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Scan 897
Dictionary of music, 1900
38 lines. Read by computer on 3 September 2026. Printed page 889. See the scan on archive.org.
1a second, be these whole-tone, leading-tone, or chromatic half-tone steps, as for example:
3A special means of connecting chords following one another is to let remain notes common to two or more chords, or also those which are enharmonically identical. The conduct of the bass part, however, forms an exception, for it readily moves from one fundamental tone to another, and is of essential service in rendering intelligible the harmonic scheme. The bass moves readily from principal tone to the third of the chord, and from third to third or principal tone; on the other hand, caution must be used with the leap of the bass part to fifth of the chord. (See Chord of Six-four.) Movement by step of a second should certainly be aimed at, although it certainly is not always achievable; and just in the very part which for the most part is free, and which is first invented, the real melody part (in modern music generally the upper part), progression by second is readily exchanged for greater, so-called harmonic steps. Such steps produce the effect of polyphony by breaking (q.v.), and thus the writing is enriched; from the first, blossoms forth, so to speak, a second part (in orchestral and pianoforte music such is, indeed, frequently the case). Certain progressions of parts, of which the harmonic meaning is difficult to follow, and which on that account are difficult to lay hold of, are naturally avoided in writing for voices (in strict style they are entirely avoided), viz. augmented steps (tritone, augmented second, etc.). The rules, which are to be found in all treatises on harmony, viz. that the leading note must ascend a minor second upwards, and that the seventh must move downwards, are only under certain conditions correct. When the leading note occurs in the dominant chord, and progresses to the tonic, the leading-tone progression is naturally made whenever suitable occasion, not contravening any other rule of composition, offers itself. For a similar reason, the seventh will readily proceed downwards in the cases in which it can carry out a falling leading-tone step (leading-tone step in the minor sense), as, for instance, when the chord of dominant seventh resolves on to the tonic.
5In this case the rising leading-tone step b'—c", as well as the falling f'—e' is obligatory, and only in exceptional cases is any departure made therefrom. On the other hand, there is no necessity, in chords like b : d : f : a or c : e : g : b, for the seventh (according to usual terminology, i.e. the highest tone) to move downwards, unless there be danger of fifth parallels or something similar. Everything will depend on the harmony which follows; if the latter contain the octave of the fundamental tone, the seventh will frequently rise. The rule of the downward tending seventh, or of the upward tending leading tone is nothing more than a practical hint, since in choral progressions mostly in use this C. of P. offers itself as suitable. On the other hand, the negative laws for the C. of P., the forbidding of fifths and octaves, are of the highest importance. (See Parallels.)
7Consecutives. (See Parallels.)
9Cornelius, p. 165, l. 11, add, Wagner first went to Vienna in 1860. Also add, Dr. A. Sandberger has written a biography of C. (1887, dissertation on taking Doctor's degree).
11Cosacca (alla Cosacca), Kosakisch, Kosatschek, a Russian dance (dance of the Cossacks) in 2 time, of moderate movement, mostly in minor.
13Cottrau, Guillaume Louis, b. Aug. 9, 1797, Paris, d. Oct. 31, 1847, Naples, where from 1806 he lived and wrote Neapolitan canzonets which became popular (Liszt introduced some into his "Venezia e Napoli"). His sons, Theodore (b. Nov. 27, 1827, Naples) and Giulio (b. 1836, Naples), also achieved great success by following in their father's footsteps. (Theodore is the composer of "Santa Lucia" and "Addio ma bella Napoli"; Giulio, on the other hand, obtained lasting success with his opera Griselda, produced at Turin in 1878.)
15Couperin (8), F. G., last line, for in 1815 read in 1823.
17Cowen, F. H., add, his operas Signa (1893, Milan), and Harold (1895).
19Crogaert, J. Ed., b. Antwerp, studied under Benoît, became conductor of the Cercle artistique, Antwerp, in 1882. Since 1886 he has lived in Paris. C. has written two dry theoretical books: "La verbe de l'homme" (1876, Flemish and French), and "Traité complet de tonalité" (1884).
21Cromorne. (See Krummhorn.)
23Cui, add, cf. "C. C." by Countess de Mercy-Argenteau (1888).
25Cusins, d. Aug. 31, 1893, Remonchamps (Engadine).
27Czartoriska, d. June 8, 1894, at her castle near Cracow.
29Czibulka, d. Oct. 27, 1894, Vienna.
31D
33Daase, Rudolf, b. Feb. 21, 1822, Berlin, pupil of A. W. Bach, A. B. Marx, and E. Wilsing, lives at Berlin as conductor and teacher of music. He has written orchestral works, choruses for male voices, dances, marches, and drawing-room pieces.
35Dachs, J., d. June 6, 1896, Vienna.
37Dancla, Léopold, d. April 29, 1895, Paris.
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