voic es dep riv ed of accomp anim ent succ eed

ill in enharmonic p rogr essions .
Voic es doubl ed by an accom p anim ent can a pp roach all

int ervals Voic es w ithout accomp anim ent or wi t h an
.
,
accom p anim ent that do es not do u bl e t he voic e p arts h esitat e ,
in app roaching c ertai n int ervals .

C H AP TE R VIII
TO END A P I ECE
The is so accustomed to the p erfect cadenc e or the
ear
p lagal cadenc e as t he t ermination of all p olyphonic com p osi
tions that most h earers do not consi der a p i ec e finish ed
“
which has not t he chord o f the to n ic as its fi nal chor d .
Nev erth el ess this commonp lac e clos e may be found to b e

in contradiction to what has gone b efor e To quot e an
,
exam p l e in a w ell known p i ec e : -
Ev erybody knows t he a dmira b l e E rlking of S chu b er t ,
i n which the author has shown so dramatic an d p oi gnant a

s en tim ent At the clos e o
. f t he —
song w h ere t he fath er per
c ei v es that he has in his arms o nly t he dea d bo dy of his
son S chub ert su bmitting to inexorabl e custom (he must
, ,
definit ely finish ) conclu des with t he most commonp lac e of

,
p erf ect ca denc es .
S chumann who was a great i nn ov at er a fact too oft en

—
,
f orgott en kn ew how to rid himself of this r estraint in

“
The S ol di er A p oor devil in or der to S how hims elf a goo d
”
.
,
sol di er carri ed ou t the or der to shoot his b est fri end; 11 18

,
”
desp air troubl ed S chumann who as a tru e p hiloso p h er s ees , , ,
risin g b efore him a p robl em of the p sychology of duty ; he

p aus es imm ediat ely mo difi es the charact er of his harm oni es
,
an d finish es on t he dominant with no tonic conclusion , ,
making t he h ear er a S har er in t he s entim ents w hich animat e

hi m . The mo dern school has followed him in this p ath an d ,
t he charact er of that w hich has gon e b efore p rom p ts t he .
S p ecial kin d of t ermination to b e a do p t ed .
H er e are som e exam p l es of t erminations oth er than thos e

m a de by p erfect or p lagal ca denc es *
.
a
s
U
GO NOD . S ap ho . Pa g e 1 91 .
An dan ti n o .
B OUR G AU LT— o p sodie C ambodgi en n e

“
D U COU D R AY c l ses the Ra
(H eu gel ,
Pu blish er) on a c ho rd o f th I e .
D E OD A T D E S EV ER AC
’
. L e ci el est p ar dessu s te toi t .
t
(E di i on mu t u ell e .
)
L en to
.
A fi i h wi th the 9th added to the chord of the ton i c

n s .
D EOD A T D E S EV ER A C . Un ré ve . t
(E di i on mu t u elle . )
Tres ca lm e
.
The D ii an d F it may b e c on sidered as a pp oggiaturas of w i thou t

o tio
res lu n .
R E NE L E NOR M A ND . P i eces exoti qu es .
An da n te .
A cl o se w i th the 6 th added to th chord

e of the to i c
n .
M R AV E L
. . L es gran ds ven ts ven u s d
’
ou tre mer . (D u ran d, Pu b r )
.
-_
x
(a) App oggi at u ra w i thou t esolu tion I t restin g as a t e m i ation

r . n e r n ,
h s p a ag e oth er gro unds for a c aref ul exam in ati on
.
t i ss c alls o n .
F L OR ENT S CH M TT I . G las .
An x p ec ted close o f great

un e eff ec to n t he c ho rd of F m i n o r
.
E C H AB R E R
. I . Le roi malgré lu i .
(E n oc h , Pu b r )
.
ST UD Y OF M OD E R N H AR M ON Y ‘
87
C HAP TE R IX
S CALES TONALI TY
i to i jo
The d a n c ma r sc ale m ay , ere re, b e c n s dered, de th foo i if
i
s red, as a ratio p o t
n al r du c of t he res n an c e s n r us d es, an d o of o o o bo i
h vi g
a n o igi
as i ts r i g o
n a s n le s u n d w c i s t he b ase t he s s em ; b u t hi h of yt
o i tio th t i t
on c n d n a g
i s re arded as a m an u ac ured r du c , ”
w c f t p o t of h i h
hu m an g t i
eni u s has de erm n ed the de n e rm ac c rd n i ts as es fi i t fo o i g to t t
p tit
an d a u des .
L IG
*
AV NAC .
(La M usi que et les M u si ci ens, Delagrave ) .
l
S ca es do n ot e x ist ; to ali”ty al on e exi t
n s s an d t wo m da o li t i es ; the
res t f fo
i s ree r m all c o strain t
n .
J . H U RE .
(Dogmes M u si cau x ) .
The scale do es n ot e xist . It i s a fo m

r u la of i
con v e i t i o n .
D E R OD E .
l etu de de l harmon i e, P ari s,

’ ’
(I n trodu cti on
’
It is imp ossi b l e to quot e h ere all the musical scal es em

p loyed from the most anci ent times W e w ill confine .
ourselv es to p ointing ou t those which can be utiliz ed by t he

mo dern school or which p r esent som e int er est on t he groun d
,
of curiosity .
“
In his Trait é d harm on i e (L emoine P ublisher ) G eva ert
’
, ,
gives an exc ell ent study of t he di atonic pen taphon e or p enta ,
tonic scal e (I hav e a do p t ed the Fr ench word h er e as b eing

.
more conveni ent than t he rath er un w ei ldy t erm p entatonic

“
which he consi ders to be ol der than t he G r eek sys

t em an d which is still to be met with among t he M ongols
, ,
t he C hines e t he Ja p anes e the abori gen es of Am erica an d

, ,
t he C elts of the British
Am o n g all the m u si c ian s who h av e ex p ressed th i s O pi n i o n , w e h av e

f
selec t ed a p ro essor of t he C o n serv ato ire o P aris (M Lavi g n ac ) , a f .
c o m p o ser k n o wn for hi s en li ght en ed li b erali sm (M J ean H ure) , an d .
a th eo rist of 1 8 30 (M D erode) . .
M onde M u si cal Of J u ly 30th 1 9 1 1 , .
Sev eral o f Wagn er s th emes are b ased on the diato n i c pen taphon e
’
.
R W A G NER
. . R hei ngold .
(S c h ot t ,
L on don an d M aye n c e , an d E sc hi g , Pari s ) .
The follow ing are di ffer ent mo des of t he diatonic penta

p hon e :
l st M o de . 2n d M de o .
3 rd M de o . 4 th M o de .
Th es e four mo des may comm en ce an d fi nish on t he dominant .
It will b e notic ed that the scal es com p ris e no s emiton es .
M W oollett in his
. la M usique (M on de H istoire de ,
M usical an d Jos ep h Williams L imit ed) giv es us a mass of , ,
curious information conc ern ing t he anci ent H indoo scal es

(Volum e I p age It is im p ossibl e for us to w rit e down
,
th ese scal es b ecaus e exc ept for the fifth degree which corre
, , ,
spon ds exactly to o u r true fifth all t he other deg rees are

raised or lowered by a srou t i an int erval a littl e l arg er
“
,
than a quart er tone S om e treatis es of mu si c in t he S anscrit

'
language dating years b efor e t he C hristian E ra dis

, ,
“ ”
close this syst em ih which t he octav e com p ris es 22 srou ti s
,
.
If we examine t he music of t he G r eeks , we m u st fix pre

c i sely t he p erio d of which w e wish to S p eak ; G r eek antiquity
comp ris es about t welv e c enturi es during w hich music was
conti nually b eing transform ed In t he tim e of t he Pel as .
gians , t he sc al e of 3 tones , that w hich constitut es the kin d

1
,
known as enharmonic , was us ed :

“
ton e —2 ton e —m aj o r 3rd 1 ton e —2 ton e —i to ne

—ma jo r 3rd .
Octav e
ti P fac to th 7 th edi ti o of hi T ai té d ha m i
Fe s . re e e n s r
’
r on e .
In s p t of th v a t dit io of th el brat ed B lgia m i og aph er

i e e s eru n e c e e n us c r ,
his a ti o h av b
sser v al t i m o t t ed : w l av him p
ns e een se er es c n es e e e res on
sib l for th is scal e

e .
2 . H yp o-p h ryg i an .
3 . H yp o -ly di an .
4 . D orian .
5 . P h rygi an .
6 . y i
L d an .
7 . H y p r doria
e - n or
M ixo lydi a
- n .
8 . H y p er Ph ryg ia
- n
or Lo c i a r n .
9 . H yp er- l ydi an .
The s n ig i i t n ot e added to c o m pl et e the o c t av e w h en

n d c a es a
t t ho ov p If t he add d n ot e i s at the b ottom of

the t w o e ra c rds erla
p fix y p o j oi ed to the am e of the m ode ; if i t i s at
. e
t he sc ale t he re H is
of
n n
the t op p fix H yp e i s u sed
t he sc ale t he re r .
The follo wing are t he eight E ccl esiastical tones institut ed

b y S aint Ambros e an d S aint G r egory :
Au th en tic M odes . P l agal M o des .
H yp o do- ri an .
o
D m i n an t .
P h yg i a
r n H yp o ph yg i a
-
r n .
y
L di an . H ypo lydi a
-
n .
M i xo lydi an -
. H yp o m i xo lydi a
- -
n .
L at er six n ew mo des were a dded but two among th em w er e

, ,
found to be anti m elo dic so that four only w er e r etained

-
, ,
w hich brought u p to twelv e t he numb er of t he C hurch ton es ,
authenti c an d p lagal .
o
A e li an . H yp o -
oli a
ae n .
Io n i an . H yp o i o
- n i an .
Until t he 1 0t h or 1 1 t h c entury th es e mo des were call ed l st

mode, 2n d mode, et c S inc e that time t he earli er G r eek
.
denom i nations were again us ed, but th es e hav e not always

0
'
b een appli ed to t he corr esp onding mo de an im p ortant point ,
for those who wish t o mak e r es earch es in t he music of that

p eriod .
The many scal es w e hav e enum erat ed offer t o t he com p os er

c ertain r esou rc es which can b e utilis ed in mo dern p olyp hony .
giving u p the bizarr e an d m o

Af t er n strou s h exa c hord a l '
system musicians cam e lit tle by li ttle to u se Oi fl y on e s eri es
~
*
,
t he maj or scal e :
From this scal e the minor scal e which app ears in three ,
asp ects was drawn (W e l eave on on e si de t he qu estions

O f the origins of the maj or an d minor scal es )
.
,
C om p os ers continually mingl e th es e thr ee forms .
F or a lo g p e i od the p at ern i ty of th is syst em was q u i t e wron gly at

n r
t“rib t to G u ido d Are o I n hi s M i crologu e he says expli citly :
u ed
’
zz .
Th ere are 7 n ot es an d w e c an n ot h av e m ore th an sev en ; j u st as aft er

t he sev en days of the w eek the sam e day s rep eat th emselv es in the
sam e m a er as b efore a d t he first a d the ei ghth b ear t he sam e n am e
so t he first an d t he ei ghth n ot es m u st b e rep resen t ed by t he sam e S i g
nn ,
n n ,
n,
b ecause we f eel th at th ey produ ce the sam e sou d H i stoi re de la n .

”
M u si qu e m o der e M a cillac )
n ,
’
r .
A v ery clear exp o si t i o of the hexachordal sy st em will b e fo u n d

i n La M u si q u e et les M usi c i e s o f Lav i g ac
n
“
P age 4 6 1 (D elagrav e
n n .
, ,
Pu bli sh e ) r .
To these scal es may be a dded many oth ers ? “
T h at of H aup t mann :
an d als o th is :
et c .
, et c .
M Busoni i n a stu dy on musical scal es

.
, , (Br eitko p f
H art el ) describ es on e hun dr ed of th em .
Whilst the West ern rac es eliminat ed the small variabl e

int ervals t he Ori ental rac es r emained faithful to scal es of
,
on e thir d an d on e quart er ton es

- The transcri p tion of th es e
- .
S cal es is im p ossibl e by m eans of modern Euro p ean notation

exc ep t for som e which a pp roximat e to ou r syst em but ,
which it is nec essary to say that t he Ori entals declar e to b e

fals e wh en we ex ecut e th em The u se of t he int erval of the .
augm ent ed s econ d by which we think to giv e an Ori en tal ,
im pr ession is for them a coars e p roc eeding which woun ds

, ,
t he extr em e delicacy of th eir a u ditory organ .
M Bourgau lt D u cou dray in his M elodies p o p u lair es de

.
“ -
la G ré c e et de l Ori en t ”
giv es us an Ori ental chromatic
’
,
scal e .
C o mm en cin g on the d m o in an t . Co m m en cin g on t he to i c

n .
M W oollett in his
. giv es a tabl e of P i ec e s
various tonaliti es from which we take t he following Ori ental
,
sc ale :
MA me V in é e, i n hi s w ork Prin c ip es du S ystem e mu si cal et

nsel
“
f
.
de l H arm on i e (J H amelle, P u b li sh er) , b rin g s orward an mt erestmg

.
’
.
t y
s ud t
on al ered sc ales .
Ledu c B ert ran d, Pu blish ers .

He giv es b esi des some examp l es of scal es which may b e

form ed by ones elf by t he m i xing of t etrachor ds o r t he alt era
tion of c ertain degrees .
The mo dern C reek C hurch still p oss ess es the ori ental
chromaticism .
P er e Thibaut in a v ery inter esting stu dy shows a com p ara *
tiv e tabl e of the T urkish scal e a division of the octav e

into 2 3 int ervals an d t he Syrian scal e of M eshaq a a
division of t he octav e into 2 5
M o dern authors mak e a scal e of whol e ton es which

u se of ,
giv es a succ ession of six not es without a l eading note :
see Ch ap . X .
This i s an im p ortant fact b ecaus e the r esulting harmonic ,
combinations destroy t he S hap e an d charact er of t he tonality

which by com p arison with the G reek tonaliti es i s call ed
, ,
mo dern .
W e have already drawn att ention to t he scal e of M .
M enchaca consisting of equal s emitones an d giving a scal e

,
of tw elv e degr ees .
M S c ri ab in e mak es u se of a scal e form ed from the b ar

.
moni es 8 to 1 4 but omitting t he 1 2th :

,
As a p l easantry futurist musicians claim the u se of the

,
commatic scal e that is the division of the octave into

”
, ,
fift y thr ee commas

-
W e may without b eing tax ed with
.
,
na i v ete take this demand into consi deration b ecaus e t he

, ,
See
“
La R evu e M u si cale S bru ary 1 9 1 0
. I . M . of 1 5th F e , .
Th ere m ay b e read in th H i stori e d la M u i q e of W oollett

” “
e e s u
(V o l m 1 ) t h t u dy of t e S yri ac sc ales (J ac ob i t e or S y ri an ri t e)
h
af ter D m P ari sot ; th re W ll b fou nd also an in terestin g revi w of
u e e s
o e i e e
k eys a d m odes used i n the M aromte C o p t i c Abyssin ian E th i o pi an

.
n , , ,
and Arme i a C hurch es

n n .
di v ision of t he octav e into small int ervals is i n u se in t he .
modern East It is not a n ew i dea ;

. years b efore
C hrist (see p ag e t he H in doos , futurists w ithout knowi ng
“ ”
it , di vi ded t he octav e into twen ty-t wo srou t i es B esi des , .
th er e exists in t he Im p erial M us eum at St P et ersburg , an .
organ or harmon ium , in which t he octav e is divi ded into

fi fty three int ervals ; t he k eys are of di ff er ent colours an d
-
arranged on fi v e k eyboar ds .
In princi p l e we see no obj ection to the making of scal es of

small int ervals , each rac e b ei n g fr ee to choos e t he succ ession
of soun ds whi ch b est m eets t he exp r ession of its s entim ents .
But beyon d a c ertain limit t he au di tory organ can catch

nothing but a con fus ed nois e .
>l<
It may b e us eful to r ecall that by tonality is m eant t he

comp l et e r elationshi p establish ed b etween t he differ ent
el em ents of a s eri es of sou n ds thos e r elations hi p s grou p ing
,
th ems elv es around t he first not e of t he s eri es t he tonic , .
The mo dern school mo dulat es continually an d with t he

gr eatest ski ll ; t he most r emo te tonaliti es are a pp roach ed
with facility by ing enious succ essions an d t he change of ,
mode which brings tog ether mor e r emot e tonaliti es is al ways

r eady to come in B esi des as t he chord of t he dominant
.
,
sev enth charact eris es a k ey from t he mom ent w h en s ev eral

,
can be us ed in succ ession that w hich is call ed mo dulation

that is to say the p r ep aration of a n ew tonality
, is found
to b e very much mo difi ed It is no long er a grou p of chor ds
.
that p r ep ar es a n ew key it is a seri es of p rogr essions of

,
p assing keys of w hich the whol e det ermines t he feel i ng of a

,
p rinci p al tonality .
Ev erybo dy kno w s that the distanc e f rom on e k ey to

anoth er key dep ends up on the numb er of sharp s an d fl a ts
which di ffer entiat es th em but it must be notic ed that w h en
,
th ere are mor e than six S harp s or fl ats b etween t he two

scal es th ey hav e no long er any not es in co mmon
,
.
In the classical styl e it was consi der ed that the keys

,
f orm ed u p on t he degr ees of t he di atonic scal e (II III IV , , ,
V an d VI ) constitut ed the seri es of p ossibl e mo dulations

from the p rinci p al key ; t he substitution of minor for maj or ,
an d vi ce versa furth er incr eas ed the numb er of th es e dep end

en t k eys . Now on e mo dulat es to each degr ee of t he c hro
,
mati c scal e an d r egards it as the tonic Wh eth er t he com .
p oser limi ts hims elf to exp loring the n eighbouring keys or ,
wh eth er he app roach es the r emot e keys he must never for ,
get that a w ell consi der ed p assag e draws its valu e its eff ect
-
, ,
from that which p r ec edes an d that which follows H e must .
never sacrific e t he line of logical succ ession of keys an d

chords to the p l easure of writing a curious harmoni c exam p l e .
98 ST UD Y OF
. M OD E R N H AR M ON Y
In harmonising this scal e we hav e a chor d of the augm ent ed

fifth on each degree :
B A I B
In cons equ enc e of the i dentity of sound of the augm ent ed

fifth an d the minor sixth th ese chords are r educ ed to two :
The scal e in thirds will

. be as follows :
an d by contrary motion :
W A G NE R . S i egf ri ed
.
(S c h tt
o , L on don and M ay en ce
, an d E schi g, Pari s
.
)
(b) B y min or th irds i n the ba ss .

We may also hav e the scal e in chor ds b y contrary motion :
It will be notic ed that t he not es of each chor d of t he

desc en ding scal e are t he sam e in sound as the not es of t he
corr esp onding chord of the asc ending scal e .
For those who are n ot afrai d of t he harshn ess of t he

discor ds we may p oint to a curious arrangem ent of t he sc al e
*
of w hol e ton es In each chord the S ix not es of t he scal e are

.
h eard .
b i of
The as s h
t he arm n y of M S c ri ab i n e s o r me i s the
’
Po “
th
fo o i g ho
eu s,
.
h h
ll w n c rd, w i c he rea s as a er ec c n c rd t t (N c las P et p f t o o . io
ro f
f . o
M on de M usi cal 1 9 1 1 ) (see als C lu tsam , M u si cal Ti mes 1 9 1 3 .
HA ) .
W lon g way from the t im e wh en the th ird was treat ed as a

e are a
disso n an c e ; b esides t he classin g of i n t erv als as c o n so n an c es an d di s
,
c o so n an c es i s arb i t ary
n rIt may b e said th at th eoret i cally th e e is
.
, ,
r
b u t on e c o n son an ce the u i so n of wh i ch the relat i o n is rep resen t ed by
i ; t he farth e rem ov ed fro m th is simp le relat i o t he less i s the i n t erv al
,
n ,
r n,
c o so a t b u t t he p o i t wh ere disso n an ce b eg in s m u st vary ac c o rd
“ ”
n n n ,
n
i n g to t he su scep t ib i lit i es of t he ear .
1 00 ST DU Y OF M OD E R N H AR M ON Y
Th es e combinations are not much used in the form of

scal es by contrary motion but taki ng th em by th em ,
s elves on e may seek an d fin d som e entertaining progres

,
sions b ecause each of th es e combinations is i dentical in

,
sound with a chord of t he ninth of which the fifth is doubl ed

an d alt er ed asc en ding or desc en ding (8)
,
The sam e int erp r etation obtains with t he other m

co
bi n at i on s .
In th ese scal es we hav e indicat ed t he enharmoni c chang e .
In p ractic e t he diminish ed third is a pp roach ed o p enly :
D EB US S Y . 2
an d in t he scal es of thirds the ski p o f t he diminish ed thir d is

ma de succ essiv ely in t he two p arts which brings about two ,
diminish ed fourths in succ ession S ee D ebussy (6) an d

.
S aint S a ens (7
-
L astly t he enharmonic charact er of th ese six chords which

,
reduc e th ems elv es to two mak es it p ossibl e to u se alt er

nativ ely the forms its 2 an d 2; D ebussy
,
Th er e exists a s econ d scal e of whol e ton es ; that which has

f or its p oint of dep artur e : C ii .
All that we hav e sai d w ith r egard to the form er scal e may
b e a pp li ed to t he latt er .
Th er e are no oth er whol e ton e scal es Ev ery oth er p oint

- .
of dep artu r e than C or Cit brings about only a r ep ro duction

,
of th es e t wo scal es .
1 02 ST UD Y OF M OD E R N H AR M ON Y
CL D E B . USSY . Chi ldren

’
s Corn er .
CL D E B . USSY . P relu de (p i an o) . F
( romon t , P ub r )
.
A BR . UNE A U . L e R eno .
dolce .
Ne c rai g -n ez L
’
h eu re est de
CL DEB . US SY . P relu de .
Whole to - n e sc ale w ith i n t erv al o f the di mi n ish ed th ird .

ST UD Y OF M OD E R N H AR M ON Y
CL D E B
. US S Y . P elleas et M eli san de . Pa g e 236 .
(D u ran d, Pu b r ) .
Modé ré .
(a) On e p art m ak es a sk ip of a dim in ish ed th ird t he o ti i g ,

oth er c n nu n
by whole to w h i ch g iv
n es, t w di m i i h ed fo th s to t h p o i t w h er
es o n s ur e n e
t he s c o d p art i n i ts t u r m ak s a sk p of a dim i i h ed th ird (b)
e n n e i n s .
S A NT—
I
S A ENS . S cher zo . Op 87 ,
. p ag e 2 .
(D u ran d Pu b r )
, .
l An other e am x ple of the sa me p og

r ress ion s .
H W OOL L E TT
. . S on ata i n F ii mi n or .
(L edu c B ert ran d, Pu b r ) .
(P i a n o an d Vi olon c ello ) .
Allegro .
An exam ple of all the ot n es of the Whole to n e sc ale b i g h ea d

e n r
sim u lt an eo usly .
(a) C ho rd of the d m o i n an t i th
n n on B (i E m aj or)
n
1 04 ST D U Y OF M OD E R N H AR M ON Y
w ith i g alt erat i on of the fifth F it (writt en G for F x ) and de

asc en d n ,
scen din g alt e at i o n of t he sam e fifth F it (wri tt e

r E ii for Ffl ) The n .
n in th C it app ro ach es t he root at a dist an c e of a sec o n d wh i c h gi v es :

, ,
CL D E B
. USS Y . P elleas ei M ei i sanaef P ag e 1 1 1 .
(D uran d P ub r )
, .
CL D E B
. USSY . P elleas et M eli san de. Pa ge 4 .
C H K CE C H LI N
. . L a G u erre .
‘
l
'
i x ~
1
‘ '
1 1 x ‘
1 fl u x “
)
hords of th au gm e t ed fifth by c o trary moti o causin g all the

C e n n n,
n ot of the whol to cale to b h eard simultan eously

es e ne s e .
(a) D i?app ogg i atu ra an d a ft er

wards or m en t ati on of C it
na .
(b) Aii an d C it m elo di c

figu re formin g a p edal .
Aii b i g eq i o
e n u s n an t wi th
B b w m ay al o
e s say :
CL D EB . USSY . Chan son s de B i li ti s . F

( ro mon t , Pu b r )
.
L en to .
The tra p osit io of th hord (a) readily explai this p as age

o d i ver io of th hord o f the 9 th o the domi a t E b;
ns n e c ns s .
0
(b) i s as ec n n s n e c n n n
o a ho d of th n i th A b a d C b ein g app ogg i at

r c r e n ,
a of G a d B b n or ur s n
il] f rtl r a hord f the 1 l th on B b ( ) Pa i g ot es go in g throu gh
tacp
s ie c o . c ss n n .
e oré
CL D E B. US SY . Chan son s de B i liti s . ( F mon

ro t , Pu b r ) .
S T UD Y OF M OD E R N H AR M ON Y 1 07
C hor ds w ritt en
for th eir sonority ; it is th er efor e
are
n ot n e c essary that th ey shoul d all b e fully ex p lain ed In .
t he p r es ent case t he effect of t he A (c) is so myst eriously

,
p o etic an d so a dequat e to t he s ens e of t he words which

p r ec ede that on e woul d hardly think of asking from wh enc e
it is deriv ed .
Nev erth el ess it may b e sai d :
C hord of t he d mi in ish ed seven th

at t he sam e t im e as the ton i c .
(b) D t
re arda tio of C
n .
(c ) A ,
un res olved app oggiat ura ,
or added s1 xt h
0
It may be i t erest i g to a
n n y
n al se A as a p assi g n ot e i n ch an gi n g o ct aves
n
C LA UDE DEB USSY . Chi ldren

’
s C orn er .
(Du ran d, P ub r )
.
A llegretto m a n on troppo .
T n o ic an d do m in an t p edal, wi th m elody acc o m p an i ed by the f ourth

o
bel w . See C h ap I , p ag e 1 2 , Not e on Organ u m
. .
CL A U DE DEB USSY . H ommage a R ameau .

(D u ran d Pub r ) , .
C ho d of the 9 th on A#
r .
(b) C hord of the dimi i h ed

s n s
7 th by o j ct d gr
t at io of th 7 th in
c n un e ees .
(c ) Al er n e
9 w ithou t root or mo e i m ,
r s
CL A UDE D EB USSY . P elleas et bf eli sande

’
. Pa g e 1 28 .
(D u rand Pu b r ) , .
L ou rd et som bre .
xp
The e lan a tio of p
n assa es g of th i k i d m t b e sou ght i th s se
s n us n e en
o
of the w rds ra th th an i n t he n ot at io of t he ho d Th e e m ay b
olved app oggiaturas a d as chords o f
er n c r s . s e
exp i v th
la n ed, n e er eless, as u n res n
ho to
the w le n e sc ale
.
1 10 ST UD Y ,
OF M OD E R N H AR M ON Y
M A U R I CE R AV E L . M i roi rs .
(A lborada .
)
tres sec et bi en ry thm é
p g t
The assa e ran s sed n po
D ict m i to in or b ec om es eas y to y
an al se :
i py
(a) i s s m l an mv ersi on t he 9 th of .
MA U R I C E R AV EL . M i roi rs (L a vallé e des Cloches .

) (D eme t s, Pubr )
.
(6 ) G “ ot
o
r of a hord of th 9 th by the
c e io
eq u s n an c e of E 14 w ith F
(d) , an d A b, B a d D wi th G 14 B a d D
n , n .
V . D ’
I ND Y .
* L E tranger (I n trodu cti on to A ct I I
’
.
) (D u ran d Pub r ) , .
m o st
i mple com s
b i at i o s a e so m e
n n r
t im es of great eff t ec .
S u c h i s t he sh ak e on
G— Ah wh i ch wi th t he
,
ret a dat i or b elow c au s n
es t he fo llo wi g n ot s n e
to b e h ea d simu lta e r n
ously .
‘
v ,
D ’
I ND Y .
’
L E tranger . g
Pa e 85 .
, .
L en t .
S ee p ag e 1 2 6 .
1 14 ST UD Y ‘
G FA. UR E . L a bon n e Chan son . No 4

. .
(H amelle, Pub r ) .
Allegretto qu asi An dan te .
R emote to ali t ie n s, lightly tou ch in g v ari ou s chords .

*
G . F AU RE Pie . c es breves . (R amelle, P ub r ) .
Allegro moderato .
It is thus as we hav e sai d in t he p r efac e that M G abri el

, , .
Fau ré occu p i es an ex cep tional p lac e by t he turn full of ,
el eganc e an d of modernism which he knows how t o giv e to ,
succ essions of r elativ ely sim p l e chords .
J . S . B AC H .
“
A L le Lai tt byri th o f
n H armo n y . Wo rks for
Org an , P et itio n , Vo l IX
’
ers E d . .
GA B R I E L D UP ONT . L es C aresses .
La sa li - ve de t es b ai sers sen t 1a dra-gee
The r i ght h an d plays i n E min or and the lef t hand i n C maj or .
I
GA B R EL D U PONT . P oé mes d A u tomn e
’
.
D ou -c eu rdu soi r D ou — oeu r de la c h amb re san s la m pe
Le c re-pus-c u le est o x
d u c om-me u -n e b on -n
e mo rt
C ho rds o f t he 6 th wi th the ba ss o ubled

d . The m dern fl o a vo ur
obt ai n ed by v ery si m p le m ean s .
'
Y
'
I OD E R N H AR ] |I ON Y
.
116 S T UD OF EV
GAB R EL D I U P ONT . P oemes d A u tomn e

’
.
Et lan -gou -reu -se-m en t la c lar-t é se re ti re : D ou
cent ! Ne plus se v oi r di sti nctsl N ’

etre plus go nul S i lence !
’
S u c c essi o n s o f ho
c rds of the 9 th
- o f diff eren t spe ies c i n the
- fo urth
in v er i o
s n .
A RO . USSE L . S o i r d eté .
(3 rd p art of the P oeme de la F oré t .
)
(R ou art St L erolle Pu b r ) , .
A R O US S E L
. . E voc ati on .
(N O .
(D u ran d Pu b r )
, .
A c hord b u ilt u p gradu ally by i ts n otes

b ein g h eld on e aft er the oth er an d em
f
b racin g i n i ts u ll ext en t the diff eren t
so u n ds of t he h arm o n i c seri es .
E M OR E T
. . V ers tou t ce qu i f u t tot .
(P ou r tot ) . H
( eu gel, Pub r ).
E t q u e j ou vr age-n
’
o x p o r vo i r c omm
u u e un t re
T o tm
u on pas sé-
dan s l ’
o mb re é t i n -c ele r en c or
This comp oser oft en us es the nharmonic notation

e .
E M OR E T
. . Un e heu re son n e au loi n .
(P ou r t ot .
) H eu gel , P ub r )
.
vres
(a) B app oggi atura of A (d) .
(b) D a pp oggi atura of the o n amen t al C H

r .
(c) Orn am entat ion of the app oggiat ura .
(d) h on y n ote (9th i n the chord of the 9th on

A, arm G fi) .
E . M OR E T . Tu bére seu (H g l P b )
. eu e , u r .
D an s tabeante re-vant comme revent les plantes E nfant dont m’ out charms
M aj or 9th wi thou t leadin g n ote ,

w i th down ward alt erati on o f the 5 th
.
CH . K CE C H LI N . L A stre
’
roug e .
(R ou art L erolle , P u b r )
.
(a) C hord of the 9 th on apassmg ton ic .
C H R (E C HL N
. I . A c c omp agn emen t .
(R ou art L erolle , Pub r ) .
L en t et tres lté .
f
(a) C hord o the 7 th w i th t wo app oggi at u ras A b C b , , .
(b) C hord of t he 1 3th form ed by t he su p erp o si t i o n of si x th irds .
(c) C hord of the 7 th wi th Ab dou b led in the lo wer o ct av e on E b p edal .
(d) P edal E b .
LO UI S A UB E R T . Odelette .
(D u ran d Pub r )
, .
m 7
0 (a )
Et ’
c es tt on om b re q u e je c h er c he
(a) The voi m pl oy s the otes c o t i tu ti n g t he hord of I F of

fi
ce e n ns c on
t
t he rs b ar .
(b) A pp oggi t
p pp oggi atura of the chord of C
a u ra .
(c ) ! u adru le a (d) .
h
(e) E for C
LO UIS U
A B ER T . P relu des .
(C rép u scu le d A
’
u tomn e .
) (D u ran d, Pub r )
.
m ai en t n e revi en dr n o t pas dan s l ’

au - t om
( ) C hord of I
a on A (on p edal D ) F#
app oggiatu ra .
(b) D ou ble u nreso l v ed app oggiat uras :

ST D U Y OF M OD E R N H AR M ON Y 1 23
LO UI S A U B E RT . N u i t mau resq u e .
dolee ed espressi vo
T h es b a hol phra th at follows r t o

an d t he w the o
ch rd
of F (P b) a d of C (C b) are
e rs, e se ,
es n
of o
9
Bbn The alt rat i o e ns n un vary in g
an d
.
,
u nre o lv ed g i v i g th sc al e
s ,
n e
PA U L D U KA S A ri a . n a et B arbe-B leu e . (D u ran d, Pu b r ) .
pag e 87 L en t (c) .
(a) C hords of the au gm en t ed 5 th p ro ceedi n g by st ep .
(b) C ho rd of I on F wi th alt ered 5 th in the 3rd in v ersi on The E b

ft
.
a erwards b ecomes a p edal .
( ) S ev eral i n te retat i ns are p o ssi b le for t he i t ermediat e c hords

c
th em as formed of melodic n ot es of
o n .
e b est wo uld o i
T h e t o c ns der
di ff eren t ki n ds .
P AU L D U K A S . A ri an e et B arbe-B leu e . (D u ran d P ub r )

, .
p ag 1 02
e .
esp ress .
P assag e c om prised n the chord of 9 on

i C it w i th the
5 th alt e ed (F x for G 11)
r .
H arm o y ot
n n es :
The oth er ot es are app oggi at ra w i tho t

n u s u olu ti o
res n, or p assi g
n
n ot e T h B it of t h i bo o w ed for t h m lo di li n e f ro m t he 0
s . e v e 0 1 ce s rr e e c
passm g ot s of t h orch e tra

n e e s .
J EAN H URE S on ate p bu r P i an o et V i olon c elle (F at mi n or

h
. .
,
(M athot , Pu r.
)
1 26 ST UD Y OF
. M OD E R N H AR M ON Y
h is fragm t is
T en read ily ex plai n ed by re eren c e f to C h ap t er X ,
(Whole to e scal )
n e .
(d) an d (6 ) su p er
posmg
.
ho d
of c r s
the au gm e t ed 5 th n .
(S ee Whole ton e scale harmon i

- ze d) .
JE A N H UR E . S u i te su r des c han ts B reton s .

(M athot , Pub r )
.
F or P i a n o , Vi oli n cfi '
Cello .
ME T .
J z 76 .
VI O LI N .
The c hord (a) m ay b e a alys d i n e n t wo wa ys :

1 Bb
. app ogg i at a f A b ot h ur o n eard,
in a c ho d of th a gm t ed 6 th o
r e u en n Ab .
2 By a t ki g F t?as G b, the hord

fo
. n c
of t he 9 th on Ab i s rm ed .
J E AN H UR E . S on ata i n F major .
(woe ) (M athot , Pub r )
.
F or P i a no cfi Vi olonc ello
‘
.
Allegro m a n on troppo .
S T UD Y OF M OD E R N H AR M ON Y 1 27
The b a s 1 3 a d 4 a fo m d of th hord
r ,
n re r e e c
of F w i th t h 6 th add d; all t h f r gn ot s
e e e o ei n e
p a i g ot or or am e tat o s :
O
are ss n n es n n i n
B ar 2 hord o f the
,
c B ar 5 hord of th 9 th on ,
c e
9 th on D b ; B b or G b ; E b app ogg at a of i ur
n am ent ati o : n F b or of the u nh ard D b e .
The h armo i es sim p ly st at ed are :

n
J E AN H URE . L a C athedrale .
(D rama i n preparat i on ) .
(1 9 1 0
! u atu or a vec sou rdi n es B atteri e dc Cym bales pppp
M Jea H u e has c o mmu i cated to us th is un pu b lish ed fragm en t

. n r n
,
wh i c h defi es analysis The c ho rds c o m e wi tho u t do u bt i n to the c at egory
.
of tho se wri tt en fo th ei so n o i ty wi tho u t reg ard to mu si c al grammar

r r r
W e ob serv e o n ly th at i n the c hords (a) an d (b) the same n ot es are
h eard u nder differen t c o n dit io s i c h a gin g o c taves an d that the
n n n ,
c ho rd (a) so u ds all th notes o f t he ch ro m at i c sc ale

e n .
ST UD Y ‘
M . FA UR E . L e p arf u m i mp é ri ssable . ( J . H am elle , P ub r ) .
An dan te m olto moderato .
M on coeur est embau med une odeur i mmo rtel ’

le .
The cl se of eac o h strop h e reall y o ght to b e q ot ed M o eov r th

u u . r e ,
e
ho
w le m el d deser o y v to b es e e1 t ed as a m ost typi al xamp l of r fi ed c e e e n
an d m dern e o
ress xp i o n .
I
E R K SAT E I . L e fi ls des é toi les .
(R ou art L erolle , Pu b r ) .
W agné ri e K a ldé en ne da S ar P ela do n .

(1 891
Prelu de to 1 st Ac t . Prelu de to 2 nd Act .
E n blan c et i mm b ileo . D an s 1a t é te .
W e oft en h
i t said th at th
ear
in spired by M ou sso gsky If som e c i ti c allow th at li e of d e t
r . r s n esc n ,
sev e al c o m p o e s affi rm th at th ey h av e fo u n d th eir p o i t of dep a t

r s r e n r ur
i n t he h arm o i es of M E ik S at i e
n T h ese h arm o i s w e e wri tt e
. r . n e r n
tw n ty or twen ty fi v e years ago i n a style in dep en de t of all the t ech
e ,
n
n i cal c o n v en t i o ns u su al at t he t im e .
P elu de to 3 d Ac t
r r .
C o u ag eusem e t f ac i le et c omp lai sam me t soli tai e

r n n r .
'
Is it
y to
n ec essar say th at th i di ati o e n c ns of style apply to the
'
p hras a d t to t h
es n no e q ot ed cho d ?
u r s
Th is w o k i wri tt r s en w i tho t b ar li u - n es .
1 30 ST UD Y .
o
The l wer ar s p t fo rm a su c c ess n i o of i i i h
d m n s ed 5 ths an d m in or
po
7 ths, r c eed n i g by i i
s m lar m n i n all t he ot io
ar s, an d m a n p t i i t ti g at
t he 7 t h t he t w o upp p t
er ar s h k
T ese m a e a su c c ess n of m aj r
. io o th irds
der n i vi g f o
r m t he w ho to
le n e sc ale .
P ha o ah rthem e .
v
hi p g b ho to
T s assa e i s ased on t he w le n e scale .
The q u a ot t io f o o k of
ns r m t he w r s i h v
M Fan ell a e a rea . g t i te t n res ,
by o
reas n of t he p i o h th
er d w en ok i tt
ese w r s w ere wr en C m . o p o ed s in
1 883 , t he rs fi tp t
ar of t he
“
b x y p ho i
Ta leau S m n q u es
”
di d n ot pb ecom e
k o
n wn to p b ti
the u li c u n l 1 9 1 2 ! o
S a me W ork . 2 n d P art, 1 886 .
D a ns u ne sa lle d a p a la i s . J ongleu ses n u es .
o
V i las di i ded v
’
C ell o s v
di i ded
M Fan elli w as
. bor n Paris of an Italia fath r a d a B lgian
n i n e n e
moth er . H e has alway liv ed s the m si c al c t of P a i a d for
in u en re r s, n ,
t h at o
reas n , may b a o
e cct ed a o e of the Fr h musi ians
un s n en c c .
ST UD Y OF M OD E R N H AR M ON Y 1 31
( )
a The su ccess e en iv
t ie of th t i g i tru m e t s g ive a s
r s e s rn ns n u c c ess i on
of m aj o r th
i rds w le by ho to (b y l ap of a o c t av e) :
n es e s n
(b) C ho rd fo m d by t he p erp o sit i on of fo hords of

1 i th
w
fif th
r e su ur c
t
al ered :
It hould be n oti ced th at th la t ho d G it B it D HF t; i enharmo i

s e s c r , , ,
s n
c ally a i v r io f th fi st cho d D fi F fi Ab C fi B y t at i g the

n n e s n o e r r , , , ,
. re n
n ot nh a m o ically t h chord (b) b com es ac cordi gly a chord of

es e r n e e n
t h 1 3 th wi th alt e at i o
e r ns .
F ANE L L I L Ca h mar
. e1 888 (U p b li h d)
uc e . . n u s e .
(V i to H U G O) c r .
6 7 686 .
0 7 68 0 .
(a) C ho rd of t he 1 l th w i th m in or th ird .
1 32 ST UD Y OF . M OD E R N H AR M ON Y
Le m o t vola t
n s re n su r u n lac du f eu .
(a) C hord of the au gme t ed l 1 th wi th alt

n ered 5 th
(b) C hord of the au gm t ed 1 1 th with alt

en ered 7 th
F A NE LL I . I mp ressi on s p astorales . 1 890 .

(U n pu b li s h ed)
1 34
V AR I OU S D ED U C T I O N S AN D
R EF L E C TI ON S
S om emusicians will see in the harmoni c s eri es the i n

dubitabl e origin of the chor ds now in use chor ds which ,
th eir p r edec essors littl e by little discov er ed by intuition .
Accor ding to th es e musicians t he origin of th es e chor ds may

b e establish ed in t he mann er following which l eads u p to ,
t he u se of a chor d of t he au gm ent ed el ev enth :*
So d 5 a d6 un s n .
So ds 1 a d 2 S o u ds 3 a d 4 Th i ds ( ) n
a
un n . n n . r
5th a d 4th a d i xth n . n s s .
M o dern t i mes to
t he o of t h
c l se e
1 7 th c t y en u r .
MJ ean M arh old i the b llet i No 2 of 1 908 of the I n t i tu t

P sy cho log iq u e indicat es v e y ea ly the sam e form at ion of chords
.
,
n u n . s
”
,
r n r .
The th i rd whi c h ap eared i n the 1 3 th cen t ury was u sed at the

sam e t i m e as t he fi fth an
, ,
t he fo u th i n the M i x ed O g a u m It was r r n .
ob j ect ed to by reason of i ts disso n a ce Neve th eless Jean C otto n . r ,

n,
who liv ed i t he l 1 th c en t u ry wrot e : M ast er S alo m o has had su g “

n ,
n n
t he fifth at the sam e p o i t wh ere M ast er Alb i n t au ght t he fo u th an d

n r
wh e M a t e T u don w i ll allo w oth i g b u t t he th i d Th at seem s

”
er s r r n n r .
to s to i di cat e th at two h d ed y ea b fore the dat e fixed by the

u n un r rs e
h i to ia s the th i d i p ract ice was used i the same man n er as the
fifth a d the fo u th
s r n ,
r ,
n , ,
n
n r .
ST D U Y OF M OD E R N H AR M ON Y 1 35
Attractiv e as may b e the interp r etation giv en to thi s

seri es of int ervals it is both dis p utabl e an d dis p ut ed
*
.
,
S om e say rightly that t he soun d 1 1 is no mor e an F#

, ,
than the soun d 7 is a B b; oth ers affirm that the formation

of t he chor ds by su p erp osition of thir ds cannot b e acc ep t ed ,
an d that t he chor d of t he 1 1 t h cannot exist ; but th eir

o pp onents c om e forwar d an d deriv e all chor ds from a sup er
p osition of thir ds .
W e l eav e t he th eorists to ex p lain it among th ems elv es an d

say following M M arn old that M D ebussy has used t he
,
.
,
.
chor d of t he augm ent ed 1 1 t h in P ell eas et M elisande

“ ”
.
W e hav e giv en an exam p l e from M Flor ent S chmitt .
an d s ev eral exam p l es from M Fanelli .
It i s i m p ortant to notic e that the school of which M .
Vinc ent d In dy is t he chi ef is also v ery mo dern in its manner

’
,
of tr ea t ing count er p oint The m eans of analysis b eing

.
di ffer ent t he exam ination of t he m etho ds in u se in mo dern

,
count erp oint must form a s ep arat e task though on p arall el ,
lines with t he p r esent Notwithstanding this we have .
quot ed s ev eral p assag es from M Vinc ent d In dy b ecaus e .

’
,
it is im p ossibl e to wri t e a work on mo dern musi c withou t

naming this emin ent com p os er ; his p lac e woul d be mom ent
ous in an analyt ical stu dy of works ch ara ct eris ed mor e by
” ”
“
horizontal writing than by v ertical writing (1 2) an d ‘‘
.
All t he f or egoing quotations ar up on harmonic facts b e
typ ical of modern writing ; th eir charact er from t he p o i nt of

“
vi ew of comp osition has n ot b een consi der ed Th er e is .
no n eed to dissimulat e t he fact that all thes e p eculiariti es

of writing int er esting in th ems elv es are nothing if th ey do
, ,
not ent er into the logical dev elo p m ent of a musical thought .
P erha p s it may b e a r ep roach to som e musi cians that th ey

have allowed th ems elves to be s edu c ed by t he s earch for rar e
p h enom ena to t he detrim ent of ins p iration
, .
W e oft en m eet with works so bristling with interesting

harmoni es that emotion is p ractically excl u ded H er e we .
hav e a stumbli n g block which tru e music i ans will know how
-
t o avoi d . M oreover it w oul d be rash to p ass j udgm ent on

,
t he sinc erity of t he emotion of mo dern com p os ers an d a ,

“
musician who is accus ed of gratuitous com p lication oft en
only shows a v ery sinc er e s ensibility in a form which to him
has b ecom e familiar an d p ersonal
,
I n t he Pri c ip es du System e mu si cal et de l H arm o i e o f

“
n
’
n M
i ée (J H am elle P u blish e ) ead hi s th eo y of c ho ds
.
An selm e V n .
,
r , r
,
r r .
1 36 ST UD Y .
New syst ems dev elo p th ems elv es from di ffer ent si des .
*
S om e are bas ed on t he harmoni c s eri es oth ers on t he division ,
of t he octav e into small int ervals w hil e still oth ers bring t he
,
division into tw elv e equal s emiton es The p artisans of this

.
last division hav e not fail ed to notic e that mo dern comp os ers
oft en writ e it for b an d v ice versa as t he t w o notations indicat e
,
W id i th n ot e o p ag 8 th at fin din g hi s wo k u
h av e
i t gible we h ave sca cely v e tu red t o qu ot e M S cho e b e g o f
e sa n e s n e ,
r s n
n elli ,
r n r . n r ,
Vi a
en n Two b ar f o m th at au tho w ill u ffi c e to ex plai n ou r re
. s r r s ve ser .
M S cho en b erg i s a p rof sor at t he C on serv ato ir at V i en a

r. es e n .
A R NOL D S C H (E NB E R G . D rei K lavi er- S tu c k e . t

(U n i versal E di i on ) .
B ewegt
1 38 ST UD Y OF . M OD E R N H AR M ON Y
C om p osers classical education may writ e in mo dern

of
th eir t echnical skill p ermitting th em to attack
ev ery vari ety of form D o th ey th en p erform this as an ac t
.
of fr eewill or do they involuntarily fall b en eath t he in fl u en c e

,
of t he atmos p h er e of to day ? It is a difficult p oint to deci de

-
.
B esi des in s eeking an answer to our q uestion we may

, ,
fi n d that c ertai n authors are mo dern o n ly i n th eir wi sh to

write r emot e harmoni es an d are not led to do so by th eir
,
natural f eeling .
F oot ot e to p
-
n . 1 37 (c o n t )
“ T H EOD OR E D U B OI S . P romen ade a l é tan g

’
.
ST UD Y OF M OD E R N H AR M ON Y 1 39
In this short revi ew of the harmoni es em p loyed to day w e

-
,
hav e not b een abl e to quote all com p os ers an d we hav e not
,
always given to thos e that we have q uot ed t he im p ortant

p lac e which is du e to th em W e hav e to ask of th em all not
.
to see any p art isanshi p in ou r sil enc e or ou r r eserv e The

.
,
works availabl e in ou r library have alone det ermined t he

choic e of quotations Th ese have b een made in a s p irit of
.
entir e im p artiality without taking any account of o u r own

,
p r efer enc es
.
1 40 ST UD Y . OF M OD E R N H AR M ON Y
C H AP TE R XII
CONCL USI ON
Wh en it is s een that each' of t he p assag es quot ed may be

exp l ain ed by m eans of t he older t e chniqu e t he r eader may ,
b e t em p t ed to conclu de that mo dern harmony is no oth er

than classical harm ony tr eat ed with gr eat er lib ert y This .
wou l d not b e quit e exact Strictly s p eaking n early all the

.
,
n ew music can b e analys ed with t he ai d of t he ol der tr eatis es

on harmony an d count erp oint mo dern authors having all ,
ma de classical stu di es the minds of t he great est innovators

,
bow ing involun tarily to the in delibl e infl u enc e of that

t eachi n g It th er efore r esults that i n t he most mo dern musi c
.
w e may n early always r ecognis e in s p it e of dissimilarity , ,
t he strand which conne cts it with t he classical t echniqu e .
Nev ert h el ess it s eems to us that th er e is in this music a

n ew harmony in a lat ent con dition w hich ere long w ill ,
br eak that strand which will throw do wn t he ram p arts w ith

,
which t he p rofessors of harmon y hav e involuntarily encircl ed

t he anci ent t eaching .
If we hav e b een abl e not without a c ertain f eebl en ess to

, ,
analys e som e bars of mo dern music artists will b e quick to ,
p erc eiv e t he insuffici enc y of ou r comm entari es A n ew .
t echniqu e is r equir ed for modern thought It will not b e .
form ulat ed we b eli ev e exc ep t by an artist having t he p ow er

, ,
to develo p hims elf outsi de the schools an d it will dep end ,
on t he p osition tak en by t he th eorists with r egar d to t he
ori gin of t he not es .
To establish a syst em we must l ean u p on som ething that

is stabl e ; but to day we are in the p r es enc e of t hree s eri es
-
,
of not es which at ev ery instant mix t hems elv es in a most

, ,
illog i cal manner ; P ythagor ean notes natural not es an d ,
t em p er ed not es C hoic e must be made ev entually an d t he

.
,
theory of harmony brought into line with t he instrum ents .
In ou r p refac e we examined t he different rout es w hich

may b e followed by comp osers in a future tim e Wi thout .
taking any si de in the qu estion we may notic e that t he ,
th eor etical division of the octav e into twelv e equal s emitones

has nothing illogical about it s eeing that it exists in pra o ,
tic e by t he u se of the instrum ents of fix ed sounds an d that

, ,
ou r com p osers manifest mor e an d mor e a kin d of in di ff er enc e

in the choic e b etween it an d b *
.
W eh av fo d x am pl of thi s i
e un e es n our b est m oder n au thors ,
who
c an n ot b e t ax ed wi th i g o a n r n ce .
1 42 ST DU Y OF M O D E R N H AR M ON Y
But i f the masters whom we now quot e freed th ems elv es

from conventional forms th ey di d not chang e t he musical ,
languag e in any radical fashion .
On t he contrary ou r mo dern com p osers have com p l etely

mo difi ed the harmonic i diom at t he sam e time as t he form .
W e may say also that mo dern works give us im p r essions

of subtl ety an d charm mor e oft en than im p r essions of p ower
an d gran deur M ust we conclu de that t he t echniqu e of
.
which we hav e q u ot ed so many exam p l es does not l end its elf

to t he construction of p owerful an d develo ped works ? C er
tai n ly not ; we coul d p oint to com positions of the n ew school
wh ere th ese qualiti es are to b e met .
This school has j ust ma de a great effort to free its el f from

the p ast ; we must giv e it tim e to take a dvantag e of its
conquests an d to p ro duc e the works which we have a right
to ex pect from it But if this n ew art b e only a refin e
. .
m ent of t he ol der art arrived at t he end of its evolution the

, ,
p er petual a dvanc ement of t he art will not be arrest ed and ,
we shoul d see n ew f ormulas aris e of which w e cannot at

p r es ent foresee the charact er *
.
R ENE LENOR M AND .
At theb gi i g of th i st dy we p redi ct d th om i g of h w
tr at ises of h arm o y ; si ce the t me wh the pri cip al p arts of th is
e nn n s u e e c n e
work w re wr tte n w th o i e o f m u i h av m ade th ir app ara ce

e n n i en n
e i n, e e r s s c e e e n .
P ri n ci pes da S ystem m i cal t d l H arm i

e by Ans lme V in é e
us e e
’
on e, e .
Trai té d harmo
’
ltra mod r
ni c ubyy Lo i V ill rmi e n e, u s e n .
I M dern i ori zz ti d lla t

o i ca m si al
on T ri a d lla di vi i o e
e ecn u c e
. eo e s n
dell ttava i a parti g u ali D o me i c o Alaleo a (To ri o Frat elli B o c c a
’
o u ,
n n .
,
pubrs , .
1 T re a tis H arm o y P art I
e on n ,
l a T reat i se o H arm o y P a t II
n n , r
l b T r at i e o H arm o y P art III

e s n n ,
1 5 K y t o P art I
e T reat i s o H arm o y
, e n n
'
l a Key to P art II T reat i se o H arm o y
, n n
2 Th Mo d r E h arm o i c S c ale
e e n n n
3 E l m e t ary T h o ry f M i c a d T r at m ent o f Ch ords

e n e o us n e
4 St di es i M si c al G rac es
u n u
4a K ey t t he E x erc i s s
o S t di s i M si c al G rac es
e i n u e n u
G ym ast i q
n V o c ale
ue
E x rc is s i S i ght S i g i g (S o lf e gg i o )
e e n n n
E x rc i s s for T rai i g o f t he B oy s Vo i c e
’
e e n n
P o sitio a d Acti o i S i g i g
n n n n n n
V o c al R ei fo rc em e t
n n
The R e ai ssa c of the V o c al Art

n n e
E lem e t ary V io li Lesso s

n n n
S c hoo l o f T ri o P lay i g (Tw o voi c e i v ent ion s with a t h i rd

n .
- n ,
voi c e add d a d arra ged for Organ b y M ax R e g er a d

e n n n
K arl S t raub e)
'
The O ga A c c o m p a i m e t f the C h urc h S erv i c e
r n n H W R i chards
n o . .
The P lai S o g S erv i c e

n- n
P ractic al H arm o y n 5 M aep/ r on . ze s
App e di x to P ract i c al H arm o n y

n
! ue sti o s o n H arm o y
n n
F o rm i M si c w ith e sp e c i al re f ere c e to the D esi g s

n u , n n
o f I stru m e t al M si c
n n u
Th R di m e t s o f M sic
e u n u
! ue sti o s a d E x erc i ses u po n t he R u di m e t s o f Musi c

n n n
P act i c al C o t erpoi t
r un n
Musi c a d it s App rec iat io n

n
Th T e c h i q u e o f the M odern Orc h est ra

e n
T he B o st o n M u si c C o m pan y Book s
F OR TH E
a ntic:
S ER E S I II
i g Exe ci es on Notes
R ead n r s G F a lane . r
R eadi g E xe ci e on T ime
n r s s
R eadi g Ex ci ses on Ph asi g

n er r n
Eleme t of M usi c Si mp ly Explai ed

n s , Cha l T w n r es re .
50
H a dbook of Co du ti g
n n C S h d
c n . c roe er
Catechi sm of the R di me t s of M u i c uH y Fa m r n s en r r e
O ga Playi g I t s Tech i q
r n a d E xp essio n
n : A E agl fi ld H ll n ue n r . e e u
The Chi ld s Fi t St ep s i Pi a ofort e Playi g Tobi as M altk y

’
rs n n n o
The Fo earm R otat io P ri iple i Pi a ofo rte Playi ng

r -
n nc n n 50
Co t erp o i t Stri ct an d F ee
un n : Ebe ezer P t r n rou
H w to Acq i re Ease of V oi e P o du ct io n
o u Cha l T e c r r es re
Livi g M si c
n u H b t A t lifl e er er n c
R hy mes n the R les o f H a mo y Fo un ded on D r P o u t H a mo y

’
o u r n . . r s r n
C H C K nowles
”
. . .
3 50 x i i H a mo y Co t rp oi t a d M od latio S M a ph
E erc ses n r n ,
un e n n u n . c erson
H a dbook of V i oli a d Vi ola Playi g

n n C S h ed r
n n . c ro e
H a dbook of V i olo
n llo Playi g n ce n
I tr m tatio (R vi d a d S ppl m t d by Ri hard St a )

ns u en n . e se n u e en e c r u ss
H t r B rli z ec o e o
H a db ook f r Si g er
n o n N i C ker
s orr s ro
B thov Pia ofo t So atas (Letter ) Ca l R i k

’
ee en s n r e n . s r e n ec e
B thov A C i ti al B i og aphy (ill ) t d I dy

’
ee en , r cVi r . n cen n
S t di
u i P h a i g a d Fo m
es n r s n S M a ph
n r . c erson
Advi to Y o g M i ia
ce un R S h ma
us c ns . c u nn
Si d li ght
e H a mo y
s on r n
H a mo i A aly i
r n c n s s
Ti me R hyth m a d Exp
,
io n ress n
The Pi a i t H a dbook Fra kli P t

’
n s s n : n n e erson
Pa t I A Th o ti Comp a io to Pra ti
r ,
e re c n n c ce
Pa t II A H a dbook of M i al Fo m
r n us c r
A aly i o f B ach
,
n s s 4 8 P l d a d F g B
’
ook
s
“
H Ri m a a re u es n u u es . 2 s, . e nn e .
Cat ch i m of M i al I t m t
e s (G i de to I trum t atio )
us c n s ru en s . u ns en n
Cat hi m of Orch t atio

ec s es r n
I t od ti o to Playi g f om S o e
n r uc n n r c r
Th V o i
e a d i t Co t ol
ce n s Ch hi ll S i bl y
n r u rc e
Th T o V o i
e en a d i t T ai i g
r ce n s r n n
Th B oy V oi at t h B aki g P i o d
’
e s ce e re n er
T he Bo st o n M u sm C o m pan y Book s
F OR TH E
t enure
S ER IE S IV
Elemen tar E ar-Trai n in y g

R u di men ts of M i al K owl dg us c n e e
R di m
u t of M en s i f C ho i a d S ho l
us c or rs n c o s
Ma al f S i ght S i gi g
nu o n n
Pa t 1 Pap r ov 50 C loth ov 7 5
. er c er . c er .
Pa t II Pap r ov 5 C lo th ov 7 5
. er c er . 0 c er .
G ad d S hool S o g B ok
r e c n - o
D ig d f w i th t h M a al of S i gh t S i gi g
’
es ne o r u se e nu n n , 10 Parts;
a h 5; o m
e c p l t i P
. ap1 ov 60 ; i
c C l t h e e n er c er . n o
C ho al I t r to f T bl V o i
n s ru c r or re e c es C . Vi nc en t
N w C t y Pi a ofo t M tho d
e en u r n r e e
P a ti al S h o l of A p ggi F i g i g
r c c c o r e o n er n
H a mo y D i at o i a d C h o mati
r n , n c n r c C . Vi n cen t
K y to E x
e i i H a mo y D i at o i a d C h m ati
erc ses n r n , n c n ro c
T o ali ty a d R oo t
'
A G ra n t s/z
n n s .
j .
S t d t Co t p oi t
’
u en s un er n
C o mpo Co t p oi t
’
sers un e r n
Fo m i M i
r n us c
S o i g f
c rn a O h t a or n rc es r C . Vi n cen t
Th R adi g of M i
e e n us c
C o mbi d R h yth m
ne s R 1 . . R ome»
'
M i al M mo y a d i t C lti vati
us c e r n F
s u on red G S hzn n
.
O O g a Playi g
n r n n
V i o ceC lt u u re
H i t t Si g
n s o n ers
300 Ex am i ati o ! ti o
n n u es ns
S R
c o re ad i g i t
e h V a ino C l f (4 8
n F g ) e V l r us e s u u es 2 o s .
H ow we H ear (A T reat i se on S o u n d)
V o c al E x erc i ses fo r C h oi r Bo y s
Prac t i c al S u gg esti o ns fo r Trai n i n g Ch oi r B o ys

o
V i ce E x erc i ses fo r B ys o
oh
O n M en delss o ata n s O r an S
’
g n s
S al
c a d A p ggi o
es n r e s
T h A t of V i o li B o wi g
e r n n
C h i T ai i g b a d
o r r V oi P
n n se on ce ro du c t i o n
The Psalms, the i r S tru c t u re an d M u si c al R en deri n g

Trai n i n g of M en s
’
V o i ces
Me mo i i g M aj o
rz n r an d M i n o r S c al es
T he Bo st o n M usi c C o m pan y Book s
F OR TH E
S E R IE S V
V ocal Ex erci ses o n the O ld Italia n S y tem

s
T he B rass B an d an d how t o W ri te fo r i t
A H i st ory of M u si c
Melo di es a n d H o w t o H arm o n i z e T hem
Key t o Melodi es an d H ow to H armo n i z e

‘
T hem
W hat Musi c i s D u nc an H u me
Plai n-S o n g an d G rego ri an Musi c
W o d i S i gi g
r s n n n
O ga A o mpa i m t t th P alm
r n cc n en o e s s
D i ti o ary of O ga S top
c n r n s
V oi T ai i g Ex
ce r i a d S t di
n n e rc ses n u es
The Fi t P i i pl rs f V oi P o d ti
r nc es o ce r uc on
P a ti al Po i t f
r c c C ho al S i g n s or r n e rs
Th O ga i st D i to y ’
e r n s rec r
Th I di sp
e n abl T h o ry B ooken s e e
G rad d S o e R adi g (C a d G C l f )
c re e n n e s
P im
r of Pa t S i gi g 2 B k
er r - n F j S awy
n a, s. . . er e .
50
A M tho d of T a hi g H a mo y
'
e Bk e c F d 6 Sn n a r n , 2 s . re . zn n e .
A S ho t Tr ati M i cal Rhythm M atfi L y

’
r e se o n us zs a rr
M od A ad mi C o t p o i t
ern c e c C W P a u n er n .
’
. e rce
M i cal App i ati o 3 pts

us rec M pk a d R ad a
n, . ac erron n e e .
C hoir T ai i g i C h r h a d S hoo l
n n n u rc n c
T h C o mp o V ad m m ’
e ser s e ec u
E l m ta y M i al C o mp o i ti o i
e en r L
us c s n n 1 0 e sson s
Th S e f lM i T ah
u c c ess u us c e c er
H armo i Tho gh t Pa t a d P
n c t u : s n resen
H w S
o f lly t pa M i Exami ati
u cc ess u o ss us c n ons
A C y lopa di D i ti o ary of M i
c e c c n us c
E l m tary E a Trai i g
'
e en r- F d 6 S/ n n re . zzn n
Bk I M lo di
. . e c
B k II H a m o i a d C o trap tal E a Trai i g

. . r n c n n un r- n n
30 0 ! e ti o u th G ramma
s f M i
ns o n
j S i mp
e ro us c . son
Prac ti cal H i ts T h i a d T o h f Pi a
n Playi g
on A G dwiec n c n uc o no n
_
. oo n
Pop lar H a db k of M i al I fo mati o

u n oo A P k / amm us c n r n . oc z er
Th M h a i T h i
'
e ecf Pi a n cs o E IV G ab ll no ec n c . . r z
S cal th i r H i to y Th o y a d F i g i g
es, e th Pi a o
s rE B lgfi m
, e r , n n er n on e n . rz a
Ea T t a d H w t P pare f
r- es s, n Th m o o re or e
Ha m y fr onA mat or
j B k
eu rs . ec er

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Un der th e Edltorsh lp of S te wart M acp hers on

PRE PARAT I O N OF DIS C O R D S

B ru n eau , A lf red M o des , Am b rosi an G re go ri an 91

TH E wi der groun d covered by the translator s littl e work ’

H armony S ev eral r evi ewers as well as a numb er of

p rivat e rea ders of that book hav e suggest ed that som e ,

furth er not es on t he sub j ect woul d b e welcom e It is with .

no littl e p l easur e th er efore that the inv estigations an d

It may b e of int er est to m ention that M Len orm an d is a .

Fr ench com p os er born in 1 84 6 M uch of his earli er stu dy

was p ursu ed without dir ection though he r ec eiv ed his fi rst , .

p iano fort e l essons from his moth er a p u p il of J ! imm erm an ,

an d lat er had som e assistanc e from B erthol d D am cke a ,

well kn own G erman th eorist In S p it e of t he bri ef nature

of his tuition his earli est p ublish ed works dr ew att ention by

their workmanshi p as w ell as by th eir musical i deas H e .

has devot ed his creativ e faculti es mainly to S ongs (in which

G abri el Fau ré an d H enri D u p arc ) an d to C hamb er M usic

which his v ery modern S ev en M elo di es may be m entioned ,

an d his int er est in British music has r esult ed in som e v ery

an d oth er short p ianofort e p i ec es are also w ell kno wn in

M Len orm an d is t he founder an d dir ector of a S oci ety

of mo dern songs of oth er countri es On on e occasion an .

entire ev ening was devot ed to t he young British school an d ,

Works by this school fr equ ently ﬁgure in t he p rogramm es .

It is only in r ec ent years that M Len orman d has j oined .

M odern e of which thi s Book is a translation has arous ed

much discussion an d at t he sam e tim e has won for its

Author high tribut es alike from p artisans an d o pp on ents .

Thep resent p ublication claims to b e no mor e than a bar e

m ent of harmonic w riting in England an d in G ermany .

On e p oint may b e notic ed in this conn ection E ach country .

without nec essarily b eing b ehind oth er countri es in general

Franc e has fall en that of H armony ; to England that of

Whil e th erefor e t he r eader what ev er may b e his p osition

wh eth er a p rofessor with all the t echnicaliti es of t he Art at

through the t ext books may be urg ed to study oth er music

on th es e lin es it is not ina pp ro p riat e that t he exam p l es ﬁrst

AS human s ensibility mo diﬁ es its elf c eas el essly during t he

A deep study Of t he continual transformations of t he

an ess entially modern charact er W e l eav e on on e S i de t he

Ag es an d consi der only t he great evol u tion of t he s ev en

t een t h This lai d t he foun dations Of t he musical

high est im portanc e It was this that ma de p ossibl e t he

brilliant achi ev em ents Of t he 1 8th an d 1 9t h c enturi es .

Wheth er they w ish i t or not all those w ho think musically

But t he p ag e on which are inscrib ed t he illustrious nam es

scarc ely b een turned w hen alrea dy n ew formulas a pp ear

w hich no didactic work has y et set in

when they woul d writ e in t he modern styl e ; from w hich it

I S it not a littl e dange rous to S p eak of t he immutability of a

I th is s arch for n ew f orm la ea h race seems to wish to

system w hich r eli es On an artiﬁcial scal e? At the p resent

within t he com p ass O f an octave As a matt er of fact these

thirty on e sounds are reduc ed to t welve by t he conv ention

Altho u gh t he syst em of t em p eramen t may b e k n o wn to all, we

ri go ro u sly ex ac t asc en di n g 5 ths i s b u i lt u p, t he 3 1 ac t u al so u n ds wh i c h

d harmon i e o G evaert (p ub lish ed by Lem o i n e) i s b ased o n th at seri es

of ﬁ fth s Wh atev er may b e the n ote t ak en as the p o in t of dep arture,

at the tw elfth su c c essi v e th i t will b e p erc ei v ed th at the sou n ds n o

wh i ch was m ade sc i en t i c ally abo u t 1 7 00, has b een c alled tu n i n g by

b u t i t was n ot u n t i l lat er th at M ersen n u s an d aft erwards Lou li é an

In oth er wor ds we writ e mus ic as ,